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Alshire Records Discography
Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M. -
Traversing Boundaries in Gottschalk's the Banjo
Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts 5-2017 Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Performance Commons This is a pre-publication author manuscript of the final, published article. Repository Citation Pruett, L. M. (2017). Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo. Journal of the Society for American Music, 11(2), 155-183. Available at: https://scholarworks.merrimack.edu/vpa_facpub/5 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk’s The Banjo LAURA MOORE PRUETT ABSTRACT This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white -
1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr. -
The English Listing
THE CROSBY 78's ZYXWVUTSRQPONMLKJIHGFEDCBAthe English listing Members may recall that we issued a THE questionnaire in 1990 seeking views and comments on what we should be providing in CROSBY BING. We are progressively attempting to fulfil 7 8 's these wishes and we now address one major ENGLISH request - a listing of the 78s issued in the UK. LISTING The first time this listing was issued in this form was in the ICC's 1974 booklet and this was updated in 1982in a publication issued by John Bassett's Crosby Collectors Society. The joint compilers were Jim Hayes, Colin Pugh and Bert Bishop. John has kindly given us permission to reproduce part of his publication in BING. This is a complete listing of very English-issued lO-inch and 12-inch 78 rpm shellac record featuring Sing Crosby. In all there are 601 discs on 10different labels. The sheet music used to illustrate some of the titles and the photos of the record labels have been p ro v id e d b y Don and Peter Haizeldon to whom we extend grateful thanks. NUMBERSITITLES LISTING OF ENGLISH 78"s ARIEl GRAND RECORD. THE 110-Inchl 4364 Susiannainon-Bing BRUNSWICK 112-inchl 1 0 5 Gems from "George White's Scandals", Parts 1 & 2 0 1 0 5 ditto 1 0 7 Lawd, you made the night too long/non-Bing 0 1 0 7 ditto 1 1 6 S I. L o u is blues/non-Bing _ 0 1 3 4 Pennies from heaven medley/Pennies from heaven THECROSBYCOLLECTORSSOCIETY BRUNSWICK 110-inchl 1 1 5 5 Just one more chance/Were you sincere? 0 1 6 0 8 Home on the range/The last round-up 0 1 1 5 5 ditto 0 1 6 1 5 Shadow waltz/I've got to sing a torch -
CANNON, CAREY JOSEPH, DMA Joseph Willcox Jenkins
CANNON, CAREY JOSEPH, D.M.A. Joseph Willcox Jenkins: Male Chorus Arrangements of Stephen Collins Foster Melodies. (2012) Directed by Dr. Welborn E. Young. 130 pp. During his tenure as the first arranger for the United States Army Chorus (1956– 1959), Joseph Willcox Jenkins composed and arranged a prolific amount of male choral music, much of which remains unpublished. Outside the circles of the U.S. Army Chorus and Duquesne University, where he was a professor for forty years, much of Jenkins’s music is relatively unknown. His works, however, reflect a commanding knowledge of the male chorus, unique since of style, and creative use of many compositional techniques. Throughout his brief time with the Army Chorus, Jenkins arranged at least 270 pieces and composed a handful of original works. Among these works are fourteen arrangements of Stephen Collins Foster melodies that remain prominent in the ensemble’s performing repertoire to this day. This document presents six performance editions of Jenkins’s fourteen arrangements of the Stephen Collins Foster melodies: “Beautiful Dreamer,” “Camptown Races,” “Nelly Bly,” “Oh Susanna,” “Ring Ring de Banjo,” and “Some Folks.” These arrangements will be compared to the original songs, placed in historical context, and ultimately expand the choices of male choral repertoire. The research undertaken here stimulates the historical research of American male choruses, namely the United States Army Chorus, and provides the possibility for further study of Jenkins’s musical works. Additionally, along with this document, the results of this study were presented in printed performance editions of the selected works and performed in a lecture recital featuring the arrangements. -
Bill Holcombe's Musicians Publications Visit Our Online Store!
Bill Holcombe's Musicians Publications Visit our online store! www.billholcombe.com/store SHIP TO: P.O. Box No. : _____________ Phone: ____________Fax:_____________________________ Name: _________________________________________________________________ Street: _________________________________________________________________ City,State,Zip: ________________________________________________________________ Counry: ________________________________________________________________ Ordering Information Musicians Publications is always ready to answer your questions about our publications. Orders may be placed by phone, fax, mail or email. All orders are shipped from Chesapeake, Virginia and are billed in U.S. dollars. There is a $25 net minimum for all wholesale orders. Foreign orders will be shipped by sur- face mail unless otherwise specified. Contents: Arranging ............................2 Orchestra ............................. 52 Brass Ensembles ........ 31-43 Percussion ........................... 43 Cello .................................51 Saxophone ......................15-20 String Orchestra ................53-54 Choral ...............................55 String Quartets and Trios ....... 49, 50 Clarinet ........................11-14 Trombone ........................38-40 Concert Band .............. 44-47 Trumpet ...........................36-37 Flute .............................. 3-10 Tuba ...................................... 40 French Horn ................ 41-43 Viola ..................................51 Jazz Band .........................48 -
Sara Watkins to Release Under the Pepper Tree
SARA WATKINS TO RELEASE UNDER THE PEPPER TREE MARCH 26th VIA NEW WEST RECORDS REUNITES HER NICKEL CREEK & I’M WITH HER BANDMATES & FEATURES GUEST APPEARANCES BY TAYLOR GOLDSMITH OF DAWES, DAVID GARZA, AND WATKINS’ NOW THREE-YEAR-OLD DAUGHTER Sara Watkins of the Grammy-winning groups Nickel Creek and I’m With Her, as well as The Watkins Family Hour will release Under the Pepper Tree on March 26th via New West Records. The 15-song set was produced by Tyler Chester (Sara Bareilles, Margaret Glaspy) and is the follow up to her critically acclaimed 2016 solo album Young In All The Wrong Ways. Created with families in mind, the personal project encompasses songs Sara embraced as a child herself and brings storytelling, solace, and encouragement to the listener, no matter the age. In addition to two stunning original songs, the album includes Sara’s renditions of “Pure Imagination” from the 1971 film Willy Wonka & The Chocolate Factory, The Beatles’ “Good Night,” “Moon River” (originally sung by Audrey Hepburn in the 1961 film Breakfast at Tiffany’s), and more. Under the Pepper Tree also reunites Sara’s Nickel Creek bandmates Chris Thile and her brother Sean on “Blue Shadows on the Trail” (from the 1986 comedy The Three Amigos), Sara’s I’m With Her bandmates Sarah Jarosz & Aoife O’Donovan on “Tumbling Tumbleweeds” (originally performed by Roy Rogers & Sons of the Pioneers), Taylor Goldsmith of Dawes on Harry Nilsson’s “Blanket for a Sail,” David Garza on Roy Orbison’s “Beautiful Dreamer,” and Sara’s now three-year old daughter on her immensely sweet rendition of The Sound of Music’s “Edelweiss.” Sara admits that she initially felt conflicted about making a children’s record until she realized that perhaps this album could impact a young listener in the same manner as the music from her own childhood affected her. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Reflections on the State Songs of Florida
Reflections on the State Songs of Florida DAVID Z. KUSHNER According to the Laws of the State of Florida (Regular Session, 1913), House Government Resolution No. 24 stated, under the date of 12 May 1913, That, Whereas, in view of the fact that many of the Public Schools of the State are now singing, as a part of their daily exercise, the song, “Florida, My Florida,” a song written in 1894 by Rev. Dr. C.V. Waugh, for many years an honored Professor of Languages in the old Florida Agricultural College in Lake City, and whereas, The said song has both metrical and patriotic merit of the kind calculated to inspire love for home and native State, therefore, be it Resolved, that this song, “Florida, My Florida,” be and the same is hereby declared by the Legislature of the State of Florida to be the “State Song,” to be sung to the tune of “Maryland, My Maryland,” and that it is recommended for use in the daily exercises of the public schools of the State of Florida, as well as at all public gatherings where singing forms a part of the program. The following is the song: FLORIDA, MY FLORIDA (State Patriotic Song for Schools, C.V. Waugh) Land of my birth, bright sunkissed land, Florida, My Florida, Laded by the Gulf and Ocean grand, Florida, My Florida, Of all the States in East or West, Unto my heart thou art the best; Here may I live, here may I rest, Florida, My Florida. In country, town, or hills and dells, Florida, My Florida, The rhythmic chimes of thy school bells Florida, My Florida, Will call thy children day by day To learn to walk the patriot’s way, Firmly to stand for thee for aye, Florida, My Florida. -
Yazoo No Swanee Yes Bananas and How!
Yazoo, No. Swanee, Yes. Bananas, and How! We begin our story in the 1950s at 328 Chauncey Street with two beloved “Honeymooners”, Brooklyn bus driver Ralph Kramden and his wife Alice. But the pair that truly captured the nation’s affection was Ralph and his pal, Ed Norton. Surely one of the most hilarious episodes ($99,000 Answer) was the “Name That Tune” parody that has Ralph memorizing song after song (as well as the composers and the year) and practicing countless melodies with Norton on the piano. Norton, however, throws his arms up in the air and plays a bar or two of “Swanee River” (aka “The Old Folks At Home”) right before each and every song (in order to warm up). This drives Ralph nuts. Ralph Kramden thinks he’s well prepared for the $99,000 Answer. When the big night finally comes and Ralph appears on the show, extremely confident that he has learned every song ever written, the first question he’s asked is to identify the composer of “Swanee River”. Ralph painfully asks, “Swanee River?” When the moderator has a few bars of the song played for him, Ralph goes, “That’s Swanee River?” He then stammers with a “humma-da-humma-da” and after a moment replies, “Ed Norton?” He totally overlooked the man known as the “father of American music” and the pre-eminent songwriter in the United States of the 19th century, Stephen Collins Foster. Stephen Collins Foster (July 4, 1826 – January 13, 1864), “Father of American Music” Incidentally, Ralph Kramden wasn’t the only Swanee stammerer. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
THE ART of THEFT by Tim Schaefer I
THE ART OF THEFT By Tim Schaefer I. “Generations are fictions.” –Jeff Chang, Can’t Stop, Won’t Stop The kid ducked his head through the door -conspicuous from trying too hard to be inconspicuous- and then ducked out again. The sweaty, half-frosted front door almost clicked shut, but then the kid suddenly wrapped a hand around the edge, pulled the door open just enough, and slipped into the shop. He sweated a bit, too, and then worried about the sweat. There were little bits of receipt paper and mud streaks imprinted with crisscrossed sneaker soles on the floor, a temporary, coded record of the store’s visitors; he had to keep his eyes trained there for a moment, on the odd things dragged in by careless feet, because the UK bass music coming from the store’s PA system made him woozy and confused. He was unmoored by it, and by the unfamiliar surroundings. He finally, gratefully, caught the logic in the song’s rhythm, more-or-less grabbed on to its meter, and immediately felt more comfortable. He still had no idea what it was, or where it was from. It was surely made by people. One person, maybe? Perhaps it was self-programmed by a computer, a sad beige hunk of wires and chips left alone for too long. Sharp trebly clips of female soul vocals gave him something to grab onto as hits of surely machine-made drums drilled past in dark purple waves of aggression. He didn’t really like it, but he didn’t hate it either.