DOCSLIB.ORG

Newsletter Jump

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BIG BAWD NEWSLETTER JUMP VOLUME XIX BIG BAND JUMP NEWSLETTER________________________ MARCH-APRIL, 1992 BUDDY MORROW INTERVIEW The Background For years, Buddy Morrow was one of the most sought- after trombonists in the studios, with a background of experience with several of the Big Bands, including Eddie Duchin, Artie Shaw, Vincent Lopez, Bunny Berigan, Richard Himber, Tommy Dorsey, Paul Whiteman, Bob Crosby and Jimmy Dorsey. It was in late 1945 he formed his own band and changed his name from Muni (Moe) Zudekoff to Buddy Morrow. That band had limited success, and he disbanded in early 1946 to work in the New York studios until 1951 when he re-formed his band and achieved public acclaim with a series of records including NIGHT TRAIN with which he is now permanently identified. For the past couple of decades, Buddy Morrow has directed the official TOMMY DORSEY ORCHES­ Buddy Morrow TRA, thought by many to be the best name band on the and calmly answered all our questions, supplying road today. It's interesting to speculate what Tommy additional information until the very last minute, then Dorsey would have thought if he had known that the stepped onto the stand to play the familiar GETT1N' nineteen-year-old kid in the trombone section during SENTIMENTAL OVER YOU Dorsey theme. the 1938 recording of BOOGIE WOOGIE would some day lead the band. The Interview The Scene BBJ: During those days you were based in New Baritone player, arranger and former road manager York working in the studios, did you ever have time for Buddy Morrow, John Barbe, arranged the inter­ to jam? view for BBJ NEWSLETTER when the TOMMY BM: During those days, everything was going on DORSEY band was playing a club date in Atlanta. in New York on 52nd Street, and they had tremendous Barbe and his wife Jane, a former vocalist with the jam sessions there. You could go from one joint to Buddy Morrow band, kept in touch with Buddy after another. I played with such people as Bunny Berigan, they settled in Atlanta, and with that connection, Artie Shaw and a couple of other people, and they Buddy talked to us freely. recommended ... especially Artie Shaw ... that I move We were crowded into a tiny office just before the first to New York from my home in New Haven. A few set, with the musicians tuning up in the back room and weeks later I got the call to start the next night with the phone constantly ringing, but Buddy courteously Tommy Dorsey. Everybody has their heroes, and VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992 Tommy had done so much for the trombone; got it out BBJ: What was the most fun you ever had playing of the circus and made a respectable instrument out of for someone else? it. I was just a kid then. I was thrilled. BM: I took a job with Bob Crosby in the late BBJ: Did you get the trombone chair in the Dorsey thirties, and I must say I had one of the happiest years band? of my life with that band. In spite of Bob it played beautifully. Bob was a delightful guy, a wonderful BM: Not then, but I did move to New York with all story-teller and treated us very nicely, and he managed of 35 bucks in my pocket. We used to get coffee and to stay out of our way. One of the really great talents a doughnut and orange juice for fifteen cents. I lived in the band, bar none, was Bobby Haggart. Unbeliev­ on a dollar a day and room rent was a dollar a day. able talent ... and Dean Kincaide, and Yank Lawson and Matty Matlock. BBJ: Were you able to stay in New York? BBJ: Were you called up for military duty? BM: Yeah, and I was offered a scholarship to Julliard. My teacher made a startling statement to me. BM: I was in the Navy, but didn't see any overseas He said for what I was doing there was nothing he service. I was a musician. After I got out of the Navy could teach me, and he meant that in a complimentary I wanted my own band. I went briefly with Jimmy way. I let the scholarship go, and I went from Eddy Dorsey and then established the Buddy Morrow Duchin's band to Artie Shaw, and in the interim I Orchestra. That lasted about two years, but I was worked with Vincent Lopez, Charlie Barnet; did a lot broke after that attempt and went back to work in the of recording with guys like Wingy Manone. In those real world ... back in the studios. After about four days the name was Zudekoff. I was working for years I got this chance to record for RCA Victor and Richard Himber when I got a wire from Tommy among the bunch of records was NIGHT TRAIN. I offering me the job with his band for the magnificent think in my lifetime I've probably recorded several sum of $125.00 a week, and that included a radio thousand records. I had my own band for a long time. show. It wasn't as fulfilling as I wanted. We were playing rhythm and blues, and that takes so much out of you, BBJ: Was that top pay for the time? so it took kind of a dive for a while, and during that time we went to the lush ballad style. BM: No. Tommy had a lot of guys who were making $ 165 or $ 175 with some getting $200 or $250. BBJ: Did that last? At the time I was happy to go with him and I learned a lot, but when I found the third trombone man was BM: It became evident that the world wanted rock making more that I was by forty bucks a week, I n' roll and the Big Bands never did get on that. About decided to go with Whiteman who was offering me a that time my daughter was born, my second child, and lot more money. I didn't want her growing up without me, so I limited my work and did mostly studio work, but still BBJ: When did you go into the studios? performed on the weekend with my band. BM: I left Paul Whiteman to go into radio. At that After awhile, the studio work became boring, and time CBS for six or seven days a week was paying 90 about that time I was offered the thing with the Tommy dollars a week. That was the scale for a house job. I Dorsey Estate; about nine months prior to that I left CBS to go with Johnny Green, doing three Phillip conducted the Miller Band. I said, "I'll do it for a few Morris shows a week. That was really good money, weeks until you get somebody." I'm now in my because I could work anywhere else I wanted during fifteenth year. the week, so I was actually free-lancing. I turned 21 when I was with Johnny. BBJ: How does your Tommy Dorsey band compare with the original? VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992 BM: The band is great. It is the best road band A subscriber named Robert Murphy of Miami in­ today. My trombone style is completely different, but quired of Herbie Fields. (He was in error in saying reminiscent of Tommy; hopefully with the finesse that Herbie played the alto on DARDANELLA. It was the Tommy had, but my style, I think, is a lot more soprano.) Shortly before he committed suicide in emotional. I think the greatest thing you can offer the 1958, he recorded an LP with the Miami Beach public is the sound of the horn. It comes from within; Symphony. We found this LP after a six-month you manufacture it from your head, but it's an search, and would like to get in touch with Robert emotional thing. It has to be part of you. It's an Murphy. If you can ever feature Herbie Fields, we extension of your feeling ... that's why music is so would love it. important. We think the ghost would have been proud. We've put Mr. Ross in touch with Robert Murphy, and BBJ: You've done some overseas work. will be featuring Herbie Fields on a future BIG BAND BM: When I was in Hong Kong I did four television JUMP program, thanks to Mr. Ross's suggestion and shows, and those guys knew everything I wanted to information. (See UPCOMING BBJ PROGRAM play, including NIGHT TRAIN. The best foreign jazz TITLES.) musicians I ran into were the Filipinos. They play great! (He gave that line strong emphasis.) I mean it! Joseph Lewis I hear BIG BAND JUMP on Orlando, FL WLBE in Leesburg. How BBJ: Most men would have retired by now. Why do about playing TRUMPET you stay on the road? BLUES by Harry James? Keep up the good work. BM: I like it. It’s a way of life, it’s creative, it gives TRUMPET BLUES has been featured on past pro­ me something where I'm needed, and where I can do grams, but we haven'tplayed it lately, and we respond the best job of anybody involved. to Mr. Lewis's request on the MAILBAG program, scheduled for the weekend o f April 4-5. Buddy Morrow was 73 on the 8th o f February this year, and still leads the Tommy Dorsey Orchestra.
Recommended publications
  • The Digital Deli Online - List of Known Available Shows As of 01-01-2003

    The Digital Deli Online - List of Known Available Shows As of 01-01-2003

    The Digital Deli Online - List of Known Available Shows as of 01-01-2003 $64,000 Question, The 10-2-4 Ranch 10-2-4 Time 1340 Club 150th Anniversary Of The Inauguration Of George Washington, The 176 Keys, 20 Fingers 1812 Overture, The 1929 Wishing You A Merry Christmas 1933 Musical Revue 1936 In Review 1937 In Review 1937 Shakespeare Festival 1939 In Review 1940 In Review 1941 In Review 1942 In Revue 1943 In Review 1944 In Review 1944 March Of Dimes Campaign, The 1945 Christmas Seal Campaign 1945 In Review 1946 In Review 1946 March Of Dimes, The 1947 March Of Dimes Campaign 1947 March Of Dimes, The 1948 Christmas Seal Party 1948 March Of Dimes Show, The 1948 March Of Dimes, The 1949 March Of Dimes, The 1949 Savings Bond Show 1950 March Of Dimes 1950 March Of Dimes, The 1951 March Of Dimes 1951 March Of Dimes Is On The Air, The 1951 March Of Dimes On The Air, The 1951 Packard Radio Spots 1952 Heart Fund, The 1953 Heart Fund, The 1953 March Of Dimes On The Air 1954 Heart Fund, The 1954 March Of Dimes 1954 March Of Dimes Is On The Air With The Fabulous Dorseys, The 1954 March Of Dimes Is On The Air, The 1954 March Of Dimes On The Air 1955 March Of Dimes 1955 March Of Dimes Is On The Air, The 1955 March Of Dimes, The 1955 Pennsylvania Cancer Crusade, The 1956 Easter Seal Parade Of Stars 1956 March Of Dimes Is On The Air, The 1957 Heart Fund, The 1957 March Of Dimes Galaxy Of Stars, The 1957 March Of Dimes Is On The Air, The 1957 March Of Dimes Presents The One and Only Judy, The 1958 March Of Dimes Carousel, The 1958 March Of Dimes Star Carousel, The 1959 Cancer Crusade Musical Interludes 1960 Cancer Crusade 1960: Jiminy Cricket! 1962 Cancer Crusade 1962: A TV Album 1963: A TV Album 1968: Up Against The Establishment 1969 Ford...It's The Going Thing 1969...A Record Of The Year 1973: A Television Album 1974: A Television Album 1975: The World Turned Upside Down 1976-1977.
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor

    Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor

    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
  • The Victor Black Label Discography

    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 Recordings

    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.
  • Newsletter “In the Can.” for a Memorial Tribute to the Late, Great Jazz Writer & Ambassador, Herb Wong

    Newsletter “In the Can.” for a Memorial Tribute to the Late, Great Jazz Writer & Ambassador, Herb Wong

    THE GREAT ESCAPE!* j *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue No. 31 Presented by: www.dixieswing.com Benny’s Busy Day By Browser Bob Knack Transcriptions are 16 inch discs containing music that was not Benny Goodman must have slept well on the night of available on 78s but sold exclusively to radio stations for air-play. June 6th 1935, because he and his band sure had a busy day! Back then, because of the depression, it is said that He and his Rhythm Makers Orchestra went into the studio and in transcriptions actually outsold 78 RPM records. During the one sitting recorded 50 tracks (one a medley of two) for the RCA 1970’s, there was a “direct-to-disc” recording craze where bands transcription service. recorded a “live” session directly to a master disc with no editing The backstory: Benny in 1934 had organized a big band or mixing. Bands such as Harry James, Les Brown, Buddy Rich, for Billy Rose’s Music Hall in New York City. It was run as a and Benny Goodman participated in the production of these supper club with vaudeville acts opening and the Goodman band audiophile LP’s. Fact is Benny’s 1935 transcriptions were the playing for dancing later. A fortuitous aspect of the engagement same as direct-to-disc, and all 50 sides were done with one take! was that a radio broadcast was arranged for the performances So on June 6, Goodman, happy to have the work, went and Benny got some welcome exposure.
  • History of Jazz Tenor Saxophone Black Artists

    History of Jazz Tenor Saxophone Black Artists

    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
  • ARTIE SHAW NEA Jazz Master (2005)

    ARTIE SHAW NEA Jazz Master (2005)

    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.
  • North Castle History Volume 12

    North Castle History Volume 12

    Armonk's Log Cabin gained greatest fame in Big Band Era. Vol 111 The North Castle Historical Society 1985 The Jazz World in Armonk North Castle's First Subdivision 1935 - 1942 North Castle's Early Transportation The xrth Castle Fstorical Society Bedford Road, Armonk, New York 10504 PRESIDENT'S MESSAGE Dear Members and Friends, The lifeblood of The North Castle Historical Society is the volunteer. Whatever success we have achieved in membership growth, fundmising, building restoration, educational programs, historical exhibitions, library services and a host of routine maintenance chores is primarily due to dedicated and available volunteers. The record of volunteer accomplishments is impressive and heartwarming. lmpressiue as the record is, thne are still uniimited horirons before us - horizons that can be yeached only with additional volunteer help. Whatever talents you have to offer, whatever time you want to contribute -somewhere in the Society's many endeavors and operations is a place where you can make a meaningful contribution. Come, join us! Make a commitment! If that is more than you are ready for now, how about a short-term trial? We would appreciate hearing from you. For more information, stop by the Tavern any Tuesday morning, or give me a call. Thank you. s7Y/9A Guy H. Papale THEJAZZ WORLD IN ARMONK - 1935-1942 By James D. Hopkins Photo: Collection of Sybil Hussar Big Band jazz flourished in the 19301s and early '40's all over the country. Jazz is of course the original contribution of America to the art of music. It was slow in coming, compounded as it was from the rhythm and blues of black sources, with additions of creole songs, Scotch-Irish folk ballads and country hoe-down.
  • January Clearance Sale! Quantity on Hand Price Each ~ - -~· -··=~------,------Ostrich Troubles

    January Clearance Sale! Quantity on Hand Price Each ~ - -~· -··=~------,------Ostrich Troubles

    " ,. ' ' ~ ' .• -~....:.r . ,; -~.. J • January 11951 JANUARY CLEARANCE SALE! QUANTITY ON HAND PRICE EACH ~ - -~· -··=~----------------,-------------------- OSTRICH TROUBLES. Brand new, 1-reel, 16mm. sound film in original cartons. ss.,s 16 Cr:st:e-Kiko the Ka .. garoo Cartoon. Original ptice, $17.50. WOLVES OF THE RANGE with Bob Living5ton s29 95 8 Good used 6-reel, 16mm. sound feature pici·ure, assembled on 2-1600' reels. e -~ ,..a:.;.;::::ii.:._.c __________________ ,________________ ,_,_ _ _,__ BORDER BUCKAROOS with Dave O'Brie11 and Jim Newill s29 95 7 Good used 6-reel, 16mm. sound feature picf·ure, assembled on 2-1600' reels. e AMERICAN LEGION CONVENTION, 1947. Rrcind new, 1-reel, 16mm. silent. SJ 98 32 Castle's film of the fun anc frivolity of 1h11 1947 convention in New York. Origi•al price, $8.75. • ------------~---~----~-·----·-----------~--- tOG ISLAND with Lionel Atwill, Jerome Cowan, George Zucco s39 95 5 Good used 7-reel, 16mm. sound faaf·ure pic~ure, assembled on 2-1600' reels. e SONGS OF LOVE. Brand new, 1-reel, 16mm. sound fiim in original cartons. S6 95 Castle Music Album with Gene G,-ounds, Syl-,ia Froos, Dove Schooler and his Swinghearts. • 47 Original price, $17.50. THE DRIFTER with Buster Crabbe and Al S·t. John s29 95 4 Good used 6-reel, 16mm. sound featura {'i :ture, assembled on 2-1600' reels. e FISH IS FOOD. Brand new, 1-reel, 16mm. s:u.,nd film in original cartons. S6 95 There's nothing fishy about the bargain quolit ) of this lilm on the Fulton Fish Market in New York.
  • PHILLIPS End to BEGINNING

    PHILLIPS End to BEGINNING

    MAY 2019—ISSUE 205 YOUR FREE guide TO tHe NYC JAZZ sCENE NYCJAZZRECORD.COM BARRE PHILLIPS END TO BEGINNING janis simon mulatu danny siegel nabatov astatke barker Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2019—ISSUE 205 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@nigHt 4 Laurence Donohue-Greene: interview : janis siegel 6 by jim motavalli [email protected] Andrey Henkin: artist Feature : simon nabatov 7 by john sharpe [email protected] General Inquiries: on The Cover : barre pHillips 8 by andrey henkin [email protected] Advertising: enCore : mulatu astatke 10 by mike cobb [email protected] Calendar: lest we Forget : danny barker 10 by john pietaro [email protected] VOXNews: LAbel spotligHt : pfMENTUM 11 by robert bush [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] Cd reviews 14 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, misCellany 33 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, event Calendar Tom Greenland, George Grella, 34 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mike Cobb, Pierre Crépon, George Kanzler, Steven Loewy, Franz Matzner, If jazz is inherently, wonderfully, about uncertainty, about where that next note is going to Annie Murnighan, Eric Wendell come from and how it will interact with all that happening around it, the same can be said for a career in jazz.
  • “NJPAC Is Like My Laboratory, Open to Whatever I Want to Do…”

    “NJPAC Is Like My Laboratory, Open to Whatever I Want to Do…”

    Volume 35 • Issue 11 December 2007 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. “NJPAC is like my laboratory, open to whatever I want to do…” N’ Orleans in Newark Irvin Mayfield at NJPAC By Sandy Ingham t’s tough to live here in New Jersey yet be addicted to INew Orleans music, particularly its exuberant jazz. Fortunately for us, many of that city’s artists hit the road regularly in order to make a living, spreading the news around the world that while much of New Orleans may still be mired in a post- Katrina funk, the music is as high-spirited as ever. Irvin Mayfield photos courtesy of the artist. right: NJPAC at night, photo by Esto. Trumpeter Irvin Mayfield embodiment of the old Jelly Roll brought his new sextet, the Morton maxim that “the Hombres, to the New Jersey Spanish tinge” is a necessary Performing Arts Center in ingredient in jazz. Newark on Sunday, October 28. The band has assimilated music The Hombres, a direct from all over the Caribbean in descendant of Los Hombres earlier visits to Haiti, Trinidad, Caliente but minus percussion master Bill Summers, are the continued on page 24 ARTICLES REVIEWS EVENTS Whiskey Café. 13 in this issue: Classic Stine. 9 L.A. Jazz Big Band Showcase . 30 ’Round Jersey: Bridgewater, CTS Images . 15 NEW JERSEY JAZZ SOCIETY Morris, Ocean . 44 Salt Creek Grille. 17 Pres Sez/NJJS Calendar Jazz U: College Jazz Scene . 14 CDs: Compact Views/ Institute of Jazz Studies/ Centenary College. 19 & Bulletin Board.
  • The Changing Face of Harlem – the Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976

    The Changing Face of Harlem – the Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976

    The Changing Face of Harlem – The Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976 The history of jazz is often told in terms of geography—a journey from New Orleans to Chicago to Kansas City to New York, and from there, throughout the world. Like any generalization, this way of outlining the music's development has its shortcomings. New York had been a jazz landmark long before it became the chief incubator of a new style eventually called bebop. And for jazz purposes, New York in the main meant Harlem, the largest (and once most glamorous) black metropolis outside Africa. In the '20s, Harlem was practically the entertainment capital of America, if not the western world. “The world's most glamorous atmosphere .... Why, it's just like Arabian Nights,” said young Duke Ellington when first confronted with its splendors in 1923. To the contemporary mind, conditioned to think of Harlem as a “ghetto,” a vast slum, a breeding ground for social ills, this may seem like fantasy. But even today, there are fine streets and houses in Harlem, there is the Apollo Theater (the last remaining bastion of a once proud show business tradition), there are places to eat and drink well, and places to hear music. But sadly, for every one of the latter, there were a couple of dozen in Harlem‘s heyday. These ranged from basement clubs and unpretentious saloons that might feature a piano player and/or a singer to such elaborate operations as the Cotton Club, with its especially composed, staged and choreographed revues featuring the best in black talent and catering exclusively to whites (black show people were allowed to watch).