Ellington! 11 AM 2015 2016 BROADEN the HORIZONS of YOUR CLASSROOM
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Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938: -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Ellington-Lambert-Richards) 3
1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)
Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPartland, Dan Mor 11e nslar Bill Quinn, Harvey Pekar, William Russo, Harvey Siders, Pete Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by !lie Wr't n, I ers Ratings are : * * * * * excellent, * * * * very good, * * * good, * * fair, * poor . ' When two catalog numbers are listed, the first is mono, and the second is stereo . times (especially on Yellow Days) · his Thad Jones-Mel Lewis •- •- -. ... touch is uncannily close to the master 's. LIVE AT THE Vl.LLAGB VANGUA.ll." Solid S1A1e SS l80l6: L/lflc Pi:<lo ll; ,1 "/l'v..,. BIG BANDS Two ringers were brought in to beef up l'reodom; Barba l'eo/i11'; Do11'1 Git Sn1ty• tltl•, /0111 Tree; Samba Co11 Gde/m. ' "' 1I. Duke Ellington the trumpet section, currently the ban.d's weakest link. Everybody was on best be Personnel: Jone1, flu·cgelhoro; Snooky y 0 SOUL CALL-Verve V/V6·870l: La Pim Bell• Jimmy No1tingb3m, Marvin Stamm, Rkfiard ~•• Af.-i&11l11r;IVett litdia11 Pa11caltt; Soul C111/;Slti11 Jiavior, it seems-the band sounds tight Iiams, Bill Berry. trumpets; Bob Brool<o, II, Du/I; Jan, Will, Sm11. and together at all times. The superb ·re Garnett Bl'owo, Tom Mclmo,h, Cliff fi~a~yer, Personnel: Cnt Anderson, Herbie Jones, Cootie irombones; Jerome Richnrdson, Jerry Dad !>tr, \Villla 'ms. M,rccer I!llingron. uumpors; Buster cord ing brings out the foll flavor of the Joe Parcell, '.Eddie Daniels, -Pepper Adams r~t• lloiaod Hannn piano; Sam Herm an, • IM • Cooper, Lawrence Brown, Chuck Connors , rrom• magnificent Ellington sound; the reeds, in 1 bonci.: Russell Procope. -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world. -
John Cornelius Hodges “Johnny” “Rabbit”
1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”. -
The Album Was Recorded in the Sessions Described in the Original Liner Notes Which Follow
The album was recorded in the sessions described in the original liner notes which follow. Two of the tracks that appear here- "Fillie Trillie" and "Satin Doll"---were part of the same recording sessions, but were not included on the album originally released, thus are not discussed in the notes that follow. The album began as a single recording session during which we intended to record three or four of Duke's recent compositions for release sometime in the future. It began early one afternoon in February when the band arrived back in New York from a long stay in Florida, and before we even began, the session was turning into a welcome-home party for Duke. Dozens of fans appeared in the studio, among them Dizzy Gillespie (with trumpet) and Jimmy Rushing, who likes to listen to big bands, and Jimmy Jones, who just happened to be passing by. As the crowd gathered Duke was on the phone calling his group of nine percussionists, and the studio lobby was filling up with kettle drums and xylophones. Chairs were set up for our unexpected audience, and Duke, with the innocent expression of a small boy who has just dropped a match into a gas tank, said, "Let's see what happens:" Last summer, between jazz festivals, Ellington introduced at New York's Lewisohn Stadium one of the dizzier flights of musical fancy in his long career. From the city's symphonic musicians he drew nine men to play a couple of short pieces written to feature a full set of tympani and a line of vibraphones and marimbas and xylophones long enough to stretch from one side of the large stage to the other. -
Black, Brown and Beige
Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors.