Ben and Ruth Liman Jazz Films Collection
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Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90 -
Musical Soundies Soundies Were Made for Movie Juke Boxes in the 1940S and Feature Major Recording Stars of the Era
Musical Soundies Soundies were made for movie juke boxes in the 1940s and feature major recording stars of the era. Each runs about 3 minutes. Each Soundie was registered in the year it was made, but none were renewed with the Library of Congress 28 years later. Artist!Musical Number!Date Del Casino!Surrender!1946 Three Suns with Artie Dunn!Beyond the Blue Horizon!1944 Emil Coleman with June Barton!Gotta Be This or That!1945 Six Hits and a Miss!Sweet Sue, Just You!1941 Harry Cool!Stardust!1945 Yvonne De Carlo w. Spike Jones!Lamp of Memory!1942 Ray Bloch with Carolyn Marsh!I Can’t Give You Anything but Love!1941 Seven Sarongs!Heaven Help a Sailor!1941 Zarek and Zarina!Male Order!1941 3 Car Hops!At Your Service!1941 Juvenile Jubilee w. Merle Pitt!I Don’t Want to Walk Without You!1942 Thelma White!Hollywood Boogie!1946 Andy Iona Orchestra!Tropical Swingaroo!1941 Johnny Long and Orchestra!Maria Elena!1943 Johnny Long!In a Shanty in Old Shanty Town!1943 Johnny Long!Boogie Man!1943 Johnny Long!It Must Be Jelly!1946 Varios and Vida (dancers)!Begin the Beguine!1943 Larry Clinton!Semper Fidelis!1943 Billy MacDonald & Highlanders!Playmates!1944 Jimmy Dorsey!Bar Babble!1943 Jimmy Dorsey w. Helen O’Connell!Man That’s Groovy!1943 Jimmy Dorsey!La Rosita!1943 Gene Krupa w. Anita O’Day!Let Me Off Uptown!1942 Gene Krupa w. Anita O’Day!Thanks for the Boogie Ride!1942 Al Donahue w. Ellen Connor!Jumpin’ at the Juke Box!1943 Al Donahue!Anvil Chorus!1943 Will Bradley!Boardwalk Boogie!1941 Will Bradley!Barnyard Bounce!1941 Charlie Spivak!Hop, Skip and Jump!1942 Nat King Cole!Frim Fram Sauce!1945 Nat King Cole!Calypso Girl! Nat King Cole w. -
Soundies Research
Soundies Disc 1 Golden Oldies Opening & © notice Listed in the order they appear on the disc: Del Casino Surrender 1946 Three Suns with Artie Dunn Beyond the Blue Horizon 1944 Emil Coleman with June Barton Gotta Be This or That 1945 Six Hits and a Miss Sweet Sue, Just You 1941 Harry Cool Stardust 1945 Yvonne De Carlo with Spike Jones band Lamp of Memory 1942 Ray Bloch with Carolyn Marsh I Can’t Give You Anything But Love Baby 1941 Seven Sarongs Heaven Help a Sailor 1941 Zarek and Zarina Male Order 1941 3 Car Hops At Your Service 1941 Juvenile Jubilee with Merle Pitt I Don’t Want to Walk W/out You 1942 Thelma White Hollywood Boogie 1946 Andy Iona Orchestra Tropical Swingaroo 1941 Johnny Long and Orchestra Maria Elena 1943 Varios and Vida (dancers) Begin the Beguine 1943 Larry Clinton Semper Fidelis 1943 Johnny Long In a Shanty In Old Shanty Town 1943 Billy MacDonald & His Highlanders Playmates 1944 Jimmy Dorsey Bar Babble 1943 Jimmy Dorsey with Helen O’Connell Man That’s Groovy 1943 Jimmy Dorsey La Rosita 1943 Gene Krupa with Anita O’Day Let Me Off Uptown 1942 Gene Krupa with Anita O’Day Thanks for the Boogie Ride 1942 Al Donahue with Ellen Connor Java Jive 1943 Al Donahue with Phil Brito Lonesome Road 1943 Victor Young Hold That Tiger 1940 Al Donahue Anvil Chorus 1943 Al Donahue with Ellen Connor Jumpin’ at the Juke Box 1943 Will Bradley Boardwalk Boogie 1941 Will Bradley Barnyard Bounce 1941 Johnny Long Boogie Man 1943 Charlie Spivak Hop, Skip and Jump 1942 Johnny Long It Must Be Jelly 1946 Nat King Cole Frim Fram Sauce 1945 Nat King Cole Calypso Girl (?) Mills Brothers Cielito Lindo 1944 Cab Calloway Minnie the Moocher 1942 Soundies Disc 2 All of these are Soundies except the Artie Shaw number from Second Chorus. -
The Great Migration and Women in Jazz
BORDER CROSSINGS: THE GREAT MIGRATION AND WOMEN IN JAZZ Dinah Washington – Circa 1952 Birth name Ruth Lee Jones Also known as Queen of the Blues, Queen of the Jukebox, Queen of Jam Sessions Influenced by Mahalia Jackson Origin/Grew Up - Chicago, Illinois, U.S. Genres - Jazz, blues, R&B, gospel, traditional pop music Instruments - Vocals, piano, vibraphone Associated acts - Lionel Hampton, Brook Benton 1924 - Born August 29 - Tuscaloosa, Alabama, U.S. 1939 - Won an amateur contest at Chicago's Regal Theater where she sang "I Can't Face the Music". After winning a talent contest at the age of 15, she began performing in clubs. 1941-42 Performing in such Chicago clubs as Dave's Rhumboogie and the Downbeat Room of the Sherman Hotel (with Fats Waller). She was playing at the Three Deuces, a jazz club, when a friend took her to hear Billie Holiday at the Garrick Stage Bar. Joe Sherman[who?] 1944 - Recording debut for the Keynote label that December with "Evil Gal Blues", written by Leonard Feather and backed by Hampton and musicians from his band, including Joe Morris (trumpet) and Milt Buckner (piano).[1][6][7] Both that record and its follow-up, "Salty Papa Blues", made Billboard's "Harlem Hit Parade". 1946 - Signed with Mercury Records as a solo singer. Her first solo recording for Mercury, a version of Fats Waller's "Ain't Misbehavin'", was another hit, starting a long string of success. 1948 – 1955 27 R&B top ten hits, making her one of the most popular and successful singers of the period. -
General Education Course Information Sheet FILM TV 98TA Youth Culture
Film TV 98T General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Course Title Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities ñ Literary and Cultural Analysis ñ Philosophic and Linguistic Analysis ñ Visual and Performance Arts Analysis and Practice Foundations of Society and Culture ñ Historical Analysis ñ Social Analysis Foundations of Scientific Inquiry (IMPORTAN: If you are only proposing this course for FSI, please complete the updated FSI information sheet. If you are proposing for FSI and another foundation, complete both information sheets) ñ Physical Science With Laboratory or Demonstration Component must be 5 units (or more) ñ Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. 3. "List faculty member(s) who will serve as instructor (give academic rank): Do you intend to use graduate student instructors (TAs) in this course? Yes No If yes, please indicate the number of TAs Page 1 of 18 Page 1 of 3 Film TV 98T 4. Indicate when do you anticipate teaching this course over the next three years: 2018-19 Fall Winter Spring Enrollment Enrollment Enrollment 2019-20 Fall Winter Spring Enrollment Enrollment Enrollment 2020-21 Fall Winter Spring Enrollment Enrollment Enrollment 5. GE Course Units Is this an existing course that has been modified for inclusion in the new GE? Yes No If yes, provide a brief explanation of what has changed: Present Number of Units: Proposed Number of Units: 6. -
Storyville Films 60003
Part 2 of a survey: Content of all Storyville Films DVD series Storyville Films 60003. “Harlem Roots, Vol. 1” - The Big Bands. Duke Ellington Orch. I Got It Bad And That Ain’t Good (2:54)/Bli Blip (2:50)/Flamingo (3:01)/Hot Chocolate (Cottontail) (3:06)/Jam Session (C Jam Blues) (2:50). Cab Calloway Orch.: Foo A Little Ballyhoo (2:48)/Walkin’ With My Honey (2:35)/Blow Top Blues (2:36)/I Was There When You Left Me (2:43)/We The Cats Shall Hep Ya (2:36)/Blues In The Night (3:12)/The Skunk Song (2:59)/Minnie The Moocher (3:01)/Virginia, Georgia And Caroline (2:57). Count Basie Orch.: Take Me Back Baby (2:39)/Air Mail Special (2:51). Lucky Millinder Orch.: Hello Bill (2:56)/I Want A Big Fat Mama (3:01)/Four Or Five Times (2:33)/Shout Sister, Shout 2:40). All are Soundies. DVD produced in 2004. TT: 0.57. Storyville Films 60013. “Harlem Roots, Vol. 2” - The Headliners. Fats Waller Rhythm: Honeysuckle Rose (2:52)/Your Feet’s Too Big /Ain’t Misbehavin’ (2:59)/The Joint Is Jumpin’ (2:46). Louis Armstrong Orch.: When It’s Sleepy Time Down South (3:07)/Shine (2:52)/I’ll Be Glad When You’re Dead You Rascal You (2:45)/Swinging On Nothing (2:53). Louis Jordan Tympany Five: Five Guys Named Mo (2:44)/Honey Chile (2:41)/GI Jive (2:36)/If You Can‘t Smile And Say Yes (2:45)/Fuzzy Wuzzy (2:49)/Tillie (2:26)/Caldonia (2:50)/Buzz Me (2:48)/Down, Down, Down (3:01)/Jumpin’ At The Jubilee (2:34). -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
Teacher Literary and Curriculum Guide Ain't
TEACHER LITERARY AND CURRICULUM GUIDE AIN’T MISBEHAVIN’ Orchestrations & Arrangements by Luther Henderson Vocal & Musical Concepts by Jeffrey Gutcheon Vocal Arrangements by Jeffrey Gutcheon & William Elliot Based on an idea by Murray Horwitz & Richard Maltby, Jr. STAFF This Teacher Literary and Curriculum Guide was prepared for the Huntington Theatre Company by Marisa Jones, Education and Community Associate Linda Murphy, Associate Director of Education Michael Walczak, Teacher Advisory Council Member, Brooks School With contributions by Ilana Brownstein, Literary Associate Donna Glick, Director of Education Linda Murphy, Associate Director of Education Heather Rogers, Education Intern, Boston University TABLE OF CONTENTS The Story of Ain’t Misbehavin’ Keeping Fats Young – The Production History Never Boresome The Life of Fats Waller That Stride Piano Sound Interview with the Collaborators of Ain’t Misbehavin’ Let the Good Times Roll The Harlem Rent Party Audience Etiquette Background/Objectives Preparation Mastery Assessment For Further Exploration Questions for After the Performance Open Response and Writing Media Assessment Lesson Plan Handout: Analyzing the Elements of Musical Theatre Handout 2: Vocabulary Handout 3: Shopping Quiz Audience Etiquette Because many students have not had the opportunity to view live theatre, we are including an audience etiquette section with each literary/curriculum guide. Teachers, please spend time on this subject since it will greatly enhance your students’ experience at the theatre. 1. How does one respond to a live performance of a play, as opposed to when seeing a film at a local cinema? What is the best way o approach viewing a live performance of a play? What things should you look and listen for? 2. -
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
L'homme, 215-216
L’Homme Revue française d’anthropologie 215-216 | 2015 Connaît-on la chanson ? Édition électronique URL : http://journals.openedition.org/lhomme/23868 DOI : 10.4000/lhomme.23868 ISSN : 1953-8103 Éditeur Éditions de l’EHESS Édition imprimée Date de publication : 13 novembre 2015 ISSN : 0439-4216 Référence électronique L’Homme, 215-216 | 2015, « Connaît-on la chanson ? » [En ligne], mis en ligne le 13 novembre 2017, consulté le 23 septembre 2020. URL : http://journals.openedition.org/lhomme/23868 ; DOI : https:// doi.org/10.4000/lhomme.23868 Ce document a été généré automatiquement le 23 septembre 2020. © École des hautes études en sciences sociales 1 SOMMAIRE Présentation Chanter soir et matin... Daniel Fabre et Jean Jamin Études & essais Que reste-t-il... ? Quatre figures de la nostalgie chantée Daniel Fabre Elle trotte, danse et chante, la midinette ! Univers sonore des couturières parisiennes dans les chansons (XIXe-XXe siècles) Anne Monjaret et Michela Niccolai “Cher grand Professeur Freud” Une correspondance entre Yvette Guilbert et Sigmund Freud Giordana Charuty Cette chanson est pour vous, Madame... Les années chanson française de Django Reinhardt, 1933-1936 Patrick Williams Le groupe comme auteur Une invention dans le rock’n’roll Jean-Luc Poueyto Hootenanny au Centre américain L’invention de la scène ouverte à la française (1963-1975) François Gasnault Défis et chansons en compagnonnage Nicolas Adell et Julie Hyvert Le général ne répond pas... Chanson, clip et incertitudes : les jeunes Afrikaners dans la “nouvelle” Afrique du Sud -
In Connection with Music, the Term 'Video' Or 'Music Video' Is Used
Alf Björnberg, “video” The New Grove Dictionary of Opera, OUP, 2007. In connection with music, the term ‘video’ or ‘music video’ is used primarily to refer to a form of short film, whose soundtrack exclusively or predominantly consists of a popular song, and which is intended for television presentation with the purpose of promoting a recording of the song. Since the beginning of the 1980s, music video has been a regular component in the marketing procedures of popular music. Notwithstanding the designation, music videos or ‘video clips’ are often produced using traditional celluloid film technology and transformed to electronic media in the post-production process. 1. History. The predecessors of music video in its modern form can be traced back to the experiments on the synchronization of film with recorded sound made since the earliest days of film. These experiments also included forms governed by the primary formal determinant serving to distinguish music video from film music: the use of the film medium for visual illustration of songs as opposed to the film music practice of providing music to accompany visual narration. Thus in the 1910s and 1920s silent ‘song-plug’ films were produced, intended for presentation accompanied by live performances of the songs that the films illustrated. Animated films with musical soundtracks were produced by the German Oskar von Fischinger from 1921 onwards, and this technique was popularized in Disney's series of Silly Symphonies short films (from 1929) and the full-length Fantasia (1940). In the 1930s and 40s a great number of musical short films were produced, each featuring one or two songs by a popular artist and intended as preludes to the main feature film in cinemas. -
“Ain't Misbehavin'”--Thomas “Fats” Waller (1929)
“Ain’t Misbehavin’”--Thomas “Fats” Waller (1929) Added to the National Registry: 2004 Essay by Stephen Budiansky (guest post)* Fats Waller Fats Waller's rise to lasting fame as an entertaining singer with a witty twist on the popular songs of his day was still several years off when he arrived at the Camden, New Jersey, studios of the Victor Talking Machine Company for a recording session in the summer of 1929. Victor, like other major record companies, had only recently discovered that there could be big business in what in those days were called “race” records, and Waller was one of a number of African American jazz musicians the company was eager to put on disc. It was the tenth visit that Thomas “Fats” Waller had made to the Camden studios, but the first time—and the last—that one of his sessions would be devoted exclusively to recording a series of his own inventive piano solos. Waller was then 25 years old and already one of the masters of the distinctive style of jazz piano playing known as “stride” that had grown up in the New York City area in the 1920s. A descendant of ragtime, stride took its name from the long back and forth leaps the pianist’s left hand made to mark out a propulsive rhythm, alternating between low bass notes and bluesy chords in the middle of the keyboard. Stride pianists were a staple of the Harlem scene, playing at nightclubs and all-night dance parties, where they drew on a repertoire of improvisational techniques to provide a continuous flow of music for hours on end.