JAZZ LIBRARY LIST Texas Alexander Ambrose
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Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Pat Boone TITLE The Ballads Of Pat Boone LABEL Bear Family Productions CATALOG # BCD 17327 PRICE-CODE AR EAN-CODE ÇxDTRBAMy173271z FORMAT 1 CD digipac with 40-page booklet GENRE Rock ’n’ Roll TRACKS 31 PLAYING TIME 80:42 G 31 essential tracks, recorded during Pat's golden era, 1955 to 1962. G Includes seven million-selling singles: I'll Be Home (UK #1), IAlmost Lost My Mind (US #1), Friendly Persusion/ Chains Of Love, Love Letters In The Sand (US #1), April Love (US #1), It's Too Soon To Know and Sugar Moon. G Also features memorable B-sides like There's A Moon Out Tonight, Pictures In The Fire and The Locket,as well as fabulous LP tracks like Wait For Me Mary, Unchained Melody, He'll Have To Go, My Queen In Calico and Tennessee Waltz. G The lavish, 40-page booklet comprises in-depth liner notes, rare photos and a detailed discography. INFORMATION Perhaps the most remarkable statistic of Pat Boone's career is that he was the biggest charting artist of the 1950s, with 39 US Top 100 entries, one more than Elvis (indeed Pat still holds the 'Billboard' record for spending 220 consecutive weeks on the US charts). Although he later became identified with big ballads and movies themes, Pat first exploded onto the US charts in March 1955 – a full year before Elvis – as a straightforward Rock 'n' Roller. -
Edward “Kid” Ory
Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival. -
15-3703H I Want to Be Happy (SATB) Shackley
2 I Want to Be Happy (Selections from the Broadway Musical,“No, No, Nanette”) SATB and Piano* Lyrics by Irving Caesar Music by Vincent Youmans and Otto Harbach Arranged by Larry Shackley 1 With flair = ca. 92 h 2 œ. ˙ œ. ˙ œ. œ & 2 œœ ˙˙ œœ ˙˙ œœ œœ f ? 2 2 œ ˙ œ ˙ œ œ œ. ˙ œ. ˙ œ. œ 3 SA “I Want to Be Happy” f & ˙ ˙ œ w ∑ œI want toœ be hapœ - py, TB f ? œ ˙ œ ˙ œ œ w ∑ w ˙ œ. ˙ œ. ˙ œ. œ & ww ˙˙ Ó œœ ˙˙ œœ ˙˙ œœ œœ >œ >œ >œ ? œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ œ > > > œ 7 œ > œ. ˙ œ. ˙ œ. œ & ˙ ˙ œ œ Œ ˙ ˙ butœ I won’tœ be hapœ - py till˙ ˙I make˙ ˙ ˙ ˙ ? œ ˙ œ ˙ œ œ œ Œ ˙ ˙ ˙ ˙ ww ˙˙ & w ˙ Ó ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ >œ >œ > ? œ œ œ œ œ w ˙ ˙ œ œ œ œ œ œ œ ˙ > œ > > w ˙ Duration:œ approx. 4:30 > > *Also available: Performance/Accompaniment CD (99/4082H). © 2020 Heritage Music Press, a division of The Lorenz Corporation. All rights reserved. Printed in U.S.A. Unauthorized reproduction of this publication is a criminal offense subject to prosecution. Copying this music is illegal. A license from CCLI or OneLicense does not grant permission to copy. 15/3703H-2 www.lorenz.com SW 3 2 Easy shuffle = ca. 112( = ) 3 11 molto rit. q q q q e U F ˙ 4 b & w ˙ 4 w ∑ b bb youw hap˙ - py˙ too!w w U F w ˙ ˙ w ? 4 w ∑ b b 4 3 b b Easy shuffle = ca. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
1950S Playlist
1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
Digital Storytelling in Writing
DIGITAL STORYTELLING IN WRITING: A CASE STUDY OF STUDENT TEACHER ATTITUDES TOWARD TEACHING WITH TECHNOLOGY ___________________________________________________________________________ A Dissertation presented to the Faculty of the Graduate School University of Missouri ___________________________________________________________________________ In Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy ___________________________________________________________________________ By Barri L. Bumgarner Dr. Roy F. Fox, Dissertation Supervisor July 2012 The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled DIGITAL STORYTELLING IN WRITING: A CASE STUDY OF STUDENT TEACHER ATTITUDES TOWARD TEACHING WITH TECHNOLOGY Presented by Barri L. Bumgarner, a candidate for the degree of Doctor of Philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ______________________________ Dr. Roy F. Fox, Chair ______________________________ Dr. Amy Lannin ______________________________ Dr. Carol Gilles ______________________________ Dr. Laurie Kinglsey ______________________________ Dr. Jill Ostrow ______________________________ Dr. Martha Townsend DEDICATION For Mom, who inspired a deep love of learning from the first time she read the Rubaiyat of Omar Khayyam to me… For Dad, who would have been so proud. For my support network, Yos and close friends alike – happy hours were more than toasts, the much-needed laughter often the best escape in times of immeasurable stress. And for Marsha, because you believed I could…and should. ACKNOWLEDGEMENTS When I started my PhD, there were so many intangibles, so much I did not know, and a wondrous world of possibilities. My entire research was shaped in Roy Fox’s Media Literacy class, that long ago day in 2006, when I did my first digital composition as a Master’s student. I was awed, I was inspired, and his then grad assistant, Amy Lannin, challenged me to consider writing in new and different ways. -
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. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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] Advertising Sales Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
Purches Collection a to Z List of Principal Artists and Performers
Purches Collection A to Z List of Principal Artists and Performers Organization of this list: The principal performer is listed surname first in bold type with role/s in (parentheses); after the forward slash / any associated performers, or groups are listed; for groups using a pseudonym the 'real name’ / identity of group is shown in [square brackets] ; the original Cutter number (assigned to most performers who were primarily featured on the recordings) is listed on the far right hand side. A Aaronson, Irving (Bandleader) - A111 Abrams, Irwin (Bandleader) - A161 Adler, Larry (Harmonica) - A236 Adrian, Lou (Orchestra) / Eddy Howard (Vocal) Adrian's Ramblers (Danceband) / Adrian Rollini (Bandleader) Alamo, Tony (Vocal) / Sammy Kaye (Bandleader) Alberts, Al (Vocal) / The Four Aces (Vocal) Alexander, Archie (Bandleader) / George Barclay (Vocal) Les Allen (Vocal) Alexander, Jeff (Chorus, Choir)/ Bing Crosby (Vocal), Frank Sinatra (Vocal) Alfredo (Bandleader) - A391 Allen, Bob (Vocal) / Hai Kemp (Bandleader) Allen, Fred (Vocal)/ Bing Crosby (Vocal) Allen, Gracie (Comedienne)/ George Bums (Comedian) Allen, Henry 'Red' (Bandleader) - A425 Allen, Les (Vocal) - A427 Allen, Rosalie (Vocal) / Elton Brett (Vocal) Allen, Terry (Vocal) / Red Norvo (Bandleader) Alley, Ben (Vocal) All Star Band - A4412 All Star Orchestra - A4415 All Star Stompers - A4418 Alper, Rose (Vocal) / Joe Loss (Bandleader) Alston, Ovie (Vocal) / Claude Hopkins (Bandleader) Ambassador Trio, The (Vocal) / Gus Arnheim (Bandleader) Ambassadors, The (Danceband) - A491 Ambrose (Bandleader)