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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Tabelle1 Seite 1 654 5,00 € Laute Sonnenschein Odeon (Blau) O-31567 2
Tabelle1 654 5,00 € Halloh! Wie wär's mit einer 1-2-3 1 Orgel -2 Flügel - 3 Laute Sonnenschein 1-2-3 1 Orgel -2 Flügel - 3 Odeon (blau) O-31567 2- Fahrt in's Glück? a.d. Musikanten, Gesang Musikanten, Gesang Tonfilm Frau ohne Vergangenheit“ (Hans Carste, Bruno Balz) 444 3,00 € Kehraus beim Schwof 1. A. Flessburg, F.Weber- Kehraus beim Schwof 2. A. Flessburg, F.Weber- Telefunken A1134 3, scrs, rubs Flessburg, C. Woitschach Flessburg, C. Woitschach 258 6,00 € Troubadour Querschnitt 1. A.Rautawaara,M.Klose,P.A Troubadour Querschnitt 2. A.Rautawaara,M.Klose,P.A Telefunken E1715 3, scrs, rubs nders,Fuchs nders,Fuchs 587 3,00 € Ein Walzer für Dich a.d. Adalbert Lutter m.s. TO Das alte Spinnrad (B. Hill) Adalbert Lutter m.s. TO Telefunken M6005 3+ gleichnamigen Tonfilm (Will Musikus Meisel, Hans Hannes) 568 4,00 € Paris, du bist die schönste Adalbert Lutter, Heyn- Weine nicht, bricht eine Adalbert Lutter Großes Telefunken (rot) A2348 3, Riß fixiert Stadt der Welt (aus dem Quartett schöne Frau dir das Herz Tanzorchester Tonfilm „Patrioten“) Th. (aus dem Tonfilm „Zauber Mackeben, H.F. Beckmann der Bohéme“ R. Stolz, E. Marischka 1 4,00 € Melodia (Hörst du mein Adalbert Lutter, Neapolitanisches Adalbert Lutter Telefunken M6349 2-, scrs heimliches Rufen) W+ Refraingesang Ständchen 2 4,00 € Unser Paul Lincke 3. Adalbert Lutter, Unser Paul Lincke 4. Adalbert Telefunken M6303 3+, scrs Tenorsolo,Quartettgesang Lutter,Tenorsolo,Quartettge sang 554 5,00 € Unter dem Sternenbanner Adolf Becker mit großem Gladiatoren-Marsch Adolf Becker mit großem Odeon O-11152 3, scrs, Mbr a. -
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
Performing for the Nazis: Foreign Musicians in Germany, 1933-1939
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-04-24 Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 Bailey, Robert Warren Bailey, R. W. (2015). Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27304 http://hdl.handle.net/11023/2167 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 by Robert Warren Bailey A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, MUSIC CALGARY, ALBERTA APRIL, 2015 © Robert Warren Bailey 2015 Abstract This thesis focuses on foreign musicians in Nazi Germany from 1933 to 1939. What place did foreign musical performers have in Germany’s increasingly xenophobic employment market during the 1930s? Likewise, how did the Nazis deal with those musicians, and what margin of manoeuvre were foreigners given to carry out their craft? These are the questions that form the basis of this thesis. To answer them, I examine a collection of primary Reichsmusikkammer (Reich Music Chamber) records that are now held on microfilm in the United States National Archives, grouped under the description “Auftrittsgenehmigungen für Ausländer” (Performance Permits for Foreigners; specifically musicians). -
Music and Artistic Citizenship: in Search of a Swiss Identity
253 Music and Artistic Citizenship: In Search of a Swiss Identity CARLO PICCARDI (Lugano) Although, for obvious reasons, one cannot speak of a “Swiss music” in terms of a unified, homogeneous culture or style, this does not mean there are no observable constants within the variety of its manifestations and its development over time. More than individual elaborations, historical con- ditions have had the greatest influence in determining the aesthetic prin- ciples which have imposed themselves; general behaviour and interests have outweighed particular interests, and the way the country has de- fined itself as a distinct community in relation to its neighbouring nations. This essay draws upon well-known studies to examine music, art and cul- ture from historical, social, civil and political perspectives in an attempt to critically re-examine the question. It will be shown how a certain Swiss musical identity is constituted with regard to its functional role in the country’s interests, as an expression of a collective dimension, as a regu- lating organisation of its integration within society, and as a permanent and recognised dialogue with the institutions. The fact that certain char- acteristics recur both in situations of conservative withdrawal and in those of opening to new influences, leads us to speak of a shared value in the diversity of attitudes. About the fact that Switzerland has been the location of choice for travellers and refugees from all over the continent, someone has said that this country has more often welcomed the people who have found com- fort and refuge here than it has welcomed the messages they have brought with them. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Jazz Im -Dritten Reich"·
Guido Faclder ZWISCHEN (MUSIKALISCHEM) WIDERSTAND UND PROPAGANDA - JAZZ IM -DRITTEN REICH"· Durch vielerlei "unerträglich sachunkundig[e]" (Wolfgang Muth in: Kellersmann 1990, Vorwort) Berichte in den Medien wurde und wird die Thematik Jazz im "Dritten Reich" oftmals nur auf nostalgische oder aber spektalmläre Episoden reduziert, dies umso leichter, als bisher nur wenige wissenschaftliche Arbeiten dazu vorliegen.2 Widersprüchliche Reaktionen nationalsozialistischer Behörden auf das "Swingfieber" sowie das Kompetenzgerangel unter den Kommandostellen erschweren einen Überblick, der in diesem Beitrag versucht werden soll. Swingbegeisterung und Jazzverbote Jazz spielte nach der Weltwirtschaftskrise bis zur ersten großen Swingwelle Mitte der 30er Jahre musikalisch nur eine untergeordnete Rolle. Wenn dennoch vielerlei Jazz-Verbote ausgesprochen wurden, dann deswegen, "weil es von Tatkraft und nationaler Gesinnung zeugte, gegen sogenannte 'fremdrassige Musik' vorzugehen" (Schröder 1988, 178). Als Reaktion auf den politischen Umschwung verließen etliche "nichtarische" Kapellmeister, beispielsweise Marek Weber, Dajos Bela und Paul Godwin, aber auch komplette Bands wie die Weintraub Syncopators, die von einer Auslandstournee nicht wieder zurückkehrten, schon 1933 das nationalsozialistische Deutschland. Besonders die Abwanderung amerikanischer Musiker wirkte sich auf das Niveau deutscher Jazzmusik negativ aus. Der Thüringer Erlaß des Volksbildungs- und Innenministers Wilhelm Frick vom I Überarbeitete und ungekürzte FlI8SIIJlg des Vortrags vom 25.9.1992 in Weimar. Für die vielfiltigen Anregungen und die wertvolle Kritik danke ich CIaudia Westermann recht herzlich. 2 Selbst in neuesten I~ublikationen werden die Tatsachen verdreht, beispielsweise: 'Nach 1933 gab es keine Beschäftigung deutscher Musiker mit dem Iazz mehr. [ ... ] Erst das Ende des Zweiten Weltkrieges erschloß uns diesen Musikstil von neueJn' (Holzt-Edelhagen 1989, 105). 437 September 1930 gilt als erste Maßnahme der Nationalsozialisten gegen den Jazz. -
A Global Local Newspaper in Cooperation With
A global local newspaper in cooperation with OCTOBER 2017 The Berlin Wall stood for 10,315 days. It’s been almost 10,315 days since it collapsed. Berlin has finally caught up to history – and is now defining the future. SHUTTERSTOCK, MONTAGE: BT 2 2017 IMAGO/PHOTOTHEK IMAGO/STPP, MONTAGE: BT MONTAGE: IMAGO/STPP, EURO VISION GROWN ON CONCRETE The citizens’ movement Pulse of Europe Large murals created by street artists speaks up and signals its opposition to inhabit the empty lots and exposed populists and nationalists. In Berlin, they façades left behind by WWII. meet once a month at Gendarmenmarkt. Johanna Trapp reveals some of the stories Peter H. Koepf spoke with activists. behind the walls. /page 16 /page 6 SHUTTERSTOCK IMAGO/SEELIGER EDITORIAL Most people – even most Berliners – are un- aware of a unique and fast approaching Wall anniversary. Not the “Day of German Unity” on October 3rd, 2017, which marks the 27th anniversary of the country’s official reunifica- tion. Nope, the one after that. On August 13, 1961, the GDR began erecting the Wall, and on November 9th, 1989 – that most wonder- SQUARE ONE ful night exactly 10,315 days later – the Wall COMING BACK Berlin’s storied Alexanderplatz in the came tumbling down. And now, believe it or It all started with a tweet: “Chocolate middle of Berlin has seen better days. The not, the time is coming when the Wall will have pudding, 19 cents. See you in Berlin!” city wants to make the large square more been down as long as it was up. -
Front Matter
JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART (Under the Direction of Dr. Stephen Valdez) ABSTRACT Retaining and rebuilding Jewish identity in German-occupied Poland in the World War II and post-war era was a daunting task. Combining American jazz with European Ashkenazic tradition, Jewish musicians symbolically rebelled during the war, and many wrote displacement camp songs and instrumental pieces immediately following the war. The contextualization and place of these pieces and their jazz influence in the new phase of Ashkenazic culture are explored. Two pieces in particular, The Happy Boys' “We Long For A Home” and related musician Leo Spellman's “Rhapsody 1939-1945,” are used as case studies of displacement camp music because they capture the attitude that characterized Jewish life after the Holocaust. Through the incorporation of jazz, Jewish culture, and versatile expression of music, the Jewish identity could be healed and renewed. INDEX WORDS: Music, Jewish, World War II, Jazz, Ashkenazi, Displacement, Holocaust JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART B.A., Hendrix College, 2010 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTERS OF ARTS ATHENS, GEORGIA 2013 © 2013 Kara Leann Stewart All Rights Reserved JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART Major Professor: Stephen Valdez Committee: David Haas Rebecca Simpson-Litke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2013 iv TABLE OF CONTENTS Page CHAPTER 1 INTRODUCTION ................................................................................................ -
BR-ONLINE | Das Online-Angebot Des Bayerischen Rundfunks
Sendung vom 15.12.2011, 20.15 Uhr Peter Wortmann Film- und Jazzproduzent im Gespräch mit Jürgen Jung Jung: Meine Damen und Herren, ich begrüße Sie recht herzlich zu alpha-Forum. Der Gast, den ich Ihnen heute vorstellen darf, ist ein Mann, der in seinem Leben derartig vielen Aktivitäten nachgegangen ist, dass man mit Fug und Recht sagen darf, er habe die Vielseitigkeit zu seinem Beruf gemacht. Meine Damen und Herren, begrüßen Sie mit mir Peter Wortmann, den "Rentner mit der Bigband". Wortmann: Ich grüße dich, Jürgen, hallo. Jung: Ich freue mich sehr, Peter, dass wir dich heute hier bei uns haben. Damit die Zuschauer gleich mal zumindest eine Ahnung bekommen von dem, was du musikalisch machst, haben sich erfreulicherweise zwei deiner Mitstreiter zur Verfügung gestellt. Sie wollen uns mal ein paar Takte vorspielen. Peter, am besten wird sein, du stellst die beiden selbst vor. Wortmann: Das ist der Klarinettist und musikalische Leiter des "Wine and Roses Swing Orchestra", Bernhard Ulrich. Und das ist der Kollege am Flügel, der ebenfalls Mitglied des "Wine and Roses Swing Orchestras" ist, Tizian Jost. (Es spielen Bernhard Ulrich und Tizian Jost) Jung: Lieber Peter, auf die Musik werden wir später noch etwas genauer eingehen. Zunächst einmal würde ich dich bitten, wenigstens stichpunktartig anzudeuten, was du in deinem Leben bisher alles gemacht hast. Wortmann: Wie jeder hier beheimatete Mensch bin ich zur Schule gegangen, aber nicht unbedingt bis ganz zum Schluss. Denn ich hatte einfach zu tun, sodass das mit der Schule nicht mehr bis zum Ende ging. Nach der Schule bin ich ein wenig auf die Wanderschaft gegangen: Ich habe Hitchhiking gemacht, bin also per Anhalter gereist. -
BEAT, 60S/70S DEE-JAY DOO WOP SERIES SEIRESPOWOODYAJ
DEE-JAY DOO WOP SERIES 183 TEEN SCENE CD BB 55113 € 15.34 WINCHELL : Don’t Make Small Talk Baby RICKY SHAW : The Riddle TOMMY BIENER & WENDY &...: The Top 40 DOVERS: Alice My SEVEN TEENS: Steady Guy AUGIE RIOS : Augie Stay Home CURT Love PAUL GRIF FIN : Ragdoll Baby LEE PARKER : Sand Dance JENSEN : Bobbie CHARLES DELL : I’m Here To Tell You (What MELLODEERS: The Letter DOVERS: A Lonely Heart RALPH DE Ronnie Couldn ’t..) RONI POWERS : Any Friend Of Henry’s RICKY MARCO : Donna MELODEERS: Born To Be Mine GINO: I’m A Boy SHAW : I Got A Girl GINO & THE DELLS: Baby Don’t Go Now In Love ANDY & GINO: Love Is Love (All Around The World) DONNY LEE MOORE : You Left Me Standing There AUGIE RIOS : DANNY WINCHELL : Sugar Baby RICKY & ROBBY: Suzzanne No One CHARLES DELL : Let’s Tell Him Now BIG BOB AUGIE ROSE : Lullaby ANDY ROSE & THE THORNS: Just For Fun DOUGHERTY : Bang Bang RICKY & ROBBY: Purple Pedal Pushers MONTELLS: My Prince Will Come (And He Will Be The One) DICK HEARTHERTON : Hey! Travelin’ Man ANGELA MARTIN : Two Pairs Of Shoes JAN TOBER : Just Married ANDY ROSE : Hey Scooter AUGIE RIOS & NOTA TIONS: There’s A Girl Down The Way CHESS MEN: Prayer Of Love DANNY BEAT, 60s/70s 13TH FLOOR ELEVATORS Willow Weep For Me- Yours Until Tomor row- Simon Smith And The Amaz ing Dancing Bear- Tickle Me 8 PARA DISE LOST 2-CD CD LSR 19630 € 24.90 CD-1:- Gloria- You’re Gonna Miss Me- Tried To Hide- Splash One- ALLMAN BROS You Can’t Hurt Me Anymore- Make That Girl Your Own- Before You UNIVER SAL MASTER Accuse Me- Fire In My Bones- Monkey Island- Thru The Rhythm- -
Lew TABACKIN: Tatsuya TAKAHASHI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Lew TABACKIN: "Lew Tabackin" Lew Tabackin -ts,fl; Bob Dougherty -b; Bill Goodwin -d; recorded December 19, 1974 in Tokyo 11925 BYE BYE BLUES 7.22 RCA 6271 11926 SOLILOQUI 6.00 --- 21816 COME RAIN OR COME SHINE 7.36 --- 21817 MORNING 6.12 --- 21818 HOW DEEP IS THE OCEAN 5.52 --- 21821 LET THE TAPE ROLL 5.42 --- Lew Tabackin -ts; recorded December 19, 1974 in Tokyo 21822 GHOST OF A CHANCE 5.52 --- "Dual Nature" Lew Tabackin -fl,afl,ts[2]; Don Friedman -p; Bob Daugherty -b; Shelly Manne -d, perc; recorded August 31 and September 03, 1976 in Hollywood 69549 EUTERPE 7.15 Empathy EMP1001 69550 YELLOW IS MEOOW 5.48 --- 69551 OUT OF THIS WORLD 9.40 --- 69552 NO DUES BLUES (2) 9.22 --- 69553 MY IDEAL (2) 6.52 --- 69554 RUSSIAN LULLABY (2) 5.47 --- "Trackin'" Lew Tabackin -ts,fl; Toshiko Akiyoshi -p; Bob Daugherty -b; Shelly Manne -d; recorded September 03, 1976 in Hollywood 17075 I'M ALL SMILES 6.35 RCA RDC-3 17076 COTTON TAIL 5.49 --- 17077 TRACKIN' 6.16 --- 17078 SUMMERTIME 4.42 --- "Rites of Pan" Lew Tabackin -fl; Toshiko Akiyoshi -p; John Heard -b; Shelly Manne -d; recorded September 26 and 27, 1977 in Los Angeles 64263 BE-BOP 2.24 Inner City IC6052 64264 JITTERBUG WALTZ 6.39 --- 64265 RITES OF PAN 5.09 --- 64266 NIGHT NYMPH 2.17 --- 64267 ELUSIVE DREAM 4.05 --- Lew Tabackin -fl; Toshiko Akiyoshi -p; Bob Dougherty -b; Shelly Manne -d; recorded February 1978 in Los Angeles 64261