VJAZZ 46 May'10 Final.Pub
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Beach Management Major Agenda Item for New Council Captivans
Every week we mail to every home and business on Sanibel and Captiva, subscribers throughout the United States and this week... Monica Seles Sarasota, FL » EXCLUSIVE "Ding" Darling Cartoon page 3 Courtesy of JN "Ding" Darling Foundation VOL 8, NO, 22 SANIBEL & CAPTIVA ISLANDS, FLORIDA DECEMBER 1,2000 DECEMBER SUNRISE/SUNSET: 1 06:58 17:36 2 06:59 17:36 3 07:00 17:36 4 07:00 17:36 $ 07:01 17:36 6 07:02 17:37 7 07:03 17:37 During the next few weeks the Island Sun agement. The issue has been smolder- will be publishing a series of articles on a ing during the past five years since the major issue facing Sanibel, beach renourish completion of the first beach renourish- ment. As the city contemplates a future policy ment project at Gulf Pines and Gulf that could include increased taxes, residents Shores in 1995 That project was a may be asked to decide their preference on the issue The Island Sun will present both sides of complete departure from City's non the issue so residents can make an Informed intervention policy at the time. The decision renourishment of that beach was pre- dicted to last between six and eight Beach years. The project, which cost approxi- Management mately $2.4 million, was funded through a special taxing district that the next Captiva renourishment as it and retreat, a strategy that was consis- Major Agenda included twenty five beach front home- was for engineering reasons. tent with the Florida Department of owners who, depending on the direct Combining with Captiva results in a Environmental Protections' preference Item For New benefit they received, were assessed saving for the mobilization costs of Retreating simply means moving a anywhere from $20,000 to $140,000. -
Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc
lonoital Sem.iom 1W! and his Orchestra DIZZIE GILLESPIE CHARLIE PARKER CLYDE HART SLAM STEWART COZY COLE SONNY STITT AL HAIG MILT JACKSON THELONIOUS MONK DAVE BURNS SID CATLETT SAGA6920 L WORLD WIDE 6900 Sidney Bechet Album (Recorded New York SIDE ONE 1945/1947) with Mezz Mezzrow, Hot Lips Page, Will Bill HE BEEPED WHEN HE SHOULD Davidson, etc. HAVE BOPPED (a) GROOVIN' HIGH (b) 0, 6901 Louis Armstrong Volume 1 (Recorded New M York 1938/1947) DIZZY ATMOSPHERE (b) with Jack Teagarden, Bud Freeman, Fats Waller, 00 BOP SH'BAM (c) and his Orchestra Bobby Hackett, etc. OUR DELIGHT (d) 6902 Duke Ellington — His most important Second ✓-SALT PEANUTS (f) War Concert (1943) with Harold Baker, Taft Jordan, Ray Nance, Jimmy Hamilton, etc. SIDE TWO 6903 Count Basie at the Savoy Ballroom (1937) ONE BASS HIT part two (a) In the restless, insecure world of jazz, fashions change with embarr- Despite the scepticism of many of his colleagues, Gillespie and the with Buck Clayton, Ed Lewis, Earl Warren, Lester Young, etc. ALL THE THINGS YOU ARE (b) assing frequency, and reputations wax and wane with the seasons. band, were successful. The trumpeter only stayed for six months, ✓ HOT HOUSE (e) Comparatively few artists have succeeded in gaining universal, con- however, and was soon in the record studios, cutting three of the 6904 Louis Armstrong — Volume 2 (Recorded New THAT'S EARL, BROTHER (c) sistent respect for their musical achievements, and still fewer have tracks on this album, 'Groovin' High', 'Dizzy Atmosphere', and 'All York 1948/1950) with Jack Teagarden, Earl Hines, Barney Bigard, THINGS TO COME (a) been able to reap the benefits of this within their own lifetime. -
Old Wine New Bottles
Why must he waste his talent and the Wilber was never able to command a sit talent of his sidemen on an outmoded uation as could Bechet. He evidently conception that was hardly necessary in lacked Bechet’s utter self-confidence His the first place? (D.DeM.) vibrato, while similar to his mentor’s, uiiiimiimiimiimitiimiimmitiiiiiiiiimiiitiiiiiiiiiiiuiiimiiiiimiiitiiiimutimiiiM sounded nervous; Bechet’s was an indis pensable adjunct to his playing and en hanced his expressiveness rather than de OLD WINE tracted from it, as Wilber’s did. The HRS Bechet-Spanier sides are not NEW BOTTLES only Bechet gems, but are some of the best mimiiiiiiHiiuuiiimimimmmimiiiiumiitiiitiHiiiiiiitmitiiiitiiiimiiuHmiiiuiiiiM jazz records ever made, though collectors have tended to ignore them. There was no Sidney Bechet effort to re-create days beyond recall Four « IN MEMOR1AM—Riverside RLP 138/139; Sweet Lorraine; Up the Lazy River; China Boy; excellent jazzmen got together and just Four or Five Times; That's Aplenty; If / Could played. Of course, some of the intros and Be with You; Squeeze Me; Sweet Sue; I Got Rhythm; September Song; Whot; Love Me with endings were no doubt rehearsed, but the Feeling; Baby, Won't You Please Come Hornet; lasting value of these records lies in the Blues Improvisation; I’m Through, Goodbye; Waste No Tears; Dardanella; I Never knew; breathless Bechet solos and the driving Broken Windmill; Without a Home. ensembles. And if any of the kiddies com Personnel: Tracks 1-8: Bechet, clarinet, soprano ing along these days think that drums are saxophone; Muggsy Spanier, cornet; Carmen Mas tern. guitar; Wellman Braud, bass. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 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 .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Foundation Sponsors Falter Jazz Art Exhibition by Dave Hughes Armstrong
Berman Music Foundation Photo courtesy of the Nebraska State Historical Society Artist John Falter in his studio Januarwfebruary 1999 Volume 4, Number 3 Foundation sponsors Falter jazz art exhibition By Dave Hughes Armstrong. A special listening station will feature selections from several of the musicians depicted in The Berman Music Foundation is pleased to co Falter's works, sponsor a new exhibit with the Nebraska State Historical Falter was a musician himself, and in 1926 played Society at the society's Museum of Nebraska History, 15th in the house band of the Gehling Theater in Falls City & P Streets in Lincoln, Drawing on the Beat: John Falter's along with another Falls City native George "Pee Wee" Jazz Portraits, The exhibit features over 50 drawings, Erwin, who is one of the subjects of Falter's drawings, prints, and paintings by Nebraska-born illustrator John Falter's love of jazz and insight into the music comes Falter, The exhibit is open from now until the end of the through in the feeling expressed in many of the drawings, year, and is housed on the museum's main floor, The His jazz portraits successfully capture the immediacy and museum is open to the public Monday to Friday, 9-4:30; vibrancy of performers in action, Saturday, 9-5; and Sunday 1 :30-5. Admission is free, For more information on this exhibit, contact the The foundation and the society will be presenting Museum of Nebraska History at 402-471-4754, or 1-800- a reception on Friday, March 5th from 7-10 p.m. -
Vjazz 28 August 2005
QUARTERLY NEWSLETTER OF THE VICTORIAN JAZZ ARCHIVE INC. VJAZZ 28 PATRON: WILLIAM H. MILLER M.A., B.C.L. (OXON.) Registered Office: 12 Homewood Court, Rosanna, Victoria 3084 AUGUST 2005 All correspondence to: PO Box 6007 Wantirna Mall, 3152 Registered No: A00339641 ABN 53 531 132 426 9 Ph/Fax (03) 9800 5535 email: [email protected] EDITOR: Gretel James VJA VOLUNTEERS VISIT NATIONAL ARCHIVES OF AUSTRALIA On Thursday 21st July, fourteen volunteers from VJA Collection Management Team, paid a visit to the National Archives of Australia Repository in nearby East Burwood, which is one of the National Archives storage facilities in each State and Territory. We were welcomed by Mr Ross Latham, State Direc- tor, who gave a forty minute summation of what ma- terial the National Archives has preserved, mainly the Commonwealth Government papers, ASIO files, Defense Papers and all forms of Government Agen- cies. He spoke about many of the problems encoun- tered in the preservation of paperwork, although the National Archives also preserve sound recordings, L to R. Ray Sutton, John Kennedy, Bill Ford with Ross Latham and Jenny interviews, posters, film and photographs. Davidson on their return visit to the VJA. At East Burwood, the wonderful storage facilities hold some 63 kilometres of shelving, whilst the main facility in Canberra has some 360 km of shelving. We were staggered to learn that for the budget for all National Archives repositories throughout Australia was in excess of $66 million annually. We were taken on a tour of the storage area, where an immense room housed some sixty-three Compactus shelving modules, be- sides rows and rows of modern plan drawers. -
Stan Mcdonald, Playing It with Passion
STAN MCDONALD, PLAYING IT WITH PASSION By George A. Borgman I first heard reedman Stan McDonald in person when he appeared with the New Black Eagle Jazz Band in March 1980 at The Boston Globe Jazz Festival at the Berklee Performance Center in Boston. The fire alarm sounded just before the performance began, and the building was evacuated. My son, Eric, age nine, and I exited through a rear door into an alley where sev- eral Black Eagles were beginning to jam. One of them was Stan McDonald, playing clarinet, and tenor saxophonist Scott Hamilton, also on the festival’s program, soon joined the session. Twenty minutes later everyone returned inside, for the firemen had extinguished a small fire in a floor ashtray in the lobby. Impressed with the jam session, I wrote a letter to the Globe, saying that the best part of the concert was the music in the alley, and the letter was published. In 1981, I received core- spondence from McDonald, inviting me to come to the Sticky Wicket Pub in Hopkinton, Mass., to hear his new Blue Horizon Jazz Band. In a postscript he wrote, "Remember the Alleymo!" When I arrived at the Sticky Wicket, the band was about to begin a tune, and as I walked by the band- stand, I commented, "Remember the Alleymo!" I heard a woman laugh and later discovered she was McDonald's wife, Ellen, the band's diligent manager. - G. Borgman *** Stan McDonald, whose musicianship and playing style have been acclaimed by fellow musicians and critics for more than 30 years, has accumulated a wide and loyal following among traditional jazz fans, as he has worked with various groups, including the New Black Eagle Jazz Band, and he has led his own bands, the Blue Horizon Jazz Band among them. -
Guide to the Leonard Gaskin Papers
Guide to the Leonard Gaskin Papers NMAH.AC.0900 Vanessa Broussard-Simmons and Dr. Theodore Hudson 2019 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..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, 1937-2006, undated..................................................... 4 Series 2: Diaries and Planners, 1947-2004............................................................. 7 Series 3: Business Records, 1939-2000, undated................................................. 10 Series 4: Photographic Materials, 1956-2003, undated......................................... 12 Series 5: Scrapbooks, 1923-2004, undated.......................................................... -
Music Traditional Jazz Educators Network Resources
A Traditional Jazz Style Guide by Dave Robinson Foreword For the past 25 years I have been collecting, performing, arranging, teaching, broadcasting and writing about my first musical love, TRADITIONAL JAZZ (aka dixieland, classic jazz, vintage jazz, New Orleans jazz, etc.). This music is frequently misunderstood, and even knowledgeable fans, collectors and musicians disagree on terminology and stylistic divisions. This document presents my view of the most logical stylistic categories of traditional jazz. It is presented as informed opinion, not dogma, and your commentary is welcome. It is hoped that jazz educators will find this guide useful, and that directors of youth ensembles specializing in traditional jazz will make an effort to instill in their bandmembers an understanding of and proficiency in the full spectrum of "flavors" available to them. Towards a Definition of Traditional Jazz Before dividing this pie into logical pieces, we should describe the pie itself. What is "traditional jazz"? What are the common denominators that define it? In my view, "traditional jazz" in the proper sense of the term is jazz which exhibits all or most of the following characteristics: 1) Wind instruments playing polyphonically 2) Easily discernible chord patterns 3) 2/4 or 4/4 meter 4) Instrumentation approximating the following: "FRONT LINE" (HORNS): 1. Trumpet or cornet 2. Clarinet or soprano sax 3. Trombone 4. Tenor, alto or bary sax (sometimes) --or a subset of these RHYTHM SECTION: 1. Piano 2. Banjo or guitar 3. Tuba, string bass or bass sax 4. Drums or washboard --or a subset of these 5) Pre-bop harmonies and phrasing (the earlier the musical vocabulary employed, the greater the compliance to this part of our definition) The single most distinguishing characteristic of traditional jazz is the first element above--the wind instruments playing polyphonically (a New Orleans tradition). -
NVDJS NEWS on June 11, 2017 1:00 - 4:00 June July 2017 the Dixie Giants
NVDJS NEWS on June 11, 2017 1:00 - 4:00 June July 2017 The Dixie Giants NVDJS NEWS FIRST CLASS MAIL Napa Valley For the past 4 years the Sonoma County- Dixieland Jazz Society based group, The Dixie Giants, have P.O. Box 5494, brought their own special version of New Napa, CA 94581 Sunday,NAPA June VALLEY 11,2017 Orleans music to the Bay Area. Whether they’re playing in clubs or on the streets, DIXIELAND JAZZ SOCIETY Sunday, July 9, 2017 The Dixie Giants are infamous for radiat- ing an infectious energy and always hav- 1:00-4:00 pm ing a blast. While continuing to play the music of their heroes (Louis Armstrong & The All Stars and Preservation Hall Jazz Band, ), they at have also been writing original music in an effort to continue to evolve the idiom of Traditional New Orleans Jazz. Grant Hall- Casey Jones -Clarinet/ Dan Charles - Banjo Veteran’s Home Yountville, CA Tenor Sax Ricky Lomeli - Drums Jesse Shantor - Alto Sax Taylor Cuffie - Drums Jason Thor - Trombone Nick Pulley - Sousaphone on July 9, 2017 1:00 - 4:00 RENEWALS that are DUE Ray Skjelbred and His Cubs Ray Skjelbred and his Cubs play hot Chi- June NAPA VALLEY DIXIELAND JAZZ SOCIETY cago jazz mixed with New Orleans influ- MEMBERSHIP Athens Abell ences, early swing and plenty of blues. Each musician in this five piece group is notable Name_______________________________ Bruce & Sue Balala in the current traditional jazz scene, and Karen Brooks Anthony Address_____________________________ Monthly Admission they have many years of playing experi- Gerri Eggers City___________________Zip___________ Donations ence, enhanced by a strong historic under- Elizabeth Candish/ Phil Ingalls Telephone:______________Date:________ NVDJS $8.00 standing of the music they play. -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
Ii H. Ragtime – the Dave Willmorth/Maple Leaf Club Archive
II H. RAGTIME – THE DAVE WILLMORTH/MAPLE LEAF CLUB ARCHIVE It is seldom that a single musical archive could be described as “definitive,” but this collection of musical materials devoted to, and documenting, the rediscovery, re- examination, and renewal of classic American ragtime in the period of roughly the 1960s to the 1990s is a monument to the enthusiasm and sustained interest of a group of researchers, including Dave Willmorth, associated with the Maple Leaf Club of Los Angeles. The archive, consisting of more than 800 cassettes and nearly 300 reel to reel tapes, includes examples of the playing of younger ragtime performers, as well as performances by the older generation of performers and interpreters. There is extensive presentation of the music of the last surviving major ragtime composer, Joseph Lamb, as well as newly composed rags by dozens of writers, from obscure beginners to established classical artists like William Bolcom. To extend the range of the material there are examples of earlier related recordings by jazz artists like Jelly Roll Morton. The archive is an incomparable resource for anyone interested not only in ragtime, but in American popular culture itself. A partial list of artists represented: Joseph Lamb, Eubie Blake, James P. Johnson, Fats Waller, Earl Hines, Jimmy Yancey, Albert Ammons, Meade Lux Lewis, Itzak Perlman, Andre Previn, Jean Pierre Rampal, William Bolcomb, Brun Campbell, Trebor Tichenor, David Thomas Roberts, John Arpin, Max Morath, Knocky Parker, Bob Darch, Frank French, Joshua Rifkin, John Arpin. Also in the archive are recordings of most of the major ragtime festivals in the 1970s to 1990s, including the major festival at Sedalia, Missouri, and the important Toronto festival.