DOCSLIB.ORG

Jazz / Blues / Swing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

T H E C O L O P H O N B O O K S H O P Robert and Christine Liska 101B W A T E R ST E X E T E R N E W H A M P S H I R E 0 3 8 3 3 ( 6 0 3 ) 7 7 2 8 4 4 3 JAZZ / BLUES / SWING All items listed have been carefully described and are in fine collector’s condition unless otherwise noted. All are sold on an approval basis and any purchase may be returned within two weeks for any reason. Member ABAA and ILAB. All items are offered subject to prior sale. Please add $5.00 shipping for the first book, $1.00 for each additional volume. New clients are requested to send remittance with order. All shipments outside the United States will be charged shipping at cost. We accept VISA, MASTERCARD, AMERICAN EXPRESS and PAYPAL (603) 772-8443; FAX (603) 772-3384; e-mail: [email protected] Please visit our web site to view MANY additional images and titles. http://www.colophonbooks.com Signed by W. C. Handy 1. HANDY, W. C. Unsung Americans Sung. (New York: Handy Brothers Music Co., 1944), quarto, boards in dust jacket. 236 pp. First Edition. Songs memorializing and celebrating African Americans along with brief biographical notes: Booker T. Washington, Dr. George Washington Carver, Frederick Douglass, Paul Laurence Dunbar, Harriet Tubman, Phyllis Wheatley, et. al. Contributors include Langston Hughes, "Doc" Charles L. Cooke, Spencer Odom, W. C. Handy, James P. Johnson, and many other African Americans who also deserve recognition. With a bibliography. Presentation copy, inscribed and signed by African American Jazz orchestra leader, George Morrison, on the front pastedown, "To Katherine / Wishing you every success / Geo Morrison / 1.14.46". Also signed on the front endpaper by W. C. Handy and dated 1945. Water (?) stain along bottom 1/2" of back board. Publisher's promotional slip offering two other binding styles and pricing. Minor shelf wear to edges of jacket and scuffing along bottom edge of boards. Fragile binding solid at spine showing just the tiniest bit of weakness along top outer edge. (31312) $300.00 2. WITTKE, Carl. TAMBO AND BONES. A History of the American Minstrel Stage. Durham, NC: Duke University Press, 1930, octavo, original orange cloth stamped in black on front cover and spine, in original printed dust jacket. (x), (278)pp. First Edition. A nearly as new copy of this scarce history of Black American minstrels. Jacket is clean, bright and not price clipped. Top of jacket spine has a very tiny chip. (30753) $250.00 3. PANASSIE, Hugues. Le Jazz Hot. Introduction by Louis Armstrong and Preface by Eugene Marsan. Paris: Editions R.-A. Corrêa, (1934), octavo, pictorial paper wrappers. 432 pp. First Edition. Frontispiece drawing by Roger Chastel. Illustrated with photographs. Text in French. The first of a dozen books written by Panassie on Hot Jazz. Wrappers with chipping along edges, front and back. Tape reinforcement to top and bottom of spine. (31293) $175.00 4. PANASSIE, Hugues. Hot Jazz. The Guide to Swing Music. New York: M. Witmark & Sons, (1936), octavo, blue cloth stamped in gilt. (xx), 363 pp. First American Edition. "The Complete, authoritative work on swing...its great performers, its great recordings, its great achievements." Translated by Lyle and Eleanor Dowling from "Le Jazz Hot". Several small chips around edge of jacket, not price clipped. A swing related newspaper clipping laid in which has offset at pp. 160/161. Faint erasure to front endpaper. (30882) $350.00 5. BOULTON, David. Jazz in Britain. London: W. H. Allen, 1958, octavo, red boards in dust jacket. 206 pp. First Edition. Foreword by Chris Barber. This book falls into three parts: a general history, the British jazz scene at the time of publication, and finally a comprehensive catalogue of British jazz bands. Illustrated with photographs. a fine, clean copy in a fine dust jacket that is not price clipped. (31309) $35.00 6. BROONZY, William as told to Yannicj Bruynoghe. Big Bill Blues. (London): The Jazz Book Club, (1957), octavo, blue boards in dust jacket. 139 pp. Jazz Book Club edition. First published by Cassell in 1955, this edition was published for members of the Jazz Book Club only. Illustrated with photographs. The 8 pp. gathering containing the title page, Foreword, Contents and list of Illustrations is present but not bound in and without stab holes. Dust jacket design by Victor Reinganum. Minor chipping at top and bottom of jacket spine and at flap folds. (31303) $45.00 7. COURLANDER, Harold. Negro Folk Music U.S.A. New York: Columbia University Press, 1963, octavo, orange cloth in dust jacket. (xii), 324 pp. First Edition. "The considerable acculturation between Negro and white folk music, and the effects Negro tunes and styles have had on popular music in the United States are all taken into account. The author examines thoroughly the influence of Negro musical tradition on jazz, and shows that they are completely separate developments although jazz as a popular art form developed out of folk style." (31310) $22.00 8. DEMEUSY, Bertrand, Otto Fluckinger, Jorgen Grunnet Jepsen, Kurt Mohr. compilers. Hot Lips Page. Basel, Switzerland: Jazz-Publicaitons, 1961, small octavo, printed wrappers stapled. 30 pp. First Edition. With Discography by Jorgen Grunnet-Jepsen and Kurt Mohr. Illustrated. One page addendum laid in. One entry in the discography annotated by Rolph Fairchild, best known as a writer of jazz album liner notes and the author of the art Hodges discography. Edges of wrappers faded, else fine. (31315) $50.00 9. (ELLINGTON, Duke). de TRAZEGNIES, Jean. Duke Ellington (Harlem Aristocrat of Jazz). Bruxelles: "Editions du Hot Club", (1946), octavo, pictorial heavy paper wrappers. (64)pp. First Edition. Illustrated with photographs.Presentation Copy, inscribed and signed by de Trazegnies on the half title" "To Al Otto. Sincerely Jean de Trazegnies 29.6.46." (in green ink). A fine, clean copy. A most attractive copy. This book is one of approximately 1,500 jazz, blues, big band and swing books we will be uploading. Stay tuned. (31263) $45.00 10. GOFFIN, Robert. Aux Frontieres du Jazz. Paris: Editions du Sagittaire, no date, circa 1938, small octavo, printed self-wrappers. (260) pp. Fourth Edition. Text in French. Preface by Pierre Mac Orlan. Illustrated with 60 photographs. "By 1923, he was a lawyer at the Court of Appeal of Brussels, and in 1928, he married Suzanne Lagrange. During this period, his focus shifted to the new American art form, jazz, and in 1932 he published what is considered the first serious book on the new genre, Aux Frontières du Jazz ('On the Frontiers of Jazz')." Wikipedia. Small chip at bottom of spine which has been creased from reading. Two glass rings on front wrapper, overall shelf wear but solid. (31295) $150.00 11. GOFFIN, Robert. La Nouvelle-Orléans Capitale du Jazz. New York: Éditions de la Maison Français, 1946, octavo, printed wrappers in printed dust jacket. (271) pp. First Edition. Text in French. Chip to front flap of jacket with has minor chipping along edge. Near fine. (31296) $85.00 12. HUGHES, Spike. Opening Bars. Beginning an Autobiography. London: Pilot Press Ltd, 1946, octavo, blue cloth in dust jacket. 382 pp. First Edition. Spike Hughes was a British musician, composer and arranger who spanned the worlds of classical music and jazz. He has been called Britain's earliest jazz composer. This text covers not only jazz but opera, Max Reinhardt, Eric Gill, W. B. Yeats and his own experiences as a composer. Several large chips to dust jacket, front and back, which is price clipped. (31313) $75.00 13. JAMES, Burnett. Essays on Jazz. London: Sidgwick and Jackson, (1961), small octavo, brown boards in dust jacket. 205 pp. First Edition. Essays covering Billie Holiday, Lester Young, Bix Beiderbecke, Oscar Peterson, Duke Ellington and more. White background of dust jacket slightly dust soiled. Jacket not price clipped and book very fine. (31299) $25.00 14. GERHARDI, William. Jazz and Jasper. The Story of Adams and Eva. London: Duckworth, (1929), octavo, purple cloth in dust jacket. 312pp. First Edition. "...a satire on this age of jazz bands and love." A very fine, clean copy, top edge dusty. Jacket has slight edge wear with bump to head of spine which is sunned. (31182) $175.00 15. HOBSON, Wilder. American Jazz Music. New York: Norton, (1939), octavo, bright blue cloth in pictorial dust jacket. (234)pp. First Edition. Illustrated with photographs. A near fine, clean copy, top and bottom of spine bumped. Jacket price clipped and with wear to extremities especially at spine. (30872) $55.00 16. HOLMES, John Clellon. The Horn. New York: Random House, (1958), octavo, turquoise boards and black cloth in printed dust jacket. (xii), (244)pp. First Edition. "An authentic and powerful novel about the world of jazz." Book in very fine, clean condition. Jacket near fine with a few scuffs and bump to head of spine. Jacket is not price clipped. (31173) $75.00 17. JEPSEN, Jorgen Grunnet. A Discography of Count Basie 1951-1968. Copenhagen: Knudsen, (1969), octavo, printed heavy paper wrappers. (vi), (49)pp., stapled. First Edition. A very fine, clean copy. This book is one of approximately 1,500 jazz, blues, big band and swing books we will be uploading. Stay tuned. (31260) $20.00 18. KAUFMANN, Helen L. From Jehovah to Jazz. Music in America from Psalmody to the Present Day. New York: Dodd, Mead, 1937, octavo, blue cloth stamped in gilt on front cover and spine in printed dust jacket. (xiv), (306)pp. First Edition.
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance

    Seeing (For) Miles: Jazz, Race, and Objects of Performance

    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
  • April to June 1928

    April to June 1928

    1 64- April 3, 1928 OKEH Okeh, New York FRANK TRUMBAUER AND HIS ORCHESTRA Bix Beiderbecke (c); Charlie Margulis (tp); Bill Rank (tb); Frank Trumbauer (Cms); Irving Friedman (cl/as); Chet Hazlett (as); Matty Malneck (vln); Lennie Hayton (p); Eddie Lang (g); Min Leibrook (bsx); Hal McDonald (dm); Irving Kaufman, under the name of ‘Noel Taylor’, (voc) : W 400188-A Our Bungalow Of Dreams (Malie-Newman-Verges) solos : Bix (8+20) – Kaufman, voc, with accordion or harmonium acc. (32) – Tram (16) – Bix (8). W 400189-B Lila (Gottler-Tobias-Pinkard) solos : Bix (2) – Kaufman, voc (32) – Bix (4+8) (leads 8) – Tram (1) – Bix (8). 65- April 10, 1928 OKEH Okeh, New York FRANK TRUMBAUER AND HIS ORCHESTRA Same personnel as previous session (64); Harold ‘Scrappy’ Lambert replaces Irving Kaufman (voc) : W 400603-B Borneo (Donaldson-arr : Bill Challis) solos : Lambert, voc (31) – Bix & Tram, chase chorus 2/2 (30). W 400604-B My Pet (Yellen-Ager-arr: Bill Challis) W 400604-C My Pet solos : Leibrook (2) – Rank (16) – Friedman, cl (16) – Bix (6) – Lambert, voc & Lang, g (31) – Leibrook (2) – Bix (2 last notes). 66- April 17, 1928 OKEH Okeh, New York BIX BEIDERBECKE AND HIS GANG Bix Beiderbecke (c); Bill Rank (tb); Irving Friedman (cl); Roy Bargy (p); Min Leibrook (bsx); Hal McDonald (dm, harophone): W 400616-B Somebody Stole My Gal (Wood) 2 solos : Friedman (16) – Bargy (16) – Bix (24) – Rank (16). W 400617-A Thou Swell 9-second test groove: Bargy, p & 3 voices: “Damn” – “I got it” – “Take it the last four”, this last voice being possibly Bix’s.
  • Selected Observations from the Harlem Jazz Scene By

    Selected Observations from the Harlem Jazz Scene By

    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation 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 Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
  • Jazz and the Cultural Transformation of America in the 1920S

    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.
  • Lorraine Feather Master Clinic.06.01.06E

    Lorraine Feather Master Clinic.06.01.06E

    2006/2007 Master Clinics and Master Performances Lorraine Feather Lorraine Feather “She has dazzled us as both a singer and lyricist...with Such Sweet Thunder , she rises to new heights by taking a full- length dive into Ellingtonia...genius. Pure genius.” Christopher Loudon Jazz Times “Energetic, enchanting and exceptional.” Carol Sloane Down Beat Lorraine Feather has wowed the jazz world with her latest recording Dooji Wooji. Down Beat Magazine calls her “It's a bit early, but here's “energetic, enchanting and exceptional.” The daughter of the my bid for Best Vocal famous critic and songwriter Leonard Feather (and goddaughter Project of 2004. Lorraine of Billie Holiday), Lorraine has exploded onto the jazz scene Feather, daughter of the with her ingenious lyrics, her dazzling voice, and her exceptional famed jazz historian/ performances. Lorraine is this generation’s celebrated jazz critic/composer Leonard lyricist and singer. Feather, has delivered a significant appreciation of Lorraine’s new album, Dooji Wooji (May, 2005, Sanctuary the Ellington/ Strayhorn Records), is a natural progression from the projects she has oeuvre..” done since 1999, which have featured a combination of well- Michael P. Gladstone known instrumental pieces with her contemporary lyrics (Fats All About Jazz Waller in her 1999 New York City Drag for Rhombus Records; Duke Ellington in last year’s Such Sweet Thunder on Sanctuary) “Great jazz lyricists are as well as all-new songs in a classic jazz vein on her 2002 not easy to find, for Sanctuary release Cafe Society. wordsmiths on a par with Jon Hendricks and Eddie When writing and recording Such Sweet Thunder (2004), Jefferson remain Lorraine became intrigued by the “small big band” sound perpetually in short favored by Duke Ellington, as well as other 1930’s band leaders supply…Feather can turn such as John Kirby and Benny Goodman.
  • American Music Review the H

    American Music Review the H

    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage

    Jazz and Radio in the United States: Mediation, Genre, and Patronage

    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
  • French Stewardship of Jazz: the Case of France Musique and France Culture

    French Stewardship of Jazz: the Case of France Musique and France Culture

    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's

    Visual Metaphors on Album Covers: an Analysis Into Graphic Design's

    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
  • Bradford C. Leali - Saxophone 5300 Par Drive, #2315, Denton — , TX 76208 Phone: 718-809-5817 — E-Mail: Brad.Leali@Unt.Edu

    Bradford C. Leali - Saxophone 5300 Par Drive, #2315, Denton — , TX 76208 Phone: 718-809-5817 — E-Mail: [email protected]

    Bradford C. Leali - Saxophone 5300 Par Drive, #2315, Denton , TX 76208 Phone: 718-809-5817 E-Mail: [email protected] Education M.M., Jazz Studies, May 2005 Rutgers State University, New Brunswick, New Jersey B.M., Instrumental/Band & Music Education, May 1989 University of North Texas, Denton, Texas Studied with: Adam Bakowitz (Clarinet) – Rutgers University Jim Beard (Jazz Composition & Arranging) – Rutgers University Ralph Bowen (Saxophone, Jazz Composition & Arranging) – Rutgers University Jo Brandt (Flute) – Rutgers University Stanley Cowell (Piano, Jazz Improvisation/Theory) – Rutgers University Dr. Frank Foster (Saxophone, Jazz Composition & Arranging) – Count Basie Orchestra Dan Haerle (Jazz Improvisation/Theory) – North Texas State University Dr. Willie Hill (Saxophone) – University of Massachusetts, Amherst Bill Lee (Piano) – Brooklyn, New York Rich Matteson (Jazz Improvisation/Theory) – North Texas State University Jack Peterson (Jazz Improvisation/Theory) – North Texas State University Dr. Lewis Porter (Jazz History) – Rutgers University Debra Richtmeyer (Saxophone) – North Texas State University Teaching Experience • University of North Texas, Associate Professor of Jazz Saxophone 2008 - present (*Received promotion and tenure in June 2012) Courses: Applied Jazz Saxophone; Jazz Saxophone Master Class; Jazz Performance and Fundamentals; Director of the 3 O’Clock Lab Band (2008-2015); Jazz Chamber Music (small group forum); Senior Recital Capstone, Dissertation. Other responsibilities: Student Advisement; Saxophone Auditions
  • The Great Migration and Women in Jazz

    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.
  • 100 Years: a Century of Song 1930S

    100 Years: a Century of Song 1930S

    100 Years: A Century of Song 1930s Page 42 | 100 Years: A Century of song 1930 A Little of What You Fancy Don’t Be Cruel Here Comes Emily Brown / (Does You Good) to a Vegetabuel Cheer Up and Smile Marie Lloyd Lesley Sarony Jack Payne A Mother’s Lament Don’t Dilly Dally on Here we are again!? Various the Way (My Old Man) Fred Wheeler Marie Lloyd After Your Kiss / I’d Like Hey Diddle Diddle to Find the Guy That Don’t Have Any More, Harry Champion Wrote the Stein Song Missus Moore I am Yours Jack Payne Lily Morris Bert Lown Orchestra Alexander’s Ragtime Band Down at the Old I Lift Up My Finger Irving Berlin Bull and Bush Lesley Sarony Florrie Ford Amy / Oh! What a Silly I’m In The Market For You Place to Kiss a Girl Everybody knows me Van Phillips Jack Hylton in my old brown hat Harry Champion I’m Learning a Lot From Another Little Drink You / Singing a Song George Robey Exactly Like You / to the Stars Blue Is the Night Any Old Iron Roy Fox Jack Payne Harry Champion I’m Twenty-one today Fancy You Falling for Me / Jack Pleasants Beside the Seaside, Body and Soul Beside the Sea Jack Hylton I’m William the Conqueror Mark Sheridan Harry Champion Forty-Seven Ginger- Beware of Love / Headed Sailors If You were the Only Give Me Back My Heart Lesley Sarony Girl in the World Jack Payne George Robey Georgia On My Mind Body & Soul Hoagy Carmichael It’s a Long Way Paul Whiteman to Tipperary Get Happy Florrie Ford Boiled Beef and Carrots Nat Shilkret Harry Champion Jack o’ Lanterns / Great Day / Without a Song Wind in the Willows Broadway Baby Dolls