Judy Chaikin Collection Finding Aid (PDF)
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Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Finding Aid to the Historymakers ® Video Oral History with Helen Jones Woods
Finding Aid to The HistoryMakers ® Video Oral History with Helen Jones Woods Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Woods, Helen Jones, 1923- Title: The HistoryMakers® Video Oral History Interview with Helen Jones Woods, Dates: October 6, 2007 Bulk Dates: 2007 Physical 4 Betacame SP videocasettes (1:41:47). Description: Abstract: Trombonist Helen Jones Woods ( - ) was the original trombonist of The International Sweethearts of Rhythm. She was part of the first group of African American women to tour with the USO during World War II. Woods was interviewed by The HistoryMakers® on October 6, 2007, in Omaha, Nebraska. This collection is comprised of the original video footage of the interview. Identification: A2007_281 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Licensed practical nurse and trombonist Helen Elizabeth Jones Woods was born in 1923 in Meridian, Mississippi. Woods began her life in a Mississippi orphanage for white children. When it became obvious that she was not white, Woods was adopted by Professor Laurence Clifton Jones, the founder and director of Piney Woods Country Life School, and his wife. After the sudden death of Jones’ wife, Woods, at the age of four, became part of the general population of the school where she enjoyed music and special programs. Helen Keller, George Washington Carver and other luminaries visited the Piney Woods campus. Woods was a Carver and other luminaries visited the Piney Woods campus. Woods was a member of the school’s traveling and fundraising band, Cotton Blossom Singers, which was directed by Consuela Carter. -
Thad Jones Chronology Copy
Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also -
Nebraska Traditional Music and Dance Forms
Folk Arts • Traditional Arts • Folklife Curriculum Unit • Grades 6–8 nebraskafolklife.org A Sampling of Nebraska Traditional Music and Dance Forms African and African American Traditional Music and Dance African Music and Dance Nebraska has gained a substantial number of immigrants from several African countries in the past few years. Sizeable communities of Sudanese live in Omaha and Lincoln, for example. Below are just two examples of African music and dance forms present in the state. Charles Ahovissi of Lincoln, Nebraska is originally from Benin. He performs traditional African dances from his homeland Michael Opoku and Ashanti – Michael Opoku of Lincoln Nebraska is a native of Accra, Ghana in West Africa. He is a multi-instrumentalist and band leader and his group Ashanti plays both traditional Ghanaian music and more contemporary numbers. Ashanti also features traditional dances from Ghana and other areas of Africa. Michael is an artist in schools for the Nebraska Arts Council, and teaches classes on African drumming and cultural traditions. African American Blues The blues is a distinctive traditional style of music that uses “blue notes” (sung or played at a lower pitch than those of the major scale) to emphasize the sadness of its subject matter. The most classic form of the blues has three lines of lyrics and is and played with a 12 bar chord progression. Eight bar blues songs are also common. The blues was created by African American musicians in the rural south in the latter half of the 19 th century. Many of Nebraska’s African Americans moved to the state from southern states and larger northern cities such as Chicago and Kansas City to find jobs in meat packing and other industries between the turn of the 20 th century and the 1940s. -
BARRY HARRIS NEA Jazz Master (1989)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BARRY HARRIS NEA Jazz Master (1989) Interviewee: Barry Harris (December 19, 1929 - ) Interviewer: Aaron Graves with recording engineer Ken Kimery Date: August 20th, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 36 pp. Graves: My name is Aaron Graves, today is August the 20th 2010. We’re here at the University of the Streets with Master Barry Harris. And we’re going to ask Mr. Harris, if you would to give us – state your name for us. Harris: Okay. Barry D. Harris. The “D” stands for Doyle. Barry Doyle Harris. Graves: Barry Doyle Harris. Harris: That’s right. Graves: That’s new to the world? Harris: All Irish all the way. Graves: Irish? Harris: Irish and English and Scottish. And born – when – December 15th, 1929. Graves: Mm-hm. Harris: In a little cabin. [laughs] Graves: When – where were you born? Harris: Where was I born? For additional information contact the Archives Center at 202.633.3270 or [email protected] Graves: Where were you born? Harris: I was born in Herman Kiefer Hospital in Detroit. You know, so Detroit was really my home, you know for quite a few years. Graves: So, mother and father. What’s your mother and father’s names? Harris: Mother’s named Bessie, father’s named Melvin. Graves: Melvin. Harris: That’s right, as you know. Graves: Alright. So who named you? Do you know who named you – your name is Barry Doyle… Harris: Don’t ask me. -
Març 2021 - Número 4
BATECS Butlletí de notícies internes - març 2021 - Número 4 PRESENTACIÓ Arribar al Batecs n. 4, un més si comptem el número 0, és tota una fita i una mostra que la idea inicial es va consolidant i que el cor continua bategant amb força. De mica en mica, s’incorporen noves redactores i estrenem noves seccions. I encara tenim les portes obertes per a tothom que hi vulgui dir la seva. En aquest número podreu veure que la majoria de seccions recu- llen textos relacionats d’una manera o d’una altra amb la dona. No hauríem de celebrar el dia 8 de març com un fet extraordinari sinó que cadascun dels 365 dies de l’any hauria de ser el dia de la CONTINGUTS: dona i el de l’home; en resum, el de les persones. En aquesta oca- Portada/Presentació 1 sió, però, volem fer un homenatge especial a tantes dones obli- Notes breus 2 dades o poc valorades en el món de la música i de l’art en gene- Racó dels sentiments 3 ral. Música i músiques 4-5-6 Les dones i el jazz clàssic 7-8 També volem reconèixer públicament la gran tasca que estan Esdeveniments i notícies fent l’Elisenda i l’Eva al capdavant d’EL COR CANTA i lògicament culturals 9-10 també la d’en Jordi. I que el cor no existiria sense aquest més del Que passa pel mon? 10-11 65% de participants femenines. Fina Miralles 11 Relat 12-13 Contraportada 14 Gràcies a totes, les que van ser pioneres en el passat, les que avui continuen lluitant per fer un món més igualitari i a les que vin- dran, que esperem que trobin ja molt feina feta. -
Biographical Description for the Historymakers® Video Oral History with Helen Jones Woods
Biographical Description for The HistoryMakers® Video Oral History with Helen Jones Woods PERSON Woods, Helen Jones, 1923- Alternative Names: Helen Jones Woods; Life Dates: , - Place of Birth: Meridian, Mississippi, USA Residence: Pasadena, MD Occupations: Trombonist Biographical Note Licensed practical nurse and trombonist Helen Elizabeth Jones Woods was born in 1923 in Meridian, Mississippi. Woods began her life in a Mississippi orphanage for white children. When it became obvious that she was not white, Woods was adopted by Professor Laurence Clifton Jones, the founder and director of Piney Woods Country Life School, and his wife. After the sudden death of Jones’ wife, Woods, at the age of four, became part of the general population of the school where she enjoyed music and special programs. Helen Keller, George Washington Carver of the school where she enjoyed music and special programs. Helen Keller, George Washington Carver and other luminaries visited the Piney Woods campus. Woods was a member of the school’s traveling and fundraising band, Cotton Blossom Singers, which was directed by Consuela Carter. In 1937, Jones formed the Swinging Rays of Rhythm, another all-girl band led by Carter. The band toured extensively throughout the eastern United States to raise money for the school. In 1941, Woods and several other girls left Piney Woods when they found out that some of them would not graduate because they had been touring with the band instead of going to class. The band relocated to Arlington, Virginia where it was renamed The International Sweethearts of Rhythm due to the diverse racial and ethnic composition of its members. -
ELVIN JONES NEA Jazz Master (2003)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ELVIN JONES NEA Jazz Master (2003) Interviewee: Elvin Jones (September 9, 1927 - May 18, 2004) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: June 10-11, 2003 Repository: Archives Center, National Museum of American History Description: Transcript, 113 pp. Anthony Brown: “Today is June 10th, 2003 and we are sitting in the home of Elvin and Keiko Jones at 415 Central Park West in New York City. I’m sitting with Elvin Jones and his lovely, hospitable wife Keiko Jones. This interview is with Elvin Jones the incomparable jazz drummer, composer, bandleader, and humanitarian extraordinaire. And the proceedings are being recorded by Ken Kimery, my name is Anthony Brown. Present in the room are Keiko Jones and Elvin Jones. Elvin, if we can begin by you stating your full name and when you were born. Elvin Jones: My name is Elvin Ray Jones. I was born in Pontiac, Michigan in 1927; as one half of a twin, I was a twin! (chuckles). And my twin brother, we both had whooping cough, and he didn’t survive longer than 6 months. You know, I can remember the funeral and everything. Cause I used to tell my mother, I’d say “That little casket was right there!” and I’d point it out to her and she’d say, “That’s right.” (chuckles). Anthony Brown: Wow, so you say in about 6 months—he passed at about 6 months old? Elvin Jones: Right Anthony Brown: And what was the date of that birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Elvin Jones: September 9th 1927. -
Guide to the Ernie Smith Jazz Film Collection
Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 2001 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 Biographical...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles..................................................................................... -
+1.818.762.1624 | [email protected] Thegirlsintheband.Com
P.O. Box 1666 Studio City, CA 91614 | +1.818.762.1624 | [email protected] TheGirlsintheBand.com When the world told them they couldn’t play, they did it anyway! The Girls in the Band A Feature Documentary An Artist Tribe/One Step Production Producer/Director - Judy Chaikin Executive Producer - Michael Greene Producer - Nancy Kissock Producer - Michael Greene Producer - Hugh Hefner SYNOPSIS They wiggled, they jiggled, they wore low cut gowns and short shorts, they kow-towed to the club owners and smiled at the customers…and they did it all, just to play the music they loved. THE GIRLS IN THE BAND tells the poignant, untold stories of female jazz and big band instrumentalists and their fascinating, groundbreaking journeys from the late 20's to the present day. These incredibly talented women endured sexism, racism and diminished opportunities for decades, yet continue today to persevere, inspire and elevate their talents in a field that seldom welcomed them. 1080/24p | 88 min. TRT | 1.78 (16x9 video) | Stereo (Dolby Digital) *** P.O. Box 1666 Studio City, CA 91614 | +1.818.762.1624 | [email protected] TheGirlsintheBand.com SCREENINGS Inspire Theater – Las Vegas, Nevada – April 29, 2014 Reginald F. Lewis Museum – Baltimore, Maryland – April 17, 2014 Campbell Hall Arts & Education Center – North Hollywood, California – April 16, 2014 Ragtag Cinema – Columbia, Missouri – April 14, 2014 Musically Minded Academy – Oakland, California – April 6, 2014 Palm Springs Women’s Jazz Festival – Palm Springs, California – April 4, 2014