Getting to Know the CEO Ties
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VOLUME XXIII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1992 Dec 12-13, 1992 Vocals have always been with BBJ PROGRAMS are subject to change due to un SINGING GROUPS us, even though swing pur avoidable circumstances or station convenience. Many ists tend to overlook the con requests are receivedfor tape copies o f the programs, tribution made by lyrics in popularizing the Big Bands but stringent copyright laws applying to the records that are the basis of it all. The Mills Brothers, the Pied used prevent us from supplying such copies. Pipers, the Sentimentalists, the Modernaires, the Ink Spots, the Stardusters and the Merry Macs all make ( RECORDS TO CONSIDER) recorded appearances on this salute to the vocal groups, along with a few instrumental and single vocal HERE’S THAT SWING THING Pat Longo hits of the forties. Orchestra -Vocals by Frank Sinatra, Jr. USA Records - 19 Cuts - CD or Cassette Dec 19-20, 1992 It’s a very special BIG BAND CHRISTMAS time with very special Billy May was one of the arrangers for this recording, music, captured as which immediately makes it a must-have. Pat Longo’s performed in the studio and in broadcasts during the Orchestra has a two decade history of solid perfor Christmas seasons of years past. Both Big Bands and mance, some of it a bit far out for some Big Band single vocalists recall the Sounds of Christmas in a traditionalists, but most simply solid swing. Sax man simpler time; perhaps a better time. Recollections of Longo was vice-president of a California bank until he Christmas experiences fill in the moments between the realized money wasn’t what he wanted to handle the music to weave a spell. -
J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
STARK, 'Bobbie'
THE PRE-CHICK WEBB RECORDINGS OF BOBBY STARK An Annotated Tentative Personnelo - Discography STARK, ‘Bobbie’ Robert Victor, trumpet born:, New York City, 6th January 1906; died: New York City, 29th December 1945 Began on the alto horn at 15, taught by Lt. Eugene Mikell Sr. at M.T. Industrial School, Bordentown, New Jersey, also studied piano and reed instruments before specialising on trumpet. First professional work subbing for June Clark at Small´s (Sugar Cane Club – KBR), New York (late 1925), then played for many bandleaders in New York including: Edgar Dowell, Leon Abbey, Duncan Mayers, Bobby Brown, Bobby Lee, Billy Butler, and Charlie Turner, also worked briefly in McKinney´s Cotton Pickers. Worked with Chick Webb on and off during 1926-7. Joined Fletcher Henderson early in 1928 and remained with that band until late 1933 except for a brief spell with Elmer Snowden in early 1932. With Chick Webb from 1934 until 1939. Free-lancing, then service in U.S. Army from 14th November 1943. With Garvin Bushell´s Band at Tony Pastor´s Club, New York, from April until July 1944, then worked at Camp Unity with Cass Carr until joining Benny Morton´s Sextet at Café Society (Downtown) New York in September 1944. (J. Chilton, Who´s Who Of Jazz) BOBBY E. STARK (trumpet), b. New York, Jan. 6/06. d. New York, Dec 29/45. Played with Chick Webb´s small band (1927); said also to have worked with McKinney´s Cotton Pickers, but this seems unlikely; joined Fletcher Henderson Nov/27, stayed until c Mar/34 (except said to have left briefly to Elmer Snowden, early 1932). -
ARSC Journal
THE SMITHSONIAN COLLECTION (OF JAZZ) ROOl KING OLIVER'S JAZZ BAND 1923 (two records) R002 LOUIS ARMSTRONG AND EARL HINES 1928 (two records) R003 DUKE ELLINGTON 1938 (two records) R004 DIZZY GILLESPIE "THE DEVELOPMENT OF AN AMERICAN ARTIST" 1940- 1946 (two records) ROOS TEDDY WILSON "STATEMENTS AND IMPROVISATIONS" 1934-1942 R006 FLETCHER HENDERSON "DEVELOPING AN AMERICAN ORCHESTRA" 1923- 1937 (two records) ROlO DUKE ELLINGTON 1939 (two records) N003 PIANO MUSIC OF FERDINAND 'JELLY ROLL' MORTON PERFORMED BY JAMES DAPOGNY This series is produced with the assistance of CBS Special Pro ducts, and all the contents - except most of the Dizzy Gillespie and the James Dapogny, are reissues of CBS-owned material (though a couple of items on the Fletcher Henderson would seem to belong to MCA). Their value is thus very dependent on their relationships with other reissues of this material - something that is their main weakness. Apart from the general excellence of the music, their main virtue is in their presentation. All the reissues are programmed in chronological order (usually the best way) and all the relevant discographical infor mation is supplied (though in the almost unreadable jumble that is common to too many jazz reissues). As a bonus there are also pages of photos and notes that contain an abundance of relevant fact and inte resting opinions - (only one incorrect fact stands out concerning Max Roach's recording debut), Overall, the most successful of this series is the one dealing with the earliest music, the KING OLIVER, All of the fifteen Okeh's and four Columbia's are brought together with much better sound than ever before, so that it definitely replaces all previous reissues of this material. -
Benjamin Francis Webster “Ben” “Frog” “Brute”
1 The TENORSAX of BENJAMIN FRANCIS WEBSTER “BEN” “FROG” “BRUTE” PART 1 (1931 – 1943) Solographer: Jan Evensmo Last update: April 13, 2018 2 Born: Kansas City, Missouri, March 27, 1909 Died: Amsterdam, Holland, Sept. 20, 1973 Introduction: Ben Webster was one of the all-time tenor saxophone greats with a long career of more than forty years. He was a favourite from the very first record with Duke Ellington from the early forties, and his music was always fascinating. I wrote his first solography in 1978 in Jazz Solography Series. Later his music appeared in the various ‘History of Jazz Tenor Saxophone’ volumes, including 1959. Later works will appear in due time on Jazz Archeology. He visited Norway several times, and I never forget when my friend Tor Haug served him fish for dinner! Early history: First studied violin, then piano. Attended Wilberforce College. Played piano in a silent-movie house in Amarillo, Texas. First professional work with Bretho Nelson's Band (out of Enid, Oklahoma), then, still on piano with Dutch Campbell's Band. Received early tuition on saxophone from Budd Johnson. Joined "family" band led by W.H. Young (Lester's father) in Campbell Kirkie, New Mexico, toured with the band for three months and began specialising on sax. With Gene Coy's Band on alto and tenor (early 1930), then on tenor with Jap Allen's Band (summer 1930). With Blanche Calloway from April 1931. Then joined Bennie Moten from Winter 1931-32 until early 1933 (including visit to New York). Then joined Willie Bryant's orchestra. -
The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012
“Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012 OUR NEXT CONCERT TRI-STATE JAZZ SOCIETY On March 18, Emily Asher says, The Garden Party Presents will play a variety of hot jazz and early swing, their instrumentation and concept influenced by EMILY ASHER’S GARDEN PARTY Louis Armstrong's Hot Fives and Sevens, Armstrong's All-Stars, and Eddie Condon's classic recording groups. Their repertoire will also include material from the heart of the West Coast Dixieland revival, Lu Watters' Yerba Buena Jazz Band. Trombonist and vocalist Emily Asher is a rising musical personality in New York, leading the Garden Party and The Emily Asher Quartet and making regular appearances with the Brooklyn- based Baby Soda Jazz Band. She toured North America with the ground-breaking Mighty Aphrodite Jazz Band and Europe with New Orleans’ Tuba Skinny. See Asher on Page 2 CONCERT ADMISSION $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS HIGH SCHOOL/COLLEGE STUDENTS WITH Emily Asher, trombone, leader ID AND CHILDREN WITH PAYING ADULT ADMITTED FREE Bria Skonberg, trumpet Pay At the Door - No Advance Sales Dan Levinson, clarinet Gordon Webster, piano In This Issue… Sean Cronin, bass Kevin Dorn, drums Looking Ahead ............. Page 2 American Rag ............... Page 2 Sunday, March 18, 2012 Barnes Review ............. Page 2 2:00 p.m. – 5:00 p.m. Spirits Of Rhythm ......... Page 3 Community Arts Center Help Wanted ................. Page 4 Upcoming Events ......... Page 5 414 Plush Mill Road Wallingford, PA Directions on Page 7 The Strutter is published by Tri-State Jazz Society, Inc. -
An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF EXTRA-MUSICAL ISSUES IN THE MUSIC OF DON BYRON By STEVEN CRAIG BECRAFT A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright 2005 Steven Craig Becraft All Rights Reserved The members of the committee approve the treatise of Steven Craig Becraft defended on September 26, 2005. ____________________________ Frank Kowalsky Professor Directing Treatise ____________________________ Denise Von Glahn Outside Committee Member ____________________________ Jeffrey Keesecker Committee Member ____________________________ Patrick Meighan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS To Don Byron: Thank you for making such fascinating music. I thoroughly appreciate your artistic vision, your intellect, and your phenomenal technique as a clarinetist. The knowledge I have gained and the new perspective I have on music and society as a result of completing the research for this treatise has greatly impacted my life. I am grateful for the support of the Arkansas Federation of Music Clubs, especially Janine Tiner, Ruth Jordan, and Martha Rosenbaum for awarding me the 2005 Marie Smallwood Thomas Scholarship Award that helped with final tuition and travel expenses. My doctoral committee has been a great asset throughout the entire degree program. -
ESSENTIAL Jazzeditions
JAZZ AT LINCOLN CENTER — WWW.JALC.ORG ESSENTIAL Jazz EDITIONS Essential Jazz Editions Edited by David N. Baker Essential Jazz Editions is a series of scores for jazz ensembles transcribed from classic jazz recordings. This 10-year project, begun in 1999, will ultimately represent the breadth of the jazz canon. A set of five charts is produced and published each year, beginning with early jazz standards and continuing throughout the history of the music. Each original transcription includes historical and performance notes. “What serious jazz musicians and teachers have been waiting for.” – Wynton Marsalis, Artistic Director, Jazz at Lincoln Center “All jazz players, regardless of their stylistic preferences, can learn a great deal by studying the masters of this music.” – David N. Baker, Artistic and Musical Director, Smithsonian Jazz Masterworks Orchestra PRICING INFORMATION: SET #1: New Orleans Jazz 1918-1927 & SET #2: Louis Armstrong, 1926-1929 Conductor’s Score and Parts: $25.00/title Conductor’s Score: $6.00/title SET #3: Music of the 1930s, Part I Conductor’s Score and Parts: $40.00/title Conductor’s Score: $8.00/title SET #4: Music of the 1930s, Part II SET #5: Music of the 1940s, Part I Conductor’s Score and Parts: $45.00/title Conductor’s Score: $9.00/title 10 ESSENTIAL Jazz EDITIONS 2005 CATALOG LEGEND: Title, year of recording, (Catalog Number) – Grade Level Composer / As recorded by Description Instrumentation SET #1: NEW ORLEANS JAZZ, 1918-1927 Black Bottom Stomp, 1926 (EJE9901) – VI Jelly Roll Morton / Jelly Roll Morton’s Red Hot Peppers Up-tempo New Orleans ensemble jazz Cl.; Cnt. -
A Curriculum for Tuba Performance in a Commercial Brass
A CURRICULUM FOR TUBA PERFORMANCE IN A COMMERCIAL BRASS QUINTET BY PAUL CARLSON Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Music. ___________________________________ Daniel Perantoni __________________________________ Kyle Adams __________________________________ Jeffrey Nelsen __________________________________ John Rommel ii Preface While a curriculum for any type of performance could be synthesized by theoretical reasoning based upon knowledge of how to learn any new genre or style of music, it is tradition that students turn to leaders in the field to gain insight and knowledge into the specific craft that they wish to pursue. While pure scholarship and study of a repertoire is an excellent way to gain insight into a performance arena, time spent in the field actually performing a certain style of music as a member of a professional ensemble gives a perspective that is intrinsically valuable to a project such as this. In addition to the sources listed in the bibliography and the extensive research done concerning this project, I have been a member of the Dallas Brass Quintet since September of 2010. I currently continue to serve as their tubist. Being a member of this ensemble, which is one of the most active touring commercial styled brass quintets in existence today, has greatly informed me concerning this project in terms of the demands of this type of performance. As I prepared to write this document, I took inventory of the skills and preparation that have allowed me to perform successfully in a commercial brass quintet. -
Download Booklet
120665bk Teddy2 23/1/03 4:47 pm Page 2 1. Sweet Lorraine 3:02 8. Too Good To Be True 3:06 16. Where Or When 3:23 19. Just A Mood (Blue Mood) 6:42 (Cliff Burwell–Mitchell Parish) (Clay Boland) (Richard Rodgers–Lorenz Hart) (Teddy Wilson) Brunswick 7520, mx B 17916-1 Brunswick 7663, mx C 1377-2 Benny Goodman Trio Teddy Wilson Quartet Recorded 31 July 1935, New York Recorded 14 May 1936, Chicago Victor 25725, mx BS 015575-1 Brunswick 7973, mx LA 1429-A, 1430-A 2. Body And Soul 3:30 9. Warmin’ Up 3:11 Recorded 29 October 1937, New York Recorded 5 September 1937, Los Angeles (Johnny Green–Edward Heyman–Robert (Teddy Wilson) 17. Coquette 2:43 20. I’ve Found A New Baby 2:40 Sour–Frank Eyton) Brunswick 7684, mx C 1378-1 (Johnny Green–Gus Kahn–Carmen (Jack Palmer–Spencer Williams) Benny Goodman Trio Recorded 14 May 1936, Chicago Lombardo) Brunswick 7926, mx B 21220-1 Victor 25115, mx BS 92705-1 10. Why Do I Lie To Myself About You 3:04 Brunswick 7943, mx LA 1383-A Recorded 1 June 1937, New York Recorded 13 July 1935, New York (Benny Davis–J. Fred Coots) Recorded 30 July 1937, Los Angeles Teddy Wilson & His Orchestra except: 3. Life Begins When You’re In Love 3:03 Brunswick 7699, mx B 19496-2 18. The Hour Of Parting 3:12 Benny Goodman Trio (tracks 2 &16) and (Lew Brown–Victor Schertzinger–Harry Recorded 30 June 1936, New York (Gus Kahn–Mischa Spoliansky) Teddy Wilson Quartet (track 19) Richman) 11.