DOCSLIB.ORG

Newsletternewsletter October 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NEWSLETTERNEWSLETTER OCTOBER 2012 Our 64th Year JOHNNY WIGGS RAYMOND BURKE SHERWOOD MANGIAPANE Back in STOCK at long last PRICE: $15.98 MEMBERS: $13.00 SACD-124 AMCD-8 AMCD-70 BCD-34 SACD-21 BCD-256 SCD-38 CCD-138 PCD-7002 BS-3 GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a minimum charge of $3.00 regardless of the number of items ordered. OVERSEAS SHIPPING CHARGES 1 CD $6.00; 2-4 CDS $10.00; 5-8 CDS $15.00; 9-10 CDS $20.00 Canadian shipping charges are 50% of overseas charges ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH INTERNATIONAL MONEY ORDER, CHECK DRAWN IN U.S. DOLLARS ON A U.S. BANK OR BY CREDIT CARD – WE ACCEPT VISA, MASTERCARD OR DISCOVER. (please include expiration date and security code) THERE IS A $2.00 SERVICE CHARGE FOR CREDIT CARD PAYMENTS. Send Payments to: GHB JAZZ FOUNDATION 1206 DECATUR STREET NEW ORLEANS, LA 70116 You may also order directly from our website: jazzology.com 1 JAZZOLOGY NEWSLETTER – OCTOBER 2012 We’re back with another newsletter for the year 2012. This time we are offering 8 new CD releases, 10 back in stock items and a sale of CDs and DVDs. Thank you for the expressions of concern about Hurricane Isaac – we were relatively unscathed: we took on a little water at both the office in the French Quarter and in our warehouse on Franklin Avenue and lost power for a few days. Things remain fine. The International Association of Jazz Record Collector (IAJRC) held its convention in New Orleans September 6-8 this year. On its program was a very well recieved presentation by Nina, Bo and Carie Buck and Lars Edegran entitled “George Buck and the Story of Jazzology”. George Buck’s involvement in jazz since the late 1940’s was told with the help of a power point presentation of photos and music samples as well as personal recollections by the Buck family. OUR NEW RELEASES By Paige VanVorst WIGGS-BURKE BIG 4 (AMCD-133/134) PRICE: $31.96 MEMBERS: $26.00 This two-CD set restores to print two extremely rare ten-inch LPs – I’ve been collecting New Orleans jazz records for fifty years and never saw either record. John Steiner’s revived Paramount label issued a small number of LPs – it was as elusive as American Music, which shared the same quarters. Steiner was impressed with the George Lewis trios recorded by Bill Russell and wanted something similar with Raymond Burke. Russell went to New Orleans in 1952 and wound up recording a quartet featuring Burke with cornetist Johnny Wiggs, guitarist Dr. Edmund Souchon and bassist Sherwood Mangiapane. After a second LP in 1955 Paramount went silent. The result is best described as New Orleans chamber music. Souchon played forty years in a string band, and Wiggs started out as a violinist, and also worked in small groups. The musicians are all amateurs in the strictest sense – they may have had Union cards, but they played for the joy of it. They grew up when giants were playing in New Orleans – Wiggs and Souchon heard King Oliver before anyone had heard of him and became lifelong jazz enthusiasts, though they had other professions – Wiggs taught school while Souchon was a physician. Burke scuffled as a musician for most of his life while Mangiapane worked at a bank. A similar approach is taken as with the 6 and 7/8 String Band set (AMCD-125/126) – virtually all the available music is here, including the originally-issued albums, alternate takes, rehearsals and related material. The material is programmed listenably – the few alternate takes are on separate discs and barely-noticeable within the 43 titles comprising the set; the instrumentation is continuously varied as well continued on page 3 DISC ONE DISC TWO PUT ON YOUR OLD GREY BONNET / ALL NIGHT DARKTOWN STRUTTERS BALL / GOING HOME / LONG #2 / AT SUNDOWN / BUDDY BOLDEN’S CHINATOWN / ALL NIGHT LONG / JUST A LITTLE BLUES / MEMORIES / RAY’S TUNE #2 / CONGO WHILE TO STAY HERE / BABY WON’T YOU PLEASE SQUARE / BUCKTOWN BOUNCE #3 / I CAN’T USE COME HOME / JOHNNY’S BOUNCE / BUCK TOWN / IT / IN THE SHADE OF THE OLD APPLE TREE / HOW POSTMAN’S LAMENT #2 / HEEBIE JEEBIES / COME YOU DO ME LIKE YOU DO / MAMMA’S BABY MAKE ME A PALLET ON THE FLOOR / RAY’S TUNE BOY #2 / OF ALL THE WRONGS YOU’VE DONE TO / MAMMA’S BABY BOY / SISTER KATE / ME / MILENBURG JOYS / POSTMAN’S LAMENT * / SPANISH TINGE #2 / BUDDY BOLDEN’S BLUES #2 / BLACK SNAKE BLUES / SMILES / SINGIN’ THE HOW COME YOU DO ME LIKE YOU DO #2 / BLUES / SPANISH TINGE / HARMONICA BLUES / TIN CAN ALLEY / PRETTY BABY / UNKNOWN TUNE / WALKIN’ THE DOG / TULIP STOMP CITY OF A MILLION DREAMS JOHNNY WIGGS (tpts) • RAYMOND BURKE (clt, flute & harmonica) • EDMOND SOUCHON (gtr & vcls) SHERWOOD MANGIAPANE, (bs & vcls) • ART HODES * (pno) • FREDDIE MOORE * (drs) 2 WIGGS-BURKE continued from page 2 – groups range from solo guitar to a quintet. The material was taken from the original tapes and carefully remastered in our Audiophile studio. The musicians work together awesomely – they were lifelong friends and you feel like you’re eavesdrop- ping on one of Doc Souchon’s house parties – the tunes flow one to another and the players instinctively throw in runs and fills so you forget they’re nominally a quartet. The players essay a number of New Orleans favor- ites, skipping the warhorses – Milenberg Joys and Sister Kate are about the only standards, and more obscure pieces like Mama’s Baby Boy and Put On Your Old Grey Bonnet are more the norm. In addition, Wiggs and Burke brought in several originals – Raymond’s City of a Million Dreams, Wiggs’ Pelican Panic (Johnny’s Bounce), Postman’s Lament and Congo Square. They were both good composers and its nice to hear early versions of their numbers. The four musicians are perfectly matched – Wiggs’ cornet playing comes from both King Oliver and Bix Beiderbecke, while Burke is a delicious amalgam of a number of players and a master of counterpoint – he is never less than amazing. Doc Souchon is a wonderful rhythm guitarist, reminiscent of Johnny St. Cyr, and he contributes several good-natured vocals, bringing a touch of the blues to the proceedings. Mangiapane is a solid bassist and keeps the rhythm going throughout the sessions. I don’t think I’ve as eagerly awaited a new release as much as this one in a long time and it is every bit as good as I hoped. Wiggs, Burke and Souchon never sounded better and with over two hours of music, all of it unissued or out of print for fifty years, this almost constitutes an embarrassment of riches. I’ve been playing this before I fall asleep and I’ve been losing a lot of sleep – I start really listening to the music and usually stay awake until the last tune has ended. One of the few great New Orleans sessions that somehow escaped reissue for over sixty years. JIM ROBINSON WITH KID THOMAS, ERNIE CAGNOLATTI & DE DE PIERCE (BCD-28) PRICE: $15.98 MEMBERS: $13.00 Big Jim Robinson was one of the cornerstones of the New Orleans Revival, beginning with Kid Rena’s Delta session in 1940. He was a fixture at Preservation Hall until his death and made many recordings-these are among his few as a leader. The band includes clarinetist Albert Burbank, in fine form, and an all- star rhythm section – George Guesnon, Slow Drag Pavageau and Cie Frazier. Trumpet chores are handled by both Kid Thomas and Ernie Cagnolatti, providing interesting contrasts. Robinson liked ensemble playing and he would have been pleased with this session. These sides are alternate takes from a session originally on the Pearl label. This was one of my favorite sessions back in the 1960s and one I’ve enjoyed greatly over the years; the numbers are all like old friends. It leads off with Georgia Camp Meeting and its great to hear Burbank soaring over the rhythm section. Silver Bell is an old Indian rag related to Sometimes My Burden is Hard to Bear and one of the highlights. I’ll Be Somewhere Working for the Lord is seldom heard and very effective. There isn’t a weak track on this set. The set is completed by several tracks featuring Robinson with DeDe Pierce and George Lewis, alternate takes from a Center album. These were among DeDe’s finest recordings and feature some of George Lewis’ finest late playing, and a taste of seldom-recorded drummer Alex Bigard.
Recommended publications
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel

    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
  • In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3

    In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3

    PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?].
  • 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.
  • Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band

    Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band

    Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S.
  • 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.
  • JREV3.8FULL.Pdf

    JREV3.8FULL.Pdf

    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
  • Upcoming Events

    Upcoming Events

    Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. Address: 2521 Port Street, West Sacramento, CA 95691•(916)444-2004•www.sacjazz.org VOLUME49•NO.7 August 2017 Jazz Sunday, August 6 (FIRST Sunday!) Note from The President …..……...2 Week Two STJS Jazz Campers Concert and ElksLodge#6–info/directions ....... 2 The Professors The Professors …………………………..3 Raffle Cent$.................................8 Race for the Art Pictures…………….8 Membership Application…….……13 Upcoming Events: July 23-29 Week 1 STJS Teagarden EEachy E Youth Jazz Camp Each year when the jazz camps conclude, we are treated to a special July 29 Week 1 STJS Jazz Campers Concert and The Counselors Jazz Jazz Sunday that features not only The Professors both youth Band campers and counselors as well. August Jazz Sunday is one of the July 31–Aug 6 Week 2 - STJS best STJS events of the year. The place is buzzing with excitement Teagarden Youth Camp from a productive and fun-filled week at Jazz Camp amid the scenic Aug 6 (First Sun) Week 2 STJS Jazz beauty of Pollock Pines. Campers have been making new friends Campers Concert and The Professors while counselors (former campers) are having a blast reuniting with their musician friends. Sept 10 – Skin ‘n Bones (Gonsoulin) Oct 8 – Pub Crawlers Our Jazz Camp Faculty is loaded with all-star talent, and we are Nov 12 – Youth Jazz Day incredibly fortunate to have them all here together as our guest Dec 10 – Gold Society Jazz band.
  • [Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D

    [Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D

    EDMOND SOUCHON, M.D. 1 I E of 3]\--Digest--Retyped February^17, 1962 Also present:William Russell Dr. Edmond Soucl-ion II, grandson of Edmond Souchon I, son of Marion Sims Souchon, was born October 25, 1897^ in New Orleans, s, on St. Charles Street at First Street. He can remember as far back as wl-ien he was four years old, as he pointed out in an article he recently wrote about xToe Oliver [in the Jazz Review.RBA]. Discussion about memory. His first memory of music was of the singing of two cooks, who followed [succeeded?-] each other at fhe Souchon residence; they were Aumontine [spelling?] and Adele; both had fine contralto voices, and both sang hymns in the same style of Mahalia Jackson. ES remembers funeral parades [i.e., funeral £ processions]7 the cook would take him to see them; they started at the Bulls Club and always passed Terrell's Grocery (wbere ES and cook jtoined second line) on First Street, on their way to a cemetery on Washington Avenue. ES was impressed by the young Joe Oliver, who played in those parades; ES says Oliver worked in the neiglrborhood, on Magazine at First or Third? WR says it was at Second, that he took pictures of all four corners there, that Bunk Johnson showed him one that it was not, but that Louis Keppard, who worked with Oliver in those days [identified the correct house?]. ES admired Oliver's white teeth; Oliver always chewed a hunk of tar. ES's mother played piano a little; once s1'ie played a waltz and a mazurka for liim and told him that was tTne sum total of $5,000 [cost?] of lessons.
  • Because in Church He Would Tell the Brother and Sisters What to Do .. ,;^^

    Because in Church He Would Tell the Brother and Sisters What to Do .. ,;^^

    f rt f y * .. 'f v .'. i'..." Presenti ':Ric'hard B- Alleh* 1 (- ^* i. t .'^. FREDDIE MOORE ^ » f I 1 ' ^- -f; .!. * ^ f tl' '- t- 1. r 1 ....-!:£ ^eel I-Summary-Re typed banny Barker f I ''.I ('' * <'! I + s June 19, 1969 f, / t / .i ''. I * ^ * » v I "('.> ^ -rl^ -I r 1 4 I i The tape was recorded at 115 W» 141st Street in tTew Yofk t . / * 4a * I . .'.t City. Fred Moore is called by most of the people Freddie Moore» I ;( i .'} ^ .*. T Freddie was born in Washington, North Carolina which is sometimes .r f '^ 1. 1 ^ -t Ik called "Little Washington," Nortt-i Carolina; Freddie l/s birthday * I J. * ^ i -1 is August 20, approximately 1900; he is fifty-ei^ht years old new. ,-f ^'};' -^ ^ * "; f* . Freddie is the only one in his family who played or sang* Freddi6 ^ :.^ f '':. s. i.' * ;- '".; .» + *. >-. 1 f ; started off wifh mus 1c as a kid with the carnivals and minstrel T?^ Jf f * t. J » '4 * .'V' h *' I f- shows; he was a hamfat dancer, ie* a buck dancejc, DB "sort of a * ^ ^ ' n \-} .< t 1 ', '1. Not a teal skilljsd 1 jive dancer, buck and wing, cut the fool," r ^ ^ t -.1'. -,. Freddie t I, professional dancer, but what ever came into your mind* " -' 'i f ^ I r .S1 t I r 1 was a black-faced comedian* » ( .h + ^ * t .* I- J »^ The first music Freddie remembers hearing was some of Jelly 1^ .; :^ '"^ It- \ + r-»'" A \ I. J Roll Morton s number s» [Obviously DB and RBA doul^t -bliis] < Of I- t.
  • The Victor Black Label Discography

    The Victor Black Label Discography

    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
  • Newsletternewsletter March 2015

    Newsletternewsletter March 2015

    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
  • Was Named Rosimore [Spelling?] John Frazier. Jfts Father Had

    Was Named Rosimore [Spelling?] John Frazier. Jfts Father Had

    J05IAH )tCIEn FRAZIER Also present: William ^ussel-l I [of 2]--Digest"-Retyped Ralph Collins December 1^., I960 Recorded at:20l4 Onzaga Street New Orleans Josiah "Cie" Frazier was born February 23, 1904. The Frazlers >, are related to t^e (Emile and Paul) Barnes and the (John, Simon, Lawrence and Eddie) Marreros; ,t^e mother of the Barnes was JFT s I father's sister, and the mother of the Marreros was also the /' sister of JF's father. JF's father played guitar years ago, i n St. Bernard Parish; his occupation was mattress making, the same / as that of Emile Barnes. JFf3 oldest brother, Sam Prazier^ once was a drummer (lives at 1717 Forstall Street); Alec Frazier (died in 1949), another brother, was a piano player, who gave a start to pianist Dave Williams, and to a "cousin" of JF, Mitchel Frazier (youngest brother of JF's father). Dave WilliamsTs mother is a cousin of JF's mother. Williams was in the [Barnes-Marrero] Band of last year, which went to Cincinnati. His [Williams^s] mother*s father was JF^s fathers brother. His [Willlams^s grandfather?] was named Rosimore [spelling?] John Frazier. JFTs father had two brothers-Michel [Mitchel?] Frazier and John Frazier--and tw 0 sisters-Kafherine Frazier and Jeannette Frazier; Je annette was the mother of the Marreros. JF1s father was named Samson Frankli n Frazier; Rosimore John was oldest, Samson Franklin the second and Mlchel was the youngest of the brothers. Mitchel dl^d about ten years ago. A younger brother of JF, Simon Frazier, who li ves in the t 2500 block of Dumalne, also learned piano from Ales Frazi er.