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7. a Pdf-Book About Johnny Dodds
BY<3. E. LAMBERT 780.92 D6422L 66-08387 Lambert Johnny Dodds KINGS OF JAZZ Johnny Dodds BY G. E. LAMBERT A Perpetua Book A. 5. BARNES AND COMPANY, INC. NEW YORK <) CasseU & Co. Ltd. 1961 PERPETUA EDITION 1961 Printed in the United States of America CONTENTS PART PAGE 1 HIS LIFE 1 2 HIS RECORDINGS 18 3 HIS CONTRIBUTION TO JAZZ 65 SELECTED DISCOGRAPHY 79 6608387 HIS LIFE In the years when New Orleans was the premier centre of jazz that is from around 1900 to the closing of the Story- ville red light district in 1918 it was a city flooded with music. Every possible occasion picnics, advertising, trips on the Mississippi was provided with music; every place of diversion the bars, theatres, brothels and gambling joints had its musicians. Parades by the various organi- zations had their brass bands, which also played for the unique New Orleans funerals, and dance orchestras of all types were to be heard within the city limits. In the Creole and Negro districts there was scarcely a family who did not boast of several part-time musicians, and there were hundreds of skilled local professionals playing in the various parade bands, jazz bands, society bands and riverboat orchestras. To judge from the material collected by later historians, the doings of the favourite musicians of the city were looked upon with the same interest which 1 the mass of people today accord to sporting heroes and popular cinema or television personalities. There were trumpet players known for their vivacious playing and stamina on the long parades, and others who specialized in the dirges played on the way to and at the graveside; one trumpet player will be remembered for his volume and exuberance in the lower-class dance-halls, another for his unique ability and power of expression on the blues. -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
Albatros VPA 8473 "Big City Blues"
USA Folk & Blues / USA Folk & Blues / USA Folk & Blues / USA Folk & Blues BIG CITY BLUES a cura di / edited by ALESSANDRO ROFFENI Lato/Side A Lato/Side B 1. BURNED DOWN MILL 3. 11 1. ST O LE M Y M A N Bumble Bea Slim (Amos Easton), B L U E S 3. 26 voce/voice; piano; prob. Big Bill Martha Copeland, voca/voice; Phil Broonzy a Willie Bee Jamas o Worde, piano Charlie Jackson, chitarre/guitars Camden, N. J., 3. 11. 1927 Chicago, 20. X. 1934 2. B A D L U C K B L U E S 2. 57 2. GOOD MORNING, SCHOOL Cousin Joe, voce/voice; Sam Price, G IR L 3. 01 piano; Danny Barker, chitarra/ Sonny Boy Williamson, voca/voice guitar; Pops Foster, contrabbasso/ a armonica; Joe Williams, chitarra/ bass; Kenny Clarke, batteria/drums guitar; Robert Lee M cCoy (“Night- New York, 16. VII. 1947 hawk"), chitarra/guitar Aurora, III,, 5. V. 1937 3. I D ID E V E R Y T H IN G I C O U L D 3. 14 3. LET YOUR LINEN HANG Walter Davis, voce/voice e piano; LOW 3. 17 Yank Rachel, mandolino Rosetta Howard, voce/voice; the Aurora, III., 13. 111. 1938 Harlem Hamfats: Herb Morand, tromba/trumpet; Odell Rand, 4. M R. JO H N SO N SW ING 2. 42 clarinetto; Horace Malcolm, Lonnie Johnson, voce/voica a piano; Joe McCoy, chitarra/guitar; chitarra/guitar; Roosevelt Sykes, Charlie McCoy, voce/voice, chitar piano; contrabbasso/basa; batteria/ ra/guitar e/o mandolino; contrab- drums basso/bass; Fred Flynn, batteria/ New York, 31. -
Mss 520 the William Russell Photographic Collection 1899-1992 Ca
Mss 520 The William Russell Photographic Collection 1899-1992 Ca. 6200 items Scope and Content Note: The William Russell Photographic Collection spans almost a century of jazz history, from Buddy Bolden’s band to the George Lewis Trio to the New Orleans Ragtime Orchestra. It is also a valuable resource in other areas of New Orleans cultural history. It includes photographs, both ones Russell took and those taken by others. Russell was interested in a complete documentation of jazz and the world it grew out of. He collected early photographs of some of the first performers of what became jazz, such as Emile Lacoume’s Spasm Band, and took photographs (or asked others to do so) of performers he met between 1939 and his death in 1992. These photographs show the musicians performing at Preservation Hall or in concert, marching in parades or jazz funerals, and at home with family and pets. He was also interested in jazz landmarks, and kept lists of places he wanted to photograph, the dance halls, nightclubs and other venues where jazz was first performed, the homes of early jazz musicians such as Buddy Bolden, and other places associated with the musicians, such as the site of New Orleans University, an African-American school which Bunk Johnson claimed as his alma mater. He took his own photographs of these places, and lent the lists to visiting jazz fans, who gave him copies of the photographs they took. Many of these locations, particularly those in Storyville, have since been torn down or altered. After Economy Hall was badly damaged in hurricane Betsy and San Jacinto Hall in a fire, Russell went back and photographed the ruins. -
50! See Page 11
Nomination Meeting: Officer Elections: Installation Meeting: October 2013 Tuesday, October 1st, 2013 Sunday, November 10th, 2013 Tuesday, December 10th, 2013 Vol. 73 No. 9 @1:00 pm 12:00 Noon to 6:00 pm @ 1:00 pm * Due to the Election, there is NO November Membership Meeting 50! See Page 11 Local 10-208 of AFM AFL-CIO CHICAGO FEDERATION OF MUSICIANS OFFICERS – DELEGATES 2011-2013 Absentee Ballot Request Gary Matts President Terryl Jares Vice-President Spencer Aloisio Secretary-Treasurer To: Prof. Paul Grant, Election Chairman CHICAGO FEDERATION OF MUSICIANS BOARD OF DIRECTORS Chicago Federation of Musicians, Local 10-208 Robert Bauchens Bob Lizik LOCAL NO. 10-208, A.F. of M. Rich Daniels Janice MacDonald P.O. Box 481024 Frank Donaldson Leo Murphy Niles, IL 60714 B.J. Levy ELECTION OF CONTRACT DEPARTMENT Terryl Jares – Vice-President Dear Sir: OFFICERS AND DELEGATES Nancy Van Aacken ASSISTANTS TO THE PRESIDENT - JURISDICTIONS I, ___________________________, hereby request an Absentee Ballot TO BE HELD ON Terryl Jares - Vice-President Supervisor - Entire jurisdiction including theaters for the Local 10-208 election to be held on November 10, 2013. Sunday, November 10, 2013 (Cell Phone: 312-310-4100) Dean Rolando Recordings, Transcriptions, Local 10-208 Account Number _____________________________ 12:00 Noon – 6:00 PM Documentaries, Etc. (Cell Phone: 708-380-6219) At Union Headquarters DELEGATES TO CONVENTIONS OF THE ILLINOIS STATE FEDERATION OF LABOR 656 W. Randolph, Suite 2W AND CONGRESS OF INDUSTRIAL ___________________________________________________________ -
The Music of the French Creoles of Louisiana and Their Contribution to the Development of Early Jazz at the Turn of the Twentieth Century
Jazz À La Creole: The Music of the French Creoles of Louisiana and their Contribution to the Development of Early Jazz at the Turn of the Twentieth Century by Caroline Vézina A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © Caroline Vézina August 11, 2014 ABSTRACT As a result of its unique colonial history, Louisiana was characterized by a three- tiered society in which the Creoles formed a middle-class that distinguished itself by its attachment to the French culture and language, and to the Catholic Church. Using creolization as a model to describe the process of cultural interchange leading to the creation of new cultural products, this thesis documents the contribution of the Creoles to the development of early jazz. Already in the nineteenth century, Creole musicians played and/or sang classical, military and dance music as well as popular songs and cantiques that incorporated African, European and Caribbean elements. When jazz emerged (1890-1917), they continued to play a significant role as teachers, bandleaders, instrumentalists, singers, and composers. Their most original contribution were the Creole songs, regularly performed during the formative years of jazz but recorded only during the early jazz revival of the 1940s and 1950s. ii ACKNOWLEDGEMENTS I want to thank Dr. Matt Sakakeeny for inviting me to Tulane University to audit his seminar on New Orleans Music and Musicians, and Dr. Daniel Sharp who also kindly accepted me in his seminar on Music, Tourism and Heritage during the Spring semester of 2014. -
Guide to the John Steiner Collection 1860-2001
University of Chicago Library Guide to the John Steiner Collection 1860-2001 © 2009 University of Chicago Library Table of Contents Acknowledgments 4 Descriptive Summary 4 Information on Use 4 Access 4 Citation 4 Biographical Note 4 Scope Note 7 Related Resources 9 Subject Headings 9 INVENTORY 10 Series I: Personal and Professional 10 Subseries 1: Personal 10 Subseries 2: Professional 12 Subseries 3: Travel 21 Series II: Correspondence 23 Series III: Record Industry and Collecting 43 Subseries 1: Paramount and S/D Records 44 Subseries 2: Record Companies and Catalogs 53 Subseries 3: Recording Equipment and Technology 92 Subseries 4: Album Labels 99 Subseries 5: Album Covers and Record Books 112 Series IV: Musicians and People 118 Subseries 1: Paramount Records Musicians and People 118 Subseries 2: Musicians and People 128 Series V: Clubs, Events and Ephemera 330 Subseries 1: Chicago 331 Subseries 2: Chicago Defender and Chicago Whip 361 Subseries 3: Non-Chicago 361 Subseries 4: Posters 367 Series VI: Photographs 369 Subseries 1: Musicians and People 369 Subseries 2: Locations and Subjects 409 Subseries 3: Slides, Negatives, and Oversize Prints 420 Subseries 4: Scrapbooks 422 Series VII: Subject Files 423 Series VIII: Printed Music 451 Subseries 1: Sheet Music 452 Subseries 2: Song Books 606 Subseries 3: Stock Arrangements 629 Subseries 4: Newspaper Music 640 Subseries 5: Articles and Research 642 Series IX: Publications 647 Subseries 1: Publications 647 Subseries 2: Oversize Publications 686 Series X: Artifacts 699 Series XI: Audio-Visual 702 Series XII: Oversize 703 Descriptive Summary Identifier ICU.SPCL.STEINERJ Title Steiner, John. Collection Date 1860-2001 Size 331.25 linear feet (471 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. -
Tulane University Digital Library
I THE JAZZ ARCHIVIST - f- EWSLETTER OF THE WILLIAM RANSOM HOGAN JAZZARCHIVE Vol. /fl, Nos 1·2, 1988 ...J/ �( � Of Ear, Heart And Arm Eddie Edwards with the Original Dixieland Jazz Band in 1917 from the LaRocca collection A Tale of the Slide Trombone in Early Jazz Appreciating Jazz Discography Once while I was rehearsing with a traditional jazz Though far from a household word, "discography" is band as trombonist, a spectator pianist approached me heard on a daily basis at the Hogan Jazz Archive , and with some good advice. He said, "Stay away from the for good reason. Rarely is an exhibit mounted, an third of the chord, especially in the lower register. You article written, or a project see, you are interfering with the clarinet part. Play more undertaken without some staff root and fifth." At first I was incensed at being told how member consulting a discography to play, but since my confronter was a fine musician to check a date, a personnel whom I respected, I chose to reflect on his advice. Until listing, or a label release number. the time of this confrontation, I was fairly arrogant about Some ongoing sponsored my "tailgate" trombone playing. I knew most of the projects, like the indexing of the traditional jazz repertoire and was confident on my Tulane Jazz Listening Library, instrument. I did have an annoying habit of dipping Into are primarily discographical in the roles of other instruments when I felt that those nature, requiring specific particular parts were not being fulfilled. I was actually information on band personnel, Photo courtesy or B. -
New World Records
New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org Let’s Get Loose: Folk and Popular Blues Styles from the Beginnings to the Early 1940s New World NW 290 lues began to be sung in the eighteen- Kentucky, and Maryland, and in the western Bnineties. By the nineteen-twenties they had states, where blacks were a fairly small minority, become the dominant folk- and popular-song and where there was a certain amount of social form among American blacks and had exerted mobility, ragtime became popular among the enormous influence on white popular and folk black working class in the cities and towns. music.At the time of their earliest development, Drawing about equally on black and white folk blues were part of an extraordinary ferment tak- and popular styles, ragtime quickly spread into ing place in black cultural circles. By the nineties the cities of the North and Deep South and a new generation had grown to maturity, born developed various folk offshoots.A kind of vocal out of slavery but still struggling to obtain the ragtime developed among quartets that got freedom and to chart the direction of their cul- together at barber shops and at social gatherings. ture in America. Some of the more fortunate Quartets also sang spirituals, reinjecting some of members of this generation graduated from the the syncopation, antiphonal style, and dis- many newly established black colleges and tinctively black approach to harmonizing that entered professions such as the ministry,the law, had been removed from these songs in the business, medicine, and education. -
Iii B. the Jazz Component: the World of Jazz
III B. THE JAZZ COMPONENT: THE WORLD OF JAZZ Although this introduction to the world of jazz includes music and styles and artists covering the entire spectrum of jazz’s first century, it is such a complex and arbitrary process to sort through the material to set it into different “periods” - especially since so many of the greatest jazz performers, like Louis Armstrong, had careers that spanned several decades - that the listing follows the usual custom of most jazz encyclopedias and lexicons which list the artists alphabetically, with dates of recording as a guide to listeners approaching jazz for the first time. An exception has been made for jazz of our own period, which is so distinct and with so many concepts of jazz performance which set it apart from the earlier traditions, that it is listed separately. Listeners should also turn to the Fantasy Collection, with its unparalleled gathering of jazz of the 1950s and 1960s, as well as Latin jazz, and the selection of the new jazz styles in the Jazz Component. Extensive collections documenting the careers of Louis Armstrong, Bix Beiderbecke, Duke Ellington, Billie Holiday, and Jelly Roll Morton are listed separately. CANNONBALL ADDERLEY Spontaneous Combustion - The Savoy Sessions Dodd LPs 998a & 998b with Nat Adderley, Donald Byrd, Horace Silver, Kenny Clarke, Jerome Richardson, and Paul Chambers, 1955 HENRY “RED” ALLEN The Henry Allen Collection Dodd CD 1735 Volume 3 from a complete collection of early Allen recordings, 1935-1936. SVEND ASMUSSEN & STEPHANE GRAPPELLI Two of a Kind Dodd LP 999 duets recorded in Copenhagen, 1965. B SHARP JAZZ QUARTET Dodd CD 1736 Los Angeles based new jazz, 1994. -
Those Other New Orleans Musicians Biodiscographies
THOSE OTHER NEW ORLEANS MUSICIANS BIODISCOGRAPHIES This is a look at some New Orleans musicians (ie musicians born in or near New Orleans or who moved to New Orleans at an early age and “learnt their trade” in New Orleans) who, in the opinion of the writers, have received less attention than they merit in recent years or whose recording careers are obscure. Our choice of musicians is open-ended. If we feel that a musician merits more attention than he or she has hitherto received we will try to put that right by including him or her in our list. We are already working on a number of other musicians who will appear on the list at intervals including a group of piano players. Our aim is to make these players more accessible by listing all their recordings whether or not they were issued. Unissued sessions have a habit of turning up years after the event so, with one or two exceptions, should never be written off. George Buck has acquired a number of catalogues and is gradually issuing previously unissued sessions or sessions unavailable for a long time from the likes of Southland. We eagerly await his future offerings. Some musicians on our list are still being researched by a number of musical scholars (and ourselves!) so we do not claim that this is the last word in many cases. We regard this as a co-operative venture which embraces all those with a love of New Orleans music and we welcome corrections/additions to the information presented and suggestions as to musicians that might be added to the list. -
I I I I I I I R I I ! -·
I /)·2 F/le: !lew Orleans a~ ' Jazz_ NlfP I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT 1: Curtis Dale Jerde I Principal Investigator I ·' Submit ted by Earth Search, Inc • P.O. Box 850319 I: New Orleans, LA 70185-0319 • April 16, 1990 I! In Partial Fulfillment of PX 75 30-9-0275 1: Submit ted to Jean Lafitte National Historical Park and Preserve I' 423 Canal Streett Room 210 New Orleans, LA 70130-2341 I, I I I r B&WScans I IZ -/0 .zoo0 I .,-· I I A BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS I IN NEW ORLEANS, PAST AND PRESENT I Curtis Dale Jerde Principal Investigator I I I Submitted by Earth Search, Inc . P.O. Box 850319 I New Orleans, LA 70185-0319 • April 16, 1990 In Partial Fulfillment of I PX7530-9-0275 I Submitted to Jean Lafitte National Historical Park and Preserve I 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I I I rI I BIOGRAPHICAL LISTING OF SELECTED MAJOR JAZZ/BLUES ARTISTS IN NEW ORLEANS, PAST AND PRESENT Curtis Dale Jerde Principal Investigator Submitted by Earth Search, Inc. P. 0. Box 850319 New Orleans, LA 70185-0319 April 16, 1990 In Partial Fulfillment of PX7530-9-0275 Submit ted to Jean Lafitte National Historical Park and Preserve 423 Canal Street, Room 210 New Orleans, LA 70130-2341 I ACKNOWLEDGEMENTS Much of the material contained in this volume is derived directly I from original sources, particularly those held by the William ' Ransom Hogan Jazz Archive of the Howard-Tilton Memorial Library, Tulane University.