Boston Book Fair, Nov. 2015
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Records to Consider
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. -
Honor, Courage, Commitment: Navy Recruitment Posters in World War II Shelby A
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2018 Honor, Courage, Commitment: Navy Recruitment Posters in World War II Shelby A. Georges Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Cultural History Commons, History of Gender Commons, Military History Commons, Political History Commons, and the United States History Commons Recommended Citation Georges, Shelby A., "Honor, Courage, Commitment: Navy Recruitment Posters in World War II" (2018). University Honors Program Theses. 322. https://digitalcommons.georgiasouthern.edu/honors-theses/322 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Honor, Courage, Commitment: Navy Recruitment Posters in World War II An Honors Thesis submitted in partial fulfillment of the requirements for Honors in History By Shelby Georges Under the mentorship of Dr. Craig Roell ABSTRACT Navy recruitment posters from World War II are an important piece of American culture. The iconic signage can be seen in antique stores and textbooks alike. However, these posters provide more than just bold imagery and vintage decor. By analyzing recruitment posters as if they were advertisements and placing them in the context of the time period, many facets of American identity can be understood, especially regarding race, gender, and patriotism. These posters, while they almost never stated the specific outlined duties of Naval careers or requirements for enlisting, advertised to readers under the premise that they understood the guidelines of who was allowed to enter the armed forces and a basic understanding of the war effort. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory. -
1 307A Muggsy Spanier and His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier and His V-Disk All Stars Shimmy Like My
1 307A Muggsy Spanier And His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier And His V-Disk All Stars Shimmy Like My Sister Kate 307B Charlie Barnett and His Orch. Redskin Rhumba (Cherokee) Summer 1944 307B Charlie Barnett and His Orch. Pompton Turnpike Sept. 11, 1944 1 308u Fats Waller & his Rhythm You're Feets Too Big 308u, Hines & his Orch. Jelly Jelly 308u Fats Waller & his Rhythm All That Meat and No Potatoes 1 309u Raymond Scott Tijuana 309u Stan Kenton & his Orch. And Her Tears Flowed Like Wine 309u Raymond Scott In A Magic Garden 1 311A Bob Crosby & his Bob Cars Summertime 311A Harry James And His Orch. Strictly Instrumental 311B Harry James And His Orch. Flight of the Bumble Bee 311B Bob Crosby & his Bob Cars Shortin Bread 1 312A Perry Como Benny Goodman & Orch. Goodbye Sue July-Aug. 1944 1 315u Duke Ellington And His Orch. Things Ain't What They Used To Be Nov. 9, 1943 315u Duke Ellington And His Orch. Ain't Misbehavin' Nov. 9,1943 1 316A kenbrovin kellette I'm forever blowing bubbles 316A martin blanc the trolley song 316B heyman green out of november 316B robin whiting louise 1 324A Red Norvo All Star Sextet Which Switch Is Witch Aug. 14, 1944 324A Red Norvo All Star Sextet When Dream Comes True Aug. 14, 1944 324B Eddie haywood & His Orchestra Begin the Beguine 324B Red Norvo All Star Sextet The bass on the barroom floor 1 325A eddy howard & his orchestra stormy weather 325B fisher roberts goodwin invitation to the blues 325B raye carter dePaul cow cow boogie 325B freddie slack & his orchestra ella mae morse 1 326B Kay Starr Charlie Barnett and His Orch. -
For Additional Information Contact the Archives Center at 202.633.3270 Or
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Tommy Irvine Jazz Collection SPC.2018.038
http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained. -
A Cultural Trade? Canadian Magazine Illustrators at Home And
A Cultural Trade? Canadian Magazine Illustrators at Home and in the United States, 1880-1960 A Dissertation Presented by Shannon Jaleen Grove to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor oF Philosophy in Art History and Criticism Stony Brook University May 2014 Copyright by Shannon Jaleen Grove 2014 Stony Brook University The Graduate School Shannon Jaleen Grove We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Michele H. Bogart – Dissertation Advisor Professor, Department of Art Barbara E. Frank - Chairperson of Defense Associate Professor, Department of Art Raiford Guins - Reader Associate Professor, Department of Cultural Analysis and Theory Brian Rusted - Reader Associate Professor, Department of Art / Department of Communication and Culture University of Calgary This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation A Cultural Trade? Canadian Magazine Illustrators at Home and in the United States, 1880-1960 by Shannon Jaleen Grove Doctor of Philosophy in Art History and Criticism Stony Brook University 2014 This dissertation analyzes nationalisms in the work of Canadian magazine illustrators in Toronto and New York, 1880 to 1960. Using a continentalist approach—rather than the nationalist lens often employed by historians of Canadian art—I show the existence of an integrated, joint North American visual culture. Drawing from primary sources and biography, I document the social, political, corporate, and communication networks that illustrators traded in. I focus on two common visual tropes of the day—that of the pretty girl and that of wilderness imagery. -
Prints, Drawings, and Photographs
MUSEUM OF FINE ARTS, BOSTON Annual Report Acquisitions July 2014–June 2015: Prints, Drawings, and Photographs Albums Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 2014.2255 Postcard album of stockyard and about 1910 Album with Gift of the Bressler family market scenes postcards 2. 2014.2256 Postcard album of Boston and about 1910 Album with Gift of the Bressler family New England scenes postcards Books and manuscripts Object No. Artist Title Culture/Date/Place Medium Credit Line 1. 2014.1156 Augustine Caldwell Old Ipswich in Verse Anonymous gift in honor of Bettina Arthur Wesley Dow (American, and Joe Gleason 1857–1922) 2. 2014.1157 China Painters' Blue Book Boston, Mass, 1897 Bound Book Anonymous gift in honor of Bettina and Joe Gleason 3. 2014.1169 Author: Hans Christian Andersen Favourite Fairy Tales about 1908 Illustrated book Gift of Meghan Melvin in honor of (Danish, 1805–1875) Maryon Wasilifsky Melvin Publisher: Blackie and Son, Ltd. Binding by: Talwin Morris (English, 1865–1911) Illustrated by: Helen Stratton (1867–1961) 4. 2014.1170 Author: Jonathan Swift (English, Gulliver's Travels Illustrated book Gift of Meghan Melvin in honor of 1667–1745) Maryon Wasilifsky Melvin Publisher: Blackie and Son, Ltd. Binding by: Talwin Morris (English, 1865–1911) Illustrated by: Gordon Browne (1858–1932) 5. 2014.1171 Author: Robert Michael Ballantyne Gascoyne The Sandal-Wood Illustrated book Gift of Meghan Melvin in honor of (Scottish, 1825 - 1894) Trader Maryon Wasilifsky Melvin Publisher: Blackie and Son, Ltd. Binding by: Talwin Morris (English, 1865–1911) Illustrated by: James F. Sloane Annual Report Acquisitions July 2014–June 2015: Prints, Drawings, and Photographs Page 2 of 303 Books and manuscripts Object No. -
Lionel Hampton
Lionel Hampton Background information Birth name Lionel Leo Hampton Also known as "Gates", "Hamp", "Mad Lionel" Born April 20, 1908 Louisville, Kentucky, United States Died August 31, 2002 (aged 94) New York City, New York, United States Genres Swing, Big band, Mainstream jazz, New York blues Occupation(s) Multi-instrumentalist, Actor, Composer Instruments Vibraphone, Drums. Piano, Vocals Years active 1927–2002 Labels Decca Associated acts Benny Goodman, Teddy Wilson, Quincy Jones, Louis Armstrong, Gloria Parker Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Hampton worked with jazz musicians from Louis Armstrong, Benny Goodman, and Buddy Rich to Charlie Parker, Charles Mingus, and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, and was awarded the National Medal of Arts in 1996. Biography Early life Lionel Hampton was born in Louisville, Kentucky, in 1908, and was raised by his grandmother. Shortly after he was born, he and his mother moved to her hometown Birmingham, Alabama. He spent his early childhood in Kenosha, Wisconsin, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off limits because of racial segregation. During the 1920s— while still a teenager—Hampton took xylophone lessons from Jimmy Bertrand and started playing drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago. Early career Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. -
Paperdoll Review Magazine Index
Paperdoll Review • PO Box 14, Kingfield, ME 04947 • https://paperdollreview.com 800-290-2928 • email: [email protected] Paperdoll Review Magazine Index By Tamara Gerard and Martha Raively This Index covers the issues of Paperdoll Review (PDR) from its first issue in 1992 to issue #80 in 2021. Starting with issue #79, the magazine merged with OPDAG’s Paper Doll Studio Magazine, adding an artist theme, represented by theme-related articles and paper dolls, and occasional artist features. Most back issues are sold out. Visit paperdollreview.com for back issues currently available for purchase. Some things you should know: The first 8 issues of Paperdoll Review were identified on their front covers by Season and Year, and some of them had a volume number. None of them had an issue number. Issues #9 - 21 all had an issue number as well as a volume number, and/or a season, and/or a year. By issue #22 each Review was identified on its cover by year and issue number only. In this index, for items in the first 8 unnumbered issues, we will use the number that would have been on the issue had numbers been assigned to them. As a result, you may need to refer to this listing: An issue is now labeled referred to this: as this: Winter 1992 1 Spring 1993 2 Summer 1993 3 Fall 1993 4 Winter 1993 5 Spring 1994 6 Summer 1994 7 Fall 1994 8 This index is divided into four sections. SECTION I: FEATURED ARTICLES SECTION II: COLUMNS SECTION III: FRONT COVER ARTISTS SECTION IV: PAPER DOLLS (full color pages including back covers) SECTION V: ARTIST THEME & DRESS-A-DOLL (begins with #79) These sections are further divided when and as needed to aid in location of material. -
Tommy Dorsey 1 9
TOMMY DORSEY 1 9 4 6 Prepared by: DENNIS M. SPRAGG CHRONOLOGY PART 1 - CHAPTER 12 Updated November 28, 2017 January 1946 INSIDE ORCHESTRAS – MUSIC “There has been considerable discussion in N. Y. about the reports of a fire at the Vogue Record Laboratories in Detroit, which is claimed to have destroyed masters of Art Mooney's first disks for that company. Apparently the feeling is that the first story was just an "out" for the company to evade promised release dates due to its inability to start production. Fire story, however, is on the level. Beside Mooney's masters, four sides by Charlie Shavers were destroyed. Shavers, trumpeter with Tommy Dorsey's band, had cut four jumpers with a small band.”1 TD – MCA SPAT LOOKS SETTLED “Tommy Dorsey's difficulties with Music Corp. of America, which led the leader several weeks ago to order MCA to stop booking his orchestra,, have been smoothed over. Dorsey and MCA execs had one or two meetings during the past week during which the differences were patched up. This was one dispute between the leader and MCA that was kept almost completely under cover. Its cause is still vague, although it is known that the friction was over money, not over the bookings. At any rate, Dorsey is again being submitted by the agency. He has nothing booked following the current Capitol theatre, N. Y. run and may go straight to the Coast after its completion. Incidentally, the, new contract between RCA Victor and Dorsey has been completed, It's a three-year deal, effective yesterday (Tues.) and replacing an old deal that still had more than a year to run.