Acdsee Proprint

Total Page:16

File Type:pdf, Size:1020Kb

Acdsee Proprint BULK RATE ALL THE NEWS U.S. POSTACE THAT'S FIT PAID TO PITCH Permit Nt. 2419 " K.C., Mo. • Jazz when 'I was a kid hustling papers, I was downtown at the Newman Ce ter, where the 12th and Main Ci Square is now. Ella came into town with Chick Webb's band--wha a drummer, what a band. Ella was doing "A Tisket A Tasket." I had to get in ~ine and in those days the line was clear around the block, if you can imagine that. her toes. She'd stand up on her Andy Ki:~'k s All these people were waiting to toes and sing all. the tit!le and band at a place called the Van~ty get in. The Newman didn't seat need a swingin' live,able city, shuf fle around. She did a grea t Club at 1313 Walnut. Upstairs it that many people. Here I was, just a liveable ci~y. The, number, "Ace in the Hole." It's a was bootleg days. The man at the selling papers for a l'iving and reason we don't have l~ve mus~c hell of a number. Anything she door had to know you before you sneaked up to somebody about is because people don't get out sang was great. could get in~ Tootie Lusco owned fifth in the row and gave them till 10 or 11 0 'clock at night. the place. He had the first re- extra dolla,r to let me in line. You got to run them out at 1. How ON MARY LOU WILLIAMS volving bandstand I had ever seen. It only cost fifty-cents to go Mary Lou was sitting up there and and hear Chick Webb's band in the hell are you going to pay Mary Lou Williams was with Andy. a band? If you can run till playing for Pha Therrel, who was Kirk' for years. She was a sweet a singer she had discovered. They 3 0' clock the musicians that are person who adopted the band. still alive would love to play called the, band the Twelve Clouds Everybody 'needed her •. She was a and the town would swing again. of JOY. Mary Lou got such a kick We've got young musicians growing mother to them. And she was out of it. Pha Therrel' s favorite younger than all of them. In this up all the time. Good ones. They number was "Trees." I was a wai t­ leave because there's nothing band, Mary Lou was one of the few er in the place at that time. We here for them. All the good mu­ people who cquld read music. She had to go around and put coctail sicians that are staying here knew what she was doing. She knew napkins in the champagne glasses have a day gig so they can make how to talk to them. Everybody because the glasses would col­ it. It can swing again and I'm had to reach to her to read music. lapse when Mary Lou Williams a,nd going to make it swing the next· She'd hum a few- bars so the rest Pha Therrel performed that num­ time I'm elected governor. of the musicians could pick up on ber. Everytime I see Ella On the what was supposed to- happen. She commercial with the glasses ON ANITA O'DAY kept the band together and helped crackin' I think of when it ac­ any musician at any time she tually happened with Mary Lou and tippy-toes. When could. She was that beautiful of Pha. she was always on a person. She was el se • KANU 92FM .-. • a sound investment. For thirty years KANU has brought the best jazz sounds, finest classical and bluegrass music, and in-depth news and public affairs to our \ community. In yea~ past, your.ftnancial.support has truly provided the "margin o~ excellence" in the fine programming that has made 92 PM one of the best ptJbIk radio services available anywhere .. This year, $35,000 beginning in October. Without your !1elp in reaching our campaign goaf of $40,000, some of the ~rvices you've depended on 92 FM for could be threatened. Won't you give our Campaign fdr Excellence a carl this week and pledge your support? It's a sound investment in the future of your public radio station I Pledge your support to the KANU Campaign for Excellence Feb. 27 -Mar. 61 (913) 864-5100 KANu92 FM(' THE PITCH PAGE 3 scon O'KELLEY, ..... '.'. 'I I •• I" '. '.".".'. 'I" '''1 ~ LESTER BOWIE ••••••••••••,.~ •• ,••• '.'••• ". CLUB LIST I NGS •••• '•••••••••• '•• 'I '. ' ••' • '.' • LISA RAIN CONCERT CALENDAR •••••• ' •••• '•••• '•• '.".'. '. Editorial,ldmiaistratar LOWDOWN BLUES W/~EDMOND •••• ••• • • • • •• ~ Dear Mr. Chance: GOODBYE LIGHTNIN ••• H.,••••• ' •••••• ' •• Thanks for sending the copies of your paper. We'd be delighted to have you re­ ~2~~~~Lcg~N~~~~~::::::::::::::::::: : print the piece by Count Basie which ap­ REGGAE W/DUCK MCCLAIN. i ••••••••••••• ~ peared in our Jazz Yearbook, provided that METAL •••••••• ! ••••••••••• '. ' •••••••••• permission is al so obtained from Mr. Basie. OFFCENTER W/PENNY CILLAN •••••••••••• We recently -started a music section MAD FEET: DEFUNKT & PERE UBU •••••••• which appears quarterly in the magazine, BOBBY MITCHELL ••••••••••••••• '••••• "i appropriately entitled Quarter Notes. If ARBITRON RADIO LISTINGS ••••••••••••• ~ there I s anyplace :1.n your newspaper where FOOL S FACE •••••••••••• I •••••••••••• it can be easily done, you might suggest JOAN ARMATRADING ..................... that your readers pick up our current is­ DONNA TRUSSELL. ! •••••••••••••••••••• sue. We can always use more readers in CHARLIE AT THE MOVIES". "" "" "" 5 the Mid-West! LES BLANC ••••••••• : ••••••• '•••••• ' •••• 25 I'd appreciate receiving a copy of the PUBLISHER .•.....•• Hal Brody HAROLD TEEN COMI:t ••••••••••••••••••• 26 issue in which the Basie article appears. LAURA COMIX & HOLLY OF HOLLYWOOD •••' .2~ Thanks for your interest in using it. EDITOR ..... '•..•.•. Charles Chance, Jr. MUSSO COMIX •••••• 1'1 ••• , ••••••••••••• 2 . ASSISTING .....•••• Rev. Dwight Frizzell FREE UNCLASSIFIEDS, ••••••••••••••••• 2 All best, Lisa Bain, New York, New York Jay Mandeville Dear Lisa: We spoke wi th the Count's friend and Advertising Director •.••.•• Bob McConnell representative in KC, Milton Morris, about Promotion Manager the article and he said that Basie would ••••••• Marc Olson love having it reprinted. Your enthusiasm Ad Production •.••• Phil Bourne and helpfulness is appreciated and we hope Typing and creative Input that you enjoy this ish. ••••• Rosie Scri vo LETTER~':» ","'\ • Dear Babo (c/o the PITCIi) , Entertainment Consultant ',r;..:/. >.::.' .....:---; •••.• Dino Chance ANSWERS TO TREKKIE QUIZ THE PITCH ENCOURAGES READERS-iO'tON­ TRIBUTE--:'LETTERS.I ARTICLES" POETRY AND ART. YOUR ENTRIES MAY BE PRINTED. ORIGINALS 1. CONTRIBUTORS: 2. Nee 1701 j Diak Wright, count Basie, Chad Musso, WILL NOT BE RETURNED. SEND TO: 3. INJURED CAPTAIN PIKE Chris Hall Milton Morris, Donna Trussell, CHARLES CHANCL SR. David L. Pearl, Rosie Sarivo, Bob MaCon­ SEAN KENNEY 4128 BROADWA YOUNG CAPTAIN PIKE neU, Rev. DbJight Frizzell, Hal Brody, JEFFREY HUNTER ! 64111 Jay MandeviHe; Dino Chanoe, Mbembe Mit­ K.C. MO CAPTAIN-CHRISTOPHER PIKE ton Smith, Brian co"tgan, eharlie Wrobble, ~/Y~ 4. JANE WYATT Soott a 'Kelley, sheryl Neirnberger, Dear Pitchers, Tfi£.(l<2W~ 5. GALILEO Charlie, Joan Armatrading, WiUie Irie, Since I moved from Lawrence' a ways back, 6. SPOCK IS HIS FULL steve "Duak" MaClain, Sid Musso, Cindy I haven't been able to keep up on music NAME Aasby,Phil, Bourne, John lItf,:ntie:;',tm1.Oc like I liad when your paper was readily 7. tI. S. S. DEFIANT Olson, Unkel. Bob Mossman, Rodney Franks, available. St. Louis, alas, has nothing (NeC 1764) John Redmond, Saul Tuoker, Penny Cil lan, nearly as informative and avant. Please 8. U. S.S. EXCALIBUR Vioki Atkins ' send me the damn thing. -- (NCC 1664) 9. U. S. S. INTREPID Will Firns (NCC 1631> Mo. INSPIRATION; **************************** HOWARD DRAKE ** Dear Mr. Chance, Picked up Nov. & Dec. issues of PENNY all of your mail. Babo was PITCH at PennyLane in early December. I entry and he promises was impressed •.• particularly with jazz to b~ t~,<;>.!;.-~fe II t"r, ing Dear PITCH: mailing list. COUNT BASIE •••••••••••••••••••• '•••••• Happy Saturday. Jah love to K.C. Sally DICK WRIGHT •••••••••••••••••••••••• ,.! Iiope to be able to stop in during says that the walk along the pier of life OLE UNKEL BOB ••••••••••••• ,."".,.".".",,,.,.,.',~.. Women's Jazz Festival Week. is most awesome. Ever watched a ship come MONK •••••••••••••••'.'. """1' , ,: in? Incredible. Rolling & Rocking along Best ox '!u<;:k, John Weber Jr., Omaha, NE I'd just like to say Willi Irie writes quite hip reggae reviews and keeps ll).y friend Marla intormed even tho the seas are high. Rub-a-dub on Davey Dread's head! ···a"tI m Yah man. Taking reggae with you every OSOD@ Get where will eventually make you feel like h you have landed in ;'Jah land yourself and IT'S VERY SIMPLE ••• you don't have to have a nappy head (thank you Mary LOU) to be a rasti! Back to Willi GEORGE SELLS 10.1000 RECORDS --a most informative dread on music (reg­ gae of course). I've learned new groups &. AND TAPES OR HE GETS SNUFFED. styles & the correlation between it all. "Almost heaven, West Jamaica." "Almost --THE BOSS Hoine." Being plugged in--to a tape made by our own R. Cheeks w/assistance from the Conn boys--and moving to reggae beats at george anderson the moment makes it quite hard to concen­ trate on the words I'm feeling • But you & Employee of the Month I & I & you know what I mean. Reggae music should become a universal word of love, that involves politics & religious philo­ We buy and se II quall ty sophies & just how funked the world is, used albums~ 45's.I 78's America needs Jamaica as a friend.
Recommended publications
  • Hedenstromspr11.Pdf (1.367Mb)
    Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938:
    [Show full text]
  • Guide to the Bill Holman Collection
    Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 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 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date:
    [Show full text]
  • Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
    Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L.
    [Show full text]
  • A Strayhorn Centennial Salute NJJS Presents an Afternoon of Billy Strayhorn’S Music at Morristown’S Mayo PAC See Page 26
    Volume 43 • Issue 7 July/August 2015 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Michael Hashim leads the Billy Strayhorn Orchestra at the Mayo Performing Arts Center in Morristown on June 14. Photo by Mitchell Seidel. A Strayhorn Centennial Salute NJJS presents an afternoon of Billy Strayhorn’s music at Morristown’s Mayo PAC See page 26. New JerseyJazzSociety in this issue: New JerSey JAzz SocIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 Mail Box. 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info .......6 Crow’s Nest. 46 By Mike Katz President, NJJS Change of Address/Support NJJS/ Volunteer/Join NJJS. 47 NJJS/Pee Wee T-shirts. 48 hope that everyone who is reading this is July 31. It will also be a first for us, as Jackie New/Renewed Members ............48 I having a great summer so far and/or has made Wetcher and I will be spending a couple of days StorIeS plans for their upcoming summer vacation. I also there. Billy Strayhorn Tribute ...........cover hope that those plans include the Morristown Jazz At six o’clock, the music turns to the blues with Big Band in the Sky ..................8 and Blues Festival, which will be taking place on the always entertaining Roomful of Blues followed Talking Jazz: Roseanna Vitro. 12 Saturday, August 15 on the Morristown Green. Noteworthy ......................24 by the legendary blues hall of fame harmonica President Emeritus Writes ...........28 The festival is returning for the fifth season and player Charlie Musselwhite and his all-star band 92nd St.
    [Show full text]
  • The Descending Diminished 7Ths in the Brass in the Intro
    VCFA TALK ON ELLINGTON COMPOSITION TECHNIQUES FEB.2017 A.JAFFE 1.) Clarinet Lament [1936] (New Orleans references) https://www.youtube.com/watch?v=FS92-mCewJ4 (3:14) Compositional Techniques: ABC ‘dialectical’ Sonata/Allegro type of form; where C = elements of A + B combined; Diminution (the way in which the “Basin St. Blues” chord progression is presented in shorter rhythmic values each time it appears); play chord progression Quoting with a purpose (aka ‘signifying’ – see also Henry Louis Gates) 2.) Lightnin’ [1932] (‘Chorus’ form); reliance on distinctively individual voices (like “Tricky Sam” Nanton on trombone) – importance of the compositional uses of such voices who were acquired by Duke by accretion were an important element of his ‘sonic signature’ – the opposite of classical music where sonic conformity in sound is more the rule in choosing players for ensembles. https://www.youtube.com/watch?v=3XlcWbmQYmA (3:07) Techniques: It’s all about the minor third (see also discussion of “Tone Parallel to Harlem”) Motivic Development (in this case the minor 3rd; both harmonically and melodically pervasive) The descending diminished 7ths in the Brass in the Intro: The ascending minor third motif of the theme: The extended (“b9”) background harmony in the Saxophones, reiterating the diminished 7th chord from the introduction: Harmonic AND melodic implications of the motif Early use of the octatonic scale (implied at the modulation -- @ 2:29): Delay of resolution to the tonic chord until ms. 31 of 32 bar form (prefigures Monk, “Ask Me Now”, among others, but decades earlier). 3.) KoKo [1940]; A tour de force of motivic development, in this case rhythmic; speculated to be related to Beethoven’s 5th (Rattenbury, p.
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • How Singers Fall in Love with Songs
    This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » February 17, 2002 How Singers Fall in Love With Songs By BARRY SINGER WHEN Patti LuPone appears at Carnegie Hall on Feb. 28, she won't be singing only her greatest hits. Mostly she'll be singing her greatest regrets. For the concert, Ms. LuPone has put together a one- woman revue that she calls ''Coulda, Woulda, Shoulda,'' songs she never sang on Broadway -- but wishes she had. This conceit raises a fundamental, if rarely asked, question: How do singers choose their songs? For Ms. LuPone the answer is sharply contrarian. ''I was always drawn to songs written for the second- banana female character or even the male lead; not Maria's songs in 'West Side Story,' but Anita's; not Marion the Librarian's songs from 'Music Man,' but Harold Hill's 'Trouble.' Why? Because those are the songs with guts. The female leads always get the romantic melodies. But their songs are just too passive for me.'' Ms. LuPone's unexpected take on song selection is only one answer among many. Ask other good singers to think aloud about this issue and many surprises emerge. ''To choose a song, I always start with the lyrics,'' Ray Charles said in a recent interview. ''The lyrics must capture my attention.
    [Show full text]
  • Ed Bickert Bye Bye Baby Mp3, Flac, Wma
    Ed Bickert Bye Bye Baby mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bye Bye Baby Country: Canada Released: 1984 Style: Swing, Contemporary Jazz MP3 version RAR size: 1223 mb FLAC version RAR size: 1737 mb WMA version RAR size: 1894 mb Rating: 4.2 Votes: 516 Other Formats: APE WAV VOX VOC ADX DTS MOD Tracklist Hide Credits You’re In Love With Someone A1 4:23 Written-By – James Van Heusen*, Johnny Burke Bye Bye Baby A2 3:40 Written-By – Jule Styne, Leo Robin Barbados A3 4:10 Written-By – Charlie Parker It’s Time A4 4:02 Written-By – Horace Silver Nobody Else But Me A5 4:57 Written-By – Jerome Kern, Oscar Hammerstein* Things Are Getting Better B1 4:33 Written-By – Cannonball Adderley A Flower Is A Lonesome Thing B2 5:31 Written-By – Billy Strayhorn Pensativa B3 4:44 Written-By – Clare Fischer Keeping Myself For You B4 6:13 Written-By – Sidney Clare, Vincent Youmans Companies, etc. Phonographic Copyright (p) – Concord Jazz, Inc. Recorded At – Coast Recorders Remixed At – PER Credits Art Direction – Dick Hendler Bass – Steve Wallace Drums – Jake Hanna Engineer [Recording & Remix Engineer] – Phil Edwards Liner Notes – Ira Gitler Mastered By – George Horn Photography By [Cover Photo] – William G. Davey Piano – Dave McKenna Producer – Carl E. Jefferson Recorded By – Phil Edwards Other versions Category Artist Title (Format) Label Category Country Year CJ-232 Ed Bickert Bye Bye Baby (LP, Album) Concord Jazz CJ-232 US 1984 Related Music albums to Bye Bye Baby by Ed Bickert Al Cohn, Scott Hamilton, Buddy Tate, Cal Collins, Jake Hanna, Bob Maize, Dave McKenna - Tour De Force Nat Adderley - Introducing Nat Adderley Rosemary Clooney - With Love Johnny Dankworth / Billy Strayhorn - Johnny Dankworth / Billy Strayhorn The Dave Brubeck Quartet - Paper Moon Julian "Cannonball" Adderley With Horace Silver, Paul Chambers , Donald Byrd, Nat Adderley, Jerome Richardson, Kenny Clarke - Bohemia After Dark Julian "Cannonball" Adderley - Julian "Cannonball" Adderley Barney Kessel - Soaring.
    [Show full text]
  • 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.
    [Show full text]
  • JUDI SILVANO Vocalist, Composer, Lyricist
    Website: judisilvano.com Booking: [email protected] Email: [email protected] Tel: 914 213-2992 JUDI SILVANO Vocalist, Composer, Lyricist JUDI SILVANO’S WOMEN’S WORK By Lynn Jordan, March 2009 Judi Silvano is a traditional Jazz singer, whose release “Woman’s Work” showcases her bright voice against a simple backdrop of piano, drums and bass in an intimate live performance. Rosemary Clooney, Peggy Lee with a pinch of Ella Fitzgerald are good points of reference for her vocal style. Silvano is not afraid to be playful and light on such songs as “Not To Worry” and “New Dance” where she scats convincingly, and she can also handle a song with more depth such as “Inside A Silent Tear” and the lovely “Why Do I Still Dream of You”, which is the standout track and her best vocal performance. The backing band’s musicianship is excellent, and they exercise restraint where other musicians may have gone overboard with solos. This CD is pleasant listen, and perfect for those who can appreciate a singer with a clean, unfussy voice that is not afraid to take some chances for her craft. Judi Silvano: Women’s Work - 4 STARS DOWN BEAT MAGAZINE Caught live at New York’s Sweet Rhythm in March 2006, JSilvano gives a masterful performance. The album title nods not only to the bold, vibrant all-female ensemble, but to the repertoire, which was penned exclusively by women. Far more than a concept album, Women’s Work finds the singer at the peak of her creative game. Silvano displays a firm knowledge of jazz history and vocal technique, subtly coloring the songs with a well-placed shere, a cheery squeak there.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents.
    [Show full text]
  • Concert: Ithaca College Jazz Workshop Ithaca College Jazz Workshop
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-6-1991 Concert: Ithaca College Jazz Workshop Ithaca College Jazz Workshop Steve Brown Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Jazz Workshop and Brown, Steve, "Concert: Ithaca College Jazz Workshop" (1991). All Concert & Recital Programs. 5453. https://digitalcommons.ithaca.edu/music_programs/5453 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. >- C .. N .2 ::s 0) .. ..C 0) 1! ...I .Q N ITHAO\ CONSERVATORY ut MUSIC.,.,. la aca 0) CIO =lo" - '- a 0 ... Ithaca College founder W. Grant Egbert on the steps of the Ithaca Conservatory of Music with student Helen Doyle Durrett · 13 Early catalog cover design ITHACA COLLEGE JAZZ WORKSHOP Tuesday-Thursday Jazz Lab Steve Brown, Musical Director Phil Markowitz, Guest Piano Soloist Carol Kagy, Vocalist Blues In Hoss Flat Frank Foster With My Eyes Closed Ray Brown Life With Thilo Bob Mintzer Prelude, Fugue, and Riffs Leonard Bernstein Everytime We Say Goodbye Cole Porter arranged by Steve Brown City Medley Ray Brown INTERMISSION The Lamp Is Low Parish/DeRose/Shefter arranged by Steve Brown Circular Motion Phil Markowitz Summer Night Dubin/Warren arranged by Steve Brown Paul's Call Bob Mintzer Cherokee Sketches FritzPauer arranged by Ray Brown Walter B. Ford Hall Auditorium Friday, December 6, 1991 8:15 p.m.
    [Show full text]