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Love, Oh Love, Oh Careless Love
Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr. -
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. -
Wavelength (February 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido scope of the gaud y, raucous, erotic and exotic Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost. -
2008 Irvin Mayfield NOJO Sig
THE SECREST AR T ISTS SERIES PRESENTS IRVI N MAYFIELD & T HE NOJO "NEW ORLEA NS LI VE!" This evening's program will be anno unced from the stage and will be presented without intermission. NOJQ R OSTER [rvin Mayfield, trumpet• Artistic Director Aaron Fletcher, alto sax Evan Christopher, alto sax and clarinet Ed Petersen, tenor sax Derek Douget, tenor sax Jason Marshall, baritone sax Ron Westray, trombone Mitch Butler, trombone Terram:e Taplin, trombone Barney Floyd, trumpet Leon Brown, trumpet Maurice Brown, trumpet Eric Lucero, trumpet Victor Atkins, piano Oavid Pulphus, bass Adonis Rose, drums Matt Dillon .... ........ Tour Manager Masanori Yura ...... ..Sound Engineer David Ampong ..... ..Sound Technician Irvin Mayfield and the NOJO appear by arr angement with Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York NY L0016 www.opus3art ists.com BI OG RA PH Y FOR IR V IN MAYFIELD At only 30 years old, Irvin Mayfield has quickly estab- lished himself as one of the most decorated and re- corded Jazz musi- cians of his genera- tion. Mayfield is a versatile trumpeter, bandleader, cem- poser and arranger, recording artist, a passionate spokesman for the rich history and cultural significance of Jazz and the city that birthed it. Appointed the Cultural Ambassado r of the City of New Orleans in 2003 by the United States Senate, Congress and other governmental agencies, his name has become synonymous with the still-unfolding legacy of America's only indigenous music. Even after Katrina-especially after Katrina, which took the life of his father, Irvin Mayfield, Sr.-this tireless Renaissance man considers Jazz nothing less than the manifestation of all that American democracy represents . -
NEW ORLEANS 2Nd LINE
PVDFest 2018 presents Jazz at Lincoln Center NEW ORLEANS 2nd LINE Workshop preparation info for teachers. Join the parade! Saturday, June 9, 3:00 - 4:00 pm, 170 Washington Street stage. 4:00 - 5:00 pm, PVDFest parade winds through Downtown, ending at Providence City Hall! PVDFest 2018: a FirstWorks Arts Learning project Table of Contents with Jazz at Lincoln Center A key component of FirstWorks, is its dedication to providing transformative arts experiences to underserved youth across Rhode Island. The 2017-18 season marks the organization’s fifth year of partnership with Jazz at Lincoln Center. FirstWorks is the only organization in Southern New England participating in this highly innovative program, which has become a cornerstone of our already robust Arts Learning program by incorporating jazz as a teaching method for curricular materials. Table of Contents . 2 New Orleans History: Social Aid Clubs & 2nd Lines . 3 Meet Jazz at Lincoln Center . .. 6 Who’s Who in the Band? . 7 Sheet Music . 8 Local Version: Meet Pronk! . 12 Teacher Survey . .. 14 Student Survey. .15 Word Search . .16 A young parade participant hoists a decorative hand fan and dances as the parade nears the end of the route on St. Claude Avenue in New Orleans. Photo courtesy of Tyrone Turner. PVDFest 2018: a FirstWorks Arts Learning project 3 with Jazz at Lincoln Center NOLA History: Social Aid Clubs and 2nd Lines Discover the history of New Orleans second line parades and social aid clubs, an important part of New Orleans history, past and present. By Edward Branley @nolahistoryguy December 16, 2013 Say “parade” to most visitors to New Orleans, and their thoughts shift immediately to Mardi Gras. -
2)GEORGE PORTER Jr Di Massimo Luna.Pdf
Introduzione: Ci troviamo a 1Vew Orleans tra gli anni 60' e 70'. Un periodo particolarmente fertile e creativo, che favorì la nascita della musica R & B e Funk. E' la New Orleans delle band che nascono dalla strada, dei musicisti che imparano a suonare da qualcuno che sa suonare meglio di loro, conle una sorta di tradizione orale, di insegnamento non scritto e del tutto legato all'esperienza diretta. La sera si va nei locali, si suona, si fanno Jam Sessions, è cosi che nascono le nuove formazioni, i nuovi gruppi. Questa è la realtà in cui vive George Porter Jr.. Lui stesso in un' intervista racconta quanto sia stato importante, anche a livello umano, crescere in quell'ambiente. Tra le esperienze più sigriificative per George c'è sicuramente quella con "the Meters", definil:i una delle più grandi band rock-fusion degli anni 701,con all'attivo 11 dischi in 15 anni circa di attività. Loro sono stati la prima jam band della storia, come dichiara lo stesso George. Andavano sul palco e suonavano partendo da qualcosa di stabilito, per poi virare verso il riff o il carribio che qualche membro del gruppo aveva proposto sul momento.. .un perfetto esempio di interplay! I loro brani presentavano spesso delle parti "open", con dei pedali e con qualche solo di organo. Ai nostri giorni è usuale che rapper ed esponenti della musica hip hop, usino alcuni loro brani come basi per rappare sopra, vista la forte spinta ritmica da cui sono caratterizzati. Biografia: George Porter Jr. nasce nel 1947 a New Orleans Louisiana. -
To Jazz Fest
Tulane University She brings "Soul Power" to Jazz Fest May 03, 2012 2:30 AM Ryan Rivet [email protected] Five days a week, Melissa Weber is a manager in the Office of Cocurricular Programs of Newcomb- Tulane College. At nights and on weekends, however, she takes to the airwaves and club stages as her alter ego, D.J. Soul Sister. Tulane staff member Melissa Weber, a.k.a. D.J. Soul Sister, spreads the word about the music she loves. (Photo by Marc Pagani) Weber, who's hosted her “Soul Power” program on WWOZ-FM radio for 16 years, also has brought her show to the New Orleans Jazz and Heritage Festival as both a performer and interviewer since 2009. A respected live disc jockey artist, Weber opened for Cee Lo Green on the Congo Square stage last weekend and interviewed drummer Bill Summers on the Allison Miner Music Heritage Stage. “This year was absolutely great, maybe my favorite experience out of all four years,” Weber says. “I really wanted to tap into the fun energy of Cee Lo, and so I did that with the music I played. The crowd was so energetic, like I've never seen before.” She uses both the performance and the interview as a “means to the same end,” Weber says. “My mission [is] sharing soulful music and stories of the pioneers who have paved the way,” Weber says. “I'm honored to do both in order to support the music and musicians that I believe in and have loved since I was very young.” Tulane University | New Orleans | 504-865-5210 | [email protected] Tulane University Weber describes herself as “extremely camera shy,” so it seems odd that she could be so passionate about being in front of large crowds. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Thursday, April 25, 2019
8 days of classic WWOZ Presents Jazz Festing In Place, 2020 Jazz Fest Thursday,LISTEN LIVE at 90.7FM or on April line at wwoz.org/listen 25, 2019SUPPORT WWOZ: wwoz.org/donate broadcasts Sheraton Allison Miner Cultural AcuraThursday Gentilly CongoFriday Square Saturday Blues EconomySunday Hall New Orleans ThursdayJazz & Gospel Friday Lagniappe Saturday SundayExchange WWOZ Kids Tent Music Heritage StageApril 23 Stage AprilStage 24 April 25 Tent TentApril 26 Fais Do-Do AprilHeritage 30 Stage Tent May 1 Stage May 2 May Pavilion3 Jazz Tent Stage Stage World Journey OUTDOOR CAROUSEL 11:00 am 12:00pm - 6:00pm Kermit Ruffins tribute Big Sam's Irma Thomas tribute Aaron Neville Bonerama Raymond Myles Glen David Andrews Leah Chase Chouval Bwa to Louis Armstrong Funky Nation to MahaliaTraditionnel Jackson 11:15 am (2010 Gospel11:15 am Tent) 11:15 am (2012) 11:15 am 11:15(1994) am 11:15 am 11:15 am 11:15 am (2017) (2012) 11:20 (2015)am (2004) (2007)of Martinique Kid Simmons’ Goldman Fi Yi Yi The 11:30 am Loyola & the Mandingo Mia Borders Nigel Hall University Local Thibodeaux Wimberly Family 11:30 am 11:30 am 11:30 am Dianne Reeves Jonathon Long Hazel & the Delta Warriors Gospel Singers Terrance Simien Rockin Dopsie Jr. Lorem ipsum JazzShannon Band McNally International & the Lawtell MardiTBA Gras Indians Dr. MichaelMichael White Skinkus Young AmandaMakueto Shaw Rumba Buena (2013) Ramblers 11:55 am 11:55 am and Moyuba Audiences(2006) (2004) 12:00 pm 12:00 pm 12:00 pm (2011) Allstars Playboys (2011) (2015)Groove 12:00 pm 12:05 pm 12:05(1992) pm 12:05 pm with guest Performing Arts & Friends 12:05 pm Michael Ray Showcase 12:15 pm 12:15 pm Ella Fitzgerald with Wayne Toups Bob French & Original Anders Osborne 12:20 pm Hot 8 Brass Band Charmaine Neville 12:20 pm Soul Rebels 12:15 pm Stevie Wonder 12:20 pm (2015)12:20 pm 12:20Tuxedo pm Jazz Band 12:20 pm (2017) Arrianne TBA (2013) (2014) 12:25 pm 12:25 pm Diassing Keelen 12:30 pm (1977) Gal Holiday Grayson (2010) Kunda 12:30 pm 12:35 pm 12:35 pm & the Bill Summers Brockamp of Senegal 12:40 pm Honky Tonk Luther Kent and the J. -
Great Music Begins with Great Songs, and Great Songs Are What the Honey Island Swamp Band Is All About
Honey Island Swamp Band Announces Their New Album, Wishing Well NEW ORLEANS — Great music begins with great songs, and great songs are what the Honey Island Swamp Band is all about. When they formed the band, Aaron Wilkinson and Chris Mulé had already established promising songwriting careers, both individually and as a team. Collaborating with fellow songwriter and Alligator Records recording artist Eric Lindell, the two were instrumental in the writing for Lindell’s acclaimed 2008 release Low on Cash, Rich in Love. With Wishing Well, the first full-length release from Honey Island Swamp Band, both musicians bring their songwriting to new levels with their most fully-developed material to date. From the opening bars of the title track to the album’s final note, Wishing Well covers the entire landscape of southern roots music that has made the band’s live shows and eponymous 2007 EP favorites among music lovers of all genres. Rockers like “Wishing Well” and “Seeds and Stems” evoke Exile on Main Street-era Stones, while the mid-tempo funk of “Natural Born Fool” and “Till the Money’s Gone” capture the bluesy soul of Delbert McClinton and early Black Crowes. Classic country fans will recognize the bar- room emotion of “I Can Tell” and “Dark End of the Bar,” while R&B lovers will appreciate the New Orleans flavor of “Killing Me” and the Stevie Wonder-esque “Expression of Love.” Eleven of the album’s thirteen songs testify to the strength of Wilkinson and Mulé’s songwriting, while inspired covers of Washboard Sam’s “Sophisticated Mama” and William Bell’s “You Don’t Miss Your Water” reflect the band’s wide range of influences. -
New Orleans Jazz & Heritage Foundation
New Orleans' Welcome to Jazz country, where Maison Blanche our heartbeat is a down beat and salutes the the sounds of music fill the air . Welcome to Maison Blanche coun• New Orleans Jazz try, where you are the one who calls the tune and fashion is our and Heritage daily fare. Festival 70 maison blanche NEW ORLEANS Schedule WEDNESDAY - APRIL 22 8 p.m. Mississippi River Jazz Cruise on the Steamer President. Pete Fountain and his Orchestra; Clyde Kerr and his Orchestra THURSDAY - APRIL 23 12:00 Noon Eureka Brass Band 12:20 p.m. New Orleans Potpourri—Harry Souchon, M.C. Armand Hug, Raymond Burke, Sherwood Mangiapane, George Finola, Dick Johnson Last Straws 3:00 p.m. The Musical World of French Louisiana- Dick Allen and Revon Reed, M. C.'s Adam Landreneau, Cyprien Landreneau, Savy Augustine, Sady Courville, Jerry Deville, Bois Sec and sons, Ambrose Thibodaux. Clifton Chenier's Band The Creole Jazz Band with Dede Pierce, Homer Eugene, Cie Frazier, Albert Walters, Eddie Dawson, Cornbread Thomas. Creole Fiesta Association singers and dancers. At the same time outside in Beauregard Square—for the same $3 admission price— you'll have the opportunity to explore a variety of muical experiences, folklore exhibits, the art of New Orleans and the great food of South Louisiana. There will be four stages of music: Blues, Cajun, Gospel and Street. The following artists will appear throughout the Festival at various times on the stages: Blues Stage—Fird "Snooks" Eaglin, Clancy "Blues Boy" Lewis, Percy Randolph, Smilin Joe, Roosevelt Sykes, Willie B. Thomas, and others. -
New Orleans Funkin Tyylillisiä Piirteitä Joseph ”Zigaboo” Modelisten Soitossa
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by National Library of Finland DSpace Services NEW ORLEANS FUNKIN TYYLILLISIÄ PIIRTEITÄ JOSEPH ”ZIGABOO” MODELISTEN SOITOSSA Pop/jazzmusiikin koulutusohjelma Opinnäytetyö 20.4.2006 Opiskelijan etunimi sukunimi Kulttuuri- ja palveluala Koulutusohjelma Suuntautumisvaihtoehto Pop/jazzmusiikin koulutusohjelma Pop/jazz –musiikkipedagogi Tekijä Kokkinen Raine Työn nimi NEW ORLEANS FUNKIN TYYLILLISIÄ PIIRTEITÄ JOSEPH ”ZIGABOO” MODELISTEN SOITOSSA Työn laji Aika Sivumäärä Opinnäytetyö Sivumäärä + liitteet TIIVISTELMÄ Tässä opinnäytetyössä tutkimuskohteeksi muodostui The Meters -yhtyeen rumpalin Joseph ”Zigaboo” Modelisten soittotyyli. Tutkimuksen tavoitteena oli analysoida Zigaboon soittotyyliä seuraavista näkökulmista: fraseeraus, synkopointi, claven vaikutus Zigaboon kompeissa ja virvelirummun käyttö. Olen kirjoittanut 8 kpl transkriptioita sellaisista Zigaboon soittamista kompeista, joista tulee selvästi esille New Orleans funkin tyylillisiä piirteitä ja jotka tukevat tutkimukseni tavoitteita. Kappaleiden valintaperusteena oli myös se, että kyseisiä kappaleita ja komppeja on mielestäni erityisen mukavaa soittaa. Ääninäytteet analysoitavista kompeista ovat työn mukana olevalla liiteäänitteellä (salainen). Kerron tutkimuksessani lyhyesti New Orleans funkin historiasta ja siitä, miten eri kulttuurien ja sitä kautta eri musiikkikulttuurien yhteensulautuminen on vaikuttanut New Orleansin rikkaan musiikkikulttuurin muodostumiseen. The Meters -yhtyeen historiasta