Winter 2011 Rambler.Pmd
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Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
BOBBY HACKETT “MELLOW MAN with a HORN” by Music Librarian CHRISTOPHER POPA with Comments by Bobby’S Son ERNIE HACKETT
MAY 2017 A FRESH BIOGRAPHICAL SKETCH BOBBY HACKETT “MELLOW MAN WITH A HORN” by Music Librarian CHRISTOPHER POPA with comments by Bobby’s son ERNIE HACKETT VITAL STATS given name Robert Leo Hackett birth January 31, 1915, Providence, Rhode Island father William F. Hackett, a railroad blacksmith mother Rose A. (nee Mulvaney) Hackett siblings six sisters and two brothers education Commercial High School [ now Central High School ], Providence, Rhode Island (he left school at age 14) spouse Edna Lillian (nee Lee) Hackett, b.April 7, 1915; m.July 26, 1937; d.April 15, 2000 son Ernest “Ernie” Hackett, b.April 6, 1949 daughter Barbara Traynor grandchildren two physical description “a short, trim man who sometimes wore a thin mustache” death June 7, 1976, Chatham, Massachusetts, heart attack grave Seaside Cemetery, Chatham, Massachusetts Bobby Hackett’s own big band didn’t last very long; he made a much greater musical impression as a sideman in such orchestras as Horace Heidt, Glenn Miller, and Glen Gray (not to mention his trumpet solos on various Jackie Gleason record albums afterwards). Hackett had been playing music since he was about eight years old. “His first instrument was the violin. Then on to banjo & guitar!,” his son, Ernie, reminded me. “Later he switched over to trumpet & landed on cornet!” Hackett played with various groups at restaurants, hotels, ballrooms across the northeast, and in 1935 received his Musicians Union card from Local 9-535 in Boston. He formed his own group, a small band, not long afterwards, and in 1938 began recording under his own name for the Vocalion label, employing, on various dates, such sidemen as George Brunies (trombone), Brad Gowans (valve trombone), Pee Wee Russell (clarinet), Ernie Caceres (baritone sax), Eddie Condon (guitar), Johnny Blowers (drums), and Linda Keene (vocal). -
¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
Summer 2010 Rambler.Pmd
Hal Smith Set to Leave AFCDJS Hal Smith, who has served as Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.dixielandjazzfestival.org AFCDJS Board Member, President, Assistant Director, member of the $5.00 Per Issue Summer, 2010 Vol. XXVIII No. 3 Festival Steering Committee and Adult Jazz Camp Assistant Director, is New, Vintage Sounds at Festival #31 leaving the organization in July. The San Diego Thanksgiving He will join the Jim Cullum Jazz Dixieland Jazz Festival has long been Band on July 10, performing five heralded as a premier traditional jazz nights a week at The Landing, located event. In 2010, the Festival will present in the Hyatt Regency Hotel on the two previously-unheard musical Riverwalk in San Antonio, Texas. styles: To view the list of upcoming tour • Western Swing, played by Billy dates for the Jim Cullum Jazz Band and Mata and the Texas Tradition. This information regarding its “Riverwalk” band plays the real thing – swinging broadcasts, check the website at Western music in the tradition of Bob www.riverwalkjazz.org. Hal Smith’s calendar, which Wills and the Texas Playboys. In May, includes a few remaining dates with the band was inducted into the Texas other groups, is available on the Western Swing Hall of Fame. Vocalist “schedule” page of his website at Mata is currently working on a follow- www.halsmithmusic.com. up CD to his best-selling tribute to Those of us who have had the Wills vocalist Tommy Duncan. pleasure of working with him all these • Cajun and Zydeco, performed by years will sorely miss him, but wish Tom Rigney and Flambeau. -
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log on, get your coffee, listen, relax. • “I Got a Crush on You” recorded by Nat Adderley in 1960 on Work Song. Written in 1928 for Treasure Girl. • “Nice Work If You Can Get It” recorded by Sarah Vaughn in 1950 on Sarah Vaughn with George Treadwell and his All Stars. Written in 1937 for Damsels in Distress. • “Isn’t It A Pity” recorded by Cheryl Bentyne in 2010 on The Gershwin Songbook. Written in 1933 for Pardon My English. • “I Loves You, Porgy” recorded by Billie Holiday, accompanied by Bobby Tucker. Written in 1935 for Porgy & Bess. • “Let’s Call The Whole Thing Off” recorded by Ella Fitzgerald and Louis Armstrong with the Oscar Peterson Trio in 1957 on Ella and Louis Again. Written in 1937 for Shall We Dance. • “They Can’t Take That Away From Me” recorded by Frank Sinatra in 1962 on Sinatra and Swingin’ Brass. Written in 1937 for Shall We Dance. • “Do It Again” recorded by Beverly Kenney accompanied by Ellis Larkins in 1958 on Beverly Kenney Sings for Playboys. Written in 1922 for The French Doll. • “Love is Here to Stay” recorded in 1955 by Carmen McRae. Written in 1937 for The Goldwyn Follies. • “My One and Only” recorded in 1950 by Ella Fitzgerald with Ellis Larkin on Ella Sings Gershwin. Written in 1927 for Funny Face. • “I Got Rhythm” recorded in 1964 in Sweden by Sarah Vaughn. Written in 1930 for Girl Crazy. Class Begins at 930AM The Gershwins Part 1: “I Got Rhythm” Course Agenda showing the music 1. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
ARTIE SHAW NEA Jazz Master (2005)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it. -
Acoustic Jazz Guitar Great Marty Grosz Marks 90Th Birthday with His New Memoir
Contact: Joe Plowman, publicist Email:[email protected] Phone: 610-417-7534 Acoustic Jazz Guitar Great Marty Grosz Marks 90th Birthday with His New Memoir “…entertaining, readable, funny, and revealing…a real and sometimes startlingly candid pleasure” – Michael Steinman, Jazz Lives PHILADELPHIA, PA March 4, 2020 – A giant of jazz rhythm guitar, Marty Grosz has performed with jazz greats such as Herb Ellis, Charlie Byrd, Ruby Braff, Dick Hyman, Bob Haggart, Bob Wilber, and Kenny Davern. And after performing for 70 years, he has stories to tell. Part memoir, part transcribed oral history, It’s a Sin to Tell a Lie serves up Marty’s story raconteur style—full of sardonic wit with a touch of vaudeville. Part 1: My Story: Candid stories of life with his famous father, German Expressionist George Grosz; sailing to the US; his Chicago jazz years; travels abroad; Soprano Summit; Classic Jazz Quartet; the Orphan Newsboys. Part 2: The Interviews: Transcriptions from 11 live interviews between 2015 and 2019. Marty opines on guitar tuning, Eddie Condon, drummers and bassists, Slam Stewart, Mingus, Chet Baker, Hoagy Carmichael, Herb Ellis, and more. “A giant of jazz rhythm guitar, Marty Grosz is equal parts showman, jazz scholar and raconteur. A virtuoso in a playing style that’s both timeless and so far off the radar it’s all but lost.” — Riverwalk Jazz Marty Grosz (b. 1930, Berlin) came to the United States at age three. He is considered among the best acoustic jazz guitarists of the twentieth century, as well as a vocalist, humorist, composer and arranger. Joe Plowman, Jazz Story Club Series editor, is a musician in Philadelphia. -
Barney Kessel Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 3 Scope & Content …………………………………………………………………… 5 Series Notes …………………………………………………………………………… 6 Container List: Series I: Correspondence …………………………………………………… 9 Incoming, Dated …………………………………………………… 9 From Maurice J. Summerfield …………………………………… 33 Incoming, Undated …………………………………………………… 35 Incoming, Unsigned & Undated …………………………………… 37 Blank Envelopes …………………………………………………… 37 Outgoing, Dated …………………………………………………… 38 To Maurice J. Summerfield …………………………………………… 43 Outgoing, Undated …………………………………………………… 44 Outgoing, Unsigned & Undated …………………………………… 44 Correspondence Including Photographs …………………………… 45 Series II: Personal Documents …………………………………………… 46 Biographies …………………………………………………………… 46 Marriage Documents …………………………………………………… 46 Obituaries …………………………………………………………… 47 Series III: Seminar …………………………………………………………… 48 Business …………………………………………………………… 48 Promotional Material …………………………………………………… 48 Notes …………………………………………………………………… 49 Correspondence …………………………………………………… 49 Questionnaires …………………………………………………… 50 Series IV: Promotional Material …………………………………………… 51 Flyers …………………………………………………………………… 51 Press Releases …………………………………………………… 52 Programs & Booklets …………………………………………………… 53 Interview Transcripts …………………………………………………… 55 Reviews …………………………………………………………… 55 Oversized Posters …………………………………………………… 56 Series V: Notes …………………………………………………………… 57 Notebooks …………………………………………………………… -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra. -
ESSENTIAL Jazzeditions
JAZZ AT LINCOLN CENTER — WWW.JALC.ORG ESSENTIAL Jazz EDITIONS Essential Jazz Editions Edited by David N. Baker Essential Jazz Editions is a series of scores for jazz ensembles transcribed from classic jazz recordings. This 10-year project, begun in 1999, will ultimately represent the breadth of the jazz canon. A set of five charts is produced and published each year, beginning with early jazz standards and continuing throughout the history of the music. Each original transcription includes historical and performance notes. “What serious jazz musicians and teachers have been waiting for.” – Wynton Marsalis, Artistic Director, Jazz at Lincoln Center “All jazz players, regardless of their stylistic preferences, can learn a great deal by studying the masters of this music.” – David N. Baker, Artistic and Musical Director, Smithsonian Jazz Masterworks Orchestra PRICING INFORMATION: SET #1: New Orleans Jazz 1918-1927 & SET #2: Louis Armstrong, 1926-1929 Conductor’s Score and Parts: $25.00/title Conductor’s Score: $6.00/title SET #3: Music of the 1930s, Part I Conductor’s Score and Parts: $40.00/title Conductor’s Score: $8.00/title SET #4: Music of the 1930s, Part II SET #5: Music of the 1940s, Part I Conductor’s Score and Parts: $45.00/title Conductor’s Score: $9.00/title 10 ESSENTIAL Jazz EDITIONS 2005 CATALOG LEGEND: Title, year of recording, (Catalog Number) – Grade Level Composer / As recorded by Description Instrumentation SET #1: NEW ORLEANS JAZZ, 1918-1927 Black Bottom Stomp, 1926 (EJE9901) – VI Jelly Roll Morton / Jelly Roll Morton’s Red Hot Peppers Up-tempo New Orleans ensemble jazz Cl.; Cnt. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death.