1.
Kansas City, Kansas
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Kansas City is the third-largest city in the state of Kansas, the county seat of Wyandotte County, and the third-largest city of the Kansas City metropolitan area. It is part of a consolidated city-county government known as the Unified Government, Wyandotte County also includes the independent cities of Bonner Springs and Edwardsville. As of the 2010 census, the city had a population of 145,786 residents and it is situated at Kaw Point, which is the junction of the Missouri and Kansas rivers. In October 1872, old Kansas City, Kansas, was incorporated, the first city election was held on October 22 of that year, by order of Judge Hiram Stevens of the Tenth Judicial District, and resulted in the election of Mayor James Boyle. The mayors of the city after its organization were James Boyle, C. A. Eidemiller, A. S. Orbison, Eli Teed, in June 1880, the Governor of Kansas proclaimed the city of Kansas City a city of the second class with Mayor McConnell present. In March 1886, new Kansas City, Kansas, was formed through the consolidation of five municipalities, old Kansas City, Armstrong, Armourdale, Riverview, the oldest city of the group was Wyandotte, which was formed in 1857 by Wyandot Native Americans and Methodist missionaries. In the 1890s, the city saw a growth in population as a streetcar suburb of Kansas City, Missouri, from which it takes its name. It was one of the nations 100 largest cities for many U. S. Census counts, from 1890 to 1960, including 1920, when it had a population of over 100,000 residents for the first time. As with adjacent Kansas City, Missouri, the percentage of the citys most populous ethnic group, in 1997, voters approved a proposition to unify the city and county governments creating the Unified Government of Wyandotte County. According to the United States Census Bureau, the city has an area of 128.38 square miles. Neighborhoods of Kansas City, Kansas, include the following, Downtown Argentine − former home to the silver smelter for which it was named, Armourdale − formerly a city, it was consolidated with the city of Kansas City in 1886. Armstrong − a town absorbed by Wyandotte, bethel − a neighborhood located generally along Leavenworth Rd. between 72nd and 77th Streets. It was never incorporated as a municipality, Fairfax District − an industrial area along the Missouri River. Nearman Piper Pomeroy − a late-19th—early-20th-century Train Depot, Trading Post, Saw Mill, Riverview Rosedale − merged with Kansas City in 1922. Stony Point Strawberry Hill Turner − community around the Wyandotte-Johnson County border to the Kansas River north-south, unless otherwise stated, normal figures below are based on data from 1981 to 2010 at Downtown Airport. The warmest month of the year is July, with a 24-hour average temperature of 81.0 °F, the summer months are hot, but can get very hot and moderately humid, with moist air riding up from the Gulf of Mexico. High temperatures surpass 100 °F on 5.6 days of the year, the coldest month of the year is January, with an average temperature of 31.0 °F. Winters are cold, with 22 days where the high is at or below the mark and 2.5 nights with a low at or below 0 °F
2.
Manhattan
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Manhattan is the most densely populated borough of New York City, its economic and administrative center, and the citys historical birthplace. The borough is coextensive with New York County, founded on November 1,1683, Manhattan is often described as the cultural and financial capital of the world and hosts the United Nations Headquarters. Many multinational media conglomerates are based in the borough and it is historically documented to have been purchased by Dutch colonists from Native Americans in 1626 for 60 guilders which equals US$1062 today. New York County is the United States second-smallest county by land area, on business days, the influx of commuters increases that number to over 3.9 million, or more than 170,000 people per square mile. Manhattan has the third-largest population of New York Citys five boroughs, after Brooklyn and Queens, the City of New York was founded at the southern tip of Manhattan, and the borough houses New York City Hall, the seat of the citys government. The name Manhattan derives from the word Manna-hata, as written in the 1609 logbook of Robert Juet, a 1610 map depicts the name as Manna-hata, twice, on both the west and east sides of the Mauritius River. The word Manhattan has been translated as island of hills from the Lenape language. The United States Postal Service prefers that mail addressed to Manhattan use New York, NY rather than Manhattan, the area that is now Manhattan was long inhabited by the Lenape Native Americans. In 1524, Florentine explorer Giovanni da Verrazzano – sailing in service of King Francis I of France – was the first European to visit the area that would become New York City. It was not until the voyage of Henry Hudson, an Englishman who worked for the Dutch East India Company, a permanent European presence in New Netherland began in 1624 with the founding of a Dutch fur trading settlement on Governors Island. In 1625, construction was started on the citadel of Fort Amsterdam on Manhattan Island, later called New Amsterdam, the 1625 establishment of Fort Amsterdam at the southern tip of Manhattan Island is recognized as the birth of New York City. In 1846, New York historian John Romeyn Brodhead converted the figure of Fl 60 to US$23, variable-rate myth being a contradiction in terms, the purchase price remains forever frozen at twenty-four dollars, as Edwin G. Burrows and Mike Wallace remarked in their history of New York. Sixty guilders in 1626 was valued at approximately $1,000 in 2006, based on the price of silver, Straight Dope author Cecil Adams calculated an equivalent of $72 in 1992. In 1647, Peter Stuyvesant was appointed as the last Dutch Director General of the colony, New Amsterdam was formally incorporated as a city on February 2,1653. In 1664, the English conquered New Netherland and renamed it New York after the English Duke of York and Albany, the Dutch Republic regained it in August 1673 with a fleet of 21 ships, renaming the city New Orange. Manhattan was at the heart of the New York Campaign, a series of battles in the early American Revolutionary War. The Continental Army was forced to abandon Manhattan after the Battle of Fort Washington on November 16,1776. The city, greatly damaged by the Great Fire of New York during the campaign, became the British political, British occupation lasted until November 25,1783, when George Washington returned to Manhattan, as the last British forces left the city
3.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
4.
Bebop
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As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, Bebop groups used rhythm sections in a way that expanded their role. The term bebop is derived from nonsense syllables used in scat singing and it appears again in a 1936 recording of Ise a Muggin by Jack Teagarden. A variation, rebop, appears in several 1939 recordings, the first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Some researchers speculate that it was a used by Charlie Christian because it sounded like something he hummed along with his playing. Another theory is that it derives from the cry of Arriba, used by Latin American bandleaders of the period to encourage their bands. At times, the bebop and rebop were used interchangeably. By 1945, the use of bebop/rebop as nonsense syllables was widespread in R&B music, ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and cutting contests in Kansas City became legendary, the Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was an alto saxophone player named Charlie Parker. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos and he would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that players had used until then. They would often be extended to an odd number of measures and he would take a breath in the middle of a phrase, using the pause, or free space, as a creative device. The overall effect was that his solos were something floating above the rest of the music, Parker played along with the new Basie recordings on a Victrola until he could play Youngs solos note for note. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new language of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords, Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a player in the Jay McShann Orchestra. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, christians major influence was in the realm of rhythmic phrasing
5.
Alto saxophone
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The alto saxophone, also referred to as alto sax, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E♭, and is smaller than the tenor, the alto sax is the most common saxophone and is commonly used in classical music, military bands, marching bands, and jazz. The alto saxophone was also commonplace in music from the 1980s. The saxophone fingerings are all universal, so a player can play any type of saxophone. The range of the saxophone is from concert A♭3 to concert A♭5. As with most types of saxophones, the standard range is B♭3 to F6. Above that, the altissimo register begins at F♯6 and extends upwards, the saxophones altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. By covering or partially covering the bell of the saxophone when playing B♭3, also of note is Kadri Gopalnath, a pioneer of Carnatic music, plays a modified alto saxophone. Some companies that currently produce saxophones are Buffet Crampon, KHS/Jupiter, Conn-Selmer, Selmer Paris, Yamaha, Leblanc/Vito, Keilwerth, Cannonball, new alto saxophones range in price between €250 for lower quality student models to over €6000 for professional models. The alto saxophone has a classical solo repertoire that includes solos with orchestra, piano. Two of the most well-known solo compositions are Jacques Iberts Concertino da Camera, also, the alto saxophone is part of the standard instrumentation of concert bands and saxophone quartets. The alto saxophone is also used in orchestral compositions. Several orchestral examples are listed below, georges Bizet features it in the Minuet from the second suite of music from LArlésienne. He also includes it in his Suite No.1 and Suite No.2, maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgskys Pictures at an Exhibition, most notably as the soloist in Il vecchio castello. Alban Berg uses the saxophone in his orchestral works, most notably Der Wein, Lulu. Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement, george Gershwin includes it in a few pieces, such as Rhapsody in Blue and An American in Paris. Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli, benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas. Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story, vincent dIndy enlists two altos in his opera Fervaal
6.
Tenor saxophone
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The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones, the tenor is pitched in the key of B♭, and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 and are pitched one octave below the soprano saxophone. People who play the saxophone are known as tenor saxophonists or tenor sax players. The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto, visually, it is easily distinguished by the bend in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece, the tenor saxophone is commonly used in classical music, military bands, marching bands and jazz. In concert bands, the plays mostly a supporting role, sometimes sharing parts with the euphonium, horn. In jazz ensembles, the plays a more prominent role as a member of a section that includes the alto. Many of the most innovative and influential musicians have been tenor saxophonists. These include Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, Wardell Gray, Stan Getz, Sonny Rollins, John Coltrane, the work of younger players such as Michael Brecker and Chris Potter has been an important influence in more recent jazz. The tenor saxophone was one of a family of fourteen instruments constructed in 1846 by Adolphe Sax, saxs patent, granted on 28 June 1846, divided the family into two groups of seven instruments, each ranging from sopranino down to contrabass. One family, pitched alternatively in B♭ and E♭, was designed specifically to integrate with the instruments then common in military bands. The tenor saxophone, pitched in B♭, is the member of this family. The tenor saxophone, like all saxophones, consists of a conical tube of thin brass. The wider end of the tube is flared slightly to form a bell, at intervals down the bore are placed between 20 and 23 tone holes, these are covered by pads which can be pressed onto the holes to form an airtight seal. There are also two small holes which, when opened, disrupt the lower harmonics of the instrument. The pads are controlled by pressing a number of keys with the fingers of the left and right hands, the tenor saxophone is also curved at the top, above the highest tone-hole but below the highest speaker hole. While the alto is usually bent only through 80–90° to make the mouthpiece fit more easily in the mouth, the reed is shaved to come to an extremely thin point, and is clamped over the mouthpiece by the use of a ligature
7.
Savoy Records
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Savoy Records is an American record company and label established by Herman Lubinsky in 1942 in Newark, New Jersey. Savoy specialized in jazz, rhythm and blues, and gospel music, in the 1940s Savoy recorded some of the biggest names in jazz, Miles Davis, Erroll Garner, Dexter Gordon, J. J. Johnson, Fats Navarro, and Charlie Parker. In 1948, it began buying other labels, Bop, Discovery, National and it also reissued music from Jewel Records. In the early 1960s, Savoy recorded a number of jazz artists. They included Paul Bley, Ed Curran, Bill Dixon, Mark Levin, Charles Moffett, Perry Robinson, Joseph Scianni, Archie Shepp, Sun Ra, Marzette Watts, after Lubinskys death in 1974, Clive Davis, then manager of Arista Records, acquired Savoys catalogue. After that, Joe Fields of Muse Records purchased the catelogue from Arista, in 1986 Malaco Records acquired Savoys black gospel titles and contracts. In 2003, Savoy Jazz acquired the rights to the Muse, as of 2012, the Savoy library is primarily controlled by Nippon Columbia, a public company based in Tokyo, which purchased Savoy in 1991. Nippon Columbias wholly owned subsidiary, Savoy Jazz, handled Savoy Records distribution in the United States until 2009, many of the labels African-American artists begrudged the labels founder, Herman Lubinsky, feeling underpaid for their work. Tiny Price, a journalist for the African-American newspaper The Newark Herald News, said of Savoy and Lubinsky, if he messed with you, you were messed. At the same time, some of people, many of them Newarks top singers and musicians. Except for Lubinsky, all the hot little numbers, like Buddy Johnsons Cherry, the man may have been hated, but he saved a lot of our history for us and for future generations. Savoys artistic directors included Buck Ram, Teddy Reig, Ralph Bass, Fred Mendelsohn, the following are 12 LPs and have the prefix MG. Acorn Records Gospel Records Regent Records Sharp Records List of record labels Ruppli, Michel, Porter, official website SavoyJazz. com Savoy Records Discography Project
8.
Dial Records (1946)
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Dial Records was an American record company and label that specialized first in bebop jazz and then in contemporary classical music. It was founded in 1946 by Ross Russell, notable artists who recorded for Dial included Charlie Parker, who signed an exclusive one-year recording contract with Russell on 26 February 1946, Miles Davis, Max Roach, and Milt Jackson. Dial Records were initially made for the Tempo Music Shop of Hollywood, California, Labels of Dial Records said that they were Contemporary American Music, a dig at the traditionalist American Music Records label. In the summer of 1949 Ross Russell announced a change of focus, the first release in this new series was Béla Bartóks Sonata for Two Pianos and Percussion. Russells interests shifted again in 1953, when he made field recordings of calypso music in the British, French. This resulted in the Dial Ethnic Series of ten ten-inch 33⅓ rpm discs, mosaic Records released a limited edition box-set of Dial recordings called The Complete Dial Modern Jazz Sessions. Dial 1002, A Night in Tunisia and Ornithology, both tracks were recorded by the Charlie Parker Septet at the legendary recording session on 28 March 1946. On its release, Billboard considered it A collectors item,1, Béla Bartók, Sonata for Two Pianos and Percussion. William Masselos and Maro Ajemian, pianos, Saul Goodman and Abe Marcus,2, Arnold Schoenberg, Chamber Symphony No.1. Orchestre des Concerts Pasdeloup, conducted by Pierre Dervaux,3, Arnold Schoenberg, Ode to Napoleon Buonaparte, Op.41, String Trio, Op.45. Villers String Quartet, Jacques Monod, piano, Ellen Adler, conducted by René Leibowitz,4, Arnold Schoenberg, Third String Quartet, Op.30. 6, Alan Hovhaness, Piano Concerto, Tzaikerk, for flute, violin, timpani, Maro Ajemian, piano, Anahid Ajemian, violin, Phillip Kaplan, flute, Saul Goodman, timpani, Manhattan Chamber Orchestra, conducted by Alan Hovhaness. 9, Alban Berg, Chamber Concerto for Violin, Piano, roland Charny, violin, Jacques-Louis Monod, piano, Orchestre de chambre Paul Kuentz, conducted by René Leibowitz. 15, Alban Berg, Seven Songs of Youth, Schliesse mir die Augen beide, An Leukon, Four Songs Op.2, Four Pieces for Clarinet and Piano, bethany Beardslee, soprano, Jacques-Louis Monod, piano. Irene Joachim, soprano, chamber orchestra conducted by René Leibowitz, Earl Thomas, clarinet, Jacques-Louis Monod, Dial Nos. 20–21, John Cage, Sonatas and Interludes for prepared piano. Charlie Parker on Dial Complete Charlie Parker on Dial List of record labels Wheeler, Jazz by Mail, Record Clubs and Record Labels,1936 to 1958—Including Complete Discographies for Jazztone and Dial Records
9.
Verve Records
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Verve Records is an American record company operating under the newly-founded Verve Label Group distributed by Interscope Geffen A&M Records. It was founded in 1956 by Norman Granz and it absorbed the catalogues of his earlier labels, Clef Records and Norgran Records, and material previously licensed to Mercury Records. It has been under ownership of Universal Music Group and has expanded to scope newer artists. Norman Granz created Verve to produce new recordings by Ella Fitzgerald, whom he managed, the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, and Lester Young. Milton Rudin, his attorney, represented Frank Sinatra and knew that Sinatra wanted his own label, Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatras desire that Granz remain head of the label. Granz sold Verve to MGM in 1961, Sinatra established Reprise Records and hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer, Taylor adopted a more commercial approach, canceling several contracts. He brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Verves notable arrangers included Claus Ogerman and Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1947, in 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways, later renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records, aside from jazz, Verves catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, and the Blues Project. In the 1970s, Verve became part of the PolyGram, incorporating the Mercury/EmArcy jazz catalog, Verve Records became the Verve Music Group after PolyGram was merged with Seagrams Universal Music Group in 1998. The jazz holdings from the companies were folded into this sub-group. When Universal and Polygram merged in 1998, Verves holdings were merged with Universals GRP Recording Company to become Verve Music Group, after forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, and was no longer a stand-alone label within UMG. The Verve imprint itself manages much of the catalog that once belonged to PolyGram. Meanwhile, GRP manages the rest of MCA/Universals jazz catalog, including releases once issued on the Decca, the Verve Music Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. Official site Article about Creed Taylor
10.
Mercury Records
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Mercury Records is an American-based record label owned by Universal Music Group. In the United States, it operates through Island Records, in the UK, Mercury Record Corporation was formed in the American city of Chicago in 1945 by Irving Green, Berle Adams, Ray Greenberg and Arthur Talmadge. They were a force in jazz and blues, classical music, rock and roll. Early in the history, Mercury opened two pressing plants, one in Chicago and the other in St. Louis, Missouri. With the use of presses and providing 24-hour turnaround, they went into direct competition with major recording labels such as Columbia, Decca, Capitol. By hiring two promoters, Tiny Hill and Jimmy Hilliard, they penetrated the pop market with such as Frankie Laine, Vic Damone, Tony Fontane. Rather than rely on radio airplay, Mercury initially relied on jukeboxes to promote their music, some early Mercury recordings featured a caricature of him as its logo. In 1947 Jack Rael, a musician and publicist/manager, persuaded Mercury to let Patti Page record a song that had planned to be done by Vic Damone. The budget was too small for them to hire a second singer to provide the parts to Page. The company released a number of recordings under the Mercury label as well as its subsidiaries. In addition, they leased and purchased material by independent labels, under their own label, Mercury released a variety of recording styles from classical music to psychedelic rock. However, its subsidiaries focused on their own specialized categories of music, Mercurys jazz division had two distinct and important fathers. John Hammond brought his expertise and connections when Mercury bought Keynote Records in the late 1940s, and Mercury was the issuing company and distributor for Norman Granzs pre-Norgran/Verve recordings. Although both Hammond and Granz had departed Mercury by the mid-1950s, they established the company in the jazz world, by the early 1960s, Mercury was releasing jazz under the flagship label and was an early leader in the new stereo sound releases. Highlights of the early and mid-1960s included albums by Quincy Jones, Buddy Rich, Cannonball Adderley, Charles Mingus, Dinah Washington, Sarah Vaughan, Max Roach, in the early 1950s, Norman Granz started his own record company, Norgran, which later became Verve. In an ironic twist, both Mercury and Verve are now owned by Universal Music Group and Mercurys jazz library falls under the Verve division. Since the early 1990s, Verve has reissued many Mercury jazz titles on CD, often taking care to use original master tapes, in 1962, Mercury began marketing a line of phonographs made by Philips bearing the Mercury brand name. In July 1967, Mercury Records became the first U. S. record company to release cassette music tapes, in 1969, Mercury changed its corporate name to Mercury Record Productions Inc. while its parent Conelco became North American Philips Corp after Philips brought control of the company
11.
Vogue Records
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Vogue Records was a short-lived United States-based record label of the 1940s, noted for the artwork embedded in the records themselves. The discs were manufactured by first sandwiching printed illustrations around a core of aluminum, the company went out of business the following year, having released between 67 and 74 double-sided 78 rpm gramophone records. Some of the Vogue issues were re-releases of recordings issued by other companies. The colorful artwork on the records have made Vogue Records a collectors item, however this rumor was later debunked by surviving members of the Down Homers as well as Haley researchers. Nonetheless, the Vogue Down Homers releases are considered among the more collectable of the labels releases, list of record labels Unusual types of gramophone records Whats a Vogue Picture Record. From The Association of Vogue Picture Record Collectors Vogue Picture Records from the Todd Collection at the University of California, Santa Barbara Library
12.
Columbia Graphophone Company
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The Columbia Graphophone Company was one of the earliest gramophone companies in the United Kingdom. As Columbia Records, it became a label in the 1950s and 1960s. This in turn was absorbed by the Parlophone Records unit of Warner Music Group, in 1922, Columbia Phonograph, as the American Columbia Records was then known, sold its UK subsidiary Columbia Graphophone. However, in 1925 Columbia Graphophone bought its former parent for $2.5 million, in 1926 Odeon Records and Parlophone Records were acquired. On 21 April 1931, the Gramophone Company and the Columbia Graphophone Company merged and formed a new company, Electric, American anti-trust laws forced EMI to sell its American Columbia operations. Under EMI, English Columbias output was mainly licenced recordings from American Columbia until 1951 when American Columbia switched British distribution to Philips Records, led by avuncular A&R man Norrie Paramor, the label was arguably the most successful in Britain in the rock era prior to the beat boom. In the mid 1960s, English Columbia added an audiophile imprint called Studio 2 Stereo, during that time, the Columbia Graphophone Company was absorbed into the Gramophone Company with the label maintaining its identity. EMI has engaged in litigation with CBS regarding the importing of American records bearing the Columbia imprint into areas where EMI owned the Columbia name, EMI decided to reserve the HMV label for classical repertoire and had transferred HMVs remaining pop acts to Columbia and Parlophone by 1967. EMI began to replace the Columbia label with the eponymous EMI Records in January 1973, the last Columbia single was issued in 1989. EMI sold its remaining interest in the Columbia name in 1990 to Sony Music Entertainment, the formal reassignment of British registered trade marks, including the magic notes logo, from EMI took place in 1993. Today, Sony Music prefers using the eye logo for the Columbia Records trade mark in the UK. However, the magic notes logo is used, usually to give a retro feel. The Columbia name was still on some EMI releases between 1973 and 1990, but it had ceased acting as a fully functioning label. In Australia and Germany, EMI continued using the Columbia label throughout the 1970s and to at least 1980, through its ownership of the former Columbia/EMI catalogue, Parlophone Records new owner Warner Music Group assumed Columbias artist roster and catalogue. New reissues bear the Parlophone imprint
13.
Dizzy Gillespie
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John Birks Dizzy Gillespie was an American jazz trumpeter, bandleader, composer, and singer. AllMusics Scott Yanow wrote, Dizzy Gillespies contributions to jazz were huge, Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his singing, his bent horn, pouched cheeks. In the 1940s Gillespie, with Charlie Parker, became a figure in the development of bebop. He taught and influenced other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione. Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James, James was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four, Gillespies father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve, from the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia. Teddy Hills band was where Gillespie made his first recording, King Porter Stomp, Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9,1940 and they remained married until his death in 1993. Gillespie stayed with Teddy Hills band for a year, then left, in 1939, Gillespie joined Cab Calloways orchestra, with which he recorded one of his earliest compositions, the instrumental Pickin the Cabbage, in 1940. After a notorious altercation between the two men, Calloway fired Gillespie in late 1941, the incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bachs 1997 film, The Spitball Story. Calloway did not approve of Gillespies mischievous humor, nor of his approach to soloing, according to Jones. Finally, their grudge for each other erupted over a thrown spitball, Calloway never thought highly of Gillespie, because he didnt view Gillespie as a good musician. Once during a rehearsal, a member of the band threw a spitball, already in a foul mood, Calloway decided to blame this on Gillespie. In order to clear his name, Gillespie didn’t take the blame, Calloway had minor cuts on the thigh and wrist. After the two men were separated, Calloway fired Gillespie, a few days later, Gillespie tried to apologize to Calloway, but he was dismissed
14.
Max Roach
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Maxwell Lemuel Max Roach was an American jazz percussionist, drummer, and composer. A pioneer of bebop, Roach went on to work in other styles of music. He was inducted into the Down Beat Hall of Fame in 1980, Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County, although Roachs birth certificate lists his date of birth as January 10,1924, Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8,1925. Roachs family moved to the Bedford-Stuyvesant neighborhood of Brooklyn, New York when he was 4 years old and he grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age, at the age of 10, he was already playing drums in some gospel bands. In 1942, as an 18-year-old fresh out of Boys High School, in 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jays Taproom. His first professional recording took place in December 1943, supporting Coleman Hawkins. He was one of the first drummers to play in the style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Thelonious Monk, Coleman Hawkins, Bud Powell. Roach played on many of Parkers most important records, including the Savoy November 1945 session, the drummers early brush work with Powells trio, especially at fast tempos, has been highly praised. Roach studied classical percussion at the Manhattan School of Music from 1950 to 1953, in 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15,1953 concert, billed as the greatest concert ever, also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion. The group was a example of the hard bop style also played by Art Blakey. This group was to be short-lived, Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956, the first album Roach recorded after their deaths was Max Roach +4. After Brown and Powells deaths, Roach continued leading a similarly configured group, with Kenny Dorham on trumpet, George Coleman on tenor, Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of albums for the EmArcy label featuring the brothers Stanley. In 1955, he was the drummer for vocalist Dinah Washington at several live appearances, in 1960 he composed and recorded the album We Insist. In 1962, he recorded the album Money Jungle, a collaboration with Mingus and this is generally regarded as one of the very finest trio albums ever made
15.
Miles Davis
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Miles Dewey Davis III was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz, with his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records, after a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers and his million-selling 1970 record Bitches Brew helped spark a resurgence in the genres commercial popularity with jazz fusion as the decade progressed. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, Miles Dewey Davis III was born on May 26,1926 into an affluent middle class African-American family in Alton, Illinois,15 miles north of St. Louis. The second of three children, he had a sister, Dorothy Mae, and a younger brother. His father, Miles Dewey Davis II of Arkansas, was a dental surgeon who earned three college degrees, and his mother Cleota Mae Davis, also of Arkansas, was a music teacher. They owned a 200-acre estate near Pine Bluff, Arkansas where Davis and his siblings would ride horses, fish, and hunt. In 1927, the moved to East St. Louis, Illinois. From 1932 to 1934, Davis attended John Robinson Elementary School, an institution, followed by Crispus Attucks School where he performed well in mathematics, music. It was in East St. Louis and Pine Bluff that the young Davis developed his earliest appreciation for music, Davis later suggested that his fathers instrument choice was made largely to irk his wife, who disliked the trumpets sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, I prefer a round sound with no attitude in it, like a voice with not too much tremolo. If I cant get that sound I cant play anything, in 1939, the family moved to 1701 Kansas Avenue in East St. Louis. For his 13th birthday held that year, Davis father bought his son a new trumpet, around this time, Davis took additional trumpet lessons from Joseph Gustat, first chair of the St. Louis Symphony Orchestra. In 1941, the 15-year-old Davis began at East St. Louis Lincoln High School where he joined the marching band directed by Buchanan. Davis claimed the contests he did not win was largely down to prejudice over his race and it was at Lincoln High where Davis met his first girlfriend, Irene Cawthorn. Davis had formed his own group by this time, performing in local venues such as Huffs Beer Garden with hits such as In the Mood by Glenn Miller
16.
Hipster (1940s subculture)
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Hipster or hepcat, as used in the 1940s, referred to aficionados of jazz, in particular bebop, which became popular in the early 1940s. The words hep and hip are of uncertain origin, with competing theories being proposed. In the early days of jazz, musicians were using the hep variant to describe anybody who was in the know about a culture, mostly black. They and their fans were known as hepcats, by the late 1930s, with the rise of swing, hip rose in popularity among jazz musicians, to replace hep. Clarinetist Artie Shaw described singer Bing Crosby as the first hip white person born in the United States. In 1939, the word hepster was used by Cab Calloway in the title of his Hepsters Dictionary, the entry for hipsters defined them as characters who like hot jazz. In the 1940s, white youth began to frequent African-American communities for their music and these first youths diverged from the mainstream due to their new philosophies of racial diversity and their exploratory sexual nature and drug habits. The drug of choice was marijuana, many hipster slang terms were dedicated to the substance, in his book Jazz, A History, Frank Tirro defines the 1940s hipster, To the hipster, Bird was a living justification of their philosophy. The hipster is an underground man and he is to the Second World War what the dadaist was to the first. He is amoral, anarchistic, gentle, and overcivilized to the point of decadence and he is looking for something that transcends all this bullshit and finds it in jazz. Hipsters themselves were not about to supply explanations and their language, limited as it was, was sufficiently obscure to defy translation into everyday speech. Their rejection of the commonplace was so complete that they could barely acknowledge reality, the measure of their withdrawal was their distrust of language. When hipsters did put together a coherent sentence, it was prefaced with the word like as if to state at the onset that what would follow was probably an illusion. There was neither a future nor a past, only a present that existed on the wings of sound. A Charlie Parker bebop solo—that was the truth, the hipsters world view was not divided between free world and Communist bloc, and this too set it apart from the then-current orthodoxy. Hipster dualism, instead, transcended geopolitical lines in favor of levels of consciousness, the division was hip and square. Squares sought security and conned themselves into political acquiescence, hipsters, hip to the bomb, sought the meaning of life and, expecting death, demanded it now. In the wigged-out, flipped-out, zonked-out hipster world, Roosevelt, Churchill, Stalin, Truman, McCarthy and Eisenhower shared one thing in common and he hipster signified the coming together of the bohemian, the juvenile delinquent, and the negro
17.
Beat Generation
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The Beat Generation is a literary movement started by a group of authors whose work explored and influenced American culture and politics in the post-World War II era. The bulk of their work was published and popularized throughout the 1950s, Allen Ginsbergs Howl, William S. Burroughss Naked Lunch and Jack Kerouacs On the Road are among the best known examples of Beat literature. Both Howl and Naked Lunch were the focus of obscenity trials that helped to liberalize publishing in the United States. The members of the Beat Generation developed a reputation as new bohemian hedonists, later, in the mid-1950s, the central figures ended up together in San Francisco where they met and became friends of figures associated with the San Francisco Renaissance. In the 1960s, elements of the expanding Beat movement were incorporated into the hippie, Neal Cassady, the driver for Ken Keseys bus Further, was the primary bridge between these two generations. Allen Ginsbergs work also became an element of early 1960s hippie culture. Jack Kerouac introduced the phrase Beat Generation in 1948 to characterize a perceived underground, the name arose in a conversation with writer John Clellon Holmes. Kerouac allows that it was street hustler Herbert Huncke who originally used the phrase beat, the origins of the Beat Generation can be traced to Columbia University and the meeting of Kerouac, Ginsberg, Lucien Carr, Hal Chase and others. Jack Kerouac attended Columbia on a football scholarship, though the beats are usually regarded as anti-academic, many of their ideas were formed in response to professors like Lionel Trilling and Mark Van Doren. Classmates Carr and Ginsberg discussed the need for a New Vision, to counteract what they perceived as their teachers conservative, Burroughs had an interest in criminal behavior and got involved in dealing stolen goods and narcotics. He was soon addicted to opiates, Burroughs guide to the criminal underworld was small-time criminal and drug-addict Herbert Huncke. The Beats were drawn to Huncke, who started to write himself. The police attempted to pull Ginsberg over while he was driving with Huncke, Ginsberg crashed the car while trying to flee and escaped on foot, but left incriminating notebooks behind. He was given the option to plead insanity to avoid a term, and was committed for 90 days to Bellevue Hospital. Carl Solomon was arguably more eccentric than psychotic, a fan of Antonin Artaud, he indulged in self-consciously crazy behavior, like throwing potato salad at a college lecturer on Dadaism. Solomon was given shock treatments at Bellevue, this one of the main themes of Ginsbergs Howl. Solomon later became the contact who agreed to publish Burroughs first novel Junky in 1953. Beat writers and artists flocked to Greenwich Village in New York City in the late 1950s because of low rent, folksongs, readings and discussions often took place in Washington Square Park
18.
Kansas City, Missouri
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Kansas City is the largest city in Missouri and the sixth largest city in the Midwest. According to the U. S. Census Bureau, the city had an population of 475,378 in 2015. It is the city of the Kansas City metropolitan area. Kansas City was founded in the 1830s as a Missouri River port at its confluence with the Kansas River coming in from the west, on June 1,1850 the town of Kansas was incorporated, shortly after came the establishment of the Kansas Territory. Confusion between the two ensued and the name Kansas City was assigned to them soon thereafter. Most of the city lies within Jackson County, but portions spill into Clay, Cass, along with Independence, it serves as one of the two county seats for Jackson County. Major suburbs include the Missouri cities of Independence and Lees Summit and the Kansas cities of Overland Park, Olathe, and Kansas City. The city is composed of neighborhoods, including the River Market District in the north, the 18th and Vine District in the east. Kansas City is also known for its cuisine, its craft breweries, Kansas City, Missouri was officially incorporated as a town on June 1,1850, and as a city on March 28,1853. The territory straddling the border between Missouri and Kansas at the confluence of the Kansas and Missouri rivers was considered a place to build settlements. The Antioch Christian Church, Dr. James Compton House, the first documented European visitor to Kansas City was Étienne de Veniard, Sieur de Bourgmont, who was also the first European to explore the lower Missouri River. Criticized for his response to the Native American attack on Fort Détroit, Bourgmont lived with a Native American wife in a village about 90 miles east near Brunswick, Missouri, where he illegally traded furs. In the documents, he describes the junction of the Grande Riv des Cansez and Missouri River, French cartographer Guillaume Delisle used the descriptions to make the areas first reasonably accurate map. The Spanish took over the region in the Treaty of Paris in 1763, the French continued their fur trade under Spanish license. After the 1804 Louisiana Purchase, Lewis and Clark visited the confluence of the Kansas and Missouri rivers, in 1831, a group of Mormons from New York settled in what would become the city. They built the first school within Kansas Citys current boundaries, but were forced out by mob violence in 1833, in 1833 John McCoy established West Port along the Santa Fe Trail,3 miles away from the river. In 1834 McCoy established Westport Landing on a bend in the Missouri to serve as a point for West Port. Soon after, the Kansas Town Company, a group of investors, began to settle the area, in 1850, the landing area was incorporated as the Town of Kansas
19.
Pullman Company
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Its workers initially lived in a planned worker community named Pullman. Pullman developed the car, which carried his name into the 1980s. Pullman did not just manufacture the cars, he also operated them on most of the railroads in the United States, the labor union associated with the company, the Brotherhood of Sleeping Car Porters, which was founded and organized by A. Philip Randolph, was one of the most powerful African-American political entities of the 20th century, the company also built thousands of streetcars and trolley buses for use in cities. During the day, the berth was folded up somewhat like a modern airliners overhead luggage compartment. At night the upper berth folded down and the two facing seats below it folded over to provide a relatively comfortable bunk for the night, although this was somewhat spartan accommodation by todays standards, it was a great improvement on the previous layout. Curtains provided privacy, and there were washrooms at each end of the car for men and women, once a household name due to their large market share, the Pullman Company is also known for the bitter Pullman Strike staged by their workers and union leaders in 1894. During an economic downturn, Pullman reduced hours and wages but not rents, workers joined the American Railway Union, led by Eugene V. Debs. After George Pullmans death in 1897, Robert Todd Lincoln, son of Abraham Lincoln, the company closed its factory in the Pullman neighborhood of Chicago in 1955. Pullman purchased the Standard Steel Car Company in 1930 amid the Great Depression, the company ceased production after the Amtrak Superliner cars in 1982 and its remaining designs were purchased in 1987 when it was absorbed by Bombardier. The original Pullman Palace Car Co. had been organized on February 22,1867, on January 1,1900, after buying numerous associated and competing companies, it was reorganized as The Pullman Co. characterized by its trademark phrase, Travel and Sleep in Safety and Comfort. In 1924, Pullman Car & Manufacturing Co. was organized from the previous Pullman manufacturing department, the parent company, The Pullman Co. was reorganized as Pullman, Inc. on June 21,1927. The best years for Pullman were the mid-1920s, in 1925, the fleet grew to 9800 cars. Twenty-eight thousand conductors and twelve thousand porters were employed by the Pullman Co. Pullman built its last standard heavyweight sleeping car in February 1931, Pullman-Standard remained in the rail car manufacturing business until 1982. The government sought to separate the companys sleeping car operations from its manufacturing activities, in 1944, the court concurred, ordering Pullman Incorporated to divest itself of either the Pullman Company or the Pullman-Standard Car Manufacturing Company. After three years of negotiations, the Pullman Company was sold to a consortium of fifty-seven railroads for around US$40 million, in 1943, Pullman Standard established a shipbuilding division and dived into wartime small ship design and construction. The yard was on Lake Calumet, on the side of 130th Street. Pullman built the boats in 40-ton blocks, the blocks being assembled in a fab shop on 111th Street and moved to the yard on gondola cars
20.
Western Union
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The Western Union Company is an American financial services and communications company. Its North American headquarters is in Meridian, Colorado, though the designation of nearby Englewood is used in its mailing address. Up until it discontinued the service in 2006, Western Union was the best-known U. S. company in the business of exchanging telegrams, Western Union has several divisions, with products such as person-to-person money transfer, money orders, business payments and commercial services. They offered standard Cablegrams, as well as more products such as Candygrams, Dollygrams. Western Union, as a monopoly, dominated the telegraph industry in the late 19th century. It was the first communications empire and set a pattern for American-style communications businesses as they are known today, meanwhile, Ezra Cornell had bought back one of his bankrupt companies and renamed it the New York & Western Union Telegraph Company. Originally fierce competitors, by 1856 both groups were convinced that consolidation was their only alternative for progress. The merged company was named the Western Union Telegraph Company at Cornells insistence, Western Union bought out smaller companies rapidly, and by 1860 its lines reached from the East Coast to the Mississippi River, and from the Great Lakes to the Ohio River. In 1861 it opened the first transcontinental telegraph, in 1865 it formed the Russian–American Telegraph in an attempt to link America to Europe, via Alaska, into Siberia, to Moscow. The company enjoyed phenomenal growth during the few years. Under the leadership of presidents Jeptha Wade and William Orton its capitalization rose from $385,700 in 1858 to $41 million in 1876. However it was top-heavy with stock issues, and faced growing competition from several firms, in 1881 Gould took control of Western Union. It introduced the first stock ticker in 1866, and a time service in 1870. The next year,1871, the company introduced its money transfer service, in 1879, Western Union left the telephone business, having lost a patent lawsuit with Bell Telephone Company. As the telephone replaced the telegraph, money transfer would become its primary business, when the Dow Jones Transportation Average stock market index for the New York Stock Exchange was created in 1884, Western Union was one of the original eleven all-American companies tracked. By 1900, Western Union operated a million miles of telegraph lines, the company continued to grow, acquiring more than 500 smaller competitors. Its monopoly power was almost complete in 1943 when it bought Postal Telegraph, in 1914, Western Union offered the first charge card for consumers, in 1923 it introduced teletypewriters to join its branches. Singing telegrams followed in 1933, intercity fax in 1935, in 1958, it began offering Telex service to customers in New York City
21.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
22.
Paul Desmond
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Paul Desmond was an American jazz alto saxophonist and composer, best known for the work he did in the Dave Brubeck Quartet and for composing that groups greatest hit, Take Five. He was one of the most popular musicians to come out of the West Coasts cool jazz scene. In addition to his work with Brubeck, he led several of his own groups and engaged in significant collaborations with such as Gerry Mulligan, Chet Baker, Jim Hall. After years of smoking and general poor health, Desmond succumbed to lung cancer in 1977 following one last tour with Brubeck. Desmond was born Paul Emil Breitenfeld in San Francisco, California, in 1924 and his father was from a Jewish family from Bohemia and Austria, and his mother was Catholic, throughout his life, Desmond was unsure of his fathers background. His father was a pianist, organist, and composer, who accompanied silent films in movie theaters and his mother was emotionally unstable throughout his upbringing. During childhood he spent years living with relatives in New York City due to problems at home, Desmond began playing violin at an early age, though his father forbade him to play it. Desmond began to study clarinet at the age of twelve, which he continued while at San Francisco Polytechnic High School, Paul was not only a gifted musician, but a talented writer who took an early interest in show business. As co-editor of his school newspaper, he helped secure an interview with Bob Hope during his visit to San Francisco. It was not until he became a freshman at San Francisco State College that he picked up the alto saxophone, in his first year Desmond was drafted into the United States Army and joined the Army band while stationed in San Francisco. He spent three years in the military, but his unit was never called to combat, following the conclusion of World War II, Desmond started working outside Palo Alto, California, at the Band Box in Redwood City. He also worked with Brubeck at the Geary Cellar in San Francisco, in 1950 Desmond left for New York City playing alto and clarinet for Jack Fina, but returned to California after hearing Brubecks trio on the radio. The story of their encounter is somewhat humorous, brubeck—married with three children and holding a grudge from his earlier experience with Desmond—instructed his wife, Iola, not to let him set foot in his house. However, Desmond came to his home in San Francisco one day while Dave was out back hanging diapers on a laundry line, apparently all the begging in the world would not convince Brubeck to hire him, at least not until Desmond offered to babysit Brubecks children. Desmond had first met Dave Brubeck in 1944 while still in the military, Brubeck was trying out for the 253rd Army band which Desmond belonged to. After making the cut he—unlike Desmond—was sent to war in 1944, Desmond once told Marian McPartland of National Public Radios Piano Jazz that he was taken aback by the chord changes Brubeck introduced during that 1944 audition. That is how the Dave Brubeck Quartet had its start, a group began in 1951. The success of the led to a Time magazine piece on them in 1954
23.
Count Basie
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William James Count Basie was an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens, dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By 16 years old, he played jazz piano at parties, resorts. In 1924, he went to Harlem, where his career expanded, he toured with groups to the major jazz cities of Chicago, St. Louis. In 1929 he joined Bennie Motens band in Kansas City, in 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. William Basie was born to Harvey Lee and Lillian Basie in Red Bank and his father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his became an groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background and his father played the mellophone, and his mother played the piano, in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living and she paid 25 cents a lesson for piano instruction for him. Not much of a student in school, Basie dreamed of a traveling life and he finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies, though a natural at the piano, Basie preferred drums. Discouraged by the talents of Sonny Greer, who also lived in Red Bank and became Duke Ellingtons drummer in 1919. Greer and Basie played together in venues until Greer set out on his professional career, by then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardsons Kings of Syncopation. When not playing a gig, he hung out at the pool hall with other musicians. He got some jobs in Asbury Park at the Jersey Shore, around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, soon, Basie met many of the Harlem musicians who were making the scene, including Willie the Lion Smith and James P. Johnson. His touring took him to Kansas City, St. Louis, New Orleans, throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers and this provided an early training that was to prove significant in his later career
24.
Bennie Moten
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Bennie Moten was an American jazz pianist and band leader born in Kansas City, Missouri. His first recordings were made in 1923, and were rather typical interpretations of the New Orleans style of King Oliver and they also showed the influence of the ragtime that was still popular in the area, as well as the stomping beat that the band was famous for. These OKeh sides are some of the more valuable acoustic jazz 78s of the era, Moten remained one of Victors most popular orchestras through 1930. The song Kansas City Shuffle was recorded during this time, by 1928 Motens piano was showing some boogie woogie influences, but the real revolution came in 1929 when he recruited Count Basie, Walter Page and Oran Hot Lips Page. Walter Pages walking bass lines gave the music a new feel compared to the 2/4 tuba of his predecessor Vernon Page. Another boon to the band was adding Jimmy Rushing as their primary vocalist and their final session showed the early stages of what became known as the Basie sound, four years before Basie recorded under his own name. By this time Ben Webster and Rushing had joined Motens band, Basie, subsequently, took many of the leading musicians from the band to form his own orchestra. Motens popular 1928 recording of South on Victor V-38021 stayed in Victors catalog over the years and it remained in print until RCA stopping making vinyl records
25.
Jo Jones
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Jonathan David Samuel Jo Jones was an American jazz drummer. A band leader and pioneer in jazz percussion, Jones anchored the Count Basie Orchestra rhythm section from 1934 to 1948 and he worked as a drummer and tap-dancer at carnival shows until joining Walter Pages band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunters Serenaders in 1931, and later joined pianist Count Basies band in 1934, Jones, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an All-American Rhythm section, an ideal team. Jones took a break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series and he was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach. He also starred in films, most notably the musical short Jammin the Blues. Jones performed regularly in later years at the West End jazz club at 116th and these performances were generally very well attended by other drummers such as Max Roach and Roy Haynes. In addition to his artistry on the drums, Jones was known for his irascible, in contrast to drummer Gene Krupas loud, insistent pounding of the bass drum on each beat, Jones often omitted bass drum playing altogether. Jones also continued a ride rhythm on hi-hat while it was opening and closing instead of the common practice of striking it while it was closed. Joness style influenced the jazz drummers tendency to play timekeeping rhythms on a suspended cymbal that is now known as the ride cymbal. In 1979, Jones was inducted into the Alabama Jazz Hall of Fame for his contribution to the Birmingham, Jones was the 1985 recipient of an American Jazz Masters fellowship awarded by the National Endowment for the Arts. Known as Papa Jo Jones in his years, he is sometimes confused with another influential jazz drummer. The two died only a few days apart, Jones died of pneumonia in New York City at the age of 73. Rhythm With Coleman Hawkins The Hawk Flies High With Woody Herman Songs for Hip Lovers With Illinois Jacquet Swings the Thing The King, rifftide, The Life and Opinions of Papa Jo Jones
26.
Jay McShann
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James Columbus Jay McShann was a jazz pianist and bandleader. He led bands in Kansas City, Missouri, that included Charlie Parker, Bernard Anderson, Ben Webster, McShann was born in Muskogee, Oklahoma, and was nicknamed Hootie. Musically, his education came from Earl Hiness late-night broadcasts from Chicagos Grand Terrace Cafe, When Fatha went off the air and he began working as a professional musician in 1931, performing around Tulsa, Oklahoma, and neighboring Arkansas. His first recordings were all with Charlie Parker, the first as the Jay McShann Orchestra on August 9,1940, the band played both swing and blues numbers but played blues on most of its records, its most popular recording was Confessin the Blues. The group disbanded when McShann was drafted into the Army in 1944, the big-band era being over, he was unable to successfully restart his career after the war ended. After World War II McShann began to lead small groups featuring the blues shouter Jimmy Witherspoon, Witherspoon started recording with McShann in 1945 and fronting McShanns band, he had a hit in 1949 with Aint Nobodys Business. As well as writing material, Witherspoon continued recording with McShanns band. McShann had a rhythm and blues hit with Hands Off, featuring a vocal by Priscilla Bowman. In the late 1960s, McShann became popular as a singer as well as a pianist and he continued recording and touring through the 1990s. In 1979, he appeared prominently in The Last of the Blue Devils, McShann died on December 7,2006, in Kansas City, Missouri, at the age of 90. He was survived by his companion of more than 30 years, Thelma Adams, the Rolling Stones recorded a cover version of Confessin the Blues on the album Five by Five. The song was written by McShann and Walter Brown in the 1940s, crime-fiction writer Elmore Leonard featured McShann as a character in his 2005 novel The Hot Kid
27.
Morphine
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Morphine is a pain medication of the opiate type which is found naturally in a number of plants and animals. It acts directly on the nervous system to decrease the feeling of pain. It can be taken for both pain and chronic pain. Morphine is frequently used for pain from myocardial infarction and during labour and it can be given by mouth, by injection into a muscle, by injecting under the skin, intravenously, into the space around the spinal cord, or rectally. Maximum effect is around 20 min when given intravenously and 60 min when given by mouth while duration of effect is three and seven hours. Potentially serious side effects include a decreased respiratory effort and low blood pressure, morphine has a high potential for addiction and abuse. If the dose is reduced after long-term use, withdrawal may occur, common side effects include drowsiness, vomiting, and constipation. Caution is advised when used during pregnancy or breast feeding, as morphine will affect the baby, morphine was first isolated between 1803 and 1805 by Friedrich Sertürner. This is generally believed to be the first isolation of an ingredient from a plant. Merck began marketing it commercially in 1827, morphine was more widely used after the invention of the hypodermic syringe in 1853–1855. Sertürner originally named the substance morphium after the Greek god of dreams, the primary source of morphine is isolation from poppy straw of the opium poppy. In 2013, an estimated 523,000 kilograms of morphine were produced, about 45,000 kilograms were used directly for pain, an increase over the last twenty years of four times. Most use for this purpose was in the developed world, about 70% of morphine is used to make other opioids such as hydromorphone, oxycodone and heroin. It is a Schedule II drug in the United States, Class A in the United Kingdom and it is on the World Health Organizations List of Essential Medicines, the most effective and safe medicines needed in a health system. Morphine is sold under trade names. Morphine is used primarily to treat both acute and chronic severe pain and it is also used for pain due to myocardial infarction and for labor pains. Its duration of analgesia is about three to seven hours, however, concerns exist that morphine may increase mortality in the setting of non ST elevation myocardial infarction. Morphine has also traditionally used in the treatment of acute pulmonary edema
28.
Heroin
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Heroin, also known as diamorphine among other names, is an opiate typically used as a recreational drug for its euphoric effects. Medically it is used to relieve pain and as a form of opioid replacement therapy alongside counseling. Heroin is typically injected, usually into a vein, however, onset of effects is usually rapid and lasts for a few hours. Common side effects include respiratory depression and about a quarter of those who use heroin become physically dependent, other side effects can include abscesses, infected heart valves, blood borne infections, constipation, and pneumonia. After a history of use, withdrawal symptoms can begin within hours of last use. When given by injection into a vein, heroin has two to three times the effect as a dose of morphine. It typically comes as a white or brown powder, treatment of heroin addiction often includes behavioral therapy and medications. Medications used may include methadone or naltrexone, a heroin overdose may be treated with naloxone. An estimated 17 million people as of 2015 use opiates such as heroin, the total number of opiate users has increased from 1998 to 2007 after which it has remained more or less stable. In the United States about 1.6 percent of people have used heroin at some point in time, when people die from overdosing on a drug, the drug is usually an opioid. Heroin was first made by C. R. Alder Wright in 1874 from morphine, internationally, heroin is controlled under Schedules I and IV of the Single Convention on Narcotic Drugs. It is generally illegal to make, possess, or sell heroin without a license, in 2015 Afghanistan produced about 66% of the worlds opium. Often heroin, which is sold, is mixed with other substances such as sugar or strychnine. The original trade name of heroin is typically used in non-medical settings and it is used as a recreational drug for the euphoria it induces. Anthropologist Michael Agar once described heroin as the perfect whatever drug, tolerance develops quickly, and increased doses are needed in order to achieve the same effects. Its popularity with recreational users, compared to morphine, reportedly stems from its perceived different effects. In particular, users report an intense rush, an acute transcendent state of euphoria, while other opioids of recreational use produce only morphine, heroin also leaves 6-MAM, also a psycho-active metabolite. Equipotent injected doses had comparable action courses, with no difference in subjects self-rated feelings of euphoria, ambition, nervousness, relaxation, drowsiness, short-term addiction studies by the same researchers demonstrated that tolerance developed at a similar rate to both heroin and morphine
29.
Art Tatum
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Arthur Art Tatum, Jr. was an American jazz pianist. Tatum is widely acknowledged as the greatest jazz pianist of all time and he was hailed for the technical proficiency of his performances, which set a new standard for jazz piano virtuosity. Critic Scott Yanow wrote, Tatums quick reflexes and boundless imagination kept his improvisations filled with ideas that put him way ahead of his contemporaries. For a musician of such stature, there is little published information available about Tatums life, only one full-length biography has been published, Too Marvelous for Words, by James Lester. Lester interviewed many of Tatums contemporaries for the book and drew from many articles published about him, Tatum was born in Toledo, Ohio. His father, Arthur Tatum, Sr. was a guitarist and an elder at Grace Presbyterian Church and he had two siblings, Karl and Arlene. From infancy he suffered from cataracts which left him blind in one eye, a number of surgical procedures improved his eye condition to a degree but some of the benefits were reversed when he was assaulted in 1930. A child with perfect pitch, Tatum learned to play by ear, in a Voice of America interview, he denied the widespread rumor that he learned to play by copying piano roll recordings made by two pianists. He developed a very fast playing style, without losing accuracy, as a child he was also very sensitive to the pianos intonation and insisted it be tuned often. While playing piano was the most obvious application of his mental and physical skills, in 1925, Tatum moved to the Columbus School for the Blind, where he studied music and learned braille. He subsequently studied piano with Overton G. Rainey at either the Jefferson School or the Toledo School of Music, Rainey, who was also visually impaired, probably taught Tatum in the classical tradition, as Rainey did not improvise and discouraged his students from playing jazz. In 1927, Tatum began playing on Toledo radio station WSPD as Arthur Tatum, Toledos Blind Pianist, during interludes in Ellen Kays shopping chat program, by the age of 19, Tatum was playing at the local Waiters and Bellmens Club. In 1931, vocalist Adelaide Hall commenced a tour that lasted almost two years, during which she discovered Tatum in Toledo and employed him as one of her stage pianists. In 1932, Hall returned to New York with Tatum and introduced him to Harlem on stage at the Lafayette Theatre, in August 1932, she made four recordings using Tatum as one of her pianists including the songs Strange As It Seems and You Gave Me Everything But Love. Tatum drew inspiration from the pianists James P. Johnson and Fats Waller, who exemplified the stride piano style, Tatum identified Waller as his main influence, but according to pianist Teddy Wilson and saxophonist Eddie Barefield, Art Tatums favorite jazz piano player was Earl Hines. He used to buy all of Earls records and would improvise on them, hed play the record but hed improvise over what Earl was doing. Course, when you heard Art play you didnt hear nothing of anybody, but he got his ideas from Earls style of playing – but Earl never knew that. A major event in his rise to success was his appearance at a cutting contest in 1933 at Morgans bar in New York City that included Waller, Johnson
30.
Earl Hines
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Earl Kenneth Hines, universally known as Earl Fatha Hines, was an American jazz pianist and bandleader. He was one of the most influential figures in the development of piano and. The trumpeter Dizzy Gillespie wrote, The piano is the basis of modern harmony and this little guy came out of Chicago, Earl Hines. He changed the style of the piano and you can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that. If it hadnt been for Earl Hines blazing the path for the generation to come. There were individual variations but the style of, the modern piano came from Earl Hines. The pianist Lennie Tristano said, Earl Hines is the one of us capable of creating real jazz. Horace Silver said, He has a unique style. No one can get that sound, no other pianist, Erroll Garner said, When you talk about greatness, you talk about Art Tatum and Earl Hines. Count Basie said that Hines was the greatest piano player in the world, Hines was born in Duquesne, Pennsylvania,12 miles from the center of Pittsburgh, in 1903. His father, Joseph Hines, played cornet and was the leader of the Eureka Brass Band in Pittsburgh, Hines intended to follow his father on cornet, but blowing hurt him behind the ears, whereas the piano did not. The young Hines took lessons in playing classical piano, by the age of eleven he was playing the organ in his Baptist church. He had an ear and a good memory and could replay songs after hearing them in theaters and park concerts. That astonished a lot of people and theyd ask where I heard these numbers, later, Hines said that he was playing piano around Pittsburgh before the word jazz was even invented. With his fathers approval, Hines left home at the age of 17 to take a job playing piano with Lois Deppe and His Symphonian Serenaders in the Liederhaus and he got his board, two meals a day, and $15 a week. Deppe, a well-known baritone concert artist who sang both classical and popular songs, also used the young Hines as his concert accompanist and took him on his trips to New York. In 1921 Hines and Deppe became the first African Americans to perform on radio, Hiness first recordings were accompanying Deppe – four sides recorded for Gennett Records in 1923, still in the very early days of sound recording. Only two of these were issued, one of which was a Hines composition, Congaine, a keen snappy foxtrot, which also featured a solo by Hines
31.
American Federation of Musicians
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The American Federation of Musicians of the United States and Canada is a labor union representing professional musicians in the United States and Canada. The AFM, which has its headquartered in New York City, is led by president Raymond M. Hair, founded in Cincinnati in 1896 as the successor to the National League of Musicians, the AFM is the largest organization in the world to represent professional musicians. They negotiate fair agreements, protect ownership of recorded music, secure benefits such as care and pension. In the US, it is the American Federation of Musicians —and in Canada, the AFM is affiliated with AFL–CIO, the largest federation of Unions in the United States, and the Canadian Labour Congress, the federation of unions in Canada. The Musical Mutual Protective Union of New York became Local 301 of the American Federation of Musicians in 1902, in 1904, the local had 5,000 members, who were almost entirely German. In 1910, approximately 300 black musicians were members in the roughly 8, the local lost its charter and was disbanded in 1921. Among the most famous AFM actions was a ban on all commercial recording by members in 1942–44 and this was sometimes called the Petrillo ban, because James Petrillo was the newly elected head of the union. Petrillo organized a recording ban in 1948, in response to the Taft–Hartley Act. The American Federation of Labor recognized the American Federation of Musicians in 1896, in 1900, the American Federation of Musicians modified its name to American Federation of Musicians of the United States and Canada. The AFM is now one of the most recognized labor unions in America, in the early 1900s, record companies produced recordings and musicians profited. However, around World War I, general unemployment also affected musicians, movies displaced some traditional entertainments, and were silent films. Because of that, the economy, and other factors. By the end of the 1920s, many factors had reduced the number of recording companies, as the nation recovered from World War I, technology advanced and there was diversity in recording and producing music. This encouraged the American Federation of Musicians, AFM was motivated to bring music awareness of music to the public. In 1938, the American Federation of Musicians established signed an agreement with motion pictures companies, the early 1960s marked a new beginning to the music industry. Rock and roll became mainstream in the 1960s, after the second World War, American culture entered the baby boom era. Rock and roll brought an explosion to the industry market. It became mainstream music, proving its popularity through record sales, by 1970s, North American music had divided in into more genres than ever before
32.
Thelonious Monk
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Thelonious Sphere Monk was an American jazz pianist and composer. Monk is the second most-recorded jazz composer after Duke Ellington, which is remarkable as Ellington composed more than a thousand pieces. He was renowned for his style in suits, hats. Monk is one of five musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck. Thelonious Sphere Monk was born two years after his sister Marion on October 10,1917, in Rocky Mount, North Carolina and his badly written birth certificate misspelled his first name as Thelious or Thelius. It also did not list his name, taken from his maternal grandfather. A brother, Thomas, was born in January 1920, in 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six, and was largely self-taught and he attended Stuyvesant High School but did not graduate. He toured with an evangelist in his teens, playing the church organ, in the early to mid-1940s, Monk was the house pianist at Mintons Playhouse, a Manhattan nightclub. Much of Monks style was developed during his time at Mintons, Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monks style at this time was described as hard-swinging, with the addition of runs in the style of Art Tatum. Monks stated influences included Duke Ellington, James P. Johnson, in the documentary Thelonious Monk, Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. So, the worked out a music that was hard to steal. Ill say this for the leeches, though, they tried, ive seen them in Mintons busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, Im afraid, did not give Monk the credit he had coming, why, they even stole his idea of the beret and bop glasses. In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet, Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane. Monk made his first recordings as leader for Blue Note in 1947, Monk married Nellie Smith the same year, and in 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, Barbara, was born in 1953 and died in 1984 from cancer, in August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell
33.
Charlie Christian
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Charles Henry Charlie Christian was an American swing and jazz guitarist. Christian was an important early performer on the guitar and a key figure in the development of bebop. He gained national exposure as a member of the Benny Goodman Sextet and his single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond and George T. Simon called Christian the best improvisational talent of the swing era, Christians influence reached beyond jazz and swing. In 1990, he was inducted into the Rock and Roll Hall of Fame in the category Early Influence, in 2006 Oklahoma City renamed a street in its Bricktown entertainment district Charlie Christian Avenue. Christian was born in Bonham, Texas and his family moved to Oklahoma City, Oklahoma, when he was a small child. He had two brothers, Edward, born in 1906, and Clarence, born in 1911, All three sons were taught music by their father, Clarence Henry Christian. Clarence Henry was struck blind by fever, and in order to support the family he and he would have them lead him into the better neighborhoods, where they would perform for cash or goods. When Charles was old enough to go along, he first entertained by dancing, later he learned to play the guitar, inheriting his fathers instruments upon his death when Charles was 12. He attended Douglass School in Oklahoma City, where he was encouraged in music by an instructor. Charles wanted to play saxophone in the school band. As he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, around 1931, he took the guitarist Bigfoot Ralph Hamilton and began secretly schooling the younger Charles in jazz. They taught him to solo on three songs, Rose Room, Tea for Two, and Sweet Georgia Brown, when the time was right they took him out to one of the many after-hours jam sessions along Deep Deuce, Northeast Second Street, in Oklahoma City. Let Charles play one, they told Edward, ah, nobody wants to hear them old blues, Edward replied. After some encouragement, he allowed Charles to play, what do you want to play. All three songs were big in the early 1930s, and Edward was surprised that Charles knew them, after two encores, Charles had played all three, and Deep Deuce was in an uproar. He coolly dismissed himself from the jam session, and his mother had heard about it before he got home, Charles fathered a daughter, Billie Jean Christian by Margretta Lorraine Downey of Oklahoma City. Charles soon was performing locally and on the road throughout the Midwest, by 1936 he was playing electric guitar and had become a regional attraction
34.
Kenny Clarke
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Kenneth Spearman Clarke, nicknamed Klook and later known as Liaqat Ali Salaam, was a jazz drummer and bandleader. He was an innovator of the bebop style of drumming. As the house drummer at Mintons Playhouse in the early 1940s, he participated in the after hours jams that led to the birth of Be-Bop and he spent his later life in Paris. Clarke was born in Pittsburgh, Pennsylvania, in 1914, coming from a musical family, he studied multiple instruments, including vibes and trombone, as well as music theory and composition, while still in high school. As a teenager, Clarke played in the bands of Leroy Bradley and he toured around the Midwest for several years with the Jeter-Pillars band, which also featured bassist Jimmy Blanton and guitarist Charlie Christian. By 1935, Clarke was more frequently in New York, where he eventually moved and he worked in groups led by Edgar Hayes and Lonnie Smith, and began developing the rhythmic concepts that would later define his contribution to the music. After being discharged from the US Army, Clarke converted to Islam and this new approach incorporated the bombs, or syncopated accents on the bass drum, developed by Jo Jones, while further freeing up the left hand to play more syncopated figures. This nickname was enshrined in Oop Bop ShBam, recorded by Dizzy Gillespie in 1946 with Clarke on drums, where the scat lyric to the bebop tune goes oop bop shbam a klook a mop. The combination of the improvised accents on the snare and bass drum, and this is the tonal fabric of bebop jazz. Clarkes innovation set the stage for the development of the bebop combo, for this, every drummer Ed Thigpen said, owes him a debt of gratitude. While playing at Mintons, Clarke made many recordings, most notably as the drummer for Savoy Records. When the musicians from the Mintons band moved to different projects, Clarke began working with a young pianist and composer John Lewis, Clarke had toured Europe numerous times going all the way back to a stint in the Army during the mid-1940s. He was undoubtedly attracted to the pay he could earn in France. Ira Gitler quotes him as saying, I earn a good living and it is also possible that, like many African American expatriate musicians and writers, he was attracted to the better social treatment he received there. As soon as he moved to Paris, he worked with visiting American musicians, including Miles Davis on the soundtrack for Ascenseur pour léchafaud. Clarke also formed a trio, known as The Three Bosses, with pianist Bud Powell, another Paris resident, and bassist Pierre Michelot. In 1963 The Three Bosses recorded the classic album Our Man in Paris with tenor saxophone great Dexter Gordon, the big band, which had been the idea of Italian producer Gigi Campi, lasted for eleven years. After 1968 Kenny Clarke played and recorded with the French composer, Clarke continued recording and playing with both visiting U. S. musicians and his regular French band mates until his death
35.
Mary Lou Williams
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Mary Lou Williams was an African-American jazz pianist, composer, and vocalist. She wrote hundreds of compositions and arrangements, and recorded more than one hundred records, Williams was born in Atlanta, Georgia, and grew up in the East Liberty neighborhood of Pittsburgh, Pennsylvania, one of eleven children. As a very young child she taught herself to play the piano and at the age of six and she began performing publicly at the age of seven, when she became known admiringly in Pittsburgh as the little piano girl of East Liberty. She became a musician in her teens and she cited Lovie Austin as her greatest influence. In 1922, at the age of 12, she was taken on the Orpheum Circuit, the following year she played with Duke Ellington and his early small band, the Washingtonians. One shining salute to her talent came when she was only 15, one morning at three A. M, she was jamming with McKinneys Cotton Pickers at Harlems Rhythm Club. Louis Armstrong entered the room and paused to listen to her, Mary Lou shyly told what happened, Louis picked me up and kissed me. In 1927, Williams married saxophonist John Williams and she met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Mary Lou on piano, in 1929, he accepted an invitation to join Andy Kirks band in Oklahoma City, leaving 19-year-old Mary Lou to head the Memphis band for its remaining tour dates. Williams eventually joined her husband in Oklahoma City but did not play with the band. The group, now known as Andy Kirks Twelve Clouds of Joy, relocated to Tulsa, Oklahoma, where Williams and she provided Kirk with such songs as Walkin and Swingin, Twinklin, Cloudy, Little Joe from Chicago and others. From the first record sides Kirk made in Kansas City, Williams was on board as pianist, during one of those trips to Chicago in 1930, Williams recorded Drag Em and Night Life as piano solos. Williams took the name Mary Lou at the suggestion of Brunswicks Jack Kapp, the records sold briskly, raising Williams to national prominence. In 1937, she produced In the Groove, a collaboration with Dick Wilson, the result was Roll Em, a boogie-woogie piece based on the blues, which followed her successful Camel Hop, named for Goodmans radio show sponsor, Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, in 1942, Williams, who had divorced her husband, left the Twelve Clouds of Joy band, returning again to Pittsburgh. She was joined there by bandmate Harold Shorty Baker, with whom she formed an ensemble that included Art Blakey on drums. After a lengthy engagement in Cleveland, Baker left to join Duke Ellingtons orchestra, Williams joined the band in New York City, and then traveled to Baltimore, where she and Baker were married. She traveled with Ellington and arranged several tunes for him, including Trumpet No End and she also sold Ellington on performing Walkin and Swingin
36.
Swing music
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Swing music, or simply swing, is a form of American music that dominated in the 1930s and 1940s. The name swing came from the swing feel where the emphasis is on the off–beat or weaker pulse in the music, Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, the verb to swing is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the era include Louis Armstrong, Cab Calloway, Benny Goodman, Duke Ellington, Glenn Miller, Count Basie, Woody Herman. Swing has roots in the late 1920s as larger ensembles began using written arrangements, a typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely tied wind and brass. The most common style consisted of having a soloist take center stage, Swing music began to decline in popularity during World War II because of several factors. By the late 1940s, swing had morphed into traditional pop music, or evolved into new styles such as jump blues, Swing music saw a revival in the late 1950s and 1960s with pop vocalists such as Frank Sinatra, Nat King Cole, and Ella Fitzgerald. Swing blended with other genres to create new styles, in country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced many elements of swing along with blues to create a genre called western swing. Gypsy swing is an outgrowth of Venuti and Langs jazz violin swing, in the 1970s, and 1980s, fans of big band music attended swing music performances at supper clubs. In the late-1980s a trendier, more urban-styled swing-beat emerged called new jack swing, in the late 1990s and into the 2000s there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer, Big Bad Voodoo Daddy, and Lavay Smith. In Canada, some of the early 2000s records by The JW-Jones Blues Band included swing revival elements, the 1920s saw parallel trends in jazz and popular music that would later converge into the swing style. New Orleans style jazz was based on a meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet. The rhythm section consisted of a tuba and drums, and sometimes a banjo, by the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the tuba. Further innovations in small ensemble playing led to development of the Chicago style identified with Louis Armstrong, a stint with the Fletcher Henderson Orchestra familiarized him with arranged ensemble playing that differed from the New Orleans style, in which saxophones became the dominant sound among the reeds. Armstrong brought those back to his smaller ensembles, the soloist played over an ensemble relegated to a supporting role in the background. The string bass also lent itself to playing in a 4/4 rhythm rather than the 2/4 rhythm dictated by the tuba. The new format gave the soloist the opportunity to play with more rhythmic freedom, but playing with swing remained the province of the soloist, not the ensemble. The late 1920s saw increasingly sophisticated arrangements used by bigger ensembles, some arrangements used call-response between horn sections to build the melody
37.
52nd Street (Manhattan)
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52nd Street is a 1. 9-mile long one-way street traveling west to east across Midtown Manhattan, New York City. It was known as the center of jazz performance from the 1930s to the 1950s. Following the repeal of Prohibition in 1933, 52nd Street replaced 133rd street as Swing Street of the city, the blocks of 52nd Street between Fifth Avenue and Seventh Avenue became renowned for the abundance of jazz clubs and lively street life. The street was convenient to musicians playing on Broadway and the nightclubs and was also the site of a CBS studio. Musicians who played for others in the evening played for themselves on 52nd Street. Although musicians from all schools performed there, after Mintons Playhouse in uptown Harlem, in fact, a tune called 52nd Street Theme by Thelonious Monk became a bebop anthem and jazz standard. By the late 1940s the jazz scene began moving elsewhere around the city, by the 1960s, most of the legendary clubs were razed or fell into disrepair. The last club there closed its doors in 1968, today, the street is full of banks, shops, and department stores and shows little trace of its jazz history. The block from 5th to 6th Avenues is formally co-named Swing Street, the 21 Club is the sole surviving club on 52nd Street that also existed during the 1940s. The venue for the original Birdland at 1674 Broadway, which came into existence in 1949, is now a gentlemens club, the current Birdland is on 44th Street, between 8th and 9th Avenues. This is a list of places within one block of 52nd Street. The route begins at the West Side Highway, Duncan Center on the block after moving from its original location. The Duncan Center is named for a patrolman who was shot while chasing a car in the neighborhood on May 17,1930. Closed Midtown Branch of Saint Vincents Catholic Medical Center The Manhattan School – Public School 35, radio City Station Post Office The Link, 43–story, 215–unit, glass tower condominium, opened in 2007 on site of the S. I. R. Building at 310 W 52nd, known as the Palm Gardens Building, occupied the building from 1974 until 2004. Cheetah, the club that had once been at 53rd and Broadway. Cheetah became a popular Latin-American dance club that helped popularize Salsa to mainstream America. C, sixth Avenue to Fifth Avenue is signed Swing Street AXA Financial Center 43-story 174 m 571 ft completed in 1963. It has a large Thomas Hart Benton mural in lobby, CBS Building, headquarters of the network and popularly referred to as Black Rock 31 West 52nd Street 30-floor 125 m 411 ft completed in 1986 originally for the E. F. Hutton headquarters
38.
Maury Deutsch
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Maury Deutsch was a musician who has played the trumpet from an early age. He is one of the most prolific and accomplished arranger-composers of his time, Deutsch was born and raised on the Lowest East Side of Manhattan, New York. Through his musical talents he was accepted to Brooklyn College at an young age. He joined the Navy, but was never in any combat because of his musical talent and he was stationed in Norfolk, Virginia composing and arranging for the Navy Orchestra, where he also played his trumpet. Deutsch lived in New York City, where he practiced and taught music from his home, after the war, Deutsch moved back into the thriving NY music scene. Also, he earned an Honorary Doctor of Music degree from the Musical Arts Conservatory of Amarillo and he lived across from Carnegie Hall, where he would play often. He also became a teacher of arranging and composition at the American Theatre Wing, in addition to his work there, he also taught many notable musicians such as Charlie Parker, James P. Johnson, Django Reinhardt and, Roy Glover of the city cabaret orchestra. Roy developed into a music arranger, orchestrator and composer. Into both his performances and his compositions, he incorporated all the music of his life and his experiences, from Classical music to Jazz, Gospel to Blues, afterwards, in 1949, Delamont opened his own studio in Toronto. Jeff Bova When Bova left college in the mid 1970s, Jazz fusion was peaking, I was knocking around in Connecticut with various bands, but no deals came, he says. I started taking private arranging and composition lessons with a guy named Dr. Maury Deutsch and he was like a guru to me, opening up my mind to music and creativity in ways I never imagined. I really recommend that people trying to get into the business find a mentor like him. Dr. Deutsch also has written a method for developing range from C below the bass clef to Triple High C utilizing isotonic and isometric techniques, in addition to his many students, Dr. Deutsch also found time to write many notable books on arranging and composing. Dr. Deutsch, after he wished to settle down a little went to teach in the NY Public School system. After teaching each day he spent his playing in clubs. During World War II, I was a member of the band at Norfolk. At one of the concerts, the director of the local Burlesque Theatre was impressed with my trumpet playing. After the performance, he approached me and asked if I would like to join the show band that evening for financial gain
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