Jazz Goes to College
Jazz Goes to College is a 1954 album documenting the North American college tour of the Dave Brubeck Quartet. It was Dave Brubecks first album for Columbia Records and he was joined by alto saxophonist Paul Desmond, double bassist Bob Bates, and drummer Joe Dodge. The album was re-released on CD and cassette under the Columbia imprint in 1991, the college tour, in which the group crossed the country visiting major universities and junior colleges, was conceived by Brubecks wife Iola as a way to introduce jazz to a new audience. Brubeck described encountering resistance at the colleges, some of which were reluctant to allow him to perform, as the quartet traveled across the country, he told the Jazz Education Journal, they would play as many as 90 colleges in a four-month period. Balcony Rock, recorded at the University of Michigan in Ann Arbor, is a heavily improvised tune formed on an eight-bar blues led by alto saxophonist Paul Desmond. Out of Nowhere was recorded at the University of Cincinnati and showcases Brubecks timing, recorded at Oberlin College, Le Souk features aggressive, frenetic piano by Brubeck, Bob Bates propulsive double bass lines, and a firm backbeat by drummer Joe Dodge.
Desmonds melodies feature Middle Eastern influences, take the A Train has straightforward blows by Desmond and forceful interjections by Dodge. The Song Is You showcases Desmonds lithe phrasing, the quartets reading of Dont Worry Bout Me expands on Brubecks bluesy piano with an austere arrangement. The final phrase of I Want to Be Happy exemplifies the quartets energetic performance with a dramatic conclusion, following the albums release, the quartet was featured on the cover of Time magazine, with the accompanying article describing Brubeck as the most exciting new jazz artist at work today. Jazz Goes to College enjoyed widespread popularity among students in the 1950s. Robert Christgau, writing for MSN Music, gave the album an A grade and he praised Paul Desmonds contributions and said that, particularly on the albums standards, he is at his lyrical best. Christgau complimented Brubecks blocky solos because, in music, blocky generally beats tinkly. Track 3 recorded on April 14,1954, track 4 on March 26 of the same year, george Avakian – liner notes, producer Bob Bates – double bass Dave Brubeck – piano Paul Desmond – alto saxophone Joe Dodge – drums Horwitz, Murray.
Dave Brubeck, Jazz Goes to College, Jazz Goes to College at Discogs
How High the Moon
How High the Moon is a jazz standard with lyrics by Nancy Hamilton and music by Morgan Lewis. It was first featured in the 1940 Broadway revue Two for the Show, in Two for the Show, this was a rare serious moment in an otherwise humorous revue. The earliest recorded hit version was by Benny Goodman & His Orchestra and it was recorded on February 7,1940, and released by Columbia Records as catalog number 35391, with the flip side Fable of the Rose. The Les Paul Trio recorded a released as V-Disc 540B with a spoken introduction which was issued in November,1945 by the U. S. In 1948, bandleader Stan Kenton enjoyed some success with his version of the tune, the recording, with a vocal by June Christy, was released by Capitol Records as catalog number 911 and 15117. It reached the Billboard magazine Best Seller chart on July 9,1948, its only week on the chart, a recording of the song by Les Paul and Mary Ford was made on January 4,1951. The record was released by Capitol Records as catalog number 1451, with the flip side Walkin and Whistlin Blues, the record was subsequently re-released by Capitol as catalog number 1675, with Josephine on the B-side.
This recording was inducted into the Grammy Hall of Fame in 1979 and is on the list of the Rock and Roll Hall of Fame and Museum of the Songs That Shaped Rock, the song was sung in various recordings by Ella Fitzgerald, becoming Ellas signature tune. She first performed the song at Carnegie Hall on September 29,1947 and her first recording, backed by the Daydreamers, was recorded December 20,1947, and released by Decca Records as catalog number 24387, with the flip side You Turned the Tables on Me. The song has become a jazz standard and has been recorded by several musicians of the genre. The Jack Benny Show- Mahlon Merrick arrangement, February 18,1940 Pat Suzuki on her album Miss Pony Tail. The Dave Brubeck Quartet recorded a 9, 11-length version of the piece at Oberlin College in March 1953 that is included on the Fantasy Records LP, Dave Brubeck and Jon Hendricks recorded it as a short, slow ballad on Brubecks 1995 CD Young Lions & Old Tigers. Kaye Connor Duke Ellington and his orchestra Ziggy Elman Erroll Garner Erroll Garner Trio Natalie Gauci performed this song on the Top 4 Big Band show.
Marvin Gaye Gloria Gaynor Along with the tracks, Casanova Brown and Do It Yourself, manhattan Transfer Johnny Mathis Big Jay McNeely on the album Live at Birdland,1957, recorded live in stereo at the Seattle, Birdland Club in 1957. Bud Powell on the album Spring Broadcasts 1953, with Oscar Pettiford on bass and this broadcast was recorded March 21,1953. Sarah Vaughan in 1957 recorded live at Mr. Kellys in Chicago, notation is given to a version performed by Ella Fitzgerald on which she scats the verses, for which Sarah emulates. Charlie Ventura Paul Weston and his orchestra Mary Lou Williams (released by Disc Records as catalog number 5025, lola Albright in Peter Gunn season 1, episode 5 The Frog,1958. Jeff Beck paid tribute to Les Paul and Mary Ford at the 2010 Grammy Awards Ceremony by playing a version of How High the Moon with Imelda May singing
Time Out (album)
Time Out is a studio album by the American jazz group the Dave Brubeck Quartet, released in 1959 on Columbia Records. Recorded at Columbias 30th Street Studio in New York City, it is based upon the use of signatures that were unusual for jazz such as 9/8, 6/4. The album is a blend of cool and West Coast jazz. It peaked at #2 on the Billboard pop albums chart, and has certified platinum by the RIAA. It received negative reviews by critics upon its release, despite this, it became one of the best-known and biggest-selling jazz albums, charting highly on the popular albums chart when 50,000 units sold for a jazz album was impressive. It produced a Top 40 hit single in Take Five, composed by Paul Desmond, although the theme of Time Out is non-common-time signatures, things are not quite so simple. Blue Rondo à la Turk starts in 9/8, with a typically Balkan 2+2+2+3 subdivision into short and long beats as opposed to the more Western 3+3+3 pattern, the title is a play on Mozarts Rondo alla Turca from his Piano Sonata No.
11, and reflects the fact that the band heard the rhythm while traveling in Turkey, strange Meadow Lark begins with a piano solo that exhibits no clear time signature, but settles into a fairly ordinary 4/4 swing once the rest of the group joins. Take Five is in 5/4 throughout, according to Desmond, It was never supposed to be a hit. It was supposed to be a Joe Morello drum solo, three to Get Ready begins in waltz-time, after which it begins to alternate between two measures of 3/4 and two of 4/4. Kathys Waltz, named after Brubecks daughter Cathy but misspelled, starts in 4/4, everybodys Jumpin is mainly in a very flexible 6/4, while Pick Up Sticks firms that up into a clear and steady 6/4. In 1997, the album was remastered for compact disc by Legacy Recordings, in 2005, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. It was listed in the book 1001 Albums You Must Hear Before You Die, in 2009 Legacy Recordings released a special three-disc 50th Anniversary Edition of Time Out.
This edition offers a higher dynamic range than the 1997 remaster. Time Out was included among a group of 15 DualDisc releases that were test marketed in two cities and Seattle, due to rights issues, the DualDisc issue was recalled within days of being shipped to just a handful of stores in these two cities. As a result, fewer than 50 copies of this album are known to exist in DualDisc format, a handful of copies of the DualDisc version of this album have traded hands in the collectors market since its release, some for several hundred dollars. All pieces composed by Dave Brubeck, except Take Five by Paul Desmond, the single Take Five sold more than a million
David Warren Dave Brubeck was an American jazz pianist and composer, considered to be one of the foremost exponents of cool jazz. He wrote a number of standards, including In Your Own Sweet Way. Brubecks style ranged from refined to bombastic, reflecting his mothers attempts at classical training and his music is known for employing unusual time signatures, and superimposing contrasting rhythms and tonalities. Brubeck experimented with time throughout his career, recording Pick Up Sticks in 6/4, Unsquare Dance in 7/4, Worlds Fair in 13/4. He was a composer of orchestral and sacred music, and wrote soundtracks for television such as Mr. Broadway. Dave Brubeck was born in the San Francisco Bay Area city of Concord and his father had Swiss ancestry and possibly Native American Modoc lineage, while his maternal grandparents were English and German. Brubeck originally did not intend to become a musician, but took lessons from his mother and he could not read music during these early lessons, attributing this difficulty to poor eyesight, but faked his way through, well enough that this deficiency went mostly unnoticed.
Intending to work with his father on their ranch, Brubeck entered the College of the Pacific in Stockton, California and he changed to music on the urging of the head of zoology, Dr. Arnold, who told him Brubeck, your minds not here. Its across the lawn in the conservatory, stop wasting my time and yours. Later, Brubeck was nearly expelled when one of his professors discovered that he could not read music on sight, several of his professors came forward, arguing that his ability to write counterpoint and harmony more than compensated, and demonstrated his familiarity with music notation. The college was still afraid that it would cause a scandal, after graduating in 1942, Brubeck was drafted into the U. S. Army. He served in Europe in the Third Army and he volunteered to play piano at a Red Cross show and was such a hit that he was spared from combat service and ordered to form a band. He created one of the U. S. armed forces first racially integrated bands, while serving in the military, Brubeck met Paul Desmond in early 1944.
He returned to college after serving four years in the army. He studied under Darius Milhaud, who encouraged him to study fugue and orchestration, but not classical piano. While on active duty, he received two lessons from Arnold Schoenberg at UCLA in an attempt to connect with high modernist theory and practice. ”After completing his studies under Milhaud, Brubeck worked with an octet, and a trio including Cal Tjader and Ron Crotty. Highly experimental, the group made few recordings and got even fewer paying jobs, the trio was often joined by Paul Desmond on the bandstand, at Desmonds own insistence. Jack Sheedy owned San Francisco-based Coronet Records, which had recorded area Dixieland bands
He joined Walter Pages Blue Devils in 1927 and joined Bennie Motens band in 1929. He stayed with the successor Count Basie band when Moten died in 1935, Rushing said that his first time singing in front of an audience was in 1924. He was playing piano at a club when the singer, Carlyn Williams. I got out there and broke it up, I was a singer from on, he said. Rushing was a singer who had a range from baritone to tenor. He could project his voice so that it soared over the horn, Basie claimed that Rushing never had an equal as a blues vocalist, though Rushing really thought of himself as a ballad singer. George Frazier, the author of Harvard Blues, called Rushings distinctive voice a magnificent gargle, Dave Brubeck defined Rushings status among blues singers as the daddy of them all. Late in his life Rushing said of his style, I dont know what kind of blues singer youd call me. Among his best-known recordings are Going to Chicago, with Basie, Rushing was born into a family with musical talent and accomplishments.
His father, Andrew Rushing, was a trumpeter, and his mother, Cora and he studied music theory with Zelia N. Breaux at Oklahoma Citys Douglass High School, and was unusual among his musical contemporaries for having attended college, at Wilberforce University. Rushing was inspired to music and eventually sing blues by his uncle Wesley Manning and George Fathead Thomas. Rushing toured the Midwest and California as an itinerant blues singer in 1923 and 1924 before moving to Los Angeles, Rushing sang with Billy King before moving on to Pages Blue Devils in 1927. He, along other members of the Blue Devils, defected to the Bennie Moten band in 1929. Moten died in 1935, and Rushing joined Count Basie for what would be a 13-year tenure, after leaving Basie, his recording career soared, as a solo artist and a singer with other bands. When the Basie band broke up in 1950 he briefly retired and he made a guest appearance with Duke Ellington for the 1959 album Jazz Party. In 1960, he recorded an album with the Dave Brubeck Quartet, known for their cerebral cool jazz sound, Rushing appeared in the 1957 television special Sound of Jazz, singing one of his signature songs I Left My Baby backed by many of his former Basie band compatriots.
In 1958 he was among the musicians included in an Esquire magazine photo by Art Kane, in 1958 Rushing toured the UK with Humphrey Lyttelton and his band. A BBC broadcast with Rushing accompanied by Lytteltons specially organised big band was released on CD in 2009, in 1969 Rushing appeared in The Learning Tree, the first major studio feature film directed by an African-American, Gordon Parks
Record Store Day
Record Store Day is an annual event inaugurated in 2007 and held on one Saturday every April to celebrate the culture of the independently owned record store. The day brings together fans and thousands of independent record stores across the world, a number of records are pressed specifically for Record Store Day, with a unique list of releases for each country, and are only distributed to shops participating in the event. The event began in the United States and remains headquartered there, Record Store Day has official international organizers in the UK, France, The Netherlands, Japan, Mexico and Spain. Each store holds their own party for the day, to celebrate the individuality of each store. Record Store Day is managed on a basis by the Dept. of Record Stores, along with the Coalition of Independent Music Stores. Universal Musics sales manager, Marc Fayd’Herbe, has described Record Store Day as the single best thing that has happened for independent record shops. In their 2015 Libera awards, the American Association of Independent Music awarded Record Store Day its Marketplace Ally award, Record Store Day 2016 produced the biggest week of sales for the vinyl LP format since the introduction of SoundScan.
Metallica officially kicked off the event at Rasputin Music in Mountain View on April 19, there were approximately 10 special Record Store Day releases in the first year, including releases by Death Cab For Cutie, R. E. M. Stephen Malkmus, Vampire Weekend, The Teenagers, Black Kids, billy Bragg met Record Store Day co-founder Michael Kurtz in an airport and agreed to help kick off Record Store Day in the UK with a special live appearance. Approximately 300 stores launched Record Store Day in the USA, including Waterloo Records, School Kids Records, the total number of artist appearances in the US was approximately 500. Wilcos Jeff Tweedy announced that there would be no Wilco if it werent for independent record stores, eagles of Death Metals Jesse Hughes announced that he was the official Ambassador of Record Store Day and the band made an appearance at Rhino Records. The third annual Record Store Day took place on Saturday, April 17,2010, the official ambassador for the event was Joshua Homme.
The official book of the event was Last Shop Standing, Whatever Happened to Record Shops by Graham Jones, NYC Mayor Mike Bloomberg and New York City once again honored the day. Anything Anything with Rich Russo released an album of local bands performing on his radio show as well as doing a bus tour visiting numerous New York. The years event was celebrated by giving young artists an opportunity to showcase their talent in the form of a national Record Store Day. Local, participating independent record stores nominated one local high school band by picking a cut from the bands supplied recording and entered their name, a panel of record executives and members from the Fender Corporation judged the entrants. Nine national semi-finalists were chosen to appear on an edition, compilation vinyl LP of their winning songs. Pressed by Gotta Groove, the LP features digital convenience, on the day of the event, it was announced that the grand prize winning band was SANUK, an indie band of HS students from Indianapolis, Indiana
This is an article about Arnold Roth, the cartoonist. See Arnold Roth and Arnie Roth, the musician, Arnold Roth is an American freelance cartoonist and illustrator for advertisements, album covers, books and newspapers. Novelist John Updike wrote, All cartoonists are geniuses, but Arnold Roth is especially so, Roths art is in the collections of the Philadelphia Museum of Art, the Cartoon Art Museum, Philadelphias Rosenbach Museum & Library and the Cartoonmuseum Basel, plus many private collections. Roth has done covers for The New Yorker and his artwork has appeared in TV Guide, Sports Illustrated and his cartoons and illustrations were contributions to the satirical magazines edited by his friend Harvey Kurtzman, Trump and Help. Roth’s cartoons began appearing in Playboy in the late 1950s, Playboy published ten multi-page installments of his An Illustrated History of Sex series in the late 1970s. Roth was a contributor of cartoon features to Punch from the late 1960s until the end of the 1980s.
Roth had multi-page features in almost every one of the first 25 issues of National Lampoon until his last satirized the editors of the magazine and he was a political cartoonist for The Progressive from 1981 to 1987. Roth drew the comic strip Poor Arnolds Almanac as a Sunday strip from 1959 to 1961 and he brought it back as a daily panel in 1989-90. Fantagraphics Books published a collection of this strip in 1998 and he served as the organization’s president from 1983 to 1985. On June 25,2009, Roth was inducted into the Society of Illustrators Hall of Fame which honors artists for their achievement in the art of illustration. ”Past Society presidents select inductees based on their body of work. Roth was previously recognized by the Society of Illustrators with numerous Silver, Arnold Roth, Free Lance, A Fifty Year Retrospective, published by Fantagraphics Books,2001. The Comics Journal Take Five, a 22-page interview with Gary Groth Pick A Peck Of Puzzles - W. W, Arnold Roths Crazy Book of Science.
New York, Grosset & Dunlap,1971, a Comick Book of Sports - Scribners,1974. A Comick Book Of Pets - New York, Charles Scribners Sons,1976 No Pain, No Strain - New York, “Wally The Wordworm” by Clifton Fadiman. “The Haters Handbook, A Guide to the Wonderful World of Ill Will, The Catcalls, delacorte Press, NY,1965 “Go on Wheels” by Julius Schwartz. NY McGraw-Hill Book Company,1966 “Kids Letters to the F. B. I. ” by Bill Adler, prentice Hall,1966 “Grimms Fairy Tales, The Macmillan Classics”, afterword by Clifton Fadiman. NY,1966 “Isabels Noel” by Jane Yolen. NY, Funk & Wagnalls,1967 “In the Presidents and My Opinion. ”“The Presidents Mystery Plot” by Franklin D. Roosevelt, Rupert Hughes, Samuel Hopkins Adams, Anthony, Rita, S. S. Van Dine, John Erskine, Erle Stanley Gardner
Carmen Mercedes McRae was an American jazz singer. She is considered one of the most influential vocalists of the 20th century and is remembered for her behind-the-beat phrasing. McRae was inspired by Billie Holiday, but she established her own voice and she recorded over sixty albums and performed worldwide. Her father, was originally from Costa Rica, and her mother, Evadne McRae and she began studying piano when she was eight, and the music of jazz greats such as Louis Armstrong and Duke Ellington filled her home. When she was just 17 years old she met singer Billie Holiday, as a teenager McRae came to the attention of Teddy Wilson and his wife, the composer Irene Kitchings Wilson. One of McRaes early songs, Dream of Life, through their influence, McRae considered Holiday to be her primary influence. In her late teens and early twenties, McRae played piano at a New York City club called Mintons Playhouse, Harlems most famous club, sang as a chorus girl. But it was working in Brooklyn that she came to the attention of Decca’s Milt Gabler.
Her five-year association with Decca yielded 12 LPs, in 1948 she moved to Chicago with comedian and impressionist George Kirby, with whom she had fallen in love. At the end of the relationship, she worked as a pianist and she played piano steadily for almost four years at a number of clubs in Chicago before returning to New York in 1952. In Chicago she developed her own specific style and those years in Chicago, McRae told Jazz Forum, gave me whatever it is that I have now. Thats the most prominent schooling I ever had, back in New York in the early 1950s, McRae got the record contract that launched her career. She was voted best new female vocalist of 1954 by Down Beat magazine, macRae married twice, to drummer Kenny Clarke in 1946, and to bassist Ike Isaacs in the late 1950s, both marriages ended in divorce. The latter two albums were part of a notable eight-year relationship with Concord Jazz, McRae sang in jazz clubs throughout the United States — and across the world — for more than fifty years.
She left New York for Southern California in the late 1960s, but appeared in New York regularly, usually at the Blue Note, where she performed two engagements a year through most of the 1980s. In May–June 1988, she collaborated with Harry Connick Jr. on the song, Please Dont Talk About Me When Im Gone in New York City at the RCA Studios, for Connicks debut album,20. She withdrew from performance in May 1991 after an episode of respiratory failure only hours after she completed an engagement at the Blue Note jazz club in New York. On November 10,1994, McRae died at her home in Beverly Hills and she had fallen into a semi-coma four days earlier, a month after being hospitalized for a stroke
Gone with the Wind (album)
Gone with the Wind is a jazz album released by The Dave Brubeck Quartet in 1959 on Columbia CL1347 and CS8156. However, the executives insisted that the band first create a more conventional album to cover the risk of their preferred concept. The album was recorded in Los Angeles, California on April 22 and 23,1959 and this is a concept album paying tribute to the State of Georgia. For this album, the quartet members picked personal favorites, eugene Wright selected Ol Man River. Shortnin Bread was a pick of Joe Morello, favored by Paul Desmond were Lonesome Road and Basin Street with Dave Brubeck choosing Georgia on my Mind along with Swanee River. The album has received such reviews as All and you would expect from Dave Brubeck, the most swinging album recorded up to that point, and as one of the classic Dave Brubeck Quartet lineups lesser efforts. By contrast, Time Out was highly successful and eventually hailed as an achievement in the genre. Paul Desmond - alto sax Joe Morello - drums Gene Wright - bass Dave Brubeck - piano