1.
Pittsburgh
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Pittsburgh is a city in the Commonwealth of Pennsylvania in the United States, and is the county seat of Allegheny County. The city proper has a population of 304,391. The metropolitan population of 2,353,045 is the largest in both the Ohio Valley and Appalachia, the second-largest in Pennsylvania, and the 26th-largest in the U. S. The city features 30 skyscrapers, two inclines, a fortification and the Point State Park at the confluence of the rivers. Aside from steel, Pittsburgh has led in manufacturing of aluminum, glass, shipbuilding, petroleum, foods, sports, transportation, computing, autos, and electronics. For part of the 20th century, Pittsburgh was behind only New York and Chicago in corporate headquarters employment, Americas 1980s deindustrialization laid off area blue-collar workers and thousands of downtown white-collar workers when the longtime Pittsburgh-based world headquarters moved out. The area has served also as the federal agency headquarters for cyber defense, software engineering, robotics, energy research. The area is home to 68 colleges and universities, including research and development leaders Carnegie Mellon University, the region is a hub for Leadership in Energy and Environmental Design, sustainable energy, and energy extraction. Pittsburgh was named in 1758 by General John Forbes, in honor of British statesman William Pitt, 1st Earl of Chatham. The current pronunciation, which is unusual in English speaking countries, is almost certainly a result of a printing error in some copies of the City Charter of March 18,1816. The error was repeated commonly enough throughout the rest of the 19th century that the pronunciation was lost. After a public campaign the original spelling was restored by the United States Board on Geographic Names in 1911. The area of the Ohio headwaters was long inhabited by the Shawnee, the first known European to enter the region was the French explorer/trader Robert de La Salle from Quebec during his 1669 expedition down the Ohio River. European pioneers, primarily Dutch, followed in the early 18th century, Michael Bezallion was the first to describe the forks of the Ohio in a 1717 manuscript, and later that year European fur traders established area posts and settlements. In 1749, French soldiers from Quebec launched an expedition to the forks to unite Canada with French Louisiana via the rivers, during 1753–54, the British hastily built Fort Prince George before a larger French force drove them off. The French built Fort Duquesne based on LaSalles 1669 claims, the French and Indian War, the North American front of the Seven Years War, began with the future Pittsburgh as its center. British General Edward Braddock was dispatched with Major George Washington as his aide to take Fort Duquesne, the British and colonial force were defeated at Braddocks Field. General John Forbes finally took the forks in 1758, Forbes began construction on Fort Pitt, named after William Pitt the Elder while the settlement was named Pittsborough
2.
Valley Stream, New York
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Valley Stream is a village in Nassau County, New York in the United States. The population in the Village of Valley Stream was 37,511 at the 2010 census, the incorporated Village of Valley Stream is inside the southwest part of the town of Hempstead, along the border with Queens. The village is served by the Long Island Rail Road at the Valley Stream station, located at Sunrise Highway and it is also served by the Gibson station at Gibson and Munro Boulevards, but only along the Far Rockaway Branch. Valley Stream is located at 40°39′53″N 73°42′12″W. According to the United States Census Bureau, the village has an area of 3.5 square miles, of which 3.4 square miles is land and 0.04 square miles. Communities bordering Valley Stream are Elmont, Lynbrook, Malverne, Franklin Square, Hewlett, Woodmere, there was no development of the woodland area for the next two centuries. The census of 1840 list about 20 families, most of whom owned large farms, at that time, the northwest section was called “Fosters Meadow”. The business section on Rockaway Avenue was called “Rum Junction” because of its lively nightlife, the racy northern section was known as “Cookie Hill”, and the section of the northeast that housed the local fertilizer plant was called “Skunks Misery”. Hungry Harbor, a section that has retained its name, was home to a squatter’s community, Robert Pagan was born in Scotland on December 3,1796. In or about the late 1830s, Robert, his wife Ellen, on the journey to America, one of their children died and was buried at sea. The 1840 U. S. Census for Queens County lists Pagans occupation as a farmer, two children were born to Robert and Ellen Pagan after they settled in the town of Hempstead. At this time, the community did not have a post office, Pagan petitioned the appropriate authorities for a post office and it was housed in his home, the Pagan-Fletcher House. He was advised that the community needed a name, Pagan chose Valley Stream based on the topographical appearance of the area. Post Office formally accepted the name of Valley Stream, as a consequence, Pagan is credited with naming the community. Pagan died on March 25,1870, mr. Pagan’s wife, Ellen, also played a significant role in village history. Tired of traveling to Lynbrook for religious services, she began holding the services in her home, a Methodist minister was hired for periodic stops in the Pagan home, and the first congregation in Valley Stream was founded. She also pushed for her husband to change the family to Payan, in 1853, Hempstead Turnpike was the only route that connected Valley Stream to Jamaica and New York City. The main streets in Valley Stream that connected the village to the turnpike were Mill Road in the west, Sand Street in the south
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.
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
5.
Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill
6.
Charlie Barnet
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Charles Daly Charlie Barnet was an American jazz saxophonist, composer, and bandleader. His major recordings were Skyliner, Cherokee, The Wrong Idea, Scotch and Soda, In a Mizz, Charlie Barnet was born in New York City. His parents divorced when he was two, and he was raised by his mother and her grandparents and his grandfather was Charles Frederick Daly, a vice-president for the New York Central Railroad, banker, and businessman. Barnet attended various boarding schools, both in the New York and Chicago areas and he learned to play piano and saxophone as a child. He often left school to listen to music and to try to work as a musician. By sixteen, Barnet had done work with a Jean Goldkette satellite band and was in New York. Late in 1932, he returned east and persuaded a contact at CBS artist bureau to try him out as an orchestra leader. Barnet began recording in October 1933, during an engagement at New Yorks Park Central Hotel, Barnet arranged with Joe Haymes to take several of his now-jobless sidemen, while he himself went on a lark in Havana, as an escort to well-to-do older women. 1936 saw another swinging Barnet edition, which featured the vocal quartet The Modernaires. The height of Barnets popularity—and his first truly permanent band—came between 1939 and 1941, a period began with his hit version of Cherokee, written by Ray Noble. In 1944, Barnet had another big hit with Skyliner, in 1947, he started to switch from swing music to bebop. Trumpeter Billy May was an arranger in the Charlie Barnet Orchestra before joining Glenn Miller in 1940 and he was one of the first bandleaders to integrate his band, the year is variously given as 1935 or 1937. He was an admirer of Count Basie and Duke Ellington. Ellington recorded the Charlie Barnet composition In a Mizz, in 1939, Basie lent Barnet his charts after Barnets had been destroyed in a fire at the Palomar Ballroom in Los Angeles. Throughout his career he was an opponent of syrupy arrangements, in the song The Wrong Idea, he lampooned the sweet big band sound of the era. The song was written by Billy May, who used the same satirical bent in his collaborations with Stan Freberg on Capitol Records including the Lawrence Welk satire Wunnerful. Barnets was a party band where drinking and vandalism were not uncommon. While Glenn Miller enforced strict standards of dress and deportment, Barnet was more interested in having fun, in 1949 he retired, apparently because he had lost interest in music
7.
Tritone substitution
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The tritone substitution is one of the most common substitutions found in jazz and was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo, for example, using C♯ major instead of G major in the key of C major is a tritone substitution. In tonal music, a perfect cadence consists of a dominant seventh chord followed by a tonic chord. For example, in the key of C major, the chord of G7 is followed by a chord of C. ”A tritone substitution is the substitution of one dominant seventh chord with another that is three steps from the original chord. In other words, tritone substitution involves replacing V7 with ♭II7, for example, D♭7 is the tritone substitution for G7. In standard jazz harmony, tritone substitution works because the two chords share two pitches, namely, the third and seventh, albeit reversed. In a G7 chord, the third is B and the seventh is F, whereas, in its substitution, D♭7, the third is an F. Notice that the interval between the third and seventh of a dominant seventh chord is itself a tritone, edward Sarath calls tritone substitutions a non-diatonic practice that is indirectly related to applied chord functions. Yield an alternative melodic pathway in the bass to the tonic triad, the substitute dominant may be used as a pivot chord in modulation. Since it is the dominant chord a tritone away, the dominant may resolve down a fifth. Resolution to the tonic is also common. Tritone substitutions are also related to the altered chord used commonly in jazz. Jerry Coker explains, Tritone substitutions and altered dominants are nearly identical, good improvisers will liberally sprinkle their solos with both devices. The distinction between the two is usually a moot point, the alt chord is a heavily altered dominant seventh chord, built on the alt scale, a scale that includes a flat ninth, flat third, flat fourth, flat fifth, flat sixth and flat seventh. For example, C7alt is built from the scale C, D♭, E♭, F♭, G♭, A♭, B♭. Enharmonically, this is almost the same as the scale for G♭7, the only difference is C, which is the sharp eleventh of the G♭7 chord. Thus, the alt chord is equivalent to the substitution with a sharp eleven alteration. The tritone substitution primarily implies a Lydian dominant scale, in the case of D♭7 to Cmaj7, the implied scale behind D♭7 would be Db Eb F G Ab Bb Cb
8.
Louis Armstrong
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Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was also skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield. His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, then left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. It has given me something to live for and he also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. They took him in and treated him like family, knowing he lived without a father and he later wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
9.
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
10.
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
11.
North Side (Pittsburgh)
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North Side refers to the region of Pittsburgh, Pennsylvania, located to the north of the Allegheny River and the Ohio River. The term North Side does not refer to a specific neighborhood, the North Side has seven hills. In 1828, the borough of Allegheny, Pennsylvania, was incorporated where the North Side now stands and it had a population of 1,000. In 1880, Allegheny was incorporated as a city, the City of Allegheny was annexed by Pittsburgh in 1907, and became known as the North Side. Historians claim that the Felix Brunot mansion on Stockton Avenue was once a station on the Underground Railroad, the Allegheny regional branch of the Carnegie Library of Pittsburgh, located at 5 Allegheny Square, was the first tax-supported library in the United States. It is now closed to the following a lightning strike on April 6,2007. A new library opened nearby at 1230 Federal Street, charles Taze Russell organized what are now known as Jehovahs Witnesses at a house in the old city of Allegheny. Mary Cassatt was born on Rebecca Street in 1844, today, Rebecca Street has become Reedsdale Street. If the house had not been torn down for Highway Route 65, it would be facing Heinz Field, the first World Series was played at Exposition Park by the Pittsburgh Pirates and the Boston Americans in 1903. Gus & Yia-Yias Iceball Stand, selling fresh popcorn, peanuts, the orange concession stand with a brightly colored umbrella is something of an unofficial Pittsburgh landmark during the summer months. A 20-acre Allis-Chalmers transformer factory provided as many as 2,600 jobs to the area from 1897 until closing in the Summer of 1975
12.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
13.
Bugle
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The bugle is one of the simplest brass instruments, having no valves or other pitch-altering devices. All pitch control is done by varying the players embouchure, consequently, the bugle is limited to notes within the harmonic series. See bugle call for scores to standard bugle calls, all consisting of five notes. These notes are known as the bugle scale, the bugle developed from early musical or communication instruments made of animal horns, with the word bugle itself coming from buculus, Latin for bullock. Predecessors and relatives of the bugle included the post horn, the Pless horn, the ancient Roman army used the buccina. The first verifiable use of a brass bugle as a military signal device was the Halbmondbläser, or half-moon bugle. It was U-shaped and comfortably carried by a strap attached at the mouthpiece. It first spread to England in 1764 where it was accepted widely in foot regiments. The bugle is used mainly in the military and Boy Scouts, historically the bugle was used in the cavalry to relay instructions from officers to soldiers during battle. They were used to assemble the leaders and to give marching orders to the camps, the bugle is also used in Boy Scout troops and in the Boys Brigade. The Rifles, a regiment in the British Army, has retained the bugle for ceremonial. The bugle has also used as a sign of peace in the case of a surrender. 19th century variants based on the bugle included both keyed and valved bugles. Keyed bugles were invented in England in the early 19th century, with a patent for one design, the Royal Kent bugle, taken out by Joseph Halliday in 1811. This bugle was highly popular and widely in use until c.1850 – for example, in works by Richard Willis and this variant of the bugle fell out of use with the invention of the valved cornet. Modern instruments classified as bugles are often valved, soprano bugle Alto bugle Baritone bugle Contrabass bugle Ralph T
14.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets
15.
Sight-reading
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Sight-reading, also called a prima vista, is the reading and performing of a piece of music or song in music notation that the performer has not seen before. Sight-singing is used to describe a singer who is sight-reading, both activities require the musician to play or sing the notated rhythms and pitches. Many believe that sight-singing is the challenging of the two, because the musicians do not have any keys, frets or valves to help them obtain the correct pitches. However, difficulty is related both to the instrument and the difficulty of the piece itself, Udtaisuk and some other authors prefer the use of the more specific terms sight-playing and sight-singing where applicable. This differentiation leaves a third, more restricted use of the term sight-reading for the silent reading of music without creating sound by instrument or voice. Highly skilled musicians can sight-read silently, that is, they can look at the printed music, less able sight-readers generally must at least hum or whistle in order to sight-read effectively. This distinction is analogous to ordinary prose reading during the early Middle Ages, franz Liszt was famous for his capacity to play advanced piano pieces sight-reading the notes. The term a prima vista is also used, as Italian words, to play a musical piece a prima vista means to play it at first sight. According to Payne, the ability to hear the notes on the page is clearly akin to music reading, egregious errors can occur when a student, analyzing a piece of music, makes no effort to play or hear the composition but mechanically processes the notes on the page. The ability to sight-read is important for all musicians, even amateur performers, some professional orchestras ask prospective candidates for positions to sight-read orchestral parts. Some musicians can transpose music during performance to suit particular instruments or vocal ranges, to make the playing of the instrument or singing easier, according to Udtaisuk, many use the term sight-reading for instrumental sight-reading performance. Some authors, according to Udtaisuk, use the term sight-singing for vocal sight-reading, as with sight-playing, Udtaisuk advocates and uses the more descriptive term sightsinging for vocal sight-reading because sight-singing combines sight-reading and singing skills. The ability to sight-read partly depends on a strong short-term musical memory, storage of notational information in working memory can be expressed in terms of the amount of information and the time for which it must be held before being played. The relationship between load and latency changes according to tempo, such that t = x/y, where t is the change in tempo, x is the change in load, and y is the change in latency. Some teachers and researchers have proposed that the span can be trained to be larger than it would otherwise be under normal conditions. Human memory can be divided into three categories, Long-term Memory, Sensory Memory, and Short-term Memory. The paramount feature that distinguishes the working memory from both the long-term and sensory memory is this ability to simultaneously process and store information. Experiments dealing with memory span have been conducted by George Miller in 1956 that indicated, Most common number of items that can be stored in the memory is five plus or minus two. ”However, if this information is not retained and stored in ones long-term memory
16.
Midwest
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It was officially named the North Central region by the Census Bureau until 1984. Illinois is the most populous of the states and North Dakota the least, a 2012 report from the United States Census put the population of the Midwest at 65,377,684. The Midwest is divided by the Census Bureau into two divisions, the East North Central Division includes Illinois, Indiana, Michigan, Ohio and Wisconsin, all of which are also part of the Great Lakes region. Major rivers in the include, from east to west, the Ohio River, the Upper Mississippi River. Chicago is the most populated city in the American Midwest and the third most populous in the entire country, other large Midwest cities include, Indianapolis, Columbus, Detroit, Milwaukee, Kansas City, Omaha, Minneapolis, Cleveland, Wichita and St. Louis. Chicago and its suburbs form the largest metropolitan area with 9.8 million people, followed by Metro Detroit. Paul, Greater St. Louis, Greater Cleveland, Greater Cincinnati, Kansas City metro area, the term Midwestern has been in use since the 1880s to refer to portions of the central United States. A variant term, Middle West, has used since the 19th century. Another term sometimes applied to the general region is the heartland. Other designations for the region have fallen out of use, such as the Northwest or Old Northwest, the Northwest Territory was one of the earliest territories of the United States, stretching northwest from the Ohio River to northern Minnesota and upper-Mississippi. The upper-Mississippi watershed including the Missouri and Illinois Rivers was the setting for the earlier French settlements of the Illinois Country, economically the region is balanced between heavy industry and agriculture, with finance and services such as medicine and education becoming increasingly important. Its central location makes it a crossroads for river boats, railroads, autos, trucks. Politically the region swings back and forth between the parties, and thus is heavily contested and often decisive in elections, after the sociological study Middletown, which was based on Muncie, Indiana, commentators used Midwestern cities as typical of the nation. The region has a higher ratio than the Northeast, the West. Traditional definitions of the Midwest include the Northwest Ordinance Old Northwest states, the states of the Old Northwest are also known as Great Lakes states and are east-north central in the United States. The Ohio River runs along the section while the Mississippi River runs north to south near the center. Many of the Louisiana Purchase states in the west-north central United States, are known as Great Plains states. The Midwest lies north of the 36°30′ parallel that the 1820 Missouri Compromise established as the line between future slave and non-slave states
17.
Benny Carter
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Bennett Lester Benny Carter was an American jazz alto saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. He was a figure in jazz from the 1930s to the 1990s. Carter performed with artists from several generations of jazz, and at major festivals. The National Endowment for the Arts honored Benny Carter with its highest honor in jazz, the NEA Jazz Masters Award for 1986. He was awarded the Grammy Lifetime Achievement Award in 1987, in 2000 he was awarded the National Endowment for the Arts, National Medal of Arts, presented by President Bill Clinton. Born in New York City in 1907, the youngest of six children, largely self-taught, by age fifteen, Carter was already sitting in at Harlem night spots. From 1924 to 1928, Carter gained professional experience as a sideman in some of New Yorks most prominent bands, as a youth, Carter lived in Harlem around the corner from Bubber Miley, who was Duke Ellingtons featured trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldnt play like Miley, johnson, Duke Ellington, and their respective groups. He first recorded in 1928 with Charlie Johnsons Orchestra, also arranging the titles recorded, Carters arrangements were sophisticated and very complex, and a number of them became swing standards which were performed by other bands. He also arranged for Duke Ellington during these years, Carter was noted for his arrangements. By the early 1930s he and Johnny Hodges were considered the leading players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument and he recorded extensively on trumpet in the 1930s. Carters name first appeared on records with a 1932 Crown label release of Tell All Your Day Dreams to Me credited to Bennie Carter, Carters short-lived Orchestra played the Harlem Club in New York but only recorded a handful of records for Columbia, OKeh and Vocalion. The OKeh sides were issued under the name Chocolate Dandies and his trumpet solo on the October 1933 recording of Once Upon A Time by the Chocolate Dandies has long been considered a milestone solo achievement. These 14 sides plus four by Carters big band were only issued in England at the time, originally titled Spike Hughes, the musicians were mainly made up from members of Carters band. Two recordings that typify his sound are 1937s Honeysuckle Rose, recorded with Django Reinhardt and Coleman Hawkins in Europe, returning home in 1938, he quickly formed another orchestra, which spent much of 1939 and 1940 at Harlems famed Savoy Ballroom. His arrangements were much in demand and were featured on recordings by Benny Goodman, Count Basie, Duke Ellington, Lena Horne, Glenn Miller, Gene Krupa and he relocated to Los Angeles in 1943, and moved increasingly into studio work. Beginning with Stormy Weather in 1943, he arranged for dozens of feature films and television productions
18.
Coleman Hawkins
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Coleman Randolph Hawkins, nicknamed Hawk and sometimes Bean, was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained, there were some tenor players before him, but the instrument was not an acknowledged jazz horn. While Hawkins is strongly associated with the music and big band era. Fellow saxophonist Lester Young, known as Pres, commented in a 1959 interview with The Jazz Review, As far as Im concerned, I think Coleman Hawkins was the President first, as far as myself, I think Im the second one. Miles Davis once said, When I heard Hawk, I learned to play ballads, Hawkins was born in Saint Joseph, Missouri, in 1904. He was named Coleman after his mother Cordelias maiden name and he attended high school in Chicago, then in Topeka, Kansas at Topeka High School. He later stated that he studied harmony and composition for two years at Washburn College in Topeka while still attending high school. In his youth he played piano and cello, and started playing saxophone at the age of nine, by the age of fourteen he was playing around eastern Kansas. Hawkinss first major gig was with Mamie Smiths Jazz Hounds in 1921, and he was with the band full-time from April 1922 to 1923, in the Jazz Hounds, he coincided with Garvin Bushell, Everett Robbins, Bubber Miley and Herb Flemming, among others. Hawkins joined Fletcher Hendersons Orchestra, where he remained until 1934, sometimes doubling on clarinet, Hawkinss playing changed significantly during Louis Armstrongs tenure with the Henderson Orchestra. In the late 1920s, Hawkins also participated in some of the earliest interracial recording sessions with the Mound City Blue Blowers, during his time with Henderson he became a star soloist with increasing prominence on records. He was also featured on a Benny Goodman session on February 2,1934 for Columbia, which also featured Mildred Bailey as guest vocalist. In a landmark recording of the era, captured as an afterthought at the session, Hawkins ignores almost all of the melody. In its exploration of harmonic structure it is considered by many to be the next step in jazz recording after Louis Armstrongs West End Blues in 1928. Hawkins time touring Europe between 1934 and 1939 allowed many other tenor saxophonists to establish themselves back in the U. S. including Lester Young, Ben Webster, and Chu Berry. After an unsuccessful attempt to establish a big band, he led a combo at Kellys Stables on Manhattans 52nd Street with Thelonious Monk, Oscar Pettiford, Miles Davis, later he toured with Howard McGhee and recorded with J. J. Johnson and Fats Navarro. He also toured with Jazz at the Philharmonic, after 1948 Hawkins divided his time between New York and Europe, making numerous freelance recordings. In 1948 Hawkins recorded Picasso, a piece for unaccompanied saxophone
19.
Fletcher Henderson
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James Fletcher Hamilton Henderson, Jr. was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musical arrangers and and he helped bridge the gap between the Dixieland and the swing eras. He was often known as Smack Henderson, James Fletcher Henderson was born in Cuthbert, Georgia, in 1897. He grew up in a middle-class African-American family and his father, Fletcher H. Henderson Sr. was the principal of the nearby Howard Normal Randolph School from 1880 until 1942. His home, now known as the Fletcher Henderson House, is a historic site and his mother, a teacher, taught him and his brother Horace to play the piano. He began lessons by the age of six and his father would occasionally lock Fletcher in his room to practice for hours. By age 13, Henderson possessed an ability to read music. He pursued the studies with his mother and further engaged himself in lessons on European art, although a talented musician, Henderson decided to dedicate himself to math and science. At age 18 he moved to Atlanta, Georgia, and changed his name to Fletcher Henderson, giving up James and he attended Atlanta University and graduated in 1920 with a bachelors degree in chemistry and mathematics. After graduation, he moved to New York City to attend Columbia University for a degree in chemistry. Finding his job prospects in chemistry to be poor because of his race, after arriving in New York City, Henderson shared an apartment with a pianist who worked as a musician. During the 1920s, he played piano accompaniment for blues singers and he also led the backing group for Ethel Waters during one of her national tours. Before 1923, Hendersons group was more of a band than a jazz band. In 1922 he formed his own band, which was resident first at Club Alabam, then at the Roseland Ballroom, in the 1920s, he did not do very many band arrangements. Although Armstong played in the band for only a year, he influenced its members, Hendersons band boasted the formidable arranging talents of Don Redman from 1922 to 1927. Henderson developed his skills from 1931 to the mid-1930s. His band c.1925 included Howard Scott, Coleman Hawkins, Louis Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero, and Don Redman. In 1925, with Henry Troy, he wrote Gin House Blues, recorded by Bessie Smith and his other compositions include Soft Winds
20.
Youngstown, Ohio
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Youngstown is a city in and the county seat of Mahoning County in the U. S. state of Ohio, with small portions extending into Trumbull County. Youngstown is located on the Mahoning River, approximately 65 miles southeast of Cleveland and 61 miles northwest of Pittsburgh. Despite having its own market, Youngstown is often included in commercial and cultural depictions of both Northeast Ohio as well as the Pittsburgh Tri-State Area due to these proximities. Youngstown lies 10 miles west of the Pennsylvania state line, midway between New York City and Chicago via Interstate 80, the city was named for John Young, an early settler from Whitestown, New York, who established the communitys first sawmill and gristmill. Youngstown is in a region of the United States that is referred to as the Rust Belt. The city has experienced a decline of over 60% of its population since 1959, Youngstown also falls within the Appalachian Ohio region, among the foothills of the Appalachian Mountains. Youngstown was named for New York native John Young, who surveyed the area in 1796, on February 9,1797, Young purchased the township of 15,560 acres from the Western Reserve Land Company for $16,085. The 1797 establishment of Youngstown was officially recorded on August 19,1802, the area including present-day Youngstown was part of the Connecticut Western Reserve, a section of the Northwest Territory that Connecticut initially did not cede to the Federal government. Upon cession, Connecticut retained the title to the land in the Western Reserve, while many of the areas early settlers came from Connecticut, Youngstown attracted a significant number of Scots-Irish settlers from neighboring Pennsylvania. The first European Americans to settle permanently in the area were Pittsburgh native James Hillman, by 1798, Youngstown was the home of several families who were concentrated near the point where Mill Creek meets the Mahoning River. Boardman Township was founded in 1798 by Elijah Boardman, a member of the Connecticut Land Company, also founded in 1798 was Austintown by John McCollum who was a settler from New Jersey. As the Western Reserves population grew, the need for administrative districts became apparent, in 1800, territorial governor Arthur St. Clair established Trumbull County, and designated the smaller settlement of Warren as its administrative center, or county seat. In 1813, Trumbull County was divided into townships, with Youngstown Township comprising much of what became Mahoning County, the village of Youngstown was incorporated in 1848, and in 1867 Youngstown was chartered as a city. It became the county seat in 1876, when the center of Mahoning County was moved from neighboring Canfield. Youngstown has been Mahoning Countys county seat to this day, the discovery of coal by the community in the early 19th century paved the way for the Youngstown areas inclusion on the network of the famed Erie Canal. The Pennsylvania and Ohio Canal Company was organized in 1835, the arrival of the railroad in 1856 smoothed the path for further economic growth. Youngstowns industrial development changed the face of the Mahoning Valley, the communitys burgeoning coal industry drew hundreds of immigrants from Wales, Germany, and Ireland. With the establishment of mills in the late 19th century, Youngstown became a popular destination for immigrants from Eastern Europe, Italy
21.
Cumberland, Maryland
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Cumberland, officially the City of Cumberland, is a western gateway city and seat of Allegany County, Maryland, and the primary city of the Cumberland, MD-WV Metropolitan Statistical Area. At the 2010 census, the city had a population of 20,859, Cumberland is a regional business and commercial center for Western Maryland and the Potomac Highlands of West Virginia. Historically Cumberland was known as the Queen City, as it was once the second largest in the state, in this role, it supported the settlement of the Ohio Country and the lands in that latitude of the Louisiana Purchase. It also became a center, served by major roads, a canal connecting to Washington, DC. Industry declined after World War II, much of the later urban, business and technological development in the state has been concentrated in eastern coastal cities. Today the Cumberland, MD-WV Metropolitan Statistical Area is one of the poorest in the United States, Cumberland was named by English colonists after the son of King George II, Prince William, the Duke of Cumberland. This area had long been settled for thousands of years by indigenous peoples, the fort was developed along the Great Indian Warpath which tribes used to travel the backcountry. Cumberland also served as an outpost of Colonel George Washington during the French and Indian War, Washington returned as President of the United States in 1794 to Cumberland to review troops assembled to thwart the Whiskey Rebellion. During the 19th century, Cumberland was a key road, railroad and it became the second-largest city in Maryland after the port city of Baltimore. It was nicknamed The Queen City, Cumberland was the terminus, and namesake, of the Cumberland Road that extended westward to the Ohio River at Wheeling, West Virginia. This was the first portion of what would be constructed as the National Road, which eventually reached Ohio, Indiana, the surrounding hillsides were mined for coal and iron ore, and harvested for timber that helped supply the Industrial Revolution. The Chesapeake and Ohio Canal had its terminus here, it was built to improve the movement of goods between the Midwest and Washington, DC, the eastern terminus. Construction of railroads superseded use of the canal, as trains were faster, the city developed as a major manufacturing center, with industries in glass, breweries, fabrics and tinplate. With the restructuring of industry in the Northeast and Mid-Atlantic states following World War II. As a result, its population has declined by nearly half, Cumberland is in the Ridge and Valley physiographic province of the Appalachian Mountains at 39°38′52″N 78°45′46″W, at the junction of the North Branch of the Potomac River and Wills Creek. The majority of the land within the city lies in a created by the junction of these two streams. Interstate 68 runs through the city in an east/west direction, as does Alternate U. S.40, parts of Wills Mountain, Haystack Mountain, and Shriver Ridge are also within the city limits. The abandoned Chesapeake and Ohio Canal is now part of the Chesapeake, the canals towpath is maintained, allowing travel by foot, horse or bicycle between Cumberland and Washington, D. C. a distance of about 185 miles
22.
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
23.
Horace Henderson
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Horace W. Henderson, the younger brother of Fletcher Henderson, was an American jazz pianist, organist, arranger, and bandleader. Born in Cuthbert, Georgia, while later attending Wilberforce University he formed a band called the Collegians and this band was later known as the Horace Henderson Orchestra and then as the Dixie Stompers. Henderson left the band to work with Sammy Stewart, then in 1928 organized a new band called the Collegians, don Redman took over this band in 1931, Henderson continued to work as the bands pianist and arranger before leaving to work for his brother. He arranged for many of the most important jazz musicians of the era, Fletcher Hendersons book contained about as many of Horaces arrangements as of Fletchers. Among his better known clients for arrangements, in addition to his brother, were Charlie Barnet, the Casa Loma Orchestra, Tommy Dorsey, Benny Goodman, Earl Hines, and Jimmie Lunceford. His best-known arrangements were of his own Hot and Anxious and Christopher Columbus and he also wrote another popular instrumental of the big band era titled Big Johns Special. These were three important compositions of the period, at different times in his career, Horace was pianist and musical director for both Lena Horne and Billie Holiday. Horace Henderson at Find a Grave
24.
Milwaukee
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Milwaukee is the largest city in the state of Wisconsin and the fifth-largest city in the Midwestern United States. The county seat of Milwaukee County, it is on Lake Michigans western shore, Milwaukees estimated population in 2015 was 600,155. Milwaukee is the cultural and economic center of the Milwaukee–Racine–Waukesha Metropolitan Area with an estimated population of 2,046,692 as of 2015. Ranked by estimated 2014 population, Milwaukee is the 31st largest city in the United States, the first Europeans to pass through the area were French Catholic missionaries and fur traders. In 1818, the French Canadian explorer Solomon Juneau settled in the area, large numbers of German immigrants helped increase the citys population during the 1840s, with Poles and other immigrants arriving in the following decades. Known for its traditions, Milwaukee is currently experiencing its largest construction boom since the 1960s. In addition, many new skyscrapers, condos, lofts and apartments have been built in neighborhoods on and near the lakefront, the word Milwaukee may come from the Potawatomi language minwaking, or Ojibwe language ominowakiing, Gathering place. The first recorded inhabitants of the Milwaukee area are the Menominee, Fox, Mascouten, Sauk, Potawatomi, Ojibwe, many of these people had lived around Green Bay before migrating to the Milwaukee area around the time of European contact. In the second half of the 18th century, the Indians at Milwaukee played a role in all the wars on the American continent. During the French and Indian War, a group of Ojibwas, in the American Revolutionary War, the Indians around Milwaukee were some of the few Indians who remained loyal to the American cause throughout the Revolution. After American independence, the Indians fought the United States in the Northwest Indian War as part of the Council of Three Fires, during the War of 1812, Indians held a council in Milwaukee in June 1812, which resulted in their decision to attack Chicago. This resulted in the Battle of Fort Dearborn on August 15,1812, the War of 1812 did not end well for the Indians, and after the Black Hawk War in 1832, the Indians in Milwaukee signed their final treaty with the United States in Chicago in 1833. This paved the way for American settlement, Europeans had arrived in the Milwaukee area prior to the 1833 Treaty of Chicago. French missionaries and traders first passed through the area in the late 17th and 18th centuries, alexis Laframboise, in 1785, coming from Michilimackinac settled a trading post, therefore, he is the first European descent resident of the Milwaukee region. Early explorers called the Milwaukee River and surrounding lands various names, Melleorki, Milwacky, Mahn-a-waukie, Milwarck, for many years, printed records gave the name as Milwaukie. One story of Milwaukees name says, ne day during the thirties of the last century a newspaper calmly changed the name to Milwaukee, the spelling Milwaukie lives on in Milwaukie, Oregon, named after the Wisconsin city in 1847, before the current spelling was universally accepted. Milwaukee has three founding fathers, Solomon Juneau, Byron Kilbourn, and George H. Walker, Solomon Juneau was the first of the three to come to the area, in 1818. He was not the first European settler but founded a town called Juneaus Side, or Juneautown, in competition with Juneau, Byron Kilbourn established Kilbourntown west of the Milwaukee River and made sure the streets running toward the river did not join with those on the east side
25.
Harlem
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Harlem is a large neighborhood in the northern section of the New York City borough of Manhattan. Since the 1920s, Harlem has been known as a major African-American residential, cultural, originally a Dutch village, formally organized in 1658, it is named after the city of Haarlem in the Netherlands. Harlems history has been defined by a series of economic boom-and-bust cycles, African-American residents began to arrive by a lot in 1905, with numbers fed by the Great Migration. In the 1920s and 1930s, Central and West Harlem were the focus of the Harlem Renaissance, however, with job losses in the time of the Great Depression and the deindustrialization of New York City after World War II, rates of crime and poverty increased significantly. Harlems African-American population peaked in the 1950s, in the second half of the 20th century, Harlem became a major hub of African-American businesses. In 2008, the United States Census found that for the first time since the 1930s, less than half of residents were black, since New York Citys revival in the late 20th century, long-time residents of Harlem have been experiencing the effects of gentrification and new wealth. Harlem is located in Upper Manhattan, often referred to as Uptown by locals. Central Harlem is bounded by Fifth Avenue on the east, Central Park on the south, Morningside Park, St. Nicholas Avenue and Edgecombe Avenue on the west, and the Harlem River on the north. A chain of three large linear parks—Morningside Park, St. Nicholas Park and Jackie Robinson Park—are situated on steeply rising banks, on the east, Fifth Avenue and Marcus Garvey Park, also known as Mount Morris Park, separate this area from East Harlem. The bulk of the falls under Manhattan Community Board No.10. In the late 2000s, South Harlem, emerged from area redevelopment, the West Harlem neighborhoods of Manhattanville and Hamilton Heights comprise part of Manhattan Community Board No.9. The two neighborhoods area is bounded by Cathedral Parkway on the South, 155th Street on the North, nicholas/Bradhurst/Edgecome Avenues on the East, and Riverside Park/the Hudson River on the west. Morningside Heights is located in the southern most section of West Harlem, Manhattanville begins at roughly 123rd Street and extends northward to 135th Street. The northern most section of West Harlem is Hamilton Heights, the New York City Police Department patrols six precincts located within Harlem. The New York City Fire Department operates 9 firehouses in Harlem, as many as several hundred farmed the Harlem flatlands. Between 1637 and 1639, a few settlements were established, during the American Revolution, the British burned Harlem to the ground. It took a time to rebuild, as Harlem grew more slowly than the rest of Manhattan during the late 18th century. After the American Civil War, Harlem experienced an economic boom starting in 1868, the neighborhood continued to serve as a refuge for New Yorkers, but increasingly those coming north were poor and Jewish or Italian
26.
Cecil Scott
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Cecil Scott was an American jazz clarinetist, tenor saxophonist, and bandleader. Scott played as a teenager with his brother, drummer Lloyd Scott and they played together as co-leaders through the end of the 1920s, holding residencies in Ohio, Pittsburgh, and in New York City at the Savoy Ballroom. Among the members of this ensemble were Dicky Wells, Frankie Newton, Bill Coleman, Roy Eldridge, Johnny Hodges, cecil took full control over the group in 1929, though Lloyd continued to manage the group. Scott was hurt badly in an accident in the early 1930s, after his recovery he played with Ellsworth Reynolds in 1932-33 and then with Teddy Hill, Clarence Williams, and Teddy Wilson, in the latter gig he accompanied Billie Holiday. In the early 1940s he played with Alberto Socarras, Red Allen, Willie The Lion Smith before assembling his own band in 1942 and he also played with Slim Gaillard later in the 1940s. In 1950 he disbanded the group, and worked with Jimmy McPartland as a sideman and he occasionally led groups and continued to play as a sideman up until the time of his death in 1964. He is credited on some 75 albums
27.
Teddy Hill
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Teddy Hill was a big band leader and the manager of Mintons Playhouse, a seminal jazz club in Harlem. He played a variety of instruments, including drums, clarinet, soprano, over several years it featured such major young musicians as Roy Eldridge, Bill Coleman, Frankie Newton and Dizzy Gillespie. Hills band played at the Savoy Ballroom regularly, and toured England, after leaving the band business, Hill began to manage Mintons Playhouse in 1940, which became a hub for the bebop style, featuring such major musicians as Thelonious Monk and Kenny Clarke. Hill left Mintons in 1969, long after its significance had declined. In 1935, he recorded a four song session for ARC, in 1936, he recorded two sessions for Vocalion. He signed with Bluebird in 1937 and recorded 18 songs over three sessions, Teddy Hill married Louise Welton in the 1920s. Their daughter Gwendolyn Louise Hill was born in 1930, over time, Teddy and Louise separated and eventually divorced. In the late 1930s, a singer named Bonnie Davis started working in his band and they later had a daughter together, Beatrice Hill, who would become known under the stage name Melba Moore
28.
Otto Hardwick
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Otto James Toby Hardwicke was a saxophone player associated with Duke Ellington. Hardwick started on string bass at the age of 14, then moved to C melody saxophone, a childhood friend of Duke Ellingtons, Hardwick joined Ellingtons first band in Washington, D. C. in 1919. Hardwick also worked for banjoist Elmer Snowden at Murrays Casino, in 1923, Ellington, Hardwick, Snowden, trumpeter Arthur Whetsol, and drummer Sonny Greer had success as the Washingtonians in New York. After a disagreement over money, Snowden was forced out of the band and they were booked at a Times Square nightspot called the Kentucky Club for three years where they met Irving Mills, who produced and published Ellingtons music. Hardwick occasionally doubled violin and string bass in the 1920s, and he also played clarinet and bass, baritone and soprano saxes. He played lead alto on most Ellington numbers from 1932 to 1946, famous exceptions are, Black and Tan Fantasy, In a Sentimental Mood and Sophisticated Lady. After Hardwicks departure it became the norm for Johnny Hodges to take the ensemble lead as well as taking the lions share of the solos on alto sax. He remained with Ellington until May 1946, when he left the band because of Ellingtons dislike of Hardwick’s girlfriend, Hardwick went on to freelance for a short time in the following year, and then retired from music. In his biography of Ellington, author James Lincoln Collier says that “In a Sentimental Mood, ” “Sophisticated Lady, ” and “Prelude to a Kiss” are adaptations of Hardwick melodies
29.
Billie Holiday
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Eleanora Fagan, professionally known as Billie Holiday, was an American jazz musician and singer-songwriter with a career spanning nearly thirty years. Nicknamed Lady Day by her friend and music partner Lester Young, Holiday had a influence on jazz music. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and she was known for her vocal delivery and improvisational skills, which made up for her limited range and lack of formal music education. There were other singers with equal talent, but Holiday had a voice that captured the attention of her audience. After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by the producer John Hammond and she signed a recording contract with Brunswick Records in 1935. Collaborations with Teddy Wilson yielded the hit What a Little Moonlight Can Do, Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia Records and Decca Records. By the late 1940s, however, she was beset with legal troubles, after a short prison sentence, she performed a sold-out concert at Carnegie Hall, but her reputation deteriorated because of her drug and alcohol problems. Her final recordings were met with mixed reaction to her voice but were mild commercial successes. Her final album, Lady in Satin, was released in 1958, Holiday died of cirrhosis of the liver in 1959. A posthumous album, Last Recording, was released following her death, much of Holidays material has been rereleased since her death. She is considered a performer with an ongoing influence on American music. She is the recipient of four Grammy awards, all of them posthumous awards for Best Historical Album, Holiday herself was inducted into the Grammy Hall of Fame in 1973. Lady Sings the Blues, a film about her life, starring Diana Ross, was released in 1972, Eleanora Fagan was born on April 7,1915, in Philadelphia, the daughter of Sarah Julia Sadie Fagan and Clarence Holiday, an unmarried teenaged couple. Her father did not live with her mother, not long after Eleanora was born, Clarence abandoned his family to pursue a career as a jazz banjo player and guitarist. Sarah moved to Philadelphia at age 19, after she was evicted from her parents home in the Sandtown-Winchester neighborhood of Baltimore, Maryland, for becoming pregnant. With no support from her parents, she made arrangements with her older, married half-sister, Eva Miller, the child was of African-American ancestry and was also said to have had Irish ancestors through her mothers mixed heritage. Her mother often took what were known as transportation jobs. Holidays autobiography, Lady Sings the Blues, first published in 1956, is sketchy on details of her early life, some historians have disputed Holidays paternity, as a copy of her birth certificate in the Baltimore archives lists the father as a man named Frank DeViese
30.
Dixieland
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Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The first use of the term Dixieland with reference to music was in the name of the Original Dixieland Jazz Band, at that time, there was no issue of subgenres of jazz, so Dixieland referred to the band and not the music. That reflected the fact that all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. Dixieland may in that sense be regarded as denoting the jazz movement of the 1940s and 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the front lines consisting of trumpets, trombones, and clarinets. The Jim Crow associations of the name Dixieland also did little to attract younger coloured musicians to the revival, well-known jazz standard tunes such as Basin Street Blues and When the Saints Go Marching In are known even to non-jazz fans thanks to the enduring popularity of traditional jazz. The Vietnam-era protest song Feel Like Im Fixin to Die Rag is based on tonal centers, Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of modern players such as Charles Mingus. New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, the Dixieland sound is created when one instrument plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more sound than the heavily arranged big band sound of the 1930s or the straight melodies of bebop in the 1940s. The West Coast revival began in the late 1930s in San Francisco which used banjo, the Dutch old-style jazz was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard. Dixieland is the given to early jazz by traditional jazz revivalists. The name is a reference to the Old South, specifically anything south of the Mason-Dixon line, the term encompasses earlier brass band marches, French Quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. Louis Armstrongs All-Stars was the band most popularly identified with Dixieland during the 1940s and this creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight head melodies of bebop. During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of black players. Though younger musicians developed new forms, many beboppers revered Armstrong, many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes, for example, in the 1950s a style called Progressive Dixieland sought to blend polyphonic improvisation with bebop-style rhythm. Spike Jones & His New Band and Steve Lacy played with such bands and this style is sometimes called Dixie-bop
31.
Gene Krupa
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Eugene Bertram Gene Krupa was an American jazz and big band drummer, band leader, actor, and composer. Known for his energetic, flamboyant style and for his showmanship, Krupa is considered one of the most influential drummers of all time. He is also known for defining the standard drum kit used today in collaboration with brands Slingerland, Krupa is considered the founding father of modern drumset by Modern Drummer magazine. Gene Krupa was born in Chicago, the youngest of Anna, Bartłomiej was an immigrant from Poland. Anna was born in Shamokin, Pennsylvania, also of Polish descent and his parents were very religious Roman Catholics and had groomed Gene for the priesthood. He spent his school days at various parochial schools. Upon graduation he attended Saint Josephs College for a year, Krupa studied with Sanford A. Moeller and began playing drums professionally in the mid-1920s with bands in Wisconsin. The Playboys were the band at The Golden Pumpkin nightclub in Chicago. Krupa made his first recordings in 1927, with a band under the leadership of Red McKenzie, along with other recordings by musicians from the Chicago jazz scene such as Bix Beiderbecke, these recordings are examples of Chicago style jazz. The numbers recorded at that session were China Boy, Sugar, Nobodys Sweetheart, the McKenzie-Condon recordings are notable for being early examples of the use of a bass drum and snare drum/cymbals on recordings, at least for the studio where these recordings were made. Some of Krupas big influences during this time were Father Ildefonse Rapp, later, there were cylinder recordings of African drumming that Gene intensely studied. Drummers such as Tubby Hall, Zutty Singleton and Baby Dodds contributed to Genes developing his own sound, Gene absorbed every bit of what he heard and formulated his own style very early in his career, pulling from hundreds of different sources. There were many other drummers whose work influenced Genes approach to drumming and other instrumentalists, Krupa also appeared on six recordings made by the Thelma Terry band in 1928. In December 1934, he joined Benny Goodmans band, where his featured drum work made him a national celebrity and his tom-tom interludes on their hit Sing, Sing, Sing were the first extended drum solos to be recorded commercially. However, artistic and personal disputes with Goodman prompted Krupa to leave the group and form his own orchestra, shortly after the famous Carnegie Hall concert in January 1938. He appeared in the 1941 film Ball of Fire, in which he and his band perform a version of the hit Drum Boogie, sung by Barbara Stanwyck. As an encore to this piece, he plays a version of the same song using matchsticks as drumsticks and a matchbox as a drum, while Stanwyck. In 1943, his arrest for possession of marijuana forced the breakup of his own orchestra, as the 1940s ended, large orchestras fell by the wayside, Count Basie closed his large band and Woody Herman reduced his to an octet
32.
Anita O'Day
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Anita ODay was an American jazz singer widely admired for her sense of rhythm and dynamics, and her early big band appearances that shattered the traditional image of the girl singer. Refusing to pander to any female stereotype, ODay presented herself as a hip jazz musician, wearing a band jacket and she changed her surname from Colton to ODay, pig Latin for dough, slang for money. ODay, along with Mel Tormé, is grouped with the West Coast cool school of jazz. Like Tormé, ODay had some training in jazz drums, her longest musical collaboration was with jazz drummer John Poole, while maintaining a central core of hard swing, ODays skills in improvisation of rhythm and melody put her squarely among the pioneers of bebop. She cited Martha Raye as the influence on her vocal style, also expressing admiration for Mildred Bailey, Ella Fitzgerald. She always maintained that the accidental excision of her uvula during a childhood left her incapable of vibrato. That botched operation, she claimed, forced her to develop a more percussive style based on short notes and rhythmic drive. Anita Belle Colton was born to Irish parents, James and Gladys M. Colton in Kansas City, Missouri, Colton took the first chance to leave her unhappy home when, at age 14, she became a contestant in the popular Walk-a-thons as a dancer. She toured with the Walk-a-thons circuits for two years, occasionally being called upon to sing, in 1934, she began touring the Midwest as a marathon dance contestant and singing The Lady in Red for tips. In 1936, she left the endurance contests, determined to become a professional singer. She started out as a girl in such Uptown venues as the Celebrity Club and the Vanity Fair, then found work as a singer and waitress at the Ball of Fire, the Vialago. At the Vialago, ODay met the drummer Don Carter, who introduced her to music theory, they wed in 1937. Her first big break came in 1938 when Down Beat editor Carl Cons hired her to work at his new club at 222 North State Street, the Off-Beat, which became a popular hangout for musicians. Also performing at the Off-Beat was the Max Miller Quartet, which backed ODay for the first ten days of her stay there, the call from Krupa came in early 1941. Of the 34 sides she recorded with Krupa, it was Let Me Off Uptown, a novelty duet with Roy Eldridge and that same year, Down Beat named ODay New Star of the Year. In 1942 she appeared with the Krupa band in two soundies, singing Thanks for the Boogie Ride and Let Me Off Uptown, the same year Down Beat magazine readers voted her into the top five big band singers. ODay came in fourth, with Helen OConnell first, Helen Forrest second, Billie Holiday third, ODay married golf pro and jazz fan Carl Hoff in 1942. When Krupas band broke up after he was arrested for possession of cannabis in 1943, ODay joined Woody Herman for a gig at the Hollywood Palladium
33.
Schmaltz
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Schmaltz is rendered chicken or goose fat used for frying or as a spread on bread in Central European cuisine, and in the United States, particularly identified with Ashkenazi Jewish cuisine. Rendered waterfowl fat is used in the cuisine of Southwestern France. English usage tends to follow Yiddish, where it means poultry fat, the term schmaltz entered English usage through Yiddish-speaking Ashkenazi Jews who used it to refer to kosher poultry fat, the word שמאַלץ shmalts is the Yiddish word for rendered chicken fat. The word is common to the High German languages, including both Yiddish and modern Standard German, and comes from Middle High German smalz, a derived from the verb smelzen. The verb can be traced back to the Germanic root smeltan, furthermore, tallow derived from beef or mutton would have been uneconomical, particularly given that virtually all suet is chelev and its consumption is forbidden. Northwestern and Eastern European Jews also could not obtain the kinds of vegetable-derived cooking oils such as oil and sesame oil, used in the Middle East. Thus Ashkenazi Jews turned to poultry fat as their cooking fat of choice, the manufacture of schmaltz involves cutting the fatty tissues of a bird into small pieces, melting the fat, and collecting the drippings. Schmaltz may be prepared by a dry process where the pieces are cooked under low heat and stirred, a wet process also exists whereby the fat is melted by direct steam injection. The rendered schmaltz is then filtered and clarified, homemade Jewish-style schmaltz is made by cutting chicken or goose fat into small pieces and melting in a pan over low-to-moderate heat, generally with onions. After the majority of the fat has been extracted, the fat is strained through a cheesecloth into a storage container. The remaining dark brown, crispy bits of skin and onion are known in Yiddish as gribenes, another simple method is as a by-product of the making of chicken soup. Schmaltz often has an aroma, and therefore is often used for hearty recipes such as stews or roasts. It is also used as a spread, where it is sometimes also salted. Various vegetarian versions of schmaltz have been marketed, starting with Nyafat, vegetable shortening is also used as a substitute. The expression falling into the schmaltz pot refers to the concept of having something good happen to you, someone who happens to have good luck is given the reputation of being a schmalz. Consequently, a derived Polish word szmal is a term for cash. Schmaltz herring means fatty herring and refers to the a stage of development in the cycle of the herring when the fish contains the most fat. Its earliest usage in this sense dates to the mid-1930s, in German, schmalzig is also used in the same sense
34.
Jimmy Dorsey
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James Jimmy Dorsey was a prominent American jazz clarinetist, saxophonist, composer and big band leader. He recorded and composed the jazz and pop standards Im Glad There Is You and Its The Dreamer In Me. His other major recordings were Tailspin, John Silver, So Many Times, Amapola, Brazil, Pennies from Heaven with Bing Crosby, Louis Armstrong, and Frances Langford, Grand Central Getaway, and So Rare. Jimmy Dorsey was born in Shenandoah, Pennsylvania, the son of a miner turned music teacher. He played trumpet in his youth, appearing on stage with J. Carson McGees King Trumpeters in 1913 and he switched to alto saxophone in 1915, and then learned to double on clarinet. Jimmy Dorsey played on a clarinet outfitted with the Albert system of fingering, as opposed to the more common Boehm system used by most of his contemporaries including Benny Goodman and Artie Shaw. With his brother Tommy playing trombone, he formed Dorsey’s Novelty Six, in 1924 he joined the California Ramblers. He did much freelance radio and recording throughout the 1920s. In 1924 he married Jane Porter, the brothers also appeared as session musicians on many jazz recordings. He joined Ted Lewiss band in 1930, with whom he toured Europe, after returning to the United States, he worked briefly with Rudy Vallee and several other bandleaders, in addition to the Dorsey Brothers Orchestra with Tommy. Tommy left the Dorsey Brothers Orchestra to form his own band in 1935 after a dispute with Jimmy. In 1939 Jimmy hired Helen OConnell as his female singer and she and Eberly possessed a boy and girl next door charm and their pairing produced several of the bands biggest hits. Many of the Eberly-OConnell recordings were arranged in an unusual 3-section a-b-c format, the three-part format was reportedly developed at the insistence of a record producer who wanted to feature both singers and the full band in a single 3-minute 78 rpm recording. Jimmy continued leading his own band until the early 1950s, in 1949 he and Jane Porter were divorced. In 1953 he joined Tommys Orchestra, renamed Tommy Dorsey and his Orch, on December 26,1953, the brothers and their orchestra appeared on Jackie Gleasons CBS television program. The success of that television appearance led Gleason to produce a variety program, Stage Show. Elvis Presley appeared on several of the telecasts and these were Presleys first appearances on national TV. Jimmy took over leadership of the orchestra after Tommys death, Jimmy survived his brother by only a few months and died of throat cancer, aged 53, in New York City
35.
Hoagy Carmichael
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Howard Hoagland Hoagy Carmichael was an American composer, pianist, singer, actor, and bandleader from Indiana. Carmichael composed several hundred songs, including fifty that achieved hit record status and he is best known for composing the music for Stardust, Georgia on My Mind, The Nearness of You, and Heart and Soul, four of the most-recorded American songs of all time. He also collaborated with lyricist Johnny Mercer on Skylark, Carmichaels Ole Buttermilk Sky was an Academy Award-nominee in 1946, In the Cool, Cool, Cool of the Evening, with lyrics by Mercer, won the Academy Award for Best Original Song in 1951. Carmichael also appeared as an actor and musical performer in fourteen motion pictures. Born in Bloomington, Indiana, on November 22,1899, Hoaglund Howard Hoagie Carmichael was the first child and only son of Howard Clyde and his parents named him after a circus troupe called the Hoaglands that had stayed at the Carmichael house during his mothers pregnancy. Hoagy had two sisters, Georgia and Joanne. Because of Howards unstable job history, the family moved frequently, Hoagy spent most of his early years in Bloomington and in Indianapolis, Indiana. Carmichaels mother taught him to sing and play the piano at an early age, the Carmichael family moved to Indianapolis in 1916, but Hoagy returned to Bloomington in 1919 to complete high school. The piano was the focus of Carmichaels after-school life, for inspiration he would listen to ragtime pianists Hank Wells and Hube Hanna. At eighteen, the small, wiry, and pale Carmichael helped supplement his family’s meager income by working in jobs in construction, at a bicycle-chain factory. The bleak time was partly spelled by four-handed piano duets with his mother and by his friendship with DuValle, Carmichael earned his first money as a musician playing at a fraternity dance in 1918, marking the beginning of his musical career. The death of Carmichaels three-year-old sister in 1918 affected him deeply and he later wrote My sister Joanne—the victim of poverty. We couldn’t afford a doctor or good attention, and that’s when I vowed I would never be broke again in my lifetime. Joanne may have died from influenza, which had swept the world that year, Carmichael attended Indiana University in Bloomington, where he earned a bachelors degree in 1925 and a law degree in 1926. He was a member of the Kappa Sigma fraternity, and played the piano around Indiana and Ohio with his band, around 1922 Carmichael first met Leon Bix Beiderbecke, a cornetist and sometime pianist from Iowa. The two became friends and played music together, under Beiderbecke’s influence Carmichael began playing the cornet, but found that he didnt have the lips for the instrument and played it only briefly. He was also inspired by Beiderbeckes impressionistic and classical music ideas, the song became a jazz staple. Carmichaels other early compositions included Washboard Blues and Boneyard Shuffle
36.
Gunther Schuller
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Gunther Alexander Schuller was an American composer, conductor, horn player, author, historian and jazz musician. Schuller was born in Queens, New York City, the son of German parents Elsie and Arthur E. Schuller and he studied at the Saint Thomas Choir School and became an accomplished French horn player and flute player. During his youth, he attended the Precollege Division at the Manhattan School of Music, but, already a high school dropout because he wanted to play professionally, Schuller never obtained a degree from any institution. He began his career in jazz by recording as a player with Miles Davis. While lecturing at Brandeis University in 1957, he coined the term Third Stream to describe music that combines classical, in 1966, he composed the opera The Visitation. He also orchestrated Scott Joplins only known surviving opera Treemonisha for the Houston Grand Operas premiere production of work in 1975. In 1959, Schuller gave up performance to himself to composition. He conducted internationally and studied and recorded jazz with such greats as Dizzy Gillespie, Schuller wrote over 190 original compositions in many musical genres. In the 1960s and 1970s, Schuller was president of New England Conservatory, Schuller was editor-in-chief of Jazz Masterworks Editions, and co-director of the Smithsonian Jazz Masterworks Orchestra in Washington, D. C. Another effort of preservation was his editing and posthumous premiering at Lincoln Center in 1989 of Charles Minguss immense final work, Epitaph and he was the author of two major books on the history of jazz, Early Jazz and The Swing Era. His students included Irwin Swack, Ralph Patt, John Ferritto, Eric Alexander Hewitt, Mohammed Fairouz, Oliver Knussen, Nancy Zeltzman, Riccardo Dalli Cardillo, see, List of music students by teacher, R to S#Gunther Schuller. From 1993 until his death, Schuller served as Artistic Director for the Northwest Bach Festival in Spokane, each year the festival showcased works by J. S. Bach and other composers in venues around Spokane, at the 2010 festival, Schuller conducted the Mass in B minor at St. Johns Cathedral, sung by the chamber choir from Eastern Washington University, accompanied by the Spokane Symphony. Other notable performances conducted at the festival include the St Matthew Passion in 2008, Schullers association with Spokane began with guest conducting the Spokane Symphony for one week in 1982. He then served as Music Director from 1984–1985 and later appeared as a guest conductor. Schuller also served as Artistic Director to the nearby Festival at Sandpoint and his modernist orchestral work Where the Word Ends, organized in four movements corresponding to those of a symphony, premiered at the Boston Symphony Orchestra in 2009. In 2011 Schuller published the first volume of an autobiography, Gunther Schuller, A Life in Pursuit of Music. In 2012, Schuller premiered a new arrangement, the Treemonisha suite from Joplins opera and it was performed as part of The Rest is Noise season at Londons South Bank in 2013
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