1.
Garches
–
Garches is a commune in the western suburbs of Paris, France. It is located 11.9 km from the centre of Paris, Garches has remained largely residential, but is also the location of Raymond Poincaré University Hospital, which specialises in traumatology, road accidents and physiotherapy. Monuments in Rue du 19 janvier and Rue du Colonel de Rochebrune commemorate the events, construction of the church began in 1298 following the canonisation of St. Louis, as recorded on the plaque at the entrance. It was the first church in France dedicated to St. Louis, the spire was rebuilt in 1988, the cross reconsecrated in 1989, the carved tympanum restored in 1990, and interior and façade renovation carried out beginning in 1995. A bell dated to 1787 was classified as a monument on 27 April 1944. The cemetery adjacent to the church was moved in 1930 and contains the graves of some people, including jazz musician Sidney Bechet. Garches is served by Garches – Marnes-la-Coquette station on the Transilien Paris – Saint-Lazare suburban rail line and by 9 bus lines linking it with Paris and other suburbs. R. E. A. Jacques Brel Specialized senior high schools in the include, Lycée Jean Monnet - Montrouge Lycée Toulouse Lautrec - Vaucresson There is a private school in the commune. Communes of the Hauts-de-Seine department INSEE Official site
Garches
–
The town hall of Garches
2.
Jazz
–
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
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
3.
Dixieland
–
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
Dixieland
–
A traditionalist jazz band plays at a party in New Orleans in 2005. Shown here are Chris Clifton, on
trumpet; Brian O'Connell, on
clarinet; Les Muscutt, on
banjo; Chuck Badie, on
string bass; and Tom Ebert, on
trombone.
Dixieland
–
The International Dixieland Festival in Dresden
4.
Louis Armstrong
–
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
Louis Armstrong
–
Armstrong photographed in 1953.
Louis Armstrong
–
Handcolored
etching Louis Armstrong (2002) by Adi Holzer
Louis Armstrong
–
Armstrong with his first trumpet instructor, Peter Davis, in 1965
Louis Armstrong
–
Label for
gramophone record, "
Heebie Jeebies " by
Louis Armstrong and his Hot Five
5.
7th Ward of New Orleans
–
The 7th Ward is a section of New Orleans, Louisiana. It is geographically the second largest of the 17 Wards of New Orleans, the 7th Ward stretches from the Mississippi River to Lake Pontchartrain. The eastern, or lower boundary is Elysian Fields Avenue, the boundary with the 8th Ward, the London Avenue Canal runs through the ward from just in from Gentilly Ridge to the Lake. Dillard University is in the Ward, as is most of the University of New Orleans campus near the lakefront. The New Orleans Fairgrounds, home to racing and the New Orleans Jazz & Heritage Festival, is just back from Esplanade Avenue. Frenchmen Street, the destination for food and live music, is in the front of the ward near the French Quarter. As with most of New Orleans, the area along the ground of the riverfront was developed first. The Pontchartrain Railroad, the first US railroad away from the Atlantic coast, the area is known for the Creole citizens who once heavily populated the area. Esplanade Ridge between Rampart and Bayou St. John was one of the first parts of town substantially developed away from the riverfront, some of the elegant early 19th century Creole-style mansions can still be seen along Esplanade. The areas between Gentilly Ridge and the Lakefront was developed in the 20th century with improved drainage, see Drainage in New Orleans, when Hurricane Katrina struck New Orleans in 2005, the effects were disastrous. The London Avenue Canal breached catastrophically on both sides, flooding the majority of the Ward and the surrounding area, the 7th ward has since seen many residents return. P. and mayors Ernest Morial, Sidney Barthelemy and C, 7th, 8th, and Upper 9th Wards travel guide from Wikivoyage
7th Ward of New Orleans
–
House on the 7th Ward side of Esplanade Avenue
7th Ward of New Orleans
–
Ruined house in flood silt near the London Avenue Canal after the Hurricane Katrina levee failure disaster
6.
New Orleans
–
New Orleans is a major United States port and the largest city and metropolitan area in the state of Louisiana. The population of the city was 343,829 as of the 2010 U. S. Census, the New Orleans metropolitan area had a population of 1,167,764 in 2010 and was the 46th largest in the United States. The New Orleans–Metairie–Bogalusa Combined Statistical Area, a trading area, had a 2010 population of 1,452,502. The city is named after the Duke of Orleans, who reigned as Regent for Louis XV from 1715 to 1723, as it was established by French colonists and it is well known for its distinct French and Spanish Creole architecture, as well as its cross-cultural and multilingual heritage. New Orleans is also famous for its cuisine, music, and its celebrations and festivals, most notably Mardi Gras. The city is referred to as the most unique in the United States. New Orleans is located in southeastern Louisiana, straddling the Mississippi River, the city and Orleans Parish are coterminous. The city and parish are bounded by the parishes of St. Tammany to the north, St. Bernard to the east, Plaquemines to the south, and Jefferson to the south and west. Lake Pontchartrain, part of which is included in the city limits, lies to the north, before Hurricane Katrina, Orleans Parish was the most populous parish in Louisiana. As of 2015, it ranks third in population, trailing neighboring Jefferson Parish, La Nouvelle-Orléans was founded May 7,1718, by the French Mississippi Company, under the direction of Jean-Baptiste Le Moyne de Bienville, on land inhabited by the Chitimacha. It was named for Philippe II, Duke of Orléans, who was Regent of the Kingdom of France at the time and his title came from the French city of Orléans. The French colony was ceded to the Spanish Empire in the Treaty of Paris, during the American Revolutionary War, New Orleans was an important port for smuggling aid to the rebels, transporting military equipment and supplies up the Mississippi River. Bernardo de Gálvez y Madrid, Count of Gálvez successfully launched a campaign against the British from the city in 1779. New Orleans remained under Spanish control until 1803, when it reverted briefly to French oversight, nearly all of the surviving 18th-century architecture of the Vieux Carré dates from the Spanish period, the most notable exception being the Old Ursuline Convent. Napoleon sold Louisiana to the United States in the Louisiana Purchase in 1803, thereafter, the city grew rapidly with influxes of Americans, French, Creoles, and Africans. Later immigrants were Irish, Germans, and Italians, Major commodity crops of sugar and cotton were cultivated with slave labor on large plantations outside the city. The Haitian Revolution ended in 1804 and established the republic in the Western Hemisphere. It had occurred several years in what was then the French colony of Saint-Domingue
New Orleans
–
From top left: A typical New Orleans mansion off
St. Charles Avenue, a streetcar passing by
Loyola University and
Tulane University, the skyline of the
Central Business District,
Jackson Square, and a view of Royal Street in the
French Quarter
New Orleans
–
The
Battle of New Orleans (1815)
New Orleans
–
Mississippi River
steamboats at New Orleans, 1853.
New Orleans
–
The starving people of New Orleans under Union occupation during the Civil War, 1862
7.
Creoles of color
–
The Creoles of color are a historic ethnic group of Creole people in Louisiana, Southern Mississippi, Alabama, and Northwestern Florida. Mixed-race Creoles of color became identified as an ethnic group, Gens de couleur libres. During Louisiana’s colonial period, Créole referred to people born in Louisiana who had ancestors from elsewhere, the term Créole was first used by French colonists to distinguish themselves from foreign-born settlers, and later as distinct from Anglo-American settlers. Colonial documents show that the term Créole was used variously at different times to refer to people, mixed-race people. Many Creoles of color were free, and their descendants often enjoyed many of the privileges that whites did, including property ownership. During the antebellum period, their society was structured along class lines, while it was not illegal, it was a social taboo for Creoles of color to marry slaves and it was a rare occurrence. Some of the wealthier and prosperous Creoles of color owned slaves, other Creoles of color such as Thomy Lafon used their social position to support the abolitionist cause. Another Creole of color, Francis E. Dumas, emancipated all of his slaves, Some historians suggest that New Orleans was the cradle of the civil rights movement in the United States, due to the earliest efforts of Creoles to integrate the military en masse. Creoles of Color had been members of the militia for decades under both Spanish and French control of the colony of Louisiana, for example, around 80 free Creoles of Color were recruited into the militia that participated in the Battle of Baton Rouge in 1779. They volunteered their services and pledged their loyalty to their adopted country and its Territorial Governor appointed by Thomas Jefferson. Claiborne, when the French colony of Orleans was formally accepted by the United States on December 20,1803. In a February 20,1804 letter, Secretary of War Henry Dearborn wrote to Clairborne saying. it would be prudent not to increase the Corps, but to diminish, if it could be done without giving offense. A decade later, the militia of color that remained volunteered to take up arms when the British began landing troops on American soil outside of New Orleans in December 1814 and this was the commencement of the Battle of New Orleans. During and after the Louisiana Purchase many Creoles of color lost their social status, despite their service to the militia. Americas Southern society developed a caste system, in this new caste system, all people with African ancestry or visible African features were classified as black, and therefore categorized as second class citizens. Former free Creoles of Color were relegated to the ranks of emancipated slaves, with the advantage of having been better educated than the new freedmen, many Creoles of color were active in the struggle for civil rights. During Reconstruction and in the aftermath the American Civil War, white Democrats regained political power across the former Confederate states, by the late nineteenth century many Southern men in positions of power began to re-impose the idea of white supremacy. To achieve this, they established legal segregation under the Jim Crow system
Creoles of color
–
Creole cartoonist
George Herriman
8.
Louis Nelson Delisle
–
Big Eye Louis Nelson Delisle was an early twentieth-century Dixieland jazz clarinetist in New Orleans, Louisiana. He also played string bass, banjo, and accordion professionally on occasion, Nelson Delisle was born into a family who were Creoles of Color. He spent most of his life in New Orleans, Louisiana and he studied clarinet with the elder Lorenzo Tio. By the age of 15, Delisle was working professionally in the venues of Storyville. He developed a style of hot playing in the earliest days of jazz. In his early career Big Eye often played a C clarinet, as opposed to the more common B♭, in 1917, Delisle joined the reconstituted Original Creole Orchestra that included Freddie Keppard and Bill Johnson. The band had disbanded in Boston in the spring of year but was reassembled in New York City in the fall of the same year. Big Eye replaced clarinetist George Baquet, who had toured with the group in vaudeville, after a short while, Big Eye was replaced by Jimmie Noone. Big Eye was the regular clarinetist with the Jones & Collins Astoria Hot Eight and he made his only recordings in his later years in the 1940s, by which time he was often in poor health. From contemporary accounts he was past his prime, but still capable of producing some beautiful phrases. The recordings are available on disc on American Music Records. Critics describe Nelson Delisles playing as more blues influenced and fluid compared to the stattico and raggy playing of Alphonse Picou, an older New Orleans clarinetist
Louis Nelson Delisle
–
Nelson Delisle in 1910
9.
Arpeggios
–
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord, an arpeggio is a type of broken chord where the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also more than one octave. The word arpeggio comes from the Italian word arpeggiare, which means to play on a harp, even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, Arpeggios enable composers writing for monophonic instruments that play one note at a time, to voice chords and chord progressions in musical pieces. Arpeggios and broken chords are used to help create rhythmic interest. A notable example of which is the Alberti bass figuration which was used in piano music from the Classical music period. With an Alberti bass, rather play the notes of a chord all at once. An arpeggio is a group of notes which are played one after the other, executing an arpeggio requires the player to play the sounds of a chord individually to differentiate the notes. The notes all belong to one chord, the chord may, for example, be a simple chord with the 1st, 3rd, and 5th notes of the scale in it. An arpeggio for the chord of C major going up two octaves would be the notes, an arpeggio is a type of broken chord. Other types of broken chords play chord notes out of sequence or more than one note, Arpeggios can rise or fall for more than one octave. Students of musical instruments and singers learn how to play and sing scales and they are often a requirement for music examinations. An arpeggiated chord means a chord which is spread, i. e. the notes are not played at the same time, arpeggiated chords are often used in harp and piano music. An arpeggiated chord may be written with a vertical line in front of the chord. It is spread from the lowest to the highest note, occasionally, composers such as Béla Bartók have asked for them to be played from top to bottom. This is shown by adding an arrow pointing down, some ostinato figures consist of arpeggios. Any instrument may employ arpeggiation, but the instruments use arpeggios most often
Arpeggios
–
Arpeggio/broken chord
10.
Bunk Johnson
–
Willie Gary Bunk Johnson was a prominent jazz trumpeter in New Orleans. Johnson gave the year of his birth as 1879, although there is speculation that he may have been younger by as much as a decade, Johnson received lessons from Adam Olivier and began playing professionally in Oliviers orchestra. Johnson probably played a few adolescent jobs with Buddy Bolden, but was not a member of Boldens Band. Johnson was regarded as one of the top trumpeters in New Orleans in the years 1905–1915, in 1931 he lost his trumpet and front teeth when a fight broke out at a dance in Rayne, Louisiana, putting an end to his playing. He thereafter worked in labor, occasionally giving music lessons. The writers tracked down Johnsons address, and traded several letters with him, Johnson stated that he could play again if he only had new teeth and a new trumpet. A collection was taken up by writers and musicians, and he was fitted with a set of dentures by Bechets dentist brother, Leonard and he made his first recordings in 1942, for Jazz Man Records. These first recordings propelled Johnson into public attention, attracting a cult following, Johnson and his band played in New Orleans, San Francisco, Boston, and New York City and made many more recordings. Johnson suffered from a stroke in late 1948 and died in New Iberia the following year, Jazz fans and historians still debate Johnsons legacy, and the extent to which his colorful reminiscences of his early career were accurate, misremembered, exaggerated, or untrue. The majority of his recordings remain in print on CD reissues, Johnson plays a small, but significant, role in Alan Schroeders picture book Satchmos Blues. In that book, Johnson serves as a source of inspiration to the young Louis Armstrong. Detailed discussion of research on Bunks early life and possible birthdates Willie Johnsons WWI Draft Registration Card and essay
Bunk Johnson
Bunk Johnson
–
Bunk (left) with
Lead Belly in New York City, 1946
11.
King Oliver
–
Joseph Nathan Oliver better known as King Oliver or Joe Oliver, was an American jazz cornet player and bandleader. He was particularly recognized for his style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including Dippermouth Blues, Sweet Like This, Canal Street Blues and he was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, if it had not been for Joe Oliver, joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. He first studied the trombone, then changed to cornet, from 1908 to 1917 Oliver played cornet in New Orleans brass bands and dance bands, and also in the citys red-light district. A band he co-led with trombonist Kid Ory was considered to be New Orleans hottest and best in the late 1910s. Oliver achieved great popularity in New Orleans across economic and racial lines and this, coupled with the closure of The District caused Oliver to leave the Jim Crow South. He, his wife, and their daughter Ruby left New Orleans for Chicago, Oliver found musical work in Chicago with colleagues from New Orleans such as clarinetist Lawrence Duhé, bassist Bill Johnson, trombonist Roy Palmer, and drummer Paul Barbarin. He became leader of Duhés band, playing at a number of Chicago clubs, in the summer of 1921 he took a group to the West Coast, playing engagements in San Francisco and Oakland, California. In 1922 Oliver and his band returned to Chicago, where they began performing as King Oliver, in the mid-1920s Oliver, following the popular trend of the time, enlarged his band to nine musicians, and began performing more written arrangements with jazz solos. In 1927 the band went to New York, but Oliver disbanded the group to do freelance jobs and he reformed the band in 1928, continuing with modest success until the continuing downturn of the economy made it more and more difficult to find bookings. This, coupled with his ability to play as a result of suffering from periodontitis. As a player, Oliver took great interest in altering his horns sound and he pioneered the use of mutes, including the rubber plumbers plunger, derby hat, bottles and cups. His favorite mute was a small mute made by the C. G. Conn Instrument Company. His recording Wa Wa Wa with the Dixie Syncopators can be credited with giving the name wah-wah to such techniques. Oliver was also a composer, and wrote many tunes that are still regularly played, including Dippermouth Blues, Sweet Like This, Canal Street Blues. Oliver performed mostly on cornet, but like many cornetists he switched to trumpet in the late 1920s, one of his protégés, Louis Panico, authored a book entitled The Novelty Cornetist, which is illustrated with photos showing some of the mute techniques he learned from Oliver. As mentor to Armstrong in New Orleans, Oliver taught young Louis, a few years later Oliver summoned him to Chicago to play with his band
King Oliver
–
Joseph Oliver, ca. 1915.
12.
Will Marion Cook
–
William Mercer Cook, better known as Will Marion Cook, was an African-American composer and violinist from the United States. Cook was a student of Antonín Dvořák and performed for King George V among others and he is probably best known for his popular songs and Broadway musicals, such as Clorindy, or The Origin of the Cake Walk and In Dahomey. Will Marion Cook was born in Washington, D. C. to John Hartwell Cook, dean of the Howard University School of Law, Cooks musical talent was apparent at an early age. At fifteen, he was sent to the Oberlin Conservatory to study violin, with help from members of the African American community, his benefit recitals were sponsored to help him afford to study abroad. Although it is stated that Cook studied abroad for nine years. Cook married the young singer Abbie Mitchell in 1898, she was 14 and they had a daughter, Marion Abigail Cook, in 1900, and a son, Will Mercer Cook, in 1903. Their daughter, raised by members as had been Mitchell herself. Their son became a professor at Howard University and United States Ambassador to Niger, during 1894 and 1895, Cook studied with Dvořák and John White at the National Conservatory of Music. Cook had performed professionally as a student and made his debut in 1889 in Washington and his performance career as a soloist was short lived, however. Because of stricter segregation in the music community, Cook found a home in the musical theatre. In 1890, he director of a chamber orchestra touring the East Coast. He prepared Scenes from the Opera of Uncle Toms Cabin for performance, the performance, which was to take place at the Chicago Worlds Fair in 1893, was canceled. Clorindy, or, The Origin of the Cakewalk—a musical sketch comedy in collaboration with Paul Laurence Dunbar — was his next composition and it was the first all-black show to play in a prestigious Broadway house, Casino Theatres Roof Garden. After this period, he was composer-in-chief and musical director for the George Walker-Bert Williams Company, as he continued to write, he produced many successful musicals. Best known for his songs, Cook used folk elements in an original, many of these songs first appeared in his musicals. The songs were written for choral groups or for solo singers, some were published in A Collection of Negro Songs. Later in his career, Cook was a choral and orchestral conductor. He produced several concerts and organized many choral societies in both New York and in Washington, D. C
Will Marion Cook
–
Will Marion Cook
Will Marion Cook
–
Playbill from 1898 showing
Edward E. Rice's Production of Cook's Clorindy featuring the song "Darktown is Out Tonight"
13.
Soprano saxophone
–
The soprano saxophone is a higher-register variety of the saxophone, a woodwind instrument, invented in the 1840s. The soprano is the third smallest member of the saxophone family, a transposing instrument pitched in the key of B♭, modern soprano saxophones with a high F♯ key have a range from A♭3 to E6 and are therefore pitched one octave above the tenor saxophone. Some saxophones have additional keys, allowing them to play an additional F♯ and these extra keys are commonly found on more modern saxophones. Additionally, skilled players can make use of the altissimo register, there is also a soprano pitched in C, which is less common and until recently had not been made since around 1940. The soprano saxophone can be compared to the B♭ clarinet, although the clarinet can play a fourth lower and over a fifth higher. Professional players will use the technique of voicing to fix problems with intonation, due to its similarity in tone to the oboe, the soprano saxophone is sometimes used as a substitute for it. In addition to straight sopranos, there are also slightly and fully curved sopranos, the fully curved variety looks much like a small alto saxophone with a straighter crook. There is some debate over the effect of the straight and curved neck, with some believing that a curved neck on a soprano gives it a warmer. The soprano has all the keys of other models and some may have a top G key next to the F♯ key. Soprano saxophone mouthpieces are available in various designs, allowing players to tailor their tone as required, in 2001, François Louis created the aulochrome, a woodwind instrument made of two joined soprano saxophones, which can be played either in unison or in harmony. The soprano saxophone is used as a solo and chamber instrument in classical music. It is included in the quartet and plays a lead role. Many solo pieces have been written for it by such as Heitor Villa-Lobos, Alan Hovhaness, Jennifer Higdon, Takashi Yoshimatsu. As an orchestral instrument, it has used in several compositions. It was used by Richard Strauss in his Sinfonia Domestica, where included in the music are parts for four saxophones and it is also used in Maurice Ravels Bolero and has a featured solo directly following the tenor saxophones solo. Vincent dIndy includes a soprano in his opera Fervaal, greats of the jazz soprano sax include 1930s virtuoso Sidney Bechet, 1950s innovator Steve Lacy, and, beginning with his landmark 1960 album My Favorite Things, John Coltrane. Other notable soprano saxophonists include Jay Beckenstein, Dave Koz, Grover Washington, Jr. Ronnie Laws, and Nigerian Afrobeat multi-instrumentalist Fela Kuti
Soprano saxophone
–
Soprano saxophone
Soprano saxophone
–
Comparison in size of a curved B ♭ soprano saxophone (centre), an E ♭
alto saxophone (left), and a B ♭
tenor saxophone (right).
Soprano saxophone
–
Top to bottom: a curved E ♭
sopranino saxophone, a straight E ♭ sopranino saxophone, a
C soprano saxophone, and a B ♭ soprano saxophone.
Soprano saxophone
–
A
tenor and soprano saxophone (on the right) made from
phosphor bronze, showing their comparative sizes.
14.
Southampton
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Southampton, on the south coast of England, is the largest city in the ceremonial county of Hampshire. It is 75 miles south-west of London and 19 miles north-west of Portsmouth, Southampton is a major port and the closest city to the New Forest. It lies at the northernmost point of Southampton Water at the confluence of the Rivers Test and Itchen, the city, which is a unitary authority, has an estimated population of 253,651. The citys name is abbreviated in writing to Soton or Soton. Significant employers in the city include the University of Southampton, Southampton Solent University, Southampton Airport, Ordnance Survey, BBC South, Southampton has a large shopping centre and retail park, Westquay. In 2014, the city approved a follow-up from the Westquay park, WestQuay Watermark. This built-up area is part of the area known as South Hampshire. With a population of over 1.5 million this makes the one of the United Kingdoms most populous metropolitan areas. Archaeological finds suggest that the area has been inhabited since the stone age, following the Roman invasion of Britain in AD43 and the conquering of the local Britons in 70 AD the fortress settlement of Clausentum was established. It was an important trading port and defensive outpost of Winchester, Clausentum was defended by a wall and two ditches and is thought to have contained a bath house. Clausentum was not abandoned until around 410, the Anglo-Saxons formed a new, larger, settlement across the Itchen centred on what is now the St Marys area of the city. The settlement was known as Hamwic, which evolved into Hamtun, archaeological excavations of this site have uncovered one of the best collections of Saxon artefacts in Europe. It is from this town that the county of Hampshire gets its name, viking raids from 840 onwards contributed to the decline of Hamwic in the 9th century, and by the 10th century a fortified settlement, which became medieval Southampton, had been established. Following the Norman Conquest in 1066, Southampton became the port of transit between the then capital of England, Winchester, and Normandy. By the 13th century Southampton had become a port, particularly involved in the import of French wine in exchange for English cloth. The Franciscan friary in Southampton was founded circa 1233, the friars constructed a water supply system in 1290, which carried water from Conduit Head some 1.7 kilometres to the site of the friary inside the town walls. Further remains can be observed at Conduit House on Commercial Road, the friars granted use of the water to the town in 1310. The town was sacked in 1338 by French, Genoese and Monegasque ships, on visiting Southampton in 1339, Edward III ordered that walls be built to close the town
Southampton
–
Montage of Southampton. Clockwise from top-left: Bargate; Guilldhall; Top of west walls; Wool house and custom house; Southwestern house
Southampton
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Logo of the City Council
Southampton
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Part of Southampton's Town Walls
Southampton
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The memorial to the engineers of the
Titanic
15.
Clarence Williams (musician)
–
Clarence Williams was an American jazz pianist, composer, promoter, vocalist, theatrical producer, and publisher. Williams was born in Plaquemine, Louisiana, ran away home at age 12 to join Billy Kersands Traveling Minstrel Show. At first Williams worked shining shoes and doing odd jobs, by the early 1910s he was a well regarded local entertainer also playing piano, and was composing new tunes by 1913. Williams started a publishing business with violinist/bandleader Armand J. Piron in 1915. Handy, set up an office in Chicago, then settled in New York in the early 1920s. In 1921, he married singer and stage actress Eva Taylor. He was one of the primary pianists on scores of blues records recorded in New York during the 1920s and he supervised African-American recordings for the New York offices of Okeh phonograph company in the 1920s in the Gaiety Theatre office building in Times Square. He recruited many of the artists who performed on that label and he also recorded extensively, leading studio bands frequently for OKeh, Columbia and occasionally other record labels. He mostly used Clarence Williams Jazz Kings for his hot band sides and he also produced and participated in early recordings by Louis Armstrong, Sidney Bechet, Bessie Smith, Virginia Liston, Irene Scruggs, his niece Katherine Henderson, and many others. King Oliver played cornet on a number of Williamss late 1920s recordings and he was the recording director for the short-lived QRS Records label in 1928. Most of his recordings were songs from his house, which explains why he recorded tunes like Baby Wont You Please Come Home, Close Fit Blues. Among his own compositions was Shout, Sister, Shout, which was recorded by him, in 1933, he signed to the Vocalion label and recorded quite a number of popular recordings, mostly featuring washboard percussion, through 1935. He also recorded for Bluebird in 1937, and again in 1941, in 1943, Williams sold his extensive back-catalogue of tunes to Decca Records for $50,000 and retired, but then bought a bargain used-goods store. Williams died in Queens, New York City, in 1965, on her death in 1977, his wife, Eva Taylor, was interred next to him. Clarence Williams is the grandfather of actor Clarence Williams III and his daughter Joy Williams was a singer-actress under stage name Irene Williams. Clarence Williams was also credited as the author of Hank Williams 1949 hit My Buckets Got a Hole in It, a song that was later recorded by Louis Armstrong
Clarence Williams (musician)
–
I Aint Gonna Give Nobody None O This Jelly Roll sheet music cover
Clarence Williams (musician)
–
I Can Beat You Doing What You're Doing Me (sheet music cover)
16.
Cherbourg, France
–
Cherbourg-Octeville is a city and former commune situated at the northern end of the Cotentin peninsula in the northwestern French department of Manche. It is a subprefecture of its department, and was formed when the commune of Cherbourg absorbed Octeville on 28 February 2000. On 1 January 2016, it was merged into the new commune of Cherbourg-en-Cotentin, the city is a Maritime prefecture and sub-prefecture of la Manche. Cherbourg-en-Cotentin is protected by Cherbourg Harbour, between La Hague and Val de Saire, and the city has been a position over the centuries. A stopping point for prestigious transatlantic liners in the first half of the 20th century, limited by its geographical isolation from being a great commercial port, it is nonetheless an important shipbuilding centre, and a working-class city with a rural hinterland. Cherbourg-en-Cotentin is located at the tip of the Cotentin Peninsula, in the department of Manche. At the time of the 1999 census the city of Cherbourg had an area of 6.91 square kilometres, the largest city in the Department of Manche, it is the result of the merger of the communes of Cherbourg and Octeville. The amalgamated city today has an area of 14.26 km2. Cherbourg is situated at the mouth of the Divette and at the south of the bay between Cap Lévi to the east and Cap de La Hague to the west, Cherbourg-Octeville is 120 km from the English coast. Cherbourg and Octeville-sur-Cherbourg once belonged to the deanery of La Hague, in 1786, a part of Equeurdreville joined Cherbourg, during the construction of the port, and then in 1802, a portion of Octeville. Thus, Cherbourg-Octeville lies both in La Hague and in the Val de Saire, like all Chantereyne and the area of the Mielles, the Cherbourg territory was reclaimed from the sea. Built at the level of the sea, the town developed at the foot of the Roule mountain and these folds result in layers of sandstone tilted 45° towards the north-east on la Fauconniere and the Montagne du Roule. These two cliffs are due to sea erosion in the Quaternary, the retreat of the sea then gave way to sand dunes and tidal marshes, destroyed by the urbanisation of the 17th and 19th centuries, identical to those of Collignon in Tourlaville. The greenschist, whose colour comes from chlorite and sericite, are used mainly for roofing in Nord-Cotentin, the Armorican sandstone of the Montagne du Roule is used for rubble and rockfill. Most of the quarries, which opened in the metropolitan area for building the harbour wall, are now closed. Cherbourg-en-Cotentin is bordered by the sea, the construction of the port of trade, from 1769, accompanied by the diversion of the Divette and the Trottebec gathered in the canal de retenue, along the Avenue de Paris and Rue du Val-de-Saire. The streams of the Bucaille and the Fay, which watered the Croûte du Homet, Cherbourg-en-Cotentin has a temperate oceanic climate. Its maritime character causes high humidity and a strong sea wind, commonly stormy but also low seasonal variations of temperature and few days of frost
Cherbourg, France
–
An aerial view of the Cherbourg agglomeration in May 2006
Cherbourg, France
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A map of the Cotentin peninsula, with Cherbourg to the north
Cherbourg, France
–
The Montagne du Roule seen from the commercial harbour.
Cherbourg, France
–
The
Normandie Express catamaran ferry at Cherbourg
17.
Montmartre
–
Montmartre is a large hill in Pariss 18th arrondissement. It is 130 m high and gives its name to the surrounding district, Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, Montmartre is also the setting for several hit films. This site is served by metro, with line 2 stations at Anvers, Pigalle, and Blanche and line 12 stations at Pigalle, Abbesses, Lamarck - Caulaincourt, texts from the 8th century cite the name of mons Mercori, and a 9th-century text speaks of Mount Mars. Excavations in 1975 north of the Church of Saint-Pierre found coins from the 3rd century, earlier excavations in the 17th century at the Fontaine-du-But found vestiges of Roman baths from the 2nd century. According to Hilduin, Denis collected his head and carried it as far as the fontaine Saint-Denis, then descended the slope of the hill. Hilduin wrote that a church had built in the place formerly called Mont de Mars. In 1134, king Louis VI purchased the Merovingian chapel and built on the site the church of Saint-Pierre de Montmartre and he also founded The Royal Abbey of Montmartre, a monastery of the Benedictine order, whose buildings, gardens and fields occupied most of Montmartre. He also built a chapel, called the Martyrium, at the site where it was believed that Saint Denis had been decapitated. It became a pilgrimage site. In the 17th century, a priory called abbaye den bas was built at that site, the abbey was destroyed in 1790 during the French Revolution, and the convent demolished to make place for gypsum mines. The church of Saint-Pierre was saved, at the place where the chapel of the Martyrs was located, an oratory was built in 1855. By the 15th century, the north and northeast slopes of the hill were the site of a surrounded by vineyards, gardens and orchards of peach. The first mills were built on the slope in 1529, grinding wheat, barley. The siege eventually failed when a relief force approached and forced Henry to withdraw. In 1790, Montmartre was located just outside the limits of Paris and that year, under the revolutionary government of the National Constituent Assembly, it became the commune of Montmartre, with its town hall located on place du Tertre, site of the former abbey. The main businesses of the commune were wine making, stone quarries, the mining of gypsum had begun in the Gallo-Roman period, first in open air mines and then underground, and continued until 1860. The gypsum was cut into blocks, baked, then ground, sold as montmartarite, it was used for plaster, because of its resistance to fire and water
Montmartre
–
Montmartre, dominated by the
Basilica of the Sacré Cœur
Montmartre
–
Saint-Pierre de Montmartre (1133) seen from the dome of the Basilica of the Sacré-Cœur.
Montmartre
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The Moulin de la Galette, painted by
Vincent Van Gogh in 1887 (Carnegie Museum of Art).
Montmartre
–
The Chapel of the Martyrs of Monmartre Abbey in the 17th century
18.
Ken Burns
–
Kenneth Lauren Ken Burns is an American filmmaker, known for his style of using archival footage and photographs in documentary films. His most widely known documentaries are The Civil War, Baseball, Jazz, The War, The National Parks, Americas Best Idea, Prohibition, The Central Park Five and he was also executive producer of both The West, and Cancer, The Emperor of All Maladies. Burnss documentaries have been nominated for two Academy Awards and have won Emmy Awards, among other honors, the documentary filmmaker Ric Burns is his younger brother. He is a distant relative of Scottish poet Robert Burns, among places they called home were Saint-Véran, France, Newark, Delaware, and Ann Arbor, where his father taught at the University of Michigan. Well-read as a child, he absorbed the family encyclopedia, preferring history to fiction, upon receiving an 8 mm film movie camera for his 17th birthday, he shot a documentary about an Ann Arbor factory. He graduated from Pioneer High School in Ann Arbor in 1971 and he worked in a record store to pay his tuition. Studying under photographers Jerome Liebling and Elaine Mayes and others, Burns earned his Bachelor of Arts degree in film studies, upon graduation, he, Mayes and college classmate Roger Sherman founded Florentine Films in Walpole, New Hampshire. The companys name was borrowed from Mayes hometown of Florence, Massachusetts, another Hampshire College graduate Buddy Squires subsequently succeeded Mayes one year later in 1976. Following another documentary, The Shakers, Hands to Work, Hearts to God, in 1982, Burns married Amy Stechler, with whom he had two daughters, Sarah and Lily, the marriage ended in divorce. As of 2011, Burns resides in Walpole, New Hampshire, with his wife, Julie Deborah Brown. They have two daughters, Olivia and Willa Burns, Burns is a longtime supporter of the Democratic Party, with almost $40,000 in political donations. In August 2009, Kennedy died, and Burns produced a short video at his funeral. In endorsing Barack Obama for the U. S. presidency in December 2007 and he said he had planned to be a regular contributor to Countdown with Keith Olbermann on Current TV. Burns is the recipient of more than 20 honorary degrees, W. Griffith Award, and the $50,000 Lincoln Prize. As of 2010, there is a Ken Burns Wing at the Jerome Liebling Center for Film, Photography, in 2004, Burns received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards. In 2012, Burns received the Washington University International Humanities Medal, past winners include Turkish novelist Orhan Pamuk in 2006, journalist Michael Pollan in 2008, and novelist and nonfiction writer Francine Prose in 2010. Burns was the Grand Marshal for the 2016 Pasadena Tournament of Roses Rose Parade on New Years Day in Pasadena, in 2016, he also gave a commencement speech for Stanford University criticizing Donald Trump. Burns frequently incorporates simple musical leitmotifs or melodies, for example, The Civil War features a distinctive violin melody throughout, Ashokan Farewell, which was performed for the film by its composer, fiddler Jay Ungar
Ken Burns
–
Burns in September 2007
19.
Noble Sissle
–
Noble Lee Sissle was an African-American jazz composer, lyricist, bandleader, singer, and playwright, best known for the Broadway musical Shuffle Along, and its hit song Im Just Wild About Harry. Sissle was born in Indianapolis, Indiana on July 10,1889 and his mother, Martha Angeline Sissle, was a school teacher and juvenile probation officer. As a youth Sissle sang in choirs and as a soloist with his high schools glee club in Cleveland. Sissle attended De Pauw University in Greencastle, Indiana on scholarship, on October 1,1918, Sissle joined the New York 369th Infantry Regiment at New York City where he helped Lieutenant James Reese Europe form the 369th Regimental Band. Sissle played violin and also served as major for the 369th that, under Europe as bandmaster. He sang several vocals on the last disc recorded by the band that was released in March 1919 and he left the army after the war as a second lieutenant with the 370th Infantry Regiment and joined Europe’s civilian version of the 369th band. Years earlier Sissle had struck up a partnership with Blake after they first met in Baltimore in 1915 and had remained in touch during the war, Sissle is noted for his collaborations with Blake. The pair first performed in vaudeville and later produced the musicals Shuffle Along, Sissle is also, famously, the only African-American artist to appear in the Pathé film archives. Shortly after World War I, Sissle joined forces with Blake to form a music duo. After vaudeville, the pair work on the jazz musical revue Shuffle Along, which incorporated many songs they had written. When it premiered in 1921, Shuffle Along became the first hit musical on Broadway written by, the musicals also introduced hit songs such as Im Just Wild About Harry and Love Will Find a Way. In 1923 Sissle made two films for Lee DeForest in DeForests Phonofilm sound-on-film process and they were Noble Sissle and Eubie Blake featuring Sissle and Blakes song Affectionate Dan, and Sissle and Blake Sing Snappy Songs featuring Sons of Old Black Joe and My Swanee Home. Blake made a film in Phonofilm, playing his composition Fantasy on Swanee River. These three films are preserved in the Maurice Zouary film collection at the Library of Congress, in 1932, Sissle appeared with Nina Mae McKinney, the Nicholas Brothers, and Eubie Blake in Pie, Pie Blackbird, a Vitaphone short released by Warner Brothers. In February 1931, Sissle accompanied Adelaide Hall on piano at the prestigious Palace Theatre in New York during her 1931-32 world tour, in 1954, New York radio station WMGM, which was then owned by Loews Theatre Organization, signed Sissle as a disc jockey. His show featured the music of African-American recording artists, Sissle was a member of Alpha Phi Alpha fraternity. Sissle died in 1975 at the age of 86 in Tampa and his rendition of the song Viper Mad was included in the Woody Allen film Sweet and Lowdown. African American musical theater Notes Bibliography Reef, Catherine, New York City, New York, Facts on File, Inc
Noble Sissle
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Noble Sissle photo taken by
Carl Van Vechten, 1951
Noble Sissle
–
Sheet music cover for "
I'm Just Wild About Harry " from the musical
Shuffle Along by Noble Sissle and
Eubie Blake, 1921
20.
Savoy Ballroom
–
The Savoy Ballroom was a large ballroom for music and public dancing located at 596 Lenox Avenue, between 140th and 141st Streets in the Harlem neighborhood of Manhattan, New York City. Lenox Avenue was the main thoroughfare through upper Harlem, poet Langston Hughes calls it the Heartbeat of Harlem in Juke Box Love Song, and he set his work Lenox Avenue, Midnight on the legendary street. The Savoy was one of many Harlem hot spots along Lenox and it was opened and owned by white entrepreneur Jay Faggen and Jewish businessman Moe Gale. It was managed by African-American business man and civic leader Charles Buchanan, the Savoy was modeled after Faggens downtown venue, Roseland Ballroom. The Roseland was a swanky, mostly white swing dance club. The Savoys ballroom, which was 10,000 square feet in size, was on the second floor and it could hold up to 4,000 people. The interior was painted pink and the walls were mirrored. Colored lights danced on the sprung layered wood floor, in 1926, the Savoy contained a spacious lobby framing a huge, cut-glass chandelier and marble staircase. Leon James is quoted in Jazz Dance as saying My first impression was that I had stepped into another world, I had been to other ballrooms, but this was different – much bigger, more glamour, real class. The Savoy was extremely popular from the start, a headline from the New York Age March 20,1926, reads Savoy Turns 2,000 Away On Opening Night – Crowds Pack Ball Room All Week. The ballroom did not go dark a single night of the week, the Savoy was unique in having the constant presence of a skilled elite of the best Lindy Hoppers, known as Savoy Lindy Hoppers. Occasionally, groups of dancers such Whiteys Lindy Hoppers turned professional and performed in Broadway, Whitey turned out to be quite a successful agent, and in 1937, the Marx Brothers movie A Day at the Races featured the group. Herbert White was a bouncer at the Savoy who was made manager in the early 30s. He was sometimes known as Mac, but with his ambition to scout dancers at the ballroom to form his own group and he looked for dancers who were young, stylized, and, most of all, they had to have a beat, they had to swing. The Savoy held a yearly dancing festival called the Harvest Moon Ball featuring lindy dancers, the first Ball was held in 1935, and the contestants introduced the Lindy Hop to Europe the next year. Unlike many ballrooms such as the Cotton Club, the Savoy always had a no-discrimination policy, generally, the clientele was 85% black and 15% white, although sometimes there was an even 50/50 split. Somebody else said, Oh, yeah, can he dance, All they wanted to know when you came into the Savoy was, do you dance. Virtuosic dancers, however, excluded others from the northeast corner of the floor, now referred to as the Cats Corner. This part of the floor where the professional Lindy dancers ruled was on the 141st street side of the room and was referred as the corner. Only Whiteys Lindy Hoppers could dance and work routines there, competition was huge in the corner and every serious hopper awaited the nightly showtime
Savoy Ballroom
–
Plaque commemorating the Savoy Ballroom in Harlem, NYC.
21.
Roy Eldridge
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David Roy Eldridge, commonly known as Roy Eldridge, and nicknamed Little Jazz, was an American jazz trumpet player. Eldridge began playing the piano at the age of five, he claims to have been able to play coherent blues licks at even this young age. The young Eldridge looked up to his brother, Joe Eldridge, particularly because of Joes diverse musical talents on the violin, alto saxophone. Roy took up the drums at the age of six, taking lessons, Joe recognized his brothers natural talent on the bugle, which Roy played in a local church band, and tried to convince Roy to play the valved trumpet. When Roy began to play drums in his brothers band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first. From an early age, Roy lacked proficiency at sight-reading, a gap in his education that would affect him for much of his early career. Eldridge led and played in a number of bands during his early years and he absorbed the influence of saxophonists Benny Carter and Coleman Hawkins, setting himself the task of learning Hawkinss 1926 solo on The Stampede in developing an equivalent trumpet style. Eldridge left home after being expelled from school in ninth grade, joining a traveling show at the age of sixteen, the show soon folded, however. He was then picked up by the Greater Sheesley Carnival, Eldridge continued playing with similar traveling groups until returning home to Pittsburgh at the age of 17. At the age of 20, Eldridge led a band in Pittsburgh, billed as Roy Elliott and his Palais Royal Orchestra, many of the members of Webbs band, annoyed by the leaders lack of dedication, left to form a practically identical group with Eldridge as bandleader. The ensemble was short-lived, and Eldridge soon moved to Milwaukee, Eldridge moved to New York in November 1930, playing in various bands in the early 1930s, including a number of Harlem dance bands with Cecil Scott, Elmer Snowden, Charlie Johnson, and Teddy Hill. At this time, Eldridge was also making records and radio broadcasts under his own name and he laid down his first recorded solos with Teddy Hill in 1935, which gained almost immediate popularity. For a brief time, he led his own band at the reputed Famous Door nightclub. In October 1935, Eldridge joined Fletcher Hendersons Orchestra, playing lead trumpet, until he left the group in early September 1936, Eldridge was Hendersons featured soloist, his talent highlighted by such numbers as Christopher Columbus and Blue Lou. His rhythmic power to swing a band was a trademark of the jazz of the time. It has been said that from the mid-Thirties onwards, he had superseded Louis Armstrong as the exemplar of modern hot trumpet playing, in the fall of 1936, Eldridge moved to Chicago to form an octet with older brother Joe Eldridge playing saxophone and arranging. The ensemble boasted nightly broadcasts and made recordings that featured his extended solos, including After Youve Gone, Eldridge, fed up with the racism he had encountered in the music industry, quit playing in 1938 to study radio engineering. He was back to playing in 1939, when he formed a band that gained a residency at New Yorks Arcadia Ballroom
Roy Eldridge
–
Eldridge in New York, 1946.
Roy Eldridge
–
(From left)
Thelonious Monk,
Howard McGhee, Roy Eldridge,
Teddy Hill,
Minton's Playhouse, New York, c. September 1947. Photograph by
William P. Gottlieb.
22.
Antibes
–
Antibes is a Mediterranean resort in the Alpes-Maritimes department of southeastern France, on the Côte dAzur between Cannes and Nice. The town of Juan-les-Pins is in the commune of Antibes and the Sophia Antipolis technology park is northwest of it, traces of occupation dating back to the early Iron Age have been found in the areas of the castle and cathedral. However, most trade was with the Greek world, via the Phocaeans of Marseille, Antipolis was founded by Phocaeans from Massilia. As a Greek colony settlement, it was known as Antipolis from its close to Nice. The exact location of the Greek city is not well known, given Greek colonial practices, it is likely that it was set at the foot of the rock of Antibes in todays old city. Traces of occupation in the Hellenistic period have been identified around the castle, the goods unearthed during these excavations show the dominance of imported products of the Marseilles region, associated with Campanian and indigenous ceramics. Early in the second century BC the Ligurian Deceates and Oxybiens tribes launched repeated attacks against Nikaia, the Greeks of Marseille appealed to Rome as they had already done a few years earlier against the federation of Salyens. In 154 BC the consul Quintus Opimius defeated the Décéates and Oxybiens, Rome gradually increased its hold over the Mediterranean coast. In 43 BC, Antipolis was officially incorporated in the province of Narbonesian Gaul. Antipolis grew into the largest town in the region and an entry point into Gaul. Roman artifacts such as aqueducts, fortified walls. The city was supplied with water by two aqueducts, the Fontvieille aqueduct rises in Biot and eventually joins the coast below the RN7 and the railway track at the Fort Carré. It was discovered and restored in the 18th century by the Chevalier dAguillon for supplying the modern city, the aqueduct called the Bouillide or Clausonnes rises near the town of Valbonne. Monumental remains of aqueduct bridges are located in the neighbourhood of Fugaret, in the forest of Valmasque, like most Roman towns Antipolis possessed these buildings for shows and entertainment. A Roman theatre is attested by the tombstone of the child Septentrion, the inscription says he danced and was popular on the stage of the theatre. The theatre was located, like the amphitheatre, between Rue de la République and Rue de Fersen, near the Porte Royale, the back wall is positioned substantially next to Rue Fourmillère. A radial wall was found on the side of the bus station. A plan of the made in the 16th century is in the Marciana National Library of Venice. The remains of the amphitheatre were still visible at the end of the 17th century during the restructuring of the fortifications of the city, a concentric oval was still visible in many plans of the seventeenth century and in a map of Antibes from the early nineteenth century
Antibes
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View of Antibes by the Mediterranean
Antibes
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Beach in Antibes, as seen from the city's walls.
Antibes
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The rocky beaches of Antibes
Antibes
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Aerial view
23.
Tchaikovsky
–
He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a career in Russia at that time. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, Tchaikovskys training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation, he forged a personal but unmistakably Russian style—a task that did not prove easy, Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the countrys national identity—an ambiguity mirrored in Tchaikovskys career, despite his many popular successes, Tchaikovskys life was punctuated by personal crises and depression. His homosexuality, which he kept private, has also been considered a major factor. Tchaikovskys sudden death at the age of 53 is generally ascribed to cholera, there is a debate as to whether cholera was indeed the cause of death. While his music has remained popular among audiences, critical opinions were initially mixed, some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. Others dismissed Tchaikovskys music as lacking in elevated thought, according to longtime New York Times music critic Harold C, schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles. Pyotr Ilyich Tchaikovsky was born in Votkinsk, a town in Vyatka Governorate in the Russian Empire. His father, Ilya Petrovich Tchaikovsky, had served as a lieutenant colonel and engineer in the Department of Mines and his grandfather, Pyotr Fedorovich Tchaikovsky, served first as a physicians assistant in the army and later as city governor of Glazov in Viatka. His great-grandfather, a Ukrainian Cossack named Fyodor Chaika, distinguished himself under Peter the Great at the Battle of Poltava in 1709, Tchaikovskys mother, Alexandra Andreyevna, was the second of Ilyas three wives,18 years her husbands junior and French on her fathers side. Both Ilya and Alexandra were trained in the arts, including music—a necessity as a posting to an area of Russia also meant a need for entertainment. Of Tchaikovskys six siblings, he was close to his sister Alexandra and twin brothers Anatoly, alexandras marriage to Lev Davydov would produce seven children and lend Tchaikovsky the only real family life he would know as an adult, especially during his years of wandering. One of those children, Vladimir Davydov, whom the composer would nickname Bob, in 1844, the family hired Fanny Dürbach, a 22-year-old French governess. Four-and-a-half-year-old Tchaikovsky was initially too young to study alongside his older brother Nikolai. By the age of six, he had become fluent in French, Dürbach saved much of Tchaikovskys work from this period, which includes his earliest known compositions, and became a source of several childhood anecdotes
Tchaikovsky
–
Portrait of Pyotr Ilyich Tchaikovsky by
Nikolai Kuznetsov
Tchaikovsky
Tchaikovsky
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The Tchaikovsky family in 1848. Left to right: Pyotr, Alexandra Andreyevna (mother), Alexandra (sister), Zinaida, Nikolai, Ippolit, Ilya Petrovich (father)
Tchaikovsky
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Modern view of the Imperial School of Jurisprudence
24.
Philip Larkin
–
Philip Arthur Larkin CH CBE FRSL was an English poet, novelist and librarian. His many honours include the Queens Gold Medal for Poetry and he was offered, but declined, the position of Poet Laureate in 1984, following the death of Sir John Betjeman. After graduating from Oxford in 1943 with a first in English language and literature and it was during the thirty years he worked with distinction as university librarian at the Brynmor Jones Library at the University of Hull that he produced the greater part of his published work. Eric Homberger called him the saddest heart in the post-war supermarket—Larkin himself said that deprivation for him was what daffodils were for Wordsworth, influenced by W. H. Auden, W. B. Yeats, and Thomas Hardy, his poems are highly structured, Larkins public persona was that of the no-nonsense, solitary Englishman who disliked fame and had no patience for the trappings of the public literary life. On 2 December 2016, the 31st anniversary of his death, a floor stone memorial for Larkin was unveiled at Poets Corner in Westminster Abbey. Philip Larkin was born on 9 August 1922 at 2, Poultney Road, Radford, Coventry, the son and younger child of Sydney Larkin, who came from Lichfield. His sister Catherine, known as Kitty, was 10 years older than he was and he introduced his son to the works of Ezra Pound, T. S. Eliot, James Joyce and above all D. H. Lawrence. His mother was a nervous and passive woman, a kind of defective mechanism. Her ideal is to collapse and to be taken care of, although home life was relatively cold, Larkin enjoyed support from his parents. For example, his passion for jazz was supported by the purchase of a drum kit. From the junior school he progressed to King Henry VIII Senior School and he fared quite poorly when he sat his School Certificate exam at the age of 16. Despite his results, he was allowed to stay on at school, two later he earned distinctions in English and History, and passed the entrance exams for St Johns College, Oxford. Larkin began at Oxford University in October 1940, a year after the outbreak of Second World War, the old upper class traditions of university life had, at least for the time being, faded, and most of the male students were studying for highly truncated degrees. Due to his eyesight, Larkin failed his military medical examination and was able to study for the usual three years. Through his tutorial partner, Norman Iles, he met Kingsley Amis, who encouraged his taste for ridicule and irreverence, Amis, Larkin and other university friends formed a group they dubbed The Seven, meeting to discuss each others poetry, listen to jazz, and drink enthusiastically. During this time he had his first real social interaction with the opposite sex, in 1943 he sat his finals, and, having dedicated much of his time to his own writing, was greatly surprised at being awarded a first-class honours degree. In 1943 Larkin was appointed librarian of the library in Wellington. It was while working there that in early 1944 he met his first girlfriend, Ruth Bowman, in 1945, Ruth went to continue her studies at Kings College London, during one of his visits their friendship developed into a sexual relationship
Philip Larkin
–
Larkin's parents' former
Radford council house overlooking a small spinney, once their garden (photo 2008)
Philip Larkin
–
Headstone marking Larkin's grave at Cottingham municipal cemetery,
Cottingham,
East Riding of Yorkshire
Philip Larkin
–
This second-floor flat overlooking Pearson Park in
Hull was Larkin's rented accommodation from 1956 to 1974 (photo 2008)
Philip Larkin
–
105 Newland Park,
Hull, was Larkin's home from 1974 to his death in 1985 (photo 2008)
25.
Latin jazz
–
Latin jazz is a genre of jazz with Latin American rhythms. Although musicians continually expand its parameters, the term Latin jazz is generally understood to have a specific meaning than simply jazz from Latin America. Some Latin jazz typically employs rhythms that either have an analog in Africa. The two main categories of Latin jazz are, Afro-Cuban jazz—jazz rhythmically based on Cuban popular dance music, Afro-Brazilian jazz—includes bossa nova and jazz samba. African American music began incorporating Afro-Cuban musical motifs in the 19th century, the habanera was the first written music to be rhythmically based on an African motif. The habanera rhythm can be thought of as a combination of tresillo, wynton Marsalis considers tresillo to be the New Orleans clave, although technically, the pattern is only half a clave. Handy has a bass line. I began to suspect there was something Negroid in that beat. Jelly Roll Morton considered the tresillo/habanera to be an ingredient of jazz. The habanera rhythm can be heard in his hand on songs like The Crave. Now in one of my earliest tunes, “New Orleans Blues, in fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton. Although the exact origins of jazz syncopation may never be known, buddy Bolden, the first known jazz musician, is credited with creating the big four, a habanera-based pattern. The big four was the first syncopated bass drum pattern to deviate from the standard on-the-beat march, as the example below shows, the second half of the big four pattern is the habanera rhythm. It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz, because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as the Europeanization progressed and it may also account for the fact that patterns such as. Remained one of the most useful and common syncopated patterns in jazz—Schuller, caravan, written by Juan Tizol and first performed in 1936, is an early proto-Latin jazz composition. The first jazz piece to be overtly based in-clave, and therefore, the tune was initially a descarga with jazz solos superimposed, spontaneously composed by Bauzá. The right hand of the Tanga piano guajeo is in the known as ponchando
Latin jazz
–
Jelly Roll Morton
Latin jazz
–
Machito and his sister
Graciela
Latin jazz
–
"Tanga" in the style of Machito and His Afro‐Cubans (recorded 1949). 2‐3 clave, piano: René Hernández.
Latin jazz
–
Dizzy Gillespie 1955
26.
Rhumba
–
Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, taking its name from the latter, ballroom rumba differs completely from Cuban rumba both in its music and dance. Hence, authors prefer the Americanized spelling of the word to distinguish between them and this single, released by four months later by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a on-pregón arranged, in case, for Azpiazús big band featuring 3 saxophones,2 cornets, banjo, guitar, piano, violin, bass. With vocals by Antonio Machín and a solo by Remberto Lara. Soon, Azpiazús style was followed by other Cuban artists such as Armando Oréfiche and the Lecuona Cuban Boys and their style has been often described as ballroom conga, since they used to borrow conga rhythms in songs such as Para Vigo me voy. Among their numerous hits were boleros and canciones such as Amapola and this music movement, which also included many American big bands which covered Latin standards, was dubbed the rhumba craze. Notable bandleaders of the rhumba craze include Xavier Cugat, Jimmy Dorsey, Nathaniel Shilkret, Leo Reisman, rhumba was also incorporated into classical music as exemplified by symphonic pieces by composers such as George Gershwin, Harl McDonald and Morton Gould. Nonetheless, the rhumba craze would be the first of three Latin music crazes in the first half of the 20th century, together with the mambo craze, two variations of rhumba with opposing step patterns are danced around the world. American style rumba was imported to America by band directors like Emil Coleman, the film Rumba, released in 1935, brought the style to the attention of the general public. American style rhumba is taught in a box step, known for its slow-quick-quick pattern danced on the 1,3, international style rhumba was developed in Europe by Monsieur Pierre after he compared the established American style with contemporary Cuban dancers. International style is taught in a quick-quick-slow pattern danced on the 2,3, both styles were canonized in 1955. Rhumba is one of the dances which occurs in social dance. Of the five competitive international Latin dances, it is the slowest and this ballroom rumba was derived from a Cuban rhythm and dance called the bolero-son, the international style was derived from studies of dance in Cuba in the pre-revolutionary period. The modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre, Pierre, then from London, visited Cuba in 1947,1951, and 1953 to find out how and what Cubans were dancing at the time. The international ballroom rumba is a dance of about 120 beats per minute which corresponds. All social dances in Cuba involve a hip-sway over the leg and, though this is scarcely noticeable in fast salsa. In general, steps are kept compact and the dance is danced generally without any rise and this style is authentic, as is the use of free arms in various figures
Rhumba
–
American style rhumba box figure.
27.
Haiti
–
Haiti, officially the Republic of Haiti and formerly called Hayti, is a country located on the island of Hispaniola in the Greater Antilles archipelago of the Caribbean Sea. It occupies the western three-eighths of the island, which it shares with the Dominican Republic, the region was originally inhabited by the indigenous Taíno people. Spain discovered the island on 5 December 1492 during the first voyage of Christopher Columbus across the Atlantic, when Columbus initially landed in Haiti, he had thought he had found India or Asia. On Christmas Day 1492, Columbus flagship the Santa Maria ran aground north of what is now Limonade, the island was named La Española and claimed by Spain, which ruled until the early 17th century. Competing claims and settlements by the French led to the portion of the island being ceded to France. The development of plantations, worked by slaves brought from Africa. Upon his death in a prison in France, he was succeeded by his lieutenant, Jean-Jacques Dessalines, the Haitian Revolution lasted just over a dozen years, and apart from Alexandre Pétion, the first President of the Republic, all the first leaders of government were former slaves. The Citadelle Laferrière is the largest fortress in the Americas, Henri Christophe – former slave and first king of Haiti, Henri I – built it to withstand a possible foreign attack. It has the lowest Human Development Index in the Americas, most recently, in February 2004, a coup détat originating in the north of the country forced the resignation and exile of President Jean-Bertrand Aristide. A provisional government took control with security provided by the United Nations Stabilization Mission in Haiti, the name Haïti comes from the indigenous Taíno language which was the native name given to the entire island of Hispaniola to mean, land of high mountains. The h is silent in French and the ï in Haïti, is a mark used to show that the second vowel is pronounced separately. In English, this rule for the pronunciation is often disregarded, the name Haïti was restored by Haitian revolutionary Jean-Jacques Dessalines as the official name of independent Saint-Domingue, as a tribute to the Amerindian predecessors. The Taíno name for the island was Haiti. The people had migrated over centuries into the Caribbean islands from South America, genetic studies show they were related to the Yanomami of the Amazon Basin. They also originated in Central and South America, after migrating to Caribbean islands, in the 15th century, the Taíno were pushed into the northeast Caribbean islands by the Caribs. In the Taíno societies of the Caribbean islands, the largest unit of organization was led by a cacique, or chief. The caciquedoms were tributary kingdoms, with payment consisting of harvests, Taíno cultural artifacts include cave paintings in several locations in the country. These have become symbols of Haiti and tourist attractions
Haiti
–
Burning of the town of
Cap-Français
Haiti
–
Flag
Haiti
–
Battle between
British troops in French service and the
Haitian rebels.
Haiti
–
Pétion and Dessalines swearing allegiance to one another before God; painting by
Guillon-Lethière
28.
NBC Radio
–
The National Broadcasting Company is an American commercial broadcast television network that is the flagship property of NBCUniversal, a subsidiary of Comcast. The network is part of the Big Three television networks, founded in 1926 by the Radio Corporation of America, NBC is the oldest major broadcast network in the United States. Following the acquisition by GE, Bob Wright served as executive officer of NBC, remaining in that position until his retirement in 2007. In 2003, French media company Vivendi merged its entertainment assets with GE, Comcast purchased a controlling interest in the company in 2011, and acquired General Electrics remaining stake in 2013. Following the Comcast merger, Zucker left NBC Universal and was replaced as CEO by Comcast executive Steve Burke, during a period of early broadcast business consolidation, radio manufacturer Radio Corporation of America acquired New York City radio station WEAF from American Telephone & Telegraph. Westinghouse, a shareholder in RCA, had an outlet in Newark, New Jersey pioneer station WJZ. This station was transferred from Westinghouse to RCA in 1923, WEAF acted as a laboratory for AT&Ts manufacturing and supply outlet Western Electric, whose products included transmitters and antennas. The Bell System, AT&Ts telephone utility, was developing technologies to transmit voice- and music-grade audio over short and long distances, the 1922 creation of WEAF offered a research-and-development center for those activities. WEAF maintained a schedule of radio programs, including some of the first commercially sponsored programs. In an early example of chain or networking broadcasting, the station linked with Outlet Company-owned WJAR in Providence, Rhode Island, AT&T refused outside companies access to its high-quality phone lines. The early effort fared poorly, since the telegraph lines were susceptible to atmospheric. In 1925, AT&T decided that WEAF and its network were incompatible with the companys primary goal of providing a telephone service. AT&T offered to sell the station to RCA in a deal that included the right to lease AT&Ts phone lines for network transmission, the divisions ownership was split among RCA, its founding corporate parent General Electric and Westinghouse. NBC officially started broadcasting on November 15,1926, WEAF and WJZ, the flagships of the two earlier networks, were operated side-by-side for about a year as part of the new NBC. On April 5,1927, NBC expanded to the West Coast with the launch of the NBC Orange Network and this was followed by the debut of the NBC Gold Network, also known as the Pacific Gold Network, on October 18,1931. The Orange Network carried Red Network programming, and the Gold Network carried programming from the Blue Network, initially, the Orange Network recreated Eastern Red Network programming for West Coast stations at KPO in San Francisco. The Orange Network name was removed from use in 1936, at the same time, the Gold Network became part of the Blue Network. In the 1930s, NBC also developed a network for shortwave radio stations, in 1927, NBC moved its operations to 711 Fifth Avenue in Manhattan, occupying the upper floors of a building designed by architect Floyd Brown
NBC Radio
–
The
Comcast Building in
New York City (or the GE Building, originally the
RCA Building) serves as the headquarters of NBC.
NBC Radio
–
National Broadcasting Company
NBC Radio
–
Radio City West was located at
Sunset Boulevard and
Vine Street in Los Angeles until it was replaced by a bank in the mid-1960s.
NBC Radio
–
Entrance at the GE Building.
29.
The Chamber Music Society of Lower Basin Street
–
The Chamber Music Society of Lower Basin Street is a musical variety radio program which began on the Blue Network in 1940. The magazine Radio Life described it as one of radios strangest offsprings, a wacky, strictly hep tongue-in-cheek burlesque of opera and symphony. The series made a regular vocalist named Dinah Shore a national recording. It was a weekly half-hour of jazz, played by leading practitioners of the day, the format was a dry satire of the stuffy symphonic and operatic broadcasts announced by the dignified Milton Cross. The Basin Street opening, intoned by announcer Jack McCarthy, usually went along these lines, Greetings, music lovers, to those critics we must say, Kindly step outside with us a moment and Is there a doctor in the house. These off-center comments were actually scripted by Welbourn Kelley, but Hamiltons deadpan deliveries often made the musicians laugh out loud. The program then delivered 30 minutes of blues and hot jazz, a New Yorker looks like hes found it. Two resident bands provided the music, Henry Levine and His Dixieland Octet offered traditional readings of jazz standards such as Farewell Blues, St. Louis Blues, and When My Sugar Walks Down the Street. Trumpeter Levine, a member of the Original Dixieland Jazz Band, was quite familiar with these arrangements. In 1943 maestro Laval changed his surname to Lavalle to avoid association with then-notorious war criminal Pierre Laval, each week Dr. Gino Hamilton would feature a notable guest from the jazz world, either a musicologist or a performer. Such celebrated soloists as Sidney Bechet, Bobby Hackett, Jelly Roll Morton, on one occasion Hamilton introduced a W. C. Handy tune, adding that if Mr. Handy was listening from his home in New York, Handy was indeed listening, and the delighted Hamilton invited him to appear on the following weeks broadcast. On another occasion, probably at the urging of Hackett, comedian Jackie Gleason showed up with a monologue about jazz musicians, Gleason was paid $350 for this appearance, which was so well received by listeners that he was invited back to the program. Each show featured a girl singer, Dinah Shore and then Lena Horne received recording contracts at RCA Victor records from their exposure on multiple Lower Basin Street appearances. Linda Keene replaced Horne in 1941, the job was taken in turn by Dixie Mason, Dodie ONeill, Diane Courtney, and Kay Lorraine. The Chamber Music Society of Lower Basin Street made its debut on February 11,1940, during its first months on NBC it was a sustaining feature in a late-Sunday-afternoon time slot. McCarthy was replaced by the man the scripts were burlesquing, Milton Cross, the final broadcast was aired on October 8,1944. NBC returned the Society to its schedule on June 8,1950, each Saturday half-hour was presented before an enthusiastic studio audience
The Chamber Music Society of Lower Basin Street
–
Contents
30.
St. Louis Blues
–
The St. Louis Blues are a professional ice hockey team in St. Louis, Missouri. They are members of the Central Division of the Western Conference of the National Hockey League, the team is named after the famous W. C. Handy song Saint Louis Blues, and plays in the 19, the franchise was founded in 1967 as an expansion team during the leagues original expansion from six to 12 teams. The Blues are the oldest NHL team never to have won the Stanley Cup, the Blues were one of the six teams added to the NHL in the 1967 expansion, along with the Minnesota North Stars, Los Angeles Kings, Philadelphia Flyers, Pittsburgh Penguins and California Seals. St. Louis was the last of the six teams to gain entry into the League. The Black Hawks were owned by the influential Wirtz family of Chicago, which also owned the decrepit St. Louis Arena. The Wirtzes sought to unload the arena, which had not been well-maintained since the 1940s, and thus pressed the NHL to give the franchise to St. Louis, which had not submitted a formal expansion bid. NHL President Clarence Campbell said during the 1967 expansion meetings that, We want a team in St. Louis because of the geographical location. The teams first owners were insurance tycoon Sid Salomon Jr. his son, Sid Salomon III, and Robert L. Wolfson, Sid Salomon III convinced his initially wary father to make a bid for the team. Garagnani would never see the Blues franchise take the ice, as he died from an attack on June 19,1967. Upon acquiring the franchise in 1966, Salomon then spent several million dollars on extensive renovations for the 38-year-old arena, the Blues were originally coached by Lynn Patrick, who resigned in late November after recording a 4–13–2 record. He was replaced by Assistant Coach Scotty Bowman, who led the team to a winning record for the rest of the season. Although the Leagues rules effectively kept star players with the six teams. Phil Goyette won the Lady Byng Trophy for the Blues in 1970, the arena quickly became one of the loudest buildings in the NHL, a reputation it maintained throughout its tenure as the Blues home. During that time, Salomon gained a reputation throughout the NHL as the top players owner and he gave his players cars, signed them to deferred contracts and treated them to vacations in Florida. The players, used to being treated like mere commodities, felt the way they could pay him back was to give their best on the ice every night. The Blues successes in the late 1960s, however, did not continue into the 1970s, as the Stanley Cup playoff format changed, defensively, however, the Blues were less than stellar and saw Chicago and the Philadelphia Flyers overtake the Division. After missing the playoffs for the first time in 1973–74, the Blues ended up in the Smythe Division after a League realignment
St. Louis Blues
–
Right Wing
Brett Hull
St. Louis Blues
–
St. Louis Blues
St. Louis Blues
–
St. Louis blueliner
Eric Brewer (#4) was named captain in his third season with the Blues in 2008.
St. Louis Blues
–
David Backes, captain of the St. Louis Blues.
31.
RCA Victor
–
RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. It is one of SMEs three flagship labels, alongside Columbia Records and Epic Records. The label has released multiple genres of music, including pop, rock, hip hop, R&B, blues, jazz, the companys name is derived from the initials of the labels former parent company, the Radio Corporation of America. It is the second oldest recording company in US history, after sister label Columbia Records, RCAs Canadian unit is Sonys oldest label in Canada. It was one of only two Canadian record companies to survive the Great Depression, kelly, Enrique Iglesias, Foo Fighters, Kings of Leon, Kesha, Miley Cyrus, Giorgio Moroder, Jennifer Hudson, DAngelo, Pink, Tinashe, G-Eazy, Pitbull, Zayn and Wizkid. In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company, then the worlds largest manufacturer of phonographs and phonograph records. The company then became RCA Victor but retained use of the Victor Records name on their labels until the beginning of 1946 when the labels were finally switched over to RCA Victor. With Victor, RCA acquired New World rights to the famous Nipper His Masters Voice trademark, in Shanghai, China, in 1931, RCA Victors British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. This gave RCA head David Sarnoff a seat on the EMI board, in September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them Program Transcriptions. In the depths of the Great Depression, the format was a commercial failure, during the early part of the depression, RCA made a number of attempts to produce a successful cheap label to compete with the dime store labels. The first was the short-lived Timely Tunes label in 1931 sold at Montgomery Ward, in 1932, Bluebird Records was created as a sub-label of RCA Victor. It was originally an 8-inch record with a blue label. In 1933, RCA reintroduced Bluebird and Electradisk as a standard 10-inch label, another cheap label, Sunrise, was produced. The same musical couplings were issued on all three labels and Bluebird Records still survives eight decades after Electradisk and Sunrise were discontinued, RCA also produced records for Montgomery Ward label during the 1930s. Besides manufacturing records for themselves, RCA Victor operated RCA Custom which was the leading record manufacturer for independent record labels, RCA Custom also pressed record compilations for The Readers Digest Association. RCA sold its interest in EMI in 1935, but EMI continued to distribute RCA recordings in the UK, RCA also manufactured and distributed HMV classical recordings on the RCA and HMV labels in North America. During World War II, ties between RCA and its Japanese affiliate JVC were severed, the Japanese record company is today called Victor Entertainment and is still a JVC subsidiary. From 1942 to 1944, RCA Victor was seriously impacted by the American Federation of Musicians recording ban, virtually all union musicians could not make recordings during that period
RCA Victor
–
Label of an RCA Victor 78 RPM record from the 1950s; RCA manufactured 78s alongside the 45 until 1958.
RCA Victor
–
RCA Records logo 1968–87; revived as of 2015
RCA Victor
–
Label of an RCA Victor 45 RPM record from the 1950s; RCA used this label for its 45 RPM records from 1954 to at least 1964.
RCA Victor
–
RCA used this label for its American 45 RPM records during the Dynagroove era.
32.
The Sheik of Araby
–
The Sheik of Araby is a song that was written in 1921 by Harry B. Smith and Francis Wheeler, with music by Ted Snyder. It was composed in response to the popularity of the Rudolph Valentino feature film The Sheik. In 1926, to go with the film The Son of the Sheik, Ted Snyder worked parts of the melody into That Night in Araby, a related song with words by Billy Rose. The Sheik of Araby was a Tin Pan Alley hit, and was adopted by early jazz bands, especially in New Orleans. It was a recognized part of popular culture. A verse also appears in the novel The Great Gatsby by F. Scott Fitzgerald, the Araby in the title refers to Arabia or the Arabian Peninsula. The song features in the film Valentino with words of parody by Ken Russell, jean Shepherd frequently sang along with, spoke over, or played kazoo and Jews harp to the song as one of his many musical interludes during his WOR radio show days. Likely the first recording is the version by Clyde Doerrs Club Royal Orchestra. This was and still is a bit of hokum with New Orleans bands. Decca 1934 Fats Waller & His Rhythm in 1939 Coleman Hawkins with his All-Star Octet in 1940 Fats Domino George Lewis The Everly Brothers recorded the song in 1961. The Beatles covered this song in 1962 at their unsuccessful Decca audition with George Harrison as the lead singer and this track can be found on Anthology 1. Preservation Hall Jazz Band Django Reinhardt and Stéphane Grappelli Nelson Riddle conducts a version of the song for the recording of the Jack Clayton film The Great Gatsby. Song on the 2-record set LP from Paramount Records, PAS 2-3001, louis Prima Jimmy Rosenberg Harry Connick, Jr
The Sheik of Araby
–
Sheet music
33.
Clarinet
–
The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
Clarinet
–
Bass clarinet
Clarinet
–
Written range (though it is possible to play higher):
Clarinet
–
Sound wave propagation in the soprano clarinet
Clarinet
–
Schüller's quarter-tone clarinet
34.
Tenor saxophone
–
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones, the tenor is pitched in the key of B♭, and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 and are pitched one octave below the soprano saxophone. People who play the saxophone are known as tenor saxophonists or tenor sax players. The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto, visually, it is easily distinguished by the bend in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece, the tenor saxophone is commonly used in classical music, military bands, marching bands and jazz. In concert bands, the plays mostly a supporting role, sometimes sharing parts with the euphonium, horn. In jazz ensembles, the plays a more prominent role as a member of a section that includes the alto. Many of the most innovative and influential musicians have been tenor saxophonists. These include Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, Wardell Gray, Stan Getz, Sonny Rollins, John Coltrane, the work of younger players such as Michael Brecker and Chris Potter has been an important influence in more recent jazz. The tenor saxophone was one of a family of fourteen instruments constructed in 1846 by Adolphe Sax, saxs patent, granted on 28 June 1846, divided the family into two groups of seven instruments, each ranging from sopranino down to contrabass. One family, pitched alternatively in B♭ and E♭, was designed specifically to integrate with the instruments then common in military bands. The tenor saxophone, pitched in B♭, is the member of this family. The tenor saxophone, like all saxophones, consists of a conical tube of thin brass. The wider end of the tube is flared slightly to form a bell, at intervals down the bore are placed between 20 and 23 tone holes, these are covered by pads which can be pressed onto the holes to form an airtight seal. There are also two small holes which, when opened, disrupt the lower harmonics of the instrument. The pads are controlled by pressing a number of keys with the fingers of the left and right hands, the tenor saxophone is also curved at the top, above the highest tone-hole but below the highest speaker hole. While the alto is usually bent only through 80–90° to make the mouthpiece fit more easily in the mouth, the reed is shaved to come to an extremely thin point, and is clamped over the mouthpiece by the use of a ligature
Tenor saxophone
–
Tenor saxophone
Tenor saxophone
–
Tenor (left) and
soprano saxophones, showing their comparative sizes
Tenor saxophone
–
A silver-plated
Conn 'New Wonder' Series II tenor saxophone, with a serial number which dates manufacture to 1934. It is a very late "Transitional" model tenor sax with split bell-keys, and was manufactured just before production of the Conn 10M started.
Leon "Chu" Berry played a tenor saxophone which was very similar to this instrument.
Tenor saxophone
–
Tenor saxophone manufactured in 2008
35.
Piano
–
The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
Piano
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A grand piano (left) and an upright piano (right)
Piano
Piano
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Grand piano by Louis Bas of
Villeneuve-lès-Avignon, France, 1781. Earliest French grand piano known to survive; includes an inverted wrestplank and action derived from the work of Bartolomeo Cristofori (ca. 1700) with ornately decorated soundboard.
Piano
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Early piano replica by the modern builder Paul McNulty, after Walter & Sohn, 1805
36.
Double bass
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The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
Double bass
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Side and front views of a modern double bass with a French-style bow
Double bass
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Jazz bassist Ron Carter pictured playing with his Quartet at "Altes Pfandhaus" in Cologne
Double bass
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Example of a Busetto-shaped double bass: Copy of a Matthias Klotz (1700) by Rumano Solano
Double bass
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Principal parts of the double bass
37.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
Drum kit
Drum kit
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South-African jazz drummer
Louis Moholo playing a four-piece kit
Drum kit
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Dance band drummer Stan Farmer at Mark Foy's Empress Ballroom, Sydney, New South Wales, using a kit with bass drum pedal and low sock. Tom Lennon, 23 October 1935
Drum kit
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Drummer in a Memphis "juke joint" orchestra playing a kit with four non-tunable
toms. Marion Post Wolcott, October 1939
38.
Max Miller (jazz musician)
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Edward Maxwell Max Miller was an American jazz pianist and vibraphone player. Oral historian Studs Terkel called him The Angry Man of Jazz, Record producer John H. Hammond, referring to his vibes playing, called him an Astonishing artist, second only to Lionel Hampton in proficiency. Paul Edward Miller, former critic, writer and editor of Esquire Jazz Books. The Whos Who of Jazz by John Chilton listed him as one of the figures on the Chicago jazz scene for many years. The jazz critic George Hoefer wrote in 1946, There is no doubt that Max Miller is creating something new in jazz, keep an ear cocked towards Max Miller at the piano. Though it covered over 40 years from 1927 to 1970, his career came in the 1940s and 50s. Many of his own compositions utilized extended chord harmonies, polyphony, multi-instrumentalist Max Miller was born on November 17,1911 in East Chicago, Indiana. He learned banjo at an age and played that in the East Chicago. He started playing professionally after joining the Musicians Union at age 16, in 1927, he switched to guitar and played with numerous local bands in the Indiana/Michigan area, playing primarily dixieland jazz. He moved to Chicago in the early 1930s and worked gigs as a drummer and string bassist, before long he was touring as guitarist and featured vibraphonist with the Vincent Lopez Orchestra, with Betty Hutton as vocalist. It was during this period of traveling the big band circuit that he began to concentrate on the vibes and he made his greatest impact as a musician when he switched to those two instruments. In 1937, at age 26, he left Lopez to become director at WIND radio. In 1939 he headlined at Carl Cons Off Beat Club, with Anita ODay as vocalist and he is credited as hiring ODay for her first singing job. This is documented in High Times/Hard Times, the autobiography of Anita ODay and they worked together again in 1948 for a number of appearances including the Rag Doll in Chicago, the Continental in Milwaukee and the Flame in St. Paul and again in 1949 in Chicago. He worked with ODay for a number of dates in the 1950s as well and is recalled fondly by her in her book. In a 1958 interview she was asked about Max Miller and she replied, to me, Max Miller is the swingin end. Id love to do an album with Max, in 1940, Down Beat magazine listed him at number 20 in the Small Combos category. His quintet headlined at the Three Deuces club in 1940 until it burned down later that year, alto sax player Johnny Bothwell was a member of the group
Max Miller (jazz musician)
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Max Miller
39.
Johnny Hodges
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John Cornelius Johnny Hodges was an American alto saxophonist, best known for solo work with Duke Ellingtons big band. He played lead alto in the section for many years. Hodges was also featured on saxophone, but refused to play soprano after 1946. He is considered one of the alto saxophone players of the big band era. Hodges started playing with Lloyd Scott, Sidney Bechet, Lucky Roberts, when Ellington wanted to expand his band in 1928, Ellingtons clarinet player Barney Bigard recommended Hodges. His playing became one of the voices of the Ellington orchestra. From 1951 to 1955, Hodges left the Duke to lead his own band, Hodges was born in Cambridge, Massachusetts, to John H. Hodges and Katie Swan Hodges, both originally from Virginia. Soon afterwards, the moved to Hammond Street in Boston, where he grew up with baritone saxophonist Harry Carney. His first instruments were drums and piano, while his mother was a skilled piano player, Hodges was mostly self-taught. Once he became good enough, he played the piano at dances in private homes for eight dollars an evening and he had taken up the soprano saxophone by his teens. It was around this time that Hodges developed the nickname Rabbit, in fact, Carney called him Rabbit because of his rabbit-like nibbling on lettuce and tomato sandwiches. When Hodges was 14, he saw Sidney Bechet play in Jimmy Coopers Black, Hodges sister got to know Bechet, which gave him the inspiration to introduce himself and play My Honeys Lovin Arms for Bechet. Bechet was impressed with his skill and encouraged him to keep on playing, Hodges built a name for himself in the Boston area before moving to New York in 1924. Hodges joined Duke Ellingtons orchestra in November 1928 and he was one of the prominent Ellington Band members who featured in Benny Goodmans 1938 Carnegie Hall concert. Goodman described Hodges as by far the greatest man on alto sax that I ever heard, Charlie Parker called him the Lily Pons of his instrument. Ellingtons practice of writing tunes specifically for members of his orchestra resulted in the Hodges specialties, Confab with Rab, Jeeps Blues, Sultry Sunset and his highly individualistic playing style, which featured the use of a wide vibrato and much sliding between slurred notes, was frequently imitated. In the 1940s, Hodges played a Conn 6M and later on a Buescher 400 alto saxophone, fewer than 2,000 were ever made. Hodges Vito saxophone was silver-plated and extensively engraved on the bell, bow, body and key-cups of the instrument
Johnny Hodges
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Hodges in 1946, playing a
Conn 6M, with
Al Sears in background
Johnny Hodges
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In performance: Hodges with Ellington, Frankfurt, Germany, February 6, 1965.
40.
Ernest Ansermet
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Ernest Alexandre Ansermet, was a Swiss conductor. Ansermet was born in Vevey, Switzerland, although he was a contemporary of Wilhelm Furtwängler and Otto Klemperer, Ansermet represents in most ways a very different tradition and approach from those two musicians. Originally he was a professor, teaching at the University of Lausanne. He began conducting at the Casino in Montreux in 1912, traveling in France for this, he met both Debussy and Ravel, and consulted them on the performance of their works. During World War I, he met Stravinsky, who was exiled in Switzerland, in 1918, Ansermet founded his own orchestra, the Orchestre de la Suisse Romande. Also, Ansermet was one of the first in the field of music to take jazz seriously. After World War II, Ansermet and his orchestra rose to prominence through a long-term contract with Decca Records. From that time until his death, he recorded most of his repertoire, Ansermet disapproved of Stravinskys practice of revising his works, and always played the original versions. Ansermets reputation suffered after the War due his collaboration with the Nazis, in his last years, he and his ensemble surprised many by issuing discs devoted to Haydn, Beethoven and Brahms. These performances were not at all conventionally Germanic, and were much censured at the time of their appearance, in May 1954, Decca recorded Ansermet and the orchestra in Europes first commercial stereophonic recordings. They went on to record the first stereo performance of the complete The Nutcracker by Tchaikovsky on LP, Ansermet also conducted early stereo recordings of Debussys Nocturnes and the Prélude à laprès-midi dun faune. Part of his recording of The Rite of Spring, augmented by a rehearsal recording unobtainable elsewhere, was used by Decca on the companys 1957 stereo demonstration LP, the conductors clear and methodical counting of beats is a distinct feature of this rehearsal sequence. Ansermet was an ardent man who argued his opinions vehemently and he was notable in Britain for his argumentative rehearsals with British orchestras, who were used to the more jovial style of Sir Thomas Beecham or the more restrained manner of Sir Adrian Boult. His last recording, of Stravinskys The Firebird, was made in London with the New Philharmonia Orchestra, which included a recording of the rehearsal sessions made as a memorial to him. Another late recording for Decca, also issued as an album, was with LOrchestre de la Suisse Romande. Ansermet composed some pieces and compositions for orchestra, among them a symphonic poem entitled Feuilles de Printemps. He also orchestrated Debussys Six épigraphes antiques in 1939 and he died on 20 February 1969 in Geneva at the age of 85. Les fondements de la musique dans la conscience humaine, New edition, edited by J. -Claude Piguet, Rose-Marie Faller-Fauconnet, et al
Ernest Ansermet
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Ernest Ansermet
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Ernest Ansermet (1965)
Ernest Ansermet
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Ansermet and
Wilhelm Kempff (1965)
41.
Bach
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Johann Sebastian Bach was a German composer and musician of the Baroque period. Bachs compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor and his music is revered for its technical command, artistic beauty, and intellectual depth. He is now regarded as one of the greatest composers of all time. Bach was born in Eisenach, in the duchy of Saxe-Eisenach and his father Johann Ambrosius Bach was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, apparently at his own initiative, Bach attended St. Michaels School in Lüneburg for two years. He received the title of Royal Court Composer from Augustus III in 1736, Bachs health and vision declined in 1749, and he died on 28 July 1750. Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany and he was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. He was the eighth and youngest child of Johann Ambrosius, who taught him violin. His uncles were all musicians, whose posts included church organists, court chamber musicians. One uncle, Johann Christoph Bach, introduced him to the organ, Bachs mother died in 1694, and his father died eight months later. The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach, there he studied, performed, and copied music, including his own brothers, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly. He received valuable teaching from his brother, who instructed him on the clavichord, also during this time he was taught theology, Latin, Greek, French and Italian at the local gymnasium. By 3 April 1700 Bach and his schoolfriend Georg Erdmann–who was two years Bachs elder–were enrolled in the prestigious St. Michaels School in Lüneburg, some two weeks travel north of Ohrdruf and their journey was probably undertaken mostly on foot. His two years there were critical in exposing Bach to a range of European culture. In addition to singing in the choir, he played the Schools three-manual organ and he came into contact with sons of aristocrats from northern Germany, sent to the highly selective school to prepare for careers in other disciplines. While in Lüneburg, Bach had access to St. Johns Church and possibly used the famous organ from 1553. His role there is unclear, but it probably included menial, non-musical duties, despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir and he called one of them a Zippel Fagottist
Bach
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Portrait of Bach, aged 61, by
E. G. Haussmann, 1748
Bach
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Johann Ambrosius Bach, Bach's father
Bach
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St. George's Church in Eisenach, where Bach was baptised. Portal inscription: "
Ein feste Burg ist unser Gott ".
Bach
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Organs Bach played in Arnstadt
42.
Down Beat
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Downbeat, down beat or Down Beat may refer to, Downbeat, the first beat of a measure in music. This term originated from orchestral conducting, where the lowest point on the signals the first beat in a given measure. It is now used widely throughout music to indicate the beginning of a piece of music. Downbeat, a club in New York City. See, List of jazz venues in the United States
Down Beat
43.
Duke Ellington
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Edward Kennedy Duke Ellington was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years. Ellington was based in New York City from the mid-1920s onward, in the 1930s, his orchestra toured in Europe. Some of the musicians who were members of Ellingtons orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz, Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades, a master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians. Ellington also recorded songs written by his bandsmen, for example Juan Tizols Caravan, and Perdido, after 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in films, scoring several. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999, Ellington was born on April 29,1899, to James Edward Ellington and Daisy Ellington in Washington, D. C. Daisy primarily played parlor songs and James preferred operatic arias and they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Dukes father was born in Lincolnton, North Carolina, on April 15,1879, Daisy Kennedy was born in Washington, D. C. on January 4,1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy, when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the eras Jim Crow laws, at the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners, Ellingtons childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him Duke. Ellington credited his chum Edgar McEntree for the nickname, I think he felt that in order for me to be eligible for his constant companionship, I should have a title. Though Ellington took piano lessons, he was interested in baseball. President Roosevelt would come by on his horse sometimes, and stop and watch us play, Ellington went to Armstrong Technical High School in Washington, D. C. He gained his first job selling peanuts at Washington Senators baseball games, in the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, Soda Fountain Rag. He created the piece by ear, as he had not yet learned to read, I would play the Soda Fountain Rag as a one-step, two-step, waltz, tango, and fox trot, Ellington recalled
Duke Ellington
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Ellington c. 1940s
Duke Ellington
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"East St. Louis Toodle-Oo" (1927)
Duke Ellington
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Duke Ellington at the Hurricane Club in New York, May 1943
Duke Ellington
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Ellington poses with his piano at the KFG Radio Studio November 3, 1954.
44.
Sugar Blue
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Sugar Blue is an American blues harmonica player. He is probably best known for playing on the Rolling Stones single Miss You, the Chicago Tribune said, The sound of Sugar Blues harmonica could pierce any night. Its the sound of a musician who transcends the limitations of his instrument. In the mid-1970s, Blue played as a musician on Johnny Shines Too Wet to Plow. While in the company of the latter, he met Louisiana Red, taking advice from Memphis Slim, in the late 1970s Blue traveled to Paris, France. According to Ronnie Wood, Blue was found by Mick Jagger busking on the city streets and this led to him playing on several of the tracks on The Rolling Stones Some Girls album, Some Girls, Send It to Me and Miss You. Trombonist Mike Zwerin backed Blue on his debut album, Crossroads. Following the release of his From Chicago to Paris, Blue joined Willie Dixons Chicago Blues All Stars, in 1984, Blues track Another Man Done Gone, appeared on the compilation album Blues Explosion. It won a Grammy in 1985 for Best Traditional Blues Album, Blue appeared with Brownie McGhee in the film Angel Heart. His next album, Blue Blazes, was released in 1994 and it was followed by In Your Eyes and Code Blue. He played on the album Down Too Long, by Southside Denny and his most recent album Thresold, was released by Beeble Music on January 26,2010. Writing in the Chicago Tribune, music critic Howard Reich said, the speed and ferocity of his playing are matched by its inventiveness, with Blue packing nearly every phrase with trills, glissandos, clusters and chords. At times, it sounds as if two harps were working at once, intense, melodically ornate, punctuated by growls and swooping pitches, its the sound of a musician who transcends the limitations of his instrument
Sugar Blue
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Lucerna music hall, Prague, October 26, 1988
45.
Harmonica
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There are many types of harmonica, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one or more holes along a mouthpiece, behind each hole is a chamber containing at least one reed. A harmonica reed is a flat elongated spring typically made of brass, stainless steel, or bronze, when the free end is made to vibrate by the players air, it alternately blocks and unblocks the airway to produce sound. Reeds are pre-tuned to individual pitches, tuning may involve changing a reeds length, the weight near its free end, or the stiffness near its fixed end. Longer, heavier and springier reeds produce deeper, lower sounds, an important technique in performance is bending, causing a drop in pitch by making embouchure adjustments. Such two-reed pitch changes actually involve sound production by the normally silent reed, the basic parts of the harmonica are the comb, reed plates and cover plates. The comb is the body of the instrument, which. The term comb may originate from the similarity between this part of a harmonica and a hair comb, Harmonica combs were traditionally made from wood but now are also made from plastic or metal. Some modern and experimental designs are complex in the way that they direct the air. There is dispute among players about whether comb material affects the tone of a harmonica, among those saying yes are those who are convinced by their ears. Few dispute, however, that comb surface smoothness and air-tightness when mated with the reedplates can greatly affect tone, the main advantage of a particular comb material over another one is its durability. In particular, a comb can absorb moisture from the players breath. This can cause the comb to expand slightly, making the instrument uncomfortable to play, various types of wood and treatments have been devised to reduce the degree of this problem. Much effort is devoted by serious players to restoring wood combs, some players used to soak wooden-combed harmonicas in water to cause a slight expansion, which they intended to make the seal between the comb, reed plates and covers more airtight. Modern wooden-combed harmonicas are less prone to swelling and contracting, players still dip harmonicas in water for the way it affects tone and ease of bending notes. The reed plate is a grouping of several reeds in a single housing, the reeds are usually made of brass, but steel, aluminium and plastic are occasionally used. Individual reeds are usually riveted to the plate, but they may also be welded or screwed in place. Reeds fixed on the side of the reed plate respond to blowing
Harmonica
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A 16-hole chromatic (top) and 10-hole diatonic harmonica
Harmonica
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Comb and two reedplates
Harmonica
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Reed plate
Harmonica
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Mark Wenner cups his hands around a "bullet mic" as he plays amplified harmonica.
46.
Woody Allen
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Heywood Woody Allen is an American actor, writer, director, comedian, playwright, and musician whose career spans more than six decades. He worked as a writer in the 1950s, writing jokes and scripts for television. In the early 1960s, Allen began performing as a stand-up comedian, as a comedian, he developed the persona of an insecure, intellectual, fretful nebbish, which he maintains is quite different from his real-life personality. In 2004, Comedy Central ranked Allen in fourth place on a list of the 100 greatest stand-up comedians and he is often identified as part of the New Hollywood wave of filmmakers of the mid-1960s to late 1970s. Allen often stars in his films, typically in the persona he developed as a standup, some of the best-known of his over 40 films are Annie Hall, Manhattan, and Hannah and Her Sisters. In 2007 he said Stardust Memories, The Purple Rose of Cairo, critic Roger Ebert described Allen as a treasure of the cinema. Allen won four Academy Awards, three for Best Original Screenplay and one for Best Director and he also won nine British Academy of Film and Television Arts Awards. His screenplay for Annie Hall was named the funniest screenplay by the Writers Guild of America in its list of the 101 Funniest Screenplays, in 2011, PBS televised the film biography Woody Allen, A Documentary on the American Masters TV series. Allen was born Allan Stewart Konigsberg in Brooklyn, New York and he and his sister, Letty, were raised in Midwood, Brooklyn. He is the son of Nettie, a bookkeeper at her familys delicatessen, and Martin Konigsberg and his family was Jewish, his grandparents immigrated from Russia and Austria, and spoke Yiddish, Hebrew, and German. His parents were born and raised on the Lower East Side of Manhattan. His childhood was not particularly happy, his parents did not get along, Allen spoke German quite a bit in his early years. He would later joke that when he was young he was sent to inter-faith summer camps. While attending Hebrew school for eight years, he went to Public School 99 and to Midwood High School, at that time, he lived in an apartment at 968 East 14th Street. Unlike his comic persona, he was interested in baseball than school. He impressed students with his talent at card and magic tricks. To raise money, he wrote jokes for agent David O. Alber, at the age of 17, he legally changed his name to Heywood Allen and later began to call himself Woody Allen. According to Allen, his first published joke read, Woody Allen says he ate at a restaurant that had O. P. S and he was then earning more than both parents combined
Woody Allen
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Allen in the 1970s
Woody Allen
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Allen as a high school senior, 1953
Woody Allen
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Allen with the Broadway cast of Play It Again, Sam (1969).
Woody Allen
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Allen candid from 2006
47.
Midnight in Paris
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Midnight in Paris is a 2011 American-French romantic comedy film written and directed by Woody Allen. The movie explores themes of nostalgia and modernism, produced by the Spanish group Mediapro and Allens Gravier Productions, the film stars Owen Wilson, Rachel McAdams, Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard and Michael Sheen. It premiered at the 2011 Cannes Film Festival and was released in the United States on May 20,2011, the film opened to critical acclaim and has commonly been cited as one of Allens best films in recent years. In 2010, Gil Pender, a successful but creatively unfulfilled Hollywood screenwriter, Gil is struggling to finish his first novel, centered on a man who works in a nostalgia shop. Inez dismisses his ambition as a daydream, and encourages him to stick with lucrative screenwriting. Gil is considering moving to Paris, Inez is intent on living in Malibu. By chance, they are joined by Inezs friend Paul, who is described as both pedantic and a pseudo-intellectual, and his wife Carol, Paul speaks with great authority but questionable accuracy on the history and artworks of Paris. Paul contradicts a tour guide at the Musée Rodin, and insists that his knowledge of Rodins relationships is more accurate than that of the guide, Inez admires him, Gil finds him insufferable. Gil gets drunk one night when Inez has gone off dancing with Paul and his wife, at midnight, a 1920s Peugeot Type 176 car draws up beside him, and the passengers, dressed in 1920s clothing, urge him to join them. They go to a party for Jean Cocteau, where he encounters Cole Porter, as well as Zelda, Gil realizes that he has been transported back to the 1920s, an era he idolizes. Scott and Zelda, along with Cole and his wife, Linda Lee Porter, go to bar, Chez Bricktop. At a third bar, Gil meets Juan Belmonte and Ernest Hemingway, Hemingway offers to show Gils novel to Gertrude Stein, and Gil goes to fetch his manuscript from his hotel. However, as soon as he leaves, he finds he has returned to 2010, Gil attempts to bring Inez to the past with him the following night, but she becomes impatient and peevishly returns to the hotel. Just after she leaves, the clock strikes midnight and the car arrives. He takes Gil to meet Stein, who agrees to read his novel and introduces him to Pablo Picasso, Adriana and Gil are instantly attracted to each other. Stein reads aloud the novels first line, Adriana says that she is hooked by these few lines and has always had a longing for the past, Gil spends each of the next few nights in the past. His late-night wanderings annoy Inez, and arouse the suspicion of her father, Gil spends more and more time with Adriana, who leaves Picasso for a brief dalliance with Hemingway. Gil realizes he is falling in love with her, leaving him in conflict
Midnight in Paris
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Theatrical release poster
Midnight in Paris
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Owen Wilson and Woody Allen promoting the film at the
2011 Cannes Film Festival.
48.
Disneyland Paris
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It is owned and operated by Euro Disney S. C. A. A publicly traded company in which The Walt Disney Company owns a controlling stake, Disneyland Park is the original theme park of the complex, opening with the resort on 12 April 1992. A second theme park, Walt Disney Studios Park, opened in 2002, the resort is the second Disney park to open outside of the United States following the opening of the Tokyo Disney Resort in 1983. Following the success of Walt Disney World in Florida, plans to build a theme park in Europe emerged in 1972. Under the leadership of E. Cardon Walker, Tokyo Disneyland opened in 1983 in Japan with instant success, in late 1984 the heads of Disneys theme park division, Dick Nunis and Jim Cora, presented a list of approximately 1,200 possible European locations for the park. By March 1985, the number of locations for the park had been reduced to four. Both nations saw the economic advantages of a Disney theme park. Both Spanish sites were located near the Mediterranean Sea and offered a climate similar to Disneys parks in California. Disney had also shown interest in a site near Toulon in southern France, the pleasing landscape of that region, as well as its climate, made the location a top competitor for what would be called Euro Disneyland. However, shallow bedrock was encountered beneath the site, which would have rendered construction too difficult, finally, a site in the rural town of Marne-la-Vallée was chosen because of its proximity to Paris and its central location in Western Europe. This location was estimated to be no more than a drive for 68 million people. The final contract was signed by the leaders of the Walt Disney Company, construction began in August 1988, and in December 1990, an information centre named Espace Euro Disney was opened to show the public what was being constructed.3 billion. In order to provide lodging to patrons, it was decided that 5,200 Disney-owned hotel rooms would be built within the complex. In March 1988, Disney and a council of architects decided on an exclusively American theme in each hotel would depict a region of the United States. At the time of the opening in April 1992, seven hotels collectively housing 5,800 rooms had been built, an entertainment, shopping and dining complex based on Walt Disney Worlds Downtown Disney was designed by Frank Gehry. With its towers of oxidised silver and bronze-coloured stainless steel under a canopy of lights, for a projected daily attendance of 55,000, Euro Disney planned to serve an estimated 14,000 people per hour inside the Euro Disneyland park. In order to accomplish this,29 restaurants were built inside the park, menus and prices were varied with an American flavour predominant and Disneys precedent of serving alcoholic beverages was continued in the park. 2,300 patio seats were installed to satisfy Europeans expected preference of eating outdoors in good weather, in test kitchens at Walt Disney World, recipes were adapted for European tastes
Disneyland Paris
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'Disneyland Hotel' in Disneyland Park, Paris, France. Through the hotel is the entrance ticket hall to the Park.
Disneyland Paris
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Disney's Newport Bay Club
Disneyland Paris
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Disney Village as viewed from Panoramagique
Disneyland Paris
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Marne-la-Vallée – Chessy station, View to the platform area
49.
The Twilight Zone Tower of Terror
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The Tokyo version, which features an original story line not related to The Twilight Zone, takes place in the fictional Hotel Hightower. A decade later, Disney began plans to add similar versions of the attraction to their newest parks at the Disneyland Resort in California, Tokyo Disney Resort in Japan, and Disneyland Resort Paris. In California and Paris, Disney sought to use the attraction to boost attendance at the respective resorts struggling new theme parks. The California and Tokyo versions of Tower of Terror opened in 2004 and 2006, respectively, the California version closed in January 2017. The Tower of Terror buildings are among the tallest structures found at their respective Disney resorts, at 199 feet, the Florida version is the second tallest attraction at the Walt Disney World Resort, with only Expedition Everest 199.5 feet being taller. At the Disneyland Resort, the 183-foot structure is the tallest building at the resort, at Disneyland Paris, it is the second tallest attraction. In the American and European versions of the attraction, guests make their way to the Hollywood Tower Hotel through the front gate, guests then walk along a cracked, curved pathway that leads to the hotel. The pathway goes past overgrown gardens, signs pointing to the stables, a green, tennis courts, swimming pools. In most parks, 1930s jazz music plays in the queue area, entering through the hotels front doors, guests encounter an interior designed to give the impression that the Hollywood Tower Hotel has been left untouched since the night of its closure. The lobby is covered in dust and draped with cobwebs, past the front desk, the main elevators are in a dilapidated state, and a sign reads Out of Order. Through the library window, guests can observe a severe thunderstorm raging outside, the television then turns off and the guests are directed through to the boiler room, where they await the maintenance service elevators arrival. In the late 1980s, a phase of development was being designed for Disneyland Paris. Included was a free-fall type ride in Frontierland that was to be named Geyser Mountain and it would have been part roller coaster, part free-fall ride that shot guests up a vertical shaft. The plan was scrapped, but was picked up by Disneys Hollywood Studios as part of an expansion to their U. S. park. Several attractions had already been proposed, including Dick Tracys Crimestoppers, still needing a major E-ticket attraction, the idea of a drop-shaft ride came up and was chosen. Walt Disney Imagineering eventually took inspiration from Rod Serlings anthology stories featured in The Twilight Zone, Imagineers mused that the attraction would be able to take guests into the Fifth Dimension that Serling always described as unlocking in every episode of the series. With the project in development, Disney licensed the rights to use The Twilight Zone intellectual property from CBS Inc. Otis Elevator Company created the vertical ride system, and Eaton-Kenway a ride vehicle that could drive itself horizontally, site-clearing and prep began early 1992
The Twilight Zone Tower of Terror
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Attraction at Disney California Adventure
The Twilight Zone Tower of Terror
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The original Tower of Terror, at Disney's Hollywood Studios
The Twilight Zone Tower of Terror
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The hotel lobby, Florida, Disney's Hollywood Studios, May 2010
The Twilight Zone Tower of Terror
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Tower of Terror
50.
Halloween
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It begins the three-day observance of Allhallowtide, the time in the liturgical year dedicated to remembering the dead, including saints, martyrs, and all the faithful departed. Some academics, however, support the view that Halloween began independently as a solely Christian holiday. Some Christians historically abstained from meat on All Hallows Eve, a reflected in the eating of certain foods on this vigil day, including apples, potato pancakes. The word Halloween or Halloween dates to about 1745 and is of Christian origin, the word Halloween means hallowed evening or holy evening. It comes from a Scottish term for All Hallows Eve, in Scots, the word eve is even, and this is contracted to een or een. Over time, Hallow Een evolved into Halloween, although the phrase All Hallows is found in Old English All Hallows Eve is itself not seen until 1556. Todays Halloween customs are thought to have influenced by folk customs and beliefs from the Celtic-speaking countries. Samhain was the first and most important of the four days in the medieval Gaelic calendar and was celebrated on 31 October–1 November in Ireland, Scotland. A kindred festival was held at the time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany. For the Celts, the day ended and began at sunset, Samhain and Calan Gaeaf are mentioned in some of the earliest Irish and Welsh literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century, samhain/Calan Gaeaf marked the end of the harvest season and beginning of winter or the darker half of the year. Like Beltane/Calan Mai, it was seen as a liminal time and this meant the Aos Sí, the spirits or fairies, could more easily come into our world and were particularly active. Most scholars see the Aos Sí as degraded versions of ancient gods whose power remained active in the minds even after they had been officially replaced by later religious beliefs. The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings, at Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí, the souls of the dead were also said to revisit their homes seeking hospitality. Places were set at the table and by the fire to welcome them. The belief that the souls of the return home on one night of the year. In 19th century Ireland, candles would be lit and prayers offered for the souls of the dead
Halloween
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A
jack-o'-lantern, one of the symbols of Halloween
Halloween
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An early 20th-century Irish Hallowe'en mask displayed at the
Museum of Country Life.
Halloween
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A traditional Irish Halloween turnip (rutabaga) lantern on display in the
Museum of Country Life, Ireland
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