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
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Larkin's parents' former
Radford council house overlooking a small spinney, once their garden (photo 2008)
Philip Larkin
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Headstone marking Larkin's grave at Cottingham municipal cemetery,
Cottingham,
East Riding of Yorkshire
Philip Larkin
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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
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Jelly Roll Morton
Latin jazz
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Machito and his sister
Graciela
Latin jazz
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"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
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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
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American style rhumba box figure.
27.
Haiti
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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
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Burning of the town of
Cap-Français
Haiti
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Flag
Haiti
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Battle between
British troops in French service and the
Haitian rebels.
Haiti
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Pétion and Dessalines swearing allegiance to one another before God; painting by
Guillon-Lethière
28.
NBC Radio
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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
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Entrance at the GE Building.
29.
The Chamber Music Society of Lower Basin Street
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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.
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