It should be great, even if he is a bit behind his prime. (I saw Dizzy in 1987, and it was great to see him perform even though he mostly was just fronting for a new group of young musicians who carried the load). Be advised that it will not be a dance-friendly event, of course.djstarr wrote:Come to Seattle! Oscar Peterson is playing at Jazz Allley Sep 2 - 7. A bunch of us are going to be able to see him, thanks to Kevin T.'s posting on the Seattle forum.Roy wrote:Oscar Peterson still tours. He's been through Chicago twice in the past 3 years. The man can still bring it.
I'm really looking forward to it!
Who's Left?
Moderators: Mr Awesomer, JesseMiner, CafeSavoy
http://www.vh1.com/artists/az/peterson_ ... ours.jhtml
Does seem like Seaattle is theplacetobe. However, no other dates listed :/ I'll see what I can do.
Does seem like Seaattle is theplacetobe. However, no other dates listed :/ I'll see what I can do.
Mike Marcotte
http://www.jazzalley.com - for those of you seriously considering - I'm going on Sept 2nd; Bumbershoot http://bumbershoot.org (Seattle's arts/music festival) is labor day weekend (Aug 29 - Sep 1) - Solomon Burke is playing Aug 29th which will be cool.
So come out for Bumbershoot and stay for Oscar Peterson!
So come out for Bumbershoot and stay for Oscar Peterson!
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Shorty Dave
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Greg Avakian
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- Location: Philadelphia, PA
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Artie Shaw makes a personal apperance
http://www.chron.com/CDA/umstory.mpl/ae/2073054
Sept. 2, 2003, 9:33AM
Shaw leaves clarinets at Smithsonian, gets award
Associated Press
OUSAND OAKS, Calif. -- Swing jazz bandleader Artie Shaw traded two of his clarinets with the Smithsonian Institution for a lifetime achievement award.
Shaw
Shaw's clarinets, including one he used to play the Cole Porter hit Begin the Beguine, will be on display in April at the Museum of American History in Washington, alongside other jazz treasures including Dizzy Gillespie's angled trumpet and Ella Fitzgerald's red dress.
In a ceremony on Thursday, the 93-year-old Shaw handed over the instruments and accepted the James Smithson Bicentennial Medal for lifelong "contributions to American culture and music."
The medal inscription praises Shaw's "superb technical ability and keen musical intelligence" and calls him "a vigorous spokesman for racial equality in jazz."
John Hasse, the Smithsonian museum's American music curator, called Shaw "one of the giants of jazz, a singular man of extraordinary intellect and a legendary and great American."
Shaw, who had resisted parting with the clarinets, called the award a "significant honor."
"But this is kind of the crowning thing because I don't know how much longer I'm going to be around," he said.
Born in New York City and raised in New Haven, Conn., Shaw took up alto saxophone at 13 and began playing music professionally two years later. He switched to clarinet later, arranging and performing on popular tunes including Frenesi, Concerto for Clarinet and Hoagy Carmichael's Stardust.
Shaw, who retired from music in 1954 to write books, said it wasn't easy to donate the clarinets.
"They were a big part of my life for years," he said. "It's like parting with an old and valued friend. But I can't think of anything else that's better to do with them."
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On the Net:
www.artieshaw.com
www.smithsonianjazz.org
http://www.chron.com/CDA/umstory.mpl/ae/2073054
Sept. 2, 2003, 9:33AM
Shaw leaves clarinets at Smithsonian, gets award
Associated Press
OUSAND OAKS, Calif. -- Swing jazz bandleader Artie Shaw traded two of his clarinets with the Smithsonian Institution for a lifetime achievement award.
Shaw
Shaw's clarinets, including one he used to play the Cole Porter hit Begin the Beguine, will be on display in April at the Museum of American History in Washington, alongside other jazz treasures including Dizzy Gillespie's angled trumpet and Ella Fitzgerald's red dress.
In a ceremony on Thursday, the 93-year-old Shaw handed over the instruments and accepted the James Smithson Bicentennial Medal for lifelong "contributions to American culture and music."
The medal inscription praises Shaw's "superb technical ability and keen musical intelligence" and calls him "a vigorous spokesman for racial equality in jazz."
John Hasse, the Smithsonian museum's American music curator, called Shaw "one of the giants of jazz, a singular man of extraordinary intellect and a legendary and great American."
Shaw, who had resisted parting with the clarinets, called the award a "significant honor."
"But this is kind of the crowning thing because I don't know how much longer I'm going to be around," he said.
Born in New York City and raised in New Haven, Conn., Shaw took up alto saxophone at 13 and began playing music professionally two years later. He switched to clarinet later, arranging and performing on popular tunes including Frenesi, Concerto for Clarinet and Hoagy Carmichael's Stardust.
Shaw, who retired from music in 1954 to write books, said it wasn't easy to donate the clarinets.
"They were a big part of my life for years," he said. "It's like parting with an old and valued friend. But I can't think of anything else that's better to do with them."
--------------------------------------------------------------------------------
On the Net:
www.artieshaw.com
www.smithsonianjazz.org
I asw both Oscar Peterson (at the blue note in NYC) and Jay McShaan (in Saint Paul) this past year. Unbelievable. The music at both shows was incredible. Even after his stroke, Peterson was very moving and brilliant.
Its too bad they wont be with us much longer.
Its too bad they wont be with us much longer.
-mikey faltesek
"Dancing is the union of the body with the rhythm and the sound of the music." Al Minns in 1984
"Dancing is the union of the body with the rhythm and the sound of the music." Al Minns in 1984
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Mr Awesomer
- Posts: 1089
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- Location: Altadena, CA
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As opposed to fake ones?Greg Avakian wrote:I can't wait for next thursday. You've done an excellent job bringing real jazz musicians to dancers.
::Pete Jacobs comes to mind::
Oh nevermind, I follow ya.
Reuben Brown
Southern California
Southern California
OK, I've really been getting into live music even if it does not involve swing dancers. So, last night I was at Green Mill in Chicago, and I had the absolute pleasure of listening to 91 year old Franz Jackson. This man has played with swing bands since he was a teen, and had recorded with Earl Hines, Fats Waller, Fletcher Henderson, James P. Johnson, Cab Calloway, and Junior Noonce. I bought 2 of his 4 cd's that he was selling and they kick serious booty.
i've seen one of his cds, maybe Franz Johnson and the Yellow Dogs, or something like that. I'll have to go back and check it out.Roy wrote:OK, I've really been getting into live music even if it does not involve swing dancers. So, last night I was at Green Mill in Chicago, and I had the absolute pleasure of listening to 91 year old Franz Jackson. This man has played with swing bands since he was a teen, and had recorded with Earl Hines, Fats Waller, Fletcher Henderson, James P. Johnson, Cab Calloway, and Junior Noonce. I bought 2 of his 4 cd's that he was selling and they kick serious booty.
Franz Jackson bio from allmusic.com:
One of the last survivors of the pre-swing era, Franz Jackson (a fine tenorman and clarinetist) remained active into the next century, recording for Parkwood with Marcus Belgrave, and enjoying the release of a 2000 performance on Delmark. He worked in the Chicago area starting in 1926, including with Albert Ammons, Carroll Dickerson (1932 and 1934-1936), Jimmie Noone (1934), Roy Eldridge (1937), and Fletcher Henderson's orchestra (1937-1938). Jackson traveled to New York with Eldridge (1938-1939), played in California with Earl Hines' orchestra (1940-1941), and then worked with Fats Waller (1941) and the Cootie Williams big band (1942). Stints with Frankie Newton (1942-1943) and Wilbur DeParis (1944-1945) followed, and he played in the Pacific on several USO tours. In the mid-'50s, after returning to Chicago, Franz Jackson formed his Original Jazz All Stars, a group that lasted for around 20 years. He recorded for Riverside in 1961, Delmark, and for his own label Pinnacle; Jackson also recorded with Art Hodes in 1974. He continued playing regularly in the Chicago area during the next several decades.
One of the last survivors of the pre-swing era, Franz Jackson (a fine tenorman and clarinetist) remained active into the next century, recording for Parkwood with Marcus Belgrave, and enjoying the release of a 2000 performance on Delmark. He worked in the Chicago area starting in 1926, including with Albert Ammons, Carroll Dickerson (1932 and 1934-1936), Jimmie Noone (1934), Roy Eldridge (1937), and Fletcher Henderson's orchestra (1937-1938). Jackson traveled to New York with Eldridge (1938-1939), played in California with Earl Hines' orchestra (1940-1941), and then worked with Fats Waller (1941) and the Cootie Williams big band (1942). Stints with Frankie Newton (1942-1943) and Wilbur DeParis (1944-1945) followed, and he played in the Pacific on several USO tours. In the mid-'50s, after returning to Chicago, Franz Jackson formed his Original Jazz All Stars, a group that lasted for around 20 years. He recorded for Riverside in 1961, Delmark, and for his own label Pinnacle; Jackson also recorded with Art Hodes in 1974. He continued playing regularly in the Chicago area during the next several decades.
Kind of a late post, I just read about this today. But, Ella Johnson, sister of Buddy Johnson and featured on many of his recordings, passed a few weeks ago.
I don't think she was included in any of the lists above (I think not), but she would have been one those "left" when this thread started.
Ella Johnson - Jazz singer who began performing with her brother's Buddy Johnson Orchestra (Buddy died in 1977) beginning in 1939, who scored top 10 hits R&B hits with "When My Man Comes Home" (#1 in 1944), "That's The Stuff You Gotta Watch" (#2 in 1945) and "Hittin' On Me" (#6 in 1954), who in 1945 recorded the very first version of "Since I Fell For You", written by her brother, which went on to become a big hit for numerous other stars, died Feb. 16 in New York City at the age of 86.
I don't think she was included in any of the lists above (I think not), but she would have been one those "left" when this thread started.
Ella Johnson - Jazz singer who began performing with her brother's Buddy Johnson Orchestra (Buddy died in 1977) beginning in 1939, who scored top 10 hits R&B hits with "When My Man Comes Home" (#1 in 1944), "That's The Stuff You Gotta Watch" (#2 in 1945) and "Hittin' On Me" (#6 in 1954), who in 1945 recorded the very first version of "Since I Fell For You", written by her brother, which went on to become a big hit for numerous other stars, died Feb. 16 in New York City at the age of 86.
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Jerry_Jelinek
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Like Nathan, I just spotted this thread.
A very significant member of the swing era who is still co,posing is Gerald Wilson.
He replaced Sy Oliver on trumpet and composing/arranging for Lunceford around 1938.
Gerald still composes and arranges. I saw him about 2 years ago with the Cleveland Jazz Orch.
AMAZING energy. He was jumping and dancing around the stage. I hope to be able be 50% of his energy at that age.
A very significant member of the swing era who is still co,posing is Gerald Wilson.
He replaced Sy Oliver on trumpet and composing/arranging for Lunceford around 1938.
Gerald still composes and arranges. I saw him about 2 years ago with the Cleveland Jazz Orch.
AMAZING energy. He was jumping and dancing around the stage. I hope to be able be 50% of his energy at that age.