Birthday Jam: Great Swing Musicians
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Albert System
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- Location: Pittsburgh, PA
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Jerry_Jelinek
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Hi Paul, I'm fairly certain this is a recording session. I'm at work and I don't have access to my discography CD ROM. My initial impression is this is one of the Esquire All-Star sessions from 1942 or 1943.Albert System wrote:Wow- what a photo! Yak- can you get me a copy????? Is this from a recording session, and if so, where can I get it?????
I'll try to remember to look up the session and get you recording names.
Remind me if I don't post information by Monday.
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Jerry_Jelinek
- Posts: 294
- Joined: Fri Feb 13, 2004 11:33 am
- Location: Cleveland, Oh
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From my discogrpahy:
Buck Clayton, Benny Goodman, Lester Young, Count Basie, Charlie Christian, Walter Page and Jo Jones:
Columbia record studios rehersal session - NYC Oct 28 1940
Blues (ad lib blues0 (Benny Goodman out)
I Never Knew
Dickie's Dream - A (Charlie's Dream)
Dickie's Dream - B (Lester's Dream)
Wholly Cats
Entire session on Cicala (Italy) 8021
Jazz Document (Sweden) VA-7997
note: Most likeyl these two were LPs
Also issues on CD Jazz Archives JA6, JA 42, VJC 1021-2 (CD)
I didn't have time tonight to search the web for the CD. YOur best bet is to search for the 'Jazz Archives' label and look at Lester Young and Benny Goodman CDs.
Hope this helps
Buck Clayton, Benny Goodman, Lester Young, Count Basie, Charlie Christian, Walter Page and Jo Jones:
Columbia record studios rehersal session - NYC Oct 28 1940
Blues (ad lib blues0 (Benny Goodman out)
I Never Knew
Dickie's Dream - A (Charlie's Dream)
Dickie's Dream - B (Lester's Dream)
Wholly Cats
Entire session on Cicala (Italy) 8021
Jazz Document (Sweden) VA-7997
note: Most likeyl these two were LPs
Also issues on CD Jazz Archives JA6, JA 42, VJC 1021-2 (CD)
I didn't have time tonight to search the web for the CD. YOur best bet is to search for the 'Jazz Archives' label and look at Lester Young and Benny Goodman CDs.
Hope this helps
jan 12 : 1904 / "Mississippi" Fred McDowell (blues guitar, vocals) Rossville, TN
jan 31 : 1906 / Roosevelt Sykes (vocals, piano) Elmar, AR
jan 31 : 1907 / Benny Morton (trombone) New York, NY
feb 15 : 1915 / Taft Jordan (trumpet, vocals) Florence, SC
feb 20 : 1909 / Oscar Aleman (guitar) Restencia, Argentina
mar 21 : 1893 / Bo Carter (vocals, guitar) Bolton, MS
mar 27 : 1924 / Sarah Vaughan (vocals) Newark, NJ
apr 29 : 1927 / "Big" Jay McNeely (sax) Watts, CA
jun 13 : 1892 / Richard M. Jones (band, piano) Barton, LA
jul 01 : 1914 / Earle Warren (sax) Springfield, OH
aug 15 : 1925 / Oscar Peterson (piano, band) Montreal, Canada
sep 16 : 1903 / Joe Venuti (violin) Philadelphia, PA
sep 23 : 1907 / Albert Ammons (piano) Chicago, IL
oct 25 : 1902 / Eddie Lang (guitar) Philadelphia, PA
nov 22 : 1904 / Horace Henderson (piano, arranger) Cuthbert, GA
dec 04 : 1915 / Eddie Heywood (piano) Atlanta, GA
jan 31 : 1906 / Roosevelt Sykes (vocals, piano) Elmar, AR
jan 31 : 1907 / Benny Morton (trombone) New York, NY
feb 15 : 1915 / Taft Jordan (trumpet, vocals) Florence, SC
feb 20 : 1909 / Oscar Aleman (guitar) Restencia, Argentina
mar 21 : 1893 / Bo Carter (vocals, guitar) Bolton, MS
mar 27 : 1924 / Sarah Vaughan (vocals) Newark, NJ
apr 29 : 1927 / "Big" Jay McNeely (sax) Watts, CA
jun 13 : 1892 / Richard M. Jones (band, piano) Barton, LA
jul 01 : 1914 / Earle Warren (sax) Springfield, OH
aug 15 : 1925 / Oscar Peterson (piano, band) Montreal, Canada
sep 16 : 1903 / Joe Venuti (violin) Philadelphia, PA
sep 23 : 1907 / Albert Ammons (piano) Chicago, IL
oct 25 : 1902 / Eddie Lang (guitar) Philadelphia, PA
nov 22 : 1904 / Horace Henderson (piano, arranger) Cuthbert, GA
dec 04 : 1915 / Eddie Heywood (piano) Atlanta, GA
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Jerry_Jelinek
- Posts: 294
- Joined: Fri Feb 13, 2004 11:33 am
- Location: Cleveland, Oh
- Contact:
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Jerry_Jelinek
- Posts: 294
- Joined: Fri Feb 13, 2004 11:33 am
- Location: Cleveland, Oh
- Contact:
-
Jerry_Jelinek
- Posts: 294
- Joined: Fri Feb 13, 2004 11:33 am
- Location: Cleveland, Oh
- Contact:
No idea how you can get a copy, but I found it on http://personal.nbnet.nb.ca/hansen/Charlie/ .Albert System wrote:Wow- what a photo! Yak- can you get me a copy????? Is this from a recording session, and if so, where can I get it?????
There are many similar pictures in the liner notes to the majestic 4-disc Columbia reissue, GENIUS OF THE ELECTRIC GUITAR, which is available at the Pittsburgh public library. (It's 4 discs but you can mix it down to one-and-a-half discs of master takes.) One of those I xeroxed big and hung on my wall.
But yeah, a real photographic print of that shot... would be aweseome...
by the way, that particular session is probably on that box set.
-yakov.
halloween double threat: Julia Lee and Illinois Jacquet! Woot, I'm DJing that night! It'll be my second DJ set dedicated in part to Illinois -- my last big gig was EAT ME in Ann Arbor, right after IJ died 
From Grove Dictionary of Music
Julia Lee
(b Booneville, MO, 13 or 31 Oct 1902; d Kansas City, MO, 8 Dec 1958). American pianist and singer, sister of George e. Lee. Her birthdate has been published in most sources as 31 October, but the blues researcher Sheldon Harris found 13 October on her death certificate. [So what!
] From the age of four she sang with her father’s string trio and from around the age of ten she studied piano, first with private teachers and then, around 1918, at Western University. In 1916 she was performing locally with Walter Page and others. She worked predominantly with her brother from 1920 to 1933, then, as his career declined, became active as a solo entertainer, playing mainly in Kansas City at Milton’s Tap Room (1933–48) and other venues. She then made a tour of the USA and appeared at the White House, entertaining President Truman in 1949. From 1944 to 1952 she recorded for Capitol with studio swing and rhythm-and-blues bands that at various times involved Tommy Douglas, Jay McShann, Baby Lovett, Henry Bridges, Ernie Royal, Vic Dickenson, Red Callender, Benny Carter, and Red Norvo, as well as other notable swing and rhythm-and-blues musicians. Lee appeared in the film The Delinquents in 1957. She was noted principally for the easy, almost careless, but heartfelt way in which she performed pop standards and, after World War II, songs involving double-entendre. Her piano playing was straightforward, direct, and unadorned except for a few appropriate barrelhouse flourishes.
Get Julia Lee on CD: 2 CD set on JSP
(Jean-Baptiste) Illinois Jacquet
(b Broussard, nr Lafayette, LA, 31 Oct 1922; d Queens, NY, 22 July 2004). Tenor saxophonist, brother of Russell Jacquet. In America his surname is routinely pronounced “Jah-KETT” or “JACK-et,” but he told the editor of this dictionary that the name is French and should be pronounced as such: roughly, “Zha-KAY.” He was brought up in Houston and by the age of six was tap-dancing in front of his father's big band. When he entered high school he began playing drums in the marching band; later he played soprano saxophone in the band and drums in the orchestra. Having changed to alto saxophone he gained his first experience in big bands with a local bandleader, Bob Cooper, and during his junior and senior years he played with the territory band of Milt Larkin. In September 1940 he moved to Los Angeles with his brother Russell, who joined the bandleader Floyd Ray; Illinois sat in with this group briefly, and after the musicians’ local 767 Labor Day parade he participated in a jam session with Nat “King” Cole, Charlie Christian, Jimmy Blanton, and Sid Catlett (the year is given incorrectly as 1941 rather than 1940 in several sources; Blanton and Christian were both seriously ill by the later date). Cole later introduced Jacquet to Lionel Hampton, whose band he joined, changing to tenor saxophone to accommodate the leader. At the age of 19, following the first recording session of his career, he became internationally known for his solo on Hampton’s Flying Home (1942). After leaving Hampton he played with Cab Calloway (1943–4), performed and recorded with Jazz at the Philharmonic (JATP) at its first concert (1944), and appeared in the film Jammin’ the Blues (1944). He then led a band that included his brother Russell and Charles Mingus, and from October 1945 to August 1946 worked with Count Basie. He left Basie to tour and record as a principal soloist with JATP (1946–7, 1955) and to lead his own group; among his sidemen were his brother Russell, Joe Newman, J. J. Johnson, Leo Parker, Cecil Payne, Bill Doggett, Sir Charles Thompson, and Shadow Wilson.
Jacquet made his first European tour in autumn 1954 in the “Jazz Parade” show, with Sarah Vaughan and Coleman Hawkins as guest soloists with his band. He began playing bassoon in 1965. He performed at the Monterey, Nice, and North Sea jazz festivals, and although he settled in New York he toured Europe with Milt Buckner (until Buckner's death in 1977), Jo Jones, Slam Stewart (c1980–1981), and the Texas Tenors, which included Arnett Cobb and Buddy Tate; he also performed in Japan with this last group. In the early 1980s he spent three years as an artist-in-residence at Harvard University. His students there inspired him to form a professional big band in 1983; it has remained active, appearing at festivals, concert halls, and clubs in Europe and America, and occasionally recording through the 1980s and 1990s, and also holding residencies at Tavern on the Green in New York. Among its sidemen have been Cecil Payne (who had continued to play in several groups with Jacquet), Eddie Barefield, Rudy Rutherford, Richard Wyands (also a member of Jacquet's small group with Slam Stewart), the pianist Ed Stoute (who played with Jacquet’s small band in the mid-1960s), Eddie Bert, and many emerging young players. Jacquet remained busy in the late 1990s: he gave a 75th birthday concert in Salzburg and performed on the floating jazz festival held on the SS Norway in 1997, and in July 1998 he played for thousands of swing dancers and listeners in a concert in the outdoor plaza at Lincoln Center. He is the subject of an outstanding documentary film, Texas Tenor: the Illinois Jacquet Story (1991). [Has anyone seen it?]
Jacquet’s wild, full-toned solo on Flying Home started a new approach to tenor saxophone playing, which became known as the “Texas tenor style”; it was marked by the use of notes at the extremes of the instrument’s upper range, obtained as harmonics by means of false fingerings. His playing later mellowed and became less extrovert and aggressive; it shows the influence of Herschel Evans, Coleman Hawkins, and Lester Young but remains thoroughly individual. Jacquet performed ballads with particular mastery in a slow rhapsodic style.
SELECTED RECORDINGS
As leader: Bottoms Up/A Ghost of a Chance (1945, Apollo 756); Memories of You/Merle’s Mood (1945, Apollo 760); Jumpin’ Jacquet/Blues Mood (1947, Savoy 593); Minor Romp/Berry’s Blues (1947, Savoy 594); Illinois Blows the Blues (1947, Ala. 3001); Try me one more time (1950, Vic. 202892); Swing’s the Thing (1957, Verve 8023); Bottoms Up: Illinois Jacquet on Prestige! (1968, Prst. 7575); Genius at Work (1971, BL 118); With Milt and Jo (1974, BB 33070); On Jacquet’s Street (1976, BB 33112); God Bless my Solo (1978, BB 33167); Jacquet’s Got It! (1987, Atl. 81816-1)
As sideman: W. Harris: Wynonie’s Blues/Here Comes the Blues (1945, Apollo 362); L. Hampton: Flying Home (1942, Decca 18394)
selected films and videos
Stormy Weather (1943); Jammin’ the Blues (1944); Monterey Jazz Festival (1967); Monterey Jazz (1968); Swingmen in Europe (1977); Jazz en Provence (1979); The Texas Tenors (n.d.); Texas Tenor: the Illinois Jacquet Story (1991)
SwingDJs threads
there are many...
-yakov
From Grove Dictionary of Music
Julia Lee
(b Booneville, MO, 13 or 31 Oct 1902; d Kansas City, MO, 8 Dec 1958). American pianist and singer, sister of George e. Lee. Her birthdate has been published in most sources as 31 October, but the blues researcher Sheldon Harris found 13 October on her death certificate. [So what!
] From the age of four she sang with her father’s string trio and from around the age of ten she studied piano, first with private teachers and then, around 1918, at Western University. In 1916 she was performing locally with Walter Page and others. She worked predominantly with her brother from 1920 to 1933, then, as his career declined, became active as a solo entertainer, playing mainly in Kansas City at Milton’s Tap Room (1933–48) and other venues. She then made a tour of the USA and appeared at the White House, entertaining President Truman in 1949. From 1944 to 1952 she recorded for Capitol with studio swing and rhythm-and-blues bands that at various times involved Tommy Douglas, Jay McShann, Baby Lovett, Henry Bridges, Ernie Royal, Vic Dickenson, Red Callender, Benny Carter, and Red Norvo, as well as other notable swing and rhythm-and-blues musicians. Lee appeared in the film The Delinquents in 1957. She was noted principally for the easy, almost careless, but heartfelt way in which she performed pop standards and, after World War II, songs involving double-entendre. Her piano playing was straightforward, direct, and unadorned except for a few appropriate barrelhouse flourishes.Get Julia Lee on CD: 2 CD set on JSP
(Jean-Baptiste) Illinois Jacquet
(b Broussard, nr Lafayette, LA, 31 Oct 1922; d Queens, NY, 22 July 2004). Tenor saxophonist, brother of Russell Jacquet. In America his surname is routinely pronounced “Jah-KETT” or “JACK-et,” but he told the editor of this dictionary that the name is French and should be pronounced as such: roughly, “Zha-KAY.” He was brought up in Houston and by the age of six was tap-dancing in front of his father's big band. When he entered high school he began playing drums in the marching band; later he played soprano saxophone in the band and drums in the orchestra. Having changed to alto saxophone he gained his first experience in big bands with a local bandleader, Bob Cooper, and during his junior and senior years he played with the territory band of Milt Larkin. In September 1940 he moved to Los Angeles with his brother Russell, who joined the bandleader Floyd Ray; Illinois sat in with this group briefly, and after the musicians’ local 767 Labor Day parade he participated in a jam session with Nat “King” Cole, Charlie Christian, Jimmy Blanton, and Sid Catlett (the year is given incorrectly as 1941 rather than 1940 in several sources; Blanton and Christian were both seriously ill by the later date). Cole later introduced Jacquet to Lionel Hampton, whose band he joined, changing to tenor saxophone to accommodate the leader. At the age of 19, following the first recording session of his career, he became internationally known for his solo on Hampton’s Flying Home (1942). After leaving Hampton he played with Cab Calloway (1943–4), performed and recorded with Jazz at the Philharmonic (JATP) at its first concert (1944), and appeared in the film Jammin’ the Blues (1944). He then led a band that included his brother Russell and Charles Mingus, and from October 1945 to August 1946 worked with Count Basie. He left Basie to tour and record as a principal soloist with JATP (1946–7, 1955) and to lead his own group; among his sidemen were his brother Russell, Joe Newman, J. J. Johnson, Leo Parker, Cecil Payne, Bill Doggett, Sir Charles Thompson, and Shadow Wilson.
Jacquet made his first European tour in autumn 1954 in the “Jazz Parade” show, with Sarah Vaughan and Coleman Hawkins as guest soloists with his band. He began playing bassoon in 1965. He performed at the Monterey, Nice, and North Sea jazz festivals, and although he settled in New York he toured Europe with Milt Buckner (until Buckner's death in 1977), Jo Jones, Slam Stewart (c1980–1981), and the Texas Tenors, which included Arnett Cobb and Buddy Tate; he also performed in Japan with this last group. In the early 1980s he spent three years as an artist-in-residence at Harvard University. His students there inspired him to form a professional big band in 1983; it has remained active, appearing at festivals, concert halls, and clubs in Europe and America, and occasionally recording through the 1980s and 1990s, and also holding residencies at Tavern on the Green in New York. Among its sidemen have been Cecil Payne (who had continued to play in several groups with Jacquet), Eddie Barefield, Rudy Rutherford, Richard Wyands (also a member of Jacquet's small group with Slam Stewart), the pianist Ed Stoute (who played with Jacquet’s small band in the mid-1960s), Eddie Bert, and many emerging young players. Jacquet remained busy in the late 1990s: he gave a 75th birthday concert in Salzburg and performed on the floating jazz festival held on the SS Norway in 1997, and in July 1998 he played for thousands of swing dancers and listeners in a concert in the outdoor plaza at Lincoln Center. He is the subject of an outstanding documentary film, Texas Tenor: the Illinois Jacquet Story (1991). [Has anyone seen it?]
Jacquet’s wild, full-toned solo on Flying Home started a new approach to tenor saxophone playing, which became known as the “Texas tenor style”; it was marked by the use of notes at the extremes of the instrument’s upper range, obtained as harmonics by means of false fingerings. His playing later mellowed and became less extrovert and aggressive; it shows the influence of Herschel Evans, Coleman Hawkins, and Lester Young but remains thoroughly individual. Jacquet performed ballads with particular mastery in a slow rhapsodic style.
SELECTED RECORDINGS
As leader: Bottoms Up/A Ghost of a Chance (1945, Apollo 756); Memories of You/Merle’s Mood (1945, Apollo 760); Jumpin’ Jacquet/Blues Mood (1947, Savoy 593); Minor Romp/Berry’s Blues (1947, Savoy 594); Illinois Blows the Blues (1947, Ala. 3001); Try me one more time (1950, Vic. 202892); Swing’s the Thing (1957, Verve 8023); Bottoms Up: Illinois Jacquet on Prestige! (1968, Prst. 7575); Genius at Work (1971, BL 118); With Milt and Jo (1974, BB 33070); On Jacquet’s Street (1976, BB 33112); God Bless my Solo (1978, BB 33167); Jacquet’s Got It! (1987, Atl. 81816-1)
As sideman: W. Harris: Wynonie’s Blues/Here Comes the Blues (1945, Apollo 362); L. Hampton: Flying Home (1942, Decca 18394)
selected films and videos
Stormy Weather (1943); Jammin’ the Blues (1944); Monterey Jazz Festival (1967); Monterey Jazz (1968); Swingmen in Europe (1977); Jazz en Provence (1979); The Texas Tenors (n.d.); Texas Tenor: the Illinois Jacquet Story (1991)
SwingDJs threads
there are many...
-yakov
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Jerry_Jelinek
- Posts: 294
- Joined: Fri Feb 13, 2004 11:33 am
- Location: Cleveland, Oh
- Contact:
another great shot (too big for this page): http://www.umkc.edu/lib/spec-col/ww2/Wa ... ington.jpg
Strayhorn, Billy [William; Swee' Pea]
(b Dayton, OH, 19 Nov 1915, d New York, 31 May 1967). American jazz composer, arranger and pianist. He received an extensive training in music as a youth in Hillsborough, North Carolina, and Pittsburgh. In December 1938 he submitted a composition to Duke Ellington, who was so impressed by the young man's talent that three months later he recorded Strayhorn's Something to Live For (1939, Bruns.) with the composer as pianist. Four more of Strayhorn's pieces were recorded during 1939. After serving briefly as a pianist in Mercer Ellington's orchestra, Strayhorn joined Duke Ellington's band as associate arranger and second pianist, and for nearly three decades worked in close collaboration with the leader. The two men were so attuned to one another musically, and Strayhorn's work was such a perfect complement to Ellington's, that it is now impossible to establish the exact extent of the former's contribution to Ellington's oeuvre. Their relationship was described in flattering terms by Ellington in his autobiography (1973). Strayhorn collaborated on more than 200 items in Ellington's repertory, including such standards as Take the ‘A’ train (1941, Vic.; one of the band's theme tunes) and Satin Doll (1953, Cap.). His ballads, including Lush Life (on John Coltrane's album Lush Life, 1957–8, Prst.), Passion Flower (recorded by Johnny Hodges, 1951, Bb), Chelsea Bridge (1941, Vic.) and Blood Count (on the album ‘ … and his Mother Called him Bill’, 1967, RCA), are harmonically and structurally among the most sophisticated in jazz. Strayhorn was a technically fluent pianist, and made a notable contribution to several small-group recordings by various of Ellington's sidemen; he also recorded a number of titles in a trio with Ellington.
BIBLIOGRAPHY
B. Coss: ‘Ellington & Strayhorn, Inc.’, Down Beat, xxix/12 (1962), 22–3, 40
J.L. Collier: Duke Ellington (New York, 1987)
G. Schuller: The Swing Era: the Development of Jazz, 1930–1945 (New York, 1989)
M. Tucker, ed.: The Duke Ellington Reader (New York, 1993)
D. Hajdu: Lush Life: a Biography of Billy Strayhorn (New York, 1996)
