Monday, September 19, 2011

The Night Glenn Miller played the Springs | Sonoma Valley Sun

Posted from Diigo

The night Glen Miller played the Springs

Jeff Gilbert | Special to The Sun
Back in the big band era, a hot venue for live music was the Boyes Hot Springs Mineral Baths dance pavilion. Known as “The Plunge,” it was a popular spot during the summer months where local orchestras and up-and-coming bands enjoyed big crowds. On one of those nights, in July of 1937 the audience witnessed history.
 Trombonist Glenn Miller in early 1937 had saved up enough money to start up his own big band. Glenn had struggled through the 1920’s playing in theater orchestras and finding studio recording work where he could.  Ben Pollack, the famous drummer and bandleader, hired Glenn to play trombone. Working with Pollack was a great experience, not only playing in the band but also arranging most of the band’s tunes. By 1933 Glenn was well known for his arranging skills.
The famous Dorsey Brothers, known for their studio work, decided to put a band together that would tour the U.S. Glenn was hired as musical director and arranger and to play trombone. The Dorsey Brothers Orchestra was a success and, in 1934, Brunswick Records recorded a novelty tune Glenn called “Annie’s Cousin Fanny. It caught on, and soon it was the most requested number in the band’s book.
Glenn left the Brothers Dorsey in 1935. The famous English composer and bandleader Ray Noble announced he was coming to America, thus marking the first musical British invasion. Ray hired Glenn as player and arranger, and he helped recruit the musicians, some of whom became household names: Claude Thornhill, Will Bradley, Bud Freeman and George Van Epps among them. The band was well received, but just did not have the success it had when in England. Glenn grew restless and left Noble in late 1936.
It was time to start his own orchestra. The first band would be known later as “The Band That Failed.” Always trying new things, Glenn had not yet found the sound that would later define his breakthrough orchestra. With the help of agent Cy Shribman, the band was booked on a string of one-nighters. The itinerary included a stop in the Sonoma Valley.
On that Saturday night in July of 1937, Glenn Miller and his first orchestra found themselves playing the Boyes Hot Springs Mineral Baths. Tourists from around the world and summering Bay Area residents would flock to Sonoma for vacation activities, and “The Plunge” in the Springs was always number one on the list of places to go for a swim during the day and music at night.
On this evening, the audience didn’t realize it was witnessing musical history. 
It was a good band with good musicians. They recorded some sides for Brunswick and Decca, proving the band could swing, but something was missing. Sadly, the musicians was given notice on New Year’s Eve.  Glenn’s paycheck for the year 1937 was $48. Never discouraged, he would try again. In early 1938 a new band was re-formed and Glenn finally found “The Sound” that would make him a household name.
“The Band That Hits Built,” by late 1939, was the number one orchestra in the country.  Dozens of hit records followed and, two years later, Glenn was presented with the very first Gold Record for his recording of “Chattanooga Choo Choo.”
In 1942, at the height of his popularity, Glenn gave up his orchestra and enlisted in the Army Air Force where he also made musical history directing the Army Air Force Band.  In December of 1944 he left from an airfield at Twinwood Farm in England to fly over the English Channel and make his way to Paris to set up accommodations for the AAF Band that would follow in three days. Glenn was never heard from again.
That was 67 years ago and since that time the Glenn Miller orchestra has never been silenced; it has been led by Tex Beneke, Ray McKinley, Buddy de Franco and currently under the direction of Gary Tole. The music and the memories will live on for those who danced that night in July of 1937 in Boyes Hot springs to the first Glenn Miller Orchestra.
Jeff Gilbert hosts “Jeff’s Joynt” on SUN 91.3 FM weekdays from 3 to 4 p.m.

Thursday, September 1, 2011

“I got to see what it’s like to perform 10 stories in the air with a trombone” | Ottawa Citizen Blogs

Posted from Diigo. The rest of my favorite links are here.



I knew that the New York-based trombonist/cellist Dana Leong was involved in some pretty adventurous music, having played with Steve Coleman, Dafnis Prieto and others. But I did not know until I read this story today that Leong’s work includes collaborating with an aerial dance troupe, and joining the dancers suspended in the air.
Tonight through Saturday, Leong performs with the dance company Project Bandaloop, during a work called Bound(less) at the Great Wall of Oakland (the backside of a large office building).
Leong, who is from the San Francisco Bay Area, last year flew to California every other week for five months to train with Bandaloop.
“We’d do sit-ups and pull-ups and climb up ropes,” Leong told The San Jose Mercury News‘ Andew Gilbert. “I had an intense crash course as to what these dancers and climbers go through. We performed Bound(less) as a work in progress in Costa Mesa, and I got to see what it’s like to perform 10 stories in the air with a trombone.”
Here’s a clip showing Leong’s first attempt at playing while wall-walking and hanging upside-down:

If Leong wants to bring his aerial music-making skills back into the jazz world, here’s a set list he could draw upon:
Air Dancing, Buster Williams
Open Your Eyes, You Can Fly, Flora Purim
500 Miles High, Chick Corea
Take It To The Ozone, Freddie Hubbard
The Spiderman Theme Song
But seriously, good luck to Leong. The next time someone invokes the risk-taking trope when it comes to improvising, I’ll be thinking of him.

Monday, September 20, 2010

Raul de Souza - Sweet Lucy (1977)

(This was posted over at loronix.blogspot.com on Thursday, January 04, 2007 by zecalouro)

Hello, Good Night! Was unable to decide the first post of the day, when Joe Carter, Loronix Admiral in Charge, place a comment at the last Zimbo Trio post with a link to a video at YouTube featuring Zimbo Trio and Raul de Souza. Sometimes we have everything to make the right choice on hands and cannot make it. Amazing, this video was uploaded by zecalouro at YouTube.
http://www.youtube.com/watch?v=HUG0CwPwk64
http://www.youtube.com/watch?v=Z5S8sXFnYN4

This is Raul de Souza - Sweet Lucy (1977), for Capitol, produced by George Duke and featuring Raul de Souza, Patrice Rushen, Dawilli Conga, Embamba, Byron Miller, Leon Chancler, Freddy Hubbard, Ian Underwood, Al McKay and Airto Moreira. (For those who didn't already know it: Dawilli Conga = George Duke) Stay with Raul de Souza and watch the video. Tracks include:

01 - Sweet Lucy (George Duke)
02 - Wires (George Duke)
03 - Wild An Shy (Raul de Souza)
04 - At Will (Raul de Souza)
05 - Banana Tree (João Donato)
06 - A Song Of Love (L. L. Smith)
07 - New Love (Canção do Nosso Amor) (Silveiro / Medeiros / Castles)
08 - Bottom Heat (Raul de Souza)

This is Raul de Souza - Sweet Lucy (1977), at Loronix, here.

Hope uEnjoy!

Saturday, April 3, 2010

Tommy Pederson Video- A Sneezing Bee

This is one of the best Tommy Pederson Videos I have seen.
Tommy was a Spike Jones sideman and this track appeared on the 1956 release, Dinner Music for People Who Aren't Very Hungry (re-released in 1990)
This was uploaded originally by Rene Laanen at Trombone-Usa.com

Wednesday, July 22, 2009

George Roberts Album - Meet Mr. Roberts

[I found this over on Bongolong Land - http://bongolongland.blogspot.com/]


Here is the long out-of-print "Meet Mr. Roberts" by Mr. Bass Trombone, George Roberts. This rip is from a cassette tape of a vinyl copy given to me by George (my father-in-law) himself. Frank DeVol and his Orchestra accompany Mr. Roberts in some very interesting arrangements.
I hope to bring more of George's remarkable bass trombone music
to this blog in the near future, but for now...
enjoy "Meet Mr. Roberts"!

Comments:

David Federman said...
George Roberts is that guy you always see listed in the personnel for every important group of accompanists for singers like Sinatra and Fitzgerald. How nice it it to discover that he was finally given his own 40 minutes or so of fame. Thanks. DeVol's arrangements are superb.

Tuesday, January 20, 2009

Kai Winding Album Downloads

Vintage Kai Winding LPs
Verve V-8556
kaiwinding.zip
front cover
back cover
Kai handles the musical direction at New York's plush Playboy Club.


Kai Winding
The In Instrumentals
Verve V6-8639
ininstrumentals.zip
front cover
back cover
Can a jazz trombonist from a town in Denmark find happiness among the tunes of the "mods" and "rockers"?


Saturday, August 16, 2008

Don't Let Jazz Fade Into The Background

By CHUCK OWEN
Jazz remains one of the few American art forms almost universally viewed with admiration (at times bordering on awe) by those outside this country. Despite increasing foreign hostility toward everything American, my recent travels on behalf of the International Association for Jazz Education (IAJE) to such far-flung locales as Europe, South Africa and Malaysia confirmed that jazz, while recognized universally as the cultural emblem of the United States, transcends divisive politics and continues to be received with great enthusiasm.
As synonymous with America as the bald eagle, baseball, or Mark Twain, jazz serves as the ultimate diplomat, proudly espousing and showcasing the freedom, individualism and democratic traditions we hold so dear in each riff and rhythm.
Yet, at home, within the country that can claim the birthright of this musical heritage, jazz is, ironically, in greater danger than ever of falling off the radar screen of the average American.
Jazz, from its earliest beginnings, has struggled to overcome obstacles ranging from the ignorance and artistic elitism of some of its critics to blatant racism. Amazingly, the music has survived, proving time and again to be remarkably resilient, confident and proud of its heritage, uncompromising in its standards, yet adaptable to its time and environment. Why, today, is jazz facing an even tougher fight?
The problem is, with each passing year, more and more Americans seem to have less and less contact with the music. At first, this would seem to be something of an enigma as technological advances, from digital music services to satellite radio and cable TV have resulted in a greater availability of jazz content than ever before. Yet the nature of this technology, which allows consumers to wrap themselves in a cocoon of their own choosing, actually serves to isolate individuals from anything they don't already know or like.
Conversely, when millions of Americans tuned into network television of decades past and Ed Sullivan, Johnny Carson, the Grammy Awards, or any number of other variety shows presented an artist such as Dizzy Gillespie, a huge population with no previous exposure to jazz instantly had an opportunity to glimpse and be touched by the effervescence of this musical genius. Sadly, these and so many other points of casual contact with the public are diminishing steadily as jazz clubs disappear and jazz radio programming has decreased or has been relegated to late-night hours.
The essential role and importance of jazz education, given these challenges, has never been more obvious or critical. Individual educators as well as music, educational, and arts associations must, therefore, renew efforts to make certain that all students receive grounding in the concepts, history, and artists that define jazz. In addition, they must be given multiple opportunities to actively experience and engage with the music throughout their formative years. To truly address these concerns, however, jazz education will need a number of partners to step up as well. Congress must substantially increase federal funding to the National Endowment for the Arts (today's budget remains $50 million less than in 1992!). Corporations and prominent patrons of the arts need to consider sponsorships of jazz organizations just as they underwrite local symphonies, art museums and dance companies. Newspapers need to place jazz coverage at least on par with other arts coverage. Record companies, artist agencies and others in the "business" need to recognize the value of collectively working together to reach out and develop the audience for jazz.
"Keep Jazz Alive!" This well-worn, well-intentioned but, ultimately, misguided phrase is frequently heard in relation to the importance of jazz education. Well, make no mistake - jazz is alive! It is vibrantly alive and relevant; not only in the recordings and compositions of its past masters - the ebullience of Louis Armstrong, the swinging elegance of Duke Ellington, the moody lyricism of Miles Davis and the passionate spiritualism of John Coltrane - but also in the hands of its current practitioners from Wynton Marsalis, Cassandra Wilson and Wayne Shorter to the Bad Plus, Bill Frisell, and so many, many others.
It's hard to envision, in fact, an art form that is more alive. Jazz artists have routinely sought to stretch stylistic boundaries with compositions steeped not only in the jazz tradition but also drawing freely from sources as diverse and eclectic as Indian ragas, hip-hop, flamenco, minimalism, and many, many other musical genres. It's an art form that embraces improvisation (by its very definition "in the moment") and is a constant source of adventure for musician and audience alike. Now, that's alive!
This is not a plea to save jazz. The passionate musicians and fans who find their way to it will ensure its survival in spite of meager funding, poor exposure and public apathy. But is survival all we really want for this vibrant music that so defines our country's values and heritage?
Chuck Owen, a Distinguished University Professor at the University of South Florida and artistic director of USF's Center for Jazz Composition, is president of the International Association for Jazz Education.