Nigel Tully Honoured

The head of the National Youth Jazz Orchestra, which has inspired thousands of people including the late Amy Winehouse, has been appointed an MBE.

Nigel Tully, 74, has been honoured for his services to music.

Since 2009, Mr Tully, of Markyate, near Luton, has helped secure the future of the orchestra and brought in more than £1m in funding.

He told the BBC he hoped his appointment would “increase the visibility” of the orchestra (NYJO).

Under Mr Tully’s management, he helped the organisation achieve Arts Council National Portfolio Organisation status.

The jazz guitarist has also been involved in promoting jazz in the Worshipful Company of Musicians.

A former manager with IBM, Mr Tully has also led the Dark Blues for over 50 years, a band that has performed more than 5,000 gigs, with up to 500 raising money for charities at no fee.

He said: “I am humbled to be honoured with this award, and to join an ever-growing list of my colleagues in jazz to be recognised for their passion and commitment to the music.

“This award is a great thing for jazz as well as NYJO, and I hope it will add weight to our ongoing campaign to achieve the same levels of recognition, funding and infrastructure for jazz as are enjoyed by other art forms.”

He said he hoped the MBE would help “increase the visibility of NYJO in the arts establishment. It has some of the most creative musicians in the country. If they played classical music they would be showered with honours”.

Musicians and singers who were supported by NYJO include Guy Barker, Amy Winehouse and Strictly Come Dancing band leader Dave Arch. Source BBC

Bix Beiderbecke

Birthday Of Leon BismarkBixBeiderbecke
(March 10, 1903 – August 6, 1931) was an American jazz cornetist, jazz pianist, and composer.

With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on “Singin’ the Blues” and “I’m Coming, Virginia” (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. “In a Mist” (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation.

Bix Beiderbecke

Bix Beiderbecke

A native of Davenport, Iowa, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering some critics have connected to his original sound. He first recorded with Midwestern jazz ensembles, The Wolverines and The Bucktown Five in 1924, after which he played briefly for the Detroit-based Jean Goldkette Orchestra before joining Frankie “Tram” Trumbauer for an extended gig at the Arcadia Ballroom in St. Louis. Beiderbecke and Trumbauer joined Goldkette in 1926. The band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. He made his greatest recordings in 1927 (see above). In 1928, Trumbauer and Beiderbecke left Detroit to join the best-known dance orchestra in the country: the New-York-based Paul Whiteman Orchestra.

Beiderbecke’s most influential recordings date from his time with Goldkette and Whiteman, although they were generally recorded under his own name or Trumbauer’s. The Whiteman period also marked a precipitous decline in Beiderbecke’s health, brought on by the demand of the bandleader’s relentless touring and recording schedule in combination with Beiderbecke’s persistent alcoholism. A few stints in rehabilitation centers, as well as the support of Whiteman and the Beiderbecke family in Davenport, did not check Beiderbecke’s decline in health. He left the Whiteman band in 1930 and the following summer died in his Queens apartment at the age of 28.

His death, in turn, gave rise to one of the original legends of jazz. In magazine articles, musicians’ memoirs, novels, and Hollywood films, Beiderbecke has been reincarnated as a Romantic hero, the “Young Man with a Horn”. His life has been portrayed as a battle against such common obstacles to art as family and commerce, while his death has been seen as a martyrdom for the sake of art. The musician-critic Benny Green sarcastically called Beiderbecke “jazz’s Number One Saint,” while Ralph Berton compared him to Jesus. Beiderbecke remains the subject of scholarly controversy regarding his true name, the cause of his death, and the importance of his contributions to jazz.

 

Source

100th anniversary of the very first recorded jazz by the Original Dixieland Jazz Band (ODJB) on Feb. 26, 1917

2017 is the 100 year anniversary of the 1st recorded jazz records on many labels including Victor, Columbia and Aeolian Vocalion Records. Original DixieLand Jazz BandDixieland Jass Band One-Step” also known as “Dixie Jass Band One-Step” and “Original Dixieland One-Step” is a 1917 jazz composition by the Original Dixieland Jass Band released as an instrumental as a Victor 78. The song is a jazz milestone as the first commercially released “jass” or jazz song.

The ODJB released the song as a Victor 78 in 1917 as 18255-A on the Victor Talking Machine Company of Camden, New Jersey. The B side was the landmark jazz song “Livery Stable Blues”. The personnel on the recording were Nick LaRocca, trumpet, Larry Shields, clarinet, Eddie Edwards, trombone, Henry Ragas, piano, and Tony Sbarbaro, drums. The ODJB initially auditioned for Columbia Records. A month after the audition, the band began recording for Victor. They made recordings on February 26, 1917. The first jazz record released was Victor 18255, which featured “Dixieland Jass Band One-Step” as the A side, “Composed and played by Original Dixieland ‘Jass’ Band”, backed by “Livery Stable Blues”. The “one-step” designation on one label was changed to “fox trot” on another label. The phrase “For Dancing” appeared to the right of the spindle hole on both sides of the disc. Following lawsuits, Victor changed the label of both sides of the release. The inclusion in “Dixieland Jass Band One-Step” of a strain from Joe Jordan’s 1909 “That Teasin’ Rag” resulted in a suit for copyright infringement. The earliest copies of the first ODJB disc do not cite Jordan’s rag but later copies noted “Introducing ‘That Teasin’ Rag'”. The title on side A of the disc was changed to “Dixie Jass Band One-Step.” Posters promoting the band’s live concerts in 1921 added that Victor 18255 featured the song “Ramblin’ Blues”–“Dixie Jass Band One-Step”. For the second pressing of side B, “Livery Stable Blues Composed and played by the Original Dixieland Jass Band” omitted the phrase “Composed and played by”. Max Hart, the manager of the ODJB, made an agreement with J. W. Stern in 1917 for the publication rights to “Dixieland Jass Band One- Step.” Nick LaRocca wrote to Eddie Edwards on November 8, 1929: “Ed, I want you to look up Max Hart and see if he will sign the Dixieland one step to one of us so we can get behind the publisher to settle up with us, on royalty due band. Suppose you go and see J. W. Stern or his successor and get the dope on same. Do not let him know what your motives are. I have in my possession the contract but that is made between Max Hart and J. W. Stern. Also, ask Mr. Hart for statements, if any, from Victor Co. This number promises to be a big hit but no one seems able to get orchestrations on same.” In 1936, the reformed ODJB recorded a new version of the song as “Original Dixieland One-Step” on October 9 in New York and released it as a 78 single on Victor as 25502 backed with “Barnyard Blues”, itself a version of “Livery Stable Blues”. source

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