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Speak In Tongues was a freewheeling, community-run underground music venue in Cleveland, Ohio that operated on a do-it-yourself basis throughout the late 1990s. The venue fostered a flourishing creative culture, where you could enjoy a puppet show from a spray-painted couch or meet other punks to start a band or a movement, but was also smoothly run with a great sound system and the best curation of music that you could hear in the city during its tenure. On any given night, you could go see hardcore punk, experimental jazz, or thrash shows where fireworks were set off inside the building. Traveling bands regularly booked shows there, including ones that went on to greater fame, like Modest Mouse, Avail, Lifter Puller, Jimmy Eat World, Alkaline Trio, Milemarker, and J Church. Venue operators, and later a management collective, contended with police surveillance, skinheads with knives, an exploding oil drum full of raw meat, a flaming car, and a different number of riots depending on who you ask. There may not have been a bar, but a healthy BYOB policy ensures that everyone’s memory is different, resulting in an entertaining story of a place that truly was what you made it, the source of lifelong friendships and endless lore. This comprehensive oral history tells a story that is greater than the sum of each person’s recollections, forming a picture of a unique, weird, special place that deeply informed the next twenty years of Cleveland’s underground culture.
Music fans who grew up with Rock and Roll in Cleveland remember a golden age. We were young, so was the music, and the sense of freedom and excitement the Rock and Roll scene delivered was electric. There were so many great clubs, like the Agora, where every big band seemed to break in the 1970s. The trendsetting radio stations, from A.M.'s WIXY to F.M.'s groundbreaking "Home of the Buzzard," WMMS. And all those memorable shows. The free Coffee Break Concerts--remember Sprinsteen just when he hit it big? The gigantic World Series of Rock. Nights on the lawn at Blossom (including local favorites the Michael Stanley Band and their record-setting sellout streak). This book collects the favorite memories of Clevelanders who made the scene: fans, musicians, DJs, reporters, club owners, and more. Includes rare photographs and other memorabilia such as concert posters, bumper stickers, pins, and ticket stubs.
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.
A visual history of America’s jazz nightclubs of the 1940s and 1950s, featuring exclusive interviews and over 200 souvenir photos. In the two decades before the Civil Rights movement, jazz nightclubs were among the first places that opened their doors to both Black and white performers and club goers in Jim Crow America. In this extraordinary collection, Grammy Award-winning record executive and music historian Jeff Gold looks back at this explosive moment in the history of Jazz and American culture, and the spaces at the center of artistic and social change. Sittin’ In is a visual history of jazz clubs during these crucial decades when some of the greatest names in in the genre—Billie Holiday, Charlie Parker, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Louis Armstrong, Oscar Peterson, and many others—were headlining acts across the country. In many of the clubs, Black and white musicians played together and more significantly, people of all races gathered together to enjoy an evening’s entertainment. House photographers roamed the floor and for a dollar, took picture of patrons that were developed on site and could be taken home in a keepsake folder with the club’s name and logo. Sittin’ In tells the story of the most popular club in these cities through striking images, first-hand anecdotes, true tales about the musicians who performed their unforgettable shows, notes on important music recorded live there, and more. All of this is supplemented by colorful club memorabilia, including posters, handbills, menus, branded matchbooks, and more. Inside you’ll also find exclusive, in-depth interviews conducted specifically for this book with the legendary Quincy Jones; jazz great tenor saxophonist Sonny Rollins; Pulitzer Prize-winning fashion critic Robin Givhan; jazz musician and creative director of the Kennedy Center, Jason Moran; and jazz critic Dan Morgenstern. Gold surveys America’s jazz scene and its intersection with racism during segregation, focusing on three crucial regions: the East Coast (New York, Atlantic City, Boston, Washington, D.C.); the Midwest (Chicago, Cleveland, Detroit, St. Louis, Kansas City); and the West Coast (Los Angeles, San Francisco). This collection of ephemeral snapshots tells the story of an era that helped transform American life, beginning the move from traditional Dixieland jazz to bebop, from conservatism to the push for personal freedom.
"From humble and hungry beginnings, the city of Cleveland grew over centuries until it boasted a dizzying array of gustatory choices. City dwellers and travelers alike flocked to the eateries at Public Square and Terminal Tower, including the Fred Harvey restaurants with their famous Harvey Girls. A single block-long street, Short Vincent featured the Theatrical Grille, the longest-running jazz joint in the area. The walls of Otto Moser's were a veritable Hollywood roll call, and the New York Spaghetti House offered a complete dining and aesthetic experience. Fill your cup with the libation of your choice, grab a snack and join author Bette Lou Higgins on a historical tour of the restaurants that kept Clevelanders fed."--Publisher's description.
The BBC's Jazz Book of the Year for 2008. Few jazz musicians have had the lasting influence or attracted as much scholarly study as John Coltrane. Yet, despite dozens of books, hundreds of articles, and his own recorded legacy, the "facts" about Coltrane's life and work have never been definitely established. Well-known Coltrane biographer and jazz educator Lewis Porter has assembled an international team of scholars to write The John Coltrane Reference, an indispensable guide to the life and music of John Coltrane. The John Coltrane Reference features a a day-by-day chronology, which extends from 1926-1967, detailing Coltrane's early years and every live performance given by Coltrane as either a sideman or leader, and a discography offering full session information from the first year of recordings, 1946, to the last, 1967. The appendices list every film and television appearance, as well as every recorded interview. Richly illustrated with over 250 album covers and photos from the collection of Yasuhiro Fujioka, The John Coltrane Reference will find a place in every major library supporting a jazz studies program, as well as John Coltrane enthusiasts.
Author Robert Dietsche is a Toledo born jazz historian and jazz critic who has resided in the Portland, Oregon area most of his life. Tatum's Town is the jazz history of his hometown, Toledo, Ohio, a city well known for producing and supporting great jazz. Well-researched and heavily illustrated with photographs of Toledo's jazz greats and jazz hotspots, Tatum's Town offers an exciting look at Toledo's jazz heritage from 1915 through the 1970s.Written with a sense of rhythm and finesse, Dietsche vividly describes Toledo's infamous after hour joints, speakeasies, and dive bars, as well as the town's classy night clubs, cocktail lounges, ballrooms, and supper clubs. Dietsche tells the lost history of the town's brothels, gaming halls, and jute joints, Toledo's notorious underside, where Toledo's jazz was born. Toledo's great jazz venues, the Trianon Ballroom, Centennial Terrace, Chateau La France, Kim Wa Low's, Fifi's, Aku-Aku and Rusty's Jazz Café are fondly recalled. The book provides a history of Toledo's most famous jazz personalities including Candy Johnson, El Meyers, Buddy Sullivan, Gene Parker, Bill Takas, Jimmy Harrison, and the "Queen of Toledo Jazz", Margaret "Rusty" Monroe. The lives of the author's talented Toledo high school friends, the jazz greats Arv Garrison, Charlie Mewhort, and Bob White, as well as the future movie and book critic, Fred Lutz, are chronicled. Dietsche details the life of the greatest jazz piano player who ever lived, the renowned Toledoan, Art Tatum. This jazz narrative makes it quite clear why Toledo is Tatum's town. Dietsche is author of Jump Town: The Golden Years of Portland Jazz, 1942-1957. Dietsche owned and operated downtown Portland's legendary used record store, Django Record Company, from 1977 to 1999.
Cover -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Foreword -- Acknowledgments -- Poems -- Introduction -- 1 Jazz, "Great Black Music," and the Struggle for Racial and Social Equality in Washington, DC -- 2 Seventh Street: Black DC's Musical Mecca -- 3 Washington's Duke Ellington -- 4 Bill Brower: Notes from a Keen Observer and Scene Maker -- 5 Jazz Radio in Washington, DC -- 6 Legislating Jazz -- 7 The Beautiful Struggle: A Look at Women Who Have Helped Shape the DC Jazz Scene -- 8 No Church without a Choir: Howard University and Jazz in Washington, DC -- 9 From Federal City College to UDC: A Retrospective on Washington's Jazz University -- 10 Researching Jazz History in Washington, DC -- List of Contributors -- Photo Credits and Permissions -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z
Music librarianship¿a profession that brings joy and satisfaction to many¿is subject to constant change that requires, in turn, continual adaptation from its practitioners so that they become comfortable with new technologies and formats, changing standards, and fresh approaches. Relevant and solid training and education are crucial to success in this field, but they alone are insufficient to guarantee placement or promotion. Recent economic shifts have created additional instability, leaving graduates from programs in librarianship sometimes unemployed and with little feedback about the quality of their experience and education while their employed counterparts likewise have little knowledge of their skills¿ relevance to the current job market. Knowledge of training, education, and current employer expectations for music librarians can help ease such concerns and pave the way for a successful career or career change. As with the two previous editions of Careers in Music Librarianship, this volume provides career resources and guidance for current and future librarians, as well as insights for mentors and educators working with these populations. With this volume, the contributors provide a selection of readings that can help people in and considering this profession to make realistic, informed, and strategic decisions about how to succeed in it. As the profession changes, so must the professionals within it, and everyone involved with music librarianship will benefit from the guidance offered in this exciting, new book.