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Negro music and American. Girl music and American exploration of it and its impact on American culture. Here is your host for the survey's Tony look at Bach. You only Roll Morton you summed up his dedication and jazz for a downbeat goannas in 1940 by saying New Orleans style Chicago style Kansas City's New York style it's all jelly roll style at that time jelly roll strong ego desperately needed votes from just a year before his death he was down on his luck. Even though he had already become a legend in ill health and the year of swing and Benny Goodman had diverted attention from his kind of music. Speaking serves me though Joey's claim to being you know very influential in all jazz styles is not quite as
outrageous as some many jazz experts feel that he did indeed he was imprinted on jazz in many ways. You know our first number mournful serenade a quartet number featuring Omer Simeon and clarinet Field's own trombone Joey on piano and Tommy Benford on drums used them which is a strong claim to fame as a suburban jazz pianist and arranger. And you will appreciate this back much more when you realize that this recording was made way back in 1928 mournful Serenade by the Jelly Roll Morton quartet all. O o o o o o o o o o o o.
Last week we heard Jellyroll plane saying maybe he's blue. This is also commonly known as the 219 blues. There is a great version of this recorded by two of the greatest New Orleans musicians Louis Armstrong on trumpet and Sidney Vishay on clarinet and soprano sax. Oh and someone here is really tremendous on this number but I'd like to point especially to be on clarinet and soprano sax. Louis Armstrong and his orchestra are doing the 219 blues.
Will. You.
Our names numbers of blues played by the Johnny wings band sung by Dr. Ed Lawrence's show and written by L. Rowe it's a great number in the traditional style that is not only a treat for your ears but is a fine example of the kind of effort these three men make in their separate and collective giving of their time and hearts to preserve early New Orleans jazz. Here is minding my business.
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Series
Opera: Battleground of the arts
Episode
Dramatic function of the voice
Producing Organization
WRVR (Radio station: New York, N.Y.)
Riverside Church (New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip-500-2f7jts28
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-500-2f7jts28).
Description
Episode Description
This program focuses on the dramatic function of the voice in opera.
Series Description
A discussion series, hosted by Boris Goldovsky, that examines the welding together of music and drama, two distinct arts, into opera.
Date
1967-03-01
Asset type
Episode
Media type
Sound
Duration
00:14:36
Credits
Host: Goldovsky, Boris
Producing Organization: WRVR (Radio station: New York, N.Y.)
Producing Organization: Riverside Church (New York, N.Y.)
AAPB Contributor Holdings
University of Maryland
Identifier: cpb-aacip-a8019673ea9 (Filename)
Format: 1/4 inch audio tape
Duration: 00:29:34
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Citations
Chicago: “Opera: Battleground of the arts; Dramatic function of the voice,” 1967-03-01, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 11, 2022, http://americanarchive.org/catalog/cpb-aacip-500-2f7jts28.
MLA: “Opera: Battleground of the arts; Dramatic function of the voice.” 1967-03-01. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 11, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-2f7jts28>.
APA: Opera: Battleground of the arts; Dramatic function of the voice. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-2f7jts28