Swingin The Blues The Virtuosity Of Eddie Durham
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Swingin' The Blues - The Virtuosity of Eddie Durham
Author: Topsy M. Durham
language: en
Publisher: Swingin' the Blues Durham
Release Date: 2021-02-11
The most famous Jazz icon you never heard of, is... Eddie Durham wrote the book for the original Count Basie Orchestra out of Kansas City, many of its compositions and at first, all arrangements. He also played in the Basie Orchestra trombone section and as a featured soloist on electric guitar. That he had been such a primary in the intro of amplification on the guitar, was as significant as anything ever done, not just by him. Because the electric guitar had a prominence certainly in the 2nd half of the 20th Century, the first electric guitarist is the foundation to an astounding set of developments in music. Eddie Durham is that first practitioner. He’s also taught Charlie Christian. If he was unobserved, as he certainly is, he would already through this 1 triumph have this accolade of the most unobserved musical genius of the 20th Century. But, there’s also his composing - his blues compositions alone put him on the map forever. “Sent For You Yesterday, Here U Come Today”, “Good Morning Blues”, “1 O’Clock Jump, “I Don’t Want To Set The World On Fire”, “Topsy”, “Swinging the Blues”. Also one of the masterful genius' of the composers/arrangers to the Jimmie Lunceford Orchestra "Wham, ReBop, BoomBam". And Durham arranged “In The Mood” for the Glenn Miller Orchestra in 1939. It's the soundtrack of America and Durham's ticket to the NARAS Hall of Fame.... Scouted by band leaders as a "hit-maker", Eddie's unique story from the inside, has never been told. UNTIL NOW. Don't miss this gem!
Swingin' the Blues - the Virtuosity of Eddie Durham
EDITION 2 (Feb. 25, 2021) There existed no comprehensive writing of trombonist/guitarist, composer/arranger, pianist, choreographer, EDDIE DURHAM (1906-1987), or his unique musical family. This book reaches back over half of a century and chronologically compiles news articles and flyers from, transcribed radio interviews, quotes, personal interviews with family, scholars, Eddie's peers, and colleagues, some of whom were only accessible to his family. Collectively, his brothers and cousins worked in the "Homecoming Band" of the Teddy Roosevelt Roughriders, with T-Bone Walker, Les Hite, Lionel Hampton, Blanche & Cab Calloway, Illinois Jacquet, Harry James, Teddy Wilson, Buck Clayton, Lester Young, Billie Holiday, Artie Shaw, Andy Kirk, and Nat King Cole. Whew! The Durham Brothers Orchestra tour the circuses and the minstrel shows. As a teenager, Eddie DURHAM himself roomed with Art Tatum, Cozy Cole, and the Tommy Dorsey family. Eddie joined The Oklahoma Blue Devils and The Bennie Moten Orchestra. By the 1930s at the dawn of the American big-band era, Eddie is scouted as a "hit-maker" because his written charts, compositions, and arrangements for The Count Basie Orchestra, creating the idiom of "swing music", with hit after hit such as "Moten's Swing", "Time Out", "Out The Window", "Every Tub", "Magic Carpet", "John's Idea", "One O'Clock Jump", "Jumpin at the Woodside", "Topsy", "Good Morning Blues" and "Swinging the Blues". For Jimmie Lunceford, he wrote "Wham Rebop Boom Bam" and "Blues In The Groove". He co-wrote "I Don't Want To Set The World On Fire" for the Ink Spots. For Glenn Miller he wrote "Sliphorn Jive" and Eddie Durham is the arranger of "In The Mood" which landed both in the NARAS Hall of Fame. Eddie's swinging hits spawned the emergence of a dance known first as jitterbug, then Lindyhop, then as swing dancing, a dance which is still thriving a century later in international competitions in all its regalia. Eddie worked with Harry James, Jan Savitt and when World War II broke out, he served as musical director and coach under a USO program instituted by Eleanor Roosevelt and Mary McLeod Bethune for four all-female orchestras, many times opening for Ella Fitzgerald. After the war, he led a Cavalcade of Jazz tour which included Wynonnie Harris (whom Elvis studied), Dinah Washington, Jack Teagarden, and Little Richard. Right off of this tour, Little Richard emerges with his first hit. What's left? Eddie wrote six-part harmony, experimented with electricity to make his guitar louder, and built his own whammy bar, a device made famous by Jimi Hendrix. Eddie built his own amplifier, coached the famous brass sections you love. On his trombone, he developed a non-pressure technique. Eddie's guitar and trombone recordings with these orchestras are groundbreaking, including The Kansas City sessions by John Hammond, and the Dave Dexter sessions. This book includes a bonus: a full discography of Eddie and his family and Eddie's "Music 101" class curriculum which he was slated to begin teaching before his death on March 6, 1987. Eddie's unique inside-out perspective of working closely with these band-leaders who would become famous from his hits has never been told. UNTIL NOW. Charles Frazier (formerly: Marvel Comics) designed the astounding collectible book cover. Impresario George Wein wrote the Foreword (founder: Newport Jazz, Folk, and New Orleans Jazz Festivals; White House Honoree). Co-Edited by Doctor Albert Vollmer. (Music licensing: BMG/ASCAP. Exhibits: http://www.DurhamJazz.com)
Blues on Stage
Author: John L. Clark Jr.
language: en
Publisher: State University of New York Press
Release Date: 2023-01-01
Blues on Stage presents a new history of the development of the "Classic Blues" of the 1920s, offering a comprehensive review of various Black singers who recorded and were influential in this era, including Bessie Smith, Trixie Smith, Butterbeans and Susie, and Ma Rainey. The business of music recording and publishing, including songwriting and touring theater circuits, is explored as part of the narrative of how and when these artists became nationally popular. The most highly regarded singers of this period were not folk or rural artists, but rather highly experienced stage professionals whose careers often extended two decades or more prior to their first recordings. These artists, some of the most famous acts on the Black vaudeville and tent show circuits, were preceded in the recording studio by many cabaret and nightclub singers with a different entertainment perspective and were followed by artists who came from a more rural, less professional background. For anyone interested in the roots of jazz and blues, Blues on Stage offers a new and comprehensive introduction to the development of this American musical style.