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JACK BEST OF EVERYTHING 149 95 Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
SYNCOPATED TIMES ST
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TME OF MY LIFE
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WORM | JAZZ LIVES
when i go to smalls and jimmy w is playing I cannot take my eyes and ears off his drumming. You can’t help notice the continuous musicalcreativity.
BUNK JOHNSON FB
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AMMONS | JAZZ LIVES
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PIERRE ATLAN
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
TEDDY-WILSON-NEW-YORK-1937-LIFE1 teddy-wilson-new-york-1937-life1. Published October 2, 2015 at 1330 × 1032 in “REJECTED TAKES,” DECEMBER 17, 1937. ← Previous Next →. Teddy Wilson, 1937, New York, LIFE magazine. Bookmark thepermalink .
WHEN DID YOU LEAVE HEAVEN MEL 78 Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
JAZZ LIVES | MAY YOUR HAPPINESS INCREASE! "LIVES" IS BOTHJAZZ LIVESAPPLAUSEFIND MEBLISSTEDDY BUNNTYREE GLENN Pee Wee, distorted, by Weegee, c. 1955. It’s odd to write that good things came out of the Cold War. But the belief that one of the best ways to exhibit the happiness possible under capitalism was to share hot music as an emblem of freedom may seem naive now, but it had sweetresults.
JACK BEST OF EVERYTHING 149 95 Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
SYNCOPATED TIMES ST
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
TME OF MY LIFE
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
WORM | JAZZ LIVES
when i go to smalls and jimmy w is playing I cannot take my eyes and ears off his drumming. You can’t help notice the continuous musicalcreativity.
BUNK JOHNSON FB
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
AMMONS | JAZZ LIVES
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
PIERRE ATLAN
Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
TEDDY-WILSON-NEW-YORK-1937-LIFE1 teddy-wilson-new-york-1937-life1. Published October 2, 2015 at 1330 × 1032 in “REJECTED TAKES,” DECEMBER 17, 1937. ← Previous Next →. Teddy Wilson, 1937, New York, LIFE magazine. Bookmark thepermalink .
WHEN DID YOU LEAVE HEAVEN MEL 78 Visit the post for more. MAY YOUR HAPPINESS INCREASE! "Lives" is bothnoun and verb.
AN INSPIRED DREAM IN SUNDAY’S SUNSHINE: THE EARREGULARS … Late in the day, The EarRegulars with guests: Jon-Erik Kellso, Matt Munisteri, Jay Rattman, Tal Ronen, Josh Dunn, Albanie Falletta, June 6, 2021, outside the Ear Inn, 326 Spring Street, Soho, New York City. JAZZ LIVES' readers are an erudite lot, so they know the story of WILLIE THE WEEPER, a craftsperson with a substance WHEN JAZZ WENT TO COLLEGE, NEARLY 75 YEARS AGO: MAX When I convinced myself that I needed more records, and would go through boxes at the yard sale, antique store, or secondhand shop, I would often encounter Dave Brubeck's JAZZ GOES TO COLLEGE. Much rarer and never seen were Max Kaminsky's JAZZ ON THE CAMPUS and the wonderful series of small-band recordings Billy Butterfield made THE BOBBY HACKETT SEXTET WITH ROBERTA PECK AT THE The Riverboat was a restaurant with jazz in the basement of the Empire State Building, where Bobby, Urbie Green, Stan Rubin, and other groups played — with their brief programs recorded by CBS radio and transcribed for distribution to “the men and women of our armed forces,” and to sell U.S. Savings Bonds. Except for Roberta Peck,the
MR. RUSSELL FELT BETTER ALREADY: EDDIE CONDON, WILD … Pee Wee Russell hadn't taken good care of himself, and his body had rebelled in 1951. Thank goodness for the medical acumen of the times that enabled him to live almost twenty years more. But I also think that knowing that he was so loved -- Jack BEAUTIFUL HEROISM: LOUIS ARMSTRONG, “YOU DON’T KNOW … BEAUTIFUL HEROISM: LOUIS ARMSTRONG, “YOU DON’T KNOW WHAT LOVE IS” (1942) “It isn’t how you succeed; it’s how you recover when you don’t.” (Source unknown.) YOU DON’T KNOW WHAT LOVE IS was written by Gene de Paul (music) and Don Raye (lyrics) for an Abbott and Costello film. Most listeners know it from versions byColtrane
MASTERS OF ART: RUBY BRAFF, HARRY “SWEETS” EDISON, JOE This musical interlude is an absolute triumph -- not a cutting contest, but a jovial conversation among three brass legends (Braff, cornet; Sweets and Joe, trumpet) with a thoroughly congenial modern-swing rhythm section (the splendid virtuosi Johnny Guarnieri, piano; Michael Moore, string bass; Ray Mosca, drums). Ruby, Joe, and Sweets are vehement individualists with roots REMEMBERING KENNY (PART ONE): WORDS BY DANNY TOBIAS. … Over the past few months, I've been attempting to assemble a portrait, words and music, of Kenny Davern. He's been the subject of an extensive biography, JUST FOUR BARS, by Edward Meyer, but I wanted to talk to musicians who had known and played with him while everyone, including me, is still around. This first “GOOD OLD GOOD ONES” AT MANASSAS: BILLY BUTTERFIELD, … Leopold Stokowski said, "There is no exhausted repertoire. There are only exhausted musicians." It applies to the session you are about to indulge in, from the Manassas Jazz Festival, featuring Billy Butterfield and Pee Wee Erwin, trumpet; Larry Eanet, piano; Spencer Clark, bass saxophone; Butch Hall, guitar; Paul Langosch, string bass; Barrett Deems, drums. “WHAT DID YOU BRING US?”: MICHEL BASTIDE’S PRICELESS I know Michel Bastide as the slender, bespectacled hot cornetist of the Hot Antic Jazz Band, a very earnest, gracious man and musician. Here he is leading a small incendiary group at the 2010 Whitley Bay Jazz Party, "Doc's Night Owls." The "Doc," incidentally, is because M. Bastide's day gig is as an ophthalmologist. But before WHEN FRIENDS DROP IN: A LITTLE JAM SESSION AT CAFE … If I learned that a few dear friends were going to drop by in fifteen minutes, I would rush around tidying, straightening out the bed, looking to see what you could serve them . . . a flurry of immediate anxiety ("Does the bathtub need to be cleaned and can I do it in theJAZZ LIVES
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TAG ARCHIVES: CENTRAL PLAZA “BEST SESSION IN TOWN”: OUR HEROES, GIGGING AROUND Posted on January 8, 2017| 8 comments
Buck Clayton, Bob Wilber, Johnny Windhurst, 1951:Red Allen, 1956,
Tony Parenti, 1949:
Pee Wee Russell, 1964: I am tempted to close this very unadorned exhibit of treasures with a sigh, “Ah, there were wonders in those days!” That sigh would be a valid emotional reaction to the glories of the preceding century. But — just a second — marvels are taking place all around us NOW, and those who lament at home will miss them. MAY YOUR HAPPINESS INCREASE!SHARE THIS:
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That ,
Ideal Places ,
Irreplaceable
, It's All
True , Jazz
Titans , Pay
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Tagged Art Hodes , ArtTrappier , Bob
Wilber , Buck Clayton, Central Plaza
, Dick Cary
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, George Brunis
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Allen , Jazz
Lives , Jimmy Ryan's, Johnny Windhurst
, Michael
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Wee Russell ,
Storyville , Tony
Parenti , Wingy
Manone
HOLD ON TIGHT: “JAZZ DANCE” (1954): A FILM BY ROGER TILTON ANDRICHARD BRUMMER
Posted on June 6, 2012| 16 comments
Thanks to Joep Peeters for pointing out that this fascinating piece of cultural / musical anthropology is available on YouTube. (It disappeared, but now it’s back.) Without exaggeration, there is no film remotely like it: This twenty-minute film documents what it was really like at New York City’s cavernous Central Plaza, with a band made up of Jimmy McPartland, cornet; Jimmy Archey, trombone; Pee Wee Russell, clarinet; Willie “the Lion” Smith, piano; Pops Foster, string bass; George Wettling, drums — heroes! — as they proceed through a slow blues, a medium-tempo BALLIN’ THE JACK, ROYAL GARDEN BLUES, and theSAINTS.
Here’s the fascinating commentary about how the film was shot: Matrixx Entertainment is pleased to present the 1954 classic, JAZZ DANCE, produced and directed by Roger Tilton, edited by Richard Brummer. Special appearance by Al Minns and Leon James. Music by Jimmy McPartland (trumpet), Willie (the Lion) Smith (piano), Pops Foster (bass), Pee Wee Russell (clarinet), Jimmy Archey (trombone), George Wettling, (drums). Filmed at the Central Plaza Dance Hall inNew York City.
This high quality version was digitized by John Fellers from Dick Brummer’s 3/4-inch video tape struck from the original 35mm black and white master, the only 35mm print in existence in San Diego with Pat Tilton, the wife of Roger Tilton who passed away in 2011. Dick Brummer, mentor of James Jaeger and a stockholder of Matrixx Entertainment, granted permission to post JAZZ DANCE to this channel. Below are some excerpts from letters and technical notes on how this pioneering film was made. _IT MIGHT BE OF INTEREST TO NOTE THAT ROGER MADE MANY VISITS TO THE CENTRAL PLAZA DANCE HALL IN THE WEEKS BEFORE PRODUCTION AND DREW PICTURES OF THINGS HE SAW HAPPEN THERE. THESE WERE GIVEN TO THE CAMERAMEN BEFORE THE SHOOT WITH INSTRUCTIONS TO TRY TO GET THESE SHOTS IF THEY HAPPENED. THE TWO CAMERAMEN WORKED IN SUCH A WAY AS TO COVER THE SAME ACTION FROM TWO ANGLES WHEN POSSIBLE SO THAT I COULD HAVE THE MATERIAL I NEEDED FOR SYNCHRONOUS ACTION CUTS WHEN I EDITED THE FILM. __JAZZ DANCE WAS SHOT WITH TWO 35MM HAND-HELD WW 2-TYPE CAMERAS CALLED EYEMOS PLUS A 35MM MITCHELL HIGH UP IN A BALCONY. THERE WERE 2 CAMERAMEN WITH AN ASSISTANT EACH. WHEN THEY RAN OUT OF THEIR 100 FOOT LOADS (ABOUT 1 MINUTE) THE ASSISTANT RAN OUT WITH ANOTHER CAN OF NEGATIVE. DUPONT 3 WAS USED, THE FASTEST FILM AT THE TIME. __ROGER HAD BEEN TOLD THAT HE WOULD NEED ARC LIGHTS AND A GENERATOR IN THE STREET WITH BIG SOUND CAMERAS TO DO THE JOB BUT MY ASSOCIATE AT THE TIME AND I HAD A DIFFERENT IDEA. WE HAD ARRANGED FOR THE USE OF NEW LIGHTS JUST DEVELOPED BY GE THAT WERE THE FIRST PAR CANS EVER USED ON A FILM. THEY PLUGGED INTO THE EXISTING POWER. THE EYEMOS WERE WILD, BUT SHOT AT 24 FRAMES PER SECOND. MY SOUND EQUIPMENT ALSO RAN AT 24 FPS. I DID THE SYNC LATER ON A MOVIEOLA. THE CROWD WAS TOLD THAT, BY SIGNING A RELEASE THAT NIGHT, THEY WOULD GET IN FREE. I USED 3 MICS AND A THIRD HAND-HELD WHEN NEEDED THROUGH A MIXER. __THE FILM IS NOTED FOR BEING ONE OF THE FIRST CINEMA VERITE FILMS TO TAKE THE AUDIENCE INTO AN EVENT AS PARTICIPANT. THE AUDIENCE HARDLY NOTICED THE CAMERAS BECAUSE THEY LOOKED LIKE AMATEUR EQUIPMENT. THE CAMERAMEN SHOT FROM BEHIND SHOULDERS AND FROM THE HIP. RICKY LEACOCK AND BOB CAMPBELL WERE THE TWO CAMERAMEN. __FOR THE JAZZ DANCE SHOOT, THE CAMERAMEN USED 100 FOOT LOADS AND SEVERAL CAMERAS SO THAT, WHEN SIGNALED, THE ASSISTANTS WOULD GIVE THE CAMERAMEN A LOADED CAMERA AND TAKE AWAY THE CAMERA WITH THE EXPOSED FILM TO UNLOAD IT AND LOAD A NEW 100 FOOT LOAD. THIS WAS DONE AWAY FROM THE CROWD IN BLACK LOADING BAGS. THE CAMERAS WERE SPRING-WOUND, BUT SET BY THE CAMERAMEN TO RUN AT 24 FPS, THE SAME SPEED I WAS RUNNING MY 17 AND A HALF MAG RECORDER (WHICH WAS PLUGGED IN TO THE WALL BEHIND THE BAND). THE ENTIRE DANCE WAS SHOT IN ABOUT FOUR HOURS. __SOLVING THE LOGISTICS OF THE SHOOT, AS I DISCUSSED ABOVE, WAS ONE THING, BUT DOCUMENTING WHAT ACTUALLY WENT ON AT THE DANCE HALL EVERY SATURDAY NIGHT ON 35MM, WITH BOTH SOUND AND PICTURE, SET A NEW STANDARD FOR A “YOU ARE THERE,” CINEMA VERITE FILM. __THE WELL-KNOWN DOCUMENTARIAN, MURA DEHN, HAD SHOT FOOTAGE OF JAZZ DANCERS, INCLUDING MINNS AND JAMES, BEFORE, BUT SUCH SHOOTS WERE ALWAYS STAGED AND WITHOUT SOUND (WHAT WE CALL MOS). THIS WAS TRUE EVEN WHEN SHE SHOT AT THE SAVOY BALLROOM. YOU CAN SEE DEHN’S WORK ON YOUTUBE IN THE SERIES IS CALLED “THE SPIRIT MOVES.” BY THE WAY, I WORKED WITH MURA ON A DOCUMENTARY SHE MADE ON MODERN JAZZ MUSIC WHERE SHE DID RECORD LIVE MUSIC — BUT THERE WAS NO DANCING. SO JAZZ DANCE IS THE FIRST TO COMBINE MANY TECHNIQUES.__
_Almost sixty years later, this film captures an exuberant scene in exuberant ways. I had not known of the one-minute film limitations, but now it explains the hectic energy of the finished product, cutting from one scene to another with restless rapidity. The music speaks for itself: as I’ve been pointing out with advertising cards, bands such as this — at this level — assembled regularly in these huge downtown New York catering halls in the late Forties onward. So JAZZ DANCE presents a wild audience responding without restraint to the music they hear. It is also an amusing corrective to those who yearn for an imagined Golden Era when audiences sat silently, rapt, attentive . . . I suspect that hot jazz always provoked such energeticresponse.
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Posted in "Thanks A Million", Bliss!
, Hotter Than That
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Tagged Al Mimms , BobCampbell , Central
Plaza , cinema
verite , Dick
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documentary , GeorgeWettling , James
Jaeger , jazz dance
, Jazz Lives
, jazz on film
, Jimmy Archey
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, Joep Peeters
, John Fellers
, Leon James
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, Mura Dehn
, Mztrix Entertainment, Pat
Tilton , Pee Wee
Russell , Pops
Foster , Richard
Brummer , Ricky
Leacock , Roger
Tilton , WHEN THE
SAINTS GO MARCHING IN,
Willie "the Lion" Smith, YouTube
“AND MANY OTHER RHYTHM ARTISTS” Posted on May 15, 2012| 2 comments
We could go to this concert . . . even though a decade later, having been there might lose us our jobs as dangerous subversives: The fact that the poster was red, white, and blue wouldn’t convince the House Un-American Activities Committee for a moment. Or we could visit Lady Day, Duke, Anita, and Big Sid in California: But perhaps we should stay closer to home, and if we’re lucky, eventually Mezz will stop playing and let someone else solo. Imagine Pete Seeger singing with James P. Johnson accompanying him: I can think of no better way to spend New Year’s Eve. Can you? _MAY YOUR HAPPINESS INCREASE._SHARE THIS:
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Thing , The
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Tagged Albert Ammons, Anita O'Day
, Billie Holiday
, boogie-woogie
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Carlisle
“NO EXTRA CHARGE FOR TABLES” (1948-49) Posted on April 27, 2012| 6 comments
There was Chicago’s South Side in the mid-to-late Twenties. There was Fifty-Second Street in New York for a decade starting in 1935 or so. There was always Harlem and Kansas City . . . but these three advertisements speak to me of a Golden Age that was happening before Iwas born.
Let’s get prepared. We need some money, acetates for my Presto disc cutter, several cameras, rare Okehs and Paramounts for everyone’s autograph . . . and be sure to let your parents know we won’t be home early. All set?October 8, 1948:
The Beloved has her back cushion. We’re all set!December 3, 1948:
We’ll
swing by Emily’s house to pick her up: Eric, Noya, Jon-Erik, Matt, and Kevin are meeting us there. If anyone tends to get carsick, they have to come by subway.March 25, 1949:
Gordon, Veronica, Lena, and Tamar promised they’d come. Enough fantasy, perhaps. All I know is that one of these evenings would have changed my life. _MAY YOUR HAPPINESS INCREASE._SHARE THIS:
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Posted in "Thanks A Million", Bliss!
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Places ,
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, Jazz Titans
,
Mmmmmmmmmmmmm!
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Swing You Cats!
, The Real
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Tagged Arthur Trappier, Bob Maltz
, Brad Gowans
, Central Plaza
, Charlie Traeger
, Chippie Hill
, Ebay
, Edmond Hall
, Emily Asher
, Eric Elder
, Fats Waller
, Freddie Moore
, Georg Brunis
, Gordon Au
, James P. Johnson
, Jazz Lives
, Jimmy McPartland
, Joe Sullivan
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, Kevin Dorn
, Lena Bloch
, Lorna Sass
, Matt Munisteri
, Michael
Steinman , Miff
Mole , Muggsy Spanier, Noya Lavie
, Sol Yaged
, Stuyvesant Casino
, Tamar Korn
, The Beloved
, Tony Parenti
, Tony Sbarbaro
, Tony Spargo
, Veronica Day
, Wild Bill Davison
, Willie "the
Lion" Smith
TAKE ME TO THE LANDS OF JAZZ — 1948 AND 1949 Posted on April 24, 2012| 5 comments
These postcards (being sold on eBay) have a certain poignancy for me — not only because I can’t get to these occasions by any means short of the paranormal — but because when I go down to Greenwich Village in New York to hear jazz at Smalls, for instance, I could walk to these fabled sites. Read the postcard, close your eyes, and imagine the band! I can hear Benny Morton and that rhythm section . . . and I’ll bet there were some serious blues played that night. Worth $1.25. Three of the finest cornetists / trumpeters one could imagine — with Gowans and Marsala, James P., and that Bechet fellow. Have mercy. Well, it is reassuring to know — even at this distance — that such things happened — not once but often. _MAY YOUR HAPPINESS INCREASE._SHARE THIS:
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Tagged Baby Dodds ,
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Casey , Bob Maltz
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Dick Cary , Duke Starr, Ebay
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, Greenwich
Village , Jack
Crystal , jam
session , James P.
Johnson , Jazz
Lives , Joe MArsala
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, New York City
, Ruby Smith
, Sidney Bechet
, Smalls
, Stuyvesant Casino
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TUESDAYS WITH SIDNEY* Posted on September 27, 2009| 2
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*The Sidney Bechet Society. We haven’t been able to spend Tuesdays with Monsieur Bechet for a half-century, but time spent with his youthful heirs will be just as satisfying. Don’t be left out! WYCLIFFE GORDON’S “HISTORY OF JAZZ TROMBONE” Symphony Space, Broadway & 95th St., New York City Tuesday, September 29, 2009 2 shows:6:15pm & 9:00pm
The Sidney Bechet Society presents trombone sensation Wycliffe Gordon leading a “History of Jazz Trombone.” Wycliffe & the band will remember the legends of this soulful instrument, jazz titans like Kid Ory, Jack Teagarden, Lawrence Brown, Tricky Sam Nanton, Juan Tizol, Tommy Dorsey, J.C. Higginbotham, Tyree Glenn, Al Grey and Buster Cooper. Joining Wycliffe will be Anat Cohen, reeds (Jazz Journalists’ Assoc. 2009 Clarinetist of the Year); Etienne Charles, trumpet (winner: 2006 National Trumpet Competition); Ehud Asherie, piano; Zaid Shukri, bass; Marion Felder, drums; Terry Wilson, vocals. Tickets are $25, available at the box office, by telephone and online at http://www.symphonyspace.org (use code “RAC102” when ordering online). Special 2 show discount: get our Sept. 29 & Oct. 27 shows for $44. This offer is good at box office & phone only—use code “SBS 01” www.sidneybechet.org “REMEMBERING STUYVESANT CASINO & CENTRAL PLAZA” WITH VINCEGIORDANO
Symphony Space, Broadway & 95th St., New York City Tuesday, October 27, 2009 6:15pm &9:00pm
The Sidney Bechet Society presents a tribute to two legendary jazz venues: Stuyvesant Casino & Central Plaza. Joining Vince will be Randy Reinhart, trumpet; Mark Lopeman, reeds; Jim Fryer, trombone; Ehud Asherie, piano; Kenny Salvo, banjo; Rob Garcia, drums, and Ricky Gordon on washboard. During the 1940s and 1950s, these were the hotbeds of traditional Jazz in NYC. All the greats played there. Vince Giordano will lead a hot band recreating the music one would hear at both establishments. Special guest stars are pianist Marty Napoleon & clarinetist Sol Yaged, who played at both venues. Marty & Sol are 88 and 87 years old, respectively, and still swinging hard! Tickets are $25, available at the box office, by telephone and online at http://www.symphonyspace.org (use code “RAC102” when ordering online). Special 2 show discount: get our Sept. 29 & Oct. 27 shows for $44. This offer is good at box office & phone only—use code“SBS 01”
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Among Us
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Real Thing ,
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Tagged "traditional jazz", Al Grey
, Anat Cohen
, Buster Cooper
, Central Plaza
, Ehud Asherie
, Eric Offner
, Etienne Charles
, J.C.
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Jack Teagarden ,
jazz blog , Jazz Lives, Jim Fryer
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, Ken Salvo
, Kid Ory
, Lawrence Brown
, live jazz
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, Sidney Bechet
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“THAT MAN,” CONCLUDED? Posted on August 7, 2009| 4
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I doubt that my readers have been kept awake by the mysteries contained in this photograph, but I decided to open the discussion to the members of a jazz research group that includes the most respected jazz scholars . . . and they added a few insights. Michael McQuaid had suggested that the unknown baritonist might be Bill Miles — only on the basis of Miles’s apprearance on some Wild Bill Davison Commodores. Plausible, but neither of us had any idea of what Miles looked like. Then Peter Vacher, someone who knows things first-hand (he’s written a fine book collecting his interviews of famous jazz players — SOLOISTS AND SIDEMEN — worth searching out) emailed me: _Your photo sent me scurrying to my photo collection. I’m pretty sure your man is Billy Miles. I have him in a photo that Joe Darensbourg gave me showing a jam session at the Blue Bird in LA in the early 1950s. It’s an interesting line-up with Joe, Chicago drummer Bill Winston (visiting from Honolulu) and Billy Miles, playing baritone, among others. My picture shows Miles as identical to your picture, same facial expression, parting and hair style. Caseclosed? Hope so._
That might have been the end of it if not for Dan Morgenstern, who not only knows things but has been a part of the New York jazz scene for more than half a century. Dan proposed that 1) he had been at Stuyvesant Casino and Central Plaza, both of which were large catering halls (Central Plaza is recognizable in photographs when musicians are posed against its multicolored venetian blinds) and that it might be Lou Terassi’s; 2) the microphone was for radio broadcast; 3) it wasn’t Sidney Catlett but Art Trappier. I had written here that the upholstered background seemed more a night club’s decor, but I was crestfallen to lose Big Sid, with all respects to Art. And there the matter might rest. But what if it was taken at a “Doctor Jazz” broadcast? Doorsshut, doors open.
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Tagged Art Trappier
, Arthur Trappier
, Bill Miles
, Central Plaza
, Dan Morgenstern
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, Jazz Lives
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* BEAUTIFUL HEROISM: LOUIS ARMSTRONG, “YOU DON’T KNOW WHAT LOVEIS” (1942)
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