1
100
2
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https://richesmi.cah.ucf.edu/omeka/files/original/9a7111f2ac83a86f2412b2559779f87a.mp3
340ac851720e91dc1ed484e4cf44b3c7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><em> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</em></a>. New York: Hal Leonard, 2009.
Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank"><em>The History of Jazz</em></a>. New York: Oxford University Press, 1997.
Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank"><em>Jazz: A History of America's Music</em></a>. New York: Alfred A. Knopf, 2000.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"One Note Samba" by the John Whitney Trio
Alternative Title
"Samba de Uma Nota Só" by John Whitney Trio
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "One Note Samba," composed by Antônio Carlos Jobim (1927-1994) with Portuguese lyrics by Newton Mendon, and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "One Note Samba" is a jazz standard in a bossa nova rhythm, which was made popular on the 1963 Grammy-winning, number one album, <em>Jazz Samba</em>. It has been recorded by numerous artists, including Quincy Jones (b. 1933), Frank Sinatra (1915-1998), Barbra Streisand (b. 1942), and Ella Fitzgerald (1917-1996).
Type
Sound
Source
Original 5-minute and 35-second audio recording: Antônio Carlos Jobim and Newton Mendon. "One Note Samba," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Southern Tier Symphony, Allegany, New York
Creator
Jobim, Antônio Carlos
Mendon, Newton
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
John Whitney Trio
Date Created
2000-01-04
Date Issued
2000-01-04
Date Copyrighted
2000-01-04
Format
audio/mp3
Extent
5.12 MB
Medium
5-minute and 35-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Antônio Carlos Jobim and Newton Ferreira de Mendon, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Antônio Carlos Jobim and Newton Ferreira de Mendon and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015).
Antônio Carlos Brasileiro de Almeida Jobim
Antônio Carlos Jobim
Axel Stordahl
bossa nova
Brazilian music
CAH
College of Arts and Humanities
conducting
conductors
jazz
jazz ensembles
Jazz Lab
Jazz Samba
jazz standard
John Whitney
John Whitney Trio
musicians
National Public Radio
Newton Mendon
NPR
One Note Samba
orlando
Paul Weston
Public Broadcasting Service
Samba de Uma Nota Só
Sammy Cahn
Tom Jobim
UCF
UCF Jazz Lab band
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3
f72fcba79fc939f42f5e342d6b7bbc06
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><em> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</em></a>. New York: Hal Leonard, 2009.
Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank"><em>The History of Jazz</em></a>. New York: Oxford University Press, 1997.
Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank"><em>Jazz: A History of America's Music</em></a>. New York: Alfred A. Knopf, 2000.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"No More Blues" by Jeff Rupert + Dirty Martini
Alternative Title
"No More Blues" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "No More Blues," composed by Antônio Carlos Jobim (1927-1994), with lyrics by Vinícius de Moraes (1913-1980), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "No More Blues," or "Chega de Saudade," is a jazz standard that is considered to be the first recorded bossa nova song. The song was first recorded in 1958 by Elizete Cardoso, but the second recorded version in 1959 by João Gilberto became an international hit.
Type
Sound
Source
Original 5-minute and 35-second audio recording of Jeff Rupert + Dirty Martini, <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007: WUCF-FM, University of Central Florida.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Brazil
Creator
Jobim, Antônio Carlos
de Moraes, Vinícius
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Jeff Rupert + Dirty Martini
Date Created
2007-04-23
Date Issued
2007-04-23
Date Copyrighted
2007-04-23
Format
audio/mp3
Extent
5.12 MB
Medium
5-minute and 35-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Antônio Carlos Jobim and Vinícius de Moraes, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Antônio "Tom" Carlos Brasileiro de Almeida Jobim and Vinícius de Moraes and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015).
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3" target="_blank">"No More Blues" by Jeff Rupert + Dirty Martini</a>
Antônio Carlos Brasileiro de Almeida Jobim
Antônio Carlos Jobim
bossa nova
Brazilian jazz
CAH
Chega de Saudade
College of Arts and Humanities
Dirty Martini
Flying Horse Records
jazz ensembles
Jeff Rupert
Jeff Rupert + Dirty Martini
Marcus Vinícius da Cruz e Mello Moraes
music
musicians
National Public Radio
No More Blues
NPR
orlando
PBS
Public Broadcasting Service
tenor saxophones
tenor saxophonists
Tom Jobim
UCF
University of Central Florida
Vinicius de Moraes
WUCF-FM
Yamaha