1
100
12
-
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/582b62e48fb1577a52a9e344c5bd4828.mp3
04c89515f53edca7d74951623d82e5f1
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
"When Lights Are Low" by Jeff Rupert + Dirty Martini
Alternative Title
"When Lights Are Low" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "When Lights Are Low," composed by Benny Carter (1907-2003) and Spencer Williams (1889-1965), 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, <em>Harlem Renaissance</em>, 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. "When Lights Are Low" is a jazz standard that was composed in 1936 and has been recorded by numerous artists. The most famous versions were recorded by Miles Davis (1926-1991) in 1956 and Tony Bennett in 1964.
Type
Sound
Source
Original 5-minute and 21-second audio recording: Carter, Benny, and Spencer Williams. "When Lights Are Low," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007.
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
Carter, Benny
Williams, Spencer
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
4.9 MB
Medium
5-minute and 21-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Benny Carter and Spencer Williams, 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 Benny Carter and Spencer Williams 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/582b62e48fb1577a52a9e344c5bd4828.mp3" target="_blank">"When Lights Are Low" by Jeff Rupert + Dirty Martini</a>
Bennett Lester Carter
Benny Carter
bossa nova
Brazilian jazz
CAH
College of Arts and Humanities
Dirty Martini
Flying Horse Records
jazz
jazz ensembles
jazz standard
Jeff Rupert
Jeff Rupert + Dirty Martini
music
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
Spencer Williams
tenor saxophones
tenor saxophonists
UCF
University of Central Florida
When Lights Are Low
WUCF-FM
Yamaha
-
https://richesmi.cah.ucf.edu/omeka/files/original/c50e2ea092f19ce47ee01e86a745117f.mp3
c3f8dbdf59d96ba1b58133305e221e38
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
"Recado Bossa Nova" by Terry Myers
Alternative Title
"Recado Bossa Nova" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Recado Bossa Nova," composed by Luiz Antonio and Djalma Ferreira, and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Recado Bossa Nova" was written by Brazilian composers/musicians Antonio and Ferreira and first recorded by Hank Mobley (1930-1986) on his 1965 album, <em>Dippin'</em>.
Type
Sound
Source
Original 6-minute and 13-second audio recording: Antonio, Luiz and Djalma Ferreira. "Recado Bossa Nova," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
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
Rio de Janeiro, Greater Rio de Janeiro, Brazil
Creator
Antonio, Luiz
Ferreira, Djalma
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.7 MB
Medium
6-minute and 13-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Luiz Antonio and Djalma Ferreira, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Luiz Antonio and Djalma Ferreira 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://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
bossa nova
Brazilian jazz
Brazilians
CAH
Church Street Station
College of Arts and Humanities
composers
Djalma Ferreira
Epcot
Francis Albert Sinatra
Frank Sinatra
Hank Mobley
Henry Mobley
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
Luiz Antonio
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
radio stations
radios
Recado Bossa Nova
Reed
reed player
reed players
Reuben Bloom
Rio de Janeiro, Brazil
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonist
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/c854e91cd963e277416da0a930145002.mp3
1122b5da6afa1aace63e6a69f5fb4582
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
"Manhã de Carnaval" by Larry Coryell
Alternative Title
"Manhã de Carnaval" by Larry Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Manhã de Carnaval" ("Morning of the Carnival"), composed by Luiz Bonfá (1922-12001) and lyricist Antônio Maria (1921-1964), and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums.One of the first bossa nova compositions to gain popularity outside Brazil, "Manhã de Carnaval" has become a jazz standard. The song appeared as the theme to the 1958 film, <em>Orfeu Negro</em> (<em>Black Orpheus</em>).
Type
Sound
Source
Original 4-minute and 26-second audio recording: Bonfá, Luiz, and Antônio Maria. "Manhã de Carnaval," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999.
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
Creator
Bonfá, Luiz
Maria, Antônio
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Coryell, Larry
Date Created
1999-06-08
Date Issued
1999-06-08
Date Copyrighted
1999-06-08
Format
audio/mp3
Medium
4-minute and 26-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Luiz Floriano Bonfá and Antônio Maria, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Luiz Floriano Bonfá and Antônio Maria 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
Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank"><em>Improvising: My Life in Music</em></a>. New York: Backbeat, 2007.
Antônio Maria
Antônio Maria de Araújo Morais
Black Orpheus
bossa nova
Brazilian jazz
CAH
College of Arts and Humanities
free jazz
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz standard
jazz-rock
Larry Coryell
Luis Bonfá
Luiz Bonfá
Luiz Floriano Bonfá
Manhã de Carnaval
Morning of the Carnival
musicians
National Public Radio
NPR
Orfeu Negro
orlando
PBS
post-bop
Public Broadcasting Service
UCF
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/f9c784e7294e86445eb7fa3939637ca6.mp3
27e7b8c0ef31285c2b5df98a13a7fef6
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
"The Gentle Rain" by the John Whitney Trio
Alternative Title
"Gentle Rain" by John Whitney Trio
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "The Gentle Rain," composed by Luiz Bonfá (1922-2001) 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.
Type
Sound
Source
Original 6-minute and 27-second audio recording: Bonfá, Luiz. "The Gentle Rain," 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
Bonfá, Luiz
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
5.91 MB
Medium
6-minute and 27-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Luiz Bonfá 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 Luiz Bonfá 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).
Axel Stordahl
bossa nova
Brazilian jazz
CAH
Chuva Delicada
College of Arts and Humanities
conducting
conductors
jazz
jazz ensembles
Jazz Lab
John Whitney
John Whitney Trio
Luis Bonfá
Luiz Bonfá
Luiz Floriano Bonfá
musicians
National Public Radio
NPR
orlando
Paul Weston
Public Broadcasting Service
Sammy Cahn
The Gentle Rain
UCF
UCF Jazz Lab band
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3
fb5fac5babfe1286125176315963929b
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
"Samba de Orpheus" by Ira Sullivan
Alternative Title
"Samba de Orpheus" by Ira Sullivan
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Samba de Orpheus," composed by Luiz Bonfá (1922-2001) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. One of the first bossa nova compositions to gain popularity outside Brazil, "Samba de Orpheus" has become a jazz standard. The song originally appeared in the 1959 film, <em>Orfeu Negro</em> ("<em>Black Orpheus</em>").
Type
Sound
Source
Original 6-minute and 24-second audio recording: Bonfá, Luiz. "Samba de Orpheus," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006.
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
Young Musicians Camp, University of Miami, Miami, Florida
Chicago, Illinois
Creator
Bonfá, Luiz
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Sullivan, Ira
Date Created
2006-12-08
Date Issued
2006-12-08
Date Copyrighted
2006-12-08
Format
audio/mp3
Extent
5.86 MB
Medium
6-minute and 24-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Luiz Bonfá performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Luiz Bonfá 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
Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." <em>Jazz Times</em>, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015).
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3" target="_blank">"Samba de Orpheus" by Ira Sullivan</a>
alto hornists
alto saxophones
alto saxophonists
alton horns
bebop
bop
bossa nova
Brazilian jazz
Brazilian music
CAH
College of Arts and Humanities
flautists
flugelhornists
flugelhorns
flutes
Ira Sullivan
jazz
jazz ensemble
jazz ensembles
Luiz Bonfá
Luiz Floriano Bonfá
music
musicians
National Public Radio
NPR
orlando
PBS
peck horns
Public Broadcasting Service
samba
Samba de Orpheus
Samba of Orpheus
soprano saxophones
soprano saxophonists
tenor horns
tenor saxophones
tenor saxophonists
UCF
UM
University of Central Florida
University of Miami
WUCF-FM
Young Musicians Camp
-
https://richesmi.cah.ucf.edu/omeka/files/original/de41c8383c5ed2a9940b166cc0155824.mp3
b9828f02c8646cf5fd27ae9c883ef1be
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
"Blue Bossa" by Larry Coryell
Alternative Title
"Blue Bossa" by Larry Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Blue Bossa," composed by Kenny Dorham (1924-1972) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Blue Bossa" is a jazz standard that first appeared on the 1963 Joe Henderson album, <em>Page One</em>.
Type
Sound
Source
Original 9-minute and 48-second audio recording: Dorham, Kenny. "Blue Bossa," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999.
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
Creator
Dorham, Kenny
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Coryell, Larry
Date Created
1999-06-08
Date Issued
1999-06-08
Date Copyrighted
1999-06-08
Format
audio/mp3
Medium
9-minute and 48-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Kenny Dorham, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Kenny Dorham 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
Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank"><em>Improvising: My Life in Music</em></a>. New York: Backbeat, 2007.
Blue Bossa
bossa nova
CAH
College of Arts and Humanities
free jazz
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz standard
jazz-rock
Kenny Dorham
Larry Coryell
McKinley Howard Dorham
musicians
National Public Radio
NPR
orlando
PBS
post-bop
Public Broadcasting Service
UCF
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/72298c3432bb0437bf58f019c655e38e.mp3
798c36ad2deb28a22c030c7ca29a614f
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
"You're Blasé" by Jeff Rupert + Dirty Martini
Alternative Title
"You're Blasé" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "You're Blasé," composed by Ord Hamilton and Bruce Sievier, 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. "You're Blasé" is a 1931 jazz standard that was popularized by Ella Fitzgerald, who recorded the song in 1957 and agian in 1973.
Type
Sound
Source
Original 7-minute and 1-second audio recording: Hamilton, Ord, and Bruce Sievier. "You're Blasé," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007.
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
Hamilton, Ord
Sievier, Bruce
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
6.42 MB
Medium
7-minute and 1-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Ord Hamilton and Bruce Sievier, 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 Ord Hamilton and Bruce Sievier 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/72298c3432bb0437bf58f019c655e38e.mp3" target="_blank">"You're Blasé" by Jeff Rupert + Dirty Martini</a>
bossa nova
Brazilian jazz
Bruce Sievier
CAH
College of Arts and Humanities
Dirty Martini
Flying Horse Records
jazz
jazz ensembles
jazz standard
Jeff Rupert
Jeff Rupert + Dirty Martini
music
musicians
National Public Radio
NPR
Ord Hamilton
orlando
PBS
Public Broadcasting Service
tenor saxophones
tenor saxophonists
UCF
University of Central Florida
WUCF-FM
Yamaha
You're Blasé
-
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
-
https://richesmi.cah.ucf.edu/omeka/files/original/06525c8a65caca453ff762be64ecb873.mp3
ad0448f4a90ae6470b203f112028c91a
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
"Bad Moon" by Jeff Rupert + Dirty Martini
Alternative Title
"Bad Moon" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Bad Moon," composed 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. "Bad Moon" was written by Rupert and recorded on his 2009 album, <em>From Memphis to Mobile</em>.
Type
Sound
Source
Original 5-minute and 10-second audio recording: Rupert, Jeff. "Bad Moon," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007.
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
Rupert, Jeff
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
4.74 MB
Medium
5-minute and 10-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Jeff Rupert, 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 Jeff Rupert 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/06525c8a65caca453ff762be64ecb873.mp3" target="_blank">"Bad Moon" by Jeff Rupert + Dirty Martini</a>
Bad Moon
bossa nova
Brazilian jazz
CAH
College of Arts and Humanities
Dirty Martini
Flying Horse Records
jazz
jazz ensembles
Jeff Rupert
Jeff Rupert + Dirty Martini
music
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
tenor saxophones
tenor saxophonists
UCF
University of Central Florida
WUCF-FM
Yamaha
-
https://richesmi.cah.ucf.edu/omeka/files/original/cb340dd192858625e2a5a00db0dd78de.mp3
98ec16ca888b894aa11cfe5e7d593b42
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
"Descarga" by Jeff Rupert + Dirty Martini
Alternative Title
"Descarga" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Descarga," composed 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. "Descarga" is the Afro-Cuban equivalent to an improvised jam session.
Type
Sound
Source
Original 2-minute and 32-second audio recording: Rupert, Jeff. "Descarga," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007.
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
Cuba
Creator
Rupert, Jeff
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
2.32 MB
Medium
2-minute and 32-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created and 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 Jeff Rupert 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/cb340dd192858625e2a5a00db0dd78de.mp3" target="_blank">"Descarga" by Jeff Rupert + Dirty Martini</a>
Afro-Cuba jazz
bossa nova
CAH
College of Arts and Humanities
Descarga
Dirty Martini
Flying Horse Records
jam sessions
jazz
jazz ensembles
Jeff Rupert
Jeff Rupert + Dirty Martini
Latin jazz
music
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
tenor saxophones
tenor saxophonists
UCF
University of Central Florida
WUCF-FM
Yamaha
-
https://richesmi.cah.ucf.edu/omeka/files/original/43fb19a85d75ff03587fe54876db7807.mp3
fd4c92543629a9f1d96edc7a128e50f2
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
"Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini
Alternative Title
"Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Spring Can Really Hang You Up the Most," composed by Tommy Wolf (1925-1979), with lyrics by Fran Landesman (1927-2011), 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, <em>Harlem Renaissance</em>, 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. "Spring Can Really Hang You Up the Most" is a popular song composed in 1955 and recorded by numerous artists. The most famous version is Ella Fitzgerald's 1961 recording.
Type
Sound
Source
Original 7-minute and 3-second audio recording: Wolf, Tommy, and Fran Landesman. "Spring Can Really Hang You Up the Most," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007.
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
Wolf, Tommy
Landesman, Fran
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
6.47 MB
Medium
7-minute and 3-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Tommy Wolf and Fran Landesman, 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 Tommy Wolf and Fran Landesman 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/43fb19a85d75ff03587fe54876db7807.mp3" target="_blank">"Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini</a>
bossa nova
Brazilian jazz
CAH
College of Arts and Humanities
Dirty Martini
Flying Horse Records
Fran Landesman
jazz
jazz ensembles
Jeff Rupert
Jeff Rupert + Dirty Martini
music
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
Spring Can Really Hang You Up the Most
tenor saxophones
tenor saxophonists
Thomas Joseph Wolf
Tommy Wolf
UCF
University of Central Florida
WUCF-FM
Yamaha