1
100
11
-
https://richesmi.cah.ucf.edu/omeka/files/original/97081d2dd256288de8d6628156292b15.jpg
135fe7e1e67b3a7cad1f4d66a8c4c4eb
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
Rock Collection
Alternative Title
Rock Collection
Subject
Music--United States
Rock music--United States
Lakeland (Fla.)
Maitland (Fla.)
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race.
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.
Contributor
Knickerbocker, Carl
Wahl, Julie
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
Bob Carr Theater, Orlando, Florida
Enzian Theater, Maitland, Florida
Great Southern Music Hall, Orlando, Florida
Lakeland Civic Center, Lakeland, Florida
Orange County Civic Center, Orlando, Florida
Orlando-Seminole Jai Alai Fronton, Fern Park, Florida
Orlando Sports Stadium, Orlando, Florida
Tangerine Bowl, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank"><em>All Shook Up: How Rock 'n' Roll Changed America</em></a>. Oxford: Oxford University Press, 2003.
Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank"><em>Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</em></a>. New York: Random House, 2007.
Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank"><em>The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</em></a>. New York: Haworth Press, 1999.
Language
eng
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Edgar Winter Ticket Stub
Alternative Title
Edgar Winter Ticket
Subject
Orlando (Fla.)
Music--United States
Rock music--United States
Soul music--United States
Pop music
Description
A ticket stub for a concert featuring Edgar Winter (b. 1946) at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. Edgar Winter is multi-instrumentalist American musician whose music encompasses many genres, including rock, blues, jazz, soul, and pop. The concert took place on Saturday, April 3, 1971, at 8:00 p.m. and cost $3.50. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations.
Type
Text
Source
Original ticket stub: Private Collection of Carl Knickerbocker.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original ticket stub.
Coverage
Orlando Sports Stadium, Orlando, Florida
Publisher
Quick Tick International
Contributor
Knickerbocker, Carl
Date Created
ca. 1971-04-03
Format
image/jpg
Extent
124 KB
Medium
1 ticket stub
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by Carl Knickerbocker 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
Private Collection of Carl Knickerbocker
External Reference
Klosterman, Chuck. "<a href="http://grantland.com/features/frankenstein-monster/" target="_blank">Frankenstein'ss Monster: A second-by-second analysis of Edgar Winter's finest nine minutes</a>.” Grantland (blog). ESPN, August 8, 2011. http://grantland.com/features/frankenstein-monster/.
Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." <em>The Orlando Sentinel</em>, November 15, 1995. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman.
blue-eyed soul
blues music
blues rock
boogie rock
Carl Knickerbocker
concerts
Econ River Estates
Eddie Graham Sports Complex
Edgar Holland Winter
indoor arenas
jazz
jazz fusion
multi-instrumentalists
music
musicians
orlando
Orlando Sports Stadium
pop music
rock music
soul music
sports stadiums
Tin House
-
https://richesmi.cah.ucf.edu/omeka/files/original/4418c2a1e46ae209a48898bf1c24a080.jpg
5482634cddca25406edb5d99814f6d09
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
Rock Collection
Alternative Title
Rock Collection
Subject
Music--United States
Rock music--United States
Lakeland (Fla.)
Maitland (Fla.)
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race.
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.
Contributor
Knickerbocker, Carl
Wahl, Julie
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
Bob Carr Theater, Orlando, Florida
Enzian Theater, Maitland, Florida
Great Southern Music Hall, Orlando, Florida
Lakeland Civic Center, Lakeland, Florida
Orange County Civic Center, Orlando, Florida
Orlando-Seminole Jai Alai Fronton, Fern Park, Florida
Orlando Sports Stadium, Orlando, Florida
Tangerine Bowl, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank"><em>All Shook Up: How Rock 'n' Roll Changed America</em></a>. Oxford: Oxford University Press, 2003.
Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank"><em>Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</em></a>. New York: Random House, 2007.
Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank"><em>The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</em></a>. New York: Haworth Press, 1999.
Language
eng
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Peter Frampton Ticket Stub
Alternative Title
Peter Frampton Ticket
Subject
Orlando (Fla.)
Music--United States
Rock music--United States
Description
A ticket stub for Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947), at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices were between $8.50 and $12.50, including tax.<br /><br />From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando.
Type
Text
Source
Original ticket stub: Private Collection of Julie Wahl.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original ticket stub.
Coverage
Tangerine Bowl, Orlando, Florida
Contributor
Wahl, Julie
Date Created
ca. 1977-09-04
Date Issued
ca. 1977-09-04
Format
image/jpg
Extent
57.8 KB
Medium
1 ticket stub
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by Julie Wahl 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/">RICHES MI</a>
Source Repository
Private Collection of Julie Wahl
External Reference
Clarke, Steve. <a href="http://www.worldcat.org/oclc/3522464" target="_blank"><em>Peter Frampton: The Man Who Came Alive : a Fascinating Biography in Words, Interviews and Photographs</em></a>. H. Bunch Associates, 1977.
"<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015).
Muise, Dan. <a href="http://www.worldcat.org/oclc/49842572" target="_blank"><em>Gallagher, Marriott, Derringer & Trower: Their Lives and Music</em></a>. Milwaukee, WI: Hal Leonard Corp, 2002.
Beach Club
blues
blues rock
Christian rock
Citrus Bowl
concerts
Derringer, Rick
Florida Citrus Bowl
hard rock
jazz fusion
Kansas
music festivals
orlando
Orlando Citrus Bowl Stadium
Orlando Stadium
Peter Frampton
Peter Kenneth Frampton
pop music
progressive rock
Rick Derringer
Ricky Dean Zehringer
Rock Super Bowl
Rock Super Bowl III
soft rock
Tangerine Bowl
The J. Geils Band
-
https://richesmi.cah.ucf.edu/omeka/files/original/d62117da05b0d23f614b22a815fcc9ca.jpg
c6f0b9c4f0c1bb1755d29669ac83d746
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
Rock Collection
Alternative Title
Rock Collection
Subject
Music--United States
Rock music--United States
Lakeland (Fla.)
Maitland (Fla.)
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race.
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.
Contributor
Knickerbocker, Carl
Wahl, Julie
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
Bob Carr Theater, Orlando, Florida
Enzian Theater, Maitland, Florida
Great Southern Music Hall, Orlando, Florida
Lakeland Civic Center, Lakeland, Florida
Orange County Civic Center, Orlando, Florida
Orlando-Seminole Jai Alai Fronton, Fern Park, Florida
Orlando Sports Stadium, Orlando, Florida
Tangerine Bowl, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank"><em>All Shook Up: How Rock 'n' Roll Changed America</em></a>. Oxford: Oxford University Press, 2003.
Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank"><em>Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</em></a>. New York: Random House, 2007.
Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank"><em>The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</em></a>. New York: Haworth Press, 1999.
Language
eng
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Next Sunday
Alternative Title
Next Sunday
Subject
Orlando (Fla.)
Music--United States
Rock music--United States
Description
A newspaper clipping about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax.<br /><br />From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl was located at 1 Citrus Bowl Place in Orlando.
Type
Text
Source
Original article: "NEXT SUNDAY." 1977: Private Collection of Julie Wahl.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original article: "NEXT SUNDAY." 1977.
Coverage
Tangerine Bowl, Orlando, Florida
Contributor
Wahl, Julie
Date Created
ca. 1977
Date Issued
ca. 1977
Format
image/jpg
Extent
65.8 KB
Medium
1 newspaper article
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by Julie Wahl 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/">RICHES MI</a>
Source Repository
Private Collection of Julie Wahl
External Reference
"<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015).
Beach Club
blues
blues rock
Christian rock
Citrus Bowl
concerts
Florida Citrus Bowl
hard rock
Infinite Mushroom
J. Geils Band
jazz fusion
Kansas
Labor Day
Lakeland Civic Center
music festivals
orlando
Orlando Citrus Bowl Stadium
Orlando Stadium
Peter Frampton
Peter Kenneth Frampton
pop music
progressive rock
Rick Derringer
Ricky Dean Zehringer
rock band
rock concert
rock festival
rock music
Rock Super Bowl
Rock Super Bowl III
soft rock
Streep's
Tangerine Bowl
-
https://richesmi.cah.ucf.edu/omeka/files/original/65c38a8aa631116cbb5f4659861f8193.jpg
7656592a7477e5e4691628f4d664d9f3
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
Rock Collection
Alternative Title
Rock Collection
Subject
Music--United States
Rock music--United States
Lakeland (Fla.)
Maitland (Fla.)
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race.
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.
Contributor
Knickerbocker, Carl
Wahl, Julie
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
Bob Carr Theater, Orlando, Florida
Enzian Theater, Maitland, Florida
Great Southern Music Hall, Orlando, Florida
Lakeland Civic Center, Lakeland, Florida
Orange County Civic Center, Orlando, Florida
Orlando-Seminole Jai Alai Fronton, Fern Park, Florida
Orlando Sports Stadium, Orlando, Florida
Tangerine Bowl, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank"><em>All Shook Up: How Rock 'n' Roll Changed America</em></a>. Oxford: Oxford University Press, 2003.
Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank"><em>Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</em></a>. New York: Random House, 2007.
Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank"><em>The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</em></a>. New York: Haworth Press, 1999.
Language
eng
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Rick Derringer Ticket Stub
Alternative Title
Rick Derringer Ticket
Subject
Orlando (Fla.)
Music--United States
Rock music--United States
Blues (Music)--United States
Pop music
Description
A ticket stub for a concert featuring Rick Derringer (b. 1947) at the Great Southern Music Hall, located at 46 North Orange Avenue in Orlando, Florida, on August 19, 1978. The show began at 11 p.m.<br /><br />The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located at 46 North Orange Avenue in Downtown Orlando. The theater opened on December 9, 1921, as a vaudeville and movie theater.
Type
Text
Source
Original ticket stub: Private Collection of Julie Wahl.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original ticket stub.
Coverage
Great Southern Music Hall, Orlando, Florida
Contributor
Wahl, Julie
Date Created
ca. 1978-08-19
Date Issued
ca. 1978-08-19
Format
image/jpg
Extent
85.9 KB
Medium
1 ticket stub
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by Julie Wahl 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/">RICHES MI</a>
Source Repository
Private Collection of Julie Wahl
External Reference
Muise, Dan. <a href="http://www.worldcat.org/oclc/49842572" target="_blank"><em>Gallagher, Marriott, Derringer & Trower: Their Lives and Music</em></a>. Milwaukee, WI: Hal Leonard Corp, 2002.
Beacham
Beacham Theater
blues
blues rock
Christian rock
concerts
Great Southern Music Hall
guitar players
hard rock
jazz fusion
orlando
Orlando concerts
pop music
Rick Derringer
Ricky Dean Zehringer
rock music
-
https://richesmi.cah.ucf.edu/omeka/files/original/cac4f33d754341766925e4847db6ed60.mp3
6a1ec358c222c13a6bee944b3e21e81b
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
"Bags' Groove" by Larry Coryell
Alternative Title
"Bags' Groove" by Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Bags' Groove," composed by Milt "Bags" Jackson (1923-1999) 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. "Bags' Groove" is a jazz standard first recorded by Davis' quintet in 1954.
Type
Sound
Source
Original 8-minute and 49-second audio recording: Jackson, Milt. "Bags' Groove," by the 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
Jackson, Milt
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
8-minute and 49-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Milt Jackson, 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 Milt Jackson 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.
Bags Jackson
Bags' Groove
free jazz
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz standard
jazz-rock
Larry Coryell
Milt Jackson
Milton Jackson
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/038e0483b1294b95ff81c5b2af2fb05f.mp3
59935b4443e8f4b9c3ba2d7a9d1e2c48
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
"Autumn Leaves" by Larry Coryell
Alternative Title
"Autumn Leaves" by Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Autumn Leaves," composed by Joseph Kosma (1905-1969) with lyrics by Jacques Prévert (1900-1977, 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. "Autumn Leaves" is a jazz and pop standard composed by Kosma in 1945. American songwriter Johnny Mercer (1909-1976) wrote English lyrics in 1947.
Type
Sound
Source
Original 7-minute and 34-second audio recording: Kosma, Joseph and Jacques Prévert. "Autumn Leaves," 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
Kosma, Joseph
Prévert, Jacques
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
7-minute and 34-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Joseph Kosma and Jacques Prévert, 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 Joseph Kosma and Jacques Prévert 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.
Autumn Leaves
free jazz
Jacques Prévert
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz standard
jazz-rock
Larry Coryell
musicians
National Public Radio
NPR
orlando
PBS
pop standard
post-bop
Public Broadcasting Service
UCF
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/7480563401a3f01f67a5e36de82f81e8.mp3
b09dc96b3f3085af669d771f4fcc011c
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
"Round About Midnight" by Larry Coryell
Alternative Title
"Round About Midnight" by Larry Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "'Round About Midnight," composed by Thelonious Monk (1917-1982), Bernie Hanighen (1908-1976), and Cootie Williams (1911-1985), 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. "'Round About Midnight" was first recorded by Miles Davis in 1955 and released on his album of the same name in 1957. It is the most recorded jazz standard composed by a jazz musician.
Type
Sound
Source
Original 8-minute and 42-second audio recording: Monk, Thelonious, Bernie Hanighen, and Cootie Williams. "'Round About Midnight," 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
Monk, Thelonious
Hanighen, Bernie
Williams, Cootie
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
8-minute and 42-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Thelonious Monk, Bernie Hanighen, and Cootie Williams, 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 Thelonious Monk, Bernie Hanighen, and Cootie 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
Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank"><em>Improvising: My Life in Music</em></a>. New York: Backbeat, 2007.
'Round About Midnight
'Round Midnight
Bernard D. Hanighen
Bernie Hanighen
CAH
Charles Melvin Williams
College of Arts and Humanities
Cootie Williams
free jazz
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz-rock
Larry Coryell
Monk, Thelonious Sphere
musicians
National Public Radio
NPR
orlando
PBS
post-bop
Public Broadcasting Service
Thelonious Monk
Thelonious Sphere Monk
UCF
University of Central Florida
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/b6b60b8bb94d9e8f0f882a0e006c3d43.mp3
b38bd7fc966178df4979528321eb9476
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
"Something" by Larry Coryell
Alternative Title
"Something" by Larry Coryell
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Something," composed by George Harrison (1943-2001) 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. "Something" was written by Harrison and released on the Beatles' 1969 album, <em>Abbey Road</em>. It is the second-most covered Beatles song after "Yesterday."
Type
Sound
Source
Original 4-minute and 21-second audio recording: Harrison, George. "Something," 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
Harrison, George
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 21-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by George Harrison, 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 George Harrison 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.
Beatles, the
CAH
College of Arts and Humanities
free jazz
George Harrison
Harrison, George
jazz
jazz ensembles
jazz fusion
jazz guitarists
jazz guitars
jazz-rock
Larry Coryell
musicians
National Public Radio
NPR
orlando
PBS
post-bop
Public Broadcasting Service
The Beatles
UCF
University of Central Florida
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/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/d730a398c0574aecd3e3561d48c03289.JPG
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d15595b4cb3724aabdbe8c892d679ed4
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
Rock Collection
Alternative Title
Rock Collection
Subject
Music--United States
Rock music--United States
Lakeland (Fla.)
Maitland (Fla.)
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race.
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.
Contributor
Knickerbocker, Carl
Wahl, Julie
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
Bob Carr Theater, Orlando, Florida
Enzian Theater, Maitland, Florida
Great Southern Music Hall, Orlando, Florida
Lakeland Civic Center, Lakeland, Florida
Orange County Civic Center, Orlando, Florida
Orlando-Seminole Jai Alai Fronton, Fern Park, Florida
Orlando Sports Stadium, Orlando, Florida
Tangerine Bowl, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank"><em>All Shook Up: How Rock 'n' Roll Changed America</em></a>. Oxford: Oxford University Press, 2003.
Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank"><em>Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</em></a>. New York: Random House, 2007.
Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank"><em>The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</em></a>. New York: Haworth Press, 1999.
Language
eng
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
9 color photographs
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
Dickey Betts & Great Southern
Alternative Title
Dickey Betts & Great Southern
Subject
Betts, Dickey
Dickey Betts & Great Southern (Musical group)
Concerts--United States
Rock (Music)--United States
Blues (Music)--Florida
Country music--Southern States
Music--United States
Musicians--Southern States
Sarasota (Fla.)
Bradenton (Fla.)
Description
Dickey Betts & Great Southern performing live at a private party of over 300 friends and family in the swamplands of Fruitville, Florida, on February 24, 2013. The first four photographs feature Betts on electric guitar and the fourth photograph shows James Varnado on drums. The fifth and sixth photographs feature Duane Betts and Dickey Betts on guitar, the fourth features a crowd of friends and family at the show, and the fifth features Pedro Arevalo on bass guitar. <br /><br />Forrest Richard “Dickey” Betts is considered one of the most influential guitar players of the 20th century. He was born in West Palm Beach, raised in Bradenton, and has lived in Sarasota for most of his life. Beginning at age 16, he began performing in a series of rock bands on the Florida circuit. A founding member of the Allman Brothers Band in 1969, Betts matched bandleader Duane Allman lick for lick on electric guitar, writing many of their songs. The guitar duo introduced melodic twin guitar harmony and counterpoint, redefining the traditional rhythm/lead roles of rock guitarists. When Allman died in a motorcycle accident in 1971, Betts and Duane’s brother, Gregg Allman, shared leadership of the band, with Betts becoming the sole guitar player and taking a larger role in writing and singing. Betts wrote and sang on the group’s biggest hit, "Ramblin’ Man" in 1973 <br /><br />Betts recorded his first solo album in 1974, and when the band split up in 1976, he formed Dickey Betts & Great Southern. He rejoined the Allman Brothers Band when they reformed in 1978.The band split up again for several years during the 1980s, reformed again in 1989, and Betts remained with them until he was suspended for substance abuse problems in 2000. He reformed Great Southern that year, adding his son, Duane Betts, on guitar. Along with the Allman Brothers Band, Betts was inducted into the Rock and Roll Hall of Fame in 1995.
Type
Still Image
Source
Original color photographs by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-collection/CONCERTS-archive/C0000q_kABE1Z.zs" target="_blank">Archive: Concerts Archive</a>, Alicia Lyman.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida.
<a href="http://alicialyman.photoshelter.com/gallery-collection/CONCERTS-archive/C0000q_kABE1Z.zs" target="_blank">Archive: Concerts Archive</a>, Alicia Lyman.
Is Format Of
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000ax_QozXAnSg/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000ax_QozXAnSg/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000vh2M_YSRX1w/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000vh2M_YSRX1w/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000Qdud6VMKEyU/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000Qdud6VMKEyU/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000wRDx4FIsFfw/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000wRDx4FIsFfw/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I00006M.HvA2EXsM/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I00006M.HvA2EXsM/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I00009rpZ5NxQRV8/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I00009rpZ5NxQRV8/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000VSQD9kg0sfA/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000VSQD9kg0sfA/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000FApIE8cOrW0/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000FApIE8cOrW0/C0000N3GwcxUcDDU</a>.
Digital reproduction of original color photograph by Alicia Lyman, February 24, 2013: <a href="http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000ZO8CCkujD6s/C0000N3GwcxUcDDU" target="_blank">http://alicialyman.photoshelter.com/gallery-image/2013-02-24-DICKEY-BETTS-GREAT-SOUTHERN-SPEICAL-GUESTS/G00003hCJm94WJ2k/I0000ZO8CCkujD6s/C0000N3GwcxUcDDU</a>.
Coverage
Fruitville, Florida
Creator
Lyman, Alicia
Publisher
Lyman, Alicia
Contributor
Lyman, Alicia
Date Created
2013-02-24
Date Copyrighted
2013-02-24
Format
image/jpg
Extent
22.7 KB
21.4 KB
23.3 KB
27.2 KB
24.5 KB
21.5 KB
24.7 KB
18.5 KB
22.3 KB
Medium
9 color photographs
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created and published by <a href="http://alicialyman.com/" target="_blank">Alicia Lyman</a>.
Rights Holder
Copyright to this resource is held by <a href="http://alicialyman.com/" target="_blank">Alicia Lyman</a> 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://alicialyman.photoshelter.com/gallery-collection/CONCERTS-archive/C0000q_kABE1Z.zs" target="_blank">Alicia Lyman Collection</a>
External Reference
Paul, Alan. <a href="http://www.worldcat.org/oclc/846545832" target="_blank"><em>One Way Out: The Inside History of the Allman Brothers Band</em></a>. 2014.
Tatangelo, Wade. “<a href="http://www.ticketsarasota.com/2014/10/29/dickey-betts-on-his-days-before-with-and-after-allman-brothers-interview/" target="_blank">Dickey Betts on his days before, with and after Allman Brothers: interview</a>.” <em>Ticket Sarasota</em>. October 29, 2014. http://www.ticketsarasota.com/2014/10/29/dickey-betts-on-his-days-before-with-and-after-allman-brothers-interview/.
bass guitar
bassist
blues
blues rock
Bradenton
concert
country
country music
country rock
Dick Betts
Dickey Betts
Dickey Betts & Great Southern
drum
drummer
Duane Betts
electric guitar
Forrest "Dickey" Richard Betts
Fruitville
Gibson guitar
Gibson Guitar Corporation
Great Southern
guitar
guitarist
James Varnado
jazz
jazz fusion
Pedro Arevalo
rock
rock music
Sarasota
Sarasota County
Southern rock
vocalist