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Interview with Buddy Collette, Part 2
No full textPart 2 of an undated interview with Buddy Collette. The Collette interview is only 14:52 of the recording, the rest of which is a different NPR program, "Rise of the Standup" on American Comedy from Cylinder to CD, hosted by David Osmond. Collette discusses Charles Mingus, how jazz writer Pat Willard got Mingus to do Gerald Wilson's show, how Mingus and Wilson never got along too well, Mingus' declining health and unknown reasons at the time, going to see Mingus in Cuernavaca, Mexico right after Joni Mitchell had visited him, his treatment regimen and trying to convince Sue Mingus to bring him home, Mingus' dying about 3 days after Sue told him he was going home, the all-star benefit that was planned for Mingus, how his previous wife still loved him, saxophone playing, inspiration, and flute playing. The program that follows begins already in progress during a profile of Shelly Berman, followed by segments on Phyllis Diller, Bill Dana (contains ethnic stereotyping), and Elaine May and Mike Nichols
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Interview with Buddy Collette, Part 1
No full textPart 1 of an undated interview with Buddy Collette. The recording is interspersed with interludes of Collette playing solo saxophone, flute, clarinet, and bass clarinet, and begins with Collette playing the flute. Collette discusses how playing can set his day in motion, how good music is for him, how he first met Charles Mingus, Mingus' trio with his sisters Grace and Vivian with Mingus on cello, what Mingus was like as a teenager, Collette and Mingus' both shining shoes for money, Mingus' unusual shine box, Mingus' joining Collette's band, their parents' encouragement of the band, modest pay for gigs buying a lot of food, Nat "King" Cole, his knack for writing, hearing him rehearse at Rhumboogie, Cee Pee Johnson and Buddy Banks knowing Cole before he moved to the West Coast, the Second World War and the prospects of being shipped out for combat, music as great therapy, Collette moving back to Los Angeles with his family in 1945 after his Navy service, having GI Bill benefits but also wanting to play, the extensive experimentation in LA jazz at that time, writing and starting to rehearse at Mingus' house, starting with Carl George on trumpet but then hearing John Anderson, Oscar Bradley on drums (followed by a short saxophone interlude), playing tunes like Laura and Prelude to a Kiss, wanting to play music but not necessarily bebop, how Lucky Thompson got hired at Billy Berg's, Mingus' playing with a bow, how no one knew what to call their music, why Lucky Thompson left the band, hiring Teddy Edwards and the change in the band's sound, jam sessions at Jack's Basket Room and other widespread locations, Wardell Gray battling Dexter Gordon (followed by a short saxophone interlude), the House Unamerican Activities Committee (HUAC) period and Collette's orchestra project (the Community Symphony Orchestra, the first interracial symphony orchestra), Milt Holland, rehearsing at Normandy Hall, Henry Lewis as the lone bassists at age 19, how Collette got hired for the Groucho Marx show (followed by a short clarinet interlude), Jerry Fielding losing his job due to the HUAC, how thoroughly Fielding was blacklisted and how it changed him, contemporaneous issues of segregation/discrimination and blacklisting, the Los Angeles musicians union amalgamation and integration, Paul Robeson singing to get around a ban on political speech, the climate of fear at the time (followed by a brief clarinet interlude), integrating the musicians unions, advocacy from Nat "King" Cole and Frank Sinatra, Harry "Sweets" Edison recruiting Josephine Baker and how Baker convincingly made the case for integration (followed by a short flute and saxophone interlude), an extended discussion of Charlie Parker, dinner with Parker during which he talked about his life and said he "died nine time," Collette's and Parker's differing paths, Parker receiving a Selmer flute in Europe, the poem that Parker dictated to Collette (1:10:46), an alternate story of how Parker got his "Bird" nickname (followed by a saxophone and bass clarinet interlude), an extended discussion of Eric Dolphy, studying with Lloyd Reese and Merle Johnston, others of Dolphy's teachers, Collette connecting Dolphy with Calvin Jackson, Merle Johnston's emphasis on having a good sound, staying at Charles Lloyd's place and playing duos with Eric Dolphy, Dolphy and John Coltrane relying on honey and health food pills for energy, going with Dolphy to get a loft in New York, Dolphy and Mingus, Dolphy's death and his father's reaction (followed by a bass clarinet interlude), extended discussion of Charles Mingus, Collette's advice to Mingus and their relationship, the 1962 Town Hall concert where Mingus wanted an open rehearsal but George Wein wanted a concert, how Clark Terry brought he evening to successful close with "In a Mellow Tone," Mingus' dissatisfaction with the concert, Collette and Mingus having a pact to keep playing their music, Collette and Lucky Thompson challenging each other as writers, Mingus staying at Collette's house for three weeks, the 1964 Monterey Jazz Festival, Mingus' rehearsal style and performance, initial signs of Mingus' illness in 1974, and Mingus appearance on Gerald Wilson's program on KBCA
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Interview with Buddy Collette
No full textInterview with Buddy Collette. The recording begins with Collette discussing Illinois Jacquet and Russell (likely Illinois' brother), "Slap That Bass," hiring Mingus, meeting Chico Hamilton, Minor Robinson as a previous drummer, Charlie Drayton (1919-1953), playing the Elk's Hall in Watts, Hamilton asking to sit in, working together in the band and spending a great deal of time together, learning to phrase together, writing for cello, Fred Katz on cello in the Buddy Collette-Chico Hamilton Sextet, Jim Hall, moving away from the use of piano, why "when piano and guitar are working together, they have to really respect each other," Mingus on Collette in Beneath the Underdog, the Watts Towers and Simon Rodia, John Anderson, playing piano at age 10 and saxophone at age 12, ho he got into playing the flute, falling in love with the sound of the flute played by Julius Baker, having the opportunity two weeks later to buy a flute from Clifford Leon Burton (1926-1976) from Alma Hightower's group, Lee Young, Harry Klee, more on John Anderson, blacklist-era Hollywood, Collette's role in union amalgamation / integration, Los Angeles' prior layout with its streetcar system and Henry Huntington's tracks, areas of LA that Collette spent time in, Vernon Slater, taking piano lessons from his grandmother, taking the Red Car streetcar, shining shoes for money, Lockie Music, Mac McLaughlin fixing their saxophones, Red Callender and Britt Woodman praised by Mingus along with Collette, Hellzapoppin, Mingus playing piano, the Town Hall concert with Mingus and George Wien, Jimmy Knepper, differing visions of the Town Hall concert between Wien and Mingus, the audience not knowing if Mingus was kidding, how the evening unfolded (after a pause from 28:16-28:37), Clark Terry breaking into "In a Mellow Tone" at the end, Collette's military service, playing with Les Hite, praise of the Floyd Ray band and Dudley Brooks, the Cee Pee Johnson band, Mickey Cohen's Rhumboogie at Melrose and Highline, Collette playing baritone saxophone with Cee Pee Johnson, Bell Tavern near Gardena, a venue on San Pedro, the Radio Room on Vine and Sunset, more on Cee Pee Johnson, studio work and integration, Collette studying with different teachers and playing in the military, Teddy Edwards, Chico Hamilton at Strollers and being recorded by Dick Bach, airshots by "Sleepy" Stein, Gil Fuller, Qudellis (Que) Martin, Dexter Gordon, Calvin Jackson and his contemporaries, Jackson and studio work, Al Saparoff, more on the Woodman brothers in Watts (after a test tone at 1:00:12), Les Hite and the Cotton Club Orchestra, the Works Progress Association or similar groups sending professional musicians to teach, Red Callender and the Million Dollar Movie, Callender's mentorship of Mingus, Mingus' daily routine of playing and writing, Al Adams, the boundaries of Central Gardens and Watts at the time, Jordan High School as a combined junior and senior high, getting to know Mingus, Mingus' starting on cello and playing in a trio with his sisters, the Bledsoe brothers (Ralph and Riley), twin musicians who became doctors, Dexter Gordon, LA high schools as generators of the LA jazz sound, getting union dues lowered, the Million Dollar Theatre and Hellzapoppin, the 54th Street Drugstore, auditions for young Black bands, Mingus trading cello for bass, how far a dollar would go, Fred Katz forming an ensemble in 1955, tenor saxophonist Bob Hardaway, breaking into penny vending machines, population shifts in LA, Collette's father working as a garbage truck driver, being able to know "who's who" growing up, being hired on the Groucho Marx show by Jerry Fielding, not having "hang ups" about race, Lester Young bringing people reeds, Orson Welles at the Rhumboogie, the "sideline" nature of most Black music work in Hollywood, coming back to LA in 1946 and the DownBeat club, DownBeat manager Black Dot McGee, Stuff Crouch, club owner [Ellet?] Lovejoy, the DownBeat owner (Hal) being one of Kay Starr's husbands and also managing Rhumboogie, auditioning for Black Dot and Hal, Lucky Thompson, personality conflicts and Collette as manager / business person, high schools as an incubator of talent, Paul Howard as the financial secretary of the Black musicians union (Local 767), Coleman Hawkins on network radio, and the flaws in relying on anecdotal evidence that Black musicians are getting the work they want to be doing
Toni Collette Collection
No full textToni Collette is an Australian actress who, in 1994, won the Best Actress award at the AFI (Australian Film Institute) Awards for Muriel's Wedding. Since then Collette has worked in both Hollywood and Australia, and was nominated for an Academy Award for her role in The Sixth Sense (1999). Her other film work includes About A Boy (2002), Japanese Story (2003) and Little Miss Sunshine (2006). She has also worked extensively in television as the lead actor in United States of Tara (2009-11). This collection compiles items relating to Collette
Collette Stewart shooting a layup
No full textCollette Stewart shoots what appears to be a break away layup. Stewart squarely faces the camera as the is releasing the ball.https://dc.ewu.edu/ewu_student_life/1327/thumbnail.jp
What Makes a City a City? Conversation with Collette Clinksale and Tom Wheeler
No full textRegionally Speaking brings two guests to the studio whose lives are intertwined with the City of East Cleveland, both personally and professionally. Collette Clinkscale, Chief of Staff in East Cleveland’s Mayor Office, and Tom Wheeler, former Director of Building and Housing for East Cleveland, both grew up in the city they are still committed to till this day. They talk about their memories with city they love along their ideas about what community members and local can do to help the city survive and thrive
Nightspot dancer Patti Collette.
No full textNightspot dancer Patti Collette. From newsclipping on back: "Popular- Patti Collette, premiere danseuse appearing with Jules Radinsky's orchestra at Club Esquire here."To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Les projections cinématographiques dans l’enseignement
No full textCollette A. Les projections cinématographiques dans l’enseignement. In: La revue pédagogique, tome 71, Juillet-Décembre 1917. pp. 601-610
Madame
No full textAntoine Roy. d ; A. Collette. lithBildbeschriftung: "Les Théâtres de Paris.", "Théâtre Impérial de l'Opéra.", "MME GUY-STÉPHAN.", "Adm.on Rue de Lancry, 10.", "Paris, Lith. Prodhomme, Rue des Noyers, 69."Herstellungsangaben: "Antoine Roy. d", "A. Collette. Lith
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[Male Students T.J. Collette and Harvey Glazner]
No full textPhotograph of students T.J. Collette and Harvey Glazner posing is semi-formal wear next to a tree
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