10,211 research outputs found
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Postcard from Clark Terry to Karl Korte
No full textPostcard from trumpeter Clark Terry to composer Karl Korte, expressing enthusiasm for a new arrangement Korte had sent him. Sent from Nice, France.UT Librarie
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Letter from Clark Terry to Karl Korte
No full textLetter from trumpeter Clark Terry to composer Karl Korte, offering comments on Korte's work "Think You Would Have Understood."UT Librarie
Interview with Clark Terry / interviewed by Felix Grant, ca. 1967
No full textClark Terry discusses his career with interviewer and radio host Felix Grant. Terry is featured on excerpts from recordings selected by Grant.Made available in DSpace on 2012-10-09T17:42:39Z (GMT). No. of bitstreams: 2
terry_clark2.rm: 17619831 bytes, checksum: a85a20752b0a59e2412fde1f8666ea9c (MD5)
manifest.xml: 3406 bytes, checksum: 08baf3ca4449f6eafe0e8931d9886d6f (MD5)Tenderly / W. Gross, J. Lawrence (00:06-00:34) -- Impulsive / J. Hodges (08:14-12:44) -- Don't get around much anymore / D. Ellington, B. Russell (22:34-22:43)Clark Terry interviewed by Felix Grant on WMAL. Recorded ca. 1967. Reproduction of radio interview produced at Washington, D.C. Station WMAL for broadcast on The Album Sound. Forms part of the Felix Grant Collection at the Felix E. Grant Jazz Archives. Original format: 1 sound tape reel (23 min.) : analog, 7 1/2 ips., full track mono; 7 in
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Interview with Clark Terry
No full textInterview with Clark Terry. Terry discusses how he first got into music, how his older sister was married to a jazz musician and seeing their band, the trumpet player in that band owning a candy store and having candy he liked, being "glad it wasn't the banjo player," playing a makeshift trumpet with a hosepipe and funnel, putting a crystal radio set in a mixing bowl to amplify it, the neighbors chipping in $12.50 to buy him a real trumpet from a pawn shop, other makeshift instruments, getting serious about music at Vashon High School in St. Louis with Clarence Haydn Wilson as director, Wilson starting him on valve trombone, joining the Tom Powell drum and bugle corps, the G bugle as his "first real beautiful instrument," doing mouthpiece solos, hearing WC Handy playing at his school (this story is restated a second time), Louis Armstrong as his main influence, living in Corona, Queens, New York near Armstrong, Dizzy Gillespie, Charlie Shavers, Carl "Bama" Warwick, Jimmy Rushing, Ella Fitzgerald, Billie Holiday, and Helen Humes in a 2-mile radius, going to Louis Armstrong's house with Dizzy Gillespie and Terry's impression of Armstrong, Armstrong telling the true history of jazz as he lived it, drummer and pianist Charles "Sluggo" Fox, the first bands Terry played in professionally (Charles Fox, George Hudson), Club Plantation in St. Louis, the section sound in Hudson's band, the group Dollar Bill and His Small Change, the Bunker Hill section of St. Louis where Dollar Bill was from, what Terry was learning in those days, older musicians giving wrong answers to mislead younger ones, how his brother-in-law, Cy McField facilitated Terry's gig with Willie Austin and getting booked with Ida Cox, everyone being required to help push the bus on Ida Cox's tour, the riverboat scene in St. Louis and the Streckfus Steamers, jazz coming up to St. Louis from New Orleans on the riverboats, the Great Lakes Naval Training Station during the Second World War with Ernie Wilkins and Willie Smith, Len Bowden and the Melody Masters in St. Louis, training naval recruits in music, including Willie Smith, Ross McConnell, and Dudley Brooks, Terry's continuing friendship with Ernie Wilkins, bands Terry was in and his musical formation, Jimmy Lunceford's band and its use of flugelhorns, the sound he had in mind, Keith Ecker of the Selmer company designing his flugelhorn and receiving the horn during the Taylor Made Jazz session with Billy Taylor, Sykes Smith writing "Juniflip on the Flugelhorn" for him, more on Billy Taylor and Duke Ellington going to hear Taylor at the Hickory House in Manhattan, his years with the Ellington band as "the University of Ellingtonia" and how the experience prepared him to be a bandleader, Ellington surrounding himself with capable musicians, praise of Billy Strayhorn, parts written for individual musicians in the Ellington band and concern that they liked playing them, Ellington knowing how to use each musician, such as Harry Carney and his upper register, an anecdote about Ellington on a plane with a Texan telling him "twilight time is the lonesomest time of the day," Ellington writing a brief tune on that saying and then calling it back in, Ellington enjoying traveling with Harry Carney and being the navigator, Terry in the Basie band and Basie's band as the "prep school" for Ellington's "university," Basie's command of time and space, Terry on Quincy Jones' European tour, Terry giving a young Jones trumpet lessons in Seattle and Jones' bringing him his first arrangement, the World's Fair in Brussels in 1958, the NBC Orchestra and being a Black musician in those days, the Urban League investigation of Black representation on NBC, Snooky Young in the Tonight Shoe band, various assignments at NBC, staying with the Tonight Show until it moved to California, Terry's own band and theme song A Toi / Etoile, Phil Woods writing for the band, Terry's "mutual admiration society" with Bob Brookmeyer, how "Mumbles" came about, his philosophy of teaching as a reaction to older players giving younger ones the runaround when he was younger, Terry collecting trumpets for young musicians in need, games they played on the road to break up the monotony and learning to play the trumpet left-handed and upside-down, flugelhorn and getting doubling fees for trumpet to parallel those of woodwind players, more on the origin of Mumbles and a slow version called Incoherent Blues, the Gerry Mulligan concert jazz band the development of Mumbles and other work with Mulligan, how Mulligan makes a small group sound like a big band, tunes they would play at the Village Vanguard (including "Lady Chatterley's Mother" and "Blueport") quoting songs about cities in Blueport, Terry's empathy regarding Mulligan's temperament, Terry and Brookmeyer as "Mumbles and Grumbles," more on getting his flugelhorn in 1957, Terry's educational work, interpretation of the jazz language, the Ooba system and the importance of air movement, Tadd Dameron, Oop Bop Sh'Bam with Dizzy Gillespie and Babs Gonzales, teaching jazz phraseology through scat-singing, Wynton Marsalis asking him about buzz and growl, plunger technique and demonstration / imitation, stage bands and the development of jazz education, Terry having six honorary doctorates, the band camp in LeMars, Iowa and the Clark Terry Jazz Studies Institute, teaching jazz in Japan, circular breathing (with extended demonstration), Billy Taylor getting Terry into the jazz clinic scene, Railroad Porter Blues with Eddie "Cleanhead" Vinson, Lionel Hampton's orchestra, Charlie Barnet's orchestra, and Terry's African and Middle Eastern tours
Jazz musicians Rex Waddingham and Clark Terry performing at BJC/BSC as part of the Jazz Celebration
No full textJazz musicians Rex Waddingham and Clark Terry performing at BJC/BSC as part of the Jazz Celebration. From 1975 to 1996, BJC/BSC hosted an annual Jazz Celebration
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Interview with Clark Terry and broadcast feature using this interview
No full textTim Owens interviews Clark Terry. The full interview ends at 23:17 and is followed by the broadcast segment that used material from this interview. Terry discusses forming his own style, the influence of Lester Young, numerous St. Louis trumpet players and jazz musicians, the influence of Louis Armstrong, playing with Count Basie and Duke Ellington, Terry's mentorship of Miles Davis, bebop, the evolution of trumpet playing, and adapting to different styles
Interview with Clark Terry / interviewed by Felix Grant, June 24, 1981
No full textClark Terry discusses his career with interviewer and radio host Felix Grant. Terry is featured on excerpts from recordings selected by Grant.Made available in DSpace on 2012-10-09T17:42:45Z (GMT). No. of bitstreams: 2
terry_clark1.rm: 31684534 bytes, checksum: 8d5f265319b3d625dd34d46d1b874f39 (MD5)
manifest.xml: 3411 bytes, checksum: c55bacde0169a735c5afa7a9cd0d12f4 (MD5)Honeysuckle rose / T. Waller, A. Razaf (06:26-09:36) -- I let a song go out of my heart / D. Ellington, I. Mills, H. Nemo, J. Redmond (18:52-22:16) -- Funk dumplin's / Sahib Shihab (30:09-34:15) --Kidney stew / E. Vinson (37:47-39:35)Clark Terry interviewed by Felix Grant on WMAL. Recorded June 24, 1981. Reproduction of radio interview produced at Washington, D.C. Station WMAL for broadcast on The Album Sound. Forms part of the Felix Grant Collection at the Felix E. Grant Jazz Archives. Original format: 1 sound tape reel (41 min.) : analog, 7 1/2 ips., full track mono; 7 in
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Interviews with Max Roach, John Lewis, Morris Hansboro, Clark Terry, Jimmie Rowles, William Davenport; NPR program on Charlie Parker
No full textInterviews with with Max Roach, John Lewis, festival attendee Morris Hansboro, Clark Terry, Jimmie Rowles, and William Davenport in conjunction with the Monterey Jazz Festival in 1973. All are interviewed mainly on the subject of Charlie Parker for a radio tribute produced by Tim Owens. The interview with Max Roach runs through 28:20; Roach discusses Parker as an "evolutionary" figure, demands for originality and the intensive schedule of gigs and jam sessions in New York, how the war excise tax affected the club scene, Parker's nickname "Yardbird" as a countercultural figure, Clifford Brown, the M'Boom ensemble, how he got into playing drums, and the characteristics of jazz innovators. The interview with Lewis begins at 28:24; he discusses his role as music director at the festival, Parker's revolutionary influence, first meeting Parker, his enduring impact, and what trends he sees. As Lewis notes, the Corona Senior High Jazz Ensemble was playing during the interview, featuring trumpet player Mike Ernst. The audio drops around 35:35, and the interview resumes around 36:19. Lewis goes on to answer questions about the reception of jazz overseas as opposed to the United States, whether compromise is needed to reach wider audiences, and the kind of dedication required, as well as the synthesis of jazz with other genres. The interview with John Lewis ends at 44:44. After a test tone and other ambient noise, interviews resume with Morris Hansboro at 49:53. Hansboro discusses seeing bebop musicians in performance and their lifestyles, and his interview concludes at 59:19. The interview with Clark Terry begins at 59:30; Terry discusses Parker's impact, his first and later impressions of Parker, Buster Smith, seeing Parker admonish young fans about drug use; the revival of interest in Parker, the current state of jazz and its future, the promise of "stage band" ensembles in schools, and creating his own label to get his music released and bypass middlemen. The Clark Terry interview concludes at 1:14:52, and Jimmie Rowles' begins at 1:15:44. Rowles discusses Parkers influence, but also discusses caring for an ailing Ben Webster, and shares an anecdote about working with Parker on the west coast, on an occasion where Parker smoked six pipes of hash with guitarist Mike Bryan. Rowles introduces William "The Needle" Davenport, who speaks briefly. The interview ends at 1:28:22, and is followed by the program compiled with excerpts of these and other interviews in this collection
1st Treasures of Jazz: Clark Terry Residency Project with the Jazz Heritage Orchestra (2007)
No full textThis program was called The First Annual Legends of Jazz Concert Series, later called the Treasures of Jazz.
During the Clark Terry Residency Project, Clark Terry performed with the CSU Black Studies Program Jazz Heritage Orchestra. The Lower Campus Cleveland School of the Arts ensemble also performed.https://engagedscholarship.csuohio.edu/clbsjz_pr/1007/thumbnail.jp
Norma Carson and Clark Terry
No full text8 x 10 inch photograph; Norma Carson and Clark Terry at the recording of Cats vs. Chick
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