Mainstream 1958

[Jason]

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9-CD DeLuxe Box Set 44-Page Booklet

Facsimile Edition STEREO 24 Bit Digitally Remastered

Stanley Dance, the noted jazz critic, writer and producer came to the United States in 1958 to organize the sessions in this set for an affiliate of London Records (Felsted). He had been sponsored in this project by Sir Edward Lewis, the head of British Decca.

The result were nine legendary albums recorded in 1958 and 1959, and designed primarily for the European market under the generic name Mainstream Jazz a description Dance is credited with coining.

This set brings together the complete Felsted recordings on 9 CDs, each of them a replica of the original LPs. It constitutes a wonderful jazz panorama of the mainstream style, with sessions led by outstanding jazzmen who had fine-turned their craft,and with a 44-page booklet attractively illustrated with photographs by Mike Youngman, all made even more enjoyable by Mr. Dances comprehensive notes.

"Jazz critic Stanley Dance came up with the term of mainstream to define the small group swing music that he loved since it was in the middle between Dixieland and bop. During 1958-59, the British-based writer came to the United States and supervised nine albums for the Felsted label featuring veteran American swing players. All of the music is reissued on Fresh Sounds superb nine-CD box set.

Included are these albums: cornetist Rex Stewarts Rendezvous With Rex, a record split between pianist Earl Hines and drummer Cozy Cole, clarinetist Buster Baileys All About Memphis, tenor-saxophonist Buddy Tates Swinging Like... Tate, Coleman Hawkins The High And Mighty Hawk, trombonist Dicky Wells Bones For The King, tenor-saxophonist Budd Johnsons Blues A La Mode, pianist Billy Strayhorns Cue For Saxophone, and Dicky Wells Trombone Four-In-Hand. Along with the leaders, such major artists are featured as altoist Johnny Hodges (the main star of the Strayhorn set), trumpeters Buck Clayton, Charlie Shavers, Herman Autrey and Shorty Baker, reed players Haywood Henry, George Kelly, Hilton Jefferson and Garvin Bushell, trombonists Vic Dickenson and Quentin Jackson, pianists Willie The Lion Smith, Red Richards, Hank Jones and Ray Bryant, bassists Ray Brown and Major Holley, and drummer Jo Jones plus many lesser known but talented swing players who were active at the time in the New York area.

Whether it is Rex Stewarts wit, Buster Baileys bluish originals, Buddy Tates working band from the Savoy, a four-trombone septet by Wells or Coleman Hawkins in superior form, there is a lot to enjoy on this perfectly conceived reissue of Stanley Dances Felsted recordings. Highly recommended.

-Scott Yanow (April, 2012)

Los Angeles Jazz Scene

While they might not have wanted to acknowledge it, the fans of 1960s protest folk probably owed the very existence of the movement to three guys in candy-striped shirts who honed their act not in freight cars or in Greenwich Village cafes, but in the fraternities and sororities of Stanford University in the mid-1950s. In their music as in their physical appearance, the Kingston Trio betrayed little discomfort with the sociopolitical status quo of the 1950s. Yet without the enormous profits that their music generated for Capitol Records, it is impossible to imagine major-label recording contracts ever being given to some of those who would challenge that status quo in the decade to come. Joan Baez and Bob Dylan, for instance, may have owed their musical and political development to forerunners like Woody Guthrie and Pete Seeger, but they probably owed their commercial viability to the Kingston Trio, who introduced the astonishingly fresh sound of a 100-year-old folk song into the American pop mainstream of 1958.

Grace Wick was a political gadfly in Portland, where she was an activist against the New Deal. While she had once been involved in mainstream politics as a supporter and friendly acquantaince of Democratic Governor Walter M. Pierce, the Great Depression crushed her economically, and she was increasingly attracted to the marginalized politics of right-wing America.

Grace Wick was an activist at a time when politics were becoming an acceptable realm for Oregon women; however, she did not significantly affect state politics. Nonetheless, using humor and a talent for self-publicity, she managed to make herself, and her extreme views, known. Wick died in 1958 in Portland.

Although Kennel had graduated in the spring of 1958, Case knew him from when he played on the freshman basketball team prior to focusing on his varsity football and baseball careers. He remembered Kennel had been President of the Delta Sigma Phi on Tryon Road. The house, of course, was largely vacant for the holiday break.

My books tell the true story of college football integration in the 1960s and address the myths and fiction that allowed a false narrative surrounding the 1970 USC-Alabama game to usurp the credit from the true pioneers. As I said when I spoke at the National Sports Media Association book festival, no two books provide an accurate portrayal more than RAYE OF LIGHT and THE RIGHT THING TO DO.

The response given to C.G. Hempel's well-known challenge by Arthur Danto in his Analytical Philosophy of History of 1965 - that deductive-nomological and narrative explanations are logically compatible yet employ incommensurable schemata - is here investigated from a historical perspective. It is shown that the developmental trajectory that emerges from an analysis of Danto's previous writings - including not only a forgotten paper of 1958 but also his PhD dissertation of 1952 - contains distinctive step-changes with publications of 1953 and 1956 still prior to that of 1958-59 which enabled his subsequent discovery of narrative sentences. It is also argued that Danto's developmental trajectory runs contrary to that presumed by some prominent commentators. Analytical History of Philosophy was not the midpoint of his ascent from mainstream philosopher of science to high priest of postmodern aesthetics, but represents a reasoned retreat from his early historical idealism.

N2 - The response given to C.G. Hempel's well-known challenge by Arthur Danto in his Analytical Philosophy of History of 1965 - that deductive-nomological and narrative explanations are logically compatible yet employ incommensurable schemata - is here investigated from a historical perspective. It is shown that the developmental trajectory that emerges from an analysis of Danto's previous writings - including not only a forgotten paper of 1958 but also his PhD dissertation of 1952 - contains distinctive step-changes with publications of 1953 and 1956 still prior to that of 1958-59 which enabled his subsequent discovery of narrative sentences. It is also argued that Danto's developmental trajectory runs contrary to that presumed by some prominent commentators. Analytical History of Philosophy was not the midpoint of his ascent from mainstream philosopher of science to high priest of postmodern aesthetics, but represents a reasoned retreat from his early historical idealism.

AB - The response given to C.G. Hempel's well-known challenge by Arthur Danto in his Analytical Philosophy of History of 1965 - that deductive-nomological and narrative explanations are logically compatible yet employ incommensurable schemata - is here investigated from a historical perspective. It is shown that the developmental trajectory that emerges from an analysis of Danto's previous writings - including not only a forgotten paper of 1958 but also his PhD dissertation of 1952 - contains distinctive step-changes with publications of 1953 and 1956 still prior to that of 1958-59 which enabled his subsequent discovery of narrative sentences. It is also argued that Danto's developmental trajectory runs contrary to that presumed by some prominent commentators. Analytical History of Philosophy was not the midpoint of his ascent from mainstream philosopher of science to high priest of postmodern aesthetics, but represents a reasoned retreat from his early historical idealism.

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Los Angeles Documentary and the Production of Public History,1958-1977 examinesthe documentaries of this time by approaching them in three groupings: the JohnF. Kennedy era, the period following the Watts Uprising, and the yearssurrounding the United States Bicentennial. Glick covers the work of bothmainstream and alternative documentary filmmakers in a city more commonlyassociated with large-scale fiction productions.

Presented by the Illinois Wesleyan University School of Music and the Contemporary Arts Festival Committee, February 22-March 6, 1964. Featured guests of the symposium included composers Robert Wykes, E. J. Ulrich, Salvatore Martirano, Ben Johnston, and Herbert Brn. Additional programs featured painter Samuel Adler and author Robert Sykes.

Presented by the Illinois Wesleyan University School of Music and the Contemporary Arts Festival Committee. The festival featured music performances, guest artist Stephen Magada, soloist Dwight Peltzer, composer and professor Mel Powell, and composer Robert Wykes. The music symposium also featured performances by the Alabama String Quartet.

Presented by the Illinois Wesleyan University School of Music. The following will be guest participants: Lenore Erik-Alt, Robert Erickson, Allen Forte, Kenneth Gaburo, Glenn Glasow, Robert Holliday, George Kernodle. Thomas Nee, Claire Richards, George Rochberg, and Uni Thomas.

Presented by the Illinois Wesleyan University School of Music, the festival featured events related to art, drama and music February 16-20, 1959, and featured guests Paul Pisk and George Rochberg. The program states, "This Contemporary Arts Festival is dedicated to a better understanding of a somewhat nebulous, but nevertheless forceful, current that is swelling the mainstream of American Art."

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