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Equipment

Essays by John James Haynie, Compiled and Edited by Anne Hardin University of North Texas Press PDF

HAYNIE’S HORNS

I had three King cornets as a boy. I got the first one when I was about ten years old. It was plain vanilla rough-finish silverplate that cost about $100.00. The photo of me in my band uniform wearing the cocky cap was that one. My second King was a much better horn, and it had a sterling silver bell. I’m holding this horn in the photo that featured me on the cover of the Texas

Music Educator in February 1941. Shortly after this, I got the third one with a gold-plated, hand-engraved bell. It’s no wonder that people thought I was “just a cornet player.” Truth was, the cornet was all I played, until about 1951, when Colonel Earl Irons set up a deal with Heinrich Roth and the Reynolds Company to provide me with a matching cornet and trumpet. I liked the Reynolds horns, and the trumpet was a real treat. Suddenly, all the trumpet music I’d ever wanted to play was there for the picking—trumpet picking, that is. I played on the Reynolds horns until about 1962, years after Mr. Roth sold the company.

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32. The End of an Era (1979)

Michael Sparke University of North Texas Press PDF

32.

The End of an Era

(1979)

An indication of the severity of Kenton’s plight is that almost overnight he switched from parading his problems in public to secluding himself in his own home. Word on the grapevine in early

1979 included several reports concerning a new tour to begin in April, suggesting Stan remained as keen as ever to re-form the band, with only his health acting as a deterrent. Then in March came the bombshell that all bets were off, with even the summer Clinics cancelled.

There would be no new band until 1980, because according to the Willard Alexander office, “Stan didn’t feel up to it, and whenever he comes back he wants to do it first class.”1

It was at this point that Audree Coke emerged as a major player.

Undoubtedly the most important person to Stanley during the last years of his life, she had re-entered Stan’s world at a time when he increasingly needed a woman’s support, and now she alone took on the responsibility of caring for him at his time of greatest need. Without Audree’s business acumen the Creative World organization would have long since foundered, but at the same time she also became a center of contention that lasts to this day. Certainly true is the fact that Audree was as strongminded and determined as Stanley himself, and in turn provoked strong reactions. (I use the past tense, because she is now an elderly lady who has largely retired from an active role in public affairs.)

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Appendix: Vecchi, “L’hore di recreatione,” from Madrigali a sei (1583)

Paul Schleuse Indiana University Press ePub
Medium 9781574412840

18. Standards in Silhouette (1958-1959)

Michael Sparke University of North Texas Press PDF

18.

Standards in Silhouette

(1958–1959)

Stan did what he always did when the going got rough: he set about writing himself a hit record, though by 1958 it had to be an

LP rather than a single. His first thought was to repeat the success of

“September Song” with an album of band vocals, but after a couple of sessions Lee Gillette must have pointed out that while a single song might have made it in 1951, the monotony of 12 band vocals in succession was not going to hit anyone’s jackpot. So Stan tried repeating an even earlier success with a saxes and rhythm album, but the magic was missing. The music dragged, and in the Seventies Clinton Roemer rejected the tracks for Creative World release, noting, “These titles are very weak in comparison with the 1941 saxophone numbers.”1

In Kenton’s case it was third time lucky, though even that nearly went awry. He wrote a dozen quality arrangements of standard ballads for the full orchestra, emphasizing trombone section soli, which nearly fell apart on the first session. As written, the lead trombone didn’t solo as such, but he did feature the melody while the other trombones played sustained harmony underneath. “Kent Larsen was playing lead,” related Jim Amlotte, “and he couldn’t make it all the way through the first number—it was just clam after clam. The guys in the section had to play it over and over, and pretty soon nerves started coming apart.

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1. Music in the Vococentric Cinema

David P. Neumeyer Indiana University Press ePub

A simple, typical example of sound practice in the Hollywood studio era (roughly 1930–60) may be found in a few moments from The Dark Corner (1946), an A-level film noir obviously meant as a stand-alone sequel to Laura (1944). An evening party at the lavish home of Hardy Cathcart (Clifton Webb) includes a dance sequence that begins with a straight-on view of members of Eddie Heywood’s band (figure 1.1a), followed by a pan across the dancing couples to Cathcart and his wife, Mari (Cathy Downs, figure 1.1b). The sound level of the band is maintained during the pan but drops a little as Webb’s voice enters at the original, higher sound level; the band is now offscreen and in the sonic background. The couple, in medium shot, are seen at a very modest angle (to emphasize the dance), but on the reverse to Mari (figure 1.1c), a standard shot / reverse shot with an eyeline match is used, confirming the priority (and, with the tighter framing, also the privacy) of their conversation.1 The backgrounding of the music serves narrative clarity and happens in collusion with the camera: the pan charts distance covered, but no attention is paid to a drop in volume for the physical circumstances of the room (in other words, the band actually should be louder as Cathcart and Mari talk). Music begins as performance, but it leads before long to the voice.2

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