![]() All the big names of jazz, along with lesser legends, were included, and I found myself with a first class treasure of early jazz music. Throughout the ten years prior to WWII, during my high school and college years, my 78 RPM 10”, followed by 33 1/3 RPM LP, collection grew to the I became the proud owner of every recording up to the start of WWII and some 75% of his recordings until his death in 1974, some 180 hours of the recorded Duke Ellington. One year prior to Louis' and Bix's first recording, Duke and his six piece band “The Washingtonians” with Bubber Miley, cornet Charlie Irvis, trombone Otto Hardwicke, sax Fred Guy, banjo Sonny Greer, drums and Duke, piano, had their initial commercial recording date in November 1924. Over the next few years, I acquired every record Bix made prior to his early death in 1931.Įncouraged by my interest in jazz recordings, my cousin came up with a third suggestion for my collection: Duke Ellington. Signorelli, piano and Chauncey Morehouse, drums. I dug, again, into my newspaper route money (35 cents) and bought the October 5, 1927, recording of “At the Jazz Band Ball,” backed by “Jazz Me Blues” by “Bix and his Gang”: Bix on cornet Bill Rank, trombone Don Murray, clarinet Adrian Rollini, bass sax Frank My hip cousin then advised me to get some recordings by another cornetist, Bix Beiderbecke, who started recording for OK the same year (1925). It was a 10” 78 RPM OK recording of “My Heart” made in Chicago on November 12, 1925, by Louis Armstrong's Hot Five with Kid Ory, trombone Johnny Dodds, clarinet Lil Armstrong, piano and Johnny St. My 20-year-old cousin introduced me to jazz when I was 10. Powers, 2010-2011.Īn Early Jazz Recording Collection by David W. Archived to CD-Quality Digital Audio by Kevin J. Niven to the Foxborough High School Jazz Program, Stephen C. Meticulously Collected, Compiled, and Narrated by David W. 691 JPEG scans of cassette liner cards & literature.Reflections-Forty Years After (by John Scopes).A Defense Expert's Impressions of the Scopes Trial.Evolution Controversy: Selected Essays on Eugenics, The Rise of Fundamentalism, the Vatican and Evolution, and the Supreme Court's Treatment of the Evolution Issue.Scopes Trial Satire: Satirical Reports by the Staff of The Onion.Biographies of Key Figures in the Scopes Trial and the Evolution Controversy.Impressions of the Scopes Trial by Marcet Haldeman-Julius.The Evolution-Creationism Controversy: Chronology.John Scopes ("The Monkey Trial"): An Account The meaning of the trial emerged through its interpretation as a conflict of social and intellectual values. The guilt or innocence of John Scopes, and even the constitutionality of Tennessee's anti-evolution statute, mattered little. ![]() There a jury was to decide the fate of John Scopes, a high school biology teacher charged with illegally teaching the theory of evolution. Who would dominate American culture-the modernists or the traditionalists? Journalists were looking for a showdown, and they found one in a Dayton, Tennessee courtroom in the summer of 1925. In a response to the new social patterns set in motion by modernism, a wave of revivalism developed, becoming especially strong in the American South. Americans danced to the sound of the Jazz Age, showed their contempt for alcoholic prohibition, debated abstract art and Freudian theories. Younger modernists no longer asked whether society would approve of their behavior, only whether their behavior met the approval of their intellect. Traditionalists, the older Victorians, worried that everything valuable was ending. The early 1920s found social patterns in chaos.
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