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Krin Gabbard

s between two phenomena that have both been called jazz dance. The term has been so successfully expropriated by the musical theater that, in her book Steppin’ on the Blues ( 1996 ), Jacqui Malone regularly uses the phrases “African American Vernacular Dance” or “classic jazz dance” to identify her subject. Malone has followed Marshall and Jean Stearns in using the term “modern jazz dance” to describe the Broadway/Hollywood tradition. Regardless of what we may choose to call jazz dance, the role of dance within the history of jazz should not be overlooked. Major’s


avant-garde performances of dance, theater, and music, including jazz. Ornette Coleman first recorded for its label, Caravan of Dreams Productions, in 1985. It also presented jazz in mainstream styles, with Herbie Hancock, Stanley Turrentine, Carmen McRae, Billy Eckstine, and Grover Washington, Jr., among those who appeared there. (< http://www.caravanofdreams.com > ( 2001 )) Frederick, MD Dancing Pavilion [Waltz Dream]. 400 block of West Patrick Street. In 1930–31 it hosted weekly dances featuring mainly locally based African-American bands, including Ike Dixon’s


Matt Glaser, Alyn Shipton, and Anthony Barnett

materially altered some aspects of playing, and, just as with the guitar, modern amplification has made different stopping and plucking techniques both audible and useable. Among African-American musicians the violin was a significant component of music on plantations, both in accompanying dance and as part of string bands which played for white slave-owners and African-American communities alike. A high level of virtuosity was achieved by such concert artists as John Thomas Douglass ( 1847–1886 ) and Walter Craig ( 1854–192 ?), and it is reasonable to assume that


James Lincoln Collier

revised by Barry Kernfeld and Howard Rye

with Henry Goodwin and Sandy Williams among the members of the band. He undertook many equally obscure engagements, but played with prominent ad hoc all-star bands for Eddie Condon’s first concert at Town Hall ( 21 February 1942 ) and for later such concerts at Town Hall and the Ritz Theater ( 1944–5 ), and in 1945 in Boston became involved in a notoriously contentious stand as a co-leader with Bunk Johnson. He held several residencies at Jimmy Ryan’s in New York, where his sidemen included the pianist Lloyd Phillips and Freddie Moore in 1947 , and Big Chief Russell


Val Wilmer

Lorenda] Deniz ( b Cardiff , Aug 17, 1924; d London , Feb 14, 1996 ). British guitarist. He took piano lessons and began playing ukulele as a child. At the age of 12 he joined the Harlem Pages and toured theaters for two years before linking up with a jazz accordionist. In London the duo played at wartime “dives” and for US army camp dances. Deniz also worked with Buddy Featherstonhaugh and the young Victor Feldman. While his brother (2) Joe Deniz played solo on electric guitar for Stephane Grappelli, he contributed acoustic rhythm guitar, then in 1947



Mark Tucker and Travis A. Jackson

kitchen radio. It reached a wider populace as musicians transported it from large urban centers into small towns and rural areas. Criss-crossing North America by bus, car, and train, big bands played single-night engagements in dance halls, ballrooms, theaters, hotels, nightclubs, country clubs, military bases, and outdoor pavilions. They attracted hordes of teenagers who came to hear the popular songs of the day and dance the jitterbug, lindy hop, and Susie Q. The strenuous touring schedule of big bands was far from glamorous. Nevertheless, musicians who played in these