271:, where his business skills must have helped organise the mostly-volunteer staff. The war extended what was to be a temporary service into nine years, a period in which his opportunity to listen to black American bands was curtailed, due to both limited leave and the effects of rationing on record-production. He certainly missed the start of
436:; in 1964 he encouraged the California-based Hines to perform in New York concerts organised by a fellow-journalist. Afterwards, Hines asked Dance to be his business-manager, and Dance produced many of the 90 albums Hines recorded from 1964 to 1981. He also wrote a biography of Hines, published in 1977.
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one of the things that was really very important for jazz ... is the fact that people were dancing to it. And the musicians all liked that, most of them liked it because you know, ... it isn't quite the same thing as an audience sitting down ... of course Rock 'n Roll comes along and takes away — the
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His connections to the
Ellington organisation led to travelling with the band, writing articles from the road while helping Duke write his autobiography. This experience was fundamental to developing the material Dance later used in his books. On Memorial Day, 1974, Dance gave the funeral address for
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Stanley is well informed about my activities and those of my associates. He has been a part of our scene for a long time, maybe longer than he cares to remember. He and his wife Helen are the kind of people it is good to have in your corner, the kind of people you don't mind knowing your secrets. In
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Dance's recording efforts ensured an expanded catalogue of recordings from his chosen era, and continued the careers of several notable musicians. His books and unpublished archives offer a latter-day historian documentary insight into the world of these black jazz musicians while maintaining some
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During the 1970s, as the careers of many musicians Dance favoured were winding-down, he began developing books from the articles and notes he had written. With their children grown, and to escape from recurring bouts of pneumonia, Stanley and Helen decided in 1979 to seek a smaller home in
Southern
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over a long period, as well as many other musicians; because of this friendship Dance was in a position to write "official" biographies. Over his career, his priority was advocating for the music of black ensembles performing sophisticated arrangements, based on Swing-era dance music.
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Ellington at the
Cathedral Church of St. John the Divine in Harlem. He also helped Ellington's son Mercer (executor of his father's estate) deal with the large number of unissued recordings, and co-wrote Mercer's biography of his father. In 1970, Ellington wrote:
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label to make proprietary jazz recordings (they had been leasing
American titles). He again used his (and Helen's) contacts with the Ellington players to produce seven albums that were quite successful in Europe. He also assembled two albums for
298:, beginning in its first issue in 1948 until his death in 1999; while he often wrote for other publications, he only discussed his personal opinions in that column. He continued to run the family business (his main source of income), as well.
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town, unaccustomed to the
English climate, she sorely missed her friends and her active working life. In their late forties, the Dances sold their English businesses and moved overseas to a house owned by her father in the
374:. He wrote the liner notes for all these, as well as for a number of other recordings by Ellington, Hodges, members of their orchestras, and the Basie band (which he had followed since 1937). He shared a 1963
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in 1959. They made a lengthy trip to the US and Canada in the fall of 1946, both to re-connect with
American bands as well as to meet her family. He began writing a monthly column about the jazz milleu for
494:
Dance died of pneumonia at 88 years old on 23 February 1999, at the Rancho
Bernardo Remington Rehabilitation Health Care Center. His grave is located in Mission San Luis Rey Cemetery.
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or similar venues in the evenings, and listening in on recording sessions during the day. He also had an introduction from
Panassié to Chicago-based Canadian writer
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203:(which had begun publication in 1926). Dance chose to focus his enthusiasm on the music of black bands. He started writing opinion pieces about the jazz scene for
181:
While working in Essex, Dance continued to pursue his interest in music, listening to radio broadcasts and attending jazz concerts in London. He soon learned of
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of the perspective of an outsider. Dance was a significant contributor to the development of critical jazz journalism and jazz history over more than 60 years.
485:. In 1995, Dance and Helen donated their journals, photographs, and recordings to the Yale Music Library's Special Collections. He served as book editor for
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173:. But Dance, who (while good at mathematics and an excellent French-speaker) was not a willing student, chose instead to enter the family business.
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536:), view him rather as an energetic advocate of the music he loved and worked with. Dance's own perspective (from a 1995 radio interview) was:
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kids are dancing to Rock n' Roll, partly because jazz had become so ambitious that it wasn't very danceable.
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tobacco merchant in 1910. As a youth, he claimed he was "fortunate" to have been sent to boarding-school at
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writer, business manager, record producer, and historian of the Swing era. He was personally close to
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Oakley, however, was unhappy tied to their home. Raising four children in a 400-year-old house in a
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with introduction by Dan
Morgenstern (Da Capo Press; Diane Publishing Company re-edition 2003)
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Dance is also credited with helping to revive the careers of several musicians, including
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Dance and Oakley married in
January 1947, and resided in England until moving to
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In 1937, Dance visited New York City's jazz scene for three weeks, going to the
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other words they are friends – and you don't have to be careful with friends.
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was published, followed in 1981 by what he considered his master-work:
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and modern bebop, concentrating on black musicians. In 1958, Decca's
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commissioned Dance to produce a series of New York recordings of
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papers and documents from Stanley Dance and Helen Oakley Dance
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California. Money from the sale of their large home in pricey
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746:"Music Library Special Collections: Archival Collections C-E"
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while he was developing his documentary television series
681:"Stanley Dance; Jazz Critic Won Grammy for Liner Notes"
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The World of Swing: An Oral History of Big Band Jazz
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The Dance Archives at Yale University Music Library
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361:Dance arrived in the US with a commission from
736:, Oxford University Press, 1995, pp. 381–384.
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471:while the latter headed the jazz program at
722:"Duke Ellington, The Ellington Era, Vol. 1"
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259:But in September 1937 Dance joined the
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824:People educated at Framlingham College
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528:. His biographers (including Porter,
301:During the 1950s, he coined the term
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464:, a capstone to his writing career.
665:Stanley Dance interview transcript
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814:Writers from Norwalk, Connecticut
780:NAMM Oral History Library (1997)
667:. Hamilton College Jazz Archive.
650:, The Last Post, Jazzhouse.org.
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349:village – the 6th District of
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819:People from Vista, California
809:People from Braintree, Essex
467:He provided consultation to
207:'s French-language magazine
586:The World of Duke Ellington
462:The World Of Duke Ellington
96:The World of Duke Ellington
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748:, Yale University Library.
834:20th-century male writers
734:The Duke Ellington Reader
703:"Obituary: Stanley Dance"
384:The Ellington Era, Vol. 1
283:Postwar Britain (1946–59)
679:Alisa Valdes-Rodriguez,
573:The World of Count Basie
236:. She had been hired by
177:Jazz interests (1930–45)
778:Stanley Dance Interview
599:The World of Earl Hines
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382:for his liner notes to
575:(Da Capo Press, 1985)
562:(Da Capo Press, 1961)
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506:and the later jazz of
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389:In 1961, he published
87:Writer, music producer
839:English music critics
762:Scott Yanow, Allmusic
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391:Jazz Era: The Forties
357:Connecticut (1959–79)
221:that were written by
804:Grammy Award winners
554:Partial bibliography
498:Influence and legacy
458:World of Count Basie
440:California (1979–99)
351:Norwalk, Connecticut
265:Royal Observer Corps
132:– 23 February 1999,
128:(15 September 1910,
159:Framlingham College
126:Stanley Frank Dance
78:Framlingham College
32:Stanley Frank Dance
767:Jazz House article
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395:The World of Swing
106:Helen Oakley Dance
686:Los Angeles Times
195:Lawrence Wright's
171:Oxford University
163:Jelly Roll Morton
134:Vista, California
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118:Grammy Award
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52:(1999-02-23)
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799:1999 deaths
794:1910 births
530:Scott Yanow
508:Miles Davis
430:Helen Humes
365:'s English
289:Connecticut
269:East Anglia
246:Red Nichols
187:Fats Waller
167:Benny Moten
108:, 1913–2001
66:Nationality
788:Categories
626:References
534:Steve Voce
525:Jazz Times
488:Jazz Times
451:Bob Porter
434:Earl Hines
335:Buddy Tate
323:Earl Hines
303:mainstream
149:Early life
516:Free Jazz
477:Ken Burns
475:, and to
319:Cozy Cole
307:Dixieland
254:Chu Berry
102:Spouse(s)
74:Education
41:, England
412:DownBeat
367:Columbia
347:Rowayton
209:Jazz Hot
193:through
522:and in
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532:, and
514:, and
376:Grammy
113:Awards
504:Bebop
378:with
273:Bebop
155:Essex
116:1963
616:ISBN
603:ISBN
590:ISBN
577:ISBN
564:ISBN
482:Jazz
473:UCSD
215:and
189:and
165:and
138:jazz
47:Died
28:Born
372:RCA
363:EMI
277:OSS
267:in
261:RAF
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