Author: Bash Daily Group Archive Feed
Booker Ervin – Milestones – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=E4e7uyWBigY
(1958)
Booker Ervin – tenor saxophon
Ted Curson – trumpet
Pony Poindexter – alto sax
Nathan Davis – flute
Kenny Drew – piano
Jimmy Wood – string bass
Edgar Bateman – drums
https://www.youtube.com/watch?v=E4e7uyWBigY
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Elvin Jones and the Pharaoh’s Tomb of Drum History | Reverb
http://www.jazzpromoservices.com/
https://reverb.com/blog/elvin-jones-and-the-pharaohs-tomb-of-drum-history?post_id=10153574447601558_10153574447566558#
** Elvin Jones and the Pharaoh’s Tomb of Drum History
————————————————————
Nov 09, 2015 by Matt Biancardi
After Elvin Jones, John Coltrane’s go-to drummer, died in 2004, his widow Keiko was left with her husband’s absence and the monumental task of managing Jones’ gear collection. But to call it a “collection” borders on injustice to the initiated: It was a veritable pharaoh’s tomb of drums and drum history.
“It was an absolute treasure trove of the most amazing drum gear I’ve ever encountered,” recalls Donn Bennett, instructor and owner of Donn’s Drum School, an industry leader in rare, vintage drums and celebrity-owned drum gear for more than 30 years and arguably the industry leader and adviser on the topic. “You’d hear about this buried treasure; you’d hear stories from those who have been there: piles of old Zildjian Ks, ‘60s Gretsch kits still in the boxes.”
After several bad experiences with dealers looking to pull a fast one, and trying unsuccessfully to sell the gear herself, Jones turned first to friend Gregg Keplinger — a legend for crafting coveted steel snares and working as drum tech to Pearl Jam and Soundgarden’s Matt Cameron — for his know-how and professional connections. And Keplinger recommended Bennett.
In his native Seattle, Bennett has cultivated a name working with Charlie Watts, Steve Jordan, Ringo Starr and other drummers. “I have had the extreme good fortune to have worked with dozens of my favorite drummers over the years,” he says. “I specialize in drums that were owned and used by famous drummers.”
Compared to the markets for vintage guitars or recording gear, the vintage drum market is even smaller in terms of the number of professionals capable of competently assessing a product, Bennett says. As a result determining the value of such pieces, some of which are worthy of the Smithsonian’s attention by virtue of age, rarity and being from Jones’ private stock, can be very difficult.
“There is an extremely small market for this kind of stuff,” Bennett says. “This is where over 30 years of building trusting relationships in the drum world has become very helpful. Most of the drums come to me as opposed to me hunting for them. I’ve bought drums that have taken over 20 years to sell.”
And so began the long-running project of working with Keiko to inventory, catalogue, price and sell Elvin’s leviathan collection. “There were eight drumsets, 20 snares, over 100 cymbals, hundreds of pair of sticks, brushes, mallets. She saved everything; cracked cymbals, broken sticks; bins and bins of Elvin’s sticks,” Bennett says. “There were also were trunks full of his stage shirts, some bongos and auxiliary percussion.”
The process began slowly, with Donn first purchasing the last kit Yamaha made for Jones as well as twenty cymbals — including pre “Green Stamp” Istanbuls, produced before the company split into Istanbul Agop and Istanbul Mehmet, which could fetch a fortune on their own. Since 2005, Donn has purchased a wide swath of the Jones collection. While acquisitions and number-crunching are components of a professional vendor, Donn’s 10-year working relationship with Keiko Jones is what stands out for him.
“It was about five years ago that I purchased the bulk of his stuff. Really, this is an ongoing thing because there’s still more stuff that I’m supposed to be buying,” Bennett says. “This process is always at Elvin’s wife’s pace. When she’s ready to start working on this again, she’ll call me.”
That time invested paid off when Donn eventually gained access to the crown jewels of the kingdom.
Jones was a Zildjian endorser, and the company made a selection of specially-crafted cymbals for him, which are especially notable for the engraving of the drummer’s signature on the stamp where the serial number would traditionally be found.
And Keplinger, master builder of a steel snare that sounds like a small explosion, presented Jones with a custom-made model complete with an engraved badge commemorating the build.
The most striking piece, however, isn’t even something you can play, but holds more than enough merit for a museum display: a cymbal bag from Zildjian for the first-ever set of American Ks. While only the original hats remain in Donn’s inventory, owning them and the bag indicating the very first set of perhaps the most-used and influential cymbal series in history is flooring.
“Probably the coolest thing for me in the whole set is a leather cymbal bag with all gold lettering that says ‘To Elvin Jones: the First Set of U.S. Made K. Zildjians, June 1982.’ It’s like, wow, here’s the case for the first set of American-made K’s.”
When asked his personal favorites from the gear he’s acquired, Donn says: “The stuff that really turns me on are the pieces that tell a story.” With the distinction of being the only vendor deemed qualified to handle the instruments and effects of one of the greatest jazz drummers of the 20th century, the man has quite a story.
safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank
Shop Donn’s Drum Vault on Reverb (safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5457cfbb4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=5457cfbb4f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Elvin Jones and the Pharaoh’s Tomb of Drum History | Reverb
http://www.jazzpromoservices.com/
https://reverb.com/blog/elvin-jones-and-the-pharaohs-tomb-of-drum-history?post_id=10153574447601558_10153574447566558#
** Elvin Jones and the Pharaoh’s Tomb of Drum History
————————————————————
Nov 09, 2015 by Matt Biancardi
After Elvin Jones, John Coltrane’s go-to drummer, died in 2004, his widow Keiko was left with her husband’s absence and the monumental task of managing Jones’ gear collection. But to call it a “collection” borders on injustice to the initiated: It was a veritable pharaoh’s tomb of drums and drum history.
“It was an absolute treasure trove of the most amazing drum gear I’ve ever encountered,” recalls Donn Bennett, instructor and owner of Donn’s Drum School, an industry leader in rare, vintage drums and celebrity-owned drum gear for more than 30 years and arguably the industry leader and adviser on the topic. “You’d hear about this buried treasure; you’d hear stories from those who have been there: piles of old Zildjian Ks, ‘60s Gretsch kits still in the boxes.”
After several bad experiences with dealers looking to pull a fast one, and trying unsuccessfully to sell the gear herself, Jones turned first to friend Gregg Keplinger — a legend for crafting coveted steel snares and working as drum tech to Pearl Jam and Soundgarden’s Matt Cameron — for his know-how and professional connections. And Keplinger recommended Bennett.
In his native Seattle, Bennett has cultivated a name working with Charlie Watts, Steve Jordan, Ringo Starr and other drummers. “I have had the extreme good fortune to have worked with dozens of my favorite drummers over the years,” he says. “I specialize in drums that were owned and used by famous drummers.”
Compared to the markets for vintage guitars or recording gear, the vintage drum market is even smaller in terms of the number of professionals capable of competently assessing a product, Bennett says. As a result determining the value of such pieces, some of which are worthy of the Smithsonian’s attention by virtue of age, rarity and being from Jones’ private stock, can be very difficult.
“There is an extremely small market for this kind of stuff,” Bennett says. “This is where over 30 years of building trusting relationships in the drum world has become very helpful. Most of the drums come to me as opposed to me hunting for them. I’ve bought drums that have taken over 20 years to sell.”
And so began the long-running project of working with Keiko to inventory, catalogue, price and sell Elvin’s leviathan collection. “There were eight drumsets, 20 snares, over 100 cymbals, hundreds of pair of sticks, brushes, mallets. She saved everything; cracked cymbals, broken sticks; bins and bins of Elvin’s sticks,” Bennett says. “There were also were trunks full of his stage shirts, some bongos and auxiliary percussion.”
The process began slowly, with Donn first purchasing the last kit Yamaha made for Jones as well as twenty cymbals — including pre “Green Stamp” Istanbuls, produced before the company split into Istanbul Agop and Istanbul Mehmet, which could fetch a fortune on their own. Since 2005, Donn has purchased a wide swath of the Jones collection. While acquisitions and number-crunching are components of a professional vendor, Donn’s 10-year working relationship with Keiko Jones is what stands out for him.
“It was about five years ago that I purchased the bulk of his stuff. Really, this is an ongoing thing because there’s still more stuff that I’m supposed to be buying,” Bennett says. “This process is always at Elvin’s wife’s pace. When she’s ready to start working on this again, she’ll call me.”
That time invested paid off when Donn eventually gained access to the crown jewels of the kingdom.
Jones was a Zildjian endorser, and the company made a selection of specially-crafted cymbals for him, which are especially notable for the engraving of the drummer’s signature on the stamp where the serial number would traditionally be found.
And Keplinger, master builder of a steel snare that sounds like a small explosion, presented Jones with a custom-made model complete with an engraved badge commemorating the build.
The most striking piece, however, isn’t even something you can play, but holds more than enough merit for a museum display: a cymbal bag from Zildjian for the first-ever set of American Ks. While only the original hats remain in Donn’s inventory, owning them and the bag indicating the very first set of perhaps the most-used and influential cymbal series in history is flooring.
“Probably the coolest thing for me in the whole set is a leather cymbal bag with all gold lettering that says ‘To Elvin Jones: the First Set of U.S. Made K. Zildjians, June 1982.’ It’s like, wow, here’s the case for the first set of American-made K’s.”
When asked his personal favorites from the gear he’s acquired, Donn says: “The stuff that really turns me on are the pieces that tell a story.” With the distinction of being the only vendor deemed qualified to handle the instruments and effects of one of the greatest jazz drummers of the 20th century, the man has quite a story.
safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank
Shop Donn’s Drum Vault on Reverb (safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5457cfbb4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=5457cfbb4f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Elvin Jones and the Pharaoh’s Tomb of Drum History | Reverb
http://www.jazzpromoservices.com/
https://reverb.com/blog/elvin-jones-and-the-pharaohs-tomb-of-drum-history?post_id=10153574447601558_10153574447566558#
** Elvin Jones and the Pharaoh’s Tomb of Drum History
————————————————————
Nov 09, 2015 by Matt Biancardi
After Elvin Jones, John Coltrane’s go-to drummer, died in 2004, his widow Keiko was left with her husband’s absence and the monumental task of managing Jones’ gear collection. But to call it a “collection” borders on injustice to the initiated: It was a veritable pharaoh’s tomb of drums and drum history.
“It was an absolute treasure trove of the most amazing drum gear I’ve ever encountered,” recalls Donn Bennett, instructor and owner of Donn’s Drum School, an industry leader in rare, vintage drums and celebrity-owned drum gear for more than 30 years and arguably the industry leader and adviser on the topic. “You’d hear about this buried treasure; you’d hear stories from those who have been there: piles of old Zildjian Ks, ‘60s Gretsch kits still in the boxes.”
After several bad experiences with dealers looking to pull a fast one, and trying unsuccessfully to sell the gear herself, Jones turned first to friend Gregg Keplinger — a legend for crafting coveted steel snares and working as drum tech to Pearl Jam and Soundgarden’s Matt Cameron — for his know-how and professional connections. And Keplinger recommended Bennett.
In his native Seattle, Bennett has cultivated a name working with Charlie Watts, Steve Jordan, Ringo Starr and other drummers. “I have had the extreme good fortune to have worked with dozens of my favorite drummers over the years,” he says. “I specialize in drums that were owned and used by famous drummers.”
Compared to the markets for vintage guitars or recording gear, the vintage drum market is even smaller in terms of the number of professionals capable of competently assessing a product, Bennett says. As a result determining the value of such pieces, some of which are worthy of the Smithsonian’s attention by virtue of age, rarity and being from Jones’ private stock, can be very difficult.
“There is an extremely small market for this kind of stuff,” Bennett says. “This is where over 30 years of building trusting relationships in the drum world has become very helpful. Most of the drums come to me as opposed to me hunting for them. I’ve bought drums that have taken over 20 years to sell.”
And so began the long-running project of working with Keiko to inventory, catalogue, price and sell Elvin’s leviathan collection. “There were eight drumsets, 20 snares, over 100 cymbals, hundreds of pair of sticks, brushes, mallets. She saved everything; cracked cymbals, broken sticks; bins and bins of Elvin’s sticks,” Bennett says. “There were also were trunks full of his stage shirts, some bongos and auxiliary percussion.”
The process began slowly, with Donn first purchasing the last kit Yamaha made for Jones as well as twenty cymbals — including pre “Green Stamp” Istanbuls, produced before the company split into Istanbul Agop and Istanbul Mehmet, which could fetch a fortune on their own. Since 2005, Donn has purchased a wide swath of the Jones collection. While acquisitions and number-crunching are components of a professional vendor, Donn’s 10-year working relationship with Keiko Jones is what stands out for him.
“It was about five years ago that I purchased the bulk of his stuff. Really, this is an ongoing thing because there’s still more stuff that I’m supposed to be buying,” Bennett says. “This process is always at Elvin’s wife’s pace. When she’s ready to start working on this again, she’ll call me.”
That time invested paid off when Donn eventually gained access to the crown jewels of the kingdom.
Jones was a Zildjian endorser, and the company made a selection of specially-crafted cymbals for him, which are especially notable for the engraving of the drummer’s signature on the stamp where the serial number would traditionally be found.
And Keplinger, master builder of a steel snare that sounds like a small explosion, presented Jones with a custom-made model complete with an engraved badge commemorating the build.
The most striking piece, however, isn’t even something you can play, but holds more than enough merit for a museum display: a cymbal bag from Zildjian for the first-ever set of American Ks. While only the original hats remain in Donn’s inventory, owning them and the bag indicating the very first set of perhaps the most-used and influential cymbal series in history is flooring.
“Probably the coolest thing for me in the whole set is a leather cymbal bag with all gold lettering that says ‘To Elvin Jones: the First Set of U.S. Made K. Zildjians, June 1982.’ It’s like, wow, here’s the case for the first set of American-made K’s.”
When asked his personal favorites from the gear he’s acquired, Donn says: “The stuff that really turns me on are the pieces that tell a story.” With the distinction of being the only vendor deemed qualified to handle the instruments and effects of one of the greatest jazz drummers of the 20th century, the man has quite a story.
safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank
Shop Donn’s Drum Vault on Reverb (safari-reader://reverb.com/shop/donns-drum-vault?_aid=tank)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5457cfbb4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=5457cfbb4f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications: Radio Industry News
http://www.jazzpromoservices.com/
http://www.fmqb.com/article.asp?id=2991906
“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications
November 10, 2015
Art Vuolo
In the late 1970s Art Vuolo picked up a 30 lb Sony Betamax portable VCR and camera marched into radio stations all across the country. Four decades later, Art Vuolo’s video library “A History of the American Disc Jockey” is set to become a permanent fixture at The National Radio Hall of Fame, located within the Museum of Broadcast Communications in Chicago.
This future exhibit, “A History of the American DJ,” spearheaded by Chicago broadcasting executives John Gehron/AccuRadio, Lisa Miller/Miller Broadcast Management, and Harv Blain/Vallie Richards Donovan Consulting, will highlight nearly 40 years of “Radio’s Best Friend” Art Vuolo’s recordings of on-air banter and a behind-the-scenes look at over 700 Disc Jockeys from coast to coast, including many of radio’s most creative personalities.
Art Vuolo said, “I am honored to present my video library to The National Radio Hall of Fame at The Museum of Broadcast Communications and am absolutely overwhelmed with the support of the radio industry.”
This radio treasure trove of over 1,000 videos will be available for viewing at the Museum for aspiring radio talent, management and students along with fans, friends, family and the curious; all of whom will get a rare look into people behind the mic. Videos of the personalities will also be available for purchase.
National Radio Hall of Fame Chairman Kraig Kitchin and 2015 Hall of Fame inductees Elvis Duran and Tom Griswold plus hundreds of other talent, management and owners, have expressed their support for this valuable and unique exhibit.
Kitchin remarked “The trust Art Vuolo created between himself and hundreds of radio personalities while capturing their on air magic in video form has turned into a treasure trove of memories everyone should be able to see. Many personalities are in the National Radio Hall of Fame; many more are deserved of nomination. The collection of work should be heard and seen by all who are interested”.
Contributions are now being accepted to purchase the video library, curate “A History of the American DJ” exhibit and maintain its content. Companies or individuals may send donations via PayPal or by sending a check to:
“History of the DJ”
P.O. Box 10130
Chicago, IL 60610
For more information interested persons can visit www.facebook.com/HistoryoftheDJ
– See more at: http://www.fmqb.com/article.asp?id=2991906#sthash.3BwzkNDB.dpuf
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=bdab228a87) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=bdab228a87&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications: Radio Industry News
http://www.jazzpromoservices.com/
http://www.fmqb.com/article.asp?id=2991906
“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications
November 10, 2015
Art Vuolo
In the late 1970s Art Vuolo picked up a 30 lb Sony Betamax portable VCR and camera marched into radio stations all across the country. Four decades later, Art Vuolo’s video library “A History of the American Disc Jockey” is set to become a permanent fixture at The National Radio Hall of Fame, located within the Museum of Broadcast Communications in Chicago.
This future exhibit, “A History of the American DJ,” spearheaded by Chicago broadcasting executives John Gehron/AccuRadio, Lisa Miller/Miller Broadcast Management, and Harv Blain/Vallie Richards Donovan Consulting, will highlight nearly 40 years of “Radio’s Best Friend” Art Vuolo’s recordings of on-air banter and a behind-the-scenes look at over 700 Disc Jockeys from coast to coast, including many of radio’s most creative personalities.
Art Vuolo said, “I am honored to present my video library to The National Radio Hall of Fame at The Museum of Broadcast Communications and am absolutely overwhelmed with the support of the radio industry.”
This radio treasure trove of over 1,000 videos will be available for viewing at the Museum for aspiring radio talent, management and students along with fans, friends, family and the curious; all of whom will get a rare look into people behind the mic. Videos of the personalities will also be available for purchase.
National Radio Hall of Fame Chairman Kraig Kitchin and 2015 Hall of Fame inductees Elvis Duran and Tom Griswold plus hundreds of other talent, management and owners, have expressed their support for this valuable and unique exhibit.
Kitchin remarked “The trust Art Vuolo created between himself and hundreds of radio personalities while capturing their on air magic in video form has turned into a treasure trove of memories everyone should be able to see. Many personalities are in the National Radio Hall of Fame; many more are deserved of nomination. The collection of work should be heard and seen by all who are interested”.
Contributions are now being accepted to purchase the video library, curate “A History of the American DJ” exhibit and maintain its content. Companies or individuals may send donations via PayPal or by sending a check to:
“History of the DJ”
P.O. Box 10130
Chicago, IL 60610
For more information interested persons can visit www.facebook.com/HistoryoftheDJ
– See more at: http://www.fmqb.com/article.asp?id=2991906#sthash.3BwzkNDB.dpuf
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications: Radio Industry News
http://www.jazzpromoservices.com/
http://www.fmqb.com/article.asp?id=2991906
“A History Of The American DJ” Exhibit Coming To The Museum Of Broadcast Communications
November 10, 2015
Art Vuolo
In the late 1970s Art Vuolo picked up a 30 lb Sony Betamax portable VCR and camera marched into radio stations all across the country. Four decades later, Art Vuolo’s video library “A History of the American Disc Jockey” is set to become a permanent fixture at The National Radio Hall of Fame, located within the Museum of Broadcast Communications in Chicago.
This future exhibit, “A History of the American DJ,” spearheaded by Chicago broadcasting executives John Gehron/AccuRadio, Lisa Miller/Miller Broadcast Management, and Harv Blain/Vallie Richards Donovan Consulting, will highlight nearly 40 years of “Radio’s Best Friend” Art Vuolo’s recordings of on-air banter and a behind-the-scenes look at over 700 Disc Jockeys from coast to coast, including many of radio’s most creative personalities.
Art Vuolo said, “I am honored to present my video library to The National Radio Hall of Fame at The Museum of Broadcast Communications and am absolutely overwhelmed with the support of the radio industry.”
This radio treasure trove of over 1,000 videos will be available for viewing at the Museum for aspiring radio talent, management and students along with fans, friends, family and the curious; all of whom will get a rare look into people behind the mic. Videos of the personalities will also be available for purchase.
National Radio Hall of Fame Chairman Kraig Kitchin and 2015 Hall of Fame inductees Elvis Duran and Tom Griswold plus hundreds of other talent, management and owners, have expressed their support for this valuable and unique exhibit.
Kitchin remarked “The trust Art Vuolo created between himself and hundreds of radio personalities while capturing their on air magic in video form has turned into a treasure trove of memories everyone should be able to see. Many personalities are in the National Radio Hall of Fame; many more are deserved of nomination. The collection of work should be heard and seen by all who are interested”.
Contributions are now being accepted to purchase the video library, curate “A History of the American DJ” exhibit and maintain its content. Companies or individuals may send donations via PayPal or by sending a check to:
“History of the DJ”
P.O. Box 10130
Chicago, IL 60610
For more information interested persons can visit www.facebook.com/HistoryoftheDJ
– See more at: http://www.fmqb.com/article.asp?id=2991906#sthash.3BwzkNDB.dpuf
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html
** Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
————————————————————
By KATIE ROGERS and BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) NOV. 10, 2015
Allen Toussaint at the New Orleans Jazz and Heritage Festival in 2010. Skip Bolen/European Pressphoto Agency
Allen Toussaint, the versatile producer, songwriter, pianist and singer who was a fixture of New Orleans R&B, died Monday after appearing in concert in Madrid. He was 77.
His daughter, Alison Toussaint-LeBeaux, confirmed his death in an email, and said the cause appeared to be a heart attack. El Mundo reported (http://www.elmundo.es/cultura/2015/11/10/5641b009ca4741c2438b45aa.html) in Spain that Mr. Toussaint (pronounced Too-SAHNT) had collapsed at a hotel after the performance and was taken to a hospital.
He had been keeping a busy schedule, appearing in the United States and in Europe in recent weeks, with plans to perform in Belgium and Britain after his appearance in Spain. On Monday evening, fans who attended the performance at the Teatro Lara in Madrid posted video of Mr. Toussaint (https://www.youtube.com/watch?v=HMCk-fW67K8&feature=youtu.be) as he sat at a piano and sang.
“The @teatrolara is a Southern party thanks to the great Allen Toussaint,” a local music club wrote (https://twitter.com/club1906/status/663831607598559233) on Twitter.
Allen Toussaint en Madrid (9-11-15) Teatro Lara Video by ENLACEFUNK
Mr. Toussaint was born in 1938 in Gert Town, a humble, working-class neighborhood of New Orleans, where he taught himself piano. He began his career as a teenager in the 1950s, releasing his first album in 1958 under the name Tousan. In 1960, he became the house producer, arranger and songwriter for the Minit label, working on songs like Ernie K-Doe’s “Mother in Law,” Lee Dorsey’s “Ya Ya” and Jessie Hill’s “Ooh Poo Pah Doo.”
Throughout his career, Mr. Toussaint embodied the traditions of the New Orleans R&B scene, working as one of the city’s most prolific and influential songwriters and producers during the 1960s and 70s. Even in that fertile period of New Orleans music, Mr. Toussaint’s work stood out for its humor, jaunty style and arrangements with piano flourishes that showed the influence of Professor Longhair.
After a brief stint in the United States Army, Mr. Toussaint returned to music in 1965 and continued to work with a range of New Orleans musicians, including the early funk group the Meters. He co-founded Sea-Saint Studios in 1972, which attracted Paul Simon, Paul McCartney and others.
His songs would eventually be covered widely by other musicians, including “Java,” a hit for Al Hirt in 1964, and “Fortune Teller,” which became a standard among British Invasion rock bands in the mid-60s, recorded by the Who and the Rolling Stones, among others.
“I was so glad when the Stones recorded my song,” Mr. Toussaint once told an interviewer (http://www.telegraph.co.uk/culture/grammys/10574449/Allen-Toussaint-a-musical-giant-in-running-for-first-Grammy.html) . “ I knew they would know how to roll it all the way to the bank.”
On Tuesday, the Rolling Stones posted (https://twitter.com/RollingStones/status/664069811555692545) the song on Twitter, with the message “RIP Allen Toussaint.” Other musicians, like Harry Shearer and Harry Connick Jr., also posted (https://twitter.com/HarryConnickJR/status/664069167209799680) messages.
“We have lost a giant,” Mr. Shearer wrote (https://twitter.com/theharryshearer/status/664062602025312256) .
In recent years, Mr. Toussaint continued to be a frequent and versatile collaborator, whether it was exploring his roots with New Orleans musicians or pairing with pop stars like Elvis Costello, with whom he recorded the album “The River in Reverse,” (http://www.nytimes.com/2006/07/12/arts/music/12elvi.html) a response to Hurricane Katrina (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hurricane_katrina/index.html?inline=nyt-classifier) .
According to his website, Mr. Toussaint said his career was rebooted a decade ago when the storm forced him to move to New York, where he often performed alone at Joe’s Pub on Lafayette Street.
Mr. Toussaint would eventually return home, where he was a beloved local figure with an understated demeanor.
“I’m not accustomed to talking about myself,” he said, according to his website. “I talk in the studio with musicians. Or through my songs.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html
** Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
————————————————————
By KATIE ROGERS and BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) NOV. 10, 2015
Allen Toussaint at the New Orleans Jazz and Heritage Festival in 2010. Skip Bolen/European Pressphoto Agency
Allen Toussaint, the versatile producer, songwriter, pianist and singer who was a fixture of New Orleans R&B, died Monday after appearing in concert in Madrid. He was 77.
His daughter, Alison Toussaint-LeBeaux, confirmed his death in an email, and said the cause appeared to be a heart attack. El Mundo reported (http://www.elmundo.es/cultura/2015/11/10/5641b009ca4741c2438b45aa.html) in Spain that Mr. Toussaint (pronounced Too-SAHNT) had collapsed at a hotel after the performance and was taken to a hospital.
He had been keeping a busy schedule, appearing in the United States and in Europe in recent weeks, with plans to perform in Belgium and Britain after his appearance in Spain. On Monday evening, fans who attended the performance at the Teatro Lara in Madrid posted video of Mr. Toussaint (https://www.youtube.com/watch?v=HMCk-fW67K8&feature=youtu.be) as he sat at a piano and sang.
“The @teatrolara is a Southern party thanks to the great Allen Toussaint,” a local music club wrote (https://twitter.com/club1906/status/663831607598559233) on Twitter.
Allen Toussaint en Madrid (9-11-15) Teatro Lara Video by ENLACEFUNK
Mr. Toussaint was born in 1938 in Gert Town, a humble, working-class neighborhood of New Orleans, where he taught himself piano. He began his career as a teenager in the 1950s, releasing his first album in 1958 under the name Tousan. In 1960, he became the house producer, arranger and songwriter for the Minit label, working on songs like Ernie K-Doe’s “Mother in Law,” Lee Dorsey’s “Ya Ya” and Jessie Hill’s “Ooh Poo Pah Doo.”
Throughout his career, Mr. Toussaint embodied the traditions of the New Orleans R&B scene, working as one of the city’s most prolific and influential songwriters and producers during the 1960s and 70s. Even in that fertile period of New Orleans music, Mr. Toussaint’s work stood out for its humor, jaunty style and arrangements with piano flourishes that showed the influence of Professor Longhair.
After a brief stint in the United States Army, Mr. Toussaint returned to music in 1965 and continued to work with a range of New Orleans musicians, including the early funk group the Meters. He co-founded Sea-Saint Studios in 1972, which attracted Paul Simon, Paul McCartney and others.
His songs would eventually be covered widely by other musicians, including “Java,” a hit for Al Hirt in 1964, and “Fortune Teller,” which became a standard among British Invasion rock bands in the mid-60s, recorded by the Who and the Rolling Stones, among others.
“I was so glad when the Stones recorded my song,” Mr. Toussaint once told an interviewer (http://www.telegraph.co.uk/culture/grammys/10574449/Allen-Toussaint-a-musical-giant-in-running-for-first-Grammy.html) . “ I knew they would know how to roll it all the way to the bank.”
On Tuesday, the Rolling Stones posted (https://twitter.com/RollingStones/status/664069811555692545) the song on Twitter, with the message “RIP Allen Toussaint.” Other musicians, like Harry Shearer and Harry Connick Jr., also posted (https://twitter.com/HarryConnickJR/status/664069167209799680) messages.
“We have lost a giant,” Mr. Shearer wrote (https://twitter.com/theharryshearer/status/664062602025312256) .
In recent years, Mr. Toussaint continued to be a frequent and versatile collaborator, whether it was exploring his roots with New Orleans musicians or pairing with pop stars like Elvis Costello, with whom he recorded the album “The River in Reverse,” (http://www.nytimes.com/2006/07/12/arts/music/12elvi.html) a response to Hurricane Katrina (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hurricane_katrina/index.html?inline=nyt-classifier) .
According to his website, Mr. Toussaint said his career was rebooted a decade ago when the storm forced him to move to New York, where he often performed alone at Joe’s Pub on Lafayette Street.
Mr. Toussaint would eventually return home, where he was a beloved local figure with an understated demeanor.
“I’m not accustomed to talking about myself,” he said, according to his website. “I talk in the studio with musicians. Or through my songs.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4249feb8b2) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4249feb8b2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/11/11/arts/music/allen-toussaint-dies.html
** Allen Toussaint, New Orleans R&B Mainstay, Dies at 77
————————————————————
By KATIE ROGERS and BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) NOV. 10, 2015
Allen Toussaint at the New Orleans Jazz and Heritage Festival in 2010. Skip Bolen/European Pressphoto Agency
Allen Toussaint, the versatile producer, songwriter, pianist and singer who was a fixture of New Orleans R&B, died Monday after appearing in concert in Madrid. He was 77.
His daughter, Alison Toussaint-LeBeaux, confirmed his death in an email, and said the cause appeared to be a heart attack. El Mundo reported (http://www.elmundo.es/cultura/2015/11/10/5641b009ca4741c2438b45aa.html) in Spain that Mr. Toussaint (pronounced Too-SAHNT) had collapsed at a hotel after the performance and was taken to a hospital.
He had been keeping a busy schedule, appearing in the United States and in Europe in recent weeks, with plans to perform in Belgium and Britain after his appearance in Spain. On Monday evening, fans who attended the performance at the Teatro Lara in Madrid posted video of Mr. Toussaint (https://www.youtube.com/watch?v=HMCk-fW67K8&feature=youtu.be) as he sat at a piano and sang.
“The @teatrolara is a Southern party thanks to the great Allen Toussaint,” a local music club wrote (https://twitter.com/club1906/status/663831607598559233) on Twitter.
Allen Toussaint en Madrid (9-11-15) Teatro Lara Video by ENLACEFUNK
Mr. Toussaint was born in 1938 in Gert Town, a humble, working-class neighborhood of New Orleans, where he taught himself piano. He began his career as a teenager in the 1950s, releasing his first album in 1958 under the name Tousan. In 1960, he became the house producer, arranger and songwriter for the Minit label, working on songs like Ernie K-Doe’s “Mother in Law,” Lee Dorsey’s “Ya Ya” and Jessie Hill’s “Ooh Poo Pah Doo.”
Throughout his career, Mr. Toussaint embodied the traditions of the New Orleans R&B scene, working as one of the city’s most prolific and influential songwriters and producers during the 1960s and 70s. Even in that fertile period of New Orleans music, Mr. Toussaint’s work stood out for its humor, jaunty style and arrangements with piano flourishes that showed the influence of Professor Longhair.
After a brief stint in the United States Army, Mr. Toussaint returned to music in 1965 and continued to work with a range of New Orleans musicians, including the early funk group the Meters. He co-founded Sea-Saint Studios in 1972, which attracted Paul Simon, Paul McCartney and others.
His songs would eventually be covered widely by other musicians, including “Java,” a hit for Al Hirt in 1964, and “Fortune Teller,” which became a standard among British Invasion rock bands in the mid-60s, recorded by the Who and the Rolling Stones, among others.
“I was so glad when the Stones recorded my song,” Mr. Toussaint once told an interviewer (http://www.telegraph.co.uk/culture/grammys/10574449/Allen-Toussaint-a-musical-giant-in-running-for-first-Grammy.html) . “ I knew they would know how to roll it all the way to the bank.”
On Tuesday, the Rolling Stones posted (https://twitter.com/RollingStones/status/664069811555692545) the song on Twitter, with the message “RIP Allen Toussaint.” Other musicians, like Harry Shearer and Harry Connick Jr., also posted (https://twitter.com/HarryConnickJR/status/664069167209799680) messages.
“We have lost a giant,” Mr. Shearer wrote (https://twitter.com/theharryshearer/status/664062602025312256) .
In recent years, Mr. Toussaint continued to be a frequent and versatile collaborator, whether it was exploring his roots with New Orleans musicians or pairing with pop stars like Elvis Costello, with whom he recorded the album “The River in Reverse,” (http://www.nytimes.com/2006/07/12/arts/music/12elvi.html) a response to Hurricane Katrina (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hurricane_katrina/index.html?inline=nyt-classifier) .
According to his website, Mr. Toussaint said his career was rebooted a decade ago when the storm forced him to move to New York, where he often performed alone at Joe’s Pub on Lafayette Street.
Mr. Toussaint would eventually return home, where he was a beloved local figure with an understated demeanor.
“I’m not accustomed to talking about myself,” he said, according to his website. “I talk in the studio with musicians. Or through my songs.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4249feb8b2) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4249feb8b2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Matheny’s Sanford Josephson moonlights as jazz author, impresario
http://www.jazzpromoservices.com/
http://www.mycentraljersey.com/story/news/local/2015/11/09/mathenys-sanford-josephson-moonlights-jazz-author/75227970/
** Matheny’s Sanford Josephson moonlights as jazz author
————————————————————
Bob Makin (http://www.mycentraljersey.com/staff/15509/bob-makin/) , @ReporterBMakin
** Sanford Josephson, director of development at Matheny School who moonlights as a jazz author and impresario, has published his latest book, a biography of saxophone great Gerry Mulligan
————————————————————
Some folks know him as the spokesman and development director for the Peapack-Gladstone based Matheny Medical and Educational Center, a special hospital and school for children and adults with medically complex developmental disabilities.
Others know him as a longtime board member of the New Jersey Jazz Society and curator of the Flemington portion of the Central Jersey Jazz Festival, as well as the Sunday night concert series at the Luna Stage in his hometown of West Orange.
But Sanford Josephson also has been a jazz music writer since the 1970s and recently published his second book on the subject, “Jeru’s Journey: The Life & Music of Gerry Mulligan,” a follow-up to 2009’s “Jazz Notes: Interviews Across the Generations.”
Josephson will celebrate the publication of the pioneering cool jazz baritone saxophonist’s biography with signings on Nov. 15 at the monthly New Jersey Jazz Society Social featuring bassist Bill Crow, a frequent bandmate of Mulligan’s. On Dec. 13 at the Music in the Moonlight jazz series that Sanford curates at Luna Stage near his residence in West Orange, “Mulligan and More” will present Mulligan Quartet pianist Ted Rosenthal and baritone saxophonist Scott Robinson. When the Gerry Mulligan Collection was donated to the Library of Congress in the 1990s, Robinson played Mulligan’s bari sax during the dedication ceremony.
Josephson recently chatted about his books and his career-spanning fascination with Mulligan’s often unsung brilliance as a saxophonist, composer and arranger.
In addition to writing books and articles about jazz,
In addition to writing books and articles about jazz, Sanford Josephson also produces and promotes concerts, including the Flemington portion of the Central Jersey Jazz Festival each September. (Photo: ~Courtesy of Sanford Josephson)
MyCJ: What made you want to write about Gerry Mulligan and what about him warranted your and your readers’ attention?
Josephson: I have always been a big fan of Gerry Mulligan. I first saw him perform in the early ’70s, but I was familiar with his records before that. In 1981, I interviewed him for a newspaper called ‘ElectriCity,’ which was distributed on college campuses and in music and bookstores in the Philadelphia area. That article was the basis for a chapter in my first book, ‘Jazz Notes: Interviews Across the Generations.’
I have always felt Mulligan never received the recognition he deserved, and when I realized there had never been a definitive biography written about him, I contacted his widow, Franca. We first got together in late 2011, and she eventually lent me the tapes of his recorded oral autobiography and introduced me to the publisher, Hal Leonard Books.
MyCJ: What did you enjoy learning most about Mulligan?
Josephson: Mulligan was a fascinating individual. He was a high school dropout but really a genius. Incredible arranger, composer, bandleader and musician. And could talk on practically any subject. One of his pianists told me he would breeze through The New York Times crossword puzzle in ink.
MyCJ: Was ‘Jazz Notes’ written for the Hal Leonard Series or Hal Leonard Books?
Josephson: The (Mulligan) book is part of the Hal Leonard Jazz Biography Series published by Hal Leonard Books. (‘Jazz Notes’) was published by Praeger/ABC-Clio. In the ’70s and ’80s, I did a lot of freelance writing about jazz in a variety of publications. ‘ElectriCity’ was one. Most of the articles appeared in out-of-town newspapers: Louisville Courier-Journal, Toledo Blade, St. Louis Post-Dispatch, about musicians who were originally from those cities. I did do an article on Dave Brubeck for the New York Daily News and an article on Count Basie alumni for American Way magazine. Eighteen of the 20 chapters in Jazz Notes were based on those articles, but they were all updated. In a few cases, the original subject was still alive, and I re-interviewed him (Brubeck, Jon Hendricks, Dick Hyman, David Sanborn, Stanley Cowell). In other cases, I interviewed people who were influenced by or played with the original subjects.
In the early ’80s, I had an idea for a book about older African-American jazz musicians and what it was like traveling on the road in the days before civil rights. That book never materialized, but I had done three sample chapters. They became a chapter in Jazz Notes called ‘Road Warriors.’ The other new chapter was based on a 2008 interview with pianist Billy Taylor, who had been previously interviewed for articles on Fats Waller and Art Tatum.
MyCJ: Out of all the interviews you’ve done, which subject was your favorite?
Josephson: Gerry Mulligan was clearly my favorite subject, but Hoagy Carmichael, Dave Brubeck, and Jon Hendricks were also among the favorites.
MyCJ: Why and how did you first get into jazz?
Josephson: I became passionate about jazz when I was living in Japan in the mid-1960s, working in the public information office of the American Red Cross’ Far Eastern Area headquarters.
MyCJ: Tell me about the book signings you have coming up on Nov. 15 at a New Jersey Jazz Society Social with Bill Crow at Shanghai Jazz and Dec. 13 at one of your Music in the Moonlight concerts at Luna Stage.
Josephson: Bill Crow is fascinating. He’s 87 years old and still performing regularly. He played in various Gerry Mulligan bands and was interviewed extensively in ‘Jeru’s Journey.’ He’s a great storyteller. He talked about the Gerry Mulligan Concert Jazz Band of the early 1960s. ‘We couldn’t believe how good the band was,’ he said. ‘We were at the (Village) Vanguard for a week. We’d get off the stage at the end of a set, go into the kitchen and talk about the band, and couldn’t wait to get back on. If somebody got a call for a record date, they’d turn it down because they didn’t want to miss being there.’
The Luna concert, ‘Mulligan and More,’ is a concert by baritone saxophonist Scott Robinson and pianist Ted Rosenthal. Scott Robinson played Gerry Mulligan’s baritone saxophone at the dedication ceremony when the Gerry Mulligan Collection was donated to the Library of Congress. Ted Rosenthal was the pianist in Gerry Mulligan’s last quartet, playing with him for four years. It should be a great concert.
MyCJ: At Matheny, do you still work with Holiday Express, the all-star holiday charity ensemble founded and led by Jersey Shore restaurateur Tim McCloone? If so, will they be performing on behalf of Matheny this year and will you be working with them in any other capacity?
Josephson: Holiday Express will be coming to Matheny on Nov. 22. Also, on Dec. 10, members of the Matheny Choir will be appearing with Holiday Express at their benefit concert at New Jersey Performing Arts Center (in Newark). Incidentally, a couple of Somerset County musicians who are part of Holiday Express are Alan Grant of Bridgewater and Byron Smith of Bedminster.
MyCJ: Do you plan to present any concerts in 2016?
Josephson: I curate the Sunday night jazz series at the Luna Stage, so there are two more concerts in 2015. I am also now the producer of the Flemington segment of the Central Jersey Jazz Festival in September. Next September will be the third Flemington concert.
I hope to have some other events/concerts in connection with ‘Jeru’s Journey.’ Words, a bookstore in Maplewood, is planning an event sometime in January. On March 8, Bill Crow and I will be appearing at the New City Public Library in New York.
MyCJ: Do you have another books in the works or idea stage?
Josephson: At this point, I do not have another book in the works. I want to concentrate on promoting ‘Jeru’s Journey’ for the foreseeable future. But I’m sure I will come up with something eventually.
I feel very fortunate to have seen Gerry Mulligan perform as often as I did, and I hope this book might introduce him to those who were not as fortunate. It may also rekindle some memories for those, like me, who wish we could see him again, one more time.
Also, as I am not a musician, this book is not filled with technical music jargon. I like to think of it as Gerry’s life and music told in a series of stories and that it will appeal to the casual jazz and music fan, not just the aficionados.
Staff Writer Bob Makin: 732-565-7319; bmakin@MyCentralJersey.com
Take action
Buy and sign copies of Sanford Josephson’s “Jeru’s Journey: The Life & Music of Gerry Mulligan” from 3 to 5:30 p.m. Nov. 15 with the New Jersey Jazz Society Social with longtime Mulligan bassist Bill Crow at Shanghai Jazz, 24 Main St., Madison. Admission is free for Jazz Society members and $10 for others. There also is a $10 food/beverage minimum. For more, visit http://www.njjs.org/p/jazz_socials.php.
Josephson also will sign copies of his book at one of the concerts in the Music in the Moonlight jazz series he curates for Luna Stage, 555 Valley Road, West Orange. From 7 to 8:30 p.m. on Dec. 13, Mulligan-associated pianist Ted Rosenthal and baritone saxophonist Scott Robinson will perform. Tickets are $18, $20 at the door. For more info, visit lunastage.org (http://lunastage.org/) .
For more information on Matheny Medical and Educational Center in Peapack-Gladstone, visit www.matheny.org (http://www.matheny.org/) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e5d61c7615) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=e5d61c7615&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Matheny’s Sanford Josephson moonlights as jazz author, impresario
http://www.jazzpromoservices.com/
http://www.mycentraljersey.com/story/news/local/2015/11/09/mathenys-sanford-josephson-moonlights-jazz-author/75227970/
** Matheny’s Sanford Josephson moonlights as jazz author
————————————————————
Bob Makin (http://www.mycentraljersey.com/staff/15509/bob-makin/) , @ReporterBMakin
** Sanford Josephson, director of development at Matheny School who moonlights as a jazz author and impresario, has published his latest book, a biography of saxophone great Gerry Mulligan
————————————————————
Some folks know him as the spokesman and development director for the Peapack-Gladstone based Matheny Medical and Educational Center, a special hospital and school for children and adults with medically complex developmental disabilities.
Others know him as a longtime board member of the New Jersey Jazz Society and curator of the Flemington portion of the Central Jersey Jazz Festival, as well as the Sunday night concert series at the Luna Stage in his hometown of West Orange.
But Sanford Josephson also has been a jazz music writer since the 1970s and recently published his second book on the subject, “Jeru’s Journey: The Life & Music of Gerry Mulligan,” a follow-up to 2009’s “Jazz Notes: Interviews Across the Generations.”
Josephson will celebrate the publication of the pioneering cool jazz baritone saxophonist’s biography with signings on Nov. 15 at the monthly New Jersey Jazz Society Social featuring bassist Bill Crow, a frequent bandmate of Mulligan’s. On Dec. 13 at the Music in the Moonlight jazz series that Sanford curates at Luna Stage near his residence in West Orange, “Mulligan and More” will present Mulligan Quartet pianist Ted Rosenthal and baritone saxophonist Scott Robinson. When the Gerry Mulligan Collection was donated to the Library of Congress in the 1990s, Robinson played Mulligan’s bari sax during the dedication ceremony.
Josephson recently chatted about his books and his career-spanning fascination with Mulligan’s often unsung brilliance as a saxophonist, composer and arranger.
In addition to writing books and articles about jazz,
In addition to writing books and articles about jazz, Sanford Josephson also produces and promotes concerts, including the Flemington portion of the Central Jersey Jazz Festival each September. (Photo: ~Courtesy of Sanford Josephson)
MyCJ: What made you want to write about Gerry Mulligan and what about him warranted your and your readers’ attention?
Josephson: I have always been a big fan of Gerry Mulligan. I first saw him perform in the early ’70s, but I was familiar with his records before that. In 1981, I interviewed him for a newspaper called ‘ElectriCity,’ which was distributed on college campuses and in music and bookstores in the Philadelphia area. That article was the basis for a chapter in my first book, ‘Jazz Notes: Interviews Across the Generations.’
I have always felt Mulligan never received the recognition he deserved, and when I realized there had never been a definitive biography written about him, I contacted his widow, Franca. We first got together in late 2011, and she eventually lent me the tapes of his recorded oral autobiography and introduced me to the publisher, Hal Leonard Books.
MyCJ: What did you enjoy learning most about Mulligan?
Josephson: Mulligan was a fascinating individual. He was a high school dropout but really a genius. Incredible arranger, composer, bandleader and musician. And could talk on practically any subject. One of his pianists told me he would breeze through The New York Times crossword puzzle in ink.
MyCJ: Was ‘Jazz Notes’ written for the Hal Leonard Series or Hal Leonard Books?
Josephson: The (Mulligan) book is part of the Hal Leonard Jazz Biography Series published by Hal Leonard Books. (‘Jazz Notes’) was published by Praeger/ABC-Clio. In the ’70s and ’80s, I did a lot of freelance writing about jazz in a variety of publications. ‘ElectriCity’ was one. Most of the articles appeared in out-of-town newspapers: Louisville Courier-Journal, Toledo Blade, St. Louis Post-Dispatch, about musicians who were originally from those cities. I did do an article on Dave Brubeck for the New York Daily News and an article on Count Basie alumni for American Way magazine. Eighteen of the 20 chapters in Jazz Notes were based on those articles, but they were all updated. In a few cases, the original subject was still alive, and I re-interviewed him (Brubeck, Jon Hendricks, Dick Hyman, David Sanborn, Stanley Cowell). In other cases, I interviewed people who were influenced by or played with the original subjects.
In the early ’80s, I had an idea for a book about older African-American jazz musicians and what it was like traveling on the road in the days before civil rights. That book never materialized, but I had done three sample chapters. They became a chapter in Jazz Notes called ‘Road Warriors.’ The other new chapter was based on a 2008 interview with pianist Billy Taylor, who had been previously interviewed for articles on Fats Waller and Art Tatum.
MyCJ: Out of all the interviews you’ve done, which subject was your favorite?
Josephson: Gerry Mulligan was clearly my favorite subject, but Hoagy Carmichael, Dave Brubeck, and Jon Hendricks were also among the favorites.
MyCJ: Why and how did you first get into jazz?
Josephson: I became passionate about jazz when I was living in Japan in the mid-1960s, working in the public information office of the American Red Cross’ Far Eastern Area headquarters.
MyCJ: Tell me about the book signings you have coming up on Nov. 15 at a New Jersey Jazz Society Social with Bill Crow at Shanghai Jazz and Dec. 13 at one of your Music in the Moonlight concerts at Luna Stage.
Josephson: Bill Crow is fascinating. He’s 87 years old and still performing regularly. He played in various Gerry Mulligan bands and was interviewed extensively in ‘Jeru’s Journey.’ He’s a great storyteller. He talked about the Gerry Mulligan Concert Jazz Band of the early 1960s. ‘We couldn’t believe how good the band was,’ he said. ‘We were at the (Village) Vanguard for a week. We’d get off the stage at the end of a set, go into the kitchen and talk about the band, and couldn’t wait to get back on. If somebody got a call for a record date, they’d turn it down because they didn’t want to miss being there.’
The Luna concert, ‘Mulligan and More,’ is a concert by baritone saxophonist Scott Robinson and pianist Ted Rosenthal. Scott Robinson played Gerry Mulligan’s baritone saxophone at the dedication ceremony when the Gerry Mulligan Collection was donated to the Library of Congress. Ted Rosenthal was the pianist in Gerry Mulligan’s last quartet, playing with him for four years. It should be a great concert.
MyCJ: At Matheny, do you still work with Holiday Express, the all-star holiday charity ensemble founded and led by Jersey Shore restaurateur Tim McCloone? If so, will they be performing on behalf of Matheny this year and will you be working with them in any other capacity?
Josephson: Holiday Express will be coming to Matheny on Nov. 22. Also, on Dec. 10, members of the Matheny Choir will be appearing with Holiday Express at their benefit concert at New Jersey Performing Arts Center (in Newark). Incidentally, a couple of Somerset County musicians who are part of Holiday Express are Alan Grant of Bridgewater and Byron Smith of Bedminster.
MyCJ: Do you plan to present any concerts in 2016?
Josephson: I curate the Sunday night jazz series at the Luna Stage, so there are two more concerts in 2015. I am also now the producer of the Flemington segment of the Central Jersey Jazz Festival in September. Next September will be the third Flemington concert.
I hope to have some other events/concerts in connection with ‘Jeru’s Journey.’ Words, a bookstore in Maplewood, is planning an event sometime in January. On March 8, Bill Crow and I will be appearing at the New City Public Library in New York.
MyCJ: Do you have another books in the works or idea stage?
Josephson: At this point, I do not have another book in the works. I want to concentrate on promoting ‘Jeru’s Journey’ for the foreseeable future. But I’m sure I will come up with something eventually.
I feel very fortunate to have seen Gerry Mulligan perform as often as I did, and I hope this book might introduce him to those who were not as fortunate. It may also rekindle some memories for those, like me, who wish we could see him again, one more time.
Also, as I am not a musician, this book is not filled with technical music jargon. I like to think of it as Gerry’s life and music told in a series of stories and that it will appeal to the casual jazz and music fan, not just the aficionados.
Staff Writer Bob Makin: 732-565-7319; bmakin@MyCentralJersey.com
Take action
Buy and sign copies of Sanford Josephson’s “Jeru’s Journey: The Life & Music of Gerry Mulligan” from 3 to 5:30 p.m. Nov. 15 with the New Jersey Jazz Society Social with longtime Mulligan bassist Bill Crow at Shanghai Jazz, 24 Main St., Madison. Admission is free for Jazz Society members and $10 for others. There also is a $10 food/beverage minimum. For more, visit http://www.njjs.org/p/jazz_socials.php.
Josephson also will sign copies of his book at one of the concerts in the Music in the Moonlight jazz series he curates for Luna Stage, 555 Valley Road, West Orange. From 7 to 8:30 p.m. on Dec. 13, Mulligan-associated pianist Ted Rosenthal and baritone saxophonist Scott Robinson will perform. Tickets are $18, $20 at the door. For more info, visit lunastage.org (http://lunastage.org/) .
For more information on Matheny Medical and Educational Center in Peapack-Gladstone, visit www.matheny.org (http://www.matheny.org/) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e5d61c7615) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=e5d61c7615&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Matheny’s Sanford Josephson moonlights as jazz author, impresario
http://www.jazzpromoservices.com/
http://www.mycentraljersey.com/story/news/local/2015/11/09/mathenys-sanford-josephson-moonlights-jazz-author/75227970/
** Matheny’s Sanford Josephson moonlights as jazz author
————————————————————
Bob Makin (http://www.mycentraljersey.com/staff/15509/bob-makin/) , @ReporterBMakin
** Sanford Josephson, director of development at Matheny School who moonlights as a jazz author and impresario, has published his latest book, a biography of saxophone great Gerry Mulligan
————————————————————
Some folks know him as the spokesman and development director for the Peapack-Gladstone based Matheny Medical and Educational Center, a special hospital and school for children and adults with medically complex developmental disabilities.
Others know him as a longtime board member of the New Jersey Jazz Society and curator of the Flemington portion of the Central Jersey Jazz Festival, as well as the Sunday night concert series at the Luna Stage in his hometown of West Orange.
But Sanford Josephson also has been a jazz music writer since the 1970s and recently published his second book on the subject, “Jeru’s Journey: The Life & Music of Gerry Mulligan,” a follow-up to 2009’s “Jazz Notes: Interviews Across the Generations.”
Josephson will celebrate the publication of the pioneering cool jazz baritone saxophonist’s biography with signings on Nov. 15 at the monthly New Jersey Jazz Society Social featuring bassist Bill Crow, a frequent bandmate of Mulligan’s. On Dec. 13 at the Music in the Moonlight jazz series that Sanford curates at Luna Stage near his residence in West Orange, “Mulligan and More” will present Mulligan Quartet pianist Ted Rosenthal and baritone saxophonist Scott Robinson. When the Gerry Mulligan Collection was donated to the Library of Congress in the 1990s, Robinson played Mulligan’s bari sax during the dedication ceremony.
Josephson recently chatted about his books and his career-spanning fascination with Mulligan’s often unsung brilliance as a saxophonist, composer and arranger.
In addition to writing books and articles about jazz,
In addition to writing books and articles about jazz, Sanford Josephson also produces and promotes concerts, including the Flemington portion of the Central Jersey Jazz Festival each September. (Photo: ~Courtesy of Sanford Josephson)
MyCJ: What made you want to write about Gerry Mulligan and what about him warranted your and your readers’ attention?
Josephson: I have always been a big fan of Gerry Mulligan. I first saw him perform in the early ’70s, but I was familiar with his records before that. In 1981, I interviewed him for a newspaper called ‘ElectriCity,’ which was distributed on college campuses and in music and bookstores in the Philadelphia area. That article was the basis for a chapter in my first book, ‘Jazz Notes: Interviews Across the Generations.’
I have always felt Mulligan never received the recognition he deserved, and when I realized there had never been a definitive biography written about him, I contacted his widow, Franca. We first got together in late 2011, and she eventually lent me the tapes of his recorded oral autobiography and introduced me to the publisher, Hal Leonard Books.
MyCJ: What did you enjoy learning most about Mulligan?
Josephson: Mulligan was a fascinating individual. He was a high school dropout but really a genius. Incredible arranger, composer, bandleader and musician. And could talk on practically any subject. One of his pianists told me he would breeze through The New York Times crossword puzzle in ink.
MyCJ: Was ‘Jazz Notes’ written for the Hal Leonard Series or Hal Leonard Books?
Josephson: The (Mulligan) book is part of the Hal Leonard Jazz Biography Series published by Hal Leonard Books. (‘Jazz Notes’) was published by Praeger/ABC-Clio. In the ’70s and ’80s, I did a lot of freelance writing about jazz in a variety of publications. ‘ElectriCity’ was one. Most of the articles appeared in out-of-town newspapers: Louisville Courier-Journal, Toledo Blade, St. Louis Post-Dispatch, about musicians who were originally from those cities. I did do an article on Dave Brubeck for the New York Daily News and an article on Count Basie alumni for American Way magazine. Eighteen of the 20 chapters in Jazz Notes were based on those articles, but they were all updated. In a few cases, the original subject was still alive, and I re-interviewed him (Brubeck, Jon Hendricks, Dick Hyman, David Sanborn, Stanley Cowell). In other cases, I interviewed people who were influenced by or played with the original subjects.
In the early ’80s, I had an idea for a book about older African-American jazz musicians and what it was like traveling on the road in the days before civil rights. That book never materialized, but I had done three sample chapters. They became a chapter in Jazz Notes called ‘Road Warriors.’ The other new chapter was based on a 2008 interview with pianist Billy Taylor, who had been previously interviewed for articles on Fats Waller and Art Tatum.
MyCJ: Out of all the interviews you’ve done, which subject was your favorite?
Josephson: Gerry Mulligan was clearly my favorite subject, but Hoagy Carmichael, Dave Brubeck, and Jon Hendricks were also among the favorites.
MyCJ: Why and how did you first get into jazz?
Josephson: I became passionate about jazz when I was living in Japan in the mid-1960s, working in the public information office of the American Red Cross’ Far Eastern Area headquarters.
MyCJ: Tell me about the book signings you have coming up on Nov. 15 at a New Jersey Jazz Society Social with Bill Crow at Shanghai Jazz and Dec. 13 at one of your Music in the Moonlight concerts at Luna Stage.
Josephson: Bill Crow is fascinating. He’s 87 years old and still performing regularly. He played in various Gerry Mulligan bands and was interviewed extensively in ‘Jeru’s Journey.’ He’s a great storyteller. He talked about the Gerry Mulligan Concert Jazz Band of the early 1960s. ‘We couldn’t believe how good the band was,’ he said. ‘We were at the (Village) Vanguard for a week. We’d get off the stage at the end of a set, go into the kitchen and talk about the band, and couldn’t wait to get back on. If somebody got a call for a record date, they’d turn it down because they didn’t want to miss being there.’
The Luna concert, ‘Mulligan and More,’ is a concert by baritone saxophonist Scott Robinson and pianist Ted Rosenthal. Scott Robinson played Gerry Mulligan’s baritone saxophone at the dedication ceremony when the Gerry Mulligan Collection was donated to the Library of Congress. Ted Rosenthal was the pianist in Gerry Mulligan’s last quartet, playing with him for four years. It should be a great concert.
MyCJ: At Matheny, do you still work with Holiday Express, the all-star holiday charity ensemble founded and led by Jersey Shore restaurateur Tim McCloone? If so, will they be performing on behalf of Matheny this year and will you be working with them in any other capacity?
Josephson: Holiday Express will be coming to Matheny on Nov. 22. Also, on Dec. 10, members of the Matheny Choir will be appearing with Holiday Express at their benefit concert at New Jersey Performing Arts Center (in Newark). Incidentally, a couple of Somerset County musicians who are part of Holiday Express are Alan Grant of Bridgewater and Byron Smith of Bedminster.
MyCJ: Do you plan to present any concerts in 2016?
Josephson: I curate the Sunday night jazz series at the Luna Stage, so there are two more concerts in 2015. I am also now the producer of the Flemington segment of the Central Jersey Jazz Festival in September. Next September will be the third Flemington concert.
I hope to have some other events/concerts in connection with ‘Jeru’s Journey.’ Words, a bookstore in Maplewood, is planning an event sometime in January. On March 8, Bill Crow and I will be appearing at the New City Public Library in New York.
MyCJ: Do you have another books in the works or idea stage?
Josephson: At this point, I do not have another book in the works. I want to concentrate on promoting ‘Jeru’s Journey’ for the foreseeable future. But I’m sure I will come up with something eventually.
I feel very fortunate to have seen Gerry Mulligan perform as often as I did, and I hope this book might introduce him to those who were not as fortunate. It may also rekindle some memories for those, like me, who wish we could see him again, one more time.
Also, as I am not a musician, this book is not filled with technical music jargon. I like to think of it as Gerry’s life and music told in a series of stories and that it will appeal to the casual jazz and music fan, not just the aficionados.
Staff Writer Bob Makin: 732-565-7319; bmakin@MyCentralJersey.com
Take action
Buy and sign copies of Sanford Josephson’s “Jeru’s Journey: The Life & Music of Gerry Mulligan” from 3 to 5:30 p.m. Nov. 15 with the New Jersey Jazz Society Social with longtime Mulligan bassist Bill Crow at Shanghai Jazz, 24 Main St., Madison. Admission is free for Jazz Society members and $10 for others. There also is a $10 food/beverage minimum. For more, visit http://www.njjs.org/p/jazz_socials.php.
Josephson also will sign copies of his book at one of the concerts in the Music in the Moonlight jazz series he curates for Luna Stage, 555 Valley Road, West Orange. From 7 to 8:30 p.m. on Dec. 13, Mulligan-associated pianist Ted Rosenthal and baritone saxophonist Scott Robinson will perform. Tickets are $18, $20 at the door. For more info, visit lunastage.org (http://lunastage.org/) .
For more information on Matheny Medical and Educational Center in Peapack-Gladstone, visit www.matheny.org (http://www.matheny.org/) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e5d61c7615) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=e5d61c7615&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Arnett Cobb plus Lou Donaldson, Jimmy Ford: YouTube
http://www.jazzpromoservices.com/
German gig 1986 – Arnett Cobb – Tenor sax; Lou Donaldson, Jimmy Ford – alto sax; Calvin Owens – tpt; Kirt Lightsey – pno; Fukushi Tainaka – dms.
https://www.youtube.com/watch?v=1ELLVE7LMrc
https://www.youtube.com/watch?v=1ELLVE7LMrc
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=609a07541b) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=609a07541b&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Arnett Cobb plus Lou Donaldson, Jimmy Ford: YouTube
http://www.jazzpromoservices.com/
German gig 1986 – Arnett Cobb – Tenor sax; Lou Donaldson, Jimmy Ford – alto sax; Calvin Owens – tpt; Kirt Lightsey – pno; Fukushi Tainaka – dms.
https://www.youtube.com/watch?v=1ELLVE7LMrc
https://www.youtube.com/watch?v=1ELLVE7LMrc
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Jimmy Smith Trio – Live In ’69 – YouTube
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https://www.youtube.com/watch?v=oTLhR8hrYHI
Eddie McFadden-Guitar
Charlie Crosby-drums
https://www.youtube.com/watch?v=oTLhR8hrYHI
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jimmy Smith Trio – Live In ’69 – YouTube
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https://www.youtube.com/watch?v=oTLhR8hrYHI
Eddie McFadden-Guitar
Charlie Crosby-drums
https://www.youtube.com/watch?v=oTLhR8hrYHI
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Promoter, DJ and Label Chief Gene Norman Dies at 93 – JazzTimes
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http://jazztimes.com/articles/170176-promoter-dj-and-label-chief-gene-norman-dies-at-93
** Promoter, DJ and Label Chief Gene Norman Dies at 93
————————————————————
Gene Norman, a jazz club owner and disc jockey who launched and operated the popular GNP Crescendso independent record label, died at his home in Hollywood, Calif., Nov. 2. He was 93. The cause of death was not reported.
Born Eugene Nabatoff in New York, Norman graduated from the University of Wisconsin and then began his radio career in San Francisco, before relocating to Los Angeles in the 1940s. There he became a popular jazz disc jockey on various local stations, including KLAC. He parlayed that popularity into promoting a series of jazz concerts over the course of two decades, including dates featuring Benny Goodman, Peggy Lee and Erroll Garner. His Blues Jubilee programs at the Shrine Auditorium in the early 1950s, according to an obituary published on Norman’s website (http://gnpcrescendo.com/wp/) , attracted some of the first integrated audiences in the United States.
Art Pepper, Wardell Gray, Gene Norman and Shorty Rogers in the early ’50s
Norman also introduced the Snader Telescriptions, described in the article as “a prototype MTV-styled concept documenting recording personalities of the era,” on NBC-TV. He hosted the first televised jazz concert on KTLA, as well as The Gene Norman Show and Campus Club on KHJ.
While a DJ at KFWB, Norman organized jazz concerts at venues like the Shrine, the Pasadena Civic Auditorium and the Hollywood Bowl with artists such as Goodman, Dizzy Gillespie and Shorty Rogers. These shows were recorded and released on Decca, Capitol and Modern Records.
In 1954, Norman opened the Crescendo nightclub on the Sunset Strip, and also operated the Interlude, upstairs from the Crescendo. There he presented such artists as Ella Fitzgerald, Bob Newhart, Johnny Mathis, Stan Kenton, Herb Alpert’s Tijuana Brass, Lenny Bruce, Don Rickles, Rusty Warren, Mort Sahl, Woody Allen and Louis Armstrong.
While presenting concerts, Norman produced a series of live albums and studio recordings based around his promotions. He launched his own record label GNP Crescendo (the GNP standing for Gene Norman Presents), which he ran for the rest of his life. He served as one of the directors of the RIAA, and was elected into the Hall of Fame of the American Association of Independent Music in 1991.
In addition to jazz records, GNP Crescendo released music by the ’60s rock band the Seeds (“Pushin’ Too Hard”), Joe and Eddie, Queen Ida (who garnered a Grammy for the label), Billy Strange, Bing Crosby and Gary Richrath, as well as original film and television soundtracks. The label operated out of offices on the Sunset Strip for more than five decades, moving to less hectic quarters in later years. Up until his death, Norman remained a force in the label’s direction, consulting with musician/producer/director son Neil, who now operates the company.
Check out Marc Myers JazzWax for more about Gene Norman (http://www.jazzwax.com/2015/11/weekend-wax-bits.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Promoter, DJ and Label Chief Gene Norman Dies at 93 – JazzTimes
http://www.jazzpromoservices.com/
http://jazztimes.com/articles/170176-promoter-dj-and-label-chief-gene-norman-dies-at-93
** Promoter, DJ and Label Chief Gene Norman Dies at 93
————————————————————
Gene Norman, a jazz club owner and disc jockey who launched and operated the popular GNP Crescendso independent record label, died at his home in Hollywood, Calif., Nov. 2. He was 93. The cause of death was not reported.
Born Eugene Nabatoff in New York, Norman graduated from the University of Wisconsin and then began his radio career in San Francisco, before relocating to Los Angeles in the 1940s. There he became a popular jazz disc jockey on various local stations, including KLAC. He parlayed that popularity into promoting a series of jazz concerts over the course of two decades, including dates featuring Benny Goodman, Peggy Lee and Erroll Garner. His Blues Jubilee programs at the Shrine Auditorium in the early 1950s, according to an obituary published on Norman’s website (http://gnpcrescendo.com/wp/) , attracted some of the first integrated audiences in the United States.
Art Pepper, Wardell Gray, Gene Norman and Shorty Rogers in the early ’50s
Norman also introduced the Snader Telescriptions, described in the article as “a prototype MTV-styled concept documenting recording personalities of the era,” on NBC-TV. He hosted the first televised jazz concert on KTLA, as well as The Gene Norman Show and Campus Club on KHJ.
While a DJ at KFWB, Norman organized jazz concerts at venues like the Shrine, the Pasadena Civic Auditorium and the Hollywood Bowl with artists such as Goodman, Dizzy Gillespie and Shorty Rogers. These shows were recorded and released on Decca, Capitol and Modern Records.
In 1954, Norman opened the Crescendo nightclub on the Sunset Strip, and also operated the Interlude, upstairs from the Crescendo. There he presented such artists as Ella Fitzgerald, Bob Newhart, Johnny Mathis, Stan Kenton, Herb Alpert’s Tijuana Brass, Lenny Bruce, Don Rickles, Rusty Warren, Mort Sahl, Woody Allen and Louis Armstrong.
While presenting concerts, Norman produced a series of live albums and studio recordings based around his promotions. He launched his own record label GNP Crescendo (the GNP standing for Gene Norman Presents), which he ran for the rest of his life. He served as one of the directors of the RIAA, and was elected into the Hall of Fame of the American Association of Independent Music in 1991.
In addition to jazz records, GNP Crescendo released music by the ’60s rock band the Seeds (“Pushin’ Too Hard”), Joe and Eddie, Queen Ida (who garnered a Grammy for the label), Billy Strange, Bing Crosby and Gary Richrath, as well as original film and television soundtracks. The label operated out of offices on the Sunset Strip for more than five decades, moving to less hectic quarters in later years. Up until his death, Norman remained a force in the label’s direction, consulting with musician/producer/director son Neil, who now operates the company.
Check out Marc Myers JazzWax for more about Gene Norman (http://www.jazzwax.com/2015/11/weekend-wax-bits.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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Promoter, DJ and Label Chief Gene Norman Dies at 93 – JazzTimes
http://www.jazzpromoservices.com/
http://jazztimes.com/articles/170176-promoter-dj-and-label-chief-gene-norman-dies-at-93
** Promoter, DJ and Label Chief Gene Norman Dies at 93
————————————————————
Gene Norman, a jazz club owner and disc jockey who launched and operated the popular GNP Crescendso independent record label, died at his home in Hollywood, Calif., Nov. 2. He was 93. The cause of death was not reported.
Born Eugene Nabatoff in New York, Norman graduated from the University of Wisconsin and then began his radio career in San Francisco, before relocating to Los Angeles in the 1940s. There he became a popular jazz disc jockey on various local stations, including KLAC. He parlayed that popularity into promoting a series of jazz concerts over the course of two decades, including dates featuring Benny Goodman, Peggy Lee and Erroll Garner. His Blues Jubilee programs at the Shrine Auditorium in the early 1950s, according to an obituary published on Norman’s website (http://gnpcrescendo.com/wp/) , attracted some of the first integrated audiences in the United States.
Art Pepper, Wardell Gray, Gene Norman and Shorty Rogers in the early ’50s
Norman also introduced the Snader Telescriptions, described in the article as “a prototype MTV-styled concept documenting recording personalities of the era,” on NBC-TV. He hosted the first televised jazz concert on KTLA, as well as The Gene Norman Show and Campus Club on KHJ.
While a DJ at KFWB, Norman organized jazz concerts at venues like the Shrine, the Pasadena Civic Auditorium and the Hollywood Bowl with artists such as Goodman, Dizzy Gillespie and Shorty Rogers. These shows were recorded and released on Decca, Capitol and Modern Records.
In 1954, Norman opened the Crescendo nightclub on the Sunset Strip, and also operated the Interlude, upstairs from the Crescendo. There he presented such artists as Ella Fitzgerald, Bob Newhart, Johnny Mathis, Stan Kenton, Herb Alpert’s Tijuana Brass, Lenny Bruce, Don Rickles, Rusty Warren, Mort Sahl, Woody Allen and Louis Armstrong.
While presenting concerts, Norman produced a series of live albums and studio recordings based around his promotions. He launched his own record label GNP Crescendo (the GNP standing for Gene Norman Presents), which he ran for the rest of his life. He served as one of the directors of the RIAA, and was elected into the Hall of Fame of the American Association of Independent Music in 1991.
In addition to jazz records, GNP Crescendo released music by the ’60s rock band the Seeds (“Pushin’ Too Hard”), Joe and Eddie, Queen Ida (who garnered a Grammy for the label), Billy Strange, Bing Crosby and Gary Richrath, as well as original film and television soundtracks. The label operated out of offices on the Sunset Strip for more than five decades, moving to less hectic quarters in later years. Up until his death, Norman remained a force in the label’s direction, consulting with musician/producer/director son Neil, who now operates the company.
Check out Marc Myers JazzWax for more about Gene Norman (http://www.jazzwax.com/2015/11/weekend-wax-bits.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Promoter, DJ and Label Chief Gene Norman Dies at 93 – JazzTimes
http://www.jazzpromoservices.com/
http://jazztimes.com/articles/170176-promoter-dj-and-label-chief-gene-norman-dies-at-93
** Promoter, DJ and Label Chief Gene Norman Dies at 93
————————————————————
Gene Norman, a jazz club owner and disc jockey who launched and operated the popular GNP Crescendso independent record label, died at his home in Hollywood, Calif., Nov. 2. He was 93. The cause of death was not reported.
Born Eugene Nabatoff in New York, Norman graduated from the University of Wisconsin and then began his radio career in San Francisco, before relocating to Los Angeles in the 1940s. There he became a popular jazz disc jockey on various local stations, including KLAC. He parlayed that popularity into promoting a series of jazz concerts over the course of two decades, including dates featuring Benny Goodman, Peggy Lee and Erroll Garner. His Blues Jubilee programs at the Shrine Auditorium in the early 1950s, according to an obituary published on Norman’s website (http://gnpcrescendo.com/wp/) , attracted some of the first integrated audiences in the United States.
Art Pepper, Wardell Gray, Gene Norman and Shorty Rogers in the early ’50s
Norman also introduced the Snader Telescriptions, described in the article as “a prototype MTV-styled concept documenting recording personalities of the era,” on NBC-TV. He hosted the first televised jazz concert on KTLA, as well as The Gene Norman Show and Campus Club on KHJ.
While a DJ at KFWB, Norman organized jazz concerts at venues like the Shrine, the Pasadena Civic Auditorium and the Hollywood Bowl with artists such as Goodman, Dizzy Gillespie and Shorty Rogers. These shows were recorded and released on Decca, Capitol and Modern Records.
In 1954, Norman opened the Crescendo nightclub on the Sunset Strip, and also operated the Interlude, upstairs from the Crescendo. There he presented such artists as Ella Fitzgerald, Bob Newhart, Johnny Mathis, Stan Kenton, Herb Alpert’s Tijuana Brass, Lenny Bruce, Don Rickles, Rusty Warren, Mort Sahl, Woody Allen and Louis Armstrong.
While presenting concerts, Norman produced a series of live albums and studio recordings based around his promotions. He launched his own record label GNP Crescendo (the GNP standing for Gene Norman Presents), which he ran for the rest of his life. He served as one of the directors of the RIAA, and was elected into the Hall of Fame of the American Association of Independent Music in 1991.
In addition to jazz records, GNP Crescendo released music by the ’60s rock band the Seeds (“Pushin’ Too Hard”), Joe and Eddie, Queen Ida (who garnered a Grammy for the label), Billy Strange, Bing Crosby and Gary Richrath, as well as original film and television soundtracks. The label operated out of offices on the Sunset Strip for more than five decades, moving to less hectic quarters in later years. Up until his death, Norman remained a force in the label’s direction, consulting with musician/producer/director son Neil, who now operates the company.
Check out Marc Myers JazzWax for more about Gene Norman (http://www.jazzwax.com/2015/11/weekend-wax-bits.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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How the Isley Brothers Created ‘Shout’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/how-the-isley-brothers-created-shout-1446572577?alg=y
** How the Isley Brothers Created ‘Shout’
————————————————————
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. ENLARGE
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. Photo: Michael Ochs Archives/Getty Images
By
Marc Myers
Nov. 3, 2015 12:42 p.m. ET
The Isley Brothers’ “Shout” is one of the earliest and best-known party songs. Immortalized by the frat-house dance scene in the 1978 comedy film “National Lampoon’s Animal House,” “Shout” was originally conceived by Ronald Isley during a 1959 concert in Philadelphia as a way to extend the audience’s excitement.
Though “Shout” only reached No. 47 on Billboard’s pop chart in 1959, it became the Isley Brothers’ first million-selling record thanks to its enduring popularity and covers by many other artists. The single was inducted into the Grammy Hall of Fame in 1999.
Mr. Isley and his brother Ernie will perform at New York’s Apollo Theater on Nov. 7 as part of a live televised broadcast by the OWN network. Their appearance follows the release in August of a 23-CD boxed set by Sony (http://quotes.wsj.com/SNE) (http://quotes.wsj.com/SNE) of all the Isley Brothers’ albums from 1959 to 1983. Ronald Isley, 74, recently talked about “Shout’s” evolution. Edited from an interview:
Ronald Isley: From the time I was a baby, my mother taught me to sing. She was a pianist and choir director at the First Baptist Church in downtown Cincinnati. Our church was an emotional, physical place. On Sundays, the congregation worked itself up, with people screaming “Halleluiah!” and collapsing on the floor.
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. ENLARGE
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. Photo: Jason Moore/ZUMA PRESS
My mother put me and my five brothers in the front row of a pew while she played piano and organ and sang. I wasn’t frightened by everything going on around me. I was more captivated by the minister and how he was able to hold onto so many people for the entire service.
At home in Lincoln Heights, just outside Cincinnati, my mother often played records and rehearsed me. In 1944, when I was 3, she entered me in a singing contest at our church. I stood on a chair and sang “I Trust in God.” I won, and the prize was a $25 war bond.
My brothers and I formed a gospel group in the early 1950s, but in ’57, after my father, O’Kelly Sr., died of a heart attack, my brothers, O’Kelly Jr. and Rudolph, and I began singing doo-wop to earn money. A lot of young gospel groups were doing that then. It was a natural move. Vocal harmony was at the heart of both gospel and doo-wop.
In 1958, my brothers and I moved to New York, where we met [talent scout] Richard Barrett, who brought us to George Goldner (http://www.wsj.com/articles/the-dixie-cups-and-chapel-of-love-1434472856) , the owner of Teenage, Gone and other independent record labels. We recorded a handful of songs for him, including “I Wanna Know” and “My Love” and that kind of stuff. Then we began performing at East Coast theaters.
By early 1959, larger labels wanted to sign us. We liked producers Hugo Peretti and Luigi Creatore best (http://www.wsj.com/articles/SB10001424052702304584004576417781879637422) , and they signed us to RCA. But our first record, “I’m Gonna Knock On Your Door,” didn’t do much. We needed a hit.
In July 1959, we were booked into the Uptown Theater in Philadelphia as part of a soul revue hosted by local disc jockey Georgie Woods. There were about 15 other acts on the bill like the Flamingos and the Dells.
I loved Jackie Wilson then—everyone did. Jackie had a powerful church voice, but it was more than that. He had this easy, natural way of being on stage—taking off his jacket in one move, dancing smoothly, rolling his eyes and using his entire body to illustrate song lyrics. All of this knocked out audiences.
“Lonely Teardrops” was a big hit for Jackie in 1958, so I sang it with my brothers during our performances. It became such a strong number for us that the promoters put us on last to close the shows. Which was great, since audiences left the theater thinking of us on their way to record stores, not the other groups.
The Isley Brothers performing ‘Shout’
Jackie’s “Lonely Teardrops” had this part at the end where he’d sing, “Say you will,” and his backup singers would respond in kind. Then Jackie would ad-lib, “Say it right now, baby, yeah, come on, come on.” That was straight out of gospel.
During one of our performances at the Uptown Theater, I was singing “Lonely Teardrops” when I saw that everyone in the audience was standing up and really getting into it. The place was packed and the audience was yelling their approval, like at church.
The energy level was so strong that I didn’t want to end the song yet. I began to ad-lib, the way Jackie did: “You know…you make me wanna shout” and the band picked right up on it with that galloping beat. The people standing went crazy, and I began to ad-lib more lines, like “Kick my heels up” and “Throw my hands up.” I’d wait a second at the end of each line so my brothers and the audience had a chance to answer me with “Shout!” That song just took over.
But “Shout” didn’t end there. We had 10 more days to go on our revue, and audiences were coming to the theater and waiting for the song at the end. As our run continued, I began developing the song. Ray Charles’ 1954 recording, “I Got a Woman,” was a big inspiration.
He had opened his song with a big drawn-out “We-eee-ll,” and at the end he’d go into these gospel chord changes and a call-and-response thing with the band. He’d sing, “And don’t you know she’s all right, yeah.” We went along with that on “Shout,” with me singing, “Don’t forget to say you will” and my brothers answering me with, “Say you will” and “Say it.” Then I sang, “Come on, now” over and over. We really got everyone going.
When the revue’s run ended, my brothers and I returned to New York and told Hugo and Luigi about what had happened in Philadelphia. They already knew, having read about us in the papers. They said, “Why don’t you guys record ‘Shout’—without ‘Lonely Teardrops?’ Invite all your friends to the studio so we have a live audience there, like at the theater.”
On the night of July 29, we recorded “Shout” at RCA’s Studio B in New York. I sang it as close to the way we had been performing it as possible, with all of our friends in the booth and along the studio walls. Hugo and Luigi chose all the musicians except organist Herman Stephens, who I knew from church in Cincinnati. Herman understood “Shout” from the start.
When the single came out in August 1959, it was spread over two sides—Parts 1 and 2. As we performed “Shout” at concerts to support the record, I came up with a dance, treating the audience like a congregation. When I sang, “Shout—a little bit softer, now,” people would dance down low, rising slowly only when I sang “a little bit louder now.”
Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.
‘Shout’ from the 1978 film ‘Animal House’
In 1977, the song wound up in the movie “Animal House.” I only found out about it after the movie came out in ’78. In the ’60s, the Isley Brothers had worked so many colleges it was pathetic. You can’t name a college we didn’t play. My guess is that whoever had the idea to put “Shout” into the movie had first heard us perform it on the their campus.
We didn’t mind that the movie’s fictional band, Otis Day & the Knights, sang it and not us. They were cast to sing the song, but after the movie came out, they began touring, singing “Shout” and our other hits. By then, we were too big to play smaller clubs, so they took all the jobs we turned down. They made a living off of that song.
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’ ENLARGE
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’
Back in late ’59, after “Shout” came out, my brothers and I began working with Jackie Wilson. We were fans of his when he was with Billy Ward and His Dominoes, and he became one of our best friends. He was crazy about us, though he was a little jealous, since we’d always tear up the show at the end.
In fact, we had followed him to Englewood, N.J., in late 1959. He was living there, and we wanted to live there, too. First we were in an apartment and then we bought a house where we could live along with our mom. She was crazy about “Shout.”
Today, when we perform, we always end with “Shout.” I tell everyone in the audience to stand up and they know what’s coming. Once we jump into it, most of the people try to recreate the “Animal House” thing all over again.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
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Warwick, Ny 10990
USA
How the Isley Brothers Created ‘Shout’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/how-the-isley-brothers-created-shout-1446572577?alg=y
** How the Isley Brothers Created ‘Shout’
————————————————————
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. ENLARGE
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. Photo: Michael Ochs Archives/Getty Images
By
Marc Myers
Nov. 3, 2015 12:42 p.m. ET
The Isley Brothers’ “Shout” is one of the earliest and best-known party songs. Immortalized by the frat-house dance scene in the 1978 comedy film “National Lampoon’s Animal House,” “Shout” was originally conceived by Ronald Isley during a 1959 concert in Philadelphia as a way to extend the audience’s excitement.
Though “Shout” only reached No. 47 on Billboard’s pop chart in 1959, it became the Isley Brothers’ first million-selling record thanks to its enduring popularity and covers by many other artists. The single was inducted into the Grammy Hall of Fame in 1999.
Mr. Isley and his brother Ernie will perform at New York’s Apollo Theater on Nov. 7 as part of a live televised broadcast by the OWN network. Their appearance follows the release in August of a 23-CD boxed set by Sony (http://quotes.wsj.com/SNE) (http://quotes.wsj.com/SNE) of all the Isley Brothers’ albums from 1959 to 1983. Ronald Isley, 74, recently talked about “Shout’s” evolution. Edited from an interview:
Ronald Isley: From the time I was a baby, my mother taught me to sing. She was a pianist and choir director at the First Baptist Church in downtown Cincinnati. Our church was an emotional, physical place. On Sundays, the congregation worked itself up, with people screaming “Halleluiah!” and collapsing on the floor.
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. ENLARGE
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. Photo: Jason Moore/ZUMA PRESS
My mother put me and my five brothers in the front row of a pew while she played piano and organ and sang. I wasn’t frightened by everything going on around me. I was more captivated by the minister and how he was able to hold onto so many people for the entire service.
At home in Lincoln Heights, just outside Cincinnati, my mother often played records and rehearsed me. In 1944, when I was 3, she entered me in a singing contest at our church. I stood on a chair and sang “I Trust in God.” I won, and the prize was a $25 war bond.
My brothers and I formed a gospel group in the early 1950s, but in ’57, after my father, O’Kelly Sr., died of a heart attack, my brothers, O’Kelly Jr. and Rudolph, and I began singing doo-wop to earn money. A lot of young gospel groups were doing that then. It was a natural move. Vocal harmony was at the heart of both gospel and doo-wop.
In 1958, my brothers and I moved to New York, where we met [talent scout] Richard Barrett, who brought us to George Goldner (http://www.wsj.com/articles/the-dixie-cups-and-chapel-of-love-1434472856) , the owner of Teenage, Gone and other independent record labels. We recorded a handful of songs for him, including “I Wanna Know” and “My Love” and that kind of stuff. Then we began performing at East Coast theaters.
By early 1959, larger labels wanted to sign us. We liked producers Hugo Peretti and Luigi Creatore best (http://www.wsj.com/articles/SB10001424052702304584004576417781879637422) , and they signed us to RCA. But our first record, “I’m Gonna Knock On Your Door,” didn’t do much. We needed a hit.
In July 1959, we were booked into the Uptown Theater in Philadelphia as part of a soul revue hosted by local disc jockey Georgie Woods. There were about 15 other acts on the bill like the Flamingos and the Dells.
I loved Jackie Wilson then—everyone did. Jackie had a powerful church voice, but it was more than that. He had this easy, natural way of being on stage—taking off his jacket in one move, dancing smoothly, rolling his eyes and using his entire body to illustrate song lyrics. All of this knocked out audiences.
“Lonely Teardrops” was a big hit for Jackie in 1958, so I sang it with my brothers during our performances. It became such a strong number for us that the promoters put us on last to close the shows. Which was great, since audiences left the theater thinking of us on their way to record stores, not the other groups.
The Isley Brothers performing ‘Shout’
Jackie’s “Lonely Teardrops” had this part at the end where he’d sing, “Say you will,” and his backup singers would respond in kind. Then Jackie would ad-lib, “Say it right now, baby, yeah, come on, come on.” That was straight out of gospel.
During one of our performances at the Uptown Theater, I was singing “Lonely Teardrops” when I saw that everyone in the audience was standing up and really getting into it. The place was packed and the audience was yelling their approval, like at church.
The energy level was so strong that I didn’t want to end the song yet. I began to ad-lib, the way Jackie did: “You know…you make me wanna shout” and the band picked right up on it with that galloping beat. The people standing went crazy, and I began to ad-lib more lines, like “Kick my heels up” and “Throw my hands up.” I’d wait a second at the end of each line so my brothers and the audience had a chance to answer me with “Shout!” That song just took over.
But “Shout” didn’t end there. We had 10 more days to go on our revue, and audiences were coming to the theater and waiting for the song at the end. As our run continued, I began developing the song. Ray Charles’ 1954 recording, “I Got a Woman,” was a big inspiration.
He had opened his song with a big drawn-out “We-eee-ll,” and at the end he’d go into these gospel chord changes and a call-and-response thing with the band. He’d sing, “And don’t you know she’s all right, yeah.” We went along with that on “Shout,” with me singing, “Don’t forget to say you will” and my brothers answering me with, “Say you will” and “Say it.” Then I sang, “Come on, now” over and over. We really got everyone going.
When the revue’s run ended, my brothers and I returned to New York and told Hugo and Luigi about what had happened in Philadelphia. They already knew, having read about us in the papers. They said, “Why don’t you guys record ‘Shout’—without ‘Lonely Teardrops?’ Invite all your friends to the studio so we have a live audience there, like at the theater.”
On the night of July 29, we recorded “Shout” at RCA’s Studio B in New York. I sang it as close to the way we had been performing it as possible, with all of our friends in the booth and along the studio walls. Hugo and Luigi chose all the musicians except organist Herman Stephens, who I knew from church in Cincinnati. Herman understood “Shout” from the start.
When the single came out in August 1959, it was spread over two sides—Parts 1 and 2. As we performed “Shout” at concerts to support the record, I came up with a dance, treating the audience like a congregation. When I sang, “Shout—a little bit softer, now,” people would dance down low, rising slowly only when I sang “a little bit louder now.”
Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.
‘Shout’ from the 1978 film ‘Animal House’
In 1977, the song wound up in the movie “Animal House.” I only found out about it after the movie came out in ’78. In the ’60s, the Isley Brothers had worked so many colleges it was pathetic. You can’t name a college we didn’t play. My guess is that whoever had the idea to put “Shout” into the movie had first heard us perform it on the their campus.
We didn’t mind that the movie’s fictional band, Otis Day & the Knights, sang it and not us. They were cast to sing the song, but after the movie came out, they began touring, singing “Shout” and our other hits. By then, we were too big to play smaller clubs, so they took all the jobs we turned down. They made a living off of that song.
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’ ENLARGE
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’
Back in late ’59, after “Shout” came out, my brothers and I began working with Jackie Wilson. We were fans of his when he was with Billy Ward and His Dominoes, and he became one of our best friends. He was crazy about us, though he was a little jealous, since we’d always tear up the show at the end.
In fact, we had followed him to Englewood, N.J., in late 1959. He was living there, and we wanted to live there, too. First we were in an apartment and then we bought a house where we could live along with our mom. She was crazy about “Shout.”
Today, when we perform, we always end with “Shout.” I tell everyone in the audience to stand up and they know what’s coming. Once we jump into it, most of the people try to recreate the “Animal House” thing all over again.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=31883bfaa7) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=31883bfaa7&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
How the Isley Brothers Created ‘Shout’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/how-the-isley-brothers-created-shout-1446572577?alg=y
** How the Isley Brothers Created ‘Shout’
————————————————————
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. ENLARGE
The Isley Brothers, circa 1960: From left, Rudolph Isley, Ronald Isley and O’Kelly Isley, Jr. Photo: Michael Ochs Archives/Getty Images
By
Marc Myers
Nov. 3, 2015 12:42 p.m. ET
The Isley Brothers’ “Shout” is one of the earliest and best-known party songs. Immortalized by the frat-house dance scene in the 1978 comedy film “National Lampoon’s Animal House,” “Shout” was originally conceived by Ronald Isley during a 1959 concert in Philadelphia as a way to extend the audience’s excitement.
Though “Shout” only reached No. 47 on Billboard’s pop chart in 1959, it became the Isley Brothers’ first million-selling record thanks to its enduring popularity and covers by many other artists. The single was inducted into the Grammy Hall of Fame in 1999.
Mr. Isley and his brother Ernie will perform at New York’s Apollo Theater on Nov. 7 as part of a live televised broadcast by the OWN network. Their appearance follows the release in August of a 23-CD boxed set by Sony (http://quotes.wsj.com/SNE) (http://quotes.wsj.com/SNE) of all the Isley Brothers’ albums from 1959 to 1983. Ronald Isley, 74, recently talked about “Shout’s” evolution. Edited from an interview:
Ronald Isley: From the time I was a baby, my mother taught me to sing. She was a pianist and choir director at the First Baptist Church in downtown Cincinnati. Our church was an emotional, physical place. On Sundays, the congregation worked itself up, with people screaming “Halleluiah!” and collapsing on the floor.
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. ENLARGE
Ronald Isley in May in North Carolina. ‘From the time I was a baby, my mother taught me to sing,’ he says. Photo: Jason Moore/ZUMA PRESS
My mother put me and my five brothers in the front row of a pew while she played piano and organ and sang. I wasn’t frightened by everything going on around me. I was more captivated by the minister and how he was able to hold onto so many people for the entire service.
At home in Lincoln Heights, just outside Cincinnati, my mother often played records and rehearsed me. In 1944, when I was 3, she entered me in a singing contest at our church. I stood on a chair and sang “I Trust in God.” I won, and the prize was a $25 war bond.
My brothers and I formed a gospel group in the early 1950s, but in ’57, after my father, O’Kelly Sr., died of a heart attack, my brothers, O’Kelly Jr. and Rudolph, and I began singing doo-wop to earn money. A lot of young gospel groups were doing that then. It was a natural move. Vocal harmony was at the heart of both gospel and doo-wop.
In 1958, my brothers and I moved to New York, where we met [talent scout] Richard Barrett, who brought us to George Goldner (http://www.wsj.com/articles/the-dixie-cups-and-chapel-of-love-1434472856) , the owner of Teenage, Gone and other independent record labels. We recorded a handful of songs for him, including “I Wanna Know” and “My Love” and that kind of stuff. Then we began performing at East Coast theaters.
By early 1959, larger labels wanted to sign us. We liked producers Hugo Peretti and Luigi Creatore best (http://www.wsj.com/articles/SB10001424052702304584004576417781879637422) , and they signed us to RCA. But our first record, “I’m Gonna Knock On Your Door,” didn’t do much. We needed a hit.
In July 1959, we were booked into the Uptown Theater in Philadelphia as part of a soul revue hosted by local disc jockey Georgie Woods. There were about 15 other acts on the bill like the Flamingos and the Dells.
I loved Jackie Wilson then—everyone did. Jackie had a powerful church voice, but it was more than that. He had this easy, natural way of being on stage—taking off his jacket in one move, dancing smoothly, rolling his eyes and using his entire body to illustrate song lyrics. All of this knocked out audiences.
“Lonely Teardrops” was a big hit for Jackie in 1958, so I sang it with my brothers during our performances. It became such a strong number for us that the promoters put us on last to close the shows. Which was great, since audiences left the theater thinking of us on their way to record stores, not the other groups.
The Isley Brothers performing ‘Shout’
Jackie’s “Lonely Teardrops” had this part at the end where he’d sing, “Say you will,” and his backup singers would respond in kind. Then Jackie would ad-lib, “Say it right now, baby, yeah, come on, come on.” That was straight out of gospel.
During one of our performances at the Uptown Theater, I was singing “Lonely Teardrops” when I saw that everyone in the audience was standing up and really getting into it. The place was packed and the audience was yelling their approval, like at church.
The energy level was so strong that I didn’t want to end the song yet. I began to ad-lib, the way Jackie did: “You know…you make me wanna shout” and the band picked right up on it with that galloping beat. The people standing went crazy, and I began to ad-lib more lines, like “Kick my heels up” and “Throw my hands up.” I’d wait a second at the end of each line so my brothers and the audience had a chance to answer me with “Shout!” That song just took over.
But “Shout” didn’t end there. We had 10 more days to go on our revue, and audiences were coming to the theater and waiting for the song at the end. As our run continued, I began developing the song. Ray Charles’ 1954 recording, “I Got a Woman,” was a big inspiration.
He had opened his song with a big drawn-out “We-eee-ll,” and at the end he’d go into these gospel chord changes and a call-and-response thing with the band. He’d sing, “And don’t you know she’s all right, yeah.” We went along with that on “Shout,” with me singing, “Don’t forget to say you will” and my brothers answering me with, “Say you will” and “Say it.” Then I sang, “Come on, now” over and over. We really got everyone going.
When the revue’s run ended, my brothers and I returned to New York and told Hugo and Luigi about what had happened in Philadelphia. They already knew, having read about us in the papers. They said, “Why don’t you guys record ‘Shout’—without ‘Lonely Teardrops?’ Invite all your friends to the studio so we have a live audience there, like at the theater.”
On the night of July 29, we recorded “Shout” at RCA’s Studio B in New York. I sang it as close to the way we had been performing it as possible, with all of our friends in the booth and along the studio walls. Hugo and Luigi chose all the musicians except organist Herman Stephens, who I knew from church in Cincinnati. Herman understood “Shout” from the start.
When the single came out in August 1959, it was spread over two sides—Parts 1 and 2. As we performed “Shout” at concerts to support the record, I came up with a dance, treating the audience like a congregation. When I sang, “Shout—a little bit softer, now,” people would dance down low, rising slowly only when I sang “a little bit louder now.”
Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.
‘Shout’ from the 1978 film ‘Animal House’
In 1977, the song wound up in the movie “Animal House.” I only found out about it after the movie came out in ’78. In the ’60s, the Isley Brothers had worked so many colleges it was pathetic. You can’t name a college we didn’t play. My guess is that whoever had the idea to put “Shout” into the movie had first heard us perform it on the their campus.
We didn’t mind that the movie’s fictional band, Otis Day & the Knights, sang it and not us. They were cast to sing the song, but after the movie came out, they began touring, singing “Shout” and our other hits. By then, we were too big to play smaller clubs, so they took all the jobs we turned down. They made a living off of that song.
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’ ENLARGE
Ronald Isley says ‘Church groups weren’t happy with “Shout.” We turned a song with a gospel feel into an R&B hit, and the groups began writing disc jockeys asking them to stop playing our record. They felt “Shout” should have been a church record.’
Back in late ’59, after “Shout” came out, my brothers and I began working with Jackie Wilson. We were fans of his when he was with Billy Ward and His Dominoes, and he became one of our best friends. He was crazy about us, though he was a little jealous, since we’d always tear up the show at the end.
In fact, we had followed him to Englewood, N.J., in late 1959. He was living there, and we wanted to live there, too. First we were in an apartment and then we bought a house where we could live along with our mom. She was crazy about “Shout.”
Today, when we perform, we always end with “Shout.” I tell everyone in the audience to stand up and they know what’s coming. Once we jump into it, most of the people try to recreate the “Animal House” thing all over again.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=31883bfaa7) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=31883bfaa7&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC Holiday Record + CD Sale ONE MONTH AWAY
http://www.jazzpromoservices.com/
Dear past Donors to the ARC. Here is the info on our next Sale. If not a member, please consider doing, and then joining us for our party on the 3d!
Yours, B + Freddie + Alex.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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ARC Holiday Record + CD Sale ONE MONTH AWAY
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Dear past Donors to the ARC. Here is the info on our next Sale. If not a member, please consider doing, and then joining us for our party on the 3d!
Yours, B + Freddie + Alex.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC Holiday Record + CD Sale ONE MONTH AWAY
http://www.jazzpromoservices.com/
Dear past Donors to the ARC. Here is the info on our next Sale. If not a member, please consider doing, and then joining us for our party on the 3d!
Yours, B + Freddie + Alex.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Victor Bailey suffers from muscle disorder
http://www.jazzpromoservices.com/
http://forbassplayersonly.com/victor-bailey-too-weak-to-play-bass/
** Victor Bailey Faces Challenges; Stays Strong
————————————————————
Berklee prof suffers from muscle disorder
By David Sands Oct. 31, 2015
Former Weather Report bass player Victor Bailey has just disclosed that he’s been struggling for several decades with a neurological disorder that resembles muscular dystrophy.
The musician, who teaches for the Bass Department of the Berklee College of Music in Boston, broke the news of his illness in Facebook post Friday.
“To everyone who has been wondering why you haven’t seen or heard from me it’s time for me to let you know what’s going on,” he said. “Quite simply I am just not in the best of health.”
Bailey then revealed that he’s been dealing with a condition called Charcot-Marie-Tooth disease for the last 25 years. The disorder is characterized by a progressive loss of muscle tissue and sensation in different areas of the body, especially the feet and legs.
In his message, the bassist said that the disease has progressed from his lower extremities to his upper body. He added that his arms and hands are now to weak to perform.
“I need help with all daily living activities so for the past three months I have been living at an assisted living facility in Newton Massachusetts,” he continued in his message. “I have taken a leave of absence from Berklee College of music and from touring… It is possible that I can get stronger again so please send me positive energy. I’ll keep you posted.”
Steve Bailey, Chair of Berklee’s Bass Department contacted FBPO on Saturday afternoon to share his concern for his colleague. In an exclusive statement, he also talked about their lengthy friendship and Bailey’s contributions to the Bass Department:
“Personally we go back 33 years, when he foiled my audition with Weather Report… to quote Jaco when I asked him if he could find out why my audition and plane ticket were delayed. He called back and said, ‘I have good news and bad news… the bad news is that they already have a bass player…the good news is that his last name is also Bailey.’ That’s how I first became aware of Victor. When we finally met several years later, he referred to me as Cuz.. and that is how we call each other, ever since. His addition to the Berklee faculty, his alma mater, has been an amazing source of information, inspiration, and instigation, both for our students and BBD faculty.”
A natural musician, Victor Bailey has played the bass since he was a youth. He picked up the instrument intuitively after a vacancy opened up in a neighborhood band. Equally at ease with jazz, fusion and pop music, he’s recorded and toured with an incredible roster of artists over the years that includes Sonny Rollins, LL Cool J, Madonna, Pharoah Sanders and Lady Gaga. Bailey’s latest solo album, Slippin’ ‘n’ Trippin’, was released in 2010.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Victor Bailey suffers from muscle disorder
http://www.jazzpromoservices.com/
http://forbassplayersonly.com/victor-bailey-too-weak-to-play-bass/
** Victor Bailey Faces Challenges; Stays Strong
————————————————————
Berklee prof suffers from muscle disorder
By David Sands Oct. 31, 2015
Former Weather Report bass player Victor Bailey has just disclosed that he’s been struggling for several decades with a neurological disorder that resembles muscular dystrophy.
The musician, who teaches for the Bass Department of the Berklee College of Music in Boston, broke the news of his illness in Facebook post Friday.
“To everyone who has been wondering why you haven’t seen or heard from me it’s time for me to let you know what’s going on,” he said. “Quite simply I am just not in the best of health.”
Bailey then revealed that he’s been dealing with a condition called Charcot-Marie-Tooth disease for the last 25 years. The disorder is characterized by a progressive loss of muscle tissue and sensation in different areas of the body, especially the feet and legs.
In his message, the bassist said that the disease has progressed from his lower extremities to his upper body. He added that his arms and hands are now to weak to perform.
“I need help with all daily living activities so for the past three months I have been living at an assisted living facility in Newton Massachusetts,” he continued in his message. “I have taken a leave of absence from Berklee College of music and from touring… It is possible that I can get stronger again so please send me positive energy. I’ll keep you posted.”
Steve Bailey, Chair of Berklee’s Bass Department contacted FBPO on Saturday afternoon to share his concern for his colleague. In an exclusive statement, he also talked about their lengthy friendship and Bailey’s contributions to the Bass Department:
“Personally we go back 33 years, when he foiled my audition with Weather Report… to quote Jaco when I asked him if he could find out why my audition and plane ticket were delayed. He called back and said, ‘I have good news and bad news… the bad news is that they already have a bass player…the good news is that his last name is also Bailey.’ That’s how I first became aware of Victor. When we finally met several years later, he referred to me as Cuz.. and that is how we call each other, ever since. His addition to the Berklee faculty, his alma mater, has been an amazing source of information, inspiration, and instigation, both for our students and BBD faculty.”
A natural musician, Victor Bailey has played the bass since he was a youth. He picked up the instrument intuitively after a vacancy opened up in a neighborhood band. Equally at ease with jazz, fusion and pop music, he’s recorded and toured with an incredible roster of artists over the years that includes Sonny Rollins, LL Cool J, Madonna, Pharoah Sanders and Lady Gaga. Bailey’s latest solo album, Slippin’ ‘n’ Trippin’, was released in 2010.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e80fe1af32) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=e80fe1af32&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Victor Bailey suffers from muscle disorder
http://www.jazzpromoservices.com/
http://forbassplayersonly.com/victor-bailey-too-weak-to-play-bass/
** Victor Bailey Faces Challenges; Stays Strong
————————————————————
Berklee prof suffers from muscle disorder
By David Sands Oct. 31, 2015
Former Weather Report bass player Victor Bailey has just disclosed that he’s been struggling for several decades with a neurological disorder that resembles muscular dystrophy.
The musician, who teaches for the Bass Department of the Berklee College of Music in Boston, broke the news of his illness in Facebook post Friday.
“To everyone who has been wondering why you haven’t seen or heard from me it’s time for me to let you know what’s going on,” he said. “Quite simply I am just not in the best of health.”
Bailey then revealed that he’s been dealing with a condition called Charcot-Marie-Tooth disease for the last 25 years. The disorder is characterized by a progressive loss of muscle tissue and sensation in different areas of the body, especially the feet and legs.
In his message, the bassist said that the disease has progressed from his lower extremities to his upper body. He added that his arms and hands are now to weak to perform.
“I need help with all daily living activities so for the past three months I have been living at an assisted living facility in Newton Massachusetts,” he continued in his message. “I have taken a leave of absence from Berklee College of music and from touring… It is possible that I can get stronger again so please send me positive energy. I’ll keep you posted.”
Steve Bailey, Chair of Berklee’s Bass Department contacted FBPO on Saturday afternoon to share his concern for his colleague. In an exclusive statement, he also talked about their lengthy friendship and Bailey’s contributions to the Bass Department:
“Personally we go back 33 years, when he foiled my audition with Weather Report… to quote Jaco when I asked him if he could find out why my audition and plane ticket were delayed. He called back and said, ‘I have good news and bad news… the bad news is that they already have a bass player…the good news is that his last name is also Bailey.’ That’s how I first became aware of Victor. When we finally met several years later, he referred to me as Cuz.. and that is how we call each other, ever since. His addition to the Berklee faculty, his alma mater, has been an amazing source of information, inspiration, and instigation, both for our students and BBD faculty.”
A natural musician, Victor Bailey has played the bass since he was a youth. He picked up the instrument intuitively after a vacancy opened up in a neighborhood band. Equally at ease with jazz, fusion and pop music, he’s recorded and toured with an incredible roster of artists over the years that includes Sonny Rollins, LL Cool J, Madonna, Pharoah Sanders and Lady Gaga. Bailey’s latest solo album, Slippin’ ‘n’ Trippin’, was released in 2010.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Daffy Duck (Mel Torme) Monsters Lead Such Interesting Lives (NIGHT OF THE LIVING DUCK, 1988) – YouTube
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Thanks to Will Friedwald for this:
https://www.youtube.com/watch?v=nGYJtI37Y7M
https://www.youtube.com/watch?v=nGYJtI37Y7M
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Daffy Duck (Mel Torme) Monsters Lead Such Interesting Lives (NIGHT OF THE LIVING DUCK, 1988) – YouTube
http://www.jazzpromoservices.com/
Thanks to Will Friedwald for this:
https://www.youtube.com/watch?v=nGYJtI37Y7M
https://www.youtube.com/watch?v=nGYJtI37Y7M
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3040903f99) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=3040903f99&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Daffy Duck (Mel Torme) Monsters Lead Such Interesting Lives (NIGHT OF THE LIVING DUCK, 1988) – YouTube
http://www.jazzpromoservices.com/
Thanks to Will Friedwald for this:
https://www.youtube.com/watch?v=nGYJtI37Y7M
https://www.youtube.com/watch?v=nGYJtI37Y7M
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jan Wallman, Village Cabaret Owner, Dies at 93 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/31/arts/jan-wallman-village-cabaret-owner-dies-at-93.html?_r=0
** Jan Wallman, Village Cabaret Owner, Dies at 93
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) OCT. 30, 2015
Jan Wallman, left, in 2007 with Joan Rivers, who performed in Ms. Wallman’s cabaret in the 1960s. Richard Drew/Associated Press
Jan Wallman, a cabaret owner whose Greenwich Village clubs incubated the careers of Joan Rivers, Barbra Streisand, Woody Allen, Rodney Dangerfield and scores of other singers and comedians, died on Oct. 8 in Manhattan. She was 93.
Her death was confirmed on Friday by Gregory Moore, her companion and club manager.
Ms. Wallman’s cabarets not only helped catapult performers to stardom; they also provided a venue for longtime entertainers, including Linda Lavin, Bert Convy and the comedy team Jerry Stiller and Anne Meara.
Over the years Ms. Wallman presided at Upstairs-at-the-Duplex, (http://www.theduplex.com/site/upstairs-the-duplex) on Grove Street (“the owner ran the Downstairs; there was a joke that it was street level until they ran it into the ground,” she recalled); a hole in the wall on Cornelia Street called Jan Wallman’s, and an octagonal mirrored room at the Iroquois Hotel on West 44th Street in Midtown, also known as Jan Wallman’s.
Wherever she went, she attracted a following, both performers and fans.
“I literally had to beg for my first performing job” at Upstairs-at-the-Duplex, Woody Allen told the critic Cleveland Amory in an interview for The Newark Evening News in 1968, “and they put on anyone who’s not a catastrophe. But you get no money at all. At 11 at night, I’d get in a cab in the freezing cold and go down there and perform for nothing for five or six people. Twelve was a big night.”
By 1993, Stephen Holden, who writes about cabaret for The New York Times, described Jan Wallman’s as “one of New York’s best-loved and longest-lived small clubs.”
She was born Janet Jacob on May 14, 1922, in Roundup, Mont. She was married twice, briefly. Her first husband was killed in World War II. She divorced her second but kept his surname. In addition to Mr. Moore, she is survived by a sister, Kate Kemmerer.
“I was a dilettante,” Ms. Wallman told The Times in 1986. “When I was 12 my grandmother brought a singing teacher to hear me sing ‘I Dreamt I Dwelt in Marble Halls.’ He told my grandmother, ‘Don’t waste your money.’ ” She didn’t.
Instead, after studying theater at the University of Minnesota, Ms. Wallman went to New York to pursue a career in public relations and promotion.
“My very first night in New York,” she told the website NiteLifeExchange.com (http://www.cabaretexchange.com/archives/41-scott-barbarino-interviews-jan-wallman.html) , “I went to One Fifth Avenue and saw a wonderful show there, with two guys who played dual pianos and accompanied some singers.”
She became fast friends with the singer Nina Simone and her husband, Donald Ross. In 1959, she and Mr. Ross decided to take over Upstairs-at-the-Duplex, which Ms. Wallman ran from 1959 to 1962 and again from 1964 to 1968. (In between, she ran the Showplace on West Fourth Street.)
“Three weeks later he left, and I was on my own,” she said of Mr. Ross. “I suddenly found that I was doing what I liked to do. I loved what went on there — the music, the performers. It was a party every night.”
She added: “I’d try anything with even a glimmer of possibility, but sometimes I had to turn down people I knew had talent. I couldn’t use Melba Moore because she could only sing with a rhythm section, and I couldn’t afford more than a piano.”
In his 1978 memoir, “Ruby in the Rough,” Bob Ruby, a radio broadcaster performing at the club, recalled when, in the early 1960s, “an unknown promoter named Marty Erlichman brought in an 18-year-old girl with a big nose and hair coifed like a beehive to sing for the first time.”
“The song was ‘A Sleepin’ Bee,’ ” (https://www.youtube.com/watch?v=gJkb4xf5Zog) he added, “and when she finished I realized I’d watched the first genuine happening of my life.” The singer was Barbra Streisand.
Ms. Wallman closed the Upstairs room in 1968, then worked as a hospital recreation director, a restaurant manager, a bartender and a hat checker.
She got back into the business in the mid-1970s, when Mona Katz, a friend, invited her to take over the lease of a bar she owned at 28 Cornelia Street. Ms. Wallman renamed it Jan Wallman’s.
By 1986, however, the rent became prohibitive, and she closed it. But she had made many friends, and when they heard of the closing, a group of performers rallied to her side and held a benefit concert at Carnegie Hall (http://www.nytimes.com/1986/02/03/arts/celebration-of-jan-wallman-at-carnegie-tonight.html) so that she could reopen in the Hotel Iroquois on West 44th Street.
“I’m glad they’re doing it while I’m alive,” she said at the time. “Send me the flowers now.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=daa7d99c31) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=daa7d99c31&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jan Wallman, Village Cabaret Owner, Dies at 93 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/31/arts/jan-wallman-village-cabaret-owner-dies-at-93.html?_r=0
** Jan Wallman, Village Cabaret Owner, Dies at 93
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) OCT. 30, 2015
Jan Wallman, left, in 2007 with Joan Rivers, who performed in Ms. Wallman’s cabaret in the 1960s. Richard Drew/Associated Press
Jan Wallman, a cabaret owner whose Greenwich Village clubs incubated the careers of Joan Rivers, Barbra Streisand, Woody Allen, Rodney Dangerfield and scores of other singers and comedians, died on Oct. 8 in Manhattan. She was 93.
Her death was confirmed on Friday by Gregory Moore, her companion and club manager.
Ms. Wallman’s cabarets not only helped catapult performers to stardom; they also provided a venue for longtime entertainers, including Linda Lavin, Bert Convy and the comedy team Jerry Stiller and Anne Meara.
Over the years Ms. Wallman presided at Upstairs-at-the-Duplex, (http://www.theduplex.com/site/upstairs-the-duplex) on Grove Street (“the owner ran the Downstairs; there was a joke that it was street level until they ran it into the ground,” she recalled); a hole in the wall on Cornelia Street called Jan Wallman’s, and an octagonal mirrored room at the Iroquois Hotel on West 44th Street in Midtown, also known as Jan Wallman’s.
Wherever she went, she attracted a following, both performers and fans.
“I literally had to beg for my first performing job” at Upstairs-at-the-Duplex, Woody Allen told the critic Cleveland Amory in an interview for The Newark Evening News in 1968, “and they put on anyone who’s not a catastrophe. But you get no money at all. At 11 at night, I’d get in a cab in the freezing cold and go down there and perform for nothing for five or six people. Twelve was a big night.”
By 1993, Stephen Holden, who writes about cabaret for The New York Times, described Jan Wallman’s as “one of New York’s best-loved and longest-lived small clubs.”
She was born Janet Jacob on May 14, 1922, in Roundup, Mont. She was married twice, briefly. Her first husband was killed in World War II. She divorced her second but kept his surname. In addition to Mr. Moore, she is survived by a sister, Kate Kemmerer.
“I was a dilettante,” Ms. Wallman told The Times in 1986. “When I was 12 my grandmother brought a singing teacher to hear me sing ‘I Dreamt I Dwelt in Marble Halls.’ He told my grandmother, ‘Don’t waste your money.’ ” She didn’t.
Instead, after studying theater at the University of Minnesota, Ms. Wallman went to New York to pursue a career in public relations and promotion.
“My very first night in New York,” she told the website NiteLifeExchange.com (http://www.cabaretexchange.com/archives/41-scott-barbarino-interviews-jan-wallman.html) , “I went to One Fifth Avenue and saw a wonderful show there, with two guys who played dual pianos and accompanied some singers.”
She became fast friends with the singer Nina Simone and her husband, Donald Ross. In 1959, she and Mr. Ross decided to take over Upstairs-at-the-Duplex, which Ms. Wallman ran from 1959 to 1962 and again from 1964 to 1968. (In between, she ran the Showplace on West Fourth Street.)
“Three weeks later he left, and I was on my own,” she said of Mr. Ross. “I suddenly found that I was doing what I liked to do. I loved what went on there — the music, the performers. It was a party every night.”
She added: “I’d try anything with even a glimmer of possibility, but sometimes I had to turn down people I knew had talent. I couldn’t use Melba Moore because she could only sing with a rhythm section, and I couldn’t afford more than a piano.”
In his 1978 memoir, “Ruby in the Rough,” Bob Ruby, a radio broadcaster performing at the club, recalled when, in the early 1960s, “an unknown promoter named Marty Erlichman brought in an 18-year-old girl with a big nose and hair coifed like a beehive to sing for the first time.”
“The song was ‘A Sleepin’ Bee,’ ” (https://www.youtube.com/watch?v=gJkb4xf5Zog) he added, “and when she finished I realized I’d watched the first genuine happening of my life.” The singer was Barbra Streisand.
Ms. Wallman closed the Upstairs room in 1968, then worked as a hospital recreation director, a restaurant manager, a bartender and a hat checker.
She got back into the business in the mid-1970s, when Mona Katz, a friend, invited her to take over the lease of a bar she owned at 28 Cornelia Street. Ms. Wallman renamed it Jan Wallman’s.
By 1986, however, the rent became prohibitive, and she closed it. But she had made many friends, and when they heard of the closing, a group of performers rallied to her side and held a benefit concert at Carnegie Hall (http://www.nytimes.com/1986/02/03/arts/celebration-of-jan-wallman-at-carnegie-tonight.html) so that she could reopen in the Hotel Iroquois on West 44th Street.
“I’m glad they’re doing it while I’m alive,” she said at the time. “Send me the flowers now.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=daa7d99c31) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=daa7d99c31&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jan Wallman, Village Cabaret Owner, Dies at 93 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/31/arts/jan-wallman-village-cabaret-owner-dies-at-93.html?_r=0
** Jan Wallman, Village Cabaret Owner, Dies at 93
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) OCT. 30, 2015
Jan Wallman, left, in 2007 with Joan Rivers, who performed in Ms. Wallman’s cabaret in the 1960s. Richard Drew/Associated Press
Jan Wallman, a cabaret owner whose Greenwich Village clubs incubated the careers of Joan Rivers, Barbra Streisand, Woody Allen, Rodney Dangerfield and scores of other singers and comedians, died on Oct. 8 in Manhattan. She was 93.
Her death was confirmed on Friday by Gregory Moore, her companion and club manager.
Ms. Wallman’s cabarets not only helped catapult performers to stardom; they also provided a venue for longtime entertainers, including Linda Lavin, Bert Convy and the comedy team Jerry Stiller and Anne Meara.
Over the years Ms. Wallman presided at Upstairs-at-the-Duplex, (http://www.theduplex.com/site/upstairs-the-duplex) on Grove Street (“the owner ran the Downstairs; there was a joke that it was street level until they ran it into the ground,” she recalled); a hole in the wall on Cornelia Street called Jan Wallman’s, and an octagonal mirrored room at the Iroquois Hotel on West 44th Street in Midtown, also known as Jan Wallman’s.
Wherever she went, she attracted a following, both performers and fans.
“I literally had to beg for my first performing job” at Upstairs-at-the-Duplex, Woody Allen told the critic Cleveland Amory in an interview for The Newark Evening News in 1968, “and they put on anyone who’s not a catastrophe. But you get no money at all. At 11 at night, I’d get in a cab in the freezing cold and go down there and perform for nothing for five or six people. Twelve was a big night.”
By 1993, Stephen Holden, who writes about cabaret for The New York Times, described Jan Wallman’s as “one of New York’s best-loved and longest-lived small clubs.”
She was born Janet Jacob on May 14, 1922, in Roundup, Mont. She was married twice, briefly. Her first husband was killed in World War II. She divorced her second but kept his surname. In addition to Mr. Moore, she is survived by a sister, Kate Kemmerer.
“I was a dilettante,” Ms. Wallman told The Times in 1986. “When I was 12 my grandmother brought a singing teacher to hear me sing ‘I Dreamt I Dwelt in Marble Halls.’ He told my grandmother, ‘Don’t waste your money.’ ” She didn’t.
Instead, after studying theater at the University of Minnesota, Ms. Wallman went to New York to pursue a career in public relations and promotion.
“My very first night in New York,” she told the website NiteLifeExchange.com (http://www.cabaretexchange.com/archives/41-scott-barbarino-interviews-jan-wallman.html) , “I went to One Fifth Avenue and saw a wonderful show there, with two guys who played dual pianos and accompanied some singers.”
She became fast friends with the singer Nina Simone and her husband, Donald Ross. In 1959, she and Mr. Ross decided to take over Upstairs-at-the-Duplex, which Ms. Wallman ran from 1959 to 1962 and again from 1964 to 1968. (In between, she ran the Showplace on West Fourth Street.)
“Three weeks later he left, and I was on my own,” she said of Mr. Ross. “I suddenly found that I was doing what I liked to do. I loved what went on there — the music, the performers. It was a party every night.”
She added: “I’d try anything with even a glimmer of possibility, but sometimes I had to turn down people I knew had talent. I couldn’t use Melba Moore because she could only sing with a rhythm section, and I couldn’t afford more than a piano.”
In his 1978 memoir, “Ruby in the Rough,” Bob Ruby, a radio broadcaster performing at the club, recalled when, in the early 1960s, “an unknown promoter named Marty Erlichman brought in an 18-year-old girl with a big nose and hair coifed like a beehive to sing for the first time.”
“The song was ‘A Sleepin’ Bee,’ ” (https://www.youtube.com/watch?v=gJkb4xf5Zog) he added, “and when she finished I realized I’d watched the first genuine happening of my life.” The singer was Barbra Streisand.
Ms. Wallman closed the Upstairs room in 1968, then worked as a hospital recreation director, a restaurant manager, a bartender and a hat checker.
She got back into the business in the mid-1970s, when Mona Katz, a friend, invited her to take over the lease of a bar she owned at 28 Cornelia Street. Ms. Wallman renamed it Jan Wallman’s.
By 1986, however, the rent became prohibitive, and she closed it. But she had made many friends, and when they heard of the closing, a group of performers rallied to her side and held a benefit concert at Carnegie Hall (http://www.nytimes.com/1986/02/03/arts/celebration-of-jan-wallman-at-carnegie-tonight.html) so that she could reopen in the Hotel Iroquois on West 44th Street.
“I’m glad they’re doing it while I’m alive,” she said at the time. “Send me the flowers now.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=daa7d99c31) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=daa7d99c31&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Billie Holiday gets a plaque in Philly’s Music Walk of Fame
http://www.jazzpromoservices.com/
The ceremony was Monday and the plaque was unveiled by the manager of her estate – Steve Salm – and at night she was inducted by Dionne Warwick.
I created a 3 1/2 minute video of day and night and posted on Youtube. If you want to share the news or use my Youtube, that’s fine.
Steve Ramm
Billie Holiday induction into Philly’s Music Walk of Fame 10-26-15 – YouTube (https://www.youtube.com/watch?v=4x9txjIdQoE)
http://philadelphia.cbslocal.com/2015/10/26/7-philadelphia-music-legends-get-their-plaques-on-walk-of-fame/
** 7 Philadelphia Music Legends Get Their Plaques On Walk Of Fame
————————————————————
PHILADELPHIA (CBS) — The Philadelphia Music Alliance welcomed seven inductees into the Philadelphia Music Walk of Fame today.
From jazz legend Billie Holiday, to glam metal band Cinderella, to WOGL DJ Harvey Holiday and Andrea McArdle’s Broadway’s original Annie, this year’s class of inductees spans the musical spectrum.
“To me, this is one of the greatest days of my life.”
Earl Young, founder and drummer for disco, soul group The Trammps, boasted a huge grin as the group’s bronze plaque was unveiled.
“Motown had their day, Memphis had their day and this is Philadelphia, honoring our own.”
His marker will go beside those for Ray Benson, founder of Asleep at the Wheel, and the legendary Roots, an honor Amir Questlove Thompson says comes full circle. He called Young an inspiration.
“I’m truly overwhelmed to be mentioned in the same sentence as the man who literally invented disco.”
Comedian Jimmy Fallon is expected to attend a gala to honor the inductees to night at the Fillmore.
The Philadelphia Music Alliance will also honor Frank Giordano with the Platinum Award for his work with the Philly Pops.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1d8b1916ac) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=1d8b1916ac&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Billie Holiday gets a plaque in Philly’s Music Walk of Fame
http://www.jazzpromoservices.com/
The ceremony was Monday and the plaque was unveiled by the manager of her estate – Steve Salm – and at night she was inducted by Dionne Warwick.
I created a 3 1/2 minute video of day and night and posted on Youtube. If you want to share the news or use my Youtube, that’s fine.
Steve Ramm
Billie Holiday induction into Philly’s Music Walk of Fame 10-26-15 – YouTube (https://www.youtube.com/watch?v=4x9txjIdQoE)
http://philadelphia.cbslocal.com/2015/10/26/7-philadelphia-music-legends-get-their-plaques-on-walk-of-fame/
** 7 Philadelphia Music Legends Get Their Plaques On Walk Of Fame
————————————————————
PHILADELPHIA (CBS) — The Philadelphia Music Alliance welcomed seven inductees into the Philadelphia Music Walk of Fame today.
From jazz legend Billie Holiday, to glam metal band Cinderella, to WOGL DJ Harvey Holiday and Andrea McArdle’s Broadway’s original Annie, this year’s class of inductees spans the musical spectrum.
“To me, this is one of the greatest days of my life.”
Earl Young, founder and drummer for disco, soul group The Trammps, boasted a huge grin as the group’s bronze plaque was unveiled.
“Motown had their day, Memphis had their day and this is Philadelphia, honoring our own.”
His marker will go beside those for Ray Benson, founder of Asleep at the Wheel, and the legendary Roots, an honor Amir Questlove Thompson says comes full circle. He called Young an inspiration.
“I’m truly overwhelmed to be mentioned in the same sentence as the man who literally invented disco.”
Comedian Jimmy Fallon is expected to attend a gala to honor the inductees to night at the Fillmore.
The Philadelphia Music Alliance will also honor Frank Giordano with the Platinum Award for his work with the Philly Pops.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1d8b1916ac) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=1d8b1916ac&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Billie Holiday gets a plaque in Philly’s Music Walk of Fame
http://www.jazzpromoservices.com/
The ceremony was Monday and the plaque was unveiled by the manager of her estate – Steve Salm – and at night she was inducted by Dionne Warwick.
I created a 3 1/2 minute video of day and night and posted on Youtube. If you want to share the news or use my Youtube, that’s fine.
Steve Ramm
Billie Holiday induction into Philly’s Music Walk of Fame 10-26-15 – YouTube (https://www.youtube.com/watch?v=4x9txjIdQoE)
http://philadelphia.cbslocal.com/2015/10/26/7-philadelphia-music-legends-get-their-plaques-on-walk-of-fame/
** 7 Philadelphia Music Legends Get Their Plaques On Walk Of Fame
————————————————————
PHILADELPHIA (CBS) — The Philadelphia Music Alliance welcomed seven inductees into the Philadelphia Music Walk of Fame today.
From jazz legend Billie Holiday, to glam metal band Cinderella, to WOGL DJ Harvey Holiday and Andrea McArdle’s Broadway’s original Annie, this year’s class of inductees spans the musical spectrum.
“To me, this is one of the greatest days of my life.”
Earl Young, founder and drummer for disco, soul group The Trammps, boasted a huge grin as the group’s bronze plaque was unveiled.
“Motown had their day, Memphis had their day and this is Philadelphia, honoring our own.”
His marker will go beside those for Ray Benson, founder of Asleep at the Wheel, and the legendary Roots, an honor Amir Questlove Thompson says comes full circle. He called Young an inspiration.
“I’m truly overwhelmed to be mentioned in the same sentence as the man who literally invented disco.”
Comedian Jimmy Fallon is expected to attend a gala to honor the inductees to night at the Fillmore.
The Philadelphia Music Alliance will also honor Frank Giordano with the Platinum Award for his work with the Philly Pops.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1d8b1916ac) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=1d8b1916ac&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Mets, the Royals and Charlie Parker, Linked by Autumn in New York – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/31/sports/baseball/the-mets-the-royals-and-charlie-parker-linked-by-autumn-in-new-york.html?emc=edit_tnt_20151030
** The Mets, the Royals and Charlie Parker, Linked by Autumn in New York
————————————————————
By DAVID WALDSTEIN
Duke Ellington, with bat, and members of his band played baseball in front of their segregated motel while touring Florida in 1955. Charlotte Brooks/Library of Congress (LOOK Magazine Photograph Collection)
KANSAS CITY, Mo. — After the Mets (http://topics.nytimes.com/top/news/sports/baseball/majorleague/newyorkmets/index.html?inline=nyt-org) and the Royals (http://topics.nytimes.com/top/news/sports/baseball/majorleague/kansascityroyals/index.html?inline=nyt-org) had secured spots in the World Series (http://www.nytimes.com/news-event/mlb-world-series) last week, observers searched for connections between the teams. There seemed to be few.
But as the Series shifts from Kansas City to New York, it is following a well-trodden path, forged decades ago with the migration of some of the most influential musicians of the 20th century.
Just as Kansas City once effectively served as a feeder system of ballplayers to New York, Kansas City’s hopping nightclub scene was the fertile ground that produced some of New York’s top musical acts, and baseball was a cherished pastime for many of them.
Count Basie’s big band helped make Kansas City’s nightclub district, around 18th and Vine Streets, swing before the musicians moved on to New York. The band also fielded a competitive baseball team, which played against a team from Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?inline=nyt-per) ’s band.
The tenor saxophonist Lester Young built his chops in Kansas City’s nightclub district before migrating to New York, where he became a jazz giant. A New York Giants baseball fan, he played on the Count Basie Orchestra team as a pitcher with nimble fingers.
From left, the trumpeter Max Kaminsky, the tenor saxophonist Lester Young, the trumpeter Hot Lips Page, the alto saxophonist Charlie Parker and the pianist Lennie Tristano at Birdland in Manhattan in 1949.Bettmann/Corbis
The saxophone legend Charlie Parker (http://topics.nytimes.com/top/reference/timestopics/people/p/charlie_parker/index.html?inline=nyt-per) , a Kansas City native and a devoted fan of the Monarchs, a Negro leagues team there, left the musical mecca for New York, where in the 1940s he helped develop the jazz style bebop. It was after his nickname that the famed Manhattan jazz club Birdland took its name.
Today, few ballplayers listen to jazz. But the genre and the sport, like Kansas City and New York, are intertwined in American culture.
“There was a time when everybody went to Kansas City,” said Phil Schaap, a prominent jazz historian and archivist. “Many of them eventually moved on to New York and made it there. But Kansas City, along with New York, Chicago and New Orleans, is one of the citadels of jazz. And during the swing era, all the bands had teams.”
If one man could be credited with fostering the environment that produced the Kansas City sound, it is Tom Pendergast, a political boss and early backer of Harry S. Truman. Pendergast protected the area from the police during Prohibition, when the nightclubs on 18th and Vine flourished, and promoted vice industries to counter the economic depression in the 1930s.
“Some operated 24 hours a day,” Bill McKemy, the education manager at the American Jazz Museum in Kansas City, said of the clubs. “Naturally, musicians flocked there, and it was a golden age for music.”
By day, many of the musicians in Kansas City were on the sandlot. For them, “swing” had two meanings.
“Duke Ellington couldn’t hit or throw, but he loved the game,” said Schaap, who has collected scouting reports on musicians. “Barney Bigard was a clarinetist in Duke’s band. He couldn’t field, and he couldn’t run, but he could hit the ball 600 feet.
Count Basie, right, playing baseball in 1947. Afro American Newspapers/Gado, via Getty Images
“Harry James was also a great baseball player,” Schaap continued, referring to the bandleader and trumpeter. “It was competitive, and it was a big deal for them.”
Schaap said that Benny Morton, a trombonist who played in Count Basie’s and Fletcher Henderson’s bands, was an excellent second baseman. Years ago, Morton, who died in 1985, detailed to Schaap how he had opportunities to play in the Negro leagues.
“He decided on music because he did not want to be restricted to a second tier,” Schaap said, referring to baseball’s color line. “In music, he could perform alongside the best in the business.”
Parker’s affinity for baseball was not so much as a player but as a fan — of the Monarchs and, later, the Brooklyn Dodgers and their star second baseman Jackie Robinson. Still, if Louis Armstrong (http://topics.nytimes.com/top/reference/timestopics/people/a/louis_armstrong/index.html?inline=nyt-per) was the Babe Ruth of jazz, then Parker was its Willie Mays.
Parker, perhaps the greatest improviser of any musical form, was born in 1920 in Kansas City, Kan., and as he grew up on the Missouri side of the border, he was captivated by the music scene there. He visited New York in 1939 and had an epiphany during a jam session in Harlem, Schaap said. That planted the seeds of bebop, a revolutionary musical form that led to modern jazz and is known for its improvisational fluidity.
Parker served as an influence on another iconic saxophonist, John Coltrane (http://topics.nytimes.com/top/reference/timestopics/people/c/john_coltrane/index.html?inline=nyt-per) , who himself has a prominent fan in the executive director of the Major League Baseball Players Association, Tony Clark. Before Game 2 of this World Series (http://www.nytimes.com/2015/10/29/sports/baseball/kansas-city-royals-beat-new-york-mets-world-series-game-2.html) , Clark spoke of the bond between music and baseball, saying, “It’s a very interesting connection.”
Sandy Alderson, the Mets’ general manager, also said he enjoyed jazz — although he does not consider himself an expert, he said — and like Clark, Alderson mentioned the ties between New York and Kansas City.
“The Yankees used to get players from Kansas City,” he said in reference to Roger Maris, Ralph Terry and others the Yankees acquired in a series of successful trades (http://www.baseball-almanac.com/corner/c042001b.shtml) with the Athletics in the 1950s and ’60s, before that team moved to Oakland.
Musicians began making the trek a bit earlier, with Count Basie taking his band to New York in 1937.
Young, a member of the orchestra who was born in Mississippi, was in New York on Oct. 3, 1951. As he shaved to prepare for a gig at Birdland, Schaap said, Young listened intently on the radio as the Giants faced the Dodgers in a playoff.
“When Bobby Thomson hit the Shot Heard ’Round the World, Young was so excited, he cut himself pretty badly,” Schaap said. “It was a noticeable cut, and he had some difficulty playing that night.”
Eventually, all the best musicians moved to New York, and the Kansas City scene died out.
There were other factors in its demise, said McKemy, the museum employee. They included World War II (http://topics.nytimes.com/top/reference/timestopics/subjects/w/world_war_ii_/index.html?inline=nyt-classifier) , the construction of an interstate highway that cut through the area, and the downfall of Pendergast, who was convicted of income tax evasion. Soon, the police were cracking down on the vice industries.
Still, the Kansas City scene’s decline allowed for the rise of bebop, which grew in New York with Parker as the ace of its rotation.
Parker died at 34 (http://query.nytimes.com/gst/abstract.html?res=9F02E4DC133AE53BBC4D52DFB566838E649EDE) in 1955 and was buried in Blue Summit, Mo. The gravestone is just four miles from Kauffman Stadium, where the Mets and the Royals played the first two games of the World Series, improvising a new link between two cities that have history after all.
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