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Joseph Torregano, jazz musician, educator and police reserve officer, has died | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/10/joe_torregano_jazz_musician_ed.html
** Joseph Torregano, jazz musician, educator and police reserve officer, has died
————————————————————
By Doug MacCash, NOLA.com | The Times-Picayune (http://connect.nola.com/staff/dmaccash/posts.html)
Joseph Torregano
Joseph Torregano, (http://www.nola.com/jazzfest/index.ssf/2011/05/hey_new_orleans_jazz_fest_jose.html) a clarinetist and retired New Orleans music teacher, who, over the years, was a mainstay of traditional brass bands, such as the Young Tuxedo, the Olympia, the Excelsior and the Original Royal Players, died Tuesday (Oct. 6) of cancer at his house in La Place, said his brother Michael Torregano. He was 63.
Torregano was the third of four children, all boys, of Louis Torregano and Anna Malarcher Torregano who lived in New Orleans’ 6th Ward. He began taking piano lessons at age 5, his brother Michael said. Torregano took up the clarinet, which would become his signature instrument, while attending Andrew J. Bell Junior High School.
He attended John McDonogh High School and received a degree in music education from Southern University of New Orleans in 1975. He eventually became a band instructor teaching musicians, such as Christian Scott (http://www.nola.com/jazzfest/index.ssf/2011/05/christian_scott_played_jazz_pr.html) and Victor Goines during more than 30 years working in New Orleans area schools, such as Gregory Junior High, John McDonogh and East St. John High School in La Place. Most recently, he taught at the Ellis Marsalis Center for Music in the 9th Ward.
Fellow reed player Dr. Michael White said that he and Torregano met as teenagers taking private lessons at the Crescent City Music Center on Saturdays. At age 18, Torregano was playing in Ernest “Doc” Paulin (http://www.wwoz.org/new-orleans-community/ernest-doc-paulin-passes) ‘s Dixieland Jazz Band and not much later in Danny Barker’s Fairview Baptist Church Band.
As a teacher, White said, Torregano impressed on his students the traditional values of good music, and the discipline of marching. Friend and band mate Greg Stafford said that in their prime, the brass bands he and Torregano played in would “march for almost 12 hours on a Mardi Gras Day.”
Both White and Stafford recalled that Torregano’s clarinet playing favored the style of Pete Fountain, who was a friend and hero. White and Stafford traveled with Torregano, delivering traditional jazz around the globe, to Japan, Switzerland and Germany, as well as the Smithsonian Institution and The White House.
In the midst of his music and teaching career, Torregano enlisted as a reserve New Orleans Police Department officer, rising to the rank of lieutenant. For roughly two decades, Torregano spent part of each week on patrol or engaged in other NOPD assignments, his brother Michael said. His favorite role, Michael said, was keeping the peace during Carnival at the corner of St. Charles Avenue and Poydras Street.
Torregano has had cancer since at least 2010. His 2011 appearance at Jazz Fest (http://www.nola.com/jazzfest/index.ssf/2011/05/hey_new_orleans_jazz_fest_jose.html) was a triumphant return from a hospital bed. Bass drummer Anthony Bennett, leader of the Original Royal Players shared the stage with Torregano that day, as they had time and again since they met in seventh grade.
“We had a ball,” he said of the performance. The audience was “really glad to see him.”
A NOLA.com commentor calling himself woodwind70, left this note on a story about Torregano’s 2011 Jazz Fest appearance: “This guy taught Kirk Joseph of the Dirty Dozen, most of the Soul Rebels Brass Band, Trombone Shorty, Christian Scott, Herman LeBeau, Shannon Powell, Victor Goines and Gerald French.”
In the early 2010s, Bennett said, the Original Royal Players would perform at The American Cancer Society’s Patrick F. Taylor Hope Lodge, a cancer treatment center on River Road, where Torregano was “an inspiration to a lot of those people.”
Thinking back on their decades of friendship, Bennett said Torregano didn’t change much from seventh grade on.
“He was pretty much the same spirit. He was all about the music,” Bennett said.
Torregano and his quartet played the 2015 Jazz Fest in April.
Torregano is survived by his wife Dr. Jacqueline Langie Torregano, two children Joseph Torregano of State College Pennsylvania and Jennifer Torregano of New Orleans, and brother Michael.
Funeral arrangements have not yet been finalized.
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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Joseph Torregano, jazz musician, educator and police reserve officer, has died | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/10/joe_torregano_jazz_musician_ed.html
** Joseph Torregano, jazz musician, educator and police reserve officer, has died
————————————————————
By Doug MacCash, NOLA.com | The Times-Picayune (http://connect.nola.com/staff/dmaccash/posts.html)
Joseph Torregano
Joseph Torregano, (http://www.nola.com/jazzfest/index.ssf/2011/05/hey_new_orleans_jazz_fest_jose.html) a clarinetist and retired New Orleans music teacher, who, over the years, was a mainstay of traditional brass bands, such as the Young Tuxedo, the Olympia, the Excelsior and the Original Royal Players, died Tuesday (Oct. 6) of cancer at his house in La Place, said his brother Michael Torregano. He was 63.
Torregano was the third of four children, all boys, of Louis Torregano and Anna Malarcher Torregano who lived in New Orleans’ 6th Ward. He began taking piano lessons at age 5, his brother Michael said. Torregano took up the clarinet, which would become his signature instrument, while attending Andrew J. Bell Junior High School.
He attended John McDonogh High School and received a degree in music education from Southern University of New Orleans in 1975. He eventually became a band instructor teaching musicians, such as Christian Scott (http://www.nola.com/jazzfest/index.ssf/2011/05/christian_scott_played_jazz_pr.html) and Victor Goines during more than 30 years working in New Orleans area schools, such as Gregory Junior High, John McDonogh and East St. John High School in La Place. Most recently, he taught at the Ellis Marsalis Center for Music in the 9th Ward.
Fellow reed player Dr. Michael White said that he and Torregano met as teenagers taking private lessons at the Crescent City Music Center on Saturdays. At age 18, Torregano was playing in Ernest “Doc” Paulin (http://www.wwoz.org/new-orleans-community/ernest-doc-paulin-passes) ‘s Dixieland Jazz Band and not much later in Danny Barker’s Fairview Baptist Church Band.
As a teacher, White said, Torregano impressed on his students the traditional values of good music, and the discipline of marching. Friend and band mate Greg Stafford said that in their prime, the brass bands he and Torregano played in would “march for almost 12 hours on a Mardi Gras Day.”
Both White and Stafford recalled that Torregano’s clarinet playing favored the style of Pete Fountain, who was a friend and hero. White and Stafford traveled with Torregano, delivering traditional jazz around the globe, to Japan, Switzerland and Germany, as well as the Smithsonian Institution and The White House.
In the midst of his music and teaching career, Torregano enlisted as a reserve New Orleans Police Department officer, rising to the rank of lieutenant. For roughly two decades, Torregano spent part of each week on patrol or engaged in other NOPD assignments, his brother Michael said. His favorite role, Michael said, was keeping the peace during Carnival at the corner of St. Charles Avenue and Poydras Street.
Torregano has had cancer since at least 2010. His 2011 appearance at Jazz Fest (http://www.nola.com/jazzfest/index.ssf/2011/05/hey_new_orleans_jazz_fest_jose.html) was a triumphant return from a hospital bed. Bass drummer Anthony Bennett, leader of the Original Royal Players shared the stage with Torregano that day, as they had time and again since they met in seventh grade.
“We had a ball,” he said of the performance. The audience was “really glad to see him.”
A NOLA.com commentor calling himself woodwind70, left this note on a story about Torregano’s 2011 Jazz Fest appearance: “This guy taught Kirk Joseph of the Dirty Dozen, most of the Soul Rebels Brass Band, Trombone Shorty, Christian Scott, Herman LeBeau, Shannon Powell, Victor Goines and Gerald French.”
In the early 2010s, Bennett said, the Original Royal Players would perform at The American Cancer Society’s Patrick F. Taylor Hope Lodge, a cancer treatment center on River Road, where Torregano was “an inspiration to a lot of those people.”
Thinking back on their decades of friendship, Bennett said Torregano didn’t change much from seventh grade on.
“He was pretty much the same spirit. He was all about the music,” Bennett said.
Torregano and his quartet played the 2015 Jazz Fest in April.
Torregano is survived by his wife Dr. Jacqueline Langie Torregano, two children Joseph Torregano of State College Pennsylvania and Jennifer Torregano of New Orleans, and brother Michael.
Funeral arrangements have not yet been finalized.
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=df3a64a105) | 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=df3a64a105&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
Softly, With Feeling: the Life and Music of Joe Wilder: IJS Jazz Research Roundtable – October 21 at 7 PM
http://www.jazzpromoservices.com/
October 21st Jazz Research Roundtable – Ed Berger
View this email in your browser (http://us11.campaign-archive2.com/?u=b56fe74e0990eb4c3d896cb53&id=fc9f448554&e=abd825ba82)
Institute of Jazz Studies Roundtables
** Softly, With Feeling: the Life and Music of Joe Wilder
————————————————————
Ed Berger, former IJS Associate Director and current Special Projects Consultant, will present a program on trumpeter Joe Wilder (1922-2014). The presentation will include many rare audio and video clips and other material uncovered during Berger’s research for his recent book, Softly with Feeling: Joe Wilder and the Breaking of Barriers in American Music (Temple University Press, 2014). Apart from his career as a jazz trumpeter, including tenures with the big bands of Les Hite, Lionel Hampton, Jimmie Lunceford, Dizzy Gillespie, Lucky Millinder, and Count Basie, Wilder was also a pioneer in breaking racial barriers in the classical world, in the network studio orchestras, on Broadway, and in the military as one of the first African American Marines during World War II. In his later years, he also was active as an educator serving as a member of the faculty at Juilliard for over a decade. Wilder was named an NEA Jazz Master in 2008.
The roundtable runs from 7-9 PM in the Dana Room, John Cotton Dana Library, 4th floor, Rutgers University-Newark.
THE ROUNDTABLE IS FREE AND OPEN TO THE PUBLIC
Directions: (http://rutgers.us11.list-manage1.com/track/click?u=b56fe74e0990eb4c3d896cb53&id=cca9c3c198&e=abd825ba82)
http://newarkwww.rutgers.edu/IJS/directions/index.html (http://rutgers.us11.list-manage.com/track/click?u=b56fe74e0990eb4c3d896cb53&id=3ff0d67394&e=abd825ba82)
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Copyright © 2015 Institute of Jazz Studies – Rutgers University – Newark, All rights reserved.
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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.
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=d171fdd3b9) | 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=d171fdd3b9&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Softly, With Feeling: the Life and Music of Joe Wilder: IJS Jazz Research Roundtable – October 21 at 7 PM
http://www.jazzpromoservices.com/
October 21st Jazz Research Roundtable – Ed Berger
View this email in your browser (http://us11.campaign-archive2.com/?u=b56fe74e0990eb4c3d896cb53&id=fc9f448554&e=abd825ba82)
Institute of Jazz Studies Roundtables
** Softly, With Feeling: the Life and Music of Joe Wilder
————————————————————
Ed Berger, former IJS Associate Director and current Special Projects Consultant, will present a program on trumpeter Joe Wilder (1922-2014). The presentation will include many rare audio and video clips and other material uncovered during Berger’s research for his recent book, Softly with Feeling: Joe Wilder and the Breaking of Barriers in American Music (Temple University Press, 2014). Apart from his career as a jazz trumpeter, including tenures with the big bands of Les Hite, Lionel Hampton, Jimmie Lunceford, Dizzy Gillespie, Lucky Millinder, and Count Basie, Wilder was also a pioneer in breaking racial barriers in the classical world, in the network studio orchestras, on Broadway, and in the military as one of the first African American Marines during World War II. In his later years, he also was active as an educator serving as a member of the faculty at Juilliard for over a decade. Wilder was named an NEA Jazz Master in 2008.
The roundtable runs from 7-9 PM in the Dana Room, John Cotton Dana Library, 4th floor, Rutgers University-Newark.
THE ROUNDTABLE IS FREE AND OPEN TO THE PUBLIC
Directions: (http://rutgers.us11.list-manage1.com/track/click?u=b56fe74e0990eb4c3d896cb53&id=cca9c3c198&e=abd825ba82)
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Copyright © 2015 Institute of Jazz Studies – Rutgers University – Newark, All rights reserved.
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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.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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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.
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269 State Route 94 South
Warwick, Ny 10990
USA
Softly, With Feeling: the Life and Music of Joe Wilder: IJS Jazz Research Roundtable – October 21 at 7 PM
http://www.jazzpromoservices.com/
October 21st Jazz Research Roundtable – Ed Berger
View this email in your browser (http://us11.campaign-archive2.com/?u=b56fe74e0990eb4c3d896cb53&id=fc9f448554&e=abd825ba82)
Institute of Jazz Studies Roundtables
** Softly, With Feeling: the Life and Music of Joe Wilder
————————————————————
Ed Berger, former IJS Associate Director and current Special Projects Consultant, will present a program on trumpeter Joe Wilder (1922-2014). The presentation will include many rare audio and video clips and other material uncovered during Berger’s research for his recent book, Softly with Feeling: Joe Wilder and the Breaking of Barriers in American Music (Temple University Press, 2014). Apart from his career as a jazz trumpeter, including tenures with the big bands of Les Hite, Lionel Hampton, Jimmie Lunceford, Dizzy Gillespie, Lucky Millinder, and Count Basie, Wilder was also a pioneer in breaking racial barriers in the classical world, in the network studio orchestras, on Broadway, and in the military as one of the first African American Marines during World War II. In his later years, he also was active as an educator serving as a member of the faculty at Juilliard for over a decade. Wilder was named an NEA Jazz Master in 2008.
The roundtable runs from 7-9 PM in the Dana Room, John Cotton Dana Library, 4th floor, Rutgers University-Newark.
THE ROUNDTABLE IS FREE AND OPEN TO THE PUBLIC
Directions: (http://rutgers.us11.list-manage1.com/track/click?u=b56fe74e0990eb4c3d896cb53&id=cca9c3c198&e=abd825ba82)
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Copyright © 2015 Institute of Jazz Studies – Rutgers University – Newark, All rights reserved.
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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.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Warwick, Ny 10990
USA
Painting jazz: Chicago artist captures the scene – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-jazz-painter-lewis-aschenbach-ent-1007-20151006-column.html
** Painting jazz: Chicago artist sketches the scene
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#navtype=byline) Contact Reporter (mailto:hreich@chicagotribune.com?subject=Regarding:%20%22Painting%20jazz:%20Chicago%20artist%20sketches%20the%20scene%22)
Photos: Lewis Achenbach, jazz painter
Perhaps you’ve seen him at the Green Mill or Constellation, seated close to the action, focusing intently on the musicians, glancing down at his sketchpad then looking back up at the stage.
His arm moves constantly, reaching for certain colors, applying them to paper, creating forms and shapes and rhythms that reflect what he hears.
Most people in the audience may be relaxing, reveling in the music, sipping a drink, whispering to a friend, pondering. But Chicago artist Lewis Achenbach is busily at work, attempting the impossible: to capture a most elusive music — jazz — in visual form.
Achenbach has been haunting Chicago’s jazz rooms and festivals for the past three or four years, he estimates, chronicling in thoroughly personal terms the city’s ever-expanding jazz landscape. He moved here from San Francisco in 2011, was struck by what he encountered and decided that he had to respond.
“I realized the Chicago scene is every night,” says Achenbach.
“The scene out here is so rich, and most of the guys are so humble about what they’re doing. And they welcomed me.
“This scene needs to be documented,” adds Achenbach. “I know there’s photographs. And going off on a slight tangent, (consider) a Louis Armstrong record. You listen to it, you see photographs. I’d think: That’s probably not what it was like to hear the music live. It’s like watching a video of a video of a video.
safari-reader://www.chicagotribune.com/entertainment/music/reich/ct-ent-1005-ella-mel-show-review-20151003-column.html
“What must it have been like to hear Louis Armstrong live? It must have been new. It must have blown your mind. So I thought this is my job: Use my gifts to document what’s happening. It’s very rich now. I feel like I’m plucking fruits from a very fruitful tree.”
Indeed Achenbach has been practically ubiquitous at Chicago’s jazz shows, drawing Herb Alpert and Lani Hall at City Winery last Thursday; sketching Henry Threadgill at the Hyde Park Jazz Festival last month; documenting an eruption of sound during the 50th anniversary concert of the Association for the Advancement of Creative Musicians (AACM) at the University of Chicago’s Mandel Hall last April.
I’ll leave it to the art critics to weigh the merits of this work, but there’s no question it gets at the vibrancy of the music in deeply idiosyncratic terms. Achenbach’s images — crowded with color, punctuated with long lines and surging with energy — express not only the vitality of Chicago jazz in the 21st century but his own ardor for it.
Much of his work zeroes in on the jazz avant-garde, musicians experimenting boldly in work that avoids traditional concepts of melody, backbeat, harmony and structure. Adventurous audiences flock to this idiom in Chicago, a nexus for jazz experimentation since the dawn of the 20th century. In gravitating to music by Threadgill, Roscoe Mitchell, Ken Vandermark and other iconoclasts, Achenbach is celebrating a core identity of Chicago jazz.
“I think it takes a certain kind of person to not only enjoy that kind of music, but put yourself in a room where this can be challenging,” says Achenbach, citing a 2014 performance by the explosive Chicago Reed Quartet.
“These guys are all playing at the same time — some people run out of the room. I find when I’m drawing, it helps me listen. It occupies part of my brain so I can hear.”
“I’ve also drawn Colin Hay,” adds Achenbach, referencing a pop singer-songwriter best known as frontman of Men at Work. “I know what songs he’s going to do.
“But with creative (improvised) music, it’s wide open. It’s me going along with their courage … kind of like my version of sky diving. I have no idea what’s going to happen. It’s kind of scary, because I do sometimes work my way into a corner. The challenge is: How do I get out of this?”
But jazz musicians, who similarly invent their art as they proceed, often find themselves in quite the same quandary, trying to extricate themselves from a puzzle of their own making. That, of course, is a large part of the risk and thrill of the art form, and the parallels between the musicians’ struggles and Achenbach’s may help explain why so many players have allowed him to sketch their shows (he always asks permission in advance, he says, and “if someone says that’s not OK with that vibe, that’s cool”).
In perhaps the ultimate compliment, some musicians have incorporated his work into theirs. Most recently, flutist Nicole Mitchell, cellist Tomeka Reid and drummer Mike Reed have used an Achenbach original as cover art for their forthcoming album, “Artifacts,” a celebration of the AACM’s golden anniversary.
Achenbach’s circuitous journey to this point began when he was a teenager in the Philadelphia area and discovered jazz, quickly transitioning “from Iggy Pop to Pharoah Sanders,” as he puts it. He studied film and animation at New York University and became enchanted with the work of New York artist Jeff Schlanger, who long has been at the forefront of painting live jazz performances.
With Schlanger’s blessing, Achenbach says, he took up the cause in Chicago and eventually began creating what he calls Jazz Occurrences: live jazz performances in which he invites the audience to watch him paint and to enjoy a concurrent exhibition of various artists’ work (the next Jazz Occurrence will be Saturday night at Constellation). In this, too, Achenbach is building on the work of his elders: Chicago drummer-bandleader Kahil El’Zabar long ago was staging multimedia music-and-art happenings here and around the world.
Though Achenbach supports his family by working as a “laborer, house painter, tradesman,” he says, he sees his jazz work inevitably taking over.
“I paint in the day, I go out late at night,” says Achenbach, who believes the free-flowing nature of jazz has become a guiding principle in his life.
“I find that listening to improvisational music, especially live, really makes you more adaptable to your life situation.”
We all have to improvise in life, in other words — jazz shows us how.
“Portraits in Jazz”: Howard Reich’s e-book collects his exclusive interviews with Frank Sinatra, Tony Bennett, Lena Horne, Ella Fitzgerald and others, plus profiles of past masters such as Louis Armstrong, Duke Ellington and Billie Holiday. Get “Portraits in Jazz” at www.chicagotribune.com/ebooks.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
Jazz Occurrence No. 6
When: 8:30 p.m. Saturday
Where: Constellation, 3111 N. Western Ave.
Tickets: $10; www.constellation-chicago.com (http://www.constellation-chicago.com/)
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
Painting jazz: Chicago artist captures the scene – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-jazz-painter-lewis-aschenbach-ent-1007-20151006-column.html
** Painting jazz: Chicago artist sketches the scene
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#navtype=byline) Contact Reporter (mailto:hreich@chicagotribune.com?subject=Regarding:%20%22Painting%20jazz:%20Chicago%20artist%20sketches%20the%20scene%22)
Photos: Lewis Achenbach, jazz painter
Perhaps you’ve seen him at the Green Mill or Constellation, seated close to the action, focusing intently on the musicians, glancing down at his sketchpad then looking back up at the stage.
His arm moves constantly, reaching for certain colors, applying them to paper, creating forms and shapes and rhythms that reflect what he hears.
Most people in the audience may be relaxing, reveling in the music, sipping a drink, whispering to a friend, pondering. But Chicago artist Lewis Achenbach is busily at work, attempting the impossible: to capture a most elusive music — jazz — in visual form.
Achenbach has been haunting Chicago’s jazz rooms and festivals for the past three or four years, he estimates, chronicling in thoroughly personal terms the city’s ever-expanding jazz landscape. He moved here from San Francisco in 2011, was struck by what he encountered and decided that he had to respond.
“I realized the Chicago scene is every night,” says Achenbach.
“The scene out here is so rich, and most of the guys are so humble about what they’re doing. And they welcomed me.
“This scene needs to be documented,” adds Achenbach. “I know there’s photographs. And going off on a slight tangent, (consider) a Louis Armstrong record. You listen to it, you see photographs. I’d think: That’s probably not what it was like to hear the music live. It’s like watching a video of a video of a video.
safari-reader://www.chicagotribune.com/entertainment/music/reich/ct-ent-1005-ella-mel-show-review-20151003-column.html
“What must it have been like to hear Louis Armstrong live? It must have been new. It must have blown your mind. So I thought this is my job: Use my gifts to document what’s happening. It’s very rich now. I feel like I’m plucking fruits from a very fruitful tree.”
Indeed Achenbach has been practically ubiquitous at Chicago’s jazz shows, drawing Herb Alpert and Lani Hall at City Winery last Thursday; sketching Henry Threadgill at the Hyde Park Jazz Festival last month; documenting an eruption of sound during the 50th anniversary concert of the Association for the Advancement of Creative Musicians (AACM) at the University of Chicago’s Mandel Hall last April.
I’ll leave it to the art critics to weigh the merits of this work, but there’s no question it gets at the vibrancy of the music in deeply idiosyncratic terms. Achenbach’s images — crowded with color, punctuated with long lines and surging with energy — express not only the vitality of Chicago jazz in the 21st century but his own ardor for it.
Much of his work zeroes in on the jazz avant-garde, musicians experimenting boldly in work that avoids traditional concepts of melody, backbeat, harmony and structure. Adventurous audiences flock to this idiom in Chicago, a nexus for jazz experimentation since the dawn of the 20th century. In gravitating to music by Threadgill, Roscoe Mitchell, Ken Vandermark and other iconoclasts, Achenbach is celebrating a core identity of Chicago jazz.
“I think it takes a certain kind of person to not only enjoy that kind of music, but put yourself in a room where this can be challenging,” says Achenbach, citing a 2014 performance by the explosive Chicago Reed Quartet.
“These guys are all playing at the same time — some people run out of the room. I find when I’m drawing, it helps me listen. It occupies part of my brain so I can hear.”
“I’ve also drawn Colin Hay,” adds Achenbach, referencing a pop singer-songwriter best known as frontman of Men at Work. “I know what songs he’s going to do.
“But with creative (improvised) music, it’s wide open. It’s me going along with their courage … kind of like my version of sky diving. I have no idea what’s going to happen. It’s kind of scary, because I do sometimes work my way into a corner. The challenge is: How do I get out of this?”
But jazz musicians, who similarly invent their art as they proceed, often find themselves in quite the same quandary, trying to extricate themselves from a puzzle of their own making. That, of course, is a large part of the risk and thrill of the art form, and the parallels between the musicians’ struggles and Achenbach’s may help explain why so many players have allowed him to sketch their shows (he always asks permission in advance, he says, and “if someone says that’s not OK with that vibe, that’s cool”).
In perhaps the ultimate compliment, some musicians have incorporated his work into theirs. Most recently, flutist Nicole Mitchell, cellist Tomeka Reid and drummer Mike Reed have used an Achenbach original as cover art for their forthcoming album, “Artifacts,” a celebration of the AACM’s golden anniversary.
Achenbach’s circuitous journey to this point began when he was a teenager in the Philadelphia area and discovered jazz, quickly transitioning “from Iggy Pop to Pharoah Sanders,” as he puts it. He studied film and animation at New York University and became enchanted with the work of New York artist Jeff Schlanger, who long has been at the forefront of painting live jazz performances.
With Schlanger’s blessing, Achenbach says, he took up the cause in Chicago and eventually began creating what he calls Jazz Occurrences: live jazz performances in which he invites the audience to watch him paint and to enjoy a concurrent exhibition of various artists’ work (the next Jazz Occurrence will be Saturday night at Constellation). In this, too, Achenbach is building on the work of his elders: Chicago drummer-bandleader Kahil El’Zabar long ago was staging multimedia music-and-art happenings here and around the world.
Though Achenbach supports his family by working as a “laborer, house painter, tradesman,” he says, he sees his jazz work inevitably taking over.
“I paint in the day, I go out late at night,” says Achenbach, who believes the free-flowing nature of jazz has become a guiding principle in his life.
“I find that listening to improvisational music, especially live, really makes you more adaptable to your life situation.”
We all have to improvise in life, in other words — jazz shows us how.
“Portraits in Jazz”: Howard Reich’s e-book collects his exclusive interviews with Frank Sinatra, Tony Bennett, Lena Horne, Ella Fitzgerald and others, plus profiles of past masters such as Louis Armstrong, Duke Ellington and Billie Holiday. Get “Portraits in Jazz” at www.chicagotribune.com/ebooks.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
Jazz Occurrence No. 6
When: 8:30 p.m. Saturday
Where: Constellation, 3111 N. Western Ave.
Tickets: $10; www.constellation-chicago.com (http://www.constellation-chicago.com/)
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=f208ba1e3f) | 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=f208ba1e3f&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
Painting jazz: Chicago artist captures the scene – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-jazz-painter-lewis-aschenbach-ent-1007-20151006-column.html
** Painting jazz: Chicago artist sketches the scene
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#navtype=byline) Contact Reporter (mailto:hreich@chicagotribune.com?subject=Regarding:%20%22Painting%20jazz:%20Chicago%20artist%20sketches%20the%20scene%22)
Photos: Lewis Achenbach, jazz painter
Perhaps you’ve seen him at the Green Mill or Constellation, seated close to the action, focusing intently on the musicians, glancing down at his sketchpad then looking back up at the stage.
His arm moves constantly, reaching for certain colors, applying them to paper, creating forms and shapes and rhythms that reflect what he hears.
Most people in the audience may be relaxing, reveling in the music, sipping a drink, whispering to a friend, pondering. But Chicago artist Lewis Achenbach is busily at work, attempting the impossible: to capture a most elusive music — jazz — in visual form.
Achenbach has been haunting Chicago’s jazz rooms and festivals for the past three or four years, he estimates, chronicling in thoroughly personal terms the city’s ever-expanding jazz landscape. He moved here from San Francisco in 2011, was struck by what he encountered and decided that he had to respond.
“I realized the Chicago scene is every night,” says Achenbach.
“The scene out here is so rich, and most of the guys are so humble about what they’re doing. And they welcomed me.
“This scene needs to be documented,” adds Achenbach. “I know there’s photographs. And going off on a slight tangent, (consider) a Louis Armstrong record. You listen to it, you see photographs. I’d think: That’s probably not what it was like to hear the music live. It’s like watching a video of a video of a video.
safari-reader://www.chicagotribune.com/entertainment/music/reich/ct-ent-1005-ella-mel-show-review-20151003-column.html
“What must it have been like to hear Louis Armstrong live? It must have been new. It must have blown your mind. So I thought this is my job: Use my gifts to document what’s happening. It’s very rich now. I feel like I’m plucking fruits from a very fruitful tree.”
Indeed Achenbach has been practically ubiquitous at Chicago’s jazz shows, drawing Herb Alpert and Lani Hall at City Winery last Thursday; sketching Henry Threadgill at the Hyde Park Jazz Festival last month; documenting an eruption of sound during the 50th anniversary concert of the Association for the Advancement of Creative Musicians (AACM) at the University of Chicago’s Mandel Hall last April.
I’ll leave it to the art critics to weigh the merits of this work, but there’s no question it gets at the vibrancy of the music in deeply idiosyncratic terms. Achenbach’s images — crowded with color, punctuated with long lines and surging with energy — express not only the vitality of Chicago jazz in the 21st century but his own ardor for it.
Much of his work zeroes in on the jazz avant-garde, musicians experimenting boldly in work that avoids traditional concepts of melody, backbeat, harmony and structure. Adventurous audiences flock to this idiom in Chicago, a nexus for jazz experimentation since the dawn of the 20th century. In gravitating to music by Threadgill, Roscoe Mitchell, Ken Vandermark and other iconoclasts, Achenbach is celebrating a core identity of Chicago jazz.
“I think it takes a certain kind of person to not only enjoy that kind of music, but put yourself in a room where this can be challenging,” says Achenbach, citing a 2014 performance by the explosive Chicago Reed Quartet.
“These guys are all playing at the same time — some people run out of the room. I find when I’m drawing, it helps me listen. It occupies part of my brain so I can hear.”
“I’ve also drawn Colin Hay,” adds Achenbach, referencing a pop singer-songwriter best known as frontman of Men at Work. “I know what songs he’s going to do.
“But with creative (improvised) music, it’s wide open. It’s me going along with their courage … kind of like my version of sky diving. I have no idea what’s going to happen. It’s kind of scary, because I do sometimes work my way into a corner. The challenge is: How do I get out of this?”
But jazz musicians, who similarly invent their art as they proceed, often find themselves in quite the same quandary, trying to extricate themselves from a puzzle of their own making. That, of course, is a large part of the risk and thrill of the art form, and the parallels between the musicians’ struggles and Achenbach’s may help explain why so many players have allowed him to sketch their shows (he always asks permission in advance, he says, and “if someone says that’s not OK with that vibe, that’s cool”).
In perhaps the ultimate compliment, some musicians have incorporated his work into theirs. Most recently, flutist Nicole Mitchell, cellist Tomeka Reid and drummer Mike Reed have used an Achenbach original as cover art for their forthcoming album, “Artifacts,” a celebration of the AACM’s golden anniversary.
Achenbach’s circuitous journey to this point began when he was a teenager in the Philadelphia area and discovered jazz, quickly transitioning “from Iggy Pop to Pharoah Sanders,” as he puts it. He studied film and animation at New York University and became enchanted with the work of New York artist Jeff Schlanger, who long has been at the forefront of painting live jazz performances.
With Schlanger’s blessing, Achenbach says, he took up the cause in Chicago and eventually began creating what he calls Jazz Occurrences: live jazz performances in which he invites the audience to watch him paint and to enjoy a concurrent exhibition of various artists’ work (the next Jazz Occurrence will be Saturday night at Constellation). In this, too, Achenbach is building on the work of his elders: Chicago drummer-bandleader Kahil El’Zabar long ago was staging multimedia music-and-art happenings here and around the world.
Though Achenbach supports his family by working as a “laborer, house painter, tradesman,” he says, he sees his jazz work inevitably taking over.
“I paint in the day, I go out late at night,” says Achenbach, who believes the free-flowing nature of jazz has become a guiding principle in his life.
“I find that listening to improvisational music, especially live, really makes you more adaptable to your life situation.”
We all have to improvise in life, in other words — jazz shows us how.
“Portraits in Jazz”: Howard Reich’s e-book collects his exclusive interviews with Frank Sinatra, Tony Bennett, Lena Horne, Ella Fitzgerald and others, plus profiles of past masters such as Louis Armstrong, Duke Ellington and Billie Holiday. Get “Portraits in Jazz” at www.chicagotribune.com/ebooks.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
Jazz Occurrence No. 6
When: 8:30 p.m. Saturday
Where: Constellation, 3111 N. Western Ave.
Tickets: $10; www.constellation-chicago.com (http://www.constellation-chicago.com/)
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=f208ba1e3f) | 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=f208ba1e3f&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 new jazz age: New York City’s jazz venue renaissance | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#_=_
** The new jazz age: New York City’s jazz venue renaissance
————————————————————
By Martin Longley
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater
At a time when all we seem to hear about is the closure of New York City’s music venues, often due to creeping gentrification (http://gawker.com/heres-a-look-at-one-of-the-beloved-nyc-venues-vice-is-p-1658399086?discussion_truncation=0&utm_expid=66866090-56.xSggy8zmSwG3vMsivr7rOg.1&utm_referrer=https%3A%2F%2Fwww.google.com%2F) , this summer has produced an unlikely counter trend. While the Brooklyn rock/electronica scene has suffered from a rapidly retreating DIY warehouse situation, Manhattan jazz clubs are optimistically sprouting.
Much of the alternative rock scene has been pushed out of Williamsburg into Bushwick, and lately Ridgewood, just over the Queens border. Out went Glasslands, 285 Kent and Death by Audio, with the Cameo Gallery (http://www.cameony.net/) set to close at the end of November. In come Trans-Pecos (http://www.thetranspecos.com/) , Alphaville (http://www.alphavillebrooklyn.com/) and Palisades (http://palisadesbk.com/) , all much further out on the L train.
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947
(https://www.facebook.com/dialog/share?app_id=180444840287&href=http%3A%2F%2Fgu.com%2Fp%2F4czvx%2Fsfb%23img-2&redirect_uri=http%3A%2F%2Fgu.com%2Fp%2F4czvx&picture=http%3A%2F%2Fmedia.guim.co.uk%2F9fe9b51dc090ada39e9f55426427930a509d295e%2F0_111_2822_1693%2F2822.jpg)
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947. Photograph: Ullstein Bild/Getty Images
Meanwhile, there are three new jazz joints now open (in Midtown Manhattan, Harlem and the Meatpacking District), with a Times Square theatre due early next year. All of these are located either in wealthy zones or areas that are rapidly rising on the real estate barometer – an indication that the venue owners believe that jazz fans have rather more money to spend on drinks and dinner than indie kids. (Meanwhile, the Brooklyn jazz scene has its own strengths, revolving around more alternative, rootsy joints that are cheaper to access, with makeshift bars and no food, such as Roulette (http://roulette.org/?gclid=CjwKEAjw4s2wBRDSnr2jwZenlkgSJABvFcwQpNltLDPJbrUWmMESqcSpVy78AZpq26nb_8VCyZlx6hoC4tvw_wcB) , Ibeam (http://ibeambrooklyn.com/) , Jack (http://www.jackny.org/) and the Firehouse Space (http://thefirehousespace.org/) .)
The first sign of Manhattan’s new trend was last year’s opening of Mezzrow (https://www.mezzrow.com/) in Greenwich Village, an excellent piano-centric listening room, and a new venture for the owners of Smalls, one of the city’s favourite jazz clubs.
** Club Bonafide (http://clubbonafide.com/) , Midtown
————————————————————
Mo’ Better Booze: Club Bonafide
Mo’ Better Booze: Club Bonafide, Photograph: PR
The Cameroonian bassist Richard Bona has just opened his own club on East 52nd Street. From the 1930s to the 1950s, the western end of that street was a vibrant hotbed for jazz clubs, including the Hickory House (http://jazzinsideandout.com/tag/hickory-house/) , the Famous Door (http://newarkwww.rutgers.edu/ijs/cb/famousDoor.htm) , Jimmy Ryan’s (https://jazzlives.wordpress.com/tag/jimmy-ryans/) and the Three Deuces (http://www.redhotjazz.com/3deuces.html) . Bona was well aware of this lineage when he was finalising plans to run his own venue.
“Who knows, maybe it’s a revival!” he says as we sit at the club’s bar during Bona’s opening residency with his own band. “Maybe we’ll see somebody come here to open another club. That’s how the vibes of an area get to change.”
Bona already has a history of stepping sideways into the investment world. “I opened a lot of businesses,” he says. “It’s just that they’re not visible. I operate a lot of real estate in New York (http://www.theguardian.com/us-news/new-york) , I buy coffee farms in South America. This is more noticeable, it’s people coming into the club, it’s connected with the music.”
Nowadays, Bona is principally active as a bandleader, but he made much of his early reputation playing with Weather Report keyboardist Joe Zawinul (http://www.allmusic.com/artist/joe-zawinul-mn0000176859) . Bona’s friend and business partner is restaurateur Laurent Dantonio, who saw that the space was available. He suggested to Bona that they open a restaurant, with that initial thought soon mushrooming into the jazz club concept.
Bona doesn’t organise the bookings, but he does make suggestions. “I don’t know how to do it: my gig is up on stage.” The thrust of Club Bonafide is to present jazz in all of its global forms. The range is already wide, embracing hardcore jazz and fusion as well as Afro and Brazilian sounds.
“A lot of great jazz musicians are coming from foreign countries,” Bona says. “When you go to Berklee [College Of Music] today, most of the students are from overseas. I taught at NYU for two years, and look at my class: you’ve got two Americans out of 12 students. You look at the jazz scene, and it’s no longer an exclusively American thing, with players coming from England, Russia, Korea, Japan. That’s jazz, to me, today.”
Bona uses the example of eating modes, from chopsticks to silverware, to Cameroonian-style communal bowl finger-scooping, to illustrate musical diversity. “That’s how music is, embracing the difference actually makes you become more tolerant, more open to understanding other people. It’s not just music, it’s life.”
Bonafide is a third-floor club, slightly difficult to find from the street, but once inside, it’s an intimate haven. The white brick walls are dotted with acoustic baffles, red curtains back the stage, and the lighting is low, the PA speakers tiny, but packing a detailed punch. Bona is also planning classical and blues slots, and maybe even some country, once Club Bonafide gets established.
Where is it?
Club Bonafide, 212 East 52nd Street
What’s the vibe?
Global jazz crossover
Who can you see?
Grégoire Maret (9 October), Wolf & Clark Expedition (16 October), Richard Bona & Mandekan Cubano (24 October)
** Subrosa (http://subrosanyc.com/) , the Meatpacking District
————————————————————
The Pedrito Martinez Group at the Subrosa
The Pedrito Martínez Group at the Subrosa. Photograph: PR
Subrosa exists in a particularly fast-risen part of Manhattan, just a few strides from the new Whitney Museum and the entrance to the High Line. It’s the latest venture of Blue Note Entertainment Group, who already operate their famed flagship jazz club, as well as the BB King Blues Club and the Highline Ballroom.
Subrosa is Latin-orientated in its musical programme, with a heavy jazz crossover. Many of the players involved with salsa, Cuban, Colombian, Peruvian and Brazilian music also have a significant presence on the NYC jazz scene. The house band is led by Cuban percussionist Pedrito Martínez (http://pedritomartinezmusic.com/) , who usually plays a couple of nights each week.
You enter via a long, stone, candlelit stairway, with a slow gradient down to a compact space that’s like a large living room. Comfortable chairs are gathered around the informal dancefloor and stage, as if around a fire, which is appropriate given the combustion properties of many combos that play here. The small stage is a corner platform, with backlit drapes, speakers hanging from the ceiling in all four corners of the room. The bar is orientated towards wine and cocktails rather than beer.
Where is it?
Subrosa, 63 Gansevoort Street
What’s the vibe?
Latin jazz sophistication
Who can you see?
Pedro Martínez Group (7, 8, 28, 30 October), Gerardo Contino (17 October), Chris Washburne & Syotos (19 October)
** Cassandra’s Jazz Club and Gallery (http://cassandrasjazz.com/) , Harlem
————————————————————
Cassandra and Dwight Dickerson had been living and working in Dubai for a decade or so, but have recently returned to Harlem, opening their new jazz club within 14 months. It’s at 133rd Street, very close to the Shrine, one of NYC’s best global music bars. The musical policy is firmly in the mainline jazz category, with pianist Dwight leading the house trio, featuring a roster of invited soloists.
The vibe is intimate, informal and friendly, the first impression being scored across the street, with the sound of TK Blue (http://www.tkblue.com/) ’s soulful saxophone spilling out on to the sidewalk. That’s because the band are set up with their backs to the front window, the audience seated at tables, or further back at the bar. Detroit’s Joan Belgrave (http://www.joanbowbelgrave.com/) , the widow of the recently departed trumpeter Marcus, also took a few vocal spots. Previously a dive bar called PJ’s, the interior has now been completely refurbished. Exposed bricks are once again a theme, with framed jazz photographs lining the walls.
Where is it?
Cassandra’s Jazz (http://www.theguardian.com/music/jazz) Club and Gallery, 2256 Adam Clayton Powell Boulevard
What’s the vibe?
Mainline jazz informality
Who can you see?
The Dwight Dickerson Quartet (Wednesdays), Joan Belgrave and the Detroit Sound (23 October and 24 October)
** The Birdland Theater (http://www.birdlandjazz.com/) , Times Square
————————————————————
Looking towards the start of next year, established club giant Birdland will be opening an intimate 100-seat theatre in its basement space. Jazz will be the core, but cabaret, dance, burlesque, comedy and all things Broadway will be included. It will share the management, staff and kitchen with the main Birdland club. Performances will be nightly, with tables set out for most shows, but with seated rows also being an option.
Unfortunately, it wasn’t possible to access the basement space just yet, as construction is still under way, but it hopes to share the relaxed efficiency of the upstairs club, switching from a formal concert atmosphere to a cabaret set-up as the occasion demands.
Where is it?
The Birdland Theater, 315 West 44th Street
What’s the vibe?
Jazz cabaret elegance
Who can you see?
Jazz, Broadway, cabaret and burlesque artists
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=fc73112840) | 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=fc73112840&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 new jazz age: New York City’s jazz venue renaissance | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#_=_
** The new jazz age: New York City’s jazz venue renaissance
————————————————————
By Martin Longley
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater
At a time when all we seem to hear about is the closure of New York City’s music venues, often due to creeping gentrification (http://gawker.com/heres-a-look-at-one-of-the-beloved-nyc-venues-vice-is-p-1658399086?discussion_truncation=0&utm_expid=66866090-56.xSggy8zmSwG3vMsivr7rOg.1&utm_referrer=https%3A%2F%2Fwww.google.com%2F) , this summer has produced an unlikely counter trend. While the Brooklyn rock/electronica scene has suffered from a rapidly retreating DIY warehouse situation, Manhattan jazz clubs are optimistically sprouting.
Much of the alternative rock scene has been pushed out of Williamsburg into Bushwick, and lately Ridgewood, just over the Queens border. Out went Glasslands, 285 Kent and Death by Audio, with the Cameo Gallery (http://www.cameony.net/) set to close at the end of November. In come Trans-Pecos (http://www.thetranspecos.com/) , Alphaville (http://www.alphavillebrooklyn.com/) and Palisades (http://palisadesbk.com/) , all much further out on the L train.
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947
(https://www.facebook.com/dialog/share?app_id=180444840287&href=http%3A%2F%2Fgu.com%2Fp%2F4czvx%2Fsfb%23img-2&redirect_uri=http%3A%2F%2Fgu.com%2Fp%2F4czvx&picture=http%3A%2F%2Fmedia.guim.co.uk%2F9fe9b51dc090ada39e9f55426427930a509d295e%2F0_111_2822_1693%2F2822.jpg)
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947. Photograph: Ullstein Bild/Getty Images
Meanwhile, there are three new jazz joints now open (in Midtown Manhattan, Harlem and the Meatpacking District), with a Times Square theatre due early next year. All of these are located either in wealthy zones or areas that are rapidly rising on the real estate barometer – an indication that the venue owners believe that jazz fans have rather more money to spend on drinks and dinner than indie kids. (Meanwhile, the Brooklyn jazz scene has its own strengths, revolving around more alternative, rootsy joints that are cheaper to access, with makeshift bars and no food, such as Roulette (http://roulette.org/?gclid=CjwKEAjw4s2wBRDSnr2jwZenlkgSJABvFcwQpNltLDPJbrUWmMESqcSpVy78AZpq26nb_8VCyZlx6hoC4tvw_wcB) , Ibeam (http://ibeambrooklyn.com/) , Jack (http://www.jackny.org/) and the Firehouse Space (http://thefirehousespace.org/) .)
The first sign of Manhattan’s new trend was last year’s opening of Mezzrow (https://www.mezzrow.com/) in Greenwich Village, an excellent piano-centric listening room, and a new venture for the owners of Smalls, one of the city’s favourite jazz clubs.
** Club Bonafide (http://clubbonafide.com/) , Midtown
————————————————————
Mo’ Better Booze: Club Bonafide
Mo’ Better Booze: Club Bonafide, Photograph: PR
The Cameroonian bassist Richard Bona has just opened his own club on East 52nd Street. From the 1930s to the 1950s, the western end of that street was a vibrant hotbed for jazz clubs, including the Hickory House (http://jazzinsideandout.com/tag/hickory-house/) , the Famous Door (http://newarkwww.rutgers.edu/ijs/cb/famousDoor.htm) , Jimmy Ryan’s (https://jazzlives.wordpress.com/tag/jimmy-ryans/) and the Three Deuces (http://www.redhotjazz.com/3deuces.html) . Bona was well aware of this lineage when he was finalising plans to run his own venue.
“Who knows, maybe it’s a revival!” he says as we sit at the club’s bar during Bona’s opening residency with his own band. “Maybe we’ll see somebody come here to open another club. That’s how the vibes of an area get to change.”
Bona already has a history of stepping sideways into the investment world. “I opened a lot of businesses,” he says. “It’s just that they’re not visible. I operate a lot of real estate in New York (http://www.theguardian.com/us-news/new-york) , I buy coffee farms in South America. This is more noticeable, it’s people coming into the club, it’s connected with the music.”
Nowadays, Bona is principally active as a bandleader, but he made much of his early reputation playing with Weather Report keyboardist Joe Zawinul (http://www.allmusic.com/artist/joe-zawinul-mn0000176859) . Bona’s friend and business partner is restaurateur Laurent Dantonio, who saw that the space was available. He suggested to Bona that they open a restaurant, with that initial thought soon mushrooming into the jazz club concept.
Bona doesn’t organise the bookings, but he does make suggestions. “I don’t know how to do it: my gig is up on stage.” The thrust of Club Bonafide is to present jazz in all of its global forms. The range is already wide, embracing hardcore jazz and fusion as well as Afro and Brazilian sounds.
“A lot of great jazz musicians are coming from foreign countries,” Bona says. “When you go to Berklee [College Of Music] today, most of the students are from overseas. I taught at NYU for two years, and look at my class: you’ve got two Americans out of 12 students. You look at the jazz scene, and it’s no longer an exclusively American thing, with players coming from England, Russia, Korea, Japan. That’s jazz, to me, today.”
Bona uses the example of eating modes, from chopsticks to silverware, to Cameroonian-style communal bowl finger-scooping, to illustrate musical diversity. “That’s how music is, embracing the difference actually makes you become more tolerant, more open to understanding other people. It’s not just music, it’s life.”
Bonafide is a third-floor club, slightly difficult to find from the street, but once inside, it’s an intimate haven. The white brick walls are dotted with acoustic baffles, red curtains back the stage, and the lighting is low, the PA speakers tiny, but packing a detailed punch. Bona is also planning classical and blues slots, and maybe even some country, once Club Bonafide gets established.
Where is it?
Club Bonafide, 212 East 52nd Street
What’s the vibe?
Global jazz crossover
Who can you see?
Grégoire Maret (9 October), Wolf & Clark Expedition (16 October), Richard Bona & Mandekan Cubano (24 October)
** Subrosa (http://subrosanyc.com/) , the Meatpacking District
————————————————————
The Pedrito Martinez Group at the Subrosa
The Pedrito Martínez Group at the Subrosa. Photograph: PR
Subrosa exists in a particularly fast-risen part of Manhattan, just a few strides from the new Whitney Museum and the entrance to the High Line. It’s the latest venture of Blue Note Entertainment Group, who already operate their famed flagship jazz club, as well as the BB King Blues Club and the Highline Ballroom.
Subrosa is Latin-orientated in its musical programme, with a heavy jazz crossover. Many of the players involved with salsa, Cuban, Colombian, Peruvian and Brazilian music also have a significant presence on the NYC jazz scene. The house band is led by Cuban percussionist Pedrito Martínez (http://pedritomartinezmusic.com/) , who usually plays a couple of nights each week.
You enter via a long, stone, candlelit stairway, with a slow gradient down to a compact space that’s like a large living room. Comfortable chairs are gathered around the informal dancefloor and stage, as if around a fire, which is appropriate given the combustion properties of many combos that play here. The small stage is a corner platform, with backlit drapes, speakers hanging from the ceiling in all four corners of the room. The bar is orientated towards wine and cocktails rather than beer.
Where is it?
Subrosa, 63 Gansevoort Street
What’s the vibe?
Latin jazz sophistication
Who can you see?
Pedro Martínez Group (7, 8, 28, 30 October), Gerardo Contino (17 October), Chris Washburne & Syotos (19 October)
** Cassandra’s Jazz Club and Gallery (http://cassandrasjazz.com/) , Harlem
————————————————————
Cassandra and Dwight Dickerson had been living and working in Dubai for a decade or so, but have recently returned to Harlem, opening their new jazz club within 14 months. It’s at 133rd Street, very close to the Shrine, one of NYC’s best global music bars. The musical policy is firmly in the mainline jazz category, with pianist Dwight leading the house trio, featuring a roster of invited soloists.
The vibe is intimate, informal and friendly, the first impression being scored across the street, with the sound of TK Blue (http://www.tkblue.com/) ’s soulful saxophone spilling out on to the sidewalk. That’s because the band are set up with their backs to the front window, the audience seated at tables, or further back at the bar. Detroit’s Joan Belgrave (http://www.joanbowbelgrave.com/) , the widow of the recently departed trumpeter Marcus, also took a few vocal spots. Previously a dive bar called PJ’s, the interior has now been completely refurbished. Exposed bricks are once again a theme, with framed jazz photographs lining the walls.
Where is it?
Cassandra’s Jazz (http://www.theguardian.com/music/jazz) Club and Gallery, 2256 Adam Clayton Powell Boulevard
What’s the vibe?
Mainline jazz informality
Who can you see?
The Dwight Dickerson Quartet (Wednesdays), Joan Belgrave and the Detroit Sound (23 October and 24 October)
** The Birdland Theater (http://www.birdlandjazz.com/) , Times Square
————————————————————
Looking towards the start of next year, established club giant Birdland will be opening an intimate 100-seat theatre in its basement space. Jazz will be the core, but cabaret, dance, burlesque, comedy and all things Broadway will be included. It will share the management, staff and kitchen with the main Birdland club. Performances will be nightly, with tables set out for most shows, but with seated rows also being an option.
Unfortunately, it wasn’t possible to access the basement space just yet, as construction is still under way, but it hopes to share the relaxed efficiency of the upstairs club, switching from a formal concert atmosphere to a cabaret set-up as the occasion demands.
Where is it?
The Birdland Theater, 315 West 44th Street
What’s the vibe?
Jazz cabaret elegance
Who can you see?
Jazz, Broadway, cabaret and burlesque artists
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=fc73112840) | 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=fc73112840&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 new jazz age: New York City’s jazz venue renaissance | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#_=_
** The new jazz age: New York City’s jazz venue renaissance
————————————————————
By Martin Longley
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
http://www.theguardian.com/music/2015/oct/06/new-york-city-jazz-venues-gentrification-indie-clubs#img-1
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater Photograph: Seth Walters/PR
Martin Longley (http://www.theguardian.com/profile/martin-longley) in New York
Birdland, one of New York’s oldest jazz haunts is expanding with the Birdland Theater
At a time when all we seem to hear about is the closure of New York City’s music venues, often due to creeping gentrification (http://gawker.com/heres-a-look-at-one-of-the-beloved-nyc-venues-vice-is-p-1658399086?discussion_truncation=0&utm_expid=66866090-56.xSggy8zmSwG3vMsivr7rOg.1&utm_referrer=https%3A%2F%2Fwww.google.com%2F) , this summer has produced an unlikely counter trend. While the Brooklyn rock/electronica scene has suffered from a rapidly retreating DIY warehouse situation, Manhattan jazz clubs are optimistically sprouting.
Much of the alternative rock scene has been pushed out of Williamsburg into Bushwick, and lately Ridgewood, just over the Queens border. Out went Glasslands, 285 Kent and Death by Audio, with the Cameo Gallery (http://www.cameony.net/) set to close at the end of November. In come Trans-Pecos (http://www.thetranspecos.com/) , Alphaville (http://www.alphavillebrooklyn.com/) and Palisades (http://palisadesbk.com/) , all much further out on the L train.
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947
(https://www.facebook.com/dialog/share?app_id=180444840287&href=http%3A%2F%2Fgu.com%2Fp%2F4czvx%2Fsfb%23img-2&redirect_uri=http%3A%2F%2Fgu.com%2Fp%2F4czvx&picture=http%3A%2F%2Fmedia.guim.co.uk%2F9fe9b51dc090ada39e9f55426427930a509d295e%2F0_111_2822_1693%2F2822.jpg)
Charlie Parker, Miles Davis, and Tommy Potter
perform at the Three Deuces in 1947. Photograph: Ullstein Bild/Getty Images
Meanwhile, there are three new jazz joints now open (in Midtown Manhattan, Harlem and the Meatpacking District), with a Times Square theatre due early next year. All of these are located either in wealthy zones or areas that are rapidly rising on the real estate barometer – an indication that the venue owners believe that jazz fans have rather more money to spend on drinks and dinner than indie kids. (Meanwhile, the Brooklyn jazz scene has its own strengths, revolving around more alternative, rootsy joints that are cheaper to access, with makeshift bars and no food, such as Roulette (http://roulette.org/?gclid=CjwKEAjw4s2wBRDSnr2jwZenlkgSJABvFcwQpNltLDPJbrUWmMESqcSpVy78AZpq26nb_8VCyZlx6hoC4tvw_wcB) , Ibeam (http://ibeambrooklyn.com/) , Jack (http://www.jackny.org/) and the Firehouse Space (http://thefirehousespace.org/) .)
The first sign of Manhattan’s new trend was last year’s opening of Mezzrow (https://www.mezzrow.com/) in Greenwich Village, an excellent piano-centric listening room, and a new venture for the owners of Smalls, one of the city’s favourite jazz clubs.
** Club Bonafide (http://clubbonafide.com/) , Midtown
————————————————————
Mo’ Better Booze: Club Bonafide
Mo’ Better Booze: Club Bonafide, Photograph: PR
The Cameroonian bassist Richard Bona has just opened his own club on East 52nd Street. From the 1930s to the 1950s, the western end of that street was a vibrant hotbed for jazz clubs, including the Hickory House (http://jazzinsideandout.com/tag/hickory-house/) , the Famous Door (http://newarkwww.rutgers.edu/ijs/cb/famousDoor.htm) , Jimmy Ryan’s (https://jazzlives.wordpress.com/tag/jimmy-ryans/) and the Three Deuces (http://www.redhotjazz.com/3deuces.html) . Bona was well aware of this lineage when he was finalising plans to run his own venue.
“Who knows, maybe it’s a revival!” he says as we sit at the club’s bar during Bona’s opening residency with his own band. “Maybe we’ll see somebody come here to open another club. That’s how the vibes of an area get to change.”
Bona already has a history of stepping sideways into the investment world. “I opened a lot of businesses,” he says. “It’s just that they’re not visible. I operate a lot of real estate in New York (http://www.theguardian.com/us-news/new-york) , I buy coffee farms in South America. This is more noticeable, it’s people coming into the club, it’s connected with the music.”
Nowadays, Bona is principally active as a bandleader, but he made much of his early reputation playing with Weather Report keyboardist Joe Zawinul (http://www.allmusic.com/artist/joe-zawinul-mn0000176859) . Bona’s friend and business partner is restaurateur Laurent Dantonio, who saw that the space was available. He suggested to Bona that they open a restaurant, with that initial thought soon mushrooming into the jazz club concept.
Bona doesn’t organise the bookings, but he does make suggestions. “I don’t know how to do it: my gig is up on stage.” The thrust of Club Bonafide is to present jazz in all of its global forms. The range is already wide, embracing hardcore jazz and fusion as well as Afro and Brazilian sounds.
“A lot of great jazz musicians are coming from foreign countries,” Bona says. “When you go to Berklee [College Of Music] today, most of the students are from overseas. I taught at NYU for two years, and look at my class: you’ve got two Americans out of 12 students. You look at the jazz scene, and it’s no longer an exclusively American thing, with players coming from England, Russia, Korea, Japan. That’s jazz, to me, today.”
Bona uses the example of eating modes, from chopsticks to silverware, to Cameroonian-style communal bowl finger-scooping, to illustrate musical diversity. “That’s how music is, embracing the difference actually makes you become more tolerant, more open to understanding other people. It’s not just music, it’s life.”
Bonafide is a third-floor club, slightly difficult to find from the street, but once inside, it’s an intimate haven. The white brick walls are dotted with acoustic baffles, red curtains back the stage, and the lighting is low, the PA speakers tiny, but packing a detailed punch. Bona is also planning classical and blues slots, and maybe even some country, once Club Bonafide gets established.
Where is it?
Club Bonafide, 212 East 52nd Street
What’s the vibe?
Global jazz crossover
Who can you see?
Grégoire Maret (9 October), Wolf & Clark Expedition (16 October), Richard Bona & Mandekan Cubano (24 October)
** Subrosa (http://subrosanyc.com/) , the Meatpacking District
————————————————————
The Pedrito Martinez Group at the Subrosa
The Pedrito Martínez Group at the Subrosa. Photograph: PR
Subrosa exists in a particularly fast-risen part of Manhattan, just a few strides from the new Whitney Museum and the entrance to the High Line. It’s the latest venture of Blue Note Entertainment Group, who already operate their famed flagship jazz club, as well as the BB King Blues Club and the Highline Ballroom.
Subrosa is Latin-orientated in its musical programme, with a heavy jazz crossover. Many of the players involved with salsa, Cuban, Colombian, Peruvian and Brazilian music also have a significant presence on the NYC jazz scene. The house band is led by Cuban percussionist Pedrito Martínez (http://pedritomartinezmusic.com/) , who usually plays a couple of nights each week.
You enter via a long, stone, candlelit stairway, with a slow gradient down to a compact space that’s like a large living room. Comfortable chairs are gathered around the informal dancefloor and stage, as if around a fire, which is appropriate given the combustion properties of many combos that play here. The small stage is a corner platform, with backlit drapes, speakers hanging from the ceiling in all four corners of the room. The bar is orientated towards wine and cocktails rather than beer.
Where is it?
Subrosa, 63 Gansevoort Street
What’s the vibe?
Latin jazz sophistication
Who can you see?
Pedro Martínez Group (7, 8, 28, 30 October), Gerardo Contino (17 October), Chris Washburne & Syotos (19 October)
** Cassandra’s Jazz Club and Gallery (http://cassandrasjazz.com/) , Harlem
————————————————————
Cassandra and Dwight Dickerson had been living and working in Dubai for a decade or so, but have recently returned to Harlem, opening their new jazz club within 14 months. It’s at 133rd Street, very close to the Shrine, one of NYC’s best global music bars. The musical policy is firmly in the mainline jazz category, with pianist Dwight leading the house trio, featuring a roster of invited soloists.
The vibe is intimate, informal and friendly, the first impression being scored across the street, with the sound of TK Blue (http://www.tkblue.com/) ’s soulful saxophone spilling out on to the sidewalk. That’s because the band are set up with their backs to the front window, the audience seated at tables, or further back at the bar. Detroit’s Joan Belgrave (http://www.joanbowbelgrave.com/) , the widow of the recently departed trumpeter Marcus, also took a few vocal spots. Previously a dive bar called PJ’s, the interior has now been completely refurbished. Exposed bricks are once again a theme, with framed jazz photographs lining the walls.
Where is it?
Cassandra’s Jazz (http://www.theguardian.com/music/jazz) Club and Gallery, 2256 Adam Clayton Powell Boulevard
What’s the vibe?
Mainline jazz informality
Who can you see?
The Dwight Dickerson Quartet (Wednesdays), Joan Belgrave and the Detroit Sound (23 October and 24 October)
** The Birdland Theater (http://www.birdlandjazz.com/) , Times Square
————————————————————
Looking towards the start of next year, established club giant Birdland will be opening an intimate 100-seat theatre in its basement space. Jazz will be the core, but cabaret, dance, burlesque, comedy and all things Broadway will be included. It will share the management, staff and kitchen with the main Birdland club. Performances will be nightly, with tables set out for most shows, but with seated rows also being an option.
Unfortunately, it wasn’t possible to access the basement space just yet, as construction is still under way, but it hopes to share the relaxed efficiency of the upstairs club, switching from a formal concert atmosphere to a cabaret set-up as the occasion demands.
Where is it?
The Birdland Theater, 315 West 44th Street
What’s the vibe?
Jazz cabaret elegance
Who can you see?
Jazz, Broadway, cabaret and burlesque artists
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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Jazz Promo Services
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What the Music You Hate Says About You – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/what-the-music-you-hate-says-about-you
** What the Music You Hate Says About You
————————————————————
TOM JACOBS (http://www.psmag.com/author/tomjacobs)
OCT 5, 2015
(Photo: Studio Grand Ouest/Shutterstock) (Photo: Studio Grand Ouest/Shutterstock)
What sort of music do you dislike? That may seem like an odd subject for a study, but it makes sense to sociologists, who view the rejection of certain genres as symbolic markers—declarations that I have nothing in common with “those people.”
Thus, a new study (http://www.sciencedirect.com/science/article/pii/S0304422X15000601) that examines the musical genres Americans abhor offers an intriguing look into who we do, and do not, care to affiliate with. This has apparently shifted, as the types of tunes we find distasteful have changed significantly over the past two decades.
The paper, published in the journal Poetics, paints a decidedly mixed picture for classical music, which seems to be gaining acceptance overall, but is apparently losing favor with an important source of future audiences: young, college-educated adults.
** The types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.”
————————————————————
University of Notre Dame sociologists Omar Lizardo (http://sociology.nd.edu/people/omar-lizardo/) and Sara Skiles began their research by looking at the “cultural module” of the 1993 General Social Survey (http://www.norc.org/Research/Projects/Pages/general-social-survey.aspx) . The 1,606 participants were presented with a list of 18 styles of music, from big band to reggae, and asked whether they liked, disliked, or had “mixed feelings” about each.
In the summer of 2012, the researchers partly replicated that study. They commissioned a survey of 2,250 Americans (a representative sample of the total population) and asked the same question, this time limiting the results to 15 musical genres.
“The most obvious change (over the 20 years) consists of the steep declines in the probability of younger persons to reject rap and heavy metal,” Lizardo and Skiles write. “Only about one-fifth of young Americans reject rap and hip-hop, a figure that is lower than that observed for country, bluegrass, gospel or opera for this age group.”
The biggest shift in this regard came from young people with the highest education levels. This suggests they are using rap and hip-hop to differentiate themselves from the older generation of well-to-do Americans.
These same “high-status newcomers” were more likely than their counterparts of 20 years ago to declare their distaste for classical music and jazz, as well as rock ‘n’ roll. “While in 1993, a college-educated person between the ages of 25 and 29 had an 8 percent chance of disliking classical (music), in 2012, a respondent in that same age-education group had a 15 percent chance (of doing so),” the researchers write.
That has to be troubling news to orchestra managers fretting over how to appeal to future audiences. In general, however, the researchers report fewer people said they disliked classical music and opera. This was true for all age ranges, suggesting Americans are increasingly open-minded to sampling genres once considered exclusive to the elite.
Overall, “the probability of disliking decreased for seven musical styles (classical music, opera, jazz, Latin, rap, rock, and metal), and increased for four styles (country, bluegrass, folk, and religious/Gospel music),” the researchers write. (Ratings for show tunes, blues and R&B, and reggae remained roughly the same in the 1993 and 2012 surveys.)
Lizardo and Skiles note that the types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.” Fairly or not, many Americans associate these genres with racism, religiosity, and a nationalistic mindset. It’s likely that in expressing their distaste for those genres, people outside the South and rural West are symbolically rejecting the belief systems they represent.
Now, the sociological approach to musical taste can seem reductive; surely aesthetic pleasure can’t be reduced entirely to issues of class and status. But the trends this study finds are certainly interesting, and potentially instructive.
Among other things, they suggest classical music organizations shouldn’t assume their fans are limited to a few highly educated folks. Compared to 20 years ago, it appears many more Americans are willing to sample Sibelius and give Liszt a listen.
Findings (http://www.psmag.com/series/findings-748) is a daily column by Pacific Standard staff writer Tom Jacobs, who scours the psychological-research journals to discover new insights into human behavior, ranging from the origins of our political beliefs to the cultivation of creativity.
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=5b4f7e0f34) | 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=5b4f7e0f34&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
What the Music You Hate Says About You – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/what-the-music-you-hate-says-about-you
** What the Music You Hate Says About You
————————————————————
TOM JACOBS (http://www.psmag.com/author/tomjacobs)
OCT 5, 2015
(Photo: Studio Grand Ouest/Shutterstock) (Photo: Studio Grand Ouest/Shutterstock)
What sort of music do you dislike? That may seem like an odd subject for a study, but it makes sense to sociologists, who view the rejection of certain genres as symbolic markers—declarations that I have nothing in common with “those people.”
Thus, a new study (http://www.sciencedirect.com/science/article/pii/S0304422X15000601) that examines the musical genres Americans abhor offers an intriguing look into who we do, and do not, care to affiliate with. This has apparently shifted, as the types of tunes we find distasteful have changed significantly over the past two decades.
The paper, published in the journal Poetics, paints a decidedly mixed picture for classical music, which seems to be gaining acceptance overall, but is apparently losing favor with an important source of future audiences: young, college-educated adults.
** The types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.”
————————————————————
University of Notre Dame sociologists Omar Lizardo (http://sociology.nd.edu/people/omar-lizardo/) and Sara Skiles began their research by looking at the “cultural module” of the 1993 General Social Survey (http://www.norc.org/Research/Projects/Pages/general-social-survey.aspx) . The 1,606 participants were presented with a list of 18 styles of music, from big band to reggae, and asked whether they liked, disliked, or had “mixed feelings” about each.
In the summer of 2012, the researchers partly replicated that study. They commissioned a survey of 2,250 Americans (a representative sample of the total population) and asked the same question, this time limiting the results to 15 musical genres.
“The most obvious change (over the 20 years) consists of the steep declines in the probability of younger persons to reject rap and heavy metal,” Lizardo and Skiles write. “Only about one-fifth of young Americans reject rap and hip-hop, a figure that is lower than that observed for country, bluegrass, gospel or opera for this age group.”
The biggest shift in this regard came from young people with the highest education levels. This suggests they are using rap and hip-hop to differentiate themselves from the older generation of well-to-do Americans.
These same “high-status newcomers” were more likely than their counterparts of 20 years ago to declare their distaste for classical music and jazz, as well as rock ‘n’ roll. “While in 1993, a college-educated person between the ages of 25 and 29 had an 8 percent chance of disliking classical (music), in 2012, a respondent in that same age-education group had a 15 percent chance (of doing so),” the researchers write.
That has to be troubling news to orchestra managers fretting over how to appeal to future audiences. In general, however, the researchers report fewer people said they disliked classical music and opera. This was true for all age ranges, suggesting Americans are increasingly open-minded to sampling genres once considered exclusive to the elite.
Overall, “the probability of disliking decreased for seven musical styles (classical music, opera, jazz, Latin, rap, rock, and metal), and increased for four styles (country, bluegrass, folk, and religious/Gospel music),” the researchers write. (Ratings for show tunes, blues and R&B, and reggae remained roughly the same in the 1993 and 2012 surveys.)
Lizardo and Skiles note that the types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.” Fairly or not, many Americans associate these genres with racism, religiosity, and a nationalistic mindset. It’s likely that in expressing their distaste for those genres, people outside the South and rural West are symbolically rejecting the belief systems they represent.
Now, the sociological approach to musical taste can seem reductive; surely aesthetic pleasure can’t be reduced entirely to issues of class and status. But the trends this study finds are certainly interesting, and potentially instructive.
Among other things, they suggest classical music organizations shouldn’t assume their fans are limited to a few highly educated folks. Compared to 20 years ago, it appears many more Americans are willing to sample Sibelius and give Liszt a listen.
Findings (http://www.psmag.com/series/findings-748) is a daily column by Pacific Standard staff writer Tom Jacobs, who scours the psychological-research journals to discover new insights into human behavior, ranging from the origins of our political beliefs to the cultivation of creativity.
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=5b4f7e0f34) | 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=5b4f7e0f34&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
What the Music You Hate Says About You – Pacific Standard
http://www.jazzpromoservices.com/
http://www.psmag.com/books-and-culture/what-the-music-you-hate-says-about-you
** What the Music You Hate Says About You
————————————————————
TOM JACOBS (http://www.psmag.com/author/tomjacobs)
OCT 5, 2015
(Photo: Studio Grand Ouest/Shutterstock) (Photo: Studio Grand Ouest/Shutterstock)
What sort of music do you dislike? That may seem like an odd subject for a study, but it makes sense to sociologists, who view the rejection of certain genres as symbolic markers—declarations that I have nothing in common with “those people.”
Thus, a new study (http://www.sciencedirect.com/science/article/pii/S0304422X15000601) that examines the musical genres Americans abhor offers an intriguing look into who we do, and do not, care to affiliate with. This has apparently shifted, as the types of tunes we find distasteful have changed significantly over the past two decades.
The paper, published in the journal Poetics, paints a decidedly mixed picture for classical music, which seems to be gaining acceptance overall, but is apparently losing favor with an important source of future audiences: young, college-educated adults.
** The types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.”
————————————————————
University of Notre Dame sociologists Omar Lizardo (http://sociology.nd.edu/people/omar-lizardo/) and Sara Skiles began their research by looking at the “cultural module” of the 1993 General Social Survey (http://www.norc.org/Research/Projects/Pages/general-social-survey.aspx) . The 1,606 participants were presented with a list of 18 styles of music, from big band to reggae, and asked whether they liked, disliked, or had “mixed feelings” about each.
In the summer of 2012, the researchers partly replicated that study. They commissioned a survey of 2,250 Americans (a representative sample of the total population) and asked the same question, this time limiting the results to 15 musical genres.
“The most obvious change (over the 20 years) consists of the steep declines in the probability of younger persons to reject rap and heavy metal,” Lizardo and Skiles write. “Only about one-fifth of young Americans reject rap and hip-hop, a figure that is lower than that observed for country, bluegrass, gospel or opera for this age group.”
The biggest shift in this regard came from young people with the highest education levels. This suggests they are using rap and hip-hop to differentiate themselves from the older generation of well-to-do Americans.
These same “high-status newcomers” were more likely than their counterparts of 20 years ago to declare their distaste for classical music and jazz, as well as rock ‘n’ roll. “While in 1993, a college-educated person between the ages of 25 and 29 had an 8 percent chance of disliking classical (music), in 2012, a respondent in that same age-education group had a 15 percent chance (of doing so),” the researchers write.
That has to be troubling news to orchestra managers fretting over how to appeal to future audiences. In general, however, the researchers report fewer people said they disliked classical music and opera. This was true for all age ranges, suggesting Americans are increasingly open-minded to sampling genres once considered exclusive to the elite.
Overall, “the probability of disliking decreased for seven musical styles (classical music, opera, jazz, Latin, rap, rock, and metal), and increased for four styles (country, bluegrass, folk, and religious/Gospel music),” the researchers write. (Ratings for show tunes, blues and R&B, and reggae remained roughly the same in the 1993 and 2012 surveys.)
Lizardo and Skiles note that the types of music that are more disliked today are those “that appeal to disproportionately white, rural, Southern audiences.” Fairly or not, many Americans associate these genres with racism, religiosity, and a nationalistic mindset. It’s likely that in expressing their distaste for those genres, people outside the South and rural West are symbolically rejecting the belief systems they represent.
Now, the sociological approach to musical taste can seem reductive; surely aesthetic pleasure can’t be reduced entirely to issues of class and status. But the trends this study finds are certainly interesting, and potentially instructive.
Among other things, they suggest classical music organizations shouldn’t assume their fans are limited to a few highly educated folks. Compared to 20 years ago, it appears many more Americans are willing to sample Sibelius and give Liszt a listen.
Findings (http://www.psmag.com/series/findings-748) is a daily column by Pacific Standard staff writer Tom Jacobs, who scours the psychological-research journals to discover new insights into human behavior, ranging from the origins of our political beliefs to the cultivation of creativity.
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=5b4f7e0f34) | 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=5b4f7e0f34&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Virtual Reality Content Initiative Launched by Blue Note Entertainment Group & Rivet Media
http://www.jazzpromoservices.com/
Blue Note Entertainment Group launches joint venture with Rivet Media.
http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyPpFhaCnGhI6ux9NFX5E6cnhvkJKpzT6FOamzz7u9yv0R32DGdL1HDC3EwxtcEOVp8_PqEwM6NK3X24qg9Kt_T0g804at89QZDYwzAFUBEH8beTanWzscuA=&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==
http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyAwFm0vrBz9gDMfx1_bsCY0_lklNwOl-7rwGo5dJLD9j7ptLMdFGdGo5ZE5eACeFEPIUZ5244ZRmSRBXeo_bBZiTxZ9RkhzQmQ==&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==
FOR IMMEDIATE RELEASE
BLUE NOTE ENTERTAINMENT GROUP & RIVET MEDIA
LAUNCH VIRTUAL REALITY MUSIC CONTENT INITIATIVE
New York’s Blue Note Jazz Club Outfitted to Capture Concerts
via State of the Art Virtual Reality & 360-Degree Video
and 3D Audio Technology
13 YouTube 360-Degree Concert Videos Available Now –
Featuring The Soul Rebels with Special Guests at Blue Note
Virtual Reality/360 Mobile & Desktop Apps to Follow
New York, NY – October 6th, 2015 – Blue Note Entertainment Group – the organization that owns, operates, and licenses 13 music venues worldwide, including the iconic Blue Note Jazz Club brand – today announced a joint venture with Rivet Media to launch Rivet Music, a virtual reality content initiative dedicated to revolutionizing the way music events are consumed by fans.
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Based out of New York’s legendary Blue Note Jazz Club, Rivet Music’s focus is virtual reality and 360-degree video, and 3D audio content capture, production and distribution, providing new immersive music and entertainment experiences for fans through various platforms. For its first wave of content capturing, Blue Note Entertainment Group and Rivet have outfitted Blue Note Jazz Club with multiple 360-degree camera rigs, immersive 3D and binaural audio capturing equipment, and a state of the art production suite specifically designed to accommodate live and post-production for both video and audio technologies. Blue Note is the first venue in the world to be outfitted for this purpose.
In March 2015, YouTube began supporting 360-degree video uploads. Today, Rivet launches its overall content initiative by publishing 13 unique YouTube 360-degree concert videos, adding a substantial volume of content to the limited number of existing 360-degree music-centric videos currently available on the platform.
For its YouTube 360 launch, Rivet documented a special late night performance at Blue Note Jazz Club on Friday, June 26 featuring The Soul Rebels (the celebrated eight piece brass ensemble from New Orleans that blend elements of funk, soul, rock, pop, jazz and hip hop music all within a brass framework). Uploaded videos include The Soul Rebels in unique collaborations with hip-hop legends Rakim and Slick Rick, guitarist Eric Krasno, pianist Robert Glasper, and rappers Sadat X (from Brand Nubian) and NIKO IS, respectively.
“As a nationally and internationally touring band, our mission has alway been to push the boundaries creatively and artistically with respect to how our music is experienced,” says Lumar LeBlanc, co-founder of The Soul Rebels. “Working with the Rivet team on creating cutting edge 360-degree virtual content reaffirms our commitment to presenting innovative and exciting ways for current and new fans to enjoy our music around the world.”
These videos are available for free via YouTube.com as well as through YouTube’s iOS and Android mobile apps, under the Rivet YouTube channel (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyI_1r_hn4eNNKTa_4chLFnBIBW46np5S0VZOpuiJ3OXQaUiRT0wnumzgccW07dnN4t6zu9WF2Ed80gaxwdqdeupWqBQ_XdBwEGaRQzRDP9T29Z-z6YWZh1X-G3LVkb8saoTFhNIXtEB39RfRHj_Idlu1FXvxm2wqiax6CBcUoMRMw9qoLkPC8aqhQZhb37kiup-dnKZdmRa5&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) . Rivet will publish a variety of pre-recorded 360-degree concert videos over the coming weeks.
In addition to YouTube 360, Rivet will release its first iOS mobile application in Q4 2015 (with an Android version set for 2016 release). While the app will give users the ability to watch recorded and live concerts in 360 degrees on a mobile device, it will also afford users the ability to simultaneously experience this content in virtual reality with a Blue Note-branded Google Cardboard headset (a low-cost virtual reality platform developed by Google for use with a fold-out cardboard mount for a mobile phone). Initial content will feature Blue Note Jazz Club shows only, with an expansion of recurring well-curated content offerings in 2016. The app will be made available as a free download. Content pricing details will be announced in the coming months.
Rivet will also launch a desktop version of its app in 2016, built for use with the Oculus Rift headset (set for Q1 2016 release) and other VR headsets. App content will be promoted via YouTube and Facebook, where short show previews will be viewable in 360 for users.
“Digital content and streaming services – for both audio and video, recorded and live music – have transformed the music industry over the last decade,” says Cory Haber, CEO of Rivet Media. “The next frontier is immersion: 360 degree and virtual reality video, along with 3D audio.”
“These technologies will fundamentally alter the music consuming experience,” says Tsion Bensusan, COO and co-owner of Blue Note Entertainment Group. “We see tremendous opportunity in immersive video and audio to connect the audience and artist in an entirely new and powerful way.”
While Blue Note Jazz Club is the first venue to expand into this area, Blue Note Entertainment Group venues such as BB King Blues Club and Highline Ballroom will follow in the coming months. Additionally, the company plans to offer this expertise as a service to broader, third-party industry colleagues, such as live music festivals, as it looks for new ways to create premium content for its users.
For more information on Rivet Media, please visit: www.rivetvr.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyAwFm0vrBz9gDMfx1_bsCY0_lklNwOl-7rwGo5dJLD9j7ptLMdFGdGo5ZE5eACeFEPIUZ5244ZRmSRBXeo_bBZiTxZ9RkhzQmQ==&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==)
About Blue Note Entertainment Group
Blue Note Entertainment Group, founded in 1981 by Danny Bensusan, is a multi-faceted entertainment company that owns and operates New York’s Blue Note Jazz Club, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa, and Lucille’s Grill; The Howard Theatre (Washington D.C.); and Blue Note Jazz Clubs Worldwide (Tokyo and Nagoya, Japan; Milan, Italy; and forthcoming locations in China and Hawaii). The company also programs the Regattabar Jazz Club (Cambridge, MA). Blue Note Entertainment Group presents shows outside of its club network. The annual Blue Note Jazz Festival was established in 2011 and has since grown to become the largest jazz festival in New York City each June. Subsidiaries of Blue Note Entertainment Group include the GRAMMY®-nominated record label Half Note Records, whose catalogue includes over fifty titles recorded live at New York’s Blue Note Jazz Club, as well as Blue Note Travel, Management Group and Media Group. The organization has presented many of
the music industry’s greatest artists over the past 35 years, including jazz legends such as Dizzy Gillespie, Chick Corea, Herbie Hancock, Wynton Marsalis, Dave Brubeck, Ray Charles, Oscar Peterson, Sarah Vaughn, Chris Botti, and many more. For more information, go to www.bluenoteentertainmentgroup.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyK7hqHpC1qQ_5tV-noerpMKsb4jxyI3pWk1MdZnVFuWasqfORfhSML0u8-0xcquOuPAvnBedXMauRP69PP6WAtg7LqTkuKtzh28Ul18BMXrWzM1kw-QksTY=&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) .
About Rivet Media
Rivet Media records, produces and distributes VR and 360 degree content. The company has the capacity to create both video and rendered content. While its first initiative is in music, as the company grows it will expand to a number of other verticals including real estate and tourism. For more information go to www.rivetvr.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyAwFm0vrBz9g-6fhMN7YImc8Btvqe_ZMcjqrX9YjE375edRNxZDRO0R1DESRweW24BessomeeKQH5fD90dmwJ5g28ZtAdCJcrA==&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) .
Media Contact:
Jonathan Kantor, Director of Marketing & Publicity
Blue Note Entertainment Group
203-918-1428
jk@bluenote.net (mailto:jk@bluenote.net)
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Virtual Reality Content Initiative Launched by Blue Note Entertainment Group & Rivet Media
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Blue Note Entertainment Group launches joint venture with Rivet Media.
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FOR IMMEDIATE RELEASE
BLUE NOTE ENTERTAINMENT GROUP & RIVET MEDIA
LAUNCH VIRTUAL REALITY MUSIC CONTENT INITIATIVE
New York’s Blue Note Jazz Club Outfitted to Capture Concerts
via State of the Art Virtual Reality & 360-Degree Video
and 3D Audio Technology
13 YouTube 360-Degree Concert Videos Available Now –
Featuring The Soul Rebels with Special Guests at Blue Note
Virtual Reality/360 Mobile & Desktop Apps to Follow
New York, NY – October 6th, 2015 – Blue Note Entertainment Group – the organization that owns, operates, and licenses 13 music venues worldwide, including the iconic Blue Note Jazz Club brand – today announced a joint venture with Rivet Media to launch Rivet Music, a virtual reality content initiative dedicated to revolutionizing the way music events are consumed by fans.
http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyI_1r_hn4eNNKTa_4chLFnBIBW46np5S0VZOpuiJ3OXQaUiRT0wnumzgccW07dnN4t6zu9WF2Ed80gaxwdqdeupWqBQ_XdBwEGaRQzRDP9T29Z-z6YWZh1X-G3LVkb8saoTFhNIXtEB39RfRHj_Idlu1FXvxm2wqiax6CBcUoMRMw9qoLkPC8aqhQZhb37kiup-dnKZdmRa5&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==
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Based out of New York’s legendary Blue Note Jazz Club, Rivet Music’s focus is virtual reality and 360-degree video, and 3D audio content capture, production and distribution, providing new immersive music and entertainment experiences for fans through various platforms. For its first wave of content capturing, Blue Note Entertainment Group and Rivet have outfitted Blue Note Jazz Club with multiple 360-degree camera rigs, immersive 3D and binaural audio capturing equipment, and a state of the art production suite specifically designed to accommodate live and post-production for both video and audio technologies. Blue Note is the first venue in the world to be outfitted for this purpose.
In March 2015, YouTube began supporting 360-degree video uploads. Today, Rivet launches its overall content initiative by publishing 13 unique YouTube 360-degree concert videos, adding a substantial volume of content to the limited number of existing 360-degree music-centric videos currently available on the platform.
For its YouTube 360 launch, Rivet documented a special late night performance at Blue Note Jazz Club on Friday, June 26 featuring The Soul Rebels (the celebrated eight piece brass ensemble from New Orleans that blend elements of funk, soul, rock, pop, jazz and hip hop music all within a brass framework). Uploaded videos include The Soul Rebels in unique collaborations with hip-hop legends Rakim and Slick Rick, guitarist Eric Krasno, pianist Robert Glasper, and rappers Sadat X (from Brand Nubian) and NIKO IS, respectively.
“As a nationally and internationally touring band, our mission has alway been to push the boundaries creatively and artistically with respect to how our music is experienced,” says Lumar LeBlanc, co-founder of The Soul Rebels. “Working with the Rivet team on creating cutting edge 360-degree virtual content reaffirms our commitment to presenting innovative and exciting ways for current and new fans to enjoy our music around the world.”
These videos are available for free via YouTube.com as well as through YouTube’s iOS and Android mobile apps, under the Rivet YouTube channel (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyI_1r_hn4eNNKTa_4chLFnBIBW46np5S0VZOpuiJ3OXQaUiRT0wnumzgccW07dnN4t6zu9WF2Ed80gaxwdqdeupWqBQ_XdBwEGaRQzRDP9T29Z-z6YWZh1X-G3LVkb8saoTFhNIXtEB39RfRHj_Idlu1FXvxm2wqiax6CBcUoMRMw9qoLkPC8aqhQZhb37kiup-dnKZdmRa5&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) . Rivet will publish a variety of pre-recorded 360-degree concert videos over the coming weeks.
In addition to YouTube 360, Rivet will release its first iOS mobile application in Q4 2015 (with an Android version set for 2016 release). While the app will give users the ability to watch recorded and live concerts in 360 degrees on a mobile device, it will also afford users the ability to simultaneously experience this content in virtual reality with a Blue Note-branded Google Cardboard headset (a low-cost virtual reality platform developed by Google for use with a fold-out cardboard mount for a mobile phone). Initial content will feature Blue Note Jazz Club shows only, with an expansion of recurring well-curated content offerings in 2016. The app will be made available as a free download. Content pricing details will be announced in the coming months.
Rivet will also launch a desktop version of its app in 2016, built for use with the Oculus Rift headset (set for Q1 2016 release) and other VR headsets. App content will be promoted via YouTube and Facebook, where short show previews will be viewable in 360 for users.
“Digital content and streaming services – for both audio and video, recorded and live music – have transformed the music industry over the last decade,” says Cory Haber, CEO of Rivet Media. “The next frontier is immersion: 360 degree and virtual reality video, along with 3D audio.”
“These technologies will fundamentally alter the music consuming experience,” says Tsion Bensusan, COO and co-owner of Blue Note Entertainment Group. “We see tremendous opportunity in immersive video and audio to connect the audience and artist in an entirely new and powerful way.”
While Blue Note Jazz Club is the first venue to expand into this area, Blue Note Entertainment Group venues such as BB King Blues Club and Highline Ballroom will follow in the coming months. Additionally, the company plans to offer this expertise as a service to broader, third-party industry colleagues, such as live music festivals, as it looks for new ways to create premium content for its users.
For more information on Rivet Media, please visit: www.rivetvr.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyAwFm0vrBz9gDMfx1_bsCY0_lklNwOl-7rwGo5dJLD9j7ptLMdFGdGo5ZE5eACeFEPIUZ5244ZRmSRBXeo_bBZiTxZ9RkhzQmQ==&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==)
About Blue Note Entertainment Group
Blue Note Entertainment Group, founded in 1981 by Danny Bensusan, is a multi-faceted entertainment company that owns and operates New York’s Blue Note Jazz Club, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa, and Lucille’s Grill; The Howard Theatre (Washington D.C.); and Blue Note Jazz Clubs Worldwide (Tokyo and Nagoya, Japan; Milan, Italy; and forthcoming locations in China and Hawaii). The company also programs the Regattabar Jazz Club (Cambridge, MA). Blue Note Entertainment Group presents shows outside of its club network. The annual Blue Note Jazz Festival was established in 2011 and has since grown to become the largest jazz festival in New York City each June. Subsidiaries of Blue Note Entertainment Group include the GRAMMY®-nominated record label Half Note Records, whose catalogue includes over fifty titles recorded live at New York’s Blue Note Jazz Club, as well as Blue Note Travel, Management Group and Media Group. The organization has presented many of
the music industry’s greatest artists over the past 35 years, including jazz legends such as Dizzy Gillespie, Chick Corea, Herbie Hancock, Wynton Marsalis, Dave Brubeck, Ray Charles, Oscar Peterson, Sarah Vaughn, Chris Botti, and many more. For more information, go to www.bluenoteentertainmentgroup.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyK7hqHpC1qQ_5tV-noerpMKsb4jxyI3pWk1MdZnVFuWasqfORfhSML0u8-0xcquOuPAvnBedXMauRP69PP6WAtg7LqTkuKtzh28Ul18BMXrWzM1kw-QksTY=&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) .
About Rivet Media
Rivet Media records, produces and distributes VR and 360 degree content. The company has the capacity to create both video and rendered content. While its first initiative is in music, as the company grows it will expand to a number of other verticals including real estate and tourism. For more information go to www.rivetvr.com (http://r20.rs6.net/tn.jsp?f=001cHXrLXmH_1nVwuiNkVv9tzVXcVMLOL-X3Q4bTf21Eo-axQ8nsC2qyAwFm0vrBz9g-6fhMN7YImc8Btvqe_ZMcjqrX9YjE375edRNxZDRO0R1DESRweW24BessomeeKQH5fD90dmwJ5g28ZtAdCJcrA==&c=iOk6Wci_6tLsIs8VLgZrbzYjlVYCj_n16WzHyzAQ8uEaXA3iUXTKLQ==&ch=866RY3048gpeUpL3zoyILRkW_8yGKzEmF5_iX_BkpJWcauc0k20pnw==) .
Media Contact:
Jonathan Kantor, Director of Marketing & Publicity
Blue Note Entertainment Group
203-918-1428
jk@bluenote.net (mailto:jk@bluenote.net)
Connect with us
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Editorial: Leaving a legacy in all that jazz – Opinion – poconorecord.com – Stroudsburg, PA
http://www.jazzpromoservices.com/
** http://www.poconorecord.com/article/20151003/OPINION/151009797
Editorial: Leaving a legacy in all that jazz
————————————————————
By Pocono Record Editorial Staff
Posted Oct. 3, 2015 at 9:09 PM
Updated Oct 4, 2015 at 2:01 PM
**
————————————————————
Losing three pillars of the jazz community in one year could easily threaten a small organization like the one that runs the Celebration of the Arts every September in Delaware Water Gap. And certainly the loss has an even greater effect because COTA’s planners are volunteers.
Yet COTA will survive even the loss of its two founders, trombonist Rick Chamberlain (March 27) and saxophonist Phil Woods (Sept. 29), and long-time participant pianist Eric Doney (April 17), thanks to the dedication and affection — not to mention the eye to the future — that these jazz greats showed toward the annual festival. They built a solid foundation and produced an enduring institution.
Chamberlain and Woods dreamed up the festival idea back in 1978 at the Gap’s Deer Head Inn, wanting to showcase the considerable presence of jazz talent in the region. They launched the enterprise the next fall, charging a mere $1 admission. Within just a couple of years the festival featured a variety of jazz musicians and had added the COTA Cats program, inviting high school band teachers from the region to send their best student musicians. Dance and art components were folded into the festival, along with awards programs. Television and radio coverage materialized. Soon the festival which grew to three days, was attracting up to 4,000 people. Last month’s COTA festival featured more than a dozen musical groups along with the popular Sunday jazz mass.
COTA had always worked closely with Gap borough officials on the festival. In the 1990s they built a new stage and reached a long-term lease agreement with the National Park Service, which owns part of the property COTA uses each year, enabling them to plan for phased improvements. COTA also drafted a master plan.
The deaths of Woods, who was a four-time Grammy winner; Chamberlain, an incredibly versatile musician who served as principal trombonist for the New York City Ballet Orchestra; and Doney, who’d performed all over the world, hits hard. But their friends, colleagues and regular contributors are no slouches themselves: people like Johnny Coates Jr., Bob Dorough, David Leibman, George Young; and popular successes like Nellie MaKay. Festival musicians include graduates of prestigious schools like Juilliard and the Curtis Institute.
Many of today’s COTA musicians were children — or not even born — when Woods and Chamberlain first conceived the idea of the jazz festival. The two men soon showed prodigious talent for mentoring. Playing in the COTA Cats helped grow student musicians’ interest, and the more recently added Camp Jazz, a week-long summer intensive, provides yet another opportunity to cultivate young jazz musicians. Young COTA veterans have gone on to attend Juilliard, Curtis, the Eastman School of Music or Berklee College of Music.
The foresight and unflagging enthusiasm for jazz of COTA’s founders and regular performers created a robust and thriving festival. Their legacy is that the Gap will continue to turn out fine jazz musicians and to represent a musical mecca for jazz lovers everywhere.
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
Editorial: Leaving a legacy in all that jazz – Opinion – poconorecord.com – Stroudsburg, PA
http://www.jazzpromoservices.com/
** http://www.poconorecord.com/article/20151003/OPINION/151009797
Editorial: Leaving a legacy in all that jazz
————————————————————
By Pocono Record Editorial Staff
Posted Oct. 3, 2015 at 9:09 PM
Updated Oct 4, 2015 at 2:01 PM
**
————————————————————
Losing three pillars of the jazz community in one year could easily threaten a small organization like the one that runs the Celebration of the Arts every September in Delaware Water Gap. And certainly the loss has an even greater effect because COTA’s planners are volunteers.
Yet COTA will survive even the loss of its two founders, trombonist Rick Chamberlain (March 27) and saxophonist Phil Woods (Sept. 29), and long-time participant pianist Eric Doney (April 17), thanks to the dedication and affection — not to mention the eye to the future — that these jazz greats showed toward the annual festival. They built a solid foundation and produced an enduring institution.
Chamberlain and Woods dreamed up the festival idea back in 1978 at the Gap’s Deer Head Inn, wanting to showcase the considerable presence of jazz talent in the region. They launched the enterprise the next fall, charging a mere $1 admission. Within just a couple of years the festival featured a variety of jazz musicians and had added the COTA Cats program, inviting high school band teachers from the region to send their best student musicians. Dance and art components were folded into the festival, along with awards programs. Television and radio coverage materialized. Soon the festival which grew to three days, was attracting up to 4,000 people. Last month’s COTA festival featured more than a dozen musical groups along with the popular Sunday jazz mass.
COTA had always worked closely with Gap borough officials on the festival. In the 1990s they built a new stage and reached a long-term lease agreement with the National Park Service, which owns part of the property COTA uses each year, enabling them to plan for phased improvements. COTA also drafted a master plan.
The deaths of Woods, who was a four-time Grammy winner; Chamberlain, an incredibly versatile musician who served as principal trombonist for the New York City Ballet Orchestra; and Doney, who’d performed all over the world, hits hard. But their friends, colleagues and regular contributors are no slouches themselves: people like Johnny Coates Jr., Bob Dorough, David Leibman, George Young; and popular successes like Nellie MaKay. Festival musicians include graduates of prestigious schools like Juilliard and the Curtis Institute.
Many of today’s COTA musicians were children — or not even born — when Woods and Chamberlain first conceived the idea of the jazz festival. The two men soon showed prodigious talent for mentoring. Playing in the COTA Cats helped grow student musicians’ interest, and the more recently added Camp Jazz, a week-long summer intensive, provides yet another opportunity to cultivate young jazz musicians. Young COTA veterans have gone on to attend Juilliard, Curtis, the Eastman School of Music or Berklee College of Music.
The foresight and unflagging enthusiasm for jazz of COTA’s founders and regular performers created a robust and thriving festival. Their legacy is that the Gap will continue to turn out fine jazz musicians and to represent a musical mecca for jazz lovers everywhere.
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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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
Editorial: Leaving a legacy in all that jazz – Opinion – poconorecord.com – Stroudsburg, PA
http://www.jazzpromoservices.com/
** http://www.poconorecord.com/article/20151003/OPINION/151009797
Editorial: Leaving a legacy in all that jazz
————————————————————
By Pocono Record Editorial Staff
Posted Oct. 3, 2015 at 9:09 PM
Updated Oct 4, 2015 at 2:01 PM
**
————————————————————
Losing three pillars of the jazz community in one year could easily threaten a small organization like the one that runs the Celebration of the Arts every September in Delaware Water Gap. And certainly the loss has an even greater effect because COTA’s planners are volunteers.
Yet COTA will survive even the loss of its two founders, trombonist Rick Chamberlain (March 27) and saxophonist Phil Woods (Sept. 29), and long-time participant pianist Eric Doney (April 17), thanks to the dedication and affection — not to mention the eye to the future — that these jazz greats showed toward the annual festival. They built a solid foundation and produced an enduring institution.
Chamberlain and Woods dreamed up the festival idea back in 1978 at the Gap’s Deer Head Inn, wanting to showcase the considerable presence of jazz talent in the region. They launched the enterprise the next fall, charging a mere $1 admission. Within just a couple of years the festival featured a variety of jazz musicians and had added the COTA Cats program, inviting high school band teachers from the region to send their best student musicians. Dance and art components were folded into the festival, along with awards programs. Television and radio coverage materialized. Soon the festival which grew to three days, was attracting up to 4,000 people. Last month’s COTA festival featured more than a dozen musical groups along with the popular Sunday jazz mass.
COTA had always worked closely with Gap borough officials on the festival. In the 1990s they built a new stage and reached a long-term lease agreement with the National Park Service, which owns part of the property COTA uses each year, enabling them to plan for phased improvements. COTA also drafted a master plan.
The deaths of Woods, who was a four-time Grammy winner; Chamberlain, an incredibly versatile musician who served as principal trombonist for the New York City Ballet Orchestra; and Doney, who’d performed all over the world, hits hard. But their friends, colleagues and regular contributors are no slouches themselves: people like Johnny Coates Jr., Bob Dorough, David Leibman, George Young; and popular successes like Nellie MaKay. Festival musicians include graduates of prestigious schools like Juilliard and the Curtis Institute.
Many of today’s COTA musicians were children — or not even born — when Woods and Chamberlain first conceived the idea of the jazz festival. The two men soon showed prodigious talent for mentoring. Playing in the COTA Cats helped grow student musicians’ interest, and the more recently added Camp Jazz, a week-long summer intensive, provides yet another opportunity to cultivate young jazz musicians. Young COTA veterans have gone on to attend Juilliard, Curtis, the Eastman School of Music or Berklee College of Music.
The foresight and unflagging enthusiasm for jazz of COTA’s founders and regular performers created a robust and thriving festival. Their legacy is that the Gap will continue to turn out fine jazz musicians and to represent a musical mecca for jazz lovers everywhere.
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
St. Louis jazz saxophonist Willie Akins dies at 76 : Entertainment
http://www.jazzpromoservices.com/
http://www.stltoday.com/entertainment/music/st-louis-jazz-saxophonist-willie-akins-dies-at/article_38b37671-a8d0-5e9f-bb54-dea911846dc7.html
** St. Louis jazz saxophonist Willie Akins dies at 76
————————————————————
They say when Willie Akins played his tenor saxophone he had the most beautiful tone you had ever heard.
Mr. Akins, 76, died in his sleep in his home in East St. Louis on Friday (Oct. 2, 2015). He had suffered from congestive heart disease.
Mr. Akins was a well-known saxophonist and educator at Webster University.
“He gave me 41 good years,” said his wife, Sandra Akins. “I honored him and respected his art. I thought he was a genius. It was an honor being his wife and his caretaker.”
She said many cherished what her husband brought into their lives through music.
“St. Louis loved Willie Akins, and Willie Akins loved St. Louis,” she said.
Mr. Akins was born in Webster Groves in 1939, graduating from Douglass High School.
He moved to New York in 1957 to pursue opportunities in music. When his father died 11 years later, Mr. Akins returned to St. Louis, where he sought to raise the profile of jazz.
The Willie Akins Quartet has performed regularly for years. He is still listed among Webster University’s faculty for Jazz Studies.
“He was incredibly important to the development of virtually every young jazz musician in St. Louis,” said jazz guitarist Corey Christiansen, who once performed with Akins and now teaches at Utah State University. “We all referred to his band as being the School of Willie Akins.”
St. Louis jazz singer Joe Mancuso spoke of St. Louis’ loss.
“Willie Akins had an unmistakable sound, his tone was beautiful and warm, his improvisational skills were second to none,” he said. “Willie’s lyrical lines were truly poetry in motion. As far as I am concerned, he is the most important jazz musician to come out of St. Louis.”
He said Mr. Akins was a mentor to “so many young musicians that have now become professional musicians that travel the world and perform.”
He said those musicians are putting their mark on the art form.
Mancuso said a GoFundMe (http://www.gofundme.com/willie-akins/) page had been set up to help Akins’ family with medical bills and funeral expenses.
Mancuso said two Willie Akins benefit concerts are coming up, one on Sunday, from 2 p.m. to 1:30 a.m. at BB’s Jazz, Blues & Soups, 700 South Broadway; and one on Tuesday from 7 to 9 p.m. at the Sheldon Concert Hall, 3648 Washington Boulevard.
Visitation is Wednesday from 2 to 6 p.m. at Eddie Randle and Sons Funeral Home, 4600 Natural Bridge Avenue, St. Louis. Funeral services are at noon Thursday at the funeral home.
Mr. Akins and his wife had seven children between them, one born from their marriage. The children are: Hassan A. Corbin of Las Vegas; Voncia Taylor of Aurora, Colo.; Yusuf I. Reynolds of Carbondale, Ill.; Vanessa Cunningham of Amityville, N.Y.; Kenya Brown of Boston; Alima K. Dunn of Houston; and Omar R. Akins of East St. Louis. He had several grandchildren and great-grandchildren.
Matthew Franck of the Post-Dispatch contributed to this report.
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=54d7549235) | 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=54d7549235&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
St. Louis jazz saxophonist Willie Akins dies at 76 : Entertainment
http://www.jazzpromoservices.com/
http://www.stltoday.com/entertainment/music/st-louis-jazz-saxophonist-willie-akins-dies-at/article_38b37671-a8d0-5e9f-bb54-dea911846dc7.html
** St. Louis jazz saxophonist Willie Akins dies at 76
————————————————————
They say when Willie Akins played his tenor saxophone he had the most beautiful tone you had ever heard.
Mr. Akins, 76, died in his sleep in his home in East St. Louis on Friday (Oct. 2, 2015). He had suffered from congestive heart disease.
Mr. Akins was a well-known saxophonist and educator at Webster University.
“He gave me 41 good years,” said his wife, Sandra Akins. “I honored him and respected his art. I thought he was a genius. It was an honor being his wife and his caretaker.”
She said many cherished what her husband brought into their lives through music.
“St. Louis loved Willie Akins, and Willie Akins loved St. Louis,” she said.
Mr. Akins was born in Webster Groves in 1939, graduating from Douglass High School.
He moved to New York in 1957 to pursue opportunities in music. When his father died 11 years later, Mr. Akins returned to St. Louis, where he sought to raise the profile of jazz.
The Willie Akins Quartet has performed regularly for years. He is still listed among Webster University’s faculty for Jazz Studies.
“He was incredibly important to the development of virtually every young jazz musician in St. Louis,” said jazz guitarist Corey Christiansen, who once performed with Akins and now teaches at Utah State University. “We all referred to his band as being the School of Willie Akins.”
St. Louis jazz singer Joe Mancuso spoke of St. Louis’ loss.
“Willie Akins had an unmistakable sound, his tone was beautiful and warm, his improvisational skills were second to none,” he said. “Willie’s lyrical lines were truly poetry in motion. As far as I am concerned, he is the most important jazz musician to come out of St. Louis.”
He said Mr. Akins was a mentor to “so many young musicians that have now become professional musicians that travel the world and perform.”
He said those musicians are putting their mark on the art form.
Mancuso said a GoFundMe (http://www.gofundme.com/willie-akins/) page had been set up to help Akins’ family with medical bills and funeral expenses.
Mancuso said two Willie Akins benefit concerts are coming up, one on Sunday, from 2 p.m. to 1:30 a.m. at BB’s Jazz, Blues & Soups, 700 South Broadway; and one on Tuesday from 7 to 9 p.m. at the Sheldon Concert Hall, 3648 Washington Boulevard.
Visitation is Wednesday from 2 to 6 p.m. at Eddie Randle and Sons Funeral Home, 4600 Natural Bridge Avenue, St. Louis. Funeral services are at noon Thursday at the funeral home.
Mr. Akins and his wife had seven children between them, one born from their marriage. The children are: Hassan A. Corbin of Las Vegas; Voncia Taylor of Aurora, Colo.; Yusuf I. Reynolds of Carbondale, Ill.; Vanessa Cunningham of Amityville, N.Y.; Kenya Brown of Boston; Alima K. Dunn of Houston; and Omar R. Akins of East St. Louis. He had several grandchildren and great-grandchildren.
Matthew Franck of the Post-Dispatch contributed to this report.
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=54d7549235) | 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=54d7549235&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Wilton Felder, Saxophonist for the Crusaders, Dies at 75 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/04/arts/music/wilton-felder-saxophonist-for-the-crusaders-dies-at-75.html?emc=edit_tnt_20151003
** Wilton Felder, Saxophonist for the Crusaders, Dies at 75
————————————————————
By DANIEL E. SLOTNIK
Wilton Felder, left, in 1970, with his fellow Crusaders, from left, Joe Sample, Wayne Henderson and Stix Hooper. Gilles Petard/Redferns
Wilton Felder, who for many years had a successful dual musical career, playing tenor saxophone with the Crusaders and moonlighting as a busy session bass player on records by the Jackson 5 and others, died on Sept. 27 at his home in Whittier, Calif. He was 75.
The cause was myeloma, his son, Wilton Jr., said.
Mr. Felder was a founding member of the Jazz Crusaders, which later became the Crusaders as its sound evolved from hard bop, a driving variation on bebop, to jazz-funk. The group was formed in Houston when Mr. Felder, the pianist Joe Sample and the drummer Nesbert Hooper, better known by the nickname Stix, were teenagers.
Initially called the Swingsters, the group later added the trombonist Wayne Henderson, the flutist Hubert Laws and the bassist Harry Wilson. Mr. Felder, Mr. Sample, Mr. Hooper and Mr. Henderson left Houston in the late 1950s for more promising career prospects in Los Angeles and began calling themselves the Jazz Crusaders.
“I remember the way each of us played and made our sound unique,” Mr. Felder told The Virginian-Pilot (http://pilotonline.com/) in 2006. “There was individual playing within the context of a band. We were a unit with each piece of the puzzle standing out.”
The Jazz Crusaders were one of the more successful jazz groups of the 1960s, when they recorded more than a dozen albums, starting with “Freedom Sound” in 1961. The group’s repertoire included compositions by Mr. Felder.
In an attempt to broaden their audience, the Crusaders dropped the word “jazz” from their name in the early 1970s and added an electric guitar, with Mr. Sample switching his focus to electric piano. (They had already begun moving in a more pop-oriented direction, recording cover versions of hits like the Beatles’ “Eleanor Rigby. (https://www.youtube.com/watch?v=jySmRzzgOiA) ”) As the Crusaders, they opened for the Rolling Stones on tour in 1975 and had a Top 40 pop hit in 1979 with “Street Life (https://www.youtube.com/watch?v=PVkJlLBP3MM) ,” a catchy funk tune with a vocal by Randy Crawford.
“At their best, the Crusaders create a mellow, finger-popping mood,” Robert Palmer wrote in The New York Times in 1977. “Although their sound is less adrenal than that of most jazz-rock groups, they do retain a certain visceral intensity, especially in Mr. Felder’s raw, preaching saxophone solos.”
Mr. Felder also played electric bass with a wide range of musicians, among them Billy Joel, B. B. King, Joni Mitchell, Joe Cocker, Randy Newman and Steely Dan. He took part in numerous sessions for Motown, including the one that produced the Jackson 5 hit “I Want You Back, (https://www.youtube.com/watch?v=-T5xWkO56GI) ” which topped the Billboard pop chart in 1970.
Born in Houston on Aug. 31, 1940, Wilton Lewis Felder grew up listening to jazz, blues and country music. He took up the alto saxophone before he turned 10. He had become seriously ill, his son said, and his brother Owen, who played the saxophone, got him one to lift his spirits. He practiced constantly while attending Phillis Wheatley High School, and then studied music at Texas Christian University.
He told The Times in a 1981 article that he developed a big sound out of necessity.
“Most Texas saxophonists used to play in clubs where you didn’t have microphones, and after the early 1940s there were usually electric guitarists who played with their amplifiers turned way up,” Mr. Felder said. “So if you were playing saxophone, in order to be heard, you got a big steel mouthpiece and a hard reed. And you learned to play strong.”
The Crusaders broke up in the 1980s, though they reunited and performed together in different incarnations over the years. Mr. Felder also released a number of solo albums, starting with “Bullitt” in 1969. His most recent was “Let’s Spend Some Time” in 2005.
Mr. Henderson (http://www.nytimes.com/2014/04/10/arts/music/wayne-henderson-a-founder-of-the-jazz-crusaders-dies-at-74.html) and Mr. Sample (http://www.nytimes.com/2014/09/15/arts/music/joe-sample-crusaders-pianist-dies-at-75.html) both died last year.
In addition to his son, Mr. Felder is survived by three sisters, Clara Walker, Jean Foster and Rozelia Gilliam; two daughters, Michelle LeBlanc and Deborah Clark; seven grandchildren; and his wife, the former Geraldine Hooper, sister of his longtime bandmate Stix Hooper.
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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Wilton Felder, Saxophonist for the Crusaders, Dies at 75 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/04/arts/music/wilton-felder-saxophonist-for-the-crusaders-dies-at-75.html?emc=edit_tnt_20151003
** Wilton Felder, Saxophonist for the Crusaders, Dies at 75
————————————————————
By DANIEL E. SLOTNIK
Wilton Felder, left, in 1970, with his fellow Crusaders, from left, Joe Sample, Wayne Henderson and Stix Hooper. Gilles Petard/Redferns
Wilton Felder, who for many years had a successful dual musical career, playing tenor saxophone with the Crusaders and moonlighting as a busy session bass player on records by the Jackson 5 and others, died on Sept. 27 at his home in Whittier, Calif. He was 75.
The cause was myeloma, his son, Wilton Jr., said.
Mr. Felder was a founding member of the Jazz Crusaders, which later became the Crusaders as its sound evolved from hard bop, a driving variation on bebop, to jazz-funk. The group was formed in Houston when Mr. Felder, the pianist Joe Sample and the drummer Nesbert Hooper, better known by the nickname Stix, were teenagers.
Initially called the Swingsters, the group later added the trombonist Wayne Henderson, the flutist Hubert Laws and the bassist Harry Wilson. Mr. Felder, Mr. Sample, Mr. Hooper and Mr. Henderson left Houston in the late 1950s for more promising career prospects in Los Angeles and began calling themselves the Jazz Crusaders.
“I remember the way each of us played and made our sound unique,” Mr. Felder told The Virginian-Pilot (http://pilotonline.com/) in 2006. “There was individual playing within the context of a band. We were a unit with each piece of the puzzle standing out.”
The Jazz Crusaders were one of the more successful jazz groups of the 1960s, when they recorded more than a dozen albums, starting with “Freedom Sound” in 1961. The group’s repertoire included compositions by Mr. Felder.
In an attempt to broaden their audience, the Crusaders dropped the word “jazz” from their name in the early 1970s and added an electric guitar, with Mr. Sample switching his focus to electric piano. (They had already begun moving in a more pop-oriented direction, recording cover versions of hits like the Beatles’ “Eleanor Rigby. (https://www.youtube.com/watch?v=jySmRzzgOiA) ”) As the Crusaders, they opened for the Rolling Stones on tour in 1975 and had a Top 40 pop hit in 1979 with “Street Life (https://www.youtube.com/watch?v=PVkJlLBP3MM) ,” a catchy funk tune with a vocal by Randy Crawford.
“At their best, the Crusaders create a mellow, finger-popping mood,” Robert Palmer wrote in The New York Times in 1977. “Although their sound is less adrenal than that of most jazz-rock groups, they do retain a certain visceral intensity, especially in Mr. Felder’s raw, preaching saxophone solos.”
Mr. Felder also played electric bass with a wide range of musicians, among them Billy Joel, B. B. King, Joni Mitchell, Joe Cocker, Randy Newman and Steely Dan. He took part in numerous sessions for Motown, including the one that produced the Jackson 5 hit “I Want You Back, (https://www.youtube.com/watch?v=-T5xWkO56GI) ” which topped the Billboard pop chart in 1970.
Born in Houston on Aug. 31, 1940, Wilton Lewis Felder grew up listening to jazz, blues and country music. He took up the alto saxophone before he turned 10. He had become seriously ill, his son said, and his brother Owen, who played the saxophone, got him one to lift his spirits. He practiced constantly while attending Phillis Wheatley High School, and then studied music at Texas Christian University.
He told The Times in a 1981 article that he developed a big sound out of necessity.
“Most Texas saxophonists used to play in clubs where you didn’t have microphones, and after the early 1940s there were usually electric guitarists who played with their amplifiers turned way up,” Mr. Felder said. “So if you were playing saxophone, in order to be heard, you got a big steel mouthpiece and a hard reed. And you learned to play strong.”
The Crusaders broke up in the 1980s, though they reunited and performed together in different incarnations over the years. Mr. Felder also released a number of solo albums, starting with “Bullitt” in 1969. His most recent was “Let’s Spend Some Time” in 2005.
Mr. Henderson (http://www.nytimes.com/2014/04/10/arts/music/wayne-henderson-a-founder-of-the-jazz-crusaders-dies-at-74.html) and Mr. Sample (http://www.nytimes.com/2014/09/15/arts/music/joe-sample-crusaders-pianist-dies-at-75.html) both died last year.
In addition to his son, Mr. Felder is survived by three sisters, Clara Walker, Jean Foster and Rozelia Gilliam; two daughters, Michelle LeBlanc and Deborah Clark; seven grandchildren; and his wife, the former Geraldine Hooper, sister of his longtime bandmate Stix Hooper.
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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RIP Dave Pike: JAZZRADIO.com
http://www.jazzpromoservices.com/
https://www.facebook.com/jazzmusicradio?fref=nf
JAZZRADIO.com (https://www.facebook.com/jazzmusicradio?fref=nf)
8 hrs (https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3) · Edited (https://www.facebook.com/search/str/Dave%2BPike/keywords_top#) ·
RIP Dave Pike. The vibraphonist passed away earlier today at 77. Although not as well known as his contemporaries Bobby Hutcherson & Gary Burton, he made some excellent records including Pike’s Peak, It’s Time for Dave Pike, and Pike’s Groove. You’ll find his music on our Vibraphone Jazz and Hard Bop channels – http://www.jazzradio.com (http://www.jazzradio.com/)
https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3
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
RIP Dave Pike: JAZZRADIO.com
http://www.jazzpromoservices.com/
https://www.facebook.com/jazzmusicradio?fref=nf
JAZZRADIO.com (https://www.facebook.com/jazzmusicradio?fref=nf)
8 hrs (https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3) · Edited (https://www.facebook.com/search/str/Dave%2BPike/keywords_top#) ·
RIP Dave Pike. The vibraphonist passed away earlier today at 77. Although not as well known as his contemporaries Bobby Hutcherson & Gary Burton, he made some excellent records including Pike’s Peak, It’s Time for Dave Pike, and Pike’s Groove. You’ll find his music on our Vibraphone Jazz and Hard Bop channels – http://www.jazzradio.com (http://www.jazzradio.com/)
https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3
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
RIP Dave Pike: JAZZRADIO.com
http://www.jazzpromoservices.com/
https://www.facebook.com/jazzmusicradio?fref=nf
JAZZRADIO.com (https://www.facebook.com/jazzmusicradio?fref=nf)
8 hrs (https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3) · Edited (https://www.facebook.com/search/str/Dave%2BPike/keywords_top#) ·
RIP Dave Pike. The vibraphonist passed away earlier today at 77. Although not as well known as his contemporaries Bobby Hutcherson & Gary Burton, he made some excellent records including Pike’s Peak, It’s Time for Dave Pike, and Pike’s Groove. You’ll find his music on our Vibraphone Jazz and Hard Bop channels – http://www.jazzradio.com (http://www.jazzradio.com/)
https://www.facebook.com/jazzmusicradio/photos/a.10151420421915166.487624.130031890165/10153942838200166/?type=3
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.
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Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/01/arts/music/frankie-ford-singer-of-sea-cruise-dies-at-76.html
By THE ASSOCIATED PRESSSEPT. 30, 2015
** Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76
————————————————————
Frankie Ford in 1959. Bruno of Hollywood, via Gems/Redferns
Frankie Ford, a singer whose hit record “Sea Cruise (https://www.youtube.com/watch?v=i5tIHtbctFQ) ” brought him international fame when he was 19, died on Monday in Gretna, La., near New Orleans. He was 76.
The coroner’s office in Jefferson Parish, La., confirmed his death, but did not specify a cause.
Mike Shepherd, executive director of the Louisiana Music Hall of Fame (http://www.louisianamusichalloffame.org/) , which inducted Mr. Ford in 2010, said that Mr. Ford had been ill for some time and unable to walk since he was hit by a car in Memphis several years ago.
“Sea Cruise,” which combined a bouncy, hard-charging rhythm with simple, upbeat lyrics (“Be my guest, you got nothin’ to lose/Won’t you let me take you on a sea cruise?”), reached No. 14 on Billboard magazine’s pop singles chart and No. 11 on the rhythm-and-blues list in 1959. It was Mr. Ford’s only Top 40 single.
The song was written by the New Orleans R&B pianist Huey Smith (http://www.allmusic.com/artist/huey-piano-smith-mn0000830028/biography) and originally recorded (but not released) by Mr. Smith and his group the Clowns.
Mr. Ford was among the white Louisiana artists brought to Cosimo Matassa’s New Orleans studio to cover songs by local black musicians, whose records were receiving limited airtime because of racial discrimination. Ace Records, which was Mr. Smith’s label as well as Mr. Ford’s, had Mr. Ford record a new vocal over the Smith band’s backing track.
“All the music was coming from New Orleans, yet people like Pat Boone were covering people like Little Richard and Fats Domino and getting hits,” Mr. Shepherd said. “It was a black-white thing.”
Mr. Ford’s recording of “Sea Cruise” went on to sell more than a million copies. The song has since been recorded by the Beach Boys, Herman’s Hermits and John Fogerty, among many other artists. It can also be heard on the soundtrack of “American Graffiti” and other movies.
Born on Aug. 4, 1939, in Gretna, Francis Guzzo began singing at an early age and was brought to New York by his parents, Vincent and Anna Guzzo, when he was 5 to perform on Ted Mack’s radio show, “The Original Amateur Hour.”
His recording career began in 1958. According to his biography on the Louisiana Music Hall of Fame’s website, his professional name was suggested by Johnny Vincent, the owner of Ace Records, to capitalize on “teenagers’ obsession with hot-rod cars.”
Although he had no hit records after the early 1960s, Mr. Ford remained part of the New Orleans music scene. His last performance was at the 2013 Gretna Heritage Festival.
Mr. Shepherd said he last saw Mr. Ford a few months ago when he visited him to get items, including a sequined jacket, for the Louisiana Music Hall of Fame’s museum.
He said that Mr. Ford, no longer able to walk, told him, “Son, you go up and take whatever you want, because I’m never wearing any of it again.”
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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Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/01/arts/music/frankie-ford-singer-of-sea-cruise-dies-at-76.html
By THE ASSOCIATED PRESSSEPT. 30, 2015
** Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76
————————————————————
Frankie Ford in 1959. Bruno of Hollywood, via Gems/Redferns
Frankie Ford, a singer whose hit record “Sea Cruise (https://www.youtube.com/watch?v=i5tIHtbctFQ) ” brought him international fame when he was 19, died on Monday in Gretna, La., near New Orleans. He was 76.
The coroner’s office in Jefferson Parish, La., confirmed his death, but did not specify a cause.
Mike Shepherd, executive director of the Louisiana Music Hall of Fame (http://www.louisianamusichalloffame.org/) , which inducted Mr. Ford in 2010, said that Mr. Ford had been ill for some time and unable to walk since he was hit by a car in Memphis several years ago.
“Sea Cruise,” which combined a bouncy, hard-charging rhythm with simple, upbeat lyrics (“Be my guest, you got nothin’ to lose/Won’t you let me take you on a sea cruise?”), reached No. 14 on Billboard magazine’s pop singles chart and No. 11 on the rhythm-and-blues list in 1959. It was Mr. Ford’s only Top 40 single.
The song was written by the New Orleans R&B pianist Huey Smith (http://www.allmusic.com/artist/huey-piano-smith-mn0000830028/biography) and originally recorded (but not released) by Mr. Smith and his group the Clowns.
Mr. Ford was among the white Louisiana artists brought to Cosimo Matassa’s New Orleans studio to cover songs by local black musicians, whose records were receiving limited airtime because of racial discrimination. Ace Records, which was Mr. Smith’s label as well as Mr. Ford’s, had Mr. Ford record a new vocal over the Smith band’s backing track.
“All the music was coming from New Orleans, yet people like Pat Boone were covering people like Little Richard and Fats Domino and getting hits,” Mr. Shepherd said. “It was a black-white thing.”
Mr. Ford’s recording of “Sea Cruise” went on to sell more than a million copies. The song has since been recorded by the Beach Boys, Herman’s Hermits and John Fogerty, among many other artists. It can also be heard on the soundtrack of “American Graffiti” and other movies.
Born on Aug. 4, 1939, in Gretna, Francis Guzzo began singing at an early age and was brought to New York by his parents, Vincent and Anna Guzzo, when he was 5 to perform on Ted Mack’s radio show, “The Original Amateur Hour.”
His recording career began in 1958. According to his biography on the Louisiana Music Hall of Fame’s website, his professional name was suggested by Johnny Vincent, the owner of Ace Records, to capitalize on “teenagers’ obsession with hot-rod cars.”
Although he had no hit records after the early 1960s, Mr. Ford remained part of the New Orleans music scene. His last performance was at the 2013 Gretna Heritage Festival.
Mr. Shepherd said he last saw Mr. Ford a few months ago when he visited him to get items, including a sequined jacket, for the Louisiana Music Hall of Fame’s museum.
He said that Mr. Ford, no longer able to walk, told him, “Son, you go up and take whatever you want, because I’m never wearing any of it 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.
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269 State Route 94 South
Warwick, Ny 10990
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Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/10/01/arts/music/frankie-ford-singer-of-sea-cruise-dies-at-76.html
By THE ASSOCIATED PRESSSEPT. 30, 2015
** Frankie Ford, Singer of ‘Sea Cruise,’ Dies at 76
————————————————————
Frankie Ford in 1959. Bruno of Hollywood, via Gems/Redferns
Frankie Ford, a singer whose hit record “Sea Cruise (https://www.youtube.com/watch?v=i5tIHtbctFQ) ” brought him international fame when he was 19, died on Monday in Gretna, La., near New Orleans. He was 76.
The coroner’s office in Jefferson Parish, La., confirmed his death, but did not specify a cause.
Mike Shepherd, executive director of the Louisiana Music Hall of Fame (http://www.louisianamusichalloffame.org/) , which inducted Mr. Ford in 2010, said that Mr. Ford had been ill for some time and unable to walk since he was hit by a car in Memphis several years ago.
“Sea Cruise,” which combined a bouncy, hard-charging rhythm with simple, upbeat lyrics (“Be my guest, you got nothin’ to lose/Won’t you let me take you on a sea cruise?”), reached No. 14 on Billboard magazine’s pop singles chart and No. 11 on the rhythm-and-blues list in 1959. It was Mr. Ford’s only Top 40 single.
The song was written by the New Orleans R&B pianist Huey Smith (http://www.allmusic.com/artist/huey-piano-smith-mn0000830028/biography) and originally recorded (but not released) by Mr. Smith and his group the Clowns.
Mr. Ford was among the white Louisiana artists brought to Cosimo Matassa’s New Orleans studio to cover songs by local black musicians, whose records were receiving limited airtime because of racial discrimination. Ace Records, which was Mr. Smith’s label as well as Mr. Ford’s, had Mr. Ford record a new vocal over the Smith band’s backing track.
“All the music was coming from New Orleans, yet people like Pat Boone were covering people like Little Richard and Fats Domino and getting hits,” Mr. Shepherd said. “It was a black-white thing.”
Mr. Ford’s recording of “Sea Cruise” went on to sell more than a million copies. The song has since been recorded by the Beach Boys, Herman’s Hermits and John Fogerty, among many other artists. It can also be heard on the soundtrack of “American Graffiti” and other movies.
Born on Aug. 4, 1939, in Gretna, Francis Guzzo began singing at an early age and was brought to New York by his parents, Vincent and Anna Guzzo, when he was 5 to perform on Ted Mack’s radio show, “The Original Amateur Hour.”
His recording career began in 1958. According to his biography on the Louisiana Music Hall of Fame’s website, his professional name was suggested by Johnny Vincent, the owner of Ace Records, to capitalize on “teenagers’ obsession with hot-rod cars.”
Although he had no hit records after the early 1960s, Mr. Ford remained part of the New Orleans music scene. His last performance was at the 2013 Gretna Heritage Festival.
Mr. Shepherd said he last saw Mr. Ford a few months ago when he visited him to get items, including a sequined jacket, for the Louisiana Music Hall of Fame’s museum.
He said that Mr. Ford, no longer able to walk, told him, “Son, you go up and take whatever you want, because I’m never wearing any of it again.”
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Bill Evans: Last TV Show – JazzWax
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http://www.jazzwax.com/2015/09/bill-evans-last-tv-show.html?utm_source=feedblitz
** Bill Evans: Last TV Show
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7d53060970b-popup
Less than three weeks before his death on Sept. 15, 1980, Bill Evans appeared on the Merv Griffin Show. He came out in a white suit, chatted with Griffin and then played his composition Your Story without improvisation. The show aired on Sept. 23, 1980. Reader Gregory Lee had told me about this appearance some time ago and yesterday emailed to let me know that Rob Rijneke had just put it up on YouTube. Here’s (https://www.youtube.com/watch?v=cu6xidj8-SI) Evans on TV on Aug. 23, briefly, followed by Evans playing the same song with his trio a few weeks earlier…
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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Bill Evans: Last TV Show – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/09/bill-evans-last-tv-show.html?utm_source=feedblitz
** Bill Evans: Last TV Show
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7d53060970b-popup
Less than three weeks before his death on Sept. 15, 1980, Bill Evans appeared on the Merv Griffin Show. He came out in a white suit, chatted with Griffin and then played his composition Your Story without improvisation. The show aired on Sept. 23, 1980. Reader Gregory Lee had told me about this appearance some time ago and yesterday emailed to let me know that Rob Rijneke had just put it up on YouTube. Here’s (https://www.youtube.com/watch?v=cu6xidj8-SI) Evans on TV on Aug. 23, briefly, followed by Evans playing the same song with his trio a few weeks earlier…
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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Bill Evans: Last TV Show – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/09/bill-evans-last-tv-show.html?utm_source=feedblitz
** Bill Evans: Last TV Show
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7d53060970b-popup
Less than three weeks before his death on Sept. 15, 1980, Bill Evans appeared on the Merv Griffin Show. He came out in a white suit, chatted with Griffin and then played his composition Your Story without improvisation. The show aired on Sept. 23, 1980. Reader Gregory Lee had told me about this appearance some time ago and yesterday emailed to let me know that Rob Rijneke had just put it up on YouTube. Here’s (https://www.youtube.com/watch?v=cu6xidj8-SI) Evans on TV on Aug. 23, briefly, followed by Evans playing the same song with his trio a few weeks earlier…
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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Going Old School: Vinyl Records Make a Comeback – NBC News
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http://www.nbcnews.com/nightly-news/video/going-old-school–vinyl-records-make-a-comeback-534641219868
** Going Old School: Vinyl Records Make a Comeback
————————————————————
Tue, Sep 29
A lot has changed in how we listen to music, but with sales of vinyl records up more than 50 percent in 2015, an old favorite is finding a brand new audience.
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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Jazz Promo Services
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Going Old School: Vinyl Records Make a Comeback – NBC News
http://www.jazzpromoservices.com/
http://www.nbcnews.com/nightly-news/video/going-old-school–vinyl-records-make-a-comeback-534641219868
** Going Old School: Vinyl Records Make a Comeback
————————————————————
Tue, Sep 29
A lot has changed in how we listen to music, but with sales of vinyl records up more than 50 percent in 2015, an old favorite is finding a brand new audience.
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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Jazz Promo Services
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Going Old School: Vinyl Records Make a Comeback – NBC News
http://www.jazzpromoservices.com/
http://www.nbcnews.com/nightly-news/video/going-old-school–vinyl-records-make-a-comeback-534641219868
** Going Old School: Vinyl Records Make a Comeback
————————————————————
Tue, Sep 29
A lot has changed in how we listen to music, but with sales of vinyl records up more than 50 percent in 2015, an old favorite is finding a brand new audience.
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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Phil Woods, Saxophonist Revered in Jazz, Dies at 83 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/30/arts/music/phil-woods-saxophonist-revered-in-jazz-dies-at-83.html?_r=0
** Phil Woods, Saxophonist Revered in Jazz, Dies at 83
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) SEPT. 29, 2015
Phil Woods in 2009 at Dizzy’s Club Coca-Cola in Manhattan. Credit Hiroyuki Ito for The New York Times
Phil Woods, an alto saxophonist revered in jazz circles for his bright, clean sound and his sterling technique — and widely heard on songs by Billy Joel, Paul Simon and others — died on Tuesday in East Stroudsburg, Pa. He was 83.
The cause was complications of emphysema, Joel Chriss, his longtime booking agent, said.
Mr. Woods was one of the leading alto saxophonists in the generation that followed Charlie Parker, who had set an imposing new bar for the instrument while defining the terms of bebop. Rigorous, complex and brisk, bebop’s stylistic language would be a constant for Mr. Woods throughout his prolific career, as both a leader and a sideman.
For much of that career, he was a sought-after section player in big bands because of his ability, unusual at the time, to read sheet music with as much breezy authority as he brought to his solos. He recorded with the composer-arrangers Oliver Nelson, Michel Legrand and George Russell, among many others, and helped the trumpeter Clark Terry establish his Big Bad Band.
One of Mr. Woods’s early supporters was Quincy Jones, who in 1956 brought him on a State Department-sponsored tour with the trumpeter and bebop pioneer Dizzy Gillespie. Mr. Woods quickly became a Gillespie protégé, and in some respects a surrogate for Parker, Gillespie’s former front-line partner, who had died in 1955.
Parker’s nickname was Bird, and for a while Mr. Woods was known to some, admiringly if a little back-handedly, as “the new Bird.” The association was solidified when he married Parker’s widow, Chan, in 1957. (That marriage ended in divorce.)
On the recommendation of the producer Phil Ramone, an old classmate at the Juilliard School, Mr. Woods was featured on Mr. Simon’s 1975 album, “Still Crazy After All These Years,” playing a quicksilver bebop cadenza on the song “Have a Good Time.” That same year he played a solo on the Steely Dan tune “Doctor Wu.” And in 1977 Mr. Woods was prominently featured on Mr. Joel’s ballad “Just the Way You Are (https://www.youtube.com/watch?v=HaA3YZ6QdJU) ,” which became a Top 10 hit and won two Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) .
Philip Wells Woods was born on Nov. 2, 1931, in Springfield, Mass. After inheriting a saxophone at age 12, he began taking lessons at a local music shop and discovered that he was a quick study with a gifted ear. His first hero on the alto saxophone was Benny Carter, followed soon thereafter by Johnny Hodges, a star soloist in the Duke Ellington Orchestra, and then Parker.
While still in high school, Mr. Woods often took the bus to New York City, haunting jazz clubs and studying with the pianist-composer Lennie Tristano. He also studied classical music at Juilliard for four years.
He moved to France in 1968, frustrated with a working life dominated by commercial jingles and other work for hire. He found success almost immediately, touring with a band he called the European Rhythm Machine.
After five years, Mr. Woods returned to the United States an accomplished solo artist. From 1974 on, he led a band with the bassist Steve Gilmore and the drummer Bill Goodwin; in recent years the group has also included Brian Lynch on trumpet and either Bill Charlap or Bill Mays on piano. Mr. Woods also became a mentor to young musicians like the alto saxophonist Grace Kelly, with whom he released an album, “The Man With the Hat,” in 2011.
Mr. Woods won four Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , beginning in 1975 with “Images,” an orchestral album he made with Mr. Legrand. In 2007 he was named a National Endowment for the Arts Jazz Master and received a Living Jazz Legend Award from the Kennedy Center.
Mr. Woods, who lived in Delaware Water Gap, Pa., is survived by his wife, Jill Goodwin; a son, Garth; three stepdaughters, Kim Parker and Allisen and Tracy Trotter; and a grandson.
Mr. Woods often declared, with a touch of self-deprecation, that he was more a stylist than an innovator. While he wrote dozens of compositions, they often pointed in the direction of his influences; they include “Charles Christopher” (Parker’s given name) and “All Bird’s Children.”
His final concert (http://www.post-gazette.com/ae/music-reviews/2015/09/06/Concert-review-Saxophonist-Phil-Woods-ends-playing-career-on-a-high-note/stories/201509070044) , early this month in Pittsburgh, was a tribute to the album “Charlie Parker With Strings.” Backed by a local rhythm section and members of the Pittsburgh Symphony Orchestra, he brought his oxygen tank with him onstage.
**
————————————————————
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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Phil Woods, Saxophonist Revered in Jazz, Dies at 83 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/30/arts/music/phil-woods-saxophonist-revered-in-jazz-dies-at-83.html?_r=0
** Phil Woods, Saxophonist Revered in Jazz, Dies at 83
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) SEPT. 29, 2015
Phil Woods in 2009 at Dizzy’s Club Coca-Cola in Manhattan. Credit Hiroyuki Ito for The New York Times
Phil Woods, an alto saxophonist revered in jazz circles for his bright, clean sound and his sterling technique — and widely heard on songs by Billy Joel, Paul Simon and others — died on Tuesday in East Stroudsburg, Pa. He was 83.
The cause was complications of emphysema, Joel Chriss, his longtime booking agent, said.
Mr. Woods was one of the leading alto saxophonists in the generation that followed Charlie Parker, who had set an imposing new bar for the instrument while defining the terms of bebop. Rigorous, complex and brisk, bebop’s stylistic language would be a constant for Mr. Woods throughout his prolific career, as both a leader and a sideman.
For much of that career, he was a sought-after section player in big bands because of his ability, unusual at the time, to read sheet music with as much breezy authority as he brought to his solos. He recorded with the composer-arrangers Oliver Nelson, Michel Legrand and George Russell, among many others, and helped the trumpeter Clark Terry establish his Big Bad Band.
One of Mr. Woods’s early supporters was Quincy Jones, who in 1956 brought him on a State Department-sponsored tour with the trumpeter and bebop pioneer Dizzy Gillespie. Mr. Woods quickly became a Gillespie protégé, and in some respects a surrogate for Parker, Gillespie’s former front-line partner, who had died in 1955.
Parker’s nickname was Bird, and for a while Mr. Woods was known to some, admiringly if a little back-handedly, as “the new Bird.” The association was solidified when he married Parker’s widow, Chan, in 1957. (That marriage ended in divorce.)
On the recommendation of the producer Phil Ramone, an old classmate at the Juilliard School, Mr. Woods was featured on Mr. Simon’s 1975 album, “Still Crazy After All These Years,” playing a quicksilver bebop cadenza on the song “Have a Good Time.” That same year he played a solo on the Steely Dan tune “Doctor Wu.” And in 1977 Mr. Woods was prominently featured on Mr. Joel’s ballad “Just the Way You Are (https://www.youtube.com/watch?v=HaA3YZ6QdJU) ,” which became a Top 10 hit and won two Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) .
Philip Wells Woods was born on Nov. 2, 1931, in Springfield, Mass. After inheriting a saxophone at age 12, he began taking lessons at a local music shop and discovered that he was a quick study with a gifted ear. His first hero on the alto saxophone was Benny Carter, followed soon thereafter by Johnny Hodges, a star soloist in the Duke Ellington Orchestra, and then Parker.
While still in high school, Mr. Woods often took the bus to New York City, haunting jazz clubs and studying with the pianist-composer Lennie Tristano. He also studied classical music at Juilliard for four years.
He moved to France in 1968, frustrated with a working life dominated by commercial jingles and other work for hire. He found success almost immediately, touring with a band he called the European Rhythm Machine.
After five years, Mr. Woods returned to the United States an accomplished solo artist. From 1974 on, he led a band with the bassist Steve Gilmore and the drummer Bill Goodwin; in recent years the group has also included Brian Lynch on trumpet and either Bill Charlap or Bill Mays on piano. Mr. Woods also became a mentor to young musicians like the alto saxophonist Grace Kelly, with whom he released an album, “The Man With the Hat,” in 2011.
Mr. Woods won four Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , beginning in 1975 with “Images,” an orchestral album he made with Mr. Legrand. In 2007 he was named a National Endowment for the Arts Jazz Master and received a Living Jazz Legend Award from the Kennedy Center.
Mr. Woods, who lived in Delaware Water Gap, Pa., is survived by his wife, Jill Goodwin; a son, Garth; three stepdaughters, Kim Parker and Allisen and Tracy Trotter; and a grandson.
Mr. Woods often declared, with a touch of self-deprecation, that he was more a stylist than an innovator. While he wrote dozens of compositions, they often pointed in the direction of his influences; they include “Charles Christopher” (Parker’s given name) and “All Bird’s Children.”
His final concert (http://www.post-gazette.com/ae/music-reviews/2015/09/06/Concert-review-Saxophonist-Phil-Woods-ends-playing-career-on-a-high-note/stories/201509070044) , early this month in Pittsburgh, was a tribute to the album “Charlie Parker With Strings.” Backed by a local rhythm section and members of the Pittsburgh Symphony Orchestra, he brought his oxygen tank with him onstage.
**
————————————————————
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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Phil Woods, Saxophonist Revered in Jazz, Dies at 83 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/30/arts/music/phil-woods-saxophonist-revered-in-jazz-dies-at-83.html?_r=0
** Phil Woods, Saxophonist Revered in Jazz, Dies at 83
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) SEPT. 29, 2015
Phil Woods in 2009 at Dizzy’s Club Coca-Cola in Manhattan. Credit Hiroyuki Ito for The New York Times
Phil Woods, an alto saxophonist revered in jazz circles for his bright, clean sound and his sterling technique — and widely heard on songs by Billy Joel, Paul Simon and others — died on Tuesday in East Stroudsburg, Pa. He was 83.
The cause was complications of emphysema, Joel Chriss, his longtime booking agent, said.
Mr. Woods was one of the leading alto saxophonists in the generation that followed Charlie Parker, who had set an imposing new bar for the instrument while defining the terms of bebop. Rigorous, complex and brisk, bebop’s stylistic language would be a constant for Mr. Woods throughout his prolific career, as both a leader and a sideman.
For much of that career, he was a sought-after section player in big bands because of his ability, unusual at the time, to read sheet music with as much breezy authority as he brought to his solos. He recorded with the composer-arrangers Oliver Nelson, Michel Legrand and George Russell, among many others, and helped the trumpeter Clark Terry establish his Big Bad Band.
One of Mr. Woods’s early supporters was Quincy Jones, who in 1956 brought him on a State Department-sponsored tour with the trumpeter and bebop pioneer Dizzy Gillespie. Mr. Woods quickly became a Gillespie protégé, and in some respects a surrogate for Parker, Gillespie’s former front-line partner, who had died in 1955.
Parker’s nickname was Bird, and for a while Mr. Woods was known to some, admiringly if a little back-handedly, as “the new Bird.” The association was solidified when he married Parker’s widow, Chan, in 1957. (That marriage ended in divorce.)
On the recommendation of the producer Phil Ramone, an old classmate at the Juilliard School, Mr. Woods was featured on Mr. Simon’s 1975 album, “Still Crazy After All These Years,” playing a quicksilver bebop cadenza on the song “Have a Good Time.” That same year he played a solo on the Steely Dan tune “Doctor Wu.” And in 1977 Mr. Woods was prominently featured on Mr. Joel’s ballad “Just the Way You Are (https://www.youtube.com/watch?v=HaA3YZ6QdJU) ,” which became a Top 10 hit and won two Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) .
Philip Wells Woods was born on Nov. 2, 1931, in Springfield, Mass. After inheriting a saxophone at age 12, he began taking lessons at a local music shop and discovered that he was a quick study with a gifted ear. His first hero on the alto saxophone was Benny Carter, followed soon thereafter by Johnny Hodges, a star soloist in the Duke Ellington Orchestra, and then Parker.
While still in high school, Mr. Woods often took the bus to New York City, haunting jazz clubs and studying with the pianist-composer Lennie Tristano. He also studied classical music at Juilliard for four years.
He moved to France in 1968, frustrated with a working life dominated by commercial jingles and other work for hire. He found success almost immediately, touring with a band he called the European Rhythm Machine.
After five years, Mr. Woods returned to the United States an accomplished solo artist. From 1974 on, he led a band with the bassist Steve Gilmore and the drummer Bill Goodwin; in recent years the group has also included Brian Lynch on trumpet and either Bill Charlap or Bill Mays on piano. Mr. Woods also became a mentor to young musicians like the alto saxophonist Grace Kelly, with whom he released an album, “The Man With the Hat,” in 2011.
Mr. Woods won four Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , beginning in 1975 with “Images,” an orchestral album he made with Mr. Legrand. In 2007 he was named a National Endowment for the Arts Jazz Master and received a Living Jazz Legend Award from the Kennedy Center.
Mr. Woods, who lived in Delaware Water Gap, Pa., is survived by his wife, Jill Goodwin; a son, Garth; three stepdaughters, Kim Parker and Allisen and Tracy Trotter; and a grandson.
Mr. Woods often declared, with a touch of self-deprecation, that he was more a stylist than an innovator. While he wrote dozens of compositions, they often pointed in the direction of his influences; they include “Charles Christopher” (Parker’s given name) and “All Bird’s Children.”
His final concert (http://www.post-gazette.com/ae/music-reviews/2015/09/06/Concert-review-Saxophonist-Phil-Woods-ends-playing-career-on-a-high-note/stories/201509070044) , early this month in Pittsburgh, was a tribute to the album “Charlie Parker With Strings.” Backed by a local rhythm section and members of the Pittsburgh Symphony Orchestra, he brought his oxygen tank with him onstage.
**
————————————————————
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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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
R.I.P. Phil Woods| Twitter
http://www.jazzpromoservices.com/
https://twitter.com/BGoodwindrums
Bill Goodwin @BGoodwindrums (https://twitter.com/BGoodwindrums) 6m6 minutes ago (https://twitter.com/BGoodwindrums/status/648938384216444928)
The great Phil Woods has passed from the scene today.We made music together for over 40 years.
https://www.youtube.com/watch?v=uE5t21rZH94
https://www.youtube.com/watch?v=uE5t21rZH94
** Phil Woods Big Band – Blue Note , Paris 1960
————————————————————
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=071ffcba30) | 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=071ffcba30&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
R.I.P. Phil Woods| Twitter
http://www.jazzpromoservices.com/
https://twitter.com/BGoodwindrums
Bill Goodwin @BGoodwindrums (https://twitter.com/BGoodwindrums) 6m6 minutes ago (https://twitter.com/BGoodwindrums/status/648938384216444928)
The great Phil Woods has passed from the scene today.We made music together for over 40 years.
https://www.youtube.com/watch?v=uE5t21rZH94
https://www.youtube.com/watch?v=uE5t21rZH94
** Phil Woods Big Band – Blue Note , Paris 1960
————————————————————
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=071ffcba30) | 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=071ffcba30&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