Author: Bash Daily Group Archive Feed
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)
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1964 – Brother Jack McDuff Quartet (Live video) – YouTube
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https://www.youtube.com/watch?v=ivYFzlapYTA
https://www.youtube.com/watch?v=ivYFzlapYTA
Brother Jack McDuff – organ; Red Holloway – tenor sax; George Benson – guitar; Joe Dukes – drums. Festival gig in France
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
1964 – Brother Jack McDuff Quartet (Live video) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=ivYFzlapYTA
https://www.youtube.com/watch?v=ivYFzlapYTA
Brother Jack McDuff – organ; Red Holloway – tenor sax; George Benson – guitar; Joe Dukes – drums. Festival gig in France
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
1964 – Brother Jack McDuff Quartet (Live video) – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=ivYFzlapYTA
https://www.youtube.com/watch?v=ivYFzlapYTA
Brother Jack McDuff – organ; Red Holloway – tenor sax; George Benson – guitar; Joe Dukes – drums. Festival gig in France
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=11c211b7d3) | 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=11c211b7d3&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
[PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/pias-officially-acquires-classical-and-jazz-house-harmonia-mundi/
BY TIM INGHAM (http://www.musicbusinessworldwide.com/author/tim/)
** [PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
————————————————————
Independent music powerhouse [PIAS] has officially confirmed the acquisition of classical, jazz and world music specialist harmonia mundi.
The acquisition, first reported in June (http://www.musicbusinessworldwide.com/pias-acquiring-french-label-and-distributor/) , will be effective from October 1. It comprises the music assets of harmonia mundi but does not include its book publishing interests or retail operations.
harmonia mundi was founded in Paris in 1958 by Bernard Coutaz (1922-2010), who guided the group to its position as a globally successful music company.
Today, it comprises record labels, music publishing and distribution divisions with over 100 staff and offices in key territories. Eva Coutaz, who has been involved in classical music production since the 1970’s, will remain a consultant to the harmonia mundi board.
Kenny Gates, co-founder and CEO of [PIAS] said: “harmonia mundi is an extraordinary company with a special place in the hearts of music fans, particularly classical and jazz music fans, around the world.
“Much like [PIAS], harmonia mundi is run and staffed by passionate music fans.”
Kenny Gates, [PIAS]
“Much like [PIAS], harmonia mundi is run and staffed by passionate music lovers and we are looking forward to joining hands with them around the world and to bringing them into our family.
“This is an added dimension for [PIAS] and we can’t wait to work with these real experts in the field and to add our own experience, expertise and resources to help harmonia mundi thrive as a home for its labels and artists.“
Eva Coutaz of harmonia mundi said, “From the early conversations we had with Kenny and Michel, we felt that [PIAS] was the right home for our legacy.
“They share the same values as us and are passionate about continuing to release great music.
“We feel that harmonia mundi is in safe hands and are confident that there is an exciting future ahead.”
Founded in Belgium by Kenny Gates and Michel Lambot, [PIAS] is celebrating 33 years in operation. The company has three core divisions: [PIAS] Recordings, that signs and develops artists; [PIAS] Cooperative, an associated label group that partners with labels to help fund and develop their repertoire; and [PIAS] Artist & Label Services, a sales, distribution and marketing team that takes repertoire to market, physically and digitally, on an global basis.
[Pictured: Eva Coutaz and Kenny Gates. Photo: Christophe Beauregard]Music Business Worldwide
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=1db928be1c) | 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=1db928be1c&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
[PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/pias-officially-acquires-classical-and-jazz-house-harmonia-mundi/
BY TIM INGHAM (http://www.musicbusinessworldwide.com/author/tim/)
** [PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
————————————————————
Independent music powerhouse [PIAS] has officially confirmed the acquisition of classical, jazz and world music specialist harmonia mundi.
The acquisition, first reported in June (http://www.musicbusinessworldwide.com/pias-acquiring-french-label-and-distributor/) , will be effective from October 1. It comprises the music assets of harmonia mundi but does not include its book publishing interests or retail operations.
harmonia mundi was founded in Paris in 1958 by Bernard Coutaz (1922-2010), who guided the group to its position as a globally successful music company.
Today, it comprises record labels, music publishing and distribution divisions with over 100 staff and offices in key territories. Eva Coutaz, who has been involved in classical music production since the 1970’s, will remain a consultant to the harmonia mundi board.
Kenny Gates, co-founder and CEO of [PIAS] said: “harmonia mundi is an extraordinary company with a special place in the hearts of music fans, particularly classical and jazz music fans, around the world.
“Much like [PIAS], harmonia mundi is run and staffed by passionate music fans.”
Kenny Gates, [PIAS]
“Much like [PIAS], harmonia mundi is run and staffed by passionate music lovers and we are looking forward to joining hands with them around the world and to bringing them into our family.
“This is an added dimension for [PIAS] and we can’t wait to work with these real experts in the field and to add our own experience, expertise and resources to help harmonia mundi thrive as a home for its labels and artists.“
Eva Coutaz of harmonia mundi said, “From the early conversations we had with Kenny and Michel, we felt that [PIAS] was the right home for our legacy.
“They share the same values as us and are passionate about continuing to release great music.
“We feel that harmonia mundi is in safe hands and are confident that there is an exciting future ahead.”
Founded in Belgium by Kenny Gates and Michel Lambot, [PIAS] is celebrating 33 years in operation. The company has three core divisions: [PIAS] Recordings, that signs and develops artists; [PIAS] Cooperative, an associated label group that partners with labels to help fund and develop their repertoire; and [PIAS] Artist & Label Services, a sales, distribution and marketing team that takes repertoire to market, physically and digitally, on an global basis.
[Pictured: Eva Coutaz and Kenny Gates. Photo: Christophe Beauregard]Music Business Worldwide
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=1db928be1c) | 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=1db928be1c&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
[PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/pias-officially-acquires-classical-and-jazz-house-harmonia-mundi/
BY TIM INGHAM (http://www.musicbusinessworldwide.com/author/tim/)
** [PIAS] officially acquires classical and jazz house harmonia mundi – Music Business Worldwide
————————————————————
Independent music powerhouse [PIAS] has officially confirmed the acquisition of classical, jazz and world music specialist harmonia mundi.
The acquisition, first reported in June (http://www.musicbusinessworldwide.com/pias-acquiring-french-label-and-distributor/) , will be effective from October 1. It comprises the music assets of harmonia mundi but does not include its book publishing interests or retail operations.
harmonia mundi was founded in Paris in 1958 by Bernard Coutaz (1922-2010), who guided the group to its position as a globally successful music company.
Today, it comprises record labels, music publishing and distribution divisions with over 100 staff and offices in key territories. Eva Coutaz, who has been involved in classical music production since the 1970’s, will remain a consultant to the harmonia mundi board.
Kenny Gates, co-founder and CEO of [PIAS] said: “harmonia mundi is an extraordinary company with a special place in the hearts of music fans, particularly classical and jazz music fans, around the world.
“Much like [PIAS], harmonia mundi is run and staffed by passionate music fans.”
Kenny Gates, [PIAS]
“Much like [PIAS], harmonia mundi is run and staffed by passionate music lovers and we are looking forward to joining hands with them around the world and to bringing them into our family.
“This is an added dimension for [PIAS] and we can’t wait to work with these real experts in the field and to add our own experience, expertise and resources to help harmonia mundi thrive as a home for its labels and artists.“
Eva Coutaz of harmonia mundi said, “From the early conversations we had with Kenny and Michel, we felt that [PIAS] was the right home for our legacy.
“They share the same values as us and are passionate about continuing to release great music.
“We feel that harmonia mundi is in safe hands and are confident that there is an exciting future ahead.”
Founded in Belgium by Kenny Gates and Michel Lambot, [PIAS] is celebrating 33 years in operation. The company has three core divisions: [PIAS] Recordings, that signs and develops artists; [PIAS] Cooperative, an associated label group that partners with labels to help fund and develop their repertoire; and [PIAS] Artist & Label Services, a sales, distribution and marketing team that takes repertoire to market, physically and digitally, on an global basis.
[Pictured: Eva Coutaz and Kenny Gates. Photo: Christophe Beauregard]Music Business Worldwide
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=1db928be1c) | 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=1db928be1c&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
Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies – Local Obituaries – NorthJersey.com
http://www.jazzpromoservices.com/
http://www.northjersey.com/obituaries/local-obituaries/emily-ann-jazzy-wingert-creator-of-trumpets-jazz-club-dies-1.1399130
AUGUST 27, 2015 LAST UPDATED: THURSDAY, AUGUST 27, 2015, 12:31 AM
THE MONTCLAIR TIMES
** Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies
————————————————————
Emily Ann ‘Jazzy’ Wingert
Emily Ann “Jazzy” Wingert, 80, a longtime resident of Montclair and Little Falls, died suddenly on Aug. 15.
Emily was born in New York City to Babette “Betsy”(Vogel) and Edgar Peierls on Nov. 24, 1934.
She went to high school at House in the Pines in Massachusetts, and graduated in 1952. She attended Cornell University and completed her degree in art history at Columbia University.
In the early 1970s, as the owner and CEO of Mark Ten Security in Montclair, she became one of New Jersey’s first female licensed private detectives. In 1988, she followed her passion for jazz and fine dining and created Trumpets, a jazz club and restaurant in Montclair. She received an award for the restoration of the building and created a jazz education program for children.
After 10 years, she sold Trumpets following a sudden and total hearing loss. Adjusting to her deafness, she joined an online discussion group known as the “Say What Club.” This organization became her new passion, and she helped lead a group of people who felt isolated into a community. As an early adopter of the Internet, Emily found that she could talk to people and regain some of the connectivity she had lost with her hearing.
Among Emily’s interests were her signature nail art and her love of convertibles.
Emily is survived by her siblings, Barbara (Peierls) Cohn, E. Jeffrey Peierls, and Brian E. Peierls; her children, Laura (Shelton) Jones and her husband, James Jones, Edward “Woody” Shelton, and his wife, Diane Shelton, and William “Will” Wingert; her grandchildren, Derald Brenneman, Dana (Shelton) Wahrsager, and her husband, Aaron Wahrsager, Jacqueline Brenneman, and her husband, Krys Usack, Katherine Shelton, Samantha Brenneman, Tanya (Jones) Thompson, and her husband, Sam Thompson, Adam Lewicki and Elizabeth Wingert; and great-grandchildren, Sadie Brenneman and Madison Wahrsager.
A “Jazzy Jamboree” in celebration of her life will be held on Sept. 19 at 2 p.m. at the Kasser Theater located on the campus of Montclair State University. Additional details will be available via Hugh M. Moriarty Funeral Home’s webpage, www.moriartyfh.com.
Memorial donations may be made to Say What Club, c/o Jack Nichols, P.O. Box 5066, Central Point, OR, 97502-0044.
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=85b6ddf50d) | 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=85b6ddf50d&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
Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies – Local Obituaries – NorthJersey.com
http://www.jazzpromoservices.com/
http://www.northjersey.com/obituaries/local-obituaries/emily-ann-jazzy-wingert-creator-of-trumpets-jazz-club-dies-1.1399130
AUGUST 27, 2015 LAST UPDATED: THURSDAY, AUGUST 27, 2015, 12:31 AM
THE MONTCLAIR TIMES
** Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies
————————————————————
Emily Ann ‘Jazzy’ Wingert
Emily Ann “Jazzy” Wingert, 80, a longtime resident of Montclair and Little Falls, died suddenly on Aug. 15.
Emily was born in New York City to Babette “Betsy”(Vogel) and Edgar Peierls on Nov. 24, 1934.
She went to high school at House in the Pines in Massachusetts, and graduated in 1952. She attended Cornell University and completed her degree in art history at Columbia University.
In the early 1970s, as the owner and CEO of Mark Ten Security in Montclair, she became one of New Jersey’s first female licensed private detectives. In 1988, she followed her passion for jazz and fine dining and created Trumpets, a jazz club and restaurant in Montclair. She received an award for the restoration of the building and created a jazz education program for children.
After 10 years, she sold Trumpets following a sudden and total hearing loss. Adjusting to her deafness, she joined an online discussion group known as the “Say What Club.” This organization became her new passion, and she helped lead a group of people who felt isolated into a community. As an early adopter of the Internet, Emily found that she could talk to people and regain some of the connectivity she had lost with her hearing.
Among Emily’s interests were her signature nail art and her love of convertibles.
Emily is survived by her siblings, Barbara (Peierls) Cohn, E. Jeffrey Peierls, and Brian E. Peierls; her children, Laura (Shelton) Jones and her husband, James Jones, Edward “Woody” Shelton, and his wife, Diane Shelton, and William “Will” Wingert; her grandchildren, Derald Brenneman, Dana (Shelton) Wahrsager, and her husband, Aaron Wahrsager, Jacqueline Brenneman, and her husband, Krys Usack, Katherine Shelton, Samantha Brenneman, Tanya (Jones) Thompson, and her husband, Sam Thompson, Adam Lewicki and Elizabeth Wingert; and great-grandchildren, Sadie Brenneman and Madison Wahrsager.
A “Jazzy Jamboree” in celebration of her life will be held on Sept. 19 at 2 p.m. at the Kasser Theater located on the campus of Montclair State University. Additional details will be available via Hugh M. Moriarty Funeral Home’s webpage, www.moriartyfh.com.
Memorial donations may be made to Say What Club, c/o Jack Nichols, P.O. Box 5066, Central Point, OR, 97502-0044.
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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Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies – Local Obituaries – NorthJersey.com
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http://www.northjersey.com/obituaries/local-obituaries/emily-ann-jazzy-wingert-creator-of-trumpets-jazz-club-dies-1.1399130
AUGUST 27, 2015 LAST UPDATED: THURSDAY, AUGUST 27, 2015, 12:31 AM
THE MONTCLAIR TIMES
** Emily Ann ‘Jazzy’ Wingert, creator of Trumpets jazz club, dies
————————————————————
Emily Ann ‘Jazzy’ Wingert
Emily Ann “Jazzy” Wingert, 80, a longtime resident of Montclair and Little Falls, died suddenly on Aug. 15.
Emily was born in New York City to Babette “Betsy”(Vogel) and Edgar Peierls on Nov. 24, 1934.
She went to high school at House in the Pines in Massachusetts, and graduated in 1952. She attended Cornell University and completed her degree in art history at Columbia University.
In the early 1970s, as the owner and CEO of Mark Ten Security in Montclair, she became one of New Jersey’s first female licensed private detectives. In 1988, she followed her passion for jazz and fine dining and created Trumpets, a jazz club and restaurant in Montclair. She received an award for the restoration of the building and created a jazz education program for children.
After 10 years, she sold Trumpets following a sudden and total hearing loss. Adjusting to her deafness, she joined an online discussion group known as the “Say What Club.” This organization became her new passion, and she helped lead a group of people who felt isolated into a community. As an early adopter of the Internet, Emily found that she could talk to people and regain some of the connectivity she had lost with her hearing.
Among Emily’s interests were her signature nail art and her love of convertibles.
Emily is survived by her siblings, Barbara (Peierls) Cohn, E. Jeffrey Peierls, and Brian E. Peierls; her children, Laura (Shelton) Jones and her husband, James Jones, Edward “Woody” Shelton, and his wife, Diane Shelton, and William “Will” Wingert; her grandchildren, Derald Brenneman, Dana (Shelton) Wahrsager, and her husband, Aaron Wahrsager, Jacqueline Brenneman, and her husband, Krys Usack, Katherine Shelton, Samantha Brenneman, Tanya (Jones) Thompson, and her husband, Sam Thompson, Adam Lewicki and Elizabeth Wingert; and great-grandchildren, Sadie Brenneman and Madison Wahrsager.
A “Jazzy Jamboree” in celebration of her life will be held on Sept. 19 at 2 p.m. at the Kasser Theater located on the campus of Montclair State University. Additional details will be available via Hugh M. Moriarty Funeral Home’s webpage, www.moriartyfh.com.
Memorial donations may be made to Say What Club, c/o Jack Nichols, P.O. Box 5066, Central Point, OR, 97502-0044.
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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Crusaders Sax Man Wilton Felder Passes | Houston Press
http://www.jazzpromoservices.com/
http://www.houstonpress.com/music/legendary-crusaders-sax-man-wilton-felder-passes-away-7800449
BY WILLIAM MICHAEL SMITH SUNDAY, SEPTEMBER 27, 2015
** LEGENDARY CRUSADERS SAX MAN WILTON FELDER PASSES AWAY
————————————————————
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Photo courtesy of MCA Records
Houston and the world lost a giant today with the passing of Wilton Felder, saxophonist for the fabled Crusaders. Mr. Felder was 75. Word of his passing reached the internet via longtime collaborator Ray Parker, Jr.’s Facebook page around 2 p.m. today.
Felder’s passing comes only a year after the death of his lifelong friend and fellow Crusader Joe Sample. Crusaders trombonist Wayne Henderson died in April, 2014, which now leaves drummer Nesbert “Stix” Hooper as the only living Crusader from the original four. Felder, Sample, and Hooper met early in life and formed their first band while attending Phillis Wheatley High School in the Fifth War. They added Henderson and took the name Jazz Crusaders while attending Texas Southern University (safari-reader://www.houstonpress.com/music/the-new-crusaders-6597427) , but they left school without graduating in 1959 and moved to Los Angeles. They quickly made a name for themselves in the West Coast bebop scene and recorded ten albums in the hard bop style of the day..
But the huge success of the band would wait ten years until 1971 when they dropped one of the first jazz-rock records to cross over into popular music culture, Pass the Plate. Pass the Plate put them on everyone’s radar; they received letters from the Beatles — they famously covered “Eleanor Rigby” (https://www.youtube.com/watch?v=mwDosjXKmXI) — and garnered a slot opening for a Rolling Stones tour. They also were one of the headliners at the Rumble in the Jungle heavyweight championship fight in Zaire in 1974 between Muhammad Ali and Houstonian George Foreman.
But by the mid-70s, the individual members of the Crusaders (safari-reader://www.houstonpress.com/music/soul-city-the-amazing-jazz-crusaders-6512045) had moved outside the band to work as session musicians and as producers. Felder became a house bass player for Motown’s West Coast studio operation, but he also worked with a number of pop acts like America and Seals & Croft. He was one of three bassists on Randy Newman’s milestone album Sail Away. He also played on Billy Joel’s Piano Man and Streetlife Serenadealbums, Joan Baez’s Diamonds and Rust, and John Cale’s Paris 1919.
Felder recorded his debut solo album, Bullitt, in 1970, and followed with We All Have a Star in 1978. He would go on to release seven more albums. His 1985 album Secrets, with Bobby Womack as primary vocalist, made it into the UK Albums chart and the single “No Matter How High I Get (I’ll Always Be Looking Up at You)” became a minor hit.
As of this posting, no official word has been released regarding Mr. Felder’s cause of death.
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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Crusaders Sax Man Wilton Felder Passes | Houston Press
http://www.jazzpromoservices.com/
http://www.houstonpress.com/music/legendary-crusaders-sax-man-wilton-felder-passes-away-7800449
BY WILLIAM MICHAEL SMITH SUNDAY, SEPTEMBER 27, 2015
** LEGENDARY CRUSADERS SAX MAN WILTON FELDER PASSES AWAY
————————————————————
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Photo courtesy of MCA Records
Houston and the world lost a giant today with the passing of Wilton Felder, saxophonist for the fabled Crusaders. Mr. Felder was 75. Word of his passing reached the internet via longtime collaborator Ray Parker, Jr.’s Facebook page around 2 p.m. today.
Felder’s passing comes only a year after the death of his lifelong friend and fellow Crusader Joe Sample. Crusaders trombonist Wayne Henderson died in April, 2014, which now leaves drummer Nesbert “Stix” Hooper as the only living Crusader from the original four. Felder, Sample, and Hooper met early in life and formed their first band while attending Phillis Wheatley High School in the Fifth War. They added Henderson and took the name Jazz Crusaders while attending Texas Southern University (safari-reader://www.houstonpress.com/music/the-new-crusaders-6597427) , but they left school without graduating in 1959 and moved to Los Angeles. They quickly made a name for themselves in the West Coast bebop scene and recorded ten albums in the hard bop style of the day..
But the huge success of the band would wait ten years until 1971 when they dropped one of the first jazz-rock records to cross over into popular music culture, Pass the Plate. Pass the Plate put them on everyone’s radar; they received letters from the Beatles — they famously covered “Eleanor Rigby” (https://www.youtube.com/watch?v=mwDosjXKmXI) — and garnered a slot opening for a Rolling Stones tour. They also were one of the headliners at the Rumble in the Jungle heavyweight championship fight in Zaire in 1974 between Muhammad Ali and Houstonian George Foreman.
But by the mid-70s, the individual members of the Crusaders (safari-reader://www.houstonpress.com/music/soul-city-the-amazing-jazz-crusaders-6512045) had moved outside the band to work as session musicians and as producers. Felder became a house bass player for Motown’s West Coast studio operation, but he also worked with a number of pop acts like America and Seals & Croft. He was one of three bassists on Randy Newman’s milestone album Sail Away. He also played on Billy Joel’s Piano Man and Streetlife Serenadealbums, Joan Baez’s Diamonds and Rust, and John Cale’s Paris 1919.
Felder recorded his debut solo album, Bullitt, in 1970, and followed with We All Have a Star in 1978. He would go on to release seven more albums. His 1985 album Secrets, with Bobby Womack as primary vocalist, made it into the UK Albums chart and the single “No Matter How High I Get (I’ll Always Be Looking Up at You)” became a minor hit.
As of this posting, no official word has been released regarding Mr. Felder’s cause of death.
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=c2196ff90a) | 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=c2196ff90a&e=[UNIQID])
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Crusaders Sax Man Wilton Felder Passes | Houston Press
http://www.jazzpromoservices.com/
http://www.houstonpress.com/music/legendary-crusaders-sax-man-wilton-felder-passes-away-7800449
BY WILLIAM MICHAEL SMITH SUNDAY, SEPTEMBER 27, 2015
** LEGENDARY CRUSADERS SAX MAN WILTON FELDER PASSES AWAY
————————————————————
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Promotional shot of Wilton Felder, saxophonist for the Crusaders
Photo courtesy of MCA Records
Houston and the world lost a giant today with the passing of Wilton Felder, saxophonist for the fabled Crusaders. Mr. Felder was 75. Word of his passing reached the internet via longtime collaborator Ray Parker, Jr.’s Facebook page around 2 p.m. today.
Felder’s passing comes only a year after the death of his lifelong friend and fellow Crusader Joe Sample. Crusaders trombonist Wayne Henderson died in April, 2014, which now leaves drummer Nesbert “Stix” Hooper as the only living Crusader from the original four. Felder, Sample, and Hooper met early in life and formed their first band while attending Phillis Wheatley High School in the Fifth War. They added Henderson and took the name Jazz Crusaders while attending Texas Southern University (safari-reader://www.houstonpress.com/music/the-new-crusaders-6597427) , but they left school without graduating in 1959 and moved to Los Angeles. They quickly made a name for themselves in the West Coast bebop scene and recorded ten albums in the hard bop style of the day..
But the huge success of the band would wait ten years until 1971 when they dropped one of the first jazz-rock records to cross over into popular music culture, Pass the Plate. Pass the Plate put them on everyone’s radar; they received letters from the Beatles — they famously covered “Eleanor Rigby” (https://www.youtube.com/watch?v=mwDosjXKmXI) — and garnered a slot opening for a Rolling Stones tour. They also were one of the headliners at the Rumble in the Jungle heavyweight championship fight in Zaire in 1974 between Muhammad Ali and Houstonian George Foreman.
But by the mid-70s, the individual members of the Crusaders (safari-reader://www.houstonpress.com/music/soul-city-the-amazing-jazz-crusaders-6512045) had moved outside the band to work as session musicians and as producers. Felder became a house bass player for Motown’s West Coast studio operation, but he also worked with a number of pop acts like America and Seals & Croft. He was one of three bassists on Randy Newman’s milestone album Sail Away. He also played on Billy Joel’s Piano Man and Streetlife Serenadealbums, Joan Baez’s Diamonds and Rust, and John Cale’s Paris 1919.
Felder recorded his debut solo album, Bullitt, in 1970, and followed with We All Have a Star in 1978. He would go on to release seven more albums. His 1985 album Secrets, with Bobby Womack as primary vocalist, made it into the UK Albums chart and the single “No Matter How High I Get (I’ll Always Be Looking Up at You)” became a minor hit.
As of this posting, no official word has been released regarding Mr. Felder’s cause of death.
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=c2196ff90a) | 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=c2196ff90a&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
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R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation: Newsweek
http://www.jazzpromoservices.com/
** http://www.newsweek.com/2015/10/09/rb-singer-gregory-porter-may-make-jazz-relevant-new-generation-377010.html
————————————————————
**
————————————————————
** R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation
————————————————————
BY STACEY ANDERSON (http://www.newsweek.com/authors/stacey-anderson) / SEPTEMBER 26, 2015 3:10 PM EDT
10_09_Porter_01
Gregory Porter croons with the jazz gusto of a bygone era, but all potential collaborators take note: He is very much alive. “Howard [Lawrence], one of the brothers of Disclosure, heard my voice on the jazz radio station in the U.K., but he thought it was a very old song,” recalls Porter, 43, with a laugh, calling Newsweek from his hometown of Bakersfield, California. “He thought it was maybe something he could potentially sample.”
A bit of sleuthing led Lawrence to Porter, a Brooklyn resident for the past decade, and the producer invited him to co-write a song. The result was a pensive yet joyous jazz-soul ballad, one that hewed close to Porter’s Grammy-winning solo catalog. But the efforts didn’t end there; Lawrence and brother Guy, who comprise the über-trendy British dance duo Disclosure, rewound the song into a sprightly club track, “Holding On,” that reached No. 1 on the U.S. dance charts as the lead single of their second album, September’s Caracal.
The track is Porter’s boldest step yet in his unlikely evolution from jazz traditionalist to club-kid muse. (It’s also enticing other marquee names; both pop-soul savant Sam Smith and iconic rap group De La Soul recently approached him to collaborate on new material.) Porter cuts a strange figure for a jazzman; his resonant, soulful baritone and youthful presence have been embraced by electro-pop DJs, who have poured hundreds of remixes of his tracks onto YouTube and SoundCloud in the past five years. At the same time, he’s still embraced by traditional bop audiences, even collecting a Grammy for best jazz vocal album for 2013’s Liquid Spirit.
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
While the sampling of jazz artists is a tradition in dance circles—artists from Massive Attack to DJ Shadow and Flying Lotus—cross-genre, honest-to-god duets aren’t forged quite as often. Porter acknowledges that not many contemporary jazz artists have been as embraced by the electro set. “I don’t think it happens often, and it’s been an honor. It surprised me a bit. The idea to cross genres, to cross age and race, is a difficult thing to do musically,” he says. “But I think you can be as soulful and evocative as you want to be in dance music. What matters is that the message you’re singing doesn’t change. I don’t mind that backbeat, not at all.”
As the son of a minister, Porter grew up singing gospel in church. The largely rural community of Bakersfield provided a complicated backdrop. “On one hand, we would walk down the alley and fruit was dropping from the trees, and I had a lot of friends. But at the same time, there were really strange and violent racial experiences,” he says. “My brother, walking home from work late at night, was shot in the back by a couple of racists. They tried to cut down [our] tree house that was in the front yard. It was difficult and strange, but at the same time, as a kid, you’re just resilient.”
He found a release in athletics, entering San Diego State University on a football scholarship. However, a few months into his freshman year, he dislocated a shoulder and tore his rotator cuff, injuries that would pull him from the field permanently. “When you’re an athlete, it’s your identity in a way—a stamp on your forehead,” he says. “And suddenly, I needed a new identity.” He tapped into his early musical inclinations by joining jam sessions around the city. These eventually led to a role in the musical It Ain’t Nothin’ but the Blues at the San Diego Repertory Theatre, which then traveled nationally and even enjoyed a stint on Broadway.
Emboldened, Porter wrote his own musical in 2004, Nat King Cole & Me,a tribute to the favorite artist of his childhood. “His music kind of washed over me like it was fatherly advice; my father didn’t raise me. I listened to the music in this wide-open, emotional way,” Porter says. He then moved to New York and became a fixture in the jazz community of Harlem. Motema Records called in 2008, and he cut two albums with the label, 2010’s Water and 2012’s Be Good (neither of which charted in the U.S.), before signing with Blue Note Records. His debut release for Blue Note, Liquid Spirit, not only won the Grammy but cracked the Top 10 of the U.K. album charts, a rare feat for a jazz release, even one by “a jazz singer of thrilling presence,” as The New York Times praised him. That year, he also scored his highest-profile New York booking to date: a role in the limited-run reprise of Blood on the Fields, Wynton Marsalis’s Pulitzer Prize–winning 1997 jazz oratorio about a Southern
slave couple’s journey to freedom.
Marsalis tells Newsweek that Porter was a natural for the lead part of Juba, a sage of preternatural intensity. “He has a depth of soul and feeling in his voice, and command of a kind of a baritone sound that is very rare,” says Marsalis, 53. “His voice is rich, and it communicates a soul that is uncommon.”
As he writes his fourth jazz-soul album, Porter is gravitating toward topical themes. “I’m going to harvest my experiences and my feelings about what’s going on in the country, the unrest and some of the violence that’s happened,” he says. “I’m thinking of themes of mutual respect in all ways, not just the police: young person to young person, young person to old person, neighbor to neighbor. Everybody has to be considerate and thoughtful about life.” It’s a fitting thought for an artist who, somehow, bridged the immeasurable taste gap between millennial ravers and highfalutin jazz icons using only his voice.
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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R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation: Newsweek
http://www.jazzpromoservices.com/
** http://www.newsweek.com/2015/10/09/rb-singer-gregory-porter-may-make-jazz-relevant-new-generation-377010.html
————————————————————
**
————————————————————
** R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation
————————————————————
BY STACEY ANDERSON (http://www.newsweek.com/authors/stacey-anderson) / SEPTEMBER 26, 2015 3:10 PM EDT
10_09_Porter_01
Gregory Porter croons with the jazz gusto of a bygone era, but all potential collaborators take note: He is very much alive. “Howard [Lawrence], one of the brothers of Disclosure, heard my voice on the jazz radio station in the U.K., but he thought it was a very old song,” recalls Porter, 43, with a laugh, calling Newsweek from his hometown of Bakersfield, California. “He thought it was maybe something he could potentially sample.”
A bit of sleuthing led Lawrence to Porter, a Brooklyn resident for the past decade, and the producer invited him to co-write a song. The result was a pensive yet joyous jazz-soul ballad, one that hewed close to Porter’s Grammy-winning solo catalog. But the efforts didn’t end there; Lawrence and brother Guy, who comprise the über-trendy British dance duo Disclosure, rewound the song into a sprightly club track, “Holding On,” that reached No. 1 on the U.S. dance charts as the lead single of their second album, September’s Caracal.
The track is Porter’s boldest step yet in his unlikely evolution from jazz traditionalist to club-kid muse. (It’s also enticing other marquee names; both pop-soul savant Sam Smith and iconic rap group De La Soul recently approached him to collaborate on new material.) Porter cuts a strange figure for a jazzman; his resonant, soulful baritone and youthful presence have been embraced by electro-pop DJs, who have poured hundreds of remixes of his tracks onto YouTube and SoundCloud in the past five years. At the same time, he’s still embraced by traditional bop audiences, even collecting a Grammy for best jazz vocal album for 2013’s Liquid Spirit.
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
While the sampling of jazz artists is a tradition in dance circles—artists from Massive Attack to DJ Shadow and Flying Lotus—cross-genre, honest-to-god duets aren’t forged quite as often. Porter acknowledges that not many contemporary jazz artists have been as embraced by the electro set. “I don’t think it happens often, and it’s been an honor. It surprised me a bit. The idea to cross genres, to cross age and race, is a difficult thing to do musically,” he says. “But I think you can be as soulful and evocative as you want to be in dance music. What matters is that the message you’re singing doesn’t change. I don’t mind that backbeat, not at all.”
As the son of a minister, Porter grew up singing gospel in church. The largely rural community of Bakersfield provided a complicated backdrop. “On one hand, we would walk down the alley and fruit was dropping from the trees, and I had a lot of friends. But at the same time, there were really strange and violent racial experiences,” he says. “My brother, walking home from work late at night, was shot in the back by a couple of racists. They tried to cut down [our] tree house that was in the front yard. It was difficult and strange, but at the same time, as a kid, you’re just resilient.”
He found a release in athletics, entering San Diego State University on a football scholarship. However, a few months into his freshman year, he dislocated a shoulder and tore his rotator cuff, injuries that would pull him from the field permanently. “When you’re an athlete, it’s your identity in a way—a stamp on your forehead,” he says. “And suddenly, I needed a new identity.” He tapped into his early musical inclinations by joining jam sessions around the city. These eventually led to a role in the musical It Ain’t Nothin’ but the Blues at the San Diego Repertory Theatre, which then traveled nationally and even enjoyed a stint on Broadway.
Emboldened, Porter wrote his own musical in 2004, Nat King Cole & Me,a tribute to the favorite artist of his childhood. “His music kind of washed over me like it was fatherly advice; my father didn’t raise me. I listened to the music in this wide-open, emotional way,” Porter says. He then moved to New York and became a fixture in the jazz community of Harlem. Motema Records called in 2008, and he cut two albums with the label, 2010’s Water and 2012’s Be Good (neither of which charted in the U.S.), before signing with Blue Note Records. His debut release for Blue Note, Liquid Spirit, not only won the Grammy but cracked the Top 10 of the U.K. album charts, a rare feat for a jazz release, even one by “a jazz singer of thrilling presence,” as The New York Times praised him. That year, he also scored his highest-profile New York booking to date: a role in the limited-run reprise of Blood on the Fields, Wynton Marsalis’s Pulitzer Prize–winning 1997 jazz oratorio about a Southern
slave couple’s journey to freedom.
Marsalis tells Newsweek that Porter was a natural for the lead part of Juba, a sage of preternatural intensity. “He has a depth of soul and feeling in his voice, and command of a kind of a baritone sound that is very rare,” says Marsalis, 53. “His voice is rich, and it communicates a soul that is uncommon.”
As he writes his fourth jazz-soul album, Porter is gravitating toward topical themes. “I’m going to harvest my experiences and my feelings about what’s going on in the country, the unrest and some of the violence that’s happened,” he says. “I’m thinking of themes of mutual respect in all ways, not just the police: young person to young person, young person to old person, neighbor to neighbor. Everybody has to be considerate and thoughtful about life.” It’s a fitting thought for an artist who, somehow, bridged the immeasurable taste gap between millennial ravers and highfalutin jazz icons using only his voice.
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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R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation: Newsweek
http://www.jazzpromoservices.com/
** http://www.newsweek.com/2015/10/09/rb-singer-gregory-porter-may-make-jazz-relevant-new-generation-377010.html
————————————————————
**
————————————————————
** R&B Singer Gregory Porter May Make Jazz Relevant for a New Generation
————————————————————
BY STACEY ANDERSON (http://www.newsweek.com/authors/stacey-anderson) / SEPTEMBER 26, 2015 3:10 PM EDT
10_09_Porter_01
Gregory Porter croons with the jazz gusto of a bygone era, but all potential collaborators take note: He is very much alive. “Howard [Lawrence], one of the brothers of Disclosure, heard my voice on the jazz radio station in the U.K., but he thought it was a very old song,” recalls Porter, 43, with a laugh, calling Newsweek from his hometown of Bakersfield, California. “He thought it was maybe something he could potentially sample.”
A bit of sleuthing led Lawrence to Porter, a Brooklyn resident for the past decade, and the producer invited him to co-write a song. The result was a pensive yet joyous jazz-soul ballad, one that hewed close to Porter’s Grammy-winning solo catalog. But the efforts didn’t end there; Lawrence and brother Guy, who comprise the über-trendy British dance duo Disclosure, rewound the song into a sprightly club track, “Holding On,” that reached No. 1 on the U.S. dance charts as the lead single of their second album, September’s Caracal.
The track is Porter’s boldest step yet in his unlikely evolution from jazz traditionalist to club-kid muse. (It’s also enticing other marquee names; both pop-soul savant Sam Smith and iconic rap group De La Soul recently approached him to collaborate on new material.) Porter cuts a strange figure for a jazzman; his resonant, soulful baritone and youthful presence have been embraced by electro-pop DJs, who have poured hundreds of remixes of his tracks onto YouTube and SoundCloud in the past five years. At the same time, he’s still embraced by traditional bop audiences, even collecting a Grammy for best jazz vocal album for 2013’s Liquid Spirit.
Try Newsweek for only $1.25 per week (safari-reader://www.newsweek.com/trial)
While the sampling of jazz artists is a tradition in dance circles—artists from Massive Attack to DJ Shadow and Flying Lotus—cross-genre, honest-to-god duets aren’t forged quite as often. Porter acknowledges that not many contemporary jazz artists have been as embraced by the electro set. “I don’t think it happens often, and it’s been an honor. It surprised me a bit. The idea to cross genres, to cross age and race, is a difficult thing to do musically,” he says. “But I think you can be as soulful and evocative as you want to be in dance music. What matters is that the message you’re singing doesn’t change. I don’t mind that backbeat, not at all.”
As the son of a minister, Porter grew up singing gospel in church. The largely rural community of Bakersfield provided a complicated backdrop. “On one hand, we would walk down the alley and fruit was dropping from the trees, and I had a lot of friends. But at the same time, there were really strange and violent racial experiences,” he says. “My brother, walking home from work late at night, was shot in the back by a couple of racists. They tried to cut down [our] tree house that was in the front yard. It was difficult and strange, but at the same time, as a kid, you’re just resilient.”
He found a release in athletics, entering San Diego State University on a football scholarship. However, a few months into his freshman year, he dislocated a shoulder and tore his rotator cuff, injuries that would pull him from the field permanently. “When you’re an athlete, it’s your identity in a way—a stamp on your forehead,” he says. “And suddenly, I needed a new identity.” He tapped into his early musical inclinations by joining jam sessions around the city. These eventually led to a role in the musical It Ain’t Nothin’ but the Blues at the San Diego Repertory Theatre, which then traveled nationally and even enjoyed a stint on Broadway.
Emboldened, Porter wrote his own musical in 2004, Nat King Cole & Me,a tribute to the favorite artist of his childhood. “His music kind of washed over me like it was fatherly advice; my father didn’t raise me. I listened to the music in this wide-open, emotional way,” Porter says. He then moved to New York and became a fixture in the jazz community of Harlem. Motema Records called in 2008, and he cut two albums with the label, 2010’s Water and 2012’s Be Good (neither of which charted in the U.S.), before signing with Blue Note Records. His debut release for Blue Note, Liquid Spirit, not only won the Grammy but cracked the Top 10 of the U.K. album charts, a rare feat for a jazz release, even one by “a jazz singer of thrilling presence,” as The New York Times praised him. That year, he also scored his highest-profile New York booking to date: a role in the limited-run reprise of Blood on the Fields, Wynton Marsalis’s Pulitzer Prize–winning 1997 jazz oratorio about a Southern
slave couple’s journey to freedom.
Marsalis tells Newsweek that Porter was a natural for the lead part of Juba, a sage of preternatural intensity. “He has a depth of soul and feeling in his voice, and command of a kind of a baritone sound that is very rare,” says Marsalis, 53. “His voice is rich, and it communicates a soul that is uncommon.”
As he writes his fourth jazz-soul album, Porter is gravitating toward topical themes. “I’m going to harvest my experiences and my feelings about what’s going on in the country, the unrest and some of the violence that’s happened,” he says. “I’m thinking of themes of mutual respect in all ways, not just the police: young person to young person, young person to old person, neighbor to neighbor. Everybody has to be considerate and thoughtful about life.” It’s a fitting thought for an artist who, somehow, bridged the immeasurable taste gap between millennial ravers and highfalutin jazz icons using only his voice.
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
Tulane University – Louis Prima collection donated to the Tulane Hogan Jazz Archive
http://www.jazzpromoservices.com/
http://tulane.edu/news/releases/prima-collection-donated-to-tulane.cfm
** Louis Prima collection donated to the Tulane Hogan Jazz Archive
————————————————————
September 24, 2015
Carolyn Scofield
Phone: 247-1443
cscofiel@tulane.edu (mailto:cscofiel@tulane.edu)
He grew up playing music in New Orleans but Louis Prima’s talent as an artist and entertainer made him world-renowned. Now, artifacts belonging to the great jazz trumpeter, vocalist and composer, including films, recordings, diaries and sheet music, are coming home to the William Ransom Hogan Archive of New Orleans Jazz at Tulane University.
“Prima’s iconic status as an artist and entertainer whose career spanned half a century and included hits such as ‘Jump, Jive an’ Wail’ and ‘Just a Gigolo – I Ain’t Got Nobody,’ makes this one of the most notable donations ever received by the Hogan Jazz Archive,” said Bruce Raeburn, director of Special Collections and curator of the Hogan Jazz Archive (http://jazz.tulane.edu/) .
The collection was donated by the Gia Maione Prima Foundation, Inc, founded by Prima’s wife and lead vocalist. Tulane will dedicate a Louis Prima Room to house the collection in Jones Hall in 2017.
Prima is one of New Orleans’ most influential musicians, bringing the sounds of the city to audiences across the globe. His style evolved through the years, from Dixieland jazz to swing to pop, even rock and roll. His legacy continues today. Generations of children know Prima’s voice as King Louie in Disney’s The Jungle Book. The Brian Setzer Orchestra won a Grammy covering Prima’s 1956 song “Jump, Jive an’ Wail.”
“We are excited to partner with Tulane University and be able to fulfill his late wife Gia’s dream of bringing the Louis Prima Archives to his hometown of New Orleans. This collaboration was not only meant to have Tulane University maintain and preserve the archives but was also designed to continue the legacy of Louis Prima and support and encourage an appreciation for American Jazz, American Popular Music and jazz performers,” said Anthony J. Sylvester, managing member of the Gia Maione Prima Foundation and founding partner of Sherman Wells Sylvester & Stamelman LLP in Florham Park, New Jersey.
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
Tulane University – Louis Prima collection donated to the Tulane Hogan Jazz Archive
http://www.jazzpromoservices.com/
http://tulane.edu/news/releases/prima-collection-donated-to-tulane.cfm
** Louis Prima collection donated to the Tulane Hogan Jazz Archive
————————————————————
September 24, 2015
Carolyn Scofield
Phone: 247-1443
cscofiel@tulane.edu (mailto:cscofiel@tulane.edu)
He grew up playing music in New Orleans but Louis Prima’s talent as an artist and entertainer made him world-renowned. Now, artifacts belonging to the great jazz trumpeter, vocalist and composer, including films, recordings, diaries and sheet music, are coming home to the William Ransom Hogan Archive of New Orleans Jazz at Tulane University.
“Prima’s iconic status as an artist and entertainer whose career spanned half a century and included hits such as ‘Jump, Jive an’ Wail’ and ‘Just a Gigolo – I Ain’t Got Nobody,’ makes this one of the most notable donations ever received by the Hogan Jazz Archive,” said Bruce Raeburn, director of Special Collections and curator of the Hogan Jazz Archive (http://jazz.tulane.edu/) .
The collection was donated by the Gia Maione Prima Foundation, Inc, founded by Prima’s wife and lead vocalist. Tulane will dedicate a Louis Prima Room to house the collection in Jones Hall in 2017.
Prima is one of New Orleans’ most influential musicians, bringing the sounds of the city to audiences across the globe. His style evolved through the years, from Dixieland jazz to swing to pop, even rock and roll. His legacy continues today. Generations of children know Prima’s voice as King Louie in Disney’s The Jungle Book. The Brian Setzer Orchestra won a Grammy covering Prima’s 1956 song “Jump, Jive an’ Wail.”
“We are excited to partner with Tulane University and be able to fulfill his late wife Gia’s dream of bringing the Louis Prima Archives to his hometown of New Orleans. This collaboration was not only meant to have Tulane University maintain and preserve the archives but was also designed to continue the legacy of Louis Prima and support and encourage an appreciation for American Jazz, American Popular Music and jazz performers,” said Anthony J. Sylvester, managing member of the Gia Maione Prima Foundation and founding partner of Sherman Wells Sylvester & Stamelman LLP in Florham Park, New Jersey.
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
Tulane University – Louis Prima collection donated to the Tulane Hogan Jazz Archive
http://www.jazzpromoservices.com/
http://tulane.edu/news/releases/prima-collection-donated-to-tulane.cfm
** Louis Prima collection donated to the Tulane Hogan Jazz Archive
————————————————————
September 24, 2015
Carolyn Scofield
Phone: 247-1443
cscofiel@tulane.edu (mailto:cscofiel@tulane.edu)
He grew up playing music in New Orleans but Louis Prima’s talent as an artist and entertainer made him world-renowned. Now, artifacts belonging to the great jazz trumpeter, vocalist and composer, including films, recordings, diaries and sheet music, are coming home to the William Ransom Hogan Archive of New Orleans Jazz at Tulane University.
“Prima’s iconic status as an artist and entertainer whose career spanned half a century and included hits such as ‘Jump, Jive an’ Wail’ and ‘Just a Gigolo – I Ain’t Got Nobody,’ makes this one of the most notable donations ever received by the Hogan Jazz Archive,” said Bruce Raeburn, director of Special Collections and curator of the Hogan Jazz Archive (http://jazz.tulane.edu/) .
The collection was donated by the Gia Maione Prima Foundation, Inc, founded by Prima’s wife and lead vocalist. Tulane will dedicate a Louis Prima Room to house the collection in Jones Hall in 2017.
Prima is one of New Orleans’ most influential musicians, bringing the sounds of the city to audiences across the globe. His style evolved through the years, from Dixieland jazz to swing to pop, even rock and roll. His legacy continues today. Generations of children know Prima’s voice as King Louie in Disney’s The Jungle Book. The Brian Setzer Orchestra won a Grammy covering Prima’s 1956 song “Jump, Jive an’ Wail.”
“We are excited to partner with Tulane University and be able to fulfill his late wife Gia’s dream of bringing the Louis Prima Archives to his hometown of New Orleans. This collaboration was not only meant to have Tulane University maintain and preserve the archives but was also designed to continue the legacy of Louis Prima and support and encourage an appreciation for American Jazz, American Popular Music and jazz performers,” said Anthony J. Sylvester, managing member of the Gia Maione Prima Foundation and founding partner of Sherman Wells Sylvester & Stamelman LLP in Florham Park, New Jersey.
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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USA
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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=ca87eabc51) | 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=ca87eabc51&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
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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=ca87eabc51) | 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=ca87eabc51&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
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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=ca87eabc51) | 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=ca87eabc51&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
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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=03916a863f) | 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=03916a863f&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
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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=03916a863f) | 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=03916a863f&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
Music Journalists from USA Today, Times-Picayune, New York Daily News Exit | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/news/6707243/music-journalism-usa-today-times-picayune-daily-news
By Maura Johnston (http://www.billboard.com/author/maura-johnston-6281655) | September 24, 2015
** Music Coverage Endangered as Writers From USA Today, Times-Picayune, New York Daily News Exit
————————————————————
Music coverage at metropolitan dailies has taken a major hit in recent weeks, with writers at several legacy city papers leaving their full-time positions.
Jim Farber announced on Sept. 17 that he had been let go from the New York Daily News, where he had been covering music since 1990, in a round of layoffs that hit the paper’s highest-profile talent particularly hard. New Orleans’ Times-Picayune dissolved its music department in a 21 percent budget slice of the paper’s content operation. The Advance Publications-owned title laid off music writer Alison Fensterstock and offered her colleague Keith Spera a metro reporting job that would, according to a Facebook post (https://www.facebook.com/keith.spera/posts/916955898394175) , allow him to “write the occasional music-related news story.”
The 2.8-million circulation national daily USA Today, meanwhile, said goodbye to its longtime music writer Brian Mansfield. The Nashville-based 18-year veteran of the paper reveals his next move will take him out of traditional journalism into a new role as content director at public relations firm Shore Fire Media (http://www.billboard.com/articles/news/6707821/journalist-brian-mansfield-named-content-director-at-shore-fire-media) (Bruce Springsteen (http://www.billboard.com/artist/298448/bruce-springsteen/chart) , Elvis Costello (http://www.billboard.com/artist/301685/elvis-costello/chart) , St. Vincent (http://www.billboard.com/artist/280260/st-vincent/chart) ).
“I wanted to make sure that I got out on my own terms,” Mansfield tells Billboard. “I’ve seen people in other jobs that are just hanging on. I didn’t want to find myself down the road in a situation where I was waiting to see what somebody else was going to do.”
“Brian is going to be in charge of creating and unifying all of our written materials and creating a stream of text, images and music for us,” says Shore Fire founder Marilyn Laverty. “He’ll also be contributing media strategies for campaigns and mentoring our staff writers. And as someone who is so widely respected and so knowledgeable in the music business, he’ll be a great ambassador for us as well.”
Although Mansfield adds that he’s looking forward to stepping away from the 14-hour days he was putting in as USA Today, his exit also marks the first time in the newspaper’s 33-year history that it will not have a full-time writer devoted to music.
These cuts mark the latest acknowledgment that readers have shifted online (and, more recently) to the mobile space as ad revenue has fallen. And the new landscape affects not only those soon-to-be-out-of-work journalists, but also touring bands that rely on local coverage to boost ticket sales.
“There’s something old-fashioned about it that kind of works,” says Fruit Bats (http://www.billboard.com/artist/302521/fruit-bats/chart) frontman Eric Johnson of previews placed in local newspapers that help spread word of an upcoming appearance. “For most indie bands, they rely on their following and also curiosity seekers to fill a room. The nod from the local press gives just a little bit of an edge.” His band is currently warming up on the road ahead of a trek with My Morning Jacket (http://www.billboard.com/artist/311982/my-morning-jacket/chart) and playing to the sort of predominantly male, adult audience that’s likely to pick up the local paper. “You can always tell the people that haven’t heard you [because] they’re not singing along,” he adds. And that’s a good thing as it signals discovery.
“What used to be the case, to a certain extent, was that rock critics occupied a version of the bourgeois public sphere in newspapers,” offers Eric Weisbard, associate professor at the University of Alabama and author of Top 40 Democracy: The Rival Mainstreams Of American Music. “They had staff positions; they were allowed to write column-length appreciations of music that told their community, ‘Here’s how to value this music.’ … Now, it’s a highly interactive space that’s less [about] imagining and more [about] experiencing.”
As another round of layoffs is expected at the Los Angeles Times, which is reportedly looking to eliminate more than 80 full-time positions, and the value of music coverage — and the vitality of arts criticism in general — is debated anew on social media and beyond, Farber points to his own experience via a Sept. 21 Facebook post: “Each critique, think piece, interview, and industry story provided an opportunity to explore how sound hits us, to work out why the creations of a great range of artists illuminates, or infuriates, us so.”
With reporting by Shirley Halperin and Chris Willman.
This article was originally published in the Oct. 3 issue of Billboard (http://shop.billboard.com/collections/back-issues/products/billboard-back-issue-volume-127-issue-29) .
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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How MacArthur Geniuses Handle Their Money Windfalls – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/26/your-money/how-macarthur-geniuses-handle-their-money-windfalls.html?ref=business
** How MacArthur Geniuses Handle Their Money Windfalls
————————————————————
Wealth Matters (http://www.nytimes.com/column/wealth-matters)
By PAUL SULLIVAN (http://topics.nytimes.com/top/reference/timestopics/people/s/paul_sullivan/index.html)
Steve Coleman, a saxophonist, won a MacArthur last year at age 57. Credit Jessica Kourkounis for The New York Times
KYLE ABRAHAM, a dancer, got a call two years ago saying he had won an award that came with a $625,000 check. After the initial shock, he decided to pay off $180,000 in student loans (http://topics.nytimes.com/your-money/loans/student-loans/index.html?inline=nyt-classifier) .
Sally Otto, an evolutionary biologist, got the call, too. She said she didn’t need the money so she has donated $500,000 to causes she felt deserved more recognition. Andrea Ghez, an astrophysicist, spent three-quarters of her windfall on her children.
“Just hiring more help with the logistics of life and not feeling that was a bad thing — it was part of doing my job well,” Dr. Ghez said. “I was so thrilled that I could have a work and family life.”
All three were recipients of MacArthur Foundation fellowships (https://www.macfound.org/programs/fellows/) , a group better known as the “MacArthur geniuses.” The next class of fellows will be announced next week, and each one will receive a sudden surge of recognition as well as $625,000 paid out over the next five years.
But can a genius manage a financial windfall better than the average person?
Photo
Andrea Ghez, an astrophysicist, spent three-quarters of her MacArthur grant money on her children. Credit Annie Tritt for The New York Times
There are plenty of studies that show how ruinous lump sums of money can be for recipients. Lottery winners can end up as life’s losers — at least those who make the news for ending up broke a few years after winning millions.
And the financial failures of star athletes are well documented. Mike Tyson, the boxer, made millions but ended up in debt. And there’s Lenny Dykstra, the baseball great who served six months for bankruptcy fraud, as well as the fleet of football players who have fast cars but little else when their careers are cut short.
But if a group of geniuses get phone calls out of the blue one autumn morning, would they have more to show for the $625,000 windfall at the end of five years? It turns out, judging from a sampling of MacArthur fellows, they would. And how they spent their windfall, which by the terms of the MacArthur awards is entirely up to them, is equally intriguing.
For one, the artists and scientists who win a MacArthur are, by definition, completely devoted to what they are doing — to the point that the money was not going to change their trajectory. For most, it was only going to enhance what they were already doing.
Steve Coleman, a saxophonist who won last year at age 57, said he had created a life over decades that required little money to maintain and could be supported with even less when times were tough. That way, he said, he wouldn’t have to worry when recording deals or performances dried up. He could still make music and pay his bills.
“All the decisions I make are based on music, and then I try to figure out how am I going to survive with the music things I’m doing,” he said.
“I live in Allentown, and the reason I live here is economics,” he added. “I lived in New York for 13 years,” he went on, but moved to Pennsylvania because New York had gotten too expensive. “I wanted to travel and do research.”
He said he learned a lesson from a music copyist in the 1980s on the importance of budgeting. He took it to heart and started making spreadsheets for all of his projects. “We have to plan the whole thing out — a tour, a record,” he said. “I can’t even tell you how many times that’s saved me.”
When the MacArthur money came in, he put it toward an idea he had started to develop — a program that brought musicians together to live in a city for three to four weeks to perform and be part of the community.
For Dr. Otto, the money was incidental to her work. Even though she grew up quite poor, she said, she never thought of spending the money on herself and said that her research would not benefit from extra funding. (She uses mathematical models to advance research on genetics and evolution.)
“The nature of what I do means that time is more precious than money for my research,” she said. “When I received the MacArthur it wasn’t, ‘Now I can do that study I wanted to do.’ I felt I was very supported by my university and by grants. But what I did feel was that as a scientist and a person I could have more influence” by giving it away.
So that’s what she is doing. So far, she has made three gifts of the entire annual amount to the Nature Trust of British Columbia, an environmental conservation program in Indonesia, and a fund at the University of British Columbia, where she teaches, to pay student researchers working on conservation issues.
For other fellows, it was as if they had won the lottery at the moment they needed it most.
Edith Widder, a marine biologist and inventor of several submersible vehicles to explore the ocean’s depths, said her award in 2006 allowed her to continue to operate the Ocean Research & Conservation Association, a research and advocacy organization she founded. She had started the organization a year earlier, after spending decades at an established oceanographic research institute.
Dr. Widder said she had thought it would be easy for her to raise money based on her past work, but she found otherwise. “We were struggling financially,” she said. “I put every penny of that MacArthur money back into ORCA.”
But as was true for many other recipients, the recognition from the award itself opened doors. News of what she was doing — she had invented a way to measure pollution levels in estuaries that feed into the ocean — led to grants from other foundations and eventually from the state of Florida.
She was also still able to continue doing deep-sea exploration. In 2012, she was part of the team that first photographed a giant squid in its natural environment, about 2,300 feet below the surface.
Money, of course, can have a protective quality. If you have your own, you don’t have to rely on other people as much. Sheila Nirenberg, a neuroscientist who has developed a way to restore eyesight, said the MacArthur money helped ward off doubters. As part of her research, she created glasses that help bypass damaged cells to bring images directly to healthy cells that allow people to see again.
“To do something like this, science-wise, everything is hard,” she said. “You have to work with annoying people because everyone wants something. The MacArthur was a buffer against that.”
It also brought her to the attention of investors interested enough to make her idea commercially viable.
As for spending the money, years in the lab had made her wants modest. “I had money to order Chinese food or pizza for everyone when we’re working late at the lab,” Dr. Nirenberg said. “That sounds ludicrous, but it helps. I can also give bonuses to the team to keep everyone happy and incentivized.”
The downsides of being publicly acknowledged as a genius with new wealth are no different for MacArthur fellows than for anyone whose good fortune becomes publicly known. People they haven’t spoken to in years reappear to ask about a loan.
Mr. Abraham, the dancer, said one dispiriting moment was when an artist he had worked with in the past tried to take advantage of him, quadrupling his rate to $8,000 from under $2,000.
“I said, ‘This is how much you charged me in the past, and I think the amount is a bit extreme,’ ” he said. “After that, they offered their services in kind.”
Then, there is the problem of taking on so much so fast, like a deluge after a dry summer.
Mr. Coleman said he had to think hard about what to do with such a large amount of money, even though it is spread over five years and his money management was more akin to that of an accountant than a saxophonist. “The MacArthur people, they give you the money and they don’t do anything else,” he said. “They let you make your own mistakes.”
So far, though, he said he had managed it well. His secret? He has continued to budget just as he has long done — a good practice for anyone who comes into a windfall.
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/)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
How MacArthur Geniuses Handle Their Money Windfalls – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/26/your-money/how-macarthur-geniuses-handle-their-money-windfalls.html?ref=business
** How MacArthur Geniuses Handle Their Money Windfalls
————————————————————
Wealth Matters (http://www.nytimes.com/column/wealth-matters)
By PAUL SULLIVAN (http://topics.nytimes.com/top/reference/timestopics/people/s/paul_sullivan/index.html)
Steve Coleman, a saxophonist, won a MacArthur last year at age 57. Credit Jessica Kourkounis for The New York Times
KYLE ABRAHAM, a dancer, got a call two years ago saying he had won an award that came with a $625,000 check. After the initial shock, he decided to pay off $180,000 in student loans (http://topics.nytimes.com/your-money/loans/student-loans/index.html?inline=nyt-classifier) .
Sally Otto, an evolutionary biologist, got the call, too. She said she didn’t need the money so she has donated $500,000 to causes she felt deserved more recognition. Andrea Ghez, an astrophysicist, spent three-quarters of her windfall on her children.
“Just hiring more help with the logistics of life and not feeling that was a bad thing — it was part of doing my job well,” Dr. Ghez said. “I was so thrilled that I could have a work and family life.”
All three were recipients of MacArthur Foundation fellowships (https://www.macfound.org/programs/fellows/) , a group better known as the “MacArthur geniuses.” The next class of fellows will be announced next week, and each one will receive a sudden surge of recognition as well as $625,000 paid out over the next five years.
But can a genius manage a financial windfall better than the average person?
Photo
Andrea Ghez, an astrophysicist, spent three-quarters of her MacArthur grant money on her children. Credit Annie Tritt for The New York Times
There are plenty of studies that show how ruinous lump sums of money can be for recipients. Lottery winners can end up as life’s losers — at least those who make the news for ending up broke a few years after winning millions.
And the financial failures of star athletes are well documented. Mike Tyson, the boxer, made millions but ended up in debt. And there’s Lenny Dykstra, the baseball great who served six months for bankruptcy fraud, as well as the fleet of football players who have fast cars but little else when their careers are cut short.
But if a group of geniuses get phone calls out of the blue one autumn morning, would they have more to show for the $625,000 windfall at the end of five years? It turns out, judging from a sampling of MacArthur fellows, they would. And how they spent their windfall, which by the terms of the MacArthur awards is entirely up to them, is equally intriguing.
For one, the artists and scientists who win a MacArthur are, by definition, completely devoted to what they are doing — to the point that the money was not going to change their trajectory. For most, it was only going to enhance what they were already doing.
Steve Coleman, a saxophonist who won last year at age 57, said he had created a life over decades that required little money to maintain and could be supported with even less when times were tough. That way, he said, he wouldn’t have to worry when recording deals or performances dried up. He could still make music and pay his bills.
“All the decisions I make are based on music, and then I try to figure out how am I going to survive with the music things I’m doing,” he said.
“I live in Allentown, and the reason I live here is economics,” he added. “I lived in New York for 13 years,” he went on, but moved to Pennsylvania because New York had gotten too expensive. “I wanted to travel and do research.”
He said he learned a lesson from a music copyist in the 1980s on the importance of budgeting. He took it to heart and started making spreadsheets for all of his projects. “We have to plan the whole thing out — a tour, a record,” he said. “I can’t even tell you how many times that’s saved me.”
When the MacArthur money came in, he put it toward an idea he had started to develop — a program that brought musicians together to live in a city for three to four weeks to perform and be part of the community.
For Dr. Otto, the money was incidental to her work. Even though she grew up quite poor, she said, she never thought of spending the money on herself and said that her research would not benefit from extra funding. (She uses mathematical models to advance research on genetics and evolution.)
“The nature of what I do means that time is more precious than money for my research,” she said. “When I received the MacArthur it wasn’t, ‘Now I can do that study I wanted to do.’ I felt I was very supported by my university and by grants. But what I did feel was that as a scientist and a person I could have more influence” by giving it away.
So that’s what she is doing. So far, she has made three gifts of the entire annual amount to the Nature Trust of British Columbia, an environmental conservation program in Indonesia, and a fund at the University of British Columbia, where she teaches, to pay student researchers working on conservation issues.
For other fellows, it was as if they had won the lottery at the moment they needed it most.
Edith Widder, a marine biologist and inventor of several submersible vehicles to explore the ocean’s depths, said her award in 2006 allowed her to continue to operate the Ocean Research & Conservation Association, a research and advocacy organization she founded. She had started the organization a year earlier, after spending decades at an established oceanographic research institute.
Dr. Widder said she had thought it would be easy for her to raise money based on her past work, but she found otherwise. “We were struggling financially,” she said. “I put every penny of that MacArthur money back into ORCA.”
But as was true for many other recipients, the recognition from the award itself opened doors. News of what she was doing — she had invented a way to measure pollution levels in estuaries that feed into the ocean — led to grants from other foundations and eventually from the state of Florida.
She was also still able to continue doing deep-sea exploration. In 2012, she was part of the team that first photographed a giant squid in its natural environment, about 2,300 feet below the surface.
Money, of course, can have a protective quality. If you have your own, you don’t have to rely on other people as much. Sheila Nirenberg, a neuroscientist who has developed a way to restore eyesight, said the MacArthur money helped ward off doubters. As part of her research, she created glasses that help bypass damaged cells to bring images directly to healthy cells that allow people to see again.
“To do something like this, science-wise, everything is hard,” she said. “You have to work with annoying people because everyone wants something. The MacArthur was a buffer against that.”
It also brought her to the attention of investors interested enough to make her idea commercially viable.
As for spending the money, years in the lab had made her wants modest. “I had money to order Chinese food or pizza for everyone when we’re working late at the lab,” Dr. Nirenberg said. “That sounds ludicrous, but it helps. I can also give bonuses to the team to keep everyone happy and incentivized.”
The downsides of being publicly acknowledged as a genius with new wealth are no different for MacArthur fellows than for anyone whose good fortune becomes publicly known. People they haven’t spoken to in years reappear to ask about a loan.
Mr. Abraham, the dancer, said one dispiriting moment was when an artist he had worked with in the past tried to take advantage of him, quadrupling his rate to $8,000 from under $2,000.
“I said, ‘This is how much you charged me in the past, and I think the amount is a bit extreme,’ ” he said. “After that, they offered their services in kind.”
Then, there is the problem of taking on so much so fast, like a deluge after a dry summer.
Mr. Coleman said he had to think hard about what to do with such a large amount of money, even though it is spread over five years and his money management was more akin to that of an accountant than a saxophonist. “The MacArthur people, they give you the money and they don’t do anything else,” he said. “They let you make your own mistakes.”
So far, though, he said he had managed it well. His secret? He has continued to budget just as he has long done — a good practice for anyone who comes into a windfall.
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=6b0bc61bfc) | 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=6b0bc61bfc&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
How MacArthur Geniuses Handle Their Money Windfalls – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/26/your-money/how-macarthur-geniuses-handle-their-money-windfalls.html?ref=business
** How MacArthur Geniuses Handle Their Money Windfalls
————————————————————
Wealth Matters (http://www.nytimes.com/column/wealth-matters)
By PAUL SULLIVAN (http://topics.nytimes.com/top/reference/timestopics/people/s/paul_sullivan/index.html)
Steve Coleman, a saxophonist, won a MacArthur last year at age 57. Credit Jessica Kourkounis for The New York Times
KYLE ABRAHAM, a dancer, got a call two years ago saying he had won an award that came with a $625,000 check. After the initial shock, he decided to pay off $180,000 in student loans (http://topics.nytimes.com/your-money/loans/student-loans/index.html?inline=nyt-classifier) .
Sally Otto, an evolutionary biologist, got the call, too. She said she didn’t need the money so she has donated $500,000 to causes she felt deserved more recognition. Andrea Ghez, an astrophysicist, spent three-quarters of her windfall on her children.
“Just hiring more help with the logistics of life and not feeling that was a bad thing — it was part of doing my job well,” Dr. Ghez said. “I was so thrilled that I could have a work and family life.”
All three were recipients of MacArthur Foundation fellowships (https://www.macfound.org/programs/fellows/) , a group better known as the “MacArthur geniuses.” The next class of fellows will be announced next week, and each one will receive a sudden surge of recognition as well as $625,000 paid out over the next five years.
But can a genius manage a financial windfall better than the average person?
Photo
Andrea Ghez, an astrophysicist, spent three-quarters of her MacArthur grant money on her children. Credit Annie Tritt for The New York Times
There are plenty of studies that show how ruinous lump sums of money can be for recipients. Lottery winners can end up as life’s losers — at least those who make the news for ending up broke a few years after winning millions.
And the financial failures of star athletes are well documented. Mike Tyson, the boxer, made millions but ended up in debt. And there’s Lenny Dykstra, the baseball great who served six months for bankruptcy fraud, as well as the fleet of football players who have fast cars but little else when their careers are cut short.
But if a group of geniuses get phone calls out of the blue one autumn morning, would they have more to show for the $625,000 windfall at the end of five years? It turns out, judging from a sampling of MacArthur fellows, they would. And how they spent their windfall, which by the terms of the MacArthur awards is entirely up to them, is equally intriguing.
For one, the artists and scientists who win a MacArthur are, by definition, completely devoted to what they are doing — to the point that the money was not going to change their trajectory. For most, it was only going to enhance what they were already doing.
Steve Coleman, a saxophonist who won last year at age 57, said he had created a life over decades that required little money to maintain and could be supported with even less when times were tough. That way, he said, he wouldn’t have to worry when recording deals or performances dried up. He could still make music and pay his bills.
“All the decisions I make are based on music, and then I try to figure out how am I going to survive with the music things I’m doing,” he said.
“I live in Allentown, and the reason I live here is economics,” he added. “I lived in New York for 13 years,” he went on, but moved to Pennsylvania because New York had gotten too expensive. “I wanted to travel and do research.”
He said he learned a lesson from a music copyist in the 1980s on the importance of budgeting. He took it to heart and started making spreadsheets for all of his projects. “We have to plan the whole thing out — a tour, a record,” he said. “I can’t even tell you how many times that’s saved me.”
When the MacArthur money came in, he put it toward an idea he had started to develop — a program that brought musicians together to live in a city for three to four weeks to perform and be part of the community.
For Dr. Otto, the money was incidental to her work. Even though she grew up quite poor, she said, she never thought of spending the money on herself and said that her research would not benefit from extra funding. (She uses mathematical models to advance research on genetics and evolution.)
“The nature of what I do means that time is more precious than money for my research,” she said. “When I received the MacArthur it wasn’t, ‘Now I can do that study I wanted to do.’ I felt I was very supported by my university and by grants. But what I did feel was that as a scientist and a person I could have more influence” by giving it away.
So that’s what she is doing. So far, she has made three gifts of the entire annual amount to the Nature Trust of British Columbia, an environmental conservation program in Indonesia, and a fund at the University of British Columbia, where she teaches, to pay student researchers working on conservation issues.
For other fellows, it was as if they had won the lottery at the moment they needed it most.
Edith Widder, a marine biologist and inventor of several submersible vehicles to explore the ocean’s depths, said her award in 2006 allowed her to continue to operate the Ocean Research & Conservation Association, a research and advocacy organization she founded. She had started the organization a year earlier, after spending decades at an established oceanographic research institute.
Dr. Widder said she had thought it would be easy for her to raise money based on her past work, but she found otherwise. “We were struggling financially,” she said. “I put every penny of that MacArthur money back into ORCA.”
But as was true for many other recipients, the recognition from the award itself opened doors. News of what she was doing — she had invented a way to measure pollution levels in estuaries that feed into the ocean — led to grants from other foundations and eventually from the state of Florida.
She was also still able to continue doing deep-sea exploration. In 2012, she was part of the team that first photographed a giant squid in its natural environment, about 2,300 feet below the surface.
Money, of course, can have a protective quality. If you have your own, you don’t have to rely on other people as much. Sheila Nirenberg, a neuroscientist who has developed a way to restore eyesight, said the MacArthur money helped ward off doubters. As part of her research, she created glasses that help bypass damaged cells to bring images directly to healthy cells that allow people to see again.
“To do something like this, science-wise, everything is hard,” she said. “You have to work with annoying people because everyone wants something. The MacArthur was a buffer against that.”
It also brought her to the attention of investors interested enough to make her idea commercially viable.
As for spending the money, years in the lab had made her wants modest. “I had money to order Chinese food or pizza for everyone when we’re working late at the lab,” Dr. Nirenberg said. “That sounds ludicrous, but it helps. I can also give bonuses to the team to keep everyone happy and incentivized.”
The downsides of being publicly acknowledged as a genius with new wealth are no different for MacArthur fellows than for anyone whose good fortune becomes publicly known. People they haven’t spoken to in years reappear to ask about a loan.
Mr. Abraham, the dancer, said one dispiriting moment was when an artist he had worked with in the past tried to take advantage of him, quadrupling his rate to $8,000 from under $2,000.
“I said, ‘This is how much you charged me in the past, and I think the amount is a bit extreme,’ ” he said. “After that, they offered their services in kind.”
Then, there is the problem of taking on so much so fast, like a deluge after a dry summer.
Mr. Coleman said he had to think hard about what to do with such a large amount of money, even though it is spread over five years and his money management was more akin to that of an accountant than a saxophonist. “The MacArthur people, they give you the money and they don’t do anything else,” he said. “They let you make your own mistakes.”
So far, though, he said he had managed it well. His secret? He has continued to budget just as he has long done — a good practice for anyone who comes into a windfall.
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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The Man Who Made Jazz Sexy – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-man-who-made-jazz-sexy-1443128194
** The Man Who Made Jazz Sexy
————————————————————
By
Terry Teachout
Sept. 24, 2015 4:56 p.m. ET
Contrary to popular belief, jazz wasn’t really born in the whorehouses of New Orleans. It was played there, though, and ever since then it’s been associated in the minds of many of its fans with the joys of sex. I found that out when I hosted a late-night jazz show on my college radio station years ago, and was informed by my listeners that the brooding ballads I liked to play after midnight were—shall we say—aphrodisiacal.
Etta James at the Playboy Jazz Festival. ENLARGE
Etta James at the Playboy Jazz Festival.Photo: Earl Gibson III/AP
No less noteworthy is the frequency with which jazz is now used in films and on TV as a musical signifier of world-weary hipness. It’s something I first noticed in 1993 when the Secret Service agent played by Clint Eastwood in “In the Line of Fire” turned out to be (like Mr. Eastwood himself) an amateur jazz pianist who listens to Miles Davis to unwind after spending the day chasing down assassins. What was true then is true today: Davis’s cooler-than-cool music is heard on the soundtrack of a recent series of car commercials in which Matthew McConaughey plays a super-suave gambler who drives to the big game in a Lincoln MKX.
Exactly how did jazz acquire this curious cultural cachet? I commend your attention to “Playboy Swings!: How Hugh Hefner (http://topics.wsj.com/person/H/Hugh-Hefner/6301) and Playboy Changed the Face of Music,” a well-researched, fascinatingly detailed new book by Patty Farmer that comes out next month. Written with the assistance of Will Friedwald, a frequent contributor to the Journal, “Playboy Swings!” goes a long way toward answering that question.
In our libertine age of hookup apps like Tinder, Playboy has become an arthritic artifact, something your grandpa perused when your grandma wasn’t looking. But in 1953, the year of its founding, it was a genuinely revolutionary idea. Mr. Hefner himself has described Playboy as “a lifestyle magazine that defined what it meant to be a [single] guy,” a slick monthly that published middle-to-highbrow essays and stories by writers like William F. Buckley Jr., Norman Mailer and Vladimir Nabokov (hence the once-ubiquitous catchphrase “I read it for the articles”) interspersed with pictures of naked women. Just as essential to its success, though, were the accompanying features that told its readers how to impress women as a preliminary step to bedding them. As the first issue proclaimed, “We like our apartment. We enjoy mixing up cocktails and an hors d’oeuvre or two, putting a little mood music on the phonograph and inviting in a female acquaintance for a quiet discussion on
Picasso, Nietzsche, jazz, sex.”
Note the strategic position of jazz in that list of topics. According to one of the magazine’s early editors, Playboy was designed to educate its naïve founder in the arcane ways of the swinging bachelor hipster: “It told guys like him what movies to see, what books to read, how to dress…all the stuff that Hef himself didn’t know.” But Mr. Hefner did know one thing going in: He loved jazz, and he insisted that his magazine publish plenty of articles about the men who played it.
Louis Armstrong and Dave Brubeck were among the first musicians to receive extensive coverage in Playboy, which soon became so closely identified with jazz that Art Pepper and Chet Baker recorded an album in 1956 called “Playboys.” An annual Playboy Jazz Poll was launched the following year, and in 1962 the magazine inaugurated its once-celebrated monthly interview with a piece in which Miles Davis sounded off on racism: “You can hardly meet a white person, especially a white man, that don’t think he’s qualified to tell you all about Negroes.” Jazz was also a major part of the talent on tap at the Playboy Clubs that opened throughout America starting in 1960. To this day, a Playboy Jazz Festival is held each year in the Hollywood Bowl.
A lesser-known but identically revealing document of Mr. Hefner’s lifelong passion for jazz is “Playboy’s Penthouse,” the TV variety series that he hosted from 1959 to 1961. Purportedly taped in his own apartment (it was actually shot on a soundstage), the show featured such guests as Count Basie, Tony Bennett, Nat King Cole, Ella Fitzgerald, Dizzy Gillespie and Mabel Mercer. Yes, its self-consciously casual air of “sophistication” looks creaky today—but the music is as fresh as ever.
“I would hope my championing of jazz will be remembered in a connective way with what’s unique about Playboy and my own legacy,” Mr. Hefner told L.A. Weekly in 2013. “As a musical form, jazz represents the same liberation and freedom that America represents in its most ideal form.” While I incline to doubt that he ranks with Abraham Lincoln as one of our great liberators, he certainly rates a footnote in the history of jazz. No matter what you think of Playboy, its founder deserves his fair share of credit for helping to make jazz stylish.
—Mr. Teachout, the Journal’s drama critic, writes “Sightings” every other Friday. Write to him at tteachout@wsj.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.
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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=730010e7ab) | 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=730010e7ab&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 Man Who Made Jazz Sexy – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-man-who-made-jazz-sexy-1443128194
** The Man Who Made Jazz Sexy
————————————————————
By
Terry Teachout
Sept. 24, 2015 4:56 p.m. ET
Contrary to popular belief, jazz wasn’t really born in the whorehouses of New Orleans. It was played there, though, and ever since then it’s been associated in the minds of many of its fans with the joys of sex. I found that out when I hosted a late-night jazz show on my college radio station years ago, and was informed by my listeners that the brooding ballads I liked to play after midnight were—shall we say—aphrodisiacal.
Etta James at the Playboy Jazz Festival. ENLARGE
Etta James at the Playboy Jazz Festival.Photo: Earl Gibson III/AP
No less noteworthy is the frequency with which jazz is now used in films and on TV as a musical signifier of world-weary hipness. It’s something I first noticed in 1993 when the Secret Service agent played by Clint Eastwood in “In the Line of Fire” turned out to be (like Mr. Eastwood himself) an amateur jazz pianist who listens to Miles Davis to unwind after spending the day chasing down assassins. What was true then is true today: Davis’s cooler-than-cool music is heard on the soundtrack of a recent series of car commercials in which Matthew McConaughey plays a super-suave gambler who drives to the big game in a Lincoln MKX.
Exactly how did jazz acquire this curious cultural cachet? I commend your attention to “Playboy Swings!: How Hugh Hefner (http://topics.wsj.com/person/H/Hugh-Hefner/6301) and Playboy Changed the Face of Music,” a well-researched, fascinatingly detailed new book by Patty Farmer that comes out next month. Written with the assistance of Will Friedwald, a frequent contributor to the Journal, “Playboy Swings!” goes a long way toward answering that question.
In our libertine age of hookup apps like Tinder, Playboy has become an arthritic artifact, something your grandpa perused when your grandma wasn’t looking. But in 1953, the year of its founding, it was a genuinely revolutionary idea. Mr. Hefner himself has described Playboy as “a lifestyle magazine that defined what it meant to be a [single] guy,” a slick monthly that published middle-to-highbrow essays and stories by writers like William F. Buckley Jr., Norman Mailer and Vladimir Nabokov (hence the once-ubiquitous catchphrase “I read it for the articles”) interspersed with pictures of naked women. Just as essential to its success, though, were the accompanying features that told its readers how to impress women as a preliminary step to bedding them. As the first issue proclaimed, “We like our apartment. We enjoy mixing up cocktails and an hors d’oeuvre or two, putting a little mood music on the phonograph and inviting in a female acquaintance for a quiet discussion on
Picasso, Nietzsche, jazz, sex.”
Note the strategic position of jazz in that list of topics. According to one of the magazine’s early editors, Playboy was designed to educate its naïve founder in the arcane ways of the swinging bachelor hipster: “It told guys like him what movies to see, what books to read, how to dress…all the stuff that Hef himself didn’t know.” But Mr. Hefner did know one thing going in: He loved jazz, and he insisted that his magazine publish plenty of articles about the men who played it.
Louis Armstrong and Dave Brubeck were among the first musicians to receive extensive coverage in Playboy, which soon became so closely identified with jazz that Art Pepper and Chet Baker recorded an album in 1956 called “Playboys.” An annual Playboy Jazz Poll was launched the following year, and in 1962 the magazine inaugurated its once-celebrated monthly interview with a piece in which Miles Davis sounded off on racism: “You can hardly meet a white person, especially a white man, that don’t think he’s qualified to tell you all about Negroes.” Jazz was also a major part of the talent on tap at the Playboy Clubs that opened throughout America starting in 1960. To this day, a Playboy Jazz Festival is held each year in the Hollywood Bowl.
A lesser-known but identically revealing document of Mr. Hefner’s lifelong passion for jazz is “Playboy’s Penthouse,” the TV variety series that he hosted from 1959 to 1961. Purportedly taped in his own apartment (it was actually shot on a soundstage), the show featured such guests as Count Basie, Tony Bennett, Nat King Cole, Ella Fitzgerald, Dizzy Gillespie and Mabel Mercer. Yes, its self-consciously casual air of “sophistication” looks creaky today—but the music is as fresh as ever.
“I would hope my championing of jazz will be remembered in a connective way with what’s unique about Playboy and my own legacy,” Mr. Hefner told L.A. Weekly in 2013. “As a musical form, jazz represents the same liberation and freedom that America represents in its most ideal form.” While I incline to doubt that he ranks with Abraham Lincoln as one of our great liberators, he certainly rates a footnote in the history of jazz. No matter what you think of Playboy, its founder deserves his fair share of credit for helping to make jazz stylish.
—Mr. Teachout, the Journal’s drama critic, writes “Sightings” every other Friday. Write to him at tteachout@wsj.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=730010e7ab) | 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=730010e7ab&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 Man Who Made Jazz Sexy – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-man-who-made-jazz-sexy-1443128194
** The Man Who Made Jazz Sexy
————————————————————
By
Terry Teachout
Sept. 24, 2015 4:56 p.m. ET
Contrary to popular belief, jazz wasn’t really born in the whorehouses of New Orleans. It was played there, though, and ever since then it’s been associated in the minds of many of its fans with the joys of sex. I found that out when I hosted a late-night jazz show on my college radio station years ago, and was informed by my listeners that the brooding ballads I liked to play after midnight were—shall we say—aphrodisiacal.
Etta James at the Playboy Jazz Festival. ENLARGE
Etta James at the Playboy Jazz Festival.Photo: Earl Gibson III/AP
No less noteworthy is the frequency with which jazz is now used in films and on TV as a musical signifier of world-weary hipness. It’s something I first noticed in 1993 when the Secret Service agent played by Clint Eastwood in “In the Line of Fire” turned out to be (like Mr. Eastwood himself) an amateur jazz pianist who listens to Miles Davis to unwind after spending the day chasing down assassins. What was true then is true today: Davis’s cooler-than-cool music is heard on the soundtrack of a recent series of car commercials in which Matthew McConaughey plays a super-suave gambler who drives to the big game in a Lincoln MKX.
Exactly how did jazz acquire this curious cultural cachet? I commend your attention to “Playboy Swings!: How Hugh Hefner (http://topics.wsj.com/person/H/Hugh-Hefner/6301) and Playboy Changed the Face of Music,” a well-researched, fascinatingly detailed new book by Patty Farmer that comes out next month. Written with the assistance of Will Friedwald, a frequent contributor to the Journal, “Playboy Swings!” goes a long way toward answering that question.
In our libertine age of hookup apps like Tinder, Playboy has become an arthritic artifact, something your grandpa perused when your grandma wasn’t looking. But in 1953, the year of its founding, it was a genuinely revolutionary idea. Mr. Hefner himself has described Playboy as “a lifestyle magazine that defined what it meant to be a [single] guy,” a slick monthly that published middle-to-highbrow essays and stories by writers like William F. Buckley Jr., Norman Mailer and Vladimir Nabokov (hence the once-ubiquitous catchphrase “I read it for the articles”) interspersed with pictures of naked women. Just as essential to its success, though, were the accompanying features that told its readers how to impress women as a preliminary step to bedding them. As the first issue proclaimed, “We like our apartment. We enjoy mixing up cocktails and an hors d’oeuvre or two, putting a little mood music on the phonograph and inviting in a female acquaintance for a quiet discussion on
Picasso, Nietzsche, jazz, sex.”
Note the strategic position of jazz in that list of topics. According to one of the magazine’s early editors, Playboy was designed to educate its naïve founder in the arcane ways of the swinging bachelor hipster: “It told guys like him what movies to see, what books to read, how to dress…all the stuff that Hef himself didn’t know.” But Mr. Hefner did know one thing going in: He loved jazz, and he insisted that his magazine publish plenty of articles about the men who played it.
Louis Armstrong and Dave Brubeck were among the first musicians to receive extensive coverage in Playboy, which soon became so closely identified with jazz that Art Pepper and Chet Baker recorded an album in 1956 called “Playboys.” An annual Playboy Jazz Poll was launched the following year, and in 1962 the magazine inaugurated its once-celebrated monthly interview with a piece in which Miles Davis sounded off on racism: “You can hardly meet a white person, especially a white man, that don’t think he’s qualified to tell you all about Negroes.” Jazz was also a major part of the talent on tap at the Playboy Clubs that opened throughout America starting in 1960. To this day, a Playboy Jazz Festival is held each year in the Hollywood Bowl.
A lesser-known but identically revealing document of Mr. Hefner’s lifelong passion for jazz is “Playboy’s Penthouse,” the TV variety series that he hosted from 1959 to 1961. Purportedly taped in his own apartment (it was actually shot on a soundstage), the show featured such guests as Count Basie, Tony Bennett, Nat King Cole, Ella Fitzgerald, Dizzy Gillespie and Mabel Mercer. Yes, its self-consciously casual air of “sophistication” looks creaky today—but the music is as fresh as ever.
“I would hope my championing of jazz will be remembered in a connective way with what’s unique about Playboy and my own legacy,” Mr. Hefner told L.A. Weekly in 2013. “As a musical form, jazz represents the same liberation and freedom that America represents in its most ideal form.” While I incline to doubt that he ranks with Abraham Lincoln as one of our great liberators, he certainly rates a footnote in the history of jazz. No matter what you think of Playboy, its founder deserves his fair share of credit for helping to make jazz stylish.
—Mr. Teachout, the Journal’s drama critic, writes “Sightings” every other Friday. Write to him at tteachout@wsj.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=730010e7ab) | 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=730010e7ab&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Inside the House Where Coltrane Composed “A Love Supreme”: The Paris Review
http://www.jazzpromoservices.com/
http://www.theparisreview.org/blog/2015/09/23/the-coltrane-home-in-dix-hills/
** The Coltrane Home in Dix Hills
————————————————————
By Andy Battaglia
The deceptively ordinary house where Coltrane composed A Love Supreme.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-1.jpg
Coltrane’s unassuming house in Dix Hills.
In an empty corner of a modest home in suburban New York, hiding beneath a construction zone’s deposits of dirt and dust on the floor, is a patch of bright, bold, almost electrically colorful vintage purple carpet. It couldn’t be more out of place; the rest of the surroundings are just exposed old wall beams and tattered bits of plaster coming down. But it seems right at home, somehow calm and calming, in the midst of it all.
The carpet dates back to the 1960s, when John and Alice Coltrane used to live here and make their way back to the same corner room to go to sleep at night. Close by the master bedroom was the kitchen, the heart of the home in a way, and from there the hallways led out to the kids’ rooms, the den with the fireplace, and the garage out to the side. Over that was the ashram. In the basement was a recording studio. Then, up a now tenuous set of stairs, was the chamber that made this modest suburban home most famous: the room where John Coltrane composed his stirring, searching masterwork A Love Supreme.
The house itself was not especially famous, nor even really known for the better part of the past three decades. After John died, in 1967, Alice Coltrane continued living and working there before venturing out to California in the early ’70s. Other tenants took it over, none intensely invested in the heritage of jazz. A woman who knew Alice around town lived there for about a decade and then sold it to another who used it mostly as a rental property. Then it went abandoned, for years, while awaiting demolition by a developer who could make more money by flattening the house and turning over the land.
Now, ages after the Coltranes moved there in 1964, the decay has stopped and started to swing back around. Walls are going up instead of down, and graffiti sprayed by vandals on the fireplace—below the display shelf where John kept a copy of A Love Supreme on show—will be removed. The Coltrane Home in Dix Hills, as the house is now known, is on its way to becoming a museum soon. Or at least that’s the plan.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-2.jpg
The trip out to Dix Hills is an hour ride on a commuter train from New York City and twenty minutes more from the station, down a street that is aggressively plain. Suburbs in America don’t get much more suburban than the suburbs in Long Island. Levittown, the first concerted suburban development project and the model in many ways for American expansion in the boom after World War II, is just a half hour away. Other parts of Long Island became a haven for mid-century modernist architecture and design, including some by founders of the Bauhaus. But otherwise, in the past as in the present, there could be little to take in except for houses and yards, houses and yards, and even more houses and yards.
The Coltranes moved here from Saint Albans, Queens, an area in the city that was itself a long way away from all the manic Manhattan action. But still: it’s hard to fathom the change. They lived quietly on Long Island with kids, including Ravi Coltrane, who makes his way as a jazz saxophonist today. He was born there and spent his earliest years in the house in Dix Hills. He dabbled as children do in the “playroom,” which is what they later called the place upstairs where his father went to work on his grandest album. It’s tempting to imagine it now as a lair, a solemn space, sacrosanct. But the reality was likely different.
“At the moment of conception, every great human gesture took equal standing among the details and demands of daily life,” writes Ashley Kahn in the liner notes for a latter-day deluxe edition of A Love Supreme. “While creating his most ageless canvases, Picasso stepped back and swept the studio. While developing their masterpieces, Beethoven paid the bills, James Joyce lit out for the bar, and Louis Armstrong took five and grabbed lunch.
“For John Coltrane in 1964,” he continues, “inspiration coincided with dirty plates and diapers.”
The inspiration was evidently intense, whatever its milieu. As Alice Coltrane recounts in Kahn’s full-length book on the subject, A Love Supreme: The Story of John Coltrane’s Signature Album, “There was an unoccupied area up there where we hardly ever went … John would go up there, take little portions of food every now and then, spending time pondering over the music he heard within himself.”
After a particularly heady five-day spell, he descended: “It was like Moses coming down from the mountain, it was so beautiful. He walked down and there was that joy, that peace in his face, tranquility.”
The room now is a shambles. All that’s left is rotten wood and tacky floral wallpaper added long after the momentous setting’s prime. The view is the same, though, out into a backyard thick with trees. It’s disquieting to stand and look out over what John Coltrane would have seen—did see—in whatever state of mind he found himself gracing when in the throes of A Love Supreme. Some of the material on the album had origins going back to live performances from earlier on, but in the little room with the windows upstairs is where he supposedly struck upon the album’s arrangement as a whole. “Acknowledgement”—“Resolution”—“Pursuance”—“Psalm”: it would be hard to come up with a more resounding series of musical creations, in jazz or otherwise, and the room where it all happened can be accessed still.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-5.jpg
The view from the room where A Love Supreme was composed.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-4.jpg
Layers of peeling wallpaper and paint.
Making that access more open and appealing is part of a project that has been ongoing since 2004. That is when Steve Fulgoni, a local business owner in Dix Hills who is also a voracious jazz fan, broke his way into the house to take a look around. Knowledge of the Coltranes having lived in the area had spread among devotees, but the address wasn’t known, in part because of a misleading mention in a biography. When Fulgoni tracked down an old delivery boy who remembered the jazz legends as neighbors, he found the house as it had been described, simple and unassuming behind a rusting iron gate. To his shock, it was abandoned—an incongruous suburban ruin.
He started petitioning the town of Dix Hills to save the historic home at once, but he had never been inside to see exactly what was there. So he went, with a friend, at night.
“We were trespassing. We had flashlights,” Fulgoni said. “It was scary. We could tell there were raccoons. But inside, I immediately felt something special, a presence of some sort.”
He went down to the basement and saw the remnants of the recording studio, which Alice completed after John’s death and used to record albums of her own including Monastic Trio and Journey in Satchidananda. He ventured into the meditation room, which Alice ran as an ashram for a spell.
“I saw the shag rugs and could tell this was all from a different time,” Fulgoni said. “There was a piece of paper in the corner, a newspaper that happened to be from the anniversary date of John’s death. I looked at that and started to tremble. That’s when I left and said I need to do something … ”
The house’s unceremonious recent past had proved a blessing. With many of its years designated as a rental to young tenants and indifferent college kids, little of the original decor had changed. Dated wood paneling that lined a main wall in the living room remained. The ashram’s shag carpeting, arranged in the vibrant colors of the chakras, went untouched. And the bright purple carpeting in the bedroom, in a hue associated with wisdom, transcendence, and universality, looked as if it could have been laid down days before.
The structure, however, was a mess. After Fulgoni convinced the town of Dix Hills to buy the house and repurpose it as a historic site, work turned to tearing much of the inside down. Water damage had set in in drastic fashion, and infestations of mold made it unsafe. Other problems that attend a house left in utter neglect for years abounded.
“We’ve stabilized it—it’s not getting any worse,” said Ron Stein, president of the Coltrane Home, on a recent visit there. “Now the goal is to really move forward with the renovation in a significant way.”
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/john_coltrane_1963.jpg
Coltrane in 1963. Photo: Hugo van Gelderen / Anefo
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/a_love_supreme.jpg
The manuscript of A Love Supreme, 1964.
Stein leads a group, with Fulgoni included, that has worked to make the Coltrane Home a public attraction. Visitors are not allowed inside at this point (though that hasn’t stopped travelers from finding their way and playing sax on the lawn, Stein said). But the plan is to restore everything to the way it was when the Coltranes lived there. The room upstairs will be a sanctuary. The ashram will be retrofitted. The recording studio in the basement will be able to power up and roll tape.
It’s a long way from realization yet, but Stein said he hopes the home can open sometime in 2017. The mold remediation is near complete, and a new roof has already been installed. An architecture group from Columbia University is studying bits of wall samples to date different layers of paint, so as to pinpoint the right one for the desired era. Varieties of vintage glass are being surveyed.
“One of the really important things in the world of historic preservation is windows, and that’s one of the battles we have to wrangle with,” Stein said. “New windows are very energy efficient. Double-pane, triple-pane, low-E—all this stuff is great. But those aren’t the windows that the Coltranes looked out onto the world from, so we have to get those windows back. That was a line in the sand.”
The ambitious plan also includes proposals for musical education programs around Dix Hills and an education center on the house grounds.
“Alice said she wanted [the rehabilitation] to be not just about the building itself,” explained Stein. “She said, This isn’t just about the home—it’s about getting people of all ages and backgrounds to participate in the making of music and the creative process, to engage them in the joy. That dramatically expanded the vision of what would otherwise just be a restoration project. The Coltranes were about using music as a force for good.”
Volunteer contractors have helped in the rebuilding so far, and the group behind the project is now looking to raise $2.5 million, through a combination of private donors and public grants. The board of the organization includes some notable names, including Ravi Coltrane and Japanese Coltrane scholar Yasuhiro Fujioka, as well as honorary members Carlos Santana, Tavis Smiley, and Cornel West.
But it’s mostly a local Long Island affair, with a team of volunteers—“It’s a consumptive part-time job,” Stein said of the staff—on a quixotic mission to make a plain suburban home as plain as it once was. Or not so plain, as the case may be.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-3.jpg
The carpet in the master bedroom.
This article first appeared in the Norwegian jazz magazine Jazznytt.
Andy Battaglia is an arts writer in New York. His work has appeared in the Wall Street Journal, The National, Frieze, The Wire, The New Yorker,and more. Find him here (http://www.andybattaglia.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/)
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Inside the House Where Coltrane Composed “A Love Supreme”: The Paris Review
http://www.jazzpromoservices.com/
http://www.theparisreview.org/blog/2015/09/23/the-coltrane-home-in-dix-hills/
** The Coltrane Home in Dix Hills
————————————————————
By Andy Battaglia
The deceptively ordinary house where Coltrane composed A Love Supreme.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-1.jpg
Coltrane’s unassuming house in Dix Hills.
In an empty corner of a modest home in suburban New York, hiding beneath a construction zone’s deposits of dirt and dust on the floor, is a patch of bright, bold, almost electrically colorful vintage purple carpet. It couldn’t be more out of place; the rest of the surroundings are just exposed old wall beams and tattered bits of plaster coming down. But it seems right at home, somehow calm and calming, in the midst of it all.
The carpet dates back to the 1960s, when John and Alice Coltrane used to live here and make their way back to the same corner room to go to sleep at night. Close by the master bedroom was the kitchen, the heart of the home in a way, and from there the hallways led out to the kids’ rooms, the den with the fireplace, and the garage out to the side. Over that was the ashram. In the basement was a recording studio. Then, up a now tenuous set of stairs, was the chamber that made this modest suburban home most famous: the room where John Coltrane composed his stirring, searching masterwork A Love Supreme.
The house itself was not especially famous, nor even really known for the better part of the past three decades. After John died, in 1967, Alice Coltrane continued living and working there before venturing out to California in the early ’70s. Other tenants took it over, none intensely invested in the heritage of jazz. A woman who knew Alice around town lived there for about a decade and then sold it to another who used it mostly as a rental property. Then it went abandoned, for years, while awaiting demolition by a developer who could make more money by flattening the house and turning over the land.
Now, ages after the Coltranes moved there in 1964, the decay has stopped and started to swing back around. Walls are going up instead of down, and graffiti sprayed by vandals on the fireplace—below the display shelf where John kept a copy of A Love Supreme on show—will be removed. The Coltrane Home in Dix Hills, as the house is now known, is on its way to becoming a museum soon. Or at least that’s the plan.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-2.jpg
The trip out to Dix Hills is an hour ride on a commuter train from New York City and twenty minutes more from the station, down a street that is aggressively plain. Suburbs in America don’t get much more suburban than the suburbs in Long Island. Levittown, the first concerted suburban development project and the model in many ways for American expansion in the boom after World War II, is just a half hour away. Other parts of Long Island became a haven for mid-century modernist architecture and design, including some by founders of the Bauhaus. But otherwise, in the past as in the present, there could be little to take in except for houses and yards, houses and yards, and even more houses and yards.
The Coltranes moved here from Saint Albans, Queens, an area in the city that was itself a long way away from all the manic Manhattan action. But still: it’s hard to fathom the change. They lived quietly on Long Island with kids, including Ravi Coltrane, who makes his way as a jazz saxophonist today. He was born there and spent his earliest years in the house in Dix Hills. He dabbled as children do in the “playroom,” which is what they later called the place upstairs where his father went to work on his grandest album. It’s tempting to imagine it now as a lair, a solemn space, sacrosanct. But the reality was likely different.
“At the moment of conception, every great human gesture took equal standing among the details and demands of daily life,” writes Ashley Kahn in the liner notes for a latter-day deluxe edition of A Love Supreme. “While creating his most ageless canvases, Picasso stepped back and swept the studio. While developing their masterpieces, Beethoven paid the bills, James Joyce lit out for the bar, and Louis Armstrong took five and grabbed lunch.
“For John Coltrane in 1964,” he continues, “inspiration coincided with dirty plates and diapers.”
The inspiration was evidently intense, whatever its milieu. As Alice Coltrane recounts in Kahn’s full-length book on the subject, A Love Supreme: The Story of John Coltrane’s Signature Album, “There was an unoccupied area up there where we hardly ever went … John would go up there, take little portions of food every now and then, spending time pondering over the music he heard within himself.”
After a particularly heady five-day spell, he descended: “It was like Moses coming down from the mountain, it was so beautiful. He walked down and there was that joy, that peace in his face, tranquility.”
The room now is a shambles. All that’s left is rotten wood and tacky floral wallpaper added long after the momentous setting’s prime. The view is the same, though, out into a backyard thick with trees. It’s disquieting to stand and look out over what John Coltrane would have seen—did see—in whatever state of mind he found himself gracing when in the throes of A Love Supreme. Some of the material on the album had origins going back to live performances from earlier on, but in the little room with the windows upstairs is where he supposedly struck upon the album’s arrangement as a whole. “Acknowledgement”—“Resolution”—“Pursuance”—“Psalm”: it would be hard to come up with a more resounding series of musical creations, in jazz or otherwise, and the room where it all happened can be accessed still.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-5.jpg
The view from the room where A Love Supreme was composed.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-4.jpg
Layers of peeling wallpaper and paint.
Making that access more open and appealing is part of a project that has been ongoing since 2004. That is when Steve Fulgoni, a local business owner in Dix Hills who is also a voracious jazz fan, broke his way into the house to take a look around. Knowledge of the Coltranes having lived in the area had spread among devotees, but the address wasn’t known, in part because of a misleading mention in a biography. When Fulgoni tracked down an old delivery boy who remembered the jazz legends as neighbors, he found the house as it had been described, simple and unassuming behind a rusting iron gate. To his shock, it was abandoned—an incongruous suburban ruin.
He started petitioning the town of Dix Hills to save the historic home at once, but he had never been inside to see exactly what was there. So he went, with a friend, at night.
“We were trespassing. We had flashlights,” Fulgoni said. “It was scary. We could tell there were raccoons. But inside, I immediately felt something special, a presence of some sort.”
He went down to the basement and saw the remnants of the recording studio, which Alice completed after John’s death and used to record albums of her own including Monastic Trio and Journey in Satchidananda. He ventured into the meditation room, which Alice ran as an ashram for a spell.
“I saw the shag rugs and could tell this was all from a different time,” Fulgoni said. “There was a piece of paper in the corner, a newspaper that happened to be from the anniversary date of John’s death. I looked at that and started to tremble. That’s when I left and said I need to do something … ”
The house’s unceremonious recent past had proved a blessing. With many of its years designated as a rental to young tenants and indifferent college kids, little of the original decor had changed. Dated wood paneling that lined a main wall in the living room remained. The ashram’s shag carpeting, arranged in the vibrant colors of the chakras, went untouched. And the bright purple carpeting in the bedroom, in a hue associated with wisdom, transcendence, and universality, looked as if it could have been laid down days before.
The structure, however, was a mess. After Fulgoni convinced the town of Dix Hills to buy the house and repurpose it as a historic site, work turned to tearing much of the inside down. Water damage had set in in drastic fashion, and infestations of mold made it unsafe. Other problems that attend a house left in utter neglect for years abounded.
“We’ve stabilized it—it’s not getting any worse,” said Ron Stein, president of the Coltrane Home, on a recent visit there. “Now the goal is to really move forward with the renovation in a significant way.”
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/john_coltrane_1963.jpg
Coltrane in 1963. Photo: Hugo van Gelderen / Anefo
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/a_love_supreme.jpg
The manuscript of A Love Supreme, 1964.
Stein leads a group, with Fulgoni included, that has worked to make the Coltrane Home a public attraction. Visitors are not allowed inside at this point (though that hasn’t stopped travelers from finding their way and playing sax on the lawn, Stein said). But the plan is to restore everything to the way it was when the Coltranes lived there. The room upstairs will be a sanctuary. The ashram will be retrofitted. The recording studio in the basement will be able to power up and roll tape.
It’s a long way from realization yet, but Stein said he hopes the home can open sometime in 2017. The mold remediation is near complete, and a new roof has already been installed. An architecture group from Columbia University is studying bits of wall samples to date different layers of paint, so as to pinpoint the right one for the desired era. Varieties of vintage glass are being surveyed.
“One of the really important things in the world of historic preservation is windows, and that’s one of the battles we have to wrangle with,” Stein said. “New windows are very energy efficient. Double-pane, triple-pane, low-E—all this stuff is great. But those aren’t the windows that the Coltranes looked out onto the world from, so we have to get those windows back. That was a line in the sand.”
The ambitious plan also includes proposals for musical education programs around Dix Hills and an education center on the house grounds.
“Alice said she wanted [the rehabilitation] to be not just about the building itself,” explained Stein. “She said, This isn’t just about the home—it’s about getting people of all ages and backgrounds to participate in the making of music and the creative process, to engage them in the joy. That dramatically expanded the vision of what would otherwise just be a restoration project. The Coltranes were about using music as a force for good.”
Volunteer contractors have helped in the rebuilding so far, and the group behind the project is now looking to raise $2.5 million, through a combination of private donors and public grants. The board of the organization includes some notable names, including Ravi Coltrane and Japanese Coltrane scholar Yasuhiro Fujioka, as well as honorary members Carlos Santana, Tavis Smiley, and Cornel West.
But it’s mostly a local Long Island affair, with a team of volunteers—“It’s a consumptive part-time job,” Stein said of the staff—on a quixotic mission to make a plain suburban home as plain as it once was. Or not so plain, as the case may be.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-3.jpg
The carpet in the master bedroom.
This article first appeared in the Norwegian jazz magazine Jazznytt.
Andy Battaglia is an arts writer in New York. His work has appeared in the Wall Street Journal, The National, Frieze, The Wire, The New Yorker,and more. Find him here (http://www.andybattaglia.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/)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Inside the House Where Coltrane Composed “A Love Supreme”: The Paris Review
http://www.jazzpromoservices.com/
http://www.theparisreview.org/blog/2015/09/23/the-coltrane-home-in-dix-hills/
** The Coltrane Home in Dix Hills
————————————————————
By Andy Battaglia
The deceptively ordinary house where Coltrane composed A Love Supreme.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-1.jpg
Coltrane’s unassuming house in Dix Hills.
In an empty corner of a modest home in suburban New York, hiding beneath a construction zone’s deposits of dirt and dust on the floor, is a patch of bright, bold, almost electrically colorful vintage purple carpet. It couldn’t be more out of place; the rest of the surroundings are just exposed old wall beams and tattered bits of plaster coming down. But it seems right at home, somehow calm and calming, in the midst of it all.
The carpet dates back to the 1960s, when John and Alice Coltrane used to live here and make their way back to the same corner room to go to sleep at night. Close by the master bedroom was the kitchen, the heart of the home in a way, and from there the hallways led out to the kids’ rooms, the den with the fireplace, and the garage out to the side. Over that was the ashram. In the basement was a recording studio. Then, up a now tenuous set of stairs, was the chamber that made this modest suburban home most famous: the room where John Coltrane composed his stirring, searching masterwork A Love Supreme.
The house itself was not especially famous, nor even really known for the better part of the past three decades. After John died, in 1967, Alice Coltrane continued living and working there before venturing out to California in the early ’70s. Other tenants took it over, none intensely invested in the heritage of jazz. A woman who knew Alice around town lived there for about a decade and then sold it to another who used it mostly as a rental property. Then it went abandoned, for years, while awaiting demolition by a developer who could make more money by flattening the house and turning over the land.
Now, ages after the Coltranes moved there in 1964, the decay has stopped and started to swing back around. Walls are going up instead of down, and graffiti sprayed by vandals on the fireplace—below the display shelf where John kept a copy of A Love Supreme on show—will be removed. The Coltrane Home in Dix Hills, as the house is now known, is on its way to becoming a museum soon. Or at least that’s the plan.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-2.jpg
The trip out to Dix Hills is an hour ride on a commuter train from New York City and twenty minutes more from the station, down a street that is aggressively plain. Suburbs in America don’t get much more suburban than the suburbs in Long Island. Levittown, the first concerted suburban development project and the model in many ways for American expansion in the boom after World War II, is just a half hour away. Other parts of Long Island became a haven for mid-century modernist architecture and design, including some by founders of the Bauhaus. But otherwise, in the past as in the present, there could be little to take in except for houses and yards, houses and yards, and even more houses and yards.
The Coltranes moved here from Saint Albans, Queens, an area in the city that was itself a long way away from all the manic Manhattan action. But still: it’s hard to fathom the change. They lived quietly on Long Island with kids, including Ravi Coltrane, who makes his way as a jazz saxophonist today. He was born there and spent his earliest years in the house in Dix Hills. He dabbled as children do in the “playroom,” which is what they later called the place upstairs where his father went to work on his grandest album. It’s tempting to imagine it now as a lair, a solemn space, sacrosanct. But the reality was likely different.
“At the moment of conception, every great human gesture took equal standing among the details and demands of daily life,” writes Ashley Kahn in the liner notes for a latter-day deluxe edition of A Love Supreme. “While creating his most ageless canvases, Picasso stepped back and swept the studio. While developing their masterpieces, Beethoven paid the bills, James Joyce lit out for the bar, and Louis Armstrong took five and grabbed lunch.
“For John Coltrane in 1964,” he continues, “inspiration coincided with dirty plates and diapers.”
The inspiration was evidently intense, whatever its milieu. As Alice Coltrane recounts in Kahn’s full-length book on the subject, A Love Supreme: The Story of John Coltrane’s Signature Album, “There was an unoccupied area up there where we hardly ever went … John would go up there, take little portions of food every now and then, spending time pondering over the music he heard within himself.”
After a particularly heady five-day spell, he descended: “It was like Moses coming down from the mountain, it was so beautiful. He walked down and there was that joy, that peace in his face, tranquility.”
The room now is a shambles. All that’s left is rotten wood and tacky floral wallpaper added long after the momentous setting’s prime. The view is the same, though, out into a backyard thick with trees. It’s disquieting to stand and look out over what John Coltrane would have seen—did see—in whatever state of mind he found himself gracing when in the throes of A Love Supreme. Some of the material on the album had origins going back to live performances from earlier on, but in the little room with the windows upstairs is where he supposedly struck upon the album’s arrangement as a whole. “Acknowledgement”—“Resolution”—“Pursuance”—“Psalm”: it would be hard to come up with a more resounding series of musical creations, in jazz or otherwise, and the room where it all happened can be accessed still.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-5.jpg
The view from the room where A Love Supreme was composed.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-4.jpg
Layers of peeling wallpaper and paint.
Making that access more open and appealing is part of a project that has been ongoing since 2004. That is when Steve Fulgoni, a local business owner in Dix Hills who is also a voracious jazz fan, broke his way into the house to take a look around. Knowledge of the Coltranes having lived in the area had spread among devotees, but the address wasn’t known, in part because of a misleading mention in a biography. When Fulgoni tracked down an old delivery boy who remembered the jazz legends as neighbors, he found the house as it had been described, simple and unassuming behind a rusting iron gate. To his shock, it was abandoned—an incongruous suburban ruin.
He started petitioning the town of Dix Hills to save the historic home at once, but he had never been inside to see exactly what was there. So he went, with a friend, at night.
“We were trespassing. We had flashlights,” Fulgoni said. “It was scary. We could tell there were raccoons. But inside, I immediately felt something special, a presence of some sort.”
He went down to the basement and saw the remnants of the recording studio, which Alice completed after John’s death and used to record albums of her own including Monastic Trio and Journey in Satchidananda. He ventured into the meditation room, which Alice ran as an ashram for a spell.
“I saw the shag rugs and could tell this was all from a different time,” Fulgoni said. “There was a piece of paper in the corner, a newspaper that happened to be from the anniversary date of John’s death. I looked at that and started to tremble. That’s when I left and said I need to do something … ”
The house’s unceremonious recent past had proved a blessing. With many of its years designated as a rental to young tenants and indifferent college kids, little of the original decor had changed. Dated wood paneling that lined a main wall in the living room remained. The ashram’s shag carpeting, arranged in the vibrant colors of the chakras, went untouched. And the bright purple carpeting in the bedroom, in a hue associated with wisdom, transcendence, and universality, looked as if it could have been laid down days before.
The structure, however, was a mess. After Fulgoni convinced the town of Dix Hills to buy the house and repurpose it as a historic site, work turned to tearing much of the inside down. Water damage had set in in drastic fashion, and infestations of mold made it unsafe. Other problems that attend a house left in utter neglect for years abounded.
“We’ve stabilized it—it’s not getting any worse,” said Ron Stein, president of the Coltrane Home, on a recent visit there. “Now the goal is to really move forward with the renovation in a significant way.”
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/john_coltrane_1963.jpg
Coltrane in 1963. Photo: Hugo van Gelderen / Anefo
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/a_love_supreme.jpg
The manuscript of A Love Supreme, 1964.
Stein leads a group, with Fulgoni included, that has worked to make the Coltrane Home a public attraction. Visitors are not allowed inside at this point (though that hasn’t stopped travelers from finding their way and playing sax on the lawn, Stein said). But the plan is to restore everything to the way it was when the Coltranes lived there. The room upstairs will be a sanctuary. The ashram will be retrofitted. The recording studio in the basement will be able to power up and roll tape.
It’s a long way from realization yet, but Stein said he hopes the home can open sometime in 2017. The mold remediation is near complete, and a new roof has already been installed. An architecture group from Columbia University is studying bits of wall samples to date different layers of paint, so as to pinpoint the right one for the desired era. Varieties of vintage glass are being surveyed.
“One of the really important things in the world of historic preservation is windows, and that’s one of the battles we have to wrangle with,” Stein said. “New windows are very energy efficient. Double-pane, triple-pane, low-E—all this stuff is great. But those aren’t the windows that the Coltranes looked out onto the world from, so we have to get those windows back. That was a line in the sand.”
The ambitious plan also includes proposals for musical education programs around Dix Hills and an education center on the house grounds.
“Alice said she wanted [the rehabilitation] to be not just about the building itself,” explained Stein. “She said, This isn’t just about the home—it’s about getting people of all ages and backgrounds to participate in the making of music and the creative process, to engage them in the joy. That dramatically expanded the vision of what would otherwise just be a restoration project. The Coltranes were about using music as a force for good.”
Volunteer contractors have helped in the rebuilding so far, and the group behind the project is now looking to raise $2.5 million, through a combination of private donors and public grants. The board of the organization includes some notable names, including Ravi Coltrane and Japanese Coltrane scholar Yasuhiro Fujioka, as well as honorary members Carlos Santana, Tavis Smiley, and Cornel West.
But it’s mostly a local Long Island affair, with a team of volunteers—“It’s a consumptive part-time job,” Stein said of the staff—on a quixotic mission to make a plain suburban home as plain as it once was. Or not so plain, as the case may be.
http://www.theparisreview.org/blog/wp-content/uploads/2015/09/coltrane-3.jpg
The carpet in the master bedroom.
This article first appeared in the Norwegian jazz magazine Jazznytt.
Andy Battaglia is an arts writer in New York. His work has appeared in the Wall Street Journal, The National, Frieze, The Wire, The New Yorker,and more. Find him here (http://www.andybattaglia.com/) .
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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Warwick, Ny 10990
USA
All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html
** All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules
————————————————————
Happy Birthday
A 1922 copy of “The Everyday Song Book,” containing lyrics to “Happy Birthday.”
(Christine Mai-Duc / Los Angeles Times)
By CHRISTINE MAI-DUC (http://www.latimes.com/la-bio-christine-maiduc-staff.html#navtype=byline) contact the reporter (mailto:christine.mai-duc@latimes.com?subject=Regarding%20All%20the%20’Happy%20Birthday’%20song%20copyright%20claims%20are%20invalid,%20federal%20judge%20rules)
None of the companies that have collected royalties on the “Happy Birthday” song for the past 80 years held a valid copyright claim to one of the most popular songs in history, a federal judge in Los Angeles ruled on Tuesday.
In a stunning reversal of decades of copyright claims, the judge ruled that Warner/Chappell never had the right to charge for the use of the “Happy Birthday To You” song. Warner had been enforcing a copyright since 1988, when it bought Birch Tree Group, the successor to Clayton F. Summy Co., which claimed the original disputed copyright.
Judge George H. King ruled that a copyright filed by the Summy Co. in 1935 granted only the rights to specific piano arrangements of the music, not the actual song.
PREVIOUSLY: Happy Birthday to whom? A simple song with a complex history (http://www.latimes.com/local/california/la-me-birthday-song-20150730-story.html)
http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html
Comedy gold: Watch three U.S. judges dismantle a copyright troll’s case (http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html)
“‘Happy Birthday’ is finally free after 80 years,” said Randall Newman, an attorney for the plaintiffs in the suit, which included a group of filmmakers who are producing a documentary about the song. “Finally, the charade is over. It’s unbelievable.”
A spokesman for Warner/Chappell, the publishing arm of Warner Music, said, “We are looking at the court’s lengthy opinion and considering our options.”
The plaintiffs’ attorneys had characterized the years-long legal fight as a David vs. Goliath battle that pitted independent filmmakers against a large corporation collecting profits on a song whose authors had long since died.
Until now, Warner has asked for royalties from anyone who wanted to sing or play “Happy Birthday to You” — with the lyrics — as part of a profit-making enterprise. Royalties were most often collected from stage productions, television shows, movies or greeting cards. But even those who wanted to sing the song publicly as part of a business, say a restaurant owner giving out free birthday cake to patrons, technically had to pay to use the song, prompting creative renditions at chain eateries trying to avoid paying royalties.
See the most-read stories this hour >> (http://www.latimes.com/popular/)
The fact that the birthday tune can’t be played or sung without permission from Warner has been little more than a surprising piece of trivia for most, but for Warner Music Group, it has meant big business. Two of the filmmaker plaintiffs paid $1,500 and $3,000 for the rights to use the song, their attorneys said. Filmmaker Steve James paid Warner $5,000 to use the song in his 1994 documentary “Hoop Dreams.”
http://documents.latimes.com/happy-birthday-ruling/
Happy Birthday ruling (http://documents.latimes.com/happy-birthday-ruling/)
“It was quite expensive for us at that time and with our budget. And we only used it for 9 seconds,” James wrote in an email passed along by his publicist. James said the scene was “essential” to the film and ultimately decided to pay up.
At a March hearing in the case, records show, a Warner/Chappell representative seated in the audience told the judge that the company collects as much as “six figures” for certain single uses of the song. The song brings in about $2 million a year in royalties for Warner, according to some estimates.
The complex saga of the six-note ditty has spanned more than 120 years, withstanding two world wars and several eras of copyright law. The song has seen the rise and fall of vinyl records, cassette tapes, CDs and now, the era of digital streaming music.
cComments (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
* @msblack: I really hate it when powerful people and corporations get the law changed specifically for their benefit. The new law is insane. The old one is much better, I think.
JUSTBOBF
AT 7:44 AM SEPTEMBER 23, 2015
ADD A COMMENT (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#) SEE ALL COMMENTS (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
40 (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
The story began in 1893, with a Kentucky schoolteacher and her older sister. Patty Smith Hill and Mildred J. Hill wrote the song for Patty’s kindergarten students, titling it “Good Morning To All.” The original lyrics Patty wrote were: “Good morning to you / Good morning to you / Good morning, dear children / Good morning to all.”
Patty later said that she had worked with her sister to compose a simple melody to match the words that could be easily sung by young children.
The sisters published the song in a book called “Song Stories for the Kindergarten,” and assigned the copyright to their publisher, Clayton F. Summy Co., in exchange for a cut of the sales.
That was only the beginning of the tangled web of copyright law various attorneys have argued may or may not apply to one of the world’s most famous songs.
Interested in the stories shaping California? Sign up for the free Essential California newsletter >> (http://www.latimes.com/newsletters/la-newsletter-essential-california-signup-page-htmlstory.html)
http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html
The Guardian uses copyright to shush a critic of its cultural criticism (http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html)
Warner and the plaintiffs both agreed that the melody of the familiar song, first written as “Good Morning To All,” had entered the public domain decades ago. But Warner claimed it still owned the rights to the “Happy Birthday” lyrics, leaning on the 1935 copyright claim.
At various turns in the case, attorneys argued over whether the Hill sisters had actually written the song, whether they had “abandoned” their rights to what became the “Happy Birthday” tune and even whether Patty Smith Hill had been accurately quoted in a 1935 Time magazine article about the song.
It is not entirely clear, the judge ruled, that the Hill sisters wrote the lyrics for “Happy Birthday To You.” But either way, they never asserted a copyright claim for the lyrics, even though they sued for the rights to the original melody.
Ultimately, the judge ruled that no evidence existed that the Summy Co. — the original company to assert a copyright claim — ever legally obtained the rights to the “Happy Birthday To You” song from whomever wrote it.
Tuesday’s ruling means that the song is now considered a public work and is free for everyone to use without fear of having to pay for it, according to a statement from the plaintiffs’ attorneys.
Jennifer Nelson, one of the filmmaker plaintiffs and owner of Good Morning to You productions, called the decision a “great victory for musicians, artists and people around the world who have waited decades for this.”
Robert Brauneis, a George Washington University law professor who has extensively researched the copyright history of the song, says the ruling does not explicitly place “Happy Birthday To You” in the public domain.
Stunning photos, celebrity homes: Get the free weekly Hot Property newsletter >> (http://www.latimes.com/newsletters/la-newsletter-hot-property-signup-page-htmlstory.html)
“It does leave open some questions,” Brauneis said Tuesday night. “If [the Hill sisters] didn’t convey the rights to Summy Co., then is there someone else that might still own them?”
With Mildred Hill dead for nearly a century now, Brauneis said, “Figuring out who owned [the rights] at this point would be quite an interesting job.”
The plaintiff’s attorneys have said that they will move to qualify the lawsuit as a class-action in an effort to recoup millions of dollars in licensing fees Warner/Chappell has collected on the tune over the years.
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#
A judge on Tuesday ruled that music publishers cannot collect royalties for the song ‘Happy Birthday To You.’ Erica Nochlin reports.
Mark C. Rifkin, one of Nelson’s attorneys, said the plaintiffs will pursue Warner for royalties paid since “at least” 1988, and could also ask the company to repay royalties that have been collected all the way back to 1935. It’s not clear how much money that could entail.
A third of the profits from licensing the song still go to a designated charity of the Hill family, the Association for Childhood Education International, which promotes global education efforts for children and the professional growth of educators. The association’s 2012 nonprofit tax return, the most recent available, indicates it received $754,108 in royalties.
Warner could still appeal King’s decision, but it will have to ask the judge to permit an appeal to go forward. The company has not indicated that it will do so.
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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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=9ee24d7d73) | 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=9ee24d7d73&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
All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html
** All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules
————————————————————
Happy Birthday
A 1922 copy of “The Everyday Song Book,” containing lyrics to “Happy Birthday.”
(Christine Mai-Duc / Los Angeles Times)
By CHRISTINE MAI-DUC (http://www.latimes.com/la-bio-christine-maiduc-staff.html#navtype=byline) contact the reporter (mailto:christine.mai-duc@latimes.com?subject=Regarding%20All%20the%20’Happy%20Birthday’%20song%20copyright%20claims%20are%20invalid,%20federal%20judge%20rules)
None of the companies that have collected royalties on the “Happy Birthday” song for the past 80 years held a valid copyright claim to one of the most popular songs in history, a federal judge in Los Angeles ruled on Tuesday.
In a stunning reversal of decades of copyright claims, the judge ruled that Warner/Chappell never had the right to charge for the use of the “Happy Birthday To You” song. Warner had been enforcing a copyright since 1988, when it bought Birch Tree Group, the successor to Clayton F. Summy Co., which claimed the original disputed copyright.
Judge George H. King ruled that a copyright filed by the Summy Co. in 1935 granted only the rights to specific piano arrangements of the music, not the actual song.
PREVIOUSLY: Happy Birthday to whom? A simple song with a complex history (http://www.latimes.com/local/california/la-me-birthday-song-20150730-story.html)
http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html
Comedy gold: Watch three U.S. judges dismantle a copyright troll’s case (http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html)
“‘Happy Birthday’ is finally free after 80 years,” said Randall Newman, an attorney for the plaintiffs in the suit, which included a group of filmmakers who are producing a documentary about the song. “Finally, the charade is over. It’s unbelievable.”
A spokesman for Warner/Chappell, the publishing arm of Warner Music, said, “We are looking at the court’s lengthy opinion and considering our options.”
The plaintiffs’ attorneys had characterized the years-long legal fight as a David vs. Goliath battle that pitted independent filmmakers against a large corporation collecting profits on a song whose authors had long since died.
Until now, Warner has asked for royalties from anyone who wanted to sing or play “Happy Birthday to You” — with the lyrics — as part of a profit-making enterprise. Royalties were most often collected from stage productions, television shows, movies or greeting cards. But even those who wanted to sing the song publicly as part of a business, say a restaurant owner giving out free birthday cake to patrons, technically had to pay to use the song, prompting creative renditions at chain eateries trying to avoid paying royalties.
See the most-read stories this hour >> (http://www.latimes.com/popular/)
The fact that the birthday tune can’t be played or sung without permission from Warner has been little more than a surprising piece of trivia for most, but for Warner Music Group, it has meant big business. Two of the filmmaker plaintiffs paid $1,500 and $3,000 for the rights to use the song, their attorneys said. Filmmaker Steve James paid Warner $5,000 to use the song in his 1994 documentary “Hoop Dreams.”
http://documents.latimes.com/happy-birthday-ruling/
Happy Birthday ruling (http://documents.latimes.com/happy-birthday-ruling/)
“It was quite expensive for us at that time and with our budget. And we only used it for 9 seconds,” James wrote in an email passed along by his publicist. James said the scene was “essential” to the film and ultimately decided to pay up.
At a March hearing in the case, records show, a Warner/Chappell representative seated in the audience told the judge that the company collects as much as “six figures” for certain single uses of the song. The song brings in about $2 million a year in royalties for Warner, according to some estimates.
The complex saga of the six-note ditty has spanned more than 120 years, withstanding two world wars and several eras of copyright law. The song has seen the rise and fall of vinyl records, cassette tapes, CDs and now, the era of digital streaming music.
cComments (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
* @msblack: I really hate it when powerful people and corporations get the law changed specifically for their benefit. The new law is insane. The old one is much better, I think.
JUSTBOBF
AT 7:44 AM SEPTEMBER 23, 2015
ADD A COMMENT (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#) SEE ALL COMMENTS (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
40 (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
The story began in 1893, with a Kentucky schoolteacher and her older sister. Patty Smith Hill and Mildred J. Hill wrote the song for Patty’s kindergarten students, titling it “Good Morning To All.” The original lyrics Patty wrote were: “Good morning to you / Good morning to you / Good morning, dear children / Good morning to all.”
Patty later said that she had worked with her sister to compose a simple melody to match the words that could be easily sung by young children.
The sisters published the song in a book called “Song Stories for the Kindergarten,” and assigned the copyright to their publisher, Clayton F. Summy Co., in exchange for a cut of the sales.
That was only the beginning of the tangled web of copyright law various attorneys have argued may or may not apply to one of the world’s most famous songs.
Interested in the stories shaping California? Sign up for the free Essential California newsletter >> (http://www.latimes.com/newsletters/la-newsletter-essential-california-signup-page-htmlstory.html)
http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html
The Guardian uses copyright to shush a critic of its cultural criticism (http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html)
Warner and the plaintiffs both agreed that the melody of the familiar song, first written as “Good Morning To All,” had entered the public domain decades ago. But Warner claimed it still owned the rights to the “Happy Birthday” lyrics, leaning on the 1935 copyright claim.
At various turns in the case, attorneys argued over whether the Hill sisters had actually written the song, whether they had “abandoned” their rights to what became the “Happy Birthday” tune and even whether Patty Smith Hill had been accurately quoted in a 1935 Time magazine article about the song.
It is not entirely clear, the judge ruled, that the Hill sisters wrote the lyrics for “Happy Birthday To You.” But either way, they never asserted a copyright claim for the lyrics, even though they sued for the rights to the original melody.
Ultimately, the judge ruled that no evidence existed that the Summy Co. — the original company to assert a copyright claim — ever legally obtained the rights to the “Happy Birthday To You” song from whomever wrote it.
Tuesday’s ruling means that the song is now considered a public work and is free for everyone to use without fear of having to pay for it, according to a statement from the plaintiffs’ attorneys.
Jennifer Nelson, one of the filmmaker plaintiffs and owner of Good Morning to You productions, called the decision a “great victory for musicians, artists and people around the world who have waited decades for this.”
Robert Brauneis, a George Washington University law professor who has extensively researched the copyright history of the song, says the ruling does not explicitly place “Happy Birthday To You” in the public domain.
Stunning photos, celebrity homes: Get the free weekly Hot Property newsletter >> (http://www.latimes.com/newsletters/la-newsletter-hot-property-signup-page-htmlstory.html)
“It does leave open some questions,” Brauneis said Tuesday night. “If [the Hill sisters] didn’t convey the rights to Summy Co., then is there someone else that might still own them?”
With Mildred Hill dead for nearly a century now, Brauneis said, “Figuring out who owned [the rights] at this point would be quite an interesting job.”
The plaintiff’s attorneys have said that they will move to qualify the lawsuit as a class-action in an effort to recoup millions of dollars in licensing fees Warner/Chappell has collected on the tune over the years.
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#
A judge on Tuesday ruled that music publishers cannot collect royalties for the song ‘Happy Birthday To You.’ Erica Nochlin reports.
Mark C. Rifkin, one of Nelson’s attorneys, said the plaintiffs will pursue Warner for royalties paid since “at least” 1988, and could also ask the company to repay royalties that have been collected all the way back to 1935. It’s not clear how much money that could entail.
A third of the profits from licensing the song still go to a designated charity of the Hill family, the Association for Childhood Education International, which promotes global education efforts for children and the professional growth of educators. The association’s 2012 nonprofit tax return, the most recent available, indicates it received $754,108 in royalties.
Warner could still appeal King’s decision, but it will have to ask the judge to permit an appeal to go forward. The company has not indicated that it will do so.
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=9ee24d7d73) | 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=9ee24d7d73&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
All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html
** All the ‘Happy Birthday’ song copyright claims are invalid, federal judge rules
————————————————————
Happy Birthday
A 1922 copy of “The Everyday Song Book,” containing lyrics to “Happy Birthday.”
(Christine Mai-Duc / Los Angeles Times)
By CHRISTINE MAI-DUC (http://www.latimes.com/la-bio-christine-maiduc-staff.html#navtype=byline) contact the reporter (mailto:christine.mai-duc@latimes.com?subject=Regarding%20All%20the%20’Happy%20Birthday’%20song%20copyright%20claims%20are%20invalid,%20federal%20judge%20rules)
None of the companies that have collected royalties on the “Happy Birthday” song for the past 80 years held a valid copyright claim to one of the most popular songs in history, a federal judge in Los Angeles ruled on Tuesday.
In a stunning reversal of decades of copyright claims, the judge ruled that Warner/Chappell never had the right to charge for the use of the “Happy Birthday To You” song. Warner had been enforcing a copyright since 1988, when it bought Birch Tree Group, the successor to Clayton F. Summy Co., which claimed the original disputed copyright.
Judge George H. King ruled that a copyright filed by the Summy Co. in 1935 granted only the rights to specific piano arrangements of the music, not the actual song.
PREVIOUSLY: Happy Birthday to whom? A simple song with a complex history (http://www.latimes.com/local/california/la-me-birthday-song-20150730-story.html)
http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html
Comedy gold: Watch three U.S. judges dismantle a copyright troll’s case (http://www.latimes.com/business/hiltzik/la-fi-mh-prenda-20150505-column.html)
“‘Happy Birthday’ is finally free after 80 years,” said Randall Newman, an attorney for the plaintiffs in the suit, which included a group of filmmakers who are producing a documentary about the song. “Finally, the charade is over. It’s unbelievable.”
A spokesman for Warner/Chappell, the publishing arm of Warner Music, said, “We are looking at the court’s lengthy opinion and considering our options.”
The plaintiffs’ attorneys had characterized the years-long legal fight as a David vs. Goliath battle that pitted independent filmmakers against a large corporation collecting profits on a song whose authors had long since died.
Until now, Warner has asked for royalties from anyone who wanted to sing or play “Happy Birthday to You” — with the lyrics — as part of a profit-making enterprise. Royalties were most often collected from stage productions, television shows, movies or greeting cards. But even those who wanted to sing the song publicly as part of a business, say a restaurant owner giving out free birthday cake to patrons, technically had to pay to use the song, prompting creative renditions at chain eateries trying to avoid paying royalties.
See the most-read stories this hour >> (http://www.latimes.com/popular/)
The fact that the birthday tune can’t be played or sung without permission from Warner has been little more than a surprising piece of trivia for most, but for Warner Music Group, it has meant big business. Two of the filmmaker plaintiffs paid $1,500 and $3,000 for the rights to use the song, their attorneys said. Filmmaker Steve James paid Warner $5,000 to use the song in his 1994 documentary “Hoop Dreams.”
http://documents.latimes.com/happy-birthday-ruling/
Happy Birthday ruling (http://documents.latimes.com/happy-birthday-ruling/)
“It was quite expensive for us at that time and with our budget. And we only used it for 9 seconds,” James wrote in an email passed along by his publicist. James said the scene was “essential” to the film and ultimately decided to pay up.
At a March hearing in the case, records show, a Warner/Chappell representative seated in the audience told the judge that the company collects as much as “six figures” for certain single uses of the song. The song brings in about $2 million a year in royalties for Warner, according to some estimates.
The complex saga of the six-note ditty has spanned more than 120 years, withstanding two world wars and several eras of copyright law. The song has seen the rise and fall of vinyl records, cassette tapes, CDs and now, the era of digital streaming music.
cComments (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
* @msblack: I really hate it when powerful people and corporations get the law changed specifically for their benefit. The new law is insane. The old one is much better, I think.
JUSTBOBF
AT 7:44 AM SEPTEMBER 23, 2015
ADD A COMMENT (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#) SEE ALL COMMENTS (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
40 (http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#)
The story began in 1893, with a Kentucky schoolteacher and her older sister. Patty Smith Hill and Mildred J. Hill wrote the song for Patty’s kindergarten students, titling it “Good Morning To All.” The original lyrics Patty wrote were: “Good morning to you / Good morning to you / Good morning, dear children / Good morning to all.”
Patty later said that she had worked with her sister to compose a simple melody to match the words that could be easily sung by young children.
The sisters published the song in a book called “Song Stories for the Kindergarten,” and assigned the copyright to their publisher, Clayton F. Summy Co., in exchange for a cut of the sales.
That was only the beginning of the tangled web of copyright law various attorneys have argued may or may not apply to one of the world’s most famous songs.
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http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html
The Guardian uses copyright to shush a critic of its cultural criticism (http://www.latimes.com/opinion/opinion-la/la-ol-the-guardian-copyright-takedown-africa-video-20150610-story.html)
Warner and the plaintiffs both agreed that the melody of the familiar song, first written as “Good Morning To All,” had entered the public domain decades ago. But Warner claimed it still owned the rights to the “Happy Birthday” lyrics, leaning on the 1935 copyright claim.
At various turns in the case, attorneys argued over whether the Hill sisters had actually written the song, whether they had “abandoned” their rights to what became the “Happy Birthday” tune and even whether Patty Smith Hill had been accurately quoted in a 1935 Time magazine article about the song.
It is not entirely clear, the judge ruled, that the Hill sisters wrote the lyrics for “Happy Birthday To You.” But either way, they never asserted a copyright claim for the lyrics, even though they sued for the rights to the original melody.
Ultimately, the judge ruled that no evidence existed that the Summy Co. — the original company to assert a copyright claim — ever legally obtained the rights to the “Happy Birthday To You” song from whomever wrote it.
Tuesday’s ruling means that the song is now considered a public work and is free for everyone to use without fear of having to pay for it, according to a statement from the plaintiffs’ attorneys.
Jennifer Nelson, one of the filmmaker plaintiffs and owner of Good Morning to You productions, called the decision a “great victory for musicians, artists and people around the world who have waited decades for this.”
Robert Brauneis, a George Washington University law professor who has extensively researched the copyright history of the song, says the ruling does not explicitly place “Happy Birthday To You” in the public domain.
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“It does leave open some questions,” Brauneis said Tuesday night. “If [the Hill sisters] didn’t convey the rights to Summy Co., then is there someone else that might still own them?”
With Mildred Hill dead for nearly a century now, Brauneis said, “Figuring out who owned [the rights] at this point would be quite an interesting job.”
The plaintiff’s attorneys have said that they will move to qualify the lawsuit as a class-action in an effort to recoup millions of dollars in licensing fees Warner/Chappell has collected on the tune over the years.
http://www.latimes.com/local/lanow/la-me-ln-happy-birthday-song-lawsuit-decision-20150922-story.html#
A judge on Tuesday ruled that music publishers cannot collect royalties for the song ‘Happy Birthday To You.’ Erica Nochlin reports.
Mark C. Rifkin, one of Nelson’s attorneys, said the plaintiffs will pursue Warner for royalties paid since “at least” 1988, and could also ask the company to repay royalties that have been collected all the way back to 1935. It’s not clear how much money that could entail.
A third of the profits from licensing the song still go to a designated charity of the Hill family, the Association for Childhood Education International, which promotes global education efforts for children and the professional growth of educators. The association’s 2012 nonprofit tax return, the most recent available, indicates it received $754,108 in royalties.
Warner could still appeal King’s decision, but it will have to ask the judge to permit an appeal to go forward. The company has not indicated that it will do so.
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Yogi Berra Explains Jazz R.I.P. Yogi
http://www.jazzpromoservices.com/
Interviewer:
What do you expect is in store for the future of jazz trumpet?
Yogi: I’m thinkin’ there’ll be a group of guys who’ve never met talkin’ about it all the time…
Interviewer: Can you explain jazz?
Yogi: I can’t, but I will. 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it’s wrong.
Interviewer: I don’t understand.
Yogi: Anyone who understands jazz knows that you can’t understand it. It’s too complicated. That’s whats so simple about it.
Interviewer: Do you understand it?
Yogi: No. That’s why I can explain it. If I understood it, I wouldnt know anything about it.
Interviewer: Are there any great jazz players alive today?
Yogi: No. All the great jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead. Some would kill for it.
Interviewer: What is syncopation?
Yogi: That’s when the note that you should hear now happens either before or after you hear it. In jazz, you don’t hear notes when they happen because that would be some other type of music. Other types of music can be jazz, but only if they’re the same as something different from those other kinds.
Interviewer: Now I really don’t understand.
Yogi: I haven’t taught you enough for you to not understand jazz that well.
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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Yogi Berra Explains Jazz R.I.P. Yogi
http://www.jazzpromoservices.com/
Interviewer:
What do you expect is in store for the future of jazz trumpet?
Yogi: I’m thinkin’ there’ll be a group of guys who’ve never met talkin’ about it all the time…
Interviewer: Can you explain jazz?
Yogi: I can’t, but I will. 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it’s wrong.
Interviewer: I don’t understand.
Yogi: Anyone who understands jazz knows that you can’t understand it. It’s too complicated. That’s whats so simple about it.
Interviewer: Do you understand it?
Yogi: No. That’s why I can explain it. If I understood it, I wouldnt know anything about it.
Interviewer: Are there any great jazz players alive today?
Yogi: No. All the great jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead. Some would kill for it.
Interviewer: What is syncopation?
Yogi: That’s when the note that you should hear now happens either before or after you hear it. In jazz, you don’t hear notes when they happen because that would be some other type of music. Other types of music can be jazz, but only if they’re the same as something different from those other kinds.
Interviewer: Now I really don’t understand.
Yogi: I haven’t taught you enough for you to not understand jazz that well.
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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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Yogi Berra Explains Jazz R.I.P. Yogi
http://www.jazzpromoservices.com/
Interviewer:
What do you expect is in store for the future of jazz trumpet?
Yogi: I’m thinkin’ there’ll be a group of guys who’ve never met talkin’ about it all the time…
Interviewer: Can you explain jazz?
Yogi: I can’t, but I will. 90% of all jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it’s wrong.
Interviewer: I don’t understand.
Yogi: Anyone who understands jazz knows that you can’t understand it. It’s too complicated. That’s whats so simple about it.
Interviewer: Do you understand it?
Yogi: No. That’s why I can explain it. If I understood it, I wouldnt know anything about it.
Interviewer: Are there any great jazz players alive today?
Yogi: No. All the great jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead. Some would kill for it.
Interviewer: What is syncopation?
Yogi: That’s when the note that you should hear now happens either before or after you hear it. In jazz, you don’t hear notes when they happen because that would be some other type of music. Other types of music can be jazz, but only if they’re the same as something different from those other kinds.
Interviewer: Now I really don’t understand.
Yogi: I haven’t taught you enough for you to not understand jazz that well.
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=4174731ed4) | 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=4174731ed4&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA