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A Hidden Hero of Jazz – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/a-hidden-hero-of-jazz
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
** A Hidden Hero of Jazz
————————————————————
http://www.newyorker.com/wp-content/uploads/2015/09/Brody-MaryLouWilliams-1200.jpgMary Lou Williams’s musical career was one that, in its very historicity, went to the forefront of modernity. Credit Photograph by W. Eugene Smith/LIFE/Getty There’s a documentary playing tomorrow night at Harlem Stage, “Mary Lou Williams: The Lady Who Swings the Band (http://www.harlemstage.org/events/mary-lou-williams-the-woman-who-swings-the-band/) ,” which, if it doesn’t advance the form of documentary filmmaking, nonetheless delivers memorable and valuable insights into the life and work of a hidden hero of musical modernity. Its director, Carol Bash, happily departs from the lockstep of chronology to emphasize Mary Lou Williams’s latter-day musical achievements, introducing the mature musician in 1980, the year before her death, at the age of seventy-one, performing splendidly for a university audience, before sketching the launch of Williams’s musical career while still a teen-ager in the
nineteen-twenties.
The life that Bash outlines, in a mere hour and ten minutes, is exactly what Williams herself knew it to be—a personal history of jazz. The director cites Williams’s proud but apt assertion of her own place in the musical life of her time—“I’m the only living musician that was there when each era started”—and includes some snippets of performance that display the grand artistic import of Williams’s assertion. As the movie makes clear, she was more than just there—she was one of the key developers of the musical ideas of these eras, and she did more than just remain up-to-date; from era to era, she surpassed herself.
The point is one of a stark historical clarity: the rarity of stylistic change over the course of a jazz musician’s career. Louis Armstrong, for instance, the seminal soloist of the art form, more or less ended his musical development while still in his twenties, and held to the same style from the time of his heroic recordings made between 1925 and 1930 through to the end of his life, in 1971. Duke Ellington, a peerless composer as well as a great pianist, reached a stylistic apogee in the early nineteen-forties and revealed little trace of new trends over the next thirty years. Among the greats, there’s only Coleman Hawkins, who played with Fletcher Henderson in the nineteen-twenties, with Thelonious Monk and Miles Davis in the nineteen-forties, with John Coltrane in the nineteen-fifties, and with Sonny Rollins in the nineteen-sixties; there’s Davis himself, who was in a state of perpetual revolution from the mid-forties through the mid-seventies; and Coltrane went further
in a mere decade, from the mid-fifties through his death, in 1967, than any jazz musician ever had.
But Williams, in continuing to outdo herself, also outdid these heroes of her time in several crucial respects: she played better in her sixties than she ever did, reaching an artistic fulfillment in the nineteen-seventies that was due to the triple coincidence of external circumstances of the music world, those of her personal life, and those of her own creative evolution. Williams didn’t just change, she grew; the brilliant ideas that were present in her earlier work expanded on contact with new musical realms, and she found herself doubling back on prior resistance to the strongest and most difficult new styles to incorporate both their freedom and their complexity into her playing.
If Louis Armstrong had stopped performing after 1930, or Duke Ellington had stopped performing after 1942, their places atop jazz history would be no less secure. But Mary Lou Williams, who created much great music throughout her life, did her most powerful, distinctive, personal, and innovative work in her sixties. In this regard, she’s unique in the history of jazz. In the music that she performed in the last decade of her life, in solos, duets, and trios, her originality and her passion, as well as the depth of her experience, come through in an awe-inspiring, hands-on rush of pent-up and long-gestating creative energy.
As Bash emphasizes, Williams’s musical career rose to the forefront of jazz when she was twenty, due to her association with Andy Kirk’s band. That’s where her first husband, John Williams, played (they married when she was in her teens). She greatly impressed Kirk musically, but Kirk didn’t like the idea of having a woman in the band; she was relegated to the role of a replacement pianist, but happened to be called upon to play when the band auditioned for the record-company executive Jack Kapp. The story that Bash tells of her change in fortunes is horrific: the band reached Chicago to record for Kapp, but Williams was left behind; Kapp insisted that the band couldn’t record without her; Kirk sent for her. In the train from Kansas City to St. Louis en route to Chicago, she was raped by the conductor. She then arrived in Chicago and went straight from the train to the recording session, where, upon arrival in the studio, Kapp tapped her to play solo, and she unleashed a
torrent of musical invention, “Nite Life.” Interviewed by Bash on-camera, the historian Farah Jasmine Griffin says of that exuberant performance that “we don’t hear it thinking of trauma” and adds, “Music, for Mary Lou, is really a documentation of the triumph over the trauma.”
Of trauma, there was plenty—those that were due to being a woman; those that were due to being black; and those that arose from the life of a musician, of an artist. Born in Atlanta, Williams moved to Pittsburgh as a child, and her family traded the legal terror regime of Jim Crow for the unchallenged practical discrimination of the North. But Williams’s teachers recognized her musical genius and helped to foster it. Her home life, and especially her relationship with her mother, were troubled, and she joined a travelling band both to make money and to get away.
Bash deftly outlines the effort that it took for her to escape from the “clowning” of show business and take her music seriously, and aptly highlights the cauldron of Williams’s musical innovation—the band’s residence in Kansas City. They had few commercial prospects, but the city was a thriving musical hub, and Williams played constantly alongside the greats of the time, including Hawkins, Lester Young, and Count Basie, and in the presence of the adolescent Charlie Parker, with whom she’d play in New York twenty years later.
“Mary Lou Williams: The Lady Who Swings the Band (https://www.youtube.com/watch?v=cOxIyFe9g0o) ” gets its subtitle from a composition by Sammy Cahn and Saul Chaplin, in honor of Williams, that the Kirk band recorded in 1936. Her association with that band ended in 1942, though, because she found its popular styles musically limiting. Bash details Williams’s move to New York, her prominence at Café Society, her passionate devotion to musical innovation and to the innovators themselves—and the trouble she faced due to her musical seriousness, her gender, and her dark skin (light-skinned black artists found a much easier time of gaining acceptance).
The movie’s prime virtue is its panoply of voices, including interviews with the musicians Hank Jones, Billy Taylor, Carmen Lundy, and Geri Allen (who is also filmed giving a splendid performance of Williams’s composition “Lonely Moments”); the historians Gary Giddins, Griffin, and Tammy Kernodle, and her friends Johnnie Garry and Gray Weingarten. There’s also a generous offering of clips of Williams in performance, both on record and on film, and Bash also includes citations from Williams, spoken on the soundtrack by Alfre Woodard (often accompanied by an unfortunate skein of boilerplate stock footage; it would have been better simply to see Woodard at a microphone).
Bash sketches the romantic complications that Williams got herself into, but there are many important aspects of Williams’s life that the movie leaves out, such as her habit of gambling and the resulting money troubles that played a big role in her decision to leave the United States for Europe, in 1952, and the family troubles that hounded her to the end of her life. (I’d recommend Linda Dahl’s superb biography (https://www.nytimes.com/books/first/d/dahl-glory.html) of Williams, “Morning Glory,” for a more detailed view.) There are also some fascinating musical byways that Bash doesn’t take up, such as the small groups of women musicians with whom Williams recorded in the mid-forties. The recordings are beautiful—Williams made particular use of the groups’ distinctive texture—but for Williams herself, they were the source of conflict and dissatisfaction. She struggled for acceptance as a musician and preferred not to be pigeonholed as a woman musician—and, as Dahl writes,
this led to conflict late in her career, in 1978, when she appeared at a “Women’s Jazz Festival” but publicly repudiated its very premise.
What Bash outlines, and what Dahl details, is a musical career that, in its very historicity, went to the forefront of modernity. From the earliest days of her career, Williams was self-consciously looking backward as she looked ahead. Even as she performed music by Jelly Roll Morton and borrowed arranging styles from Don Redman, she created swing riffs that became the basis for compositions by Thelonious Monk and other modernists. She worked with the short-lived modernist pianist and composer Herbie Nichols as early as 1951 and performed with Parker at that time, becoming a heroine of bebop even as she quickly tired of what she perceived as its theoretical rigidity. Her next decade and a half of musical exploration was marked by a historic movement; in 1955, she recorded an album called “A Keyboard History”; she sought to include popular stylings of rock and rhythm and blues in her playing in 1959.
When Williams had a gig at a New York jazz club in 1964, Whitney Balliett profiled her for The New Yorker, (http://www.newyorker.com/magazine/1964/05/02/out-here-again) writing that “Miss Williams’ present work, I discovered at the Hickory House, is an instructive history of jazz piano—a kind of one-woman retrospective of an entire movement.” The significance of her embodiment of history is all the more remarkable in that it’s a history that she was (as she said) looking back at a history that she had experienced in real time. At that very moment, the world of movies was undergoing its own renewal as a result of creative historicism: young French critics and their American acolytes, including Peter Bogdanovich, Martin Scorsese, and Brian De Palma, were advancing the art of movies by recuperating and reconfiguring the styles of the past. Williams, amazingly, re-created a history that she helped to create. It was a far mightier task, because it also entailed an undoing of that
past, a musical self-criticism in performance. The psychological and emotional complexity of her experience is mighty and terrifying; it’s reflected in the turbulence and the passion of her life. It wouldn’t be going too far to call Mary Lou Williams the living embodiment of a New Wave in jazz.
I’ve put together a Spotify playlist (https://open.spotify.com/user/richardalanbrody/playlist/2ryer7Bp8kO9mZc5X0rv5G) of some of my favorite recordings by Williams. Unfortunately, many of my favorites from the seventies aren’t available there; I’d particularly recommend the albums “Live at the Keystone Korner,” “Solo Recital—Montreux Jazz Festival 1978,” and “Marian McPartland’s Piano Jazz With Mary Lou Williams.”
P.S. It’s worth noting: tomorrow night’s screening will also feature a performance by Allen, plus a discussion with Bash, Griffin, and Allen. Watch: Richard Brody’s latest Movie of the Week, “An Oversimplification of Her Beauty,” from 2012. Sign up for the daily newsletter: the best of The New Yorker every day.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A Hidden Hero of Jazz – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/a-hidden-hero-of-jazz
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
** A Hidden Hero of Jazz
————————————————————
http://www.newyorker.com/wp-content/uploads/2015/09/Brody-MaryLouWilliams-1200.jpgMary Lou Williams’s musical career was one that, in its very historicity, went to the forefront of modernity. Credit Photograph by W. Eugene Smith/LIFE/Getty There’s a documentary playing tomorrow night at Harlem Stage, “Mary Lou Williams: The Lady Who Swings the Band (http://www.harlemstage.org/events/mary-lou-williams-the-woman-who-swings-the-band/) ,” which, if it doesn’t advance the form of documentary filmmaking, nonetheless delivers memorable and valuable insights into the life and work of a hidden hero of musical modernity. Its director, Carol Bash, happily departs from the lockstep of chronology to emphasize Mary Lou Williams’s latter-day musical achievements, introducing the mature musician in 1980, the year before her death, at the age of seventy-one, performing splendidly for a university audience, before sketching the launch of Williams’s musical career while still a teen-ager in the
nineteen-twenties.
The life that Bash outlines, in a mere hour and ten minutes, is exactly what Williams herself knew it to be—a personal history of jazz. The director cites Williams’s proud but apt assertion of her own place in the musical life of her time—“I’m the only living musician that was there when each era started”—and includes some snippets of performance that display the grand artistic import of Williams’s assertion. As the movie makes clear, she was more than just there—she was one of the key developers of the musical ideas of these eras, and she did more than just remain up-to-date; from era to era, she surpassed herself.
The point is one of a stark historical clarity: the rarity of stylistic change over the course of a jazz musician’s career. Louis Armstrong, for instance, the seminal soloist of the art form, more or less ended his musical development while still in his twenties, and held to the same style from the time of his heroic recordings made between 1925 and 1930 through to the end of his life, in 1971. Duke Ellington, a peerless composer as well as a great pianist, reached a stylistic apogee in the early nineteen-forties and revealed little trace of new trends over the next thirty years. Among the greats, there’s only Coleman Hawkins, who played with Fletcher Henderson in the nineteen-twenties, with Thelonious Monk and Miles Davis in the nineteen-forties, with John Coltrane in the nineteen-fifties, and with Sonny Rollins in the nineteen-sixties; there’s Davis himself, who was in a state of perpetual revolution from the mid-forties through the mid-seventies; and Coltrane went further
in a mere decade, from the mid-fifties through his death, in 1967, than any jazz musician ever had.
But Williams, in continuing to outdo herself, also outdid these heroes of her time in several crucial respects: she played better in her sixties than she ever did, reaching an artistic fulfillment in the nineteen-seventies that was due to the triple coincidence of external circumstances of the music world, those of her personal life, and those of her own creative evolution. Williams didn’t just change, she grew; the brilliant ideas that were present in her earlier work expanded on contact with new musical realms, and she found herself doubling back on prior resistance to the strongest and most difficult new styles to incorporate both their freedom and their complexity into her playing.
If Louis Armstrong had stopped performing after 1930, or Duke Ellington had stopped performing after 1942, their places atop jazz history would be no less secure. But Mary Lou Williams, who created much great music throughout her life, did her most powerful, distinctive, personal, and innovative work in her sixties. In this regard, she’s unique in the history of jazz. In the music that she performed in the last decade of her life, in solos, duets, and trios, her originality and her passion, as well as the depth of her experience, come through in an awe-inspiring, hands-on rush of pent-up and long-gestating creative energy.
As Bash emphasizes, Williams’s musical career rose to the forefront of jazz when she was twenty, due to her association with Andy Kirk’s band. That’s where her first husband, John Williams, played (they married when she was in her teens). She greatly impressed Kirk musically, but Kirk didn’t like the idea of having a woman in the band; she was relegated to the role of a replacement pianist, but happened to be called upon to play when the band auditioned for the record-company executive Jack Kapp. The story that Bash tells of her change in fortunes is horrific: the band reached Chicago to record for Kapp, but Williams was left behind; Kapp insisted that the band couldn’t record without her; Kirk sent for her. In the train from Kansas City to St. Louis en route to Chicago, she was raped by the conductor. She then arrived in Chicago and went straight from the train to the recording session, where, upon arrival in the studio, Kapp tapped her to play solo, and she unleashed a
torrent of musical invention, “Nite Life.” Interviewed by Bash on-camera, the historian Farah Jasmine Griffin says of that exuberant performance that “we don’t hear it thinking of trauma” and adds, “Music, for Mary Lou, is really a documentation of the triumph over the trauma.”
Of trauma, there was plenty—those that were due to being a woman; those that were due to being black; and those that arose from the life of a musician, of an artist. Born in Atlanta, Williams moved to Pittsburgh as a child, and her family traded the legal terror regime of Jim Crow for the unchallenged practical discrimination of the North. But Williams’s teachers recognized her musical genius and helped to foster it. Her home life, and especially her relationship with her mother, were troubled, and she joined a travelling band both to make money and to get away.
Bash deftly outlines the effort that it took for her to escape from the “clowning” of show business and take her music seriously, and aptly highlights the cauldron of Williams’s musical innovation—the band’s residence in Kansas City. They had few commercial prospects, but the city was a thriving musical hub, and Williams played constantly alongside the greats of the time, including Hawkins, Lester Young, and Count Basie, and in the presence of the adolescent Charlie Parker, with whom she’d play in New York twenty years later.
“Mary Lou Williams: The Lady Who Swings the Band (https://www.youtube.com/watch?v=cOxIyFe9g0o) ” gets its subtitle from a composition by Sammy Cahn and Saul Chaplin, in honor of Williams, that the Kirk band recorded in 1936. Her association with that band ended in 1942, though, because she found its popular styles musically limiting. Bash details Williams’s move to New York, her prominence at Café Society, her passionate devotion to musical innovation and to the innovators themselves—and the trouble she faced due to her musical seriousness, her gender, and her dark skin (light-skinned black artists found a much easier time of gaining acceptance).
The movie’s prime virtue is its panoply of voices, including interviews with the musicians Hank Jones, Billy Taylor, Carmen Lundy, and Geri Allen (who is also filmed giving a splendid performance of Williams’s composition “Lonely Moments”); the historians Gary Giddins, Griffin, and Tammy Kernodle, and her friends Johnnie Garry and Gray Weingarten. There’s also a generous offering of clips of Williams in performance, both on record and on film, and Bash also includes citations from Williams, spoken on the soundtrack by Alfre Woodard (often accompanied by an unfortunate skein of boilerplate stock footage; it would have been better simply to see Woodard at a microphone).
Bash sketches the romantic complications that Williams got herself into, but there are many important aspects of Williams’s life that the movie leaves out, such as her habit of gambling and the resulting money troubles that played a big role in her decision to leave the United States for Europe, in 1952, and the family troubles that hounded her to the end of her life. (I’d recommend Linda Dahl’s superb biography (https://www.nytimes.com/books/first/d/dahl-glory.html) of Williams, “Morning Glory,” for a more detailed view.) There are also some fascinating musical byways that Bash doesn’t take up, such as the small groups of women musicians with whom Williams recorded in the mid-forties. The recordings are beautiful—Williams made particular use of the groups’ distinctive texture—but for Williams herself, they were the source of conflict and dissatisfaction. She struggled for acceptance as a musician and preferred not to be pigeonholed as a woman musician—and, as Dahl writes,
this led to conflict late in her career, in 1978, when she appeared at a “Women’s Jazz Festival” but publicly repudiated its very premise.
What Bash outlines, and what Dahl details, is a musical career that, in its very historicity, went to the forefront of modernity. From the earliest days of her career, Williams was self-consciously looking backward as she looked ahead. Even as she performed music by Jelly Roll Morton and borrowed arranging styles from Don Redman, she created swing riffs that became the basis for compositions by Thelonious Monk and other modernists. She worked with the short-lived modernist pianist and composer Herbie Nichols as early as 1951 and performed with Parker at that time, becoming a heroine of bebop even as she quickly tired of what she perceived as its theoretical rigidity. Her next decade and a half of musical exploration was marked by a historic movement; in 1955, she recorded an album called “A Keyboard History”; she sought to include popular stylings of rock and rhythm and blues in her playing in 1959.
When Williams had a gig at a New York jazz club in 1964, Whitney Balliett profiled her for The New Yorker, (http://www.newyorker.com/magazine/1964/05/02/out-here-again) writing that “Miss Williams’ present work, I discovered at the Hickory House, is an instructive history of jazz piano—a kind of one-woman retrospective of an entire movement.” The significance of her embodiment of history is all the more remarkable in that it’s a history that she was (as she said) looking back at a history that she had experienced in real time. At that very moment, the world of movies was undergoing its own renewal as a result of creative historicism: young French critics and their American acolytes, including Peter Bogdanovich, Martin Scorsese, and Brian De Palma, were advancing the art of movies by recuperating and reconfiguring the styles of the past. Williams, amazingly, re-created a history that she helped to create. It was a far mightier task, because it also entailed an undoing of that
past, a musical self-criticism in performance. The psychological and emotional complexity of her experience is mighty and terrifying; it’s reflected in the turbulence and the passion of her life. It wouldn’t be going too far to call Mary Lou Williams the living embodiment of a New Wave in jazz.
I’ve put together a Spotify playlist (https://open.spotify.com/user/richardalanbrody/playlist/2ryer7Bp8kO9mZc5X0rv5G) of some of my favorite recordings by Williams. Unfortunately, many of my favorites from the seventies aren’t available there; I’d particularly recommend the albums “Live at the Keystone Korner,” “Solo Recital—Montreux Jazz Festival 1978,” and “Marian McPartland’s Piano Jazz With Mary Lou Williams.”
P.S. It’s worth noting: tomorrow night’s screening will also feature a performance by Allen, plus a discussion with Bash, Griffin, and Allen. Watch: Richard Brody’s latest Movie of the Week, “An Oversimplification of Her Beauty,” from 2012. Sign up for the daily newsletter: the best of The New Yorker every day.
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=fcb2b34626) | 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=fcb2b34626&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A Hidden Hero of Jazz – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/a-hidden-hero-of-jazz
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
** A Hidden Hero of Jazz
————————————————————
http://www.newyorker.com/wp-content/uploads/2015/09/Brody-MaryLouWilliams-1200.jpgMary Lou Williams’s musical career was one that, in its very historicity, went to the forefront of modernity. Credit Photograph by W. Eugene Smith/LIFE/Getty There’s a documentary playing tomorrow night at Harlem Stage, “Mary Lou Williams: The Lady Who Swings the Band (http://www.harlemstage.org/events/mary-lou-williams-the-woman-who-swings-the-band/) ,” which, if it doesn’t advance the form of documentary filmmaking, nonetheless delivers memorable and valuable insights into the life and work of a hidden hero of musical modernity. Its director, Carol Bash, happily departs from the lockstep of chronology to emphasize Mary Lou Williams’s latter-day musical achievements, introducing the mature musician in 1980, the year before her death, at the age of seventy-one, performing splendidly for a university audience, before sketching the launch of Williams’s musical career while still a teen-ager in the
nineteen-twenties.
The life that Bash outlines, in a mere hour and ten minutes, is exactly what Williams herself knew it to be—a personal history of jazz. The director cites Williams’s proud but apt assertion of her own place in the musical life of her time—“I’m the only living musician that was there when each era started”—and includes some snippets of performance that display the grand artistic import of Williams’s assertion. As the movie makes clear, she was more than just there—she was one of the key developers of the musical ideas of these eras, and she did more than just remain up-to-date; from era to era, she surpassed herself.
The point is one of a stark historical clarity: the rarity of stylistic change over the course of a jazz musician’s career. Louis Armstrong, for instance, the seminal soloist of the art form, more or less ended his musical development while still in his twenties, and held to the same style from the time of his heroic recordings made between 1925 and 1930 through to the end of his life, in 1971. Duke Ellington, a peerless composer as well as a great pianist, reached a stylistic apogee in the early nineteen-forties and revealed little trace of new trends over the next thirty years. Among the greats, there’s only Coleman Hawkins, who played with Fletcher Henderson in the nineteen-twenties, with Thelonious Monk and Miles Davis in the nineteen-forties, with John Coltrane in the nineteen-fifties, and with Sonny Rollins in the nineteen-sixties; there’s Davis himself, who was in a state of perpetual revolution from the mid-forties through the mid-seventies; and Coltrane went further
in a mere decade, from the mid-fifties through his death, in 1967, than any jazz musician ever had.
But Williams, in continuing to outdo herself, also outdid these heroes of her time in several crucial respects: she played better in her sixties than she ever did, reaching an artistic fulfillment in the nineteen-seventies that was due to the triple coincidence of external circumstances of the music world, those of her personal life, and those of her own creative evolution. Williams didn’t just change, she grew; the brilliant ideas that were present in her earlier work expanded on contact with new musical realms, and she found herself doubling back on prior resistance to the strongest and most difficult new styles to incorporate both their freedom and their complexity into her playing.
If Louis Armstrong had stopped performing after 1930, or Duke Ellington had stopped performing after 1942, their places atop jazz history would be no less secure. But Mary Lou Williams, who created much great music throughout her life, did her most powerful, distinctive, personal, and innovative work in her sixties. In this regard, she’s unique in the history of jazz. In the music that she performed in the last decade of her life, in solos, duets, and trios, her originality and her passion, as well as the depth of her experience, come through in an awe-inspiring, hands-on rush of pent-up and long-gestating creative energy.
As Bash emphasizes, Williams’s musical career rose to the forefront of jazz when she was twenty, due to her association with Andy Kirk’s band. That’s where her first husband, John Williams, played (they married when she was in her teens). She greatly impressed Kirk musically, but Kirk didn’t like the idea of having a woman in the band; she was relegated to the role of a replacement pianist, but happened to be called upon to play when the band auditioned for the record-company executive Jack Kapp. The story that Bash tells of her change in fortunes is horrific: the band reached Chicago to record for Kapp, but Williams was left behind; Kapp insisted that the band couldn’t record without her; Kirk sent for her. In the train from Kansas City to St. Louis en route to Chicago, she was raped by the conductor. She then arrived in Chicago and went straight from the train to the recording session, where, upon arrival in the studio, Kapp tapped her to play solo, and she unleashed a
torrent of musical invention, “Nite Life.” Interviewed by Bash on-camera, the historian Farah Jasmine Griffin says of that exuberant performance that “we don’t hear it thinking of trauma” and adds, “Music, for Mary Lou, is really a documentation of the triumph over the trauma.”
Of trauma, there was plenty—those that were due to being a woman; those that were due to being black; and those that arose from the life of a musician, of an artist. Born in Atlanta, Williams moved to Pittsburgh as a child, and her family traded the legal terror regime of Jim Crow for the unchallenged practical discrimination of the North. But Williams’s teachers recognized her musical genius and helped to foster it. Her home life, and especially her relationship with her mother, were troubled, and she joined a travelling band both to make money and to get away.
Bash deftly outlines the effort that it took for her to escape from the “clowning” of show business and take her music seriously, and aptly highlights the cauldron of Williams’s musical innovation—the band’s residence in Kansas City. They had few commercial prospects, but the city was a thriving musical hub, and Williams played constantly alongside the greats of the time, including Hawkins, Lester Young, and Count Basie, and in the presence of the adolescent Charlie Parker, with whom she’d play in New York twenty years later.
“Mary Lou Williams: The Lady Who Swings the Band (https://www.youtube.com/watch?v=cOxIyFe9g0o) ” gets its subtitle from a composition by Sammy Cahn and Saul Chaplin, in honor of Williams, that the Kirk band recorded in 1936. Her association with that band ended in 1942, though, because she found its popular styles musically limiting. Bash details Williams’s move to New York, her prominence at Café Society, her passionate devotion to musical innovation and to the innovators themselves—and the trouble she faced due to her musical seriousness, her gender, and her dark skin (light-skinned black artists found a much easier time of gaining acceptance).
The movie’s prime virtue is its panoply of voices, including interviews with the musicians Hank Jones, Billy Taylor, Carmen Lundy, and Geri Allen (who is also filmed giving a splendid performance of Williams’s composition “Lonely Moments”); the historians Gary Giddins, Griffin, and Tammy Kernodle, and her friends Johnnie Garry and Gray Weingarten. There’s also a generous offering of clips of Williams in performance, both on record and on film, and Bash also includes citations from Williams, spoken on the soundtrack by Alfre Woodard (often accompanied by an unfortunate skein of boilerplate stock footage; it would have been better simply to see Woodard at a microphone).
Bash sketches the romantic complications that Williams got herself into, but there are many important aspects of Williams’s life that the movie leaves out, such as her habit of gambling and the resulting money troubles that played a big role in her decision to leave the United States for Europe, in 1952, and the family troubles that hounded her to the end of her life. (I’d recommend Linda Dahl’s superb biography (https://www.nytimes.com/books/first/d/dahl-glory.html) of Williams, “Morning Glory,” for a more detailed view.) There are also some fascinating musical byways that Bash doesn’t take up, such as the small groups of women musicians with whom Williams recorded in the mid-forties. The recordings are beautiful—Williams made particular use of the groups’ distinctive texture—but for Williams herself, they were the source of conflict and dissatisfaction. She struggled for acceptance as a musician and preferred not to be pigeonholed as a woman musician—and, as Dahl writes,
this led to conflict late in her career, in 1978, when she appeared at a “Women’s Jazz Festival” but publicly repudiated its very premise.
What Bash outlines, and what Dahl details, is a musical career that, in its very historicity, went to the forefront of modernity. From the earliest days of her career, Williams was self-consciously looking backward as she looked ahead. Even as she performed music by Jelly Roll Morton and borrowed arranging styles from Don Redman, she created swing riffs that became the basis for compositions by Thelonious Monk and other modernists. She worked with the short-lived modernist pianist and composer Herbie Nichols as early as 1951 and performed with Parker at that time, becoming a heroine of bebop even as she quickly tired of what she perceived as its theoretical rigidity. Her next decade and a half of musical exploration was marked by a historic movement; in 1955, she recorded an album called “A Keyboard History”; she sought to include popular stylings of rock and rhythm and blues in her playing in 1959.
When Williams had a gig at a New York jazz club in 1964, Whitney Balliett profiled her for The New Yorker, (http://www.newyorker.com/magazine/1964/05/02/out-here-again) writing that “Miss Williams’ present work, I discovered at the Hickory House, is an instructive history of jazz piano—a kind of one-woman retrospective of an entire movement.” The significance of her embodiment of history is all the more remarkable in that it’s a history that she was (as she said) looking back at a history that she had experienced in real time. At that very moment, the world of movies was undergoing its own renewal as a result of creative historicism: young French critics and their American acolytes, including Peter Bogdanovich, Martin Scorsese, and Brian De Palma, were advancing the art of movies by recuperating and reconfiguring the styles of the past. Williams, amazingly, re-created a history that she helped to create. It was a far mightier task, because it also entailed an undoing of that
past, a musical self-criticism in performance. The psychological and emotional complexity of her experience is mighty and terrifying; it’s reflected in the turbulence and the passion of her life. It wouldn’t be going too far to call Mary Lou Williams the living embodiment of a New Wave in jazz.
I’ve put together a Spotify playlist (https://open.spotify.com/user/richardalanbrody/playlist/2ryer7Bp8kO9mZc5X0rv5G) of some of my favorite recordings by Williams. Unfortunately, many of my favorites from the seventies aren’t available there; I’d particularly recommend the albums “Live at the Keystone Korner,” “Solo Recital—Montreux Jazz Festival 1978,” and “Marian McPartland’s Piano Jazz With Mary Lou Williams.”
P.S. It’s worth noting: tomorrow night’s screening will also feature a performance by Allen, plus a discussion with Bash, Griffin, and Allen. Watch: Richard Brody’s latest Movie of the Week, “An Oversimplification of Her Beauty,” from 2012. Sign up for the daily newsletter: the best of The New Yorker every day.
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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In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html
Gold Standard
** In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
————————————————————
* Ethan Hawke (http://www.latimes.com/topic/entertainment/ethan-hawke-PECLB002274-topic.html#navtype=taxonomy-article)
*
* Sandra Bullock (http://www.latimes.com/topic/entertainment/sandra-bullock-PECLB000738-topic.html#navtype=taxonomy-article)
* Denzel Washington (http://www.latimes.com/topic/entertainment/denzel-washington-PECLB003929-topic.html#navtype=taxonomy-article)
In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
** Glenn Whipp (http://www.latimes.com/la-bio-glenn-whipp-staff.html#navtype=columnist-module)
————————————————————
LOS ANGELES TIMESglenn.whipp@latimes.com (mailto:glenn.whipp@latimes.com?subject=Regarding%20In%20Toronto,%20Ethan%20Hawke%20talks%20about%20his%20Chet%20Baker%20’anti-biopic,’%20’Born%20to%20Be%20Blue’)
** @glennwhipp (http://www.twitter.com/@glennwhipp) Why GAME OF THRONES won last night http://t.co/cq1Dk0Q59nhow I did with the rest of my #Emmys2015 picks. http://t.co/kGXeViAsc1
————————————————————
Ethan Hawke
Ethan Hawke plays jazz legend Chet Baker in “Born to Be Blue,” which premiered this week at the Toronto International Film Festival.
(Black Hanger Studios)
Over a breakfast interview last December, Ethan Hawke was, as he put it, a little “weepy,” having just finished shooting “Born to Be Blue” about jazz legend Chet Baker.
“I spent the last six months practicing the … trumpet and listening to Chet Baker and trying to be heroin-chic thin,” Hawke said. On the latter challenge, Hawke, biting into a piece of toast, added, laughing, “I can’t do it. I’m 44 … years old, and without really shooting up, it’s hard to get that thin.”
The primary topic on the table that morning in 2014 was “Boyhood,” but as is always the case with a talkative actor, the conversation detoured through various back roads, many of them leading to a shared love for Baker’s music.
See the most-read entertainment stories >> (http://www.latimes.com/entertainment/popular/)
SIGN UP for the free Indie Focus movies newsletter >> (http://www.latimes.com/newsletters/la-newsletter-indie-focus-signup-page-htmlstory.html)
“Born to Be Blue” premiered this week at the Toronto International Film Festival. Written and directed by Robert Budreau, it eschews the music biopic trappings for an impressionistic approach to the photogenic jazz trumpeter’s chaotic life and pure, vulnerable art.
It next plays as the opening movie at the New Orleans Film Festival on Oct. 14. It currently does not have a U.S. distributor.
Hawke had to leave immediately after the premiere to return to Santa Fe, N.M., where he’s shooting a remake of “The Magnificent Seven,” a reunion with his “Training Day” partners Denzel Washington and director Antoine Fuqua.
Here’s what he had to say about “Blue” that December morning, along with a follow-up thought offered via email.
My favorite music biopics are “This Is Spinal Tap” and “Walk Hard: the Dewey Cox Story,” which I guess is my way of saying I don’t much like most music biopics.
No disrespect to them, but a lot of interesting movies like “Ray,” they try to do so much. “He was born on this day. And then this happened. And then this wife came along.” Part of why I did this movie is that it’s the anti-biopic.
How so?
It’s fictional. It’s imagining a moment in Chet’s life. Did you read Geoff Dyer’s book “But Beautiful”? (http://www.amazon.com/But-Beautiful-Book-About-Jazz/dp/0312429479)
It’s one of my favorite books.
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
That book is phenomenal. So I read it, and this guy Robert Budreau read it. And he thought, “What an idea. I’m going to take the legend of the person, the mythology and create a story about not as he was but how he could have been.” And the dream of the movie is that by liberating ourselves from nonfiction, we get at an essence of who he really was.
Dino De Laurentiis approached Chet to have him play himself in his own movie. So we say: What if that had happened? So I’m playing Chet Baker playing himself in a movie. And our movie goes back and forth between the biopic we’re making and the reality of it and this fictional affair Chet’s having with his co-star (Carmen Ejogo), who’s the actress playing my wife in the movie.
FULL COVERAGE: Toronto, Telluride and more film festivals (http://www.latimes.com/entertainment/envelope/filmfestivals/)
The boilerplate on Baker is that he squandered his talent and betrayed himself and others with his drug addiction. But the facts of his life and his art don’t entirely support that.
cComments (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
* This might just be an interesting movie. Chet Baker did some great work and at least on occasion was a great artists.
BRADFORD TALAMON
AT 10:05 AM SEPTEMBER 16, 2015
ADD A COMMENT (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#) SEE ALL COMMENTS (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
1 (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
I interviewed tons of people about Chet. So many people who loved him, they hate [the James Gavin 2002 biography] “Deep in a Dream,” which paints him as this drug-fiend loser. Which, yes, he was like on occasion. But if he was that horrible, why does he have all these 20-year friendships?
That book makes you hate him. People who talked to that author were so happy I called. “This guy, I talked to him for three days. I told him about 10 years of great times I had with Chet Baker. I did include the one time he robbed somebody, and that’s all he included.”
And the same friends who saw [the 1988 documentary] “Let’s Get Lost” say that’s a lie. “[Director] Bruce Weber manipulated him.” Or: “Chet was just trying to play Bruce to get whatever Bruce wanted.”
There’s no shortage of opinions and legends surrounding this guy.
TIFF 2015: L.A. Times photo studio
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin
Stars of the festival are photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin / Los Angeles Times
Director Drake Doremus and his lead actress Kristen Stewart, from the film “Equals,” is photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
And you take all that in. I loved listening to the music. I loved reading about Chet. When somebody’s gone, and they leave this vacuum, there is this continued dialogue. I can have a dialogue with his work. And I did, and I loved it.
You know, I was supposed to do a Chet Baker movie when I was 26 with Rick [Linklater]. We had a whole script and were going to make it. “A Day in the Life of Chet Baker.” A day in 1956.
You would have been the beautiful Chet.
Now I’m the ravaged Chet.
It happens.
Well, I’m still alive. That’s what that says. Which I’m very happy about.
Via email:
Now that you’ve seen it, do you think you nailed the vibe of “But Beautiful”?
It’s not for me to say, but it’s a good sign that some people seem to notice that was the attempt. I am positive the film will irritate the … out of some others, but I feel proud of the film and felt it works kind of the way jazz music loves to take a standard and riff off it. We took the standard legend of Chet and dug in and explored and riffed.
Twitter: @glennwhipp (https://twitter.com/GlennWhipp)
MORE:
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
Toronto 2015: ‘Danish Girl’ with Eddie Redmayne stirs Oscar talk again (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-danish-girl-eddie-redmayne-toronto-film-festival-20150912-column.html)
Toronto 2015: Sandra Bullock and George Clooney on gender switches and ‘butt doubles’ (http://www.latimes.com/entertainment/envelope/goldstandard/la-our-brand-is-crisis-toronto-film-festival-20150911-column.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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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
In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html
Gold Standard
** In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
————————————————————
* Ethan Hawke (http://www.latimes.com/topic/entertainment/ethan-hawke-PECLB002274-topic.html#navtype=taxonomy-article)
*
* Sandra Bullock (http://www.latimes.com/topic/entertainment/sandra-bullock-PECLB000738-topic.html#navtype=taxonomy-article)
* Denzel Washington (http://www.latimes.com/topic/entertainment/denzel-washington-PECLB003929-topic.html#navtype=taxonomy-article)
In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
** Glenn Whipp (http://www.latimes.com/la-bio-glenn-whipp-staff.html#navtype=columnist-module)
————————————————————
LOS ANGELES TIMESglenn.whipp@latimes.com (mailto:glenn.whipp@latimes.com?subject=Regarding%20In%20Toronto,%20Ethan%20Hawke%20talks%20about%20his%20Chet%20Baker%20’anti-biopic,’%20’Born%20to%20Be%20Blue’)
** @glennwhipp (http://www.twitter.com/@glennwhipp) Why GAME OF THRONES won last night http://t.co/cq1Dk0Q59nhow I did with the rest of my #Emmys2015 picks. http://t.co/kGXeViAsc1
————————————————————
Ethan Hawke
Ethan Hawke plays jazz legend Chet Baker in “Born to Be Blue,” which premiered this week at the Toronto International Film Festival.
(Black Hanger Studios)
Over a breakfast interview last December, Ethan Hawke was, as he put it, a little “weepy,” having just finished shooting “Born to Be Blue” about jazz legend Chet Baker.
“I spent the last six months practicing the … trumpet and listening to Chet Baker and trying to be heroin-chic thin,” Hawke said. On the latter challenge, Hawke, biting into a piece of toast, added, laughing, “I can’t do it. I’m 44 … years old, and without really shooting up, it’s hard to get that thin.”
The primary topic on the table that morning in 2014 was “Boyhood,” but as is always the case with a talkative actor, the conversation detoured through various back roads, many of them leading to a shared love for Baker’s music.
See the most-read entertainment stories >> (http://www.latimes.com/entertainment/popular/)
SIGN UP for the free Indie Focus movies newsletter >> (http://www.latimes.com/newsletters/la-newsletter-indie-focus-signup-page-htmlstory.html)
“Born to Be Blue” premiered this week at the Toronto International Film Festival. Written and directed by Robert Budreau, it eschews the music biopic trappings for an impressionistic approach to the photogenic jazz trumpeter’s chaotic life and pure, vulnerable art.
It next plays as the opening movie at the New Orleans Film Festival on Oct. 14. It currently does not have a U.S. distributor.
Hawke had to leave immediately after the premiere to return to Santa Fe, N.M., where he’s shooting a remake of “The Magnificent Seven,” a reunion with his “Training Day” partners Denzel Washington and director Antoine Fuqua.
Here’s what he had to say about “Blue” that December morning, along with a follow-up thought offered via email.
My favorite music biopics are “This Is Spinal Tap” and “Walk Hard: the Dewey Cox Story,” which I guess is my way of saying I don’t much like most music biopics.
No disrespect to them, but a lot of interesting movies like “Ray,” they try to do so much. “He was born on this day. And then this happened. And then this wife came along.” Part of why I did this movie is that it’s the anti-biopic.
How so?
It’s fictional. It’s imagining a moment in Chet’s life. Did you read Geoff Dyer’s book “But Beautiful”? (http://www.amazon.com/But-Beautiful-Book-About-Jazz/dp/0312429479)
It’s one of my favorite books.
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
That book is phenomenal. So I read it, and this guy Robert Budreau read it. And he thought, “What an idea. I’m going to take the legend of the person, the mythology and create a story about not as he was but how he could have been.” And the dream of the movie is that by liberating ourselves from nonfiction, we get at an essence of who he really was.
Dino De Laurentiis approached Chet to have him play himself in his own movie. So we say: What if that had happened? So I’m playing Chet Baker playing himself in a movie. And our movie goes back and forth between the biopic we’re making and the reality of it and this fictional affair Chet’s having with his co-star (Carmen Ejogo), who’s the actress playing my wife in the movie.
FULL COVERAGE: Toronto, Telluride and more film festivals (http://www.latimes.com/entertainment/envelope/filmfestivals/)
The boilerplate on Baker is that he squandered his talent and betrayed himself and others with his drug addiction. But the facts of his life and his art don’t entirely support that.
cComments (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
* This might just be an interesting movie. Chet Baker did some great work and at least on occasion was a great artists.
BRADFORD TALAMON
AT 10:05 AM SEPTEMBER 16, 2015
ADD A COMMENT (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#) SEE ALL COMMENTS (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
1 (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
I interviewed tons of people about Chet. So many people who loved him, they hate [the James Gavin 2002 biography] “Deep in a Dream,” which paints him as this drug-fiend loser. Which, yes, he was like on occasion. But if he was that horrible, why does he have all these 20-year friendships?
That book makes you hate him. People who talked to that author were so happy I called. “This guy, I talked to him for three days. I told him about 10 years of great times I had with Chet Baker. I did include the one time he robbed somebody, and that’s all he included.”
And the same friends who saw [the 1988 documentary] “Let’s Get Lost” say that’s a lie. “[Director] Bruce Weber manipulated him.” Or: “Chet was just trying to play Bruce to get whatever Bruce wanted.”
There’s no shortage of opinions and legends surrounding this guy.
TIFF 2015: L.A. Times photo studio
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin
Stars of the festival are photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin / Los Angeles Times
Director Drake Doremus and his lead actress Kristen Stewart, from the film “Equals,” is photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
And you take all that in. I loved listening to the music. I loved reading about Chet. When somebody’s gone, and they leave this vacuum, there is this continued dialogue. I can have a dialogue with his work. And I did, and I loved it.
You know, I was supposed to do a Chet Baker movie when I was 26 with Rick [Linklater]. We had a whole script and were going to make it. “A Day in the Life of Chet Baker.” A day in 1956.
You would have been the beautiful Chet.
Now I’m the ravaged Chet.
It happens.
Well, I’m still alive. That’s what that says. Which I’m very happy about.
Via email:
Now that you’ve seen it, do you think you nailed the vibe of “But Beautiful”?
It’s not for me to say, but it’s a good sign that some people seem to notice that was the attempt. I am positive the film will irritate the … out of some others, but I feel proud of the film and felt it works kind of the way jazz music loves to take a standard and riff off it. We took the standard legend of Chet and dug in and explored and riffed.
Twitter: @glennwhipp (https://twitter.com/GlennWhipp)
MORE:
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
Toronto 2015: ‘Danish Girl’ with Eddie Redmayne stirs Oscar talk again (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-danish-girl-eddie-redmayne-toronto-film-festival-20150912-column.html)
Toronto 2015: Sandra Bullock and George Clooney on gender switches and ‘butt doubles’ (http://www.latimes.com/entertainment/envelope/goldstandard/la-our-brand-is-crisis-toronto-film-festival-20150911-column.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html
Gold Standard
** In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
————————————————————
* Ethan Hawke (http://www.latimes.com/topic/entertainment/ethan-hawke-PECLB002274-topic.html#navtype=taxonomy-article)
*
* Sandra Bullock (http://www.latimes.com/topic/entertainment/sandra-bullock-PECLB000738-topic.html#navtype=taxonomy-article)
* Denzel Washington (http://www.latimes.com/topic/entertainment/denzel-washington-PECLB003929-topic.html#navtype=taxonomy-article)
In Toronto, Ethan Hawke talks about his Chet Baker ‘anti-biopic,’ ‘Born to Be Blue’
** Glenn Whipp (http://www.latimes.com/la-bio-glenn-whipp-staff.html#navtype=columnist-module)
————————————————————
LOS ANGELES TIMESglenn.whipp@latimes.com (mailto:glenn.whipp@latimes.com?subject=Regarding%20In%20Toronto,%20Ethan%20Hawke%20talks%20about%20his%20Chet%20Baker%20’anti-biopic,’%20’Born%20to%20Be%20Blue’)
** @glennwhipp (http://www.twitter.com/@glennwhipp) Why GAME OF THRONES won last night http://t.co/cq1Dk0Q59nhow I did with the rest of my #Emmys2015 picks. http://t.co/kGXeViAsc1
————————————————————
Ethan Hawke
Ethan Hawke plays jazz legend Chet Baker in “Born to Be Blue,” which premiered this week at the Toronto International Film Festival.
(Black Hanger Studios)
Over a breakfast interview last December, Ethan Hawke was, as he put it, a little “weepy,” having just finished shooting “Born to Be Blue” about jazz legend Chet Baker.
“I spent the last six months practicing the … trumpet and listening to Chet Baker and trying to be heroin-chic thin,” Hawke said. On the latter challenge, Hawke, biting into a piece of toast, added, laughing, “I can’t do it. I’m 44 … years old, and without really shooting up, it’s hard to get that thin.”
The primary topic on the table that morning in 2014 was “Boyhood,” but as is always the case with a talkative actor, the conversation detoured through various back roads, many of them leading to a shared love for Baker’s music.
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“Born to Be Blue” premiered this week at the Toronto International Film Festival. Written and directed by Robert Budreau, it eschews the music biopic trappings for an impressionistic approach to the photogenic jazz trumpeter’s chaotic life and pure, vulnerable art.
It next plays as the opening movie at the New Orleans Film Festival on Oct. 14. It currently does not have a U.S. distributor.
Hawke had to leave immediately after the premiere to return to Santa Fe, N.M., where he’s shooting a remake of “The Magnificent Seven,” a reunion with his “Training Day” partners Denzel Washington and director Antoine Fuqua.
Here’s what he had to say about “Blue” that December morning, along with a follow-up thought offered via email.
My favorite music biopics are “This Is Spinal Tap” and “Walk Hard: the Dewey Cox Story,” which I guess is my way of saying I don’t much like most music biopics.
No disrespect to them, but a lot of interesting movies like “Ray,” they try to do so much. “He was born on this day. And then this happened. And then this wife came along.” Part of why I did this movie is that it’s the anti-biopic.
How so?
It’s fictional. It’s imagining a moment in Chet’s life. Did you read Geoff Dyer’s book “But Beautiful”? (http://www.amazon.com/But-Beautiful-Book-About-Jazz/dp/0312429479)
It’s one of my favorite books.
http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
That book is phenomenal. So I read it, and this guy Robert Budreau read it. And he thought, “What an idea. I’m going to take the legend of the person, the mythology and create a story about not as he was but how he could have been.” And the dream of the movie is that by liberating ourselves from nonfiction, we get at an essence of who he really was.
Dino De Laurentiis approached Chet to have him play himself in his own movie. So we say: What if that had happened? So I’m playing Chet Baker playing himself in a movie. And our movie goes back and forth between the biopic we’re making and the reality of it and this fictional affair Chet’s having with his co-star (Carmen Ejogo), who’s the actress playing my wife in the movie.
FULL COVERAGE: Toronto, Telluride and more film festivals (http://www.latimes.com/entertainment/envelope/filmfestivals/)
The boilerplate on Baker is that he squandered his talent and betrayed himself and others with his drug addiction. But the facts of his life and his art don’t entirely support that.
cComments (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-ethan-hawke-born-to-be-blue-chet-baker-20150915-column.html#)
* This might just be an interesting movie. Chet Baker did some great work and at least on occasion was a great artists.
BRADFORD TALAMON
AT 10:05 AM SEPTEMBER 16, 2015
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I interviewed tons of people about Chet. So many people who loved him, they hate [the James Gavin 2002 biography] “Deep in a Dream,” which paints him as this drug-fiend loser. Which, yes, he was like on occasion. But if he was that horrible, why does he have all these 20-year friendships?
That book makes you hate him. People who talked to that author were so happy I called. “This guy, I talked to him for three days. I told him about 10 years of great times I had with Chet Baker. I did include the one time he robbed somebody, and that’s all he included.”
And the same friends who saw [the 1988 documentary] “Let’s Get Lost” say that’s a lie. “[Director] Bruce Weber manipulated him.” Or: “Chet was just trying to play Bruce to get whatever Bruce wanted.”
There’s no shortage of opinions and legends surrounding this guy.
TIFF 2015: L.A. Times photo studio
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin
Stars of the festival are photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
CAPTIONTIFF 2015: L.A. Times photo studio
Jay L. Clendenin / Los Angeles Times
Director Drake Doremus and his lead actress Kristen Stewart, from the film “Equals,” is photographed in the L.A. Times photo studio at the 40th Toronto International Film Festival.
And you take all that in. I loved listening to the music. I loved reading about Chet. When somebody’s gone, and they leave this vacuum, there is this continued dialogue. I can have a dialogue with his work. And I did, and I loved it.
You know, I was supposed to do a Chet Baker movie when I was 26 with Rick [Linklater]. We had a whole script and were going to make it. “A Day in the Life of Chet Baker.” A day in 1956.
You would have been the beautiful Chet.
Now I’m the ravaged Chet.
It happens.
Well, I’m still alive. That’s what that says. Which I’m very happy about.
Via email:
Now that you’ve seen it, do you think you nailed the vibe of “But Beautiful”?
It’s not for me to say, but it’s a good sign that some people seem to notice that was the attempt. I am positive the film will irritate the … out of some others, but I feel proud of the film and felt it works kind of the way jazz music loves to take a standard and riff off it. We took the standard legend of Chet and dug in and explored and riffed.
Twitter: @glennwhipp (https://twitter.com/GlennWhipp)
MORE:
Toronto festival is Oscar-buzzing about this tale of the Boston Globe’s investigation into pedophile priests (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-toronto-film-festival-spotlight-20150914-column.html)
Toronto 2015: ‘Danish Girl’ with Eddie Redmayne stirs Oscar talk again (http://www.latimes.com/entertainment/envelope/goldstandard/la-et-mn-danish-girl-eddie-redmayne-toronto-film-festival-20150912-column.html)
Toronto 2015: Sandra Bullock and George Clooney on gender switches and ‘butt doubles’ (http://www.latimes.com/entertainment/envelope/goldstandard/la-our-brand-is-crisis-toronto-film-festival-20150911-column.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz legends’ Scottish pub recordings unearthed – The Scotsman
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http://www.scotsman.com/what-s-on/music/jazz-legends-scottish-pub-recordings-unearthed-1-3892534
By SHÂN ROSS
** Jazz legends’ Scottish pub recordings unearthed
————————————————————
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USA
Jazz legends’ Scottish pub recordings unearthed – The Scotsman
http://www.jazzpromoservices.com/
http://www.scotsman.com/what-s-on/music/jazz-legends-scottish-pub-recordings-unearthed-1-3892534
By SHÂN ROSS
** Jazz legends’ Scottish pub recordings unearthed
————————————————————
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz legends’ Scottish pub recordings unearthed – The Scotsman
http://www.jazzpromoservices.com/
http://www.scotsman.com/what-s-on/music/jazz-legends-scottish-pub-recordings-unearthed-1-3892534
By SHÂN ROSS
** Jazz legends’ Scottish pub recordings unearthed
————————————————————
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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Harlem’s Best Jazz and Live Music – Minton’s, The Cecil, Paddy’s and More of Harlem Nightlife: Esquire Magazine
http://www.jazzpromoservices.com/
http://www.esquire.com/entertainment/music/a37952/jazz-jam-sessions-and-the-best-of-after-hours-harlem/
BY JOSHUA DAVID STEIN (http://www.esquire.com/author/8898/joshua-david-stein/)
** Jazz, Jam Sessions, and the Best of After-Hours Harlem
————————————————————
Bum be de BOMP. Be dop bop be da BOMP. Bum be de BOMP. It’s impossible to hear the opening lines of Charles Mingus’ version of Bobby Timmons’ “Moanin” and not feel immediately patched into the energy and anger that marked the great bassist’s career. Tonight that riff comes out of the massive baritone sax of Clare Daly, the fairy godmother of saxophonists, who blows with the fury of a tempest. She’s part of one of my favorite horn sections in town, and her riff fills and thrills all of us gathered at the elegant supper club, Minton’s (http://www.mintonsharlem.com/) .
Minton’s was the birthplace of bebop, back in the 1940s. It’s where Thelonius Monk, Charlie Parker, Dizzy Gillespie, and Lester Young developed the sounds that propelled the century. Then, in 1974, the place burned down, its history silenced in the ashes. Recently it was reborn with the help of Dick Parsons and chef Alexander Smalls, who also run the restaurant next door, The Cecil (http://thececilharlem.com/) , named Best New Restaurant (http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2) by this very magazine in 2014.
I moved to Harlem a few years before that. Obviously I had seen Art Kane’s famous portrait “A Great Day in Harlem,” in which practically the entire pantheon of jazz greats gathered in front of a townhouse on 125th street for a portrait. I live a block away from the old Cotton Club, which now stands solo on an island of concrete near an overpass and a construction site, a faint whisper of its former self.
But one of the things that keep me in the area is the live music. It’s everywhere and, despite Harlem’s history, it’s not just jazz. And even when it is just jazz, it’s the entire spectrum of jazz, from recitals to what’s happening tonight at Minton’s so-called supper club. Smalls tells me he wants to create an environment where patrons aren’t just sitting in reverent awe. “Jazz should be alive,” he says in his own deep baritone (he used to be an opera singer). “It should be fun!”
Minton’s
Inside Minton’s
Minton’s is more than fun in the sense that it feels like a community—a diverse one. The nature and history of Harlem make it all too easy to slide into exploitation. Another supper club and restaurant nearby, which shall remain nameless, traffics in a sort of black-folks-soul-food nonsense where tourists go to feel “with it.” Catching a set there is like being one of those European tourists who line up outside the black churches on Sundays, waiting to pay a fee and watch a service from the balcony.
At Minton’s, you’re part of the choir. There’s this part in “Moanin'” where—not in the original version but in this one, arranged by JC Hopkins and which his band, JC Hopkins’ Biggish Band, plays—the horn section shouts out, call-and-response style. This night, we get in on it, too. Bum be de BOMP. HEY! Be dop bop be da BOMP. HEY! Bum be de BOMP. HEY! And it’s not anger any longer, but joy.
Of course, Minton’s is just one of hundreds of gigs going on each night in Harlem. A few blocks north in a townhouse, a saxophonist named Bill Saxton performs in the basement, dubbed Bill’s Place (http://www.billsplaceharlem.com/) , one of the last jazz speakeasies in the city. Farther north, there’s the Shrine (http://shrinenyc.com/) , a dive bar with walls covered in record labels and an awning that reads, “Black United Fun Plaza.”
On another recent night here I saw the 10-piece PitchBlak Brass Band, led by Chanell Crichlow. Her brass band—not actually pitch black—played thumping horn-accented break beats while audience members felt free to—and actually did—jump onstage to spit out a verse or two.
This organic music scene gets a virtuosic injection from Harlem’s Manhattan School of Music, one of the country’s top music programs. In nearly every two-bit Irish saloon, there’s a weekly jam session. At Paddy’s (http://www.paddysnyc.net/) , on Broadway, MSM students gather near the skee ball alley for breathtaking, informal late-night sessions. And the sheer volume of classical music is deafening.
The bulletin board at Kuro Kuma, my local coffee shop—yes, they still have those here—is, square inch for square inch, the most interesting in the city. A pianist. A saxophonist. A Schubert concert. Supernatural experiences? Sometimes I go just for the board. And to listen to the café chatter: “Oh my god, he didn’t even know what opus that was!” or “I soooo hope I’m in that quartet next semester!” Here, the baristas can make little hearts in my macchiato and are virtuosic French hornists and percussionists. What’s more, they’re my community. And that’s Harlem. It’s live music and it lives music, too.
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
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Warwick, Ny 10990
USA
Harlem’s Best Jazz and Live Music – Minton’s, The Cecil, Paddy’s and More of Harlem Nightlife: Esquire Magazine
http://www.jazzpromoservices.com/
http://www.esquire.com/entertainment/music/a37952/jazz-jam-sessions-and-the-best-of-after-hours-harlem/
BY JOSHUA DAVID STEIN (http://www.esquire.com/author/8898/joshua-david-stein/)
** Jazz, Jam Sessions, and the Best of After-Hours Harlem
————————————————————
Bum be de BOMP. Be dop bop be da BOMP. Bum be de BOMP. It’s impossible to hear the opening lines of Charles Mingus’ version of Bobby Timmons’ “Moanin” and not feel immediately patched into the energy and anger that marked the great bassist’s career. Tonight that riff comes out of the massive baritone sax of Clare Daly, the fairy godmother of saxophonists, who blows with the fury of a tempest. She’s part of one of my favorite horn sections in town, and her riff fills and thrills all of us gathered at the elegant supper club, Minton’s (http://www.mintonsharlem.com/) .
Minton’s was the birthplace of bebop, back in the 1940s. It’s where Thelonius Monk, Charlie Parker, Dizzy Gillespie, and Lester Young developed the sounds that propelled the century. Then, in 1974, the place burned down, its history silenced in the ashes. Recently it was reborn with the help of Dick Parsons and chef Alexander Smalls, who also run the restaurant next door, The Cecil (http://thececilharlem.com/) , named Best New Restaurant (http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2) by this very magazine in 2014.
I moved to Harlem a few years before that. Obviously I had seen Art Kane’s famous portrait “A Great Day in Harlem,” in which practically the entire pantheon of jazz greats gathered in front of a townhouse on 125th street for a portrait. I live a block away from the old Cotton Club, which now stands solo on an island of concrete near an overpass and a construction site, a faint whisper of its former self.
But one of the things that keep me in the area is the live music. It’s everywhere and, despite Harlem’s history, it’s not just jazz. And even when it is just jazz, it’s the entire spectrum of jazz, from recitals to what’s happening tonight at Minton’s so-called supper club. Smalls tells me he wants to create an environment where patrons aren’t just sitting in reverent awe. “Jazz should be alive,” he says in his own deep baritone (he used to be an opera singer). “It should be fun!”
Minton’s
Inside Minton’s
Minton’s is more than fun in the sense that it feels like a community—a diverse one. The nature and history of Harlem make it all too easy to slide into exploitation. Another supper club and restaurant nearby, which shall remain nameless, traffics in a sort of black-folks-soul-food nonsense where tourists go to feel “with it.” Catching a set there is like being one of those European tourists who line up outside the black churches on Sundays, waiting to pay a fee and watch a service from the balcony.
At Minton’s, you’re part of the choir. There’s this part in “Moanin'” where—not in the original version but in this one, arranged by JC Hopkins and which his band, JC Hopkins’ Biggish Band, plays—the horn section shouts out, call-and-response style. This night, we get in on it, too. Bum be de BOMP. HEY! Be dop bop be da BOMP. HEY! Bum be de BOMP. HEY! And it’s not anger any longer, but joy.
Of course, Minton’s is just one of hundreds of gigs going on each night in Harlem. A few blocks north in a townhouse, a saxophonist named Bill Saxton performs in the basement, dubbed Bill’s Place (http://www.billsplaceharlem.com/) , one of the last jazz speakeasies in the city. Farther north, there’s the Shrine (http://shrinenyc.com/) , a dive bar with walls covered in record labels and an awning that reads, “Black United Fun Plaza.”
On another recent night here I saw the 10-piece PitchBlak Brass Band, led by Chanell Crichlow. Her brass band—not actually pitch black—played thumping horn-accented break beats while audience members felt free to—and actually did—jump onstage to spit out a verse or two.
This organic music scene gets a virtuosic injection from Harlem’s Manhattan School of Music, one of the country’s top music programs. In nearly every two-bit Irish saloon, there’s a weekly jam session. At Paddy’s (http://www.paddysnyc.net/) , on Broadway, MSM students gather near the skee ball alley for breathtaking, informal late-night sessions. And the sheer volume of classical music is deafening.
The bulletin board at Kuro Kuma, my local coffee shop—yes, they still have those here—is, square inch for square inch, the most interesting in the city. A pianist. A saxophonist. A Schubert concert. Supernatural experiences? Sometimes I go just for the board. And to listen to the café chatter: “Oh my god, he didn’t even know what opus that was!” or “I soooo hope I’m in that quartet next semester!” Here, the baristas can make little hearts in my macchiato and are virtuosic French hornists and percussionists. What’s more, they’re my community. And that’s Harlem. It’s live music and it lives music, too.
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=6d2c9399b7) | 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=6d2c9399b7&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
Harlem’s Best Jazz and Live Music – Minton’s, The Cecil, Paddy’s and More of Harlem Nightlife: Esquire Magazine
http://www.jazzpromoservices.com/
http://www.esquire.com/entertainment/music/a37952/jazz-jam-sessions-and-the-best-of-after-hours-harlem/
BY JOSHUA DAVID STEIN (http://www.esquire.com/author/8898/joshua-david-stein/)
** Jazz, Jam Sessions, and the Best of After-Hours Harlem
————————————————————
Bum be de BOMP. Be dop bop be da BOMP. Bum be de BOMP. It’s impossible to hear the opening lines of Charles Mingus’ version of Bobby Timmons’ “Moanin” and not feel immediately patched into the energy and anger that marked the great bassist’s career. Tonight that riff comes out of the massive baritone sax of Clare Daly, the fairy godmother of saxophonists, who blows with the fury of a tempest. She’s part of one of my favorite horn sections in town, and her riff fills and thrills all of us gathered at the elegant supper club, Minton’s (http://www.mintonsharlem.com/) .
Minton’s was the birthplace of bebop, back in the 1940s. It’s where Thelonius Monk, Charlie Parker, Dizzy Gillespie, and Lester Young developed the sounds that propelled the century. Then, in 1974, the place burned down, its history silenced in the ashes. Recently it was reborn with the help of Dick Parsons and chef Alexander Smalls, who also run the restaurant next door, The Cecil (http://thececilharlem.com/) , named Best New Restaurant (http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2) by this very magazine in 2014.
I moved to Harlem a few years before that. Obviously I had seen Art Kane’s famous portrait “A Great Day in Harlem,” in which practically the entire pantheon of jazz greats gathered in front of a townhouse on 125th street for a portrait. I live a block away from the old Cotton Club, which now stands solo on an island of concrete near an overpass and a construction site, a faint whisper of its former self.
But one of the things that keep me in the area is the live music. It’s everywhere and, despite Harlem’s history, it’s not just jazz. And even when it is just jazz, it’s the entire spectrum of jazz, from recitals to what’s happening tonight at Minton’s so-called supper club. Smalls tells me he wants to create an environment where patrons aren’t just sitting in reverent awe. “Jazz should be alive,” he says in his own deep baritone (he used to be an opera singer). “It should be fun!”
Minton’s
Inside Minton’s
Minton’s is more than fun in the sense that it feels like a community—a diverse one. The nature and history of Harlem make it all too easy to slide into exploitation. Another supper club and restaurant nearby, which shall remain nameless, traffics in a sort of black-folks-soul-food nonsense where tourists go to feel “with it.” Catching a set there is like being one of those European tourists who line up outside the black churches on Sundays, waiting to pay a fee and watch a service from the balcony.
At Minton’s, you’re part of the choir. There’s this part in “Moanin'” where—not in the original version but in this one, arranged by JC Hopkins and which his band, JC Hopkins’ Biggish Band, plays—the horn section shouts out, call-and-response style. This night, we get in on it, too. Bum be de BOMP. HEY! Be dop bop be da BOMP. HEY! Bum be de BOMP. HEY! And it’s not anger any longer, but joy.
Of course, Minton’s is just one of hundreds of gigs going on each night in Harlem. A few blocks north in a townhouse, a saxophonist named Bill Saxton performs in the basement, dubbed Bill’s Place (http://www.billsplaceharlem.com/) , one of the last jazz speakeasies in the city. Farther north, there’s the Shrine (http://shrinenyc.com/) , a dive bar with walls covered in record labels and an awning that reads, “Black United Fun Plaza.”
On another recent night here I saw the 10-piece PitchBlak Brass Band, led by Chanell Crichlow. Her brass band—not actually pitch black—played thumping horn-accented break beats while audience members felt free to—and actually did—jump onstage to spit out a verse or two.
This organic music scene gets a virtuosic injection from Harlem’s Manhattan School of Music, one of the country’s top music programs. In nearly every two-bit Irish saloon, there’s a weekly jam session. At Paddy’s (http://www.paddysnyc.net/) , on Broadway, MSM students gather near the skee ball alley for breathtaking, informal late-night sessions. And the sheer volume of classical music is deafening.
The bulletin board at Kuro Kuma, my local coffee shop—yes, they still have those here—is, square inch for square inch, the most interesting in the city. A pianist. A saxophonist. A Schubert concert. Supernatural experiences? Sometimes I go just for the board. And to listen to the café chatter: “Oh my god, he didn’t even know what opus that was!” or “I soooo hope I’m in that quartet next semester!” Here, the baristas can make little hearts in my macchiato and are virtuosic French hornists and percussionists. What’s more, they’re my community. And that’s Harlem. It’s live music and it lives music, too.
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=6d2c9399b7) | 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=6d2c9399b7&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
Harlem’s Best Jazz and Live Music – Minton’s, The Cecil, Paddy’s and More of Harlem Nightlife: Esquire Magazine
http://www.jazzpromoservices.com/
http://www.esquire.com/entertainment/music/a37952/jazz-jam-sessions-and-the-best-of-after-hours-harlem/
BY JOSHUA DAVID STEIN (http://www.esquire.com/author/8898/joshua-david-stein/)
** Jazz, Jam Sessions, and the Best of After-Hours Harlem
————————————————————
Bum be de BOMP. Be dop bop be da BOMP. Bum be de BOMP. It’s impossible to hear the opening lines of Charles Mingus’ version of Bobby Timmons’ “Moanin” and not feel immediately patched into the energy and anger that marked the great bassist’s career. Tonight that riff comes out of the massive baritone sax of Clare Daly, the fairy godmother of saxophonists, who blows with the fury of a tempest. She’s part of one of my favorite horn sections in town, and her riff fills and thrills all of us gathered at the elegant supper club, Minton’s (http://www.mintonsharlem.com/) .
Minton’s was the birthplace of bebop, back in the 1940s. It’s where Thelonius Monk, Charlie Parker, Dizzy Gillespie, and Lester Young developed the sounds that propelled the century. Then, in 1974, the place burned down, its history silenced in the ashes. Recently it was reborn with the help of Dick Parsons and chef Alexander Smalls, who also run the restaurant next door, The Cecil (http://thececilharlem.com/) , named Best New Restaurant (http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2http://www.esquire.com/food-drink/restaurants/g1660/best-new-restaurants-2014/?slide=2) by this very magazine in 2014.
I moved to Harlem a few years before that. Obviously I had seen Art Kane’s famous portrait “A Great Day in Harlem,” in which practically the entire pantheon of jazz greats gathered in front of a townhouse on 125th street for a portrait. I live a block away from the old Cotton Club, which now stands solo on an island of concrete near an overpass and a construction site, a faint whisper of its former self.
But one of the things that keep me in the area is the live music. It’s everywhere and, despite Harlem’s history, it’s not just jazz. And even when it is just jazz, it’s the entire spectrum of jazz, from recitals to what’s happening tonight at Minton’s so-called supper club. Smalls tells me he wants to create an environment where patrons aren’t just sitting in reverent awe. “Jazz should be alive,” he says in his own deep baritone (he used to be an opera singer). “It should be fun!”
Minton’s
Inside Minton’s
Minton’s is more than fun in the sense that it feels like a community—a diverse one. The nature and history of Harlem make it all too easy to slide into exploitation. Another supper club and restaurant nearby, which shall remain nameless, traffics in a sort of black-folks-soul-food nonsense where tourists go to feel “with it.” Catching a set there is like being one of those European tourists who line up outside the black churches on Sundays, waiting to pay a fee and watch a service from the balcony.
At Minton’s, you’re part of the choir. There’s this part in “Moanin'” where—not in the original version but in this one, arranged by JC Hopkins and which his band, JC Hopkins’ Biggish Band, plays—the horn section shouts out, call-and-response style. This night, we get in on it, too. Bum be de BOMP. HEY! Be dop bop be da BOMP. HEY! Bum be de BOMP. HEY! And it’s not anger any longer, but joy.
Of course, Minton’s is just one of hundreds of gigs going on each night in Harlem. A few blocks north in a townhouse, a saxophonist named Bill Saxton performs in the basement, dubbed Bill’s Place (http://www.billsplaceharlem.com/) , one of the last jazz speakeasies in the city. Farther north, there’s the Shrine (http://shrinenyc.com/) , a dive bar with walls covered in record labels and an awning that reads, “Black United Fun Plaza.”
On another recent night here I saw the 10-piece PitchBlak Brass Band, led by Chanell Crichlow. Her brass band—not actually pitch black—played thumping horn-accented break beats while audience members felt free to—and actually did—jump onstage to spit out a verse or two.
This organic music scene gets a virtuosic injection from Harlem’s Manhattan School of Music, one of the country’s top music programs. In nearly every two-bit Irish saloon, there’s a weekly jam session. At Paddy’s (http://www.paddysnyc.net/) , on Broadway, MSM students gather near the skee ball alley for breathtaking, informal late-night sessions. And the sheer volume of classical music is deafening.
The bulletin board at Kuro Kuma, my local coffee shop—yes, they still have those here—is, square inch for square inch, the most interesting in the city. A pianist. A saxophonist. A Schubert concert. Supernatural experiences? Sometimes I go just for the board. And to listen to the café chatter: “Oh my god, he didn’t even know what opus that was!” or “I soooo hope I’m in that quartet next semester!” Here, the baristas can make little hearts in my macchiato and are virtuosic French hornists and percussionists. What’s more, they’re my community. And that’s Harlem. It’s live music and it lives music, too.
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=6d2c9399b7) | 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=6d2c9399b7&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 Fans Have Spoken
http://www.jazzpromoservices.com/
September 19, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Hot House Magazine
and the Metropolitan Room
3rd Annual Fans Decision
Jazz Awards Winners
Jazz Fans Vote For Their Favorite NYC Artists!
Russell Malone Takes Home Two Jazz Awards
For Best Guitarist & Best Artist
Honoree Of The Year
Highlights In Jazz Producer Jack Kleinsinger
Master of Ceremony: Antoinette Montague
House Band: Danny Mixon Trio
The Winners Are:
Best Drums
MATT WILSON Presented by Todd Barkan
Best Alto Saxophone
LOU DONALDSON Presented and received by Todd Barkan
Best Guitar
RUSSELL MALONE Presented by Will Friedwald
Best Clarinet
KEN PEPLOWSKI
Best Bass
KEVIN HAILEY Presented by Ari Silverstein
Best Baritone Saxophone
SCOTT ROBINSON Presented by Dorthaan Kirk
Best Tenor Saxophone
MELISSA ALDANA
Best Flute
ANDREA BRACHFELD Presented by Don Jay Smith
Best Trombone
WYCLIFFE GORDON
Best Trumpet
BRIA SKONBERG Presented and received by Misha Katsobashvili
Best Piano
DANNY MIXON Presented by Sheila Anderson
Best Organ
BRIAN CHARETTE Presented by Jim Eigo
Best Vibes
CHUCK REDD
Best Group
STRING OF PEARLS Jeanne O’Connor represented the group Presented by Enzo Capua
Best Rare Instrument
EDMAR CASTAÑEDA Presented by Scott Thompson
Best Ensemble
THE GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET Presented by Joseph Petrucelli
Best New Jazz Artist
DANIEL BENNETT Presented by Bernie Furshpan
Best Jazz Artist
RUSSELL MALONE Presented by Bernie Furshpan
Best Female Vocalist
DARYL SHERMAN Presented by Dan Morgenstern
Best Male Vocalist
ALLAN HARRIS Presented by Robin Bell-Stevens
Best up and coming young artist
LEONIEKE SCHEUBLE Presented by Gwen Kelley
Honoree of the year
Jack Kleinsinger Presented by Arnold Jay Smith
with muscic by Nicki Parrott and Rossano Sportiello
Mark your calendar for next year’s award ceremony Monday, September 19, 2016
Watch The Hot House NYC Jazz Awards Night 2015 (https://www.youtube.com/watch?v=523H-8mIN68) https://www.youtube.com/watch?v=523H-8mIN68
www.nycjazzcontest.com (http://nycjazzcontest.com/about.htm)
Photo Credits:
Fred Cohen Photography
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@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) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=cae668030d) | 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=cae668030d&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 Fans Have Spoken
http://www.jazzpromoservices.com/
September 19, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Hot House Magazine
and the Metropolitan Room
3rd Annual Fans Decision
Jazz Awards Winners
Jazz Fans Vote For Their Favorite NYC Artists!
Russell Malone Takes Home Two Jazz Awards
For Best Guitarist & Best Artist
Honoree Of The Year
Highlights In Jazz Producer Jack Kleinsinger
Master of Ceremony: Antoinette Montague
House Band: Danny Mixon Trio
The Winners Are:
Best Drums
MATT WILSON Presented by Todd Barkan
Best Alto Saxophone
LOU DONALDSON Presented and received by Todd Barkan
Best Guitar
RUSSELL MALONE Presented by Will Friedwald
Best Clarinet
KEN PEPLOWSKI
Best Bass
KEVIN HAILEY Presented by Ari Silverstein
Best Baritone Saxophone
SCOTT ROBINSON Presented by Dorthaan Kirk
Best Tenor Saxophone
MELISSA ALDANA
Best Flute
ANDREA BRACHFELD Presented by Don Jay Smith
Best Trombone
WYCLIFFE GORDON
Best Trumpet
BRIA SKONBERG Presented and received by Misha Katsobashvili
Best Piano
DANNY MIXON Presented by Sheila Anderson
Best Organ
BRIAN CHARETTE Presented by Jim Eigo
Best Vibes
CHUCK REDD
Best Group
STRING OF PEARLS Jeanne O’Connor represented the group Presented by Enzo Capua
Best Rare Instrument
EDMAR CASTAÑEDA Presented by Scott Thompson
Best Ensemble
THE GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET Presented by Joseph Petrucelli
Best New Jazz Artist
DANIEL BENNETT Presented by Bernie Furshpan
Best Jazz Artist
RUSSELL MALONE Presented by Bernie Furshpan
Best Female Vocalist
DARYL SHERMAN Presented by Dan Morgenstern
Best Male Vocalist
ALLAN HARRIS Presented by Robin Bell-Stevens
Best up and coming young artist
LEONIEKE SCHEUBLE Presented by Gwen Kelley
Honoree of the year
Jack Kleinsinger Presented by Arnold Jay Smith
with muscic by Nicki Parrott and Rossano Sportiello
Mark your calendar for next year’s award ceremony Monday, September 19, 2016
Watch The Hot House NYC Jazz Awards Night 2015 (https://www.youtube.com/watch?v=523H-8mIN68) https://www.youtube.com/watch?v=523H-8mIN68
www.nycjazzcontest.com (http://nycjazzcontest.com/about.htm)
Photo Credits:
Fred Cohen Photography
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@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) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=cae668030d) | 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=cae668030d&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 Fans Have Spoken
http://www.jazzpromoservices.com/
September 19, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Hot House Magazine
and the Metropolitan Room
3rd Annual Fans Decision
Jazz Awards Winners
Jazz Fans Vote For Their Favorite NYC Artists!
Russell Malone Takes Home Two Jazz Awards
For Best Guitarist & Best Artist
Honoree Of The Year
Highlights In Jazz Producer Jack Kleinsinger
Master of Ceremony: Antoinette Montague
House Band: Danny Mixon Trio
The Winners Are:
Best Drums
MATT WILSON Presented by Todd Barkan
Best Alto Saxophone
LOU DONALDSON Presented and received by Todd Barkan
Best Guitar
RUSSELL MALONE Presented by Will Friedwald
Best Clarinet
KEN PEPLOWSKI
Best Bass
KEVIN HAILEY Presented by Ari Silverstein
Best Baritone Saxophone
SCOTT ROBINSON Presented by Dorthaan Kirk
Best Tenor Saxophone
MELISSA ALDANA
Best Flute
ANDREA BRACHFELD Presented by Don Jay Smith
Best Trombone
WYCLIFFE GORDON
Best Trumpet
BRIA SKONBERG Presented and received by Misha Katsobashvili
Best Piano
DANNY MIXON Presented by Sheila Anderson
Best Organ
BRIAN CHARETTE Presented by Jim Eigo
Best Vibes
CHUCK REDD
Best Group
STRING OF PEARLS Jeanne O’Connor represented the group Presented by Enzo Capua
Best Rare Instrument
EDMAR CASTAÑEDA Presented by Scott Thompson
Best Ensemble
THE GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET Presented by Joseph Petrucelli
Best New Jazz Artist
DANIEL BENNETT Presented by Bernie Furshpan
Best Jazz Artist
RUSSELL MALONE Presented by Bernie Furshpan
Best Female Vocalist
DARYL SHERMAN Presented by Dan Morgenstern
Best Male Vocalist
ALLAN HARRIS Presented by Robin Bell-Stevens
Best up and coming young artist
LEONIEKE SCHEUBLE Presented by Gwen Kelley
Honoree of the year
Jack Kleinsinger Presented by Arnold Jay Smith
with muscic by Nicki Parrott and Rossano Sportiello
Mark your calendar for next year’s award ceremony Monday, September 19, 2016
Watch The Hot House NYC Jazz Awards Night 2015 (https://www.youtube.com/watch?v=523H-8mIN68) https://www.youtube.com/watch?v=523H-8mIN68
www.nycjazzcontest.com (http://nycjazzcontest.com/about.htm)
Photo Credits:
Fred Cohen Photography
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Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Anthony Braxton – Impressions – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=0o0AYFRFX7g
Miroslav Vitous on bass, Chic Corea on piano and Jack DeJohnette on drums
https://www.youtube.com/watch?v=0o0AYFRFX7g&feature=youtu.be
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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Warwick, Ny 10990
USA
Anthony Braxton – Impressions – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=0o0AYFRFX7g
Miroslav Vitous on bass, Chic Corea on piano and Jack DeJohnette on drums
https://www.youtube.com/watch?v=0o0AYFRFX7g&feature=youtu.be
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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269 State Route 94 South
Warwick, Ny 10990
USA
East Village’s Birdman Abandoning His Nest of CDs and Cassettes – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/14/nyregion/east-villages-birdman-abandoning-his-nest-of-cds-and-cassettes.html?action=click
** East Village’s Birdman Abandoning His Nest of CDs and Cassettes
————————————————————
By COREY KILGANNON (http://topics.nytimes.com/top/reference/timestopics/people/k/corey_kilgannon/index.html) SEPT. 13, 2015
Bill Kasper, known as the Birdman, digging through the piles of his eclectic inventory at Rainbow Music on First Avenue in the East Village. Credit Richard Perry/The New York Times
“Hello, this is Rainbow Music,” said the stooped man in the rumpled clothes, as he answered the phone in the middle of what could safely be described as a Grand Canyon of CDs.
“Yes, this is the Birdman,” he said. “No, that’s my name, I’m known all over the world as the Birdman.”
For 17 years, the Birdman (https://vimeo.com/71501308) was known among East Village music collectors as having the messiest CD store imaginable: Rainbow Music, on First Avenue.
During a visit to his shop recently, the Birdman reluctantly confirmed that his given name was Bill Kasper, and that he was closing for good at the end of the month, after running the shop seven days a week with little time off.
“I don’t need the aggravation anymore, and this is aggravation,” he said, looking around at the clutter. “It kept me busy, but now I’m tired.”
Collectors are already mourning the news that yet another mom-and-pop shop that added to the eclecticism of the East Village was disappearing.
“There used to be 20 record stores down here — J&R, Bleecker Bob’s, Rockit Scientist — but there are very few of us left,” Mr. Kasper, who is 73, said.
Photo
Mr. Kasper ran the shop seven days a week with little time off. “It kept me busy, but now I’m tired,” he said. Credit Richard Perry/The New York Times
He estimates that he has crammed 250,000 CDs and perhaps 50,000 more video and audiocassettes into the small space. Just to enter the store, at 130 First Avenue near St. Marks Place in Manhattan, seemed to risk setting off a cascading avalanche of thousands of plastic cases.
“The store is so jammed, people are amazed by it, but then they see I got good stuff,” he said. “I can dig out anything I want. The thing is, I just don’t want to dig anymore.”
Even disorganized, the collection is clearly skewed toward jazz, blues, rock and reggae. Artists like Bob Dylan and Jimi Hendrix are well represented in the inventory, but randomness seems more the rule.
In one tall stack of CDs near the door, a quick glance showed an album by Philip Glass atop one by Engelbert Humperdinck next to another titled “28 Soul Ballads.”
“I know where everything is,” the Birdman boasted. “I just have to find it.”
Indeed, Mr. Kasper would often take a request and disappear for perhaps 10 minutes of foraging, and then emerge holding a rare blues or jazz recording that a patron had requested.
“To me, it’s the only place to go for music,” said one customer, Gabor Molnar, 34, a Romanian immigrant living in Queens who was looking for rock and punk. “You give him a list and he’ll find it.”
Mr. Molnar had asked Mr. Kasper for recordings by the band White Zombie. Sure enough, Mr. Kasper rustled around the rear of the store and a few minutes later handed over the requested CDs.
“He found it,” Mr. Molnar said, beaming. He bought two White Zombie CDs and one by Boogie Down Productions, a 1980s hip-hop group from the Bronx.
Photo
The messy but loved CD shop will close after 17 years. Credit Richard Perry/The New York Times
Mr. Kasper said he retired at age 35 from a successful career on Wall Street and spent years doing very little until he opened the shop when he was in his late 50s to stay active.
“I’m just coasting on my dividends,” he said, adding that he disliked turning down good deals on CD collections, leaving his shop perpetually packed. Some time ago, he said, he simply threw out 25,000 CDs to carve out a larger entry to the store.
Still, it can be challenging for some customers.
As Mr. Kasper spoke, a large man stuck his head in and, perhaps realizing he could not squeeze into the space, said he would return later.
“If someone comes in with a big belly, they have to give me a list,” Mr. Kasper said. “Heavy people can’t fit inside, but they can tell me what they want, and I’ll get it for them.”
“Half the people open the door and don’t even come in,” he said. “They look in and laugh, and I couldn’t care less.”
His steady customers know enough to enter gingerly, moving carefully through a narrow alley, formed by tall heaps of CDs teetering perilously, stacked nearly to the ceiling. Even the checkout counter was largely swallowed by piles of disks.
Mr. Kasper said CD crashes occur regularly, requiring lengthy cleanups.
“It’s an avalanche once you pull the wrong thing,” he said, adding that a major slide a few years back left him trapped for five hours in the back room until he managed to dig himself out.
Mr. Kasper opened the shop in 1998, and has been on a month-to-month lease for several years. He said his son had expressed interest in taking over the inventory and selling it online; the final week of September will be spent moving everything into storage.
In fact, the Birdman said, looking over the mounds, “I’d really be happier if it all disappeared.”
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
East Village’s Birdman Abandoning His Nest of CDs and Cassettes – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/14/nyregion/east-villages-birdman-abandoning-his-nest-of-cds-and-cassettes.html?action=click
** East Village’s Birdman Abandoning His Nest of CDs and Cassettes
————————————————————
By COREY KILGANNON (http://topics.nytimes.com/top/reference/timestopics/people/k/corey_kilgannon/index.html) SEPT. 13, 2015
Bill Kasper, known as the Birdman, digging through the piles of his eclectic inventory at Rainbow Music on First Avenue in the East Village. Credit Richard Perry/The New York Times
“Hello, this is Rainbow Music,” said the stooped man in the rumpled clothes, as he answered the phone in the middle of what could safely be described as a Grand Canyon of CDs.
“Yes, this is the Birdman,” he said. “No, that’s my name, I’m known all over the world as the Birdman.”
For 17 years, the Birdman (https://vimeo.com/71501308) was known among East Village music collectors as having the messiest CD store imaginable: Rainbow Music, on First Avenue.
During a visit to his shop recently, the Birdman reluctantly confirmed that his given name was Bill Kasper, and that he was closing for good at the end of the month, after running the shop seven days a week with little time off.
“I don’t need the aggravation anymore, and this is aggravation,” he said, looking around at the clutter. “It kept me busy, but now I’m tired.”
Collectors are already mourning the news that yet another mom-and-pop shop that added to the eclecticism of the East Village was disappearing.
“There used to be 20 record stores down here — J&R, Bleecker Bob’s, Rockit Scientist — but there are very few of us left,” Mr. Kasper, who is 73, said.
Photo
Mr. Kasper ran the shop seven days a week with little time off. “It kept me busy, but now I’m tired,” he said. Credit Richard Perry/The New York Times
He estimates that he has crammed 250,000 CDs and perhaps 50,000 more video and audiocassettes into the small space. Just to enter the store, at 130 First Avenue near St. Marks Place in Manhattan, seemed to risk setting off a cascading avalanche of thousands of plastic cases.
“The store is so jammed, people are amazed by it, but then they see I got good stuff,” he said. “I can dig out anything I want. The thing is, I just don’t want to dig anymore.”
Even disorganized, the collection is clearly skewed toward jazz, blues, rock and reggae. Artists like Bob Dylan and Jimi Hendrix are well represented in the inventory, but randomness seems more the rule.
In one tall stack of CDs near the door, a quick glance showed an album by Philip Glass atop one by Engelbert Humperdinck next to another titled “28 Soul Ballads.”
“I know where everything is,” the Birdman boasted. “I just have to find it.”
Indeed, Mr. Kasper would often take a request and disappear for perhaps 10 minutes of foraging, and then emerge holding a rare blues or jazz recording that a patron had requested.
“To me, it’s the only place to go for music,” said one customer, Gabor Molnar, 34, a Romanian immigrant living in Queens who was looking for rock and punk. “You give him a list and he’ll find it.”
Mr. Molnar had asked Mr. Kasper for recordings by the band White Zombie. Sure enough, Mr. Kasper rustled around the rear of the store and a few minutes later handed over the requested CDs.
“He found it,” Mr. Molnar said, beaming. He bought two White Zombie CDs and one by Boogie Down Productions, a 1980s hip-hop group from the Bronx.
Photo
The messy but loved CD shop will close after 17 years. Credit Richard Perry/The New York Times
Mr. Kasper said he retired at age 35 from a successful career on Wall Street and spent years doing very little until he opened the shop when he was in his late 50s to stay active.
“I’m just coasting on my dividends,” he said, adding that he disliked turning down good deals on CD collections, leaving his shop perpetually packed. Some time ago, he said, he simply threw out 25,000 CDs to carve out a larger entry to the store.
Still, it can be challenging for some customers.
As Mr. Kasper spoke, a large man stuck his head in and, perhaps realizing he could not squeeze into the space, said he would return later.
“If someone comes in with a big belly, they have to give me a list,” Mr. Kasper said. “Heavy people can’t fit inside, but they can tell me what they want, and I’ll get it for them.”
“Half the people open the door and don’t even come in,” he said. “They look in and laugh, and I couldn’t care less.”
His steady customers know enough to enter gingerly, moving carefully through a narrow alley, formed by tall heaps of CDs teetering perilously, stacked nearly to the ceiling. Even the checkout counter was largely swallowed by piles of disks.
Mr. Kasper said CD crashes occur regularly, requiring lengthy cleanups.
“It’s an avalanche once you pull the wrong thing,” he said, adding that a major slide a few years back left him trapped for five hours in the back room until he managed to dig himself out.
Mr. Kasper opened the shop in 1998, and has been on a month-to-month lease for several years. He said his son had expressed interest in taking over the inventory and selling it online; the final week of September will be spent moving everything into storage.
In fact, the Birdman said, looking over the mounds, “I’d really be happier if it all disappeared.”
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=dbf072ed13) | 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=dbf072ed13&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
East Village’s Birdman Abandoning His Nest of CDs and Cassettes – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/14/nyregion/east-villages-birdman-abandoning-his-nest-of-cds-and-cassettes.html?action=click
** East Village’s Birdman Abandoning His Nest of CDs and Cassettes
————————————————————
By COREY KILGANNON (http://topics.nytimes.com/top/reference/timestopics/people/k/corey_kilgannon/index.html) SEPT. 13, 2015
Bill Kasper, known as the Birdman, digging through the piles of his eclectic inventory at Rainbow Music on First Avenue in the East Village. Credit Richard Perry/The New York Times
“Hello, this is Rainbow Music,” said the stooped man in the rumpled clothes, as he answered the phone in the middle of what could safely be described as a Grand Canyon of CDs.
“Yes, this is the Birdman,” he said. “No, that’s my name, I’m known all over the world as the Birdman.”
For 17 years, the Birdman (https://vimeo.com/71501308) was known among East Village music collectors as having the messiest CD store imaginable: Rainbow Music, on First Avenue.
During a visit to his shop recently, the Birdman reluctantly confirmed that his given name was Bill Kasper, and that he was closing for good at the end of the month, after running the shop seven days a week with little time off.
“I don’t need the aggravation anymore, and this is aggravation,” he said, looking around at the clutter. “It kept me busy, but now I’m tired.”
Collectors are already mourning the news that yet another mom-and-pop shop that added to the eclecticism of the East Village was disappearing.
“There used to be 20 record stores down here — J&R, Bleecker Bob’s, Rockit Scientist — but there are very few of us left,” Mr. Kasper, who is 73, said.
Photo
Mr. Kasper ran the shop seven days a week with little time off. “It kept me busy, but now I’m tired,” he said. Credit Richard Perry/The New York Times
He estimates that he has crammed 250,000 CDs and perhaps 50,000 more video and audiocassettes into the small space. Just to enter the store, at 130 First Avenue near St. Marks Place in Manhattan, seemed to risk setting off a cascading avalanche of thousands of plastic cases.
“The store is so jammed, people are amazed by it, but then they see I got good stuff,” he said. “I can dig out anything I want. The thing is, I just don’t want to dig anymore.”
Even disorganized, the collection is clearly skewed toward jazz, blues, rock and reggae. Artists like Bob Dylan and Jimi Hendrix are well represented in the inventory, but randomness seems more the rule.
In one tall stack of CDs near the door, a quick glance showed an album by Philip Glass atop one by Engelbert Humperdinck next to another titled “28 Soul Ballads.”
“I know where everything is,” the Birdman boasted. “I just have to find it.”
Indeed, Mr. Kasper would often take a request and disappear for perhaps 10 minutes of foraging, and then emerge holding a rare blues or jazz recording that a patron had requested.
“To me, it’s the only place to go for music,” said one customer, Gabor Molnar, 34, a Romanian immigrant living in Queens who was looking for rock and punk. “You give him a list and he’ll find it.”
Mr. Molnar had asked Mr. Kasper for recordings by the band White Zombie. Sure enough, Mr. Kasper rustled around the rear of the store and a few minutes later handed over the requested CDs.
“He found it,” Mr. Molnar said, beaming. He bought two White Zombie CDs and one by Boogie Down Productions, a 1980s hip-hop group from the Bronx.
Photo
The messy but loved CD shop will close after 17 years. Credit Richard Perry/The New York Times
Mr. Kasper said he retired at age 35 from a successful career on Wall Street and spent years doing very little until he opened the shop when he was in his late 50s to stay active.
“I’m just coasting on my dividends,” he said, adding that he disliked turning down good deals on CD collections, leaving his shop perpetually packed. Some time ago, he said, he simply threw out 25,000 CDs to carve out a larger entry to the store.
Still, it can be challenging for some customers.
As Mr. Kasper spoke, a large man stuck his head in and, perhaps realizing he could not squeeze into the space, said he would return later.
“If someone comes in with a big belly, they have to give me a list,” Mr. Kasper said. “Heavy people can’t fit inside, but they can tell me what they want, and I’ll get it for them.”
“Half the people open the door and don’t even come in,” he said. “They look in and laugh, and I couldn’t care less.”
His steady customers know enough to enter gingerly, moving carefully through a narrow alley, formed by tall heaps of CDs teetering perilously, stacked nearly to the ceiling. Even the checkout counter was largely swallowed by piles of disks.
Mr. Kasper said CD crashes occur regularly, requiring lengthy cleanups.
“It’s an avalanche once you pull the wrong thing,” he said, adding that a major slide a few years back left him trapped for five hours in the back room until he managed to dig himself out.
Mr. Kasper opened the shop in 1998, and has been on a month-to-month lease for several years. He said his son had expressed interest in taking over the inventory and selling it online; the final week of September will be spent moving everything into storage.
In fact, the Birdman said, looking over the mounds, “I’d really be happier if it all disappeared.”
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=dbf072ed13) | 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=dbf072ed13&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
Why the Vinyl Boom Is Actually a Drought — Vulture
http://www.jazzpromoservices.com/
http://www.vulture.com/2015/09/why-the-vinyl-boom-is-actually-a-drought.html
By Andrew Flanagan (http://nymag.com/author/Andrew%20Flanagan/)
** Why the Vinyl Boom Is Actually a Drought
————————————————————
the sound of money (safari-reader://www.vulture.com/news/the-sound-of-money/) September 11, 2015 4:15 p.m. By Andrew Flanagan
Brooklyn Vinyl Works’ project manager, Nick Jett, shows off the master of a vinyl pressing. Photo: Nathan Perkel for Vulture
That the resurgence of vinyl records has coincided with the rise of music-streaming services is more than just a nostalgic curiosity. It’s one of those times when an idea is plucked from the ether by unconnected minds. Spotify playlists, mp3 collections, even the physicality of Zane Lowe’s shouts projected at listeners as new hits fade in on Beats 1 — they’re all brought to us by pixelated ghost couriers we don’t understand. It’s a strange time not only to consume media, but to be alive. Perhaps listeners unconsciously decided that they really needed to touch something, and that something was polyvinyl chloride. “Anyone who says they saw this coming is a liar,” says Drew Hill, managing director of Proper, the U.K.’s largest independent distributor of physical music. We couldn’t have predicted the vinyl boom, but as an antidote to the exclusively digital future music was headed toward, records do the trick.
The result of this uncanny growth — vinyl sales were up 54.7 percent globally last year, compared to 2013, which saw 9.2 million records sold (http://www.billboard.com/articles/columns/chart-beat/6422442/vinyl-album-sales-hit-historic-high-2014) in the U.S. — is a manufacturing sector whose seams have been steadily swelling for nearly a decade. Some top vinyl-pressing plants operate 24 hours a day, seven days a week, in an attempt to keep up. Because of the format’s sharp decline in the 1990s, many plants were shuttered, leaving the few players that survived to cash in. Others have cropped up to service the boom, but still, the grand total of U.S. vinyl-pressing plants of varying sizes hovers around 15. “There is not the capacity anywhere in the world to cope with the demand at the moment,” Hill says.
While Jack White may enjoy the benefits of an intimate relationship with the country’s largest vinyl plant, Nashville’s United Record Pressing, which results in the (literally (http://www.billboard.com/articles/news/6062687/jack-white-breaks-record-for-worlds-fastest-studio-to-store-record) ) record-breaking turnaround time of a single day, most artists and labels have to wait at least 14 to 18 weeks for their vinyl, oftentimes without knowing the status of their orders. And that wait is often increased by pressings that require a new lacquer, or prototype of the record, due to sound issues in the test pressing. Common are the tales of indie bands running out of vinyl mid-tour and not being able to replenish their stock. Bigger bands aren’t immune to it either; it’s not exactly rare (http://www.spin.com/2014/05/united-record-adds-vinyl-presses-demand-expansion-plant/) for vinyl preorders of new albums to be sent out after release week because of tardy pressings.
So why haven’t new factories sprung up to satiate current demand? Because to reach that downhill coast, one must first climb a very steep hill. The presses themselves have not been built new since the ’80s; those that are currently in service have been reconstructed from old scraps of presses found, acquired, and then Frankensteined back into being by machinists, who must recreate any missing or broken parts by hand. And once you have a potentially functioning press, you’re still not very close to actually making a playable record. “Vinyl is a messy, time-consuming, labor-intensive, and expensive process,” Hill says.
A vinyl press in the midst of open heart surgery. Photo: Nathan Perkel for Vulture
Despite all this, Brooklyn is preparing to welcome its third pressing plant — in addition to Brooklynphono and Hit Bound Manufacturing — in the coming weeks. It’s not as if Will Socolov, the grizzled vinyl vet behind Brooklyn Vinyl Works (BVW), didn’t know what he was getting himself into, though. He’s been involved with music for most of his life, first co-founding Sleeping Bag Records with Arthur Russell before moving into hip-hop, working early with Craig Mack and KRS-One, and signing Jay Z to Freeze Records ahead of the release of Reasonable Doubt. After Socolov tired of that game and its egos, he founded EKS, a record-pressing plant in Long Island City, which he sold in 2012, after — in true New York City fashion — intractable lease problems made its operation untenable. EKS’s equipment was sold to a soon-to-be competitor in the South, Memphis Record Pressing, and Socolov retired from the complicated business of vinyl … for a mere three years. Now Socolov, who speaks in
an increasingly rare Brooklyn patois in which record becomes rek-id and huge becomes yuge, finds himself cobbling together the same makeshift spread of equipment, all of which does not come cheap. A rough breakdown of topline items:
$800,000: real estate in the east Brooklyn neighborhood of Brownsville; $15–30,000: one record press (Socolov acquired four); $6,000: shipping on a record press, from Russia to New York (dealing with its duplicitous seller was, according to Socolov, “the biggest crock of shit”); $10,000: repairs on record press; $10,000: massive hydraulic pump; $25,000: shrink-wrap machine (new); $65,000: boiler, for heating the water that will power the presses themselves; Unending: electricity, plumbing.
BVW’s Will Socolov and Nick Jett. Photo: Nathan Perkel for Vulture
“The shrink-wrap machine, the compressor, the tanks, all the plumbing, the electrical, buying a transformer, forklift, shelving — believe me, this shit adds up,” Socolov says, sitting in his money pit, a brick building from the atomic age with a cardboard-and-Sharpie name placard on the front door so you know it’s official. (Brooklyn Vinyl Works launched a failed Kickstarter (https://www.kickstarter.com/projects/1184966134/brooklyn-vinyl-works-a-superior-record-pressing-pl) in June, asking for less than one tenth — $100,000 — of these expenses; the campaign raised roughly half.)
With his admittedly late-to-the-game Wonka Music Factory soon to be operational, the matter of whether anyone will care in five years should weigh on Socolov’s mind. That question, of whether the rapidly growing vinyl bubble will burst (http://www.stereogum.com/featured/have-we-reached-peak-vinyl/) , is an awkward one to ask a man with $1 million sunk into a new business, the status of which is still “under construction.” Maybe the kids coming up now, who may lack the impulse for physically possessing the music that shapes them, just won’t care. But Socolov remains reasonably confident. He expects a peak to be reached; with such a small number of presses nationwide, he still foresees demand remaining consistent. And he’s not alone in this forecast: “There’s a plateau on the horizon, but I really don’t see things going down,” says Jay Millar, who spent nine years at United Record Pressing before recently moving to small reissue label Sundazed. “I think there’s probably a small
percentage of [fans] who might be in it just for a moment, but by the time they’re getting out of it, someone else is getting into it.”
“Someone has already contacted me about securing 100,000 records,” Socolov says. “If things go the way I hope, we’re gonna be doing 40,000 records a week.” That’s a nonconservative estimate, he admits after a little prodding, but 1.5 million records in a year is entirely feasible. At roughly 50 cents a pop wholesale for Socolov and Company (including packaging, wrapping, labels, and the many other incidentals), and with only three out of four presses factored in, he might be on the verge of a lucrative second coming. “I think anybody on Earth would buy into that,” he says. As long as the kids still care.
For now, the kids certainly still care, and where the kids are, the major labels are. In this sense, the vinyl boom — or, more accurately, the vinyl drought — begins to mimic the record industry as a whole. There is increasing consternation from independent players over their vinyl orders, which are said (http://noisey.vice.com/en_uk/blog/how-independent-artists-and-labels-are-getting-squeezed-out-by-the-vinyl-revival) to often get waylaid by the three major labels, with their growing interest in vinyl and Record Store Day, not to mention their dependable bankrolls. “Industry-wide, I can’t imagine there’s anyone that’s not feeling the bottleneck,” says Millar, who also makes a good point regarding the majors: “They probably do have the majority [of time hogging the presses], but they have the majority of the content — and the sought-after content. The bigger the order, the longer time on press.” (In case you’re wondering how far ahead small labels should place their Record
Store Day orders, Millar says Sundazed is already doing so; the annual event is not until April.)
This big-guy-versus-underdog dynamic may actually end up benefiting Socolov, with his penchant for basement bands and his relationships with small-even-for-indie labels like Sacred Bones and Captured Tracks. He’s banking on it, in fact, similarly to the way he’s depending on vinyl as a permanent medium in an industry that tends to change them every decade and a half, not a trend looping back around. It’s fitting, then, that every physical music format — whether CD, vinyl record, cassette, MiniDisc, or 8-track — is circular. This is for practical reasons; a needle wouldn’t be led across a spinning square track very effectively. But it’s also an appropriate metaphor for the Lazarus-like rediscovery that keeps artists, long-dead, as alive as we are via the immortality of music itself. As one veteran fan reaches side B’s final beat, a new listener drops the needle down on side A. Socolov is ready to cue up the first song one more time.
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=15cde8481d) | 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=15cde8481d&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
Why the Vinyl Boom Is Actually a Drought — Vulture
http://www.jazzpromoservices.com/
http://www.vulture.com/2015/09/why-the-vinyl-boom-is-actually-a-drought.html
By Andrew Flanagan (http://nymag.com/author/Andrew%20Flanagan/)
** Why the Vinyl Boom Is Actually a Drought
————————————————————
the sound of money (safari-reader://www.vulture.com/news/the-sound-of-money/) September 11, 2015 4:15 p.m. By Andrew Flanagan
Brooklyn Vinyl Works’ project manager, Nick Jett, shows off the master of a vinyl pressing. Photo: Nathan Perkel for Vulture
That the resurgence of vinyl records has coincided with the rise of music-streaming services is more than just a nostalgic curiosity. It’s one of those times when an idea is plucked from the ether by unconnected minds. Spotify playlists, mp3 collections, even the physicality of Zane Lowe’s shouts projected at listeners as new hits fade in on Beats 1 — they’re all brought to us by pixelated ghost couriers we don’t understand. It’s a strange time not only to consume media, but to be alive. Perhaps listeners unconsciously decided that they really needed to touch something, and that something was polyvinyl chloride. “Anyone who says they saw this coming is a liar,” says Drew Hill, managing director of Proper, the U.K.’s largest independent distributor of physical music. We couldn’t have predicted the vinyl boom, but as an antidote to the exclusively digital future music was headed toward, records do the trick.
The result of this uncanny growth — vinyl sales were up 54.7 percent globally last year, compared to 2013, which saw 9.2 million records sold (http://www.billboard.com/articles/columns/chart-beat/6422442/vinyl-album-sales-hit-historic-high-2014) in the U.S. — is a manufacturing sector whose seams have been steadily swelling for nearly a decade. Some top vinyl-pressing plants operate 24 hours a day, seven days a week, in an attempt to keep up. Because of the format’s sharp decline in the 1990s, many plants were shuttered, leaving the few players that survived to cash in. Others have cropped up to service the boom, but still, the grand total of U.S. vinyl-pressing plants of varying sizes hovers around 15. “There is not the capacity anywhere in the world to cope with the demand at the moment,” Hill says.
While Jack White may enjoy the benefits of an intimate relationship with the country’s largest vinyl plant, Nashville’s United Record Pressing, which results in the (literally (http://www.billboard.com/articles/news/6062687/jack-white-breaks-record-for-worlds-fastest-studio-to-store-record) ) record-breaking turnaround time of a single day, most artists and labels have to wait at least 14 to 18 weeks for their vinyl, oftentimes without knowing the status of their orders. And that wait is often increased by pressings that require a new lacquer, or prototype of the record, due to sound issues in the test pressing. Common are the tales of indie bands running out of vinyl mid-tour and not being able to replenish their stock. Bigger bands aren’t immune to it either; it’s not exactly rare (http://www.spin.com/2014/05/united-record-adds-vinyl-presses-demand-expansion-plant/) for vinyl preorders of new albums to be sent out after release week because of tardy pressings.
So why haven’t new factories sprung up to satiate current demand? Because to reach that downhill coast, one must first climb a very steep hill. The presses themselves have not been built new since the ’80s; those that are currently in service have been reconstructed from old scraps of presses found, acquired, and then Frankensteined back into being by machinists, who must recreate any missing or broken parts by hand. And once you have a potentially functioning press, you’re still not very close to actually making a playable record. “Vinyl is a messy, time-consuming, labor-intensive, and expensive process,” Hill says.
A vinyl press in the midst of open heart surgery. Photo: Nathan Perkel for Vulture
Despite all this, Brooklyn is preparing to welcome its third pressing plant — in addition to Brooklynphono and Hit Bound Manufacturing — in the coming weeks. It’s not as if Will Socolov, the grizzled vinyl vet behind Brooklyn Vinyl Works (BVW), didn’t know what he was getting himself into, though. He’s been involved with music for most of his life, first co-founding Sleeping Bag Records with Arthur Russell before moving into hip-hop, working early with Craig Mack and KRS-One, and signing Jay Z to Freeze Records ahead of the release of Reasonable Doubt. After Socolov tired of that game and its egos, he founded EKS, a record-pressing plant in Long Island City, which he sold in 2012, after — in true New York City fashion — intractable lease problems made its operation untenable. EKS’s equipment was sold to a soon-to-be competitor in the South, Memphis Record Pressing, and Socolov retired from the complicated business of vinyl … for a mere three years. Now Socolov, who speaks in
an increasingly rare Brooklyn patois in which record becomes rek-id and huge becomes yuge, finds himself cobbling together the same makeshift spread of equipment, all of which does not come cheap. A rough breakdown of topline items:
$800,000: real estate in the east Brooklyn neighborhood of Brownsville; $15–30,000: one record press (Socolov acquired four); $6,000: shipping on a record press, from Russia to New York (dealing with its duplicitous seller was, according to Socolov, “the biggest crock of shit”); $10,000: repairs on record press; $10,000: massive hydraulic pump; $25,000: shrink-wrap machine (new); $65,000: boiler, for heating the water that will power the presses themselves; Unending: electricity, plumbing.
BVW’s Will Socolov and Nick Jett. Photo: Nathan Perkel for Vulture
“The shrink-wrap machine, the compressor, the tanks, all the plumbing, the electrical, buying a transformer, forklift, shelving — believe me, this shit adds up,” Socolov says, sitting in his money pit, a brick building from the atomic age with a cardboard-and-Sharpie name placard on the front door so you know it’s official. (Brooklyn Vinyl Works launched a failed Kickstarter (https://www.kickstarter.com/projects/1184966134/brooklyn-vinyl-works-a-superior-record-pressing-pl) in June, asking for less than one tenth — $100,000 — of these expenses; the campaign raised roughly half.)
With his admittedly late-to-the-game Wonka Music Factory soon to be operational, the matter of whether anyone will care in five years should weigh on Socolov’s mind. That question, of whether the rapidly growing vinyl bubble will burst (http://www.stereogum.com/featured/have-we-reached-peak-vinyl/) , is an awkward one to ask a man with $1 million sunk into a new business, the status of which is still “under construction.” Maybe the kids coming up now, who may lack the impulse for physically possessing the music that shapes them, just won’t care. But Socolov remains reasonably confident. He expects a peak to be reached; with such a small number of presses nationwide, he still foresees demand remaining consistent. And he’s not alone in this forecast: “There’s a plateau on the horizon, but I really don’t see things going down,” says Jay Millar, who spent nine years at United Record Pressing before recently moving to small reissue label Sundazed. “I think there’s probably a small
percentage of [fans] who might be in it just for a moment, but by the time they’re getting out of it, someone else is getting into it.”
“Someone has already contacted me about securing 100,000 records,” Socolov says. “If things go the way I hope, we’re gonna be doing 40,000 records a week.” That’s a nonconservative estimate, he admits after a little prodding, but 1.5 million records in a year is entirely feasible. At roughly 50 cents a pop wholesale for Socolov and Company (including packaging, wrapping, labels, and the many other incidentals), and with only three out of four presses factored in, he might be on the verge of a lucrative second coming. “I think anybody on Earth would buy into that,” he says. As long as the kids still care.
For now, the kids certainly still care, and where the kids are, the major labels are. In this sense, the vinyl boom — or, more accurately, the vinyl drought — begins to mimic the record industry as a whole. There is increasing consternation from independent players over their vinyl orders, which are said (http://noisey.vice.com/en_uk/blog/how-independent-artists-and-labels-are-getting-squeezed-out-by-the-vinyl-revival) to often get waylaid by the three major labels, with their growing interest in vinyl and Record Store Day, not to mention their dependable bankrolls. “Industry-wide, I can’t imagine there’s anyone that’s not feeling the bottleneck,” says Millar, who also makes a good point regarding the majors: “They probably do have the majority [of time hogging the presses], but they have the majority of the content — and the sought-after content. The bigger the order, the longer time on press.” (In case you’re wondering how far ahead small labels should place their Record
Store Day orders, Millar says Sundazed is already doing so; the annual event is not until April.)
This big-guy-versus-underdog dynamic may actually end up benefiting Socolov, with his penchant for basement bands and his relationships with small-even-for-indie labels like Sacred Bones and Captured Tracks. He’s banking on it, in fact, similarly to the way he’s depending on vinyl as a permanent medium in an industry that tends to change them every decade and a half, not a trend looping back around. It’s fitting, then, that every physical music format — whether CD, vinyl record, cassette, MiniDisc, or 8-track — is circular. This is for practical reasons; a needle wouldn’t be led across a spinning square track very effectively. But it’s also an appropriate metaphor for the Lazarus-like rediscovery that keeps artists, long-dead, as alive as we are via the immortality of music itself. As one veteran fan reaches side B’s final beat, a new listener drops the needle down on side A. Socolov is ready to cue up the first song one more time.
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=15cde8481d) | 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=15cde8481d&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
Why the Vinyl Boom Is Actually a Drought — Vulture
http://www.jazzpromoservices.com/
http://www.vulture.com/2015/09/why-the-vinyl-boom-is-actually-a-drought.html
By Andrew Flanagan (http://nymag.com/author/Andrew%20Flanagan/)
** Why the Vinyl Boom Is Actually a Drought
————————————————————
the sound of money (safari-reader://www.vulture.com/news/the-sound-of-money/) September 11, 2015 4:15 p.m. By Andrew Flanagan
Brooklyn Vinyl Works’ project manager, Nick Jett, shows off the master of a vinyl pressing. Photo: Nathan Perkel for Vulture
That the resurgence of vinyl records has coincided with the rise of music-streaming services is more than just a nostalgic curiosity. It’s one of those times when an idea is plucked from the ether by unconnected minds. Spotify playlists, mp3 collections, even the physicality of Zane Lowe’s shouts projected at listeners as new hits fade in on Beats 1 — they’re all brought to us by pixelated ghost couriers we don’t understand. It’s a strange time not only to consume media, but to be alive. Perhaps listeners unconsciously decided that they really needed to touch something, and that something was polyvinyl chloride. “Anyone who says they saw this coming is a liar,” says Drew Hill, managing director of Proper, the U.K.’s largest independent distributor of physical music. We couldn’t have predicted the vinyl boom, but as an antidote to the exclusively digital future music was headed toward, records do the trick.
The result of this uncanny growth — vinyl sales were up 54.7 percent globally last year, compared to 2013, which saw 9.2 million records sold (http://www.billboard.com/articles/columns/chart-beat/6422442/vinyl-album-sales-hit-historic-high-2014) in the U.S. — is a manufacturing sector whose seams have been steadily swelling for nearly a decade. Some top vinyl-pressing plants operate 24 hours a day, seven days a week, in an attempt to keep up. Because of the format’s sharp decline in the 1990s, many plants were shuttered, leaving the few players that survived to cash in. Others have cropped up to service the boom, but still, the grand total of U.S. vinyl-pressing plants of varying sizes hovers around 15. “There is not the capacity anywhere in the world to cope with the demand at the moment,” Hill says.
While Jack White may enjoy the benefits of an intimate relationship with the country’s largest vinyl plant, Nashville’s United Record Pressing, which results in the (literally (http://www.billboard.com/articles/news/6062687/jack-white-breaks-record-for-worlds-fastest-studio-to-store-record) ) record-breaking turnaround time of a single day, most artists and labels have to wait at least 14 to 18 weeks for their vinyl, oftentimes without knowing the status of their orders. And that wait is often increased by pressings that require a new lacquer, or prototype of the record, due to sound issues in the test pressing. Common are the tales of indie bands running out of vinyl mid-tour and not being able to replenish their stock. Bigger bands aren’t immune to it either; it’s not exactly rare (http://www.spin.com/2014/05/united-record-adds-vinyl-presses-demand-expansion-plant/) for vinyl preorders of new albums to be sent out after release week because of tardy pressings.
So why haven’t new factories sprung up to satiate current demand? Because to reach that downhill coast, one must first climb a very steep hill. The presses themselves have not been built new since the ’80s; those that are currently in service have been reconstructed from old scraps of presses found, acquired, and then Frankensteined back into being by machinists, who must recreate any missing or broken parts by hand. And once you have a potentially functioning press, you’re still not very close to actually making a playable record. “Vinyl is a messy, time-consuming, labor-intensive, and expensive process,” Hill says.
A vinyl press in the midst of open heart surgery. Photo: Nathan Perkel for Vulture
Despite all this, Brooklyn is preparing to welcome its third pressing plant — in addition to Brooklynphono and Hit Bound Manufacturing — in the coming weeks. It’s not as if Will Socolov, the grizzled vinyl vet behind Brooklyn Vinyl Works (BVW), didn’t know what he was getting himself into, though. He’s been involved with music for most of his life, first co-founding Sleeping Bag Records with Arthur Russell before moving into hip-hop, working early with Craig Mack and KRS-One, and signing Jay Z to Freeze Records ahead of the release of Reasonable Doubt. After Socolov tired of that game and its egos, he founded EKS, a record-pressing plant in Long Island City, which he sold in 2012, after — in true New York City fashion — intractable lease problems made its operation untenable. EKS’s equipment was sold to a soon-to-be competitor in the South, Memphis Record Pressing, and Socolov retired from the complicated business of vinyl … for a mere three years. Now Socolov, who speaks in
an increasingly rare Brooklyn patois in which record becomes rek-id and huge becomes yuge, finds himself cobbling together the same makeshift spread of equipment, all of which does not come cheap. A rough breakdown of topline items:
$800,000: real estate in the east Brooklyn neighborhood of Brownsville; $15–30,000: one record press (Socolov acquired four); $6,000: shipping on a record press, from Russia to New York (dealing with its duplicitous seller was, according to Socolov, “the biggest crock of shit”); $10,000: repairs on record press; $10,000: massive hydraulic pump; $25,000: shrink-wrap machine (new); $65,000: boiler, for heating the water that will power the presses themselves; Unending: electricity, plumbing.
BVW’s Will Socolov and Nick Jett. Photo: Nathan Perkel for Vulture
“The shrink-wrap machine, the compressor, the tanks, all the plumbing, the electrical, buying a transformer, forklift, shelving — believe me, this shit adds up,” Socolov says, sitting in his money pit, a brick building from the atomic age with a cardboard-and-Sharpie name placard on the front door so you know it’s official. (Brooklyn Vinyl Works launched a failed Kickstarter (https://www.kickstarter.com/projects/1184966134/brooklyn-vinyl-works-a-superior-record-pressing-pl) in June, asking for less than one tenth — $100,000 — of these expenses; the campaign raised roughly half.)
With his admittedly late-to-the-game Wonka Music Factory soon to be operational, the matter of whether anyone will care in five years should weigh on Socolov’s mind. That question, of whether the rapidly growing vinyl bubble will burst (http://www.stereogum.com/featured/have-we-reached-peak-vinyl/) , is an awkward one to ask a man with $1 million sunk into a new business, the status of which is still “under construction.” Maybe the kids coming up now, who may lack the impulse for physically possessing the music that shapes them, just won’t care. But Socolov remains reasonably confident. He expects a peak to be reached; with such a small number of presses nationwide, he still foresees demand remaining consistent. And he’s not alone in this forecast: “There’s a plateau on the horizon, but I really don’t see things going down,” says Jay Millar, who spent nine years at United Record Pressing before recently moving to small reissue label Sundazed. “I think there’s probably a small
percentage of [fans] who might be in it just for a moment, but by the time they’re getting out of it, someone else is getting into it.”
“Someone has already contacted me about securing 100,000 records,” Socolov says. “If things go the way I hope, we’re gonna be doing 40,000 records a week.” That’s a nonconservative estimate, he admits after a little prodding, but 1.5 million records in a year is entirely feasible. At roughly 50 cents a pop wholesale for Socolov and Company (including packaging, wrapping, labels, and the many other incidentals), and with only three out of four presses factored in, he might be on the verge of a lucrative second coming. “I think anybody on Earth would buy into that,” he says. As long as the kids still care.
For now, the kids certainly still care, and where the kids are, the major labels are. In this sense, the vinyl boom — or, more accurately, the vinyl drought — begins to mimic the record industry as a whole. There is increasing consternation from independent players over their vinyl orders, which are said (http://noisey.vice.com/en_uk/blog/how-independent-artists-and-labels-are-getting-squeezed-out-by-the-vinyl-revival) to often get waylaid by the three major labels, with their growing interest in vinyl and Record Store Day, not to mention their dependable bankrolls. “Industry-wide, I can’t imagine there’s anyone that’s not feeling the bottleneck,” says Millar, who also makes a good point regarding the majors: “They probably do have the majority [of time hogging the presses], but they have the majority of the content — and the sought-after content. The bigger the order, the longer time on press.” (In case you’re wondering how far ahead small labels should place their Record
Store Day orders, Millar says Sundazed is already doing so; the annual event is not until April.)
This big-guy-versus-underdog dynamic may actually end up benefiting Socolov, with his penchant for basement bands and his relationships with small-even-for-indie labels like Sacred Bones and Captured Tracks. He’s banking on it, in fact, similarly to the way he’s depending on vinyl as a permanent medium in an industry that tends to change them every decade and a half, not a trend looping back around. It’s fitting, then, that every physical music format — whether CD, vinyl record, cassette, MiniDisc, or 8-track — is circular. This is for practical reasons; a needle wouldn’t be led across a spinning square track very effectively. But it’s also an appropriate metaphor for the Lazarus-like rediscovery that keeps artists, long-dead, as alive as we are via the immortality of music itself. As one veteran fan reaches side B’s final beat, a new listener drops the needle down on side A. Socolov is ready to cue up the first song one more time.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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Throngs of fans, admirers turn out for Davis sculpture dedication – The Telegraph – thetelegraph.com
http://www.jazzpromoservices.com/
http://thetelegraph.com/news/71141/throngs-of-fans-admirers-turn-out-for-davis-sculpture-dedication
Throngs of fans, admirers turn out for Davis sculpture dedication
By Scott Cousins – For The Telegraph
Members of the Kasimu Taylor Quartet play before the Miles Davis Sculpture Unveiling Celebration Saturday in downtown Alton. Hundreds of people gathered for the event honoring the jazz legend and Alton native. People gather around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill., Saturday during the unveiling ceremony in Downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
Norma Henderson, of Alton, signed a guest book at the Miles Davis Sculpture Unveiling celebration Saturday in Downtown Alton. Hundreds of people gathered for the ceremony.
Scott Cousins | For The Telegraph
A sculpture of jazz trumpeter Miles Davis, born in Alton, Ill., is unveiled Saturday during a ceremony in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
People gather Saturday around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill.,during the Miles Davis Sculpture Unveiling Celebration in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
QR Favorite
ALTON — Hundreds of people came out Saturday to the evening unveiling of a sculpture of jazz great Miles Davis, who was born in Alton; the bronze sculpture now stands on West Third Street.
Although more closely associated with East St. Louis, Davis was born in Alton and lived on Milnor Avenue for about a year there before his family moved.
Before his death in 1991, he was considered one of the most influential jazz musicians of the 20th century.
“His legacy is amazing,” said Patricia Ackman, co-chair of the Miles Davis Memorial Project.
The event featured the unveiling ceremony, jazz performances, as well as entertainment in the bars and restaurants. The crowd was estimated at between 350-400 people.
The program itself took slightly more than an hour.
Emcee James Killion called the unveiling, “A wonderful, great day for Alton.”
The program had 10 speakers, including former East St. Louis mayor and current City Manager Alvin Parks, who represented the Davis family; trumpet player Bobby Shew, and sculptor Preston Jackson.
After the speakers, the sculpture was unveiled and many in the crowd tried to get close to get a photo or talk to one of the participants.
JoAnn King, of St. Louis, was among many jazz fans that came out for the event.
“I’ve always been a jazz fan, and I’ve always loved Miles Davis. I didn’t realize until my friend sent me an email that he was from Alton. Jazz is important because it’s the foundation of all music,” she said. “All music is good music. On the Missouri side we have Chuck Berry’s statue in the Delmar Loop.”
After the ceremony, King planned to stay and listen to the jazz performances.
“I was looking at the lineup to make sure I didn’t miss anything,” she noted.
Roy Harrell, of St. Louis, met up with an old college friend, Jefferie Watkins, of Edwardsville. Both were Southern Illinois University Edwardsville students in Alton, and fans of Davis.
“When I was in high school, the band teacher was a big jazz player, and he turned us on to a lot of jazz… I didn’t know what jazz was at the time,” Harrell said.
He eventually became a fan, and then a fan of Davis.
In addition to being a fan, Watkins also knew Davis’ brother.
“Back in the day in the late ’60s when he was playing, you would see him around,” Watkins said. “I would see Miles playing.”
Before the formal ceremonies, Ackman said the evening appeared to be going very well.
“It’s going to identify Downtown Alton as an actual entertainment district. That can spur other things, other businesses that may want to come down here and become part of this. It’s going to bring tourism to the community and it’s a beautiful plaza.”
The project has been underway for about three years, including raising about $150,000 over the past two years.
Scott Cousins is a freelance writer and photographer for the Telegraph.
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=06a0a2a579) | 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=06a0a2a579&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Throngs of fans, admirers turn out for Davis sculpture dedication – The Telegraph – thetelegraph.com
http://www.jazzpromoservices.com/
http://thetelegraph.com/news/71141/throngs-of-fans-admirers-turn-out-for-davis-sculpture-dedication
Throngs of fans, admirers turn out for Davis sculpture dedication
By Scott Cousins – For The Telegraph
Members of the Kasimu Taylor Quartet play before the Miles Davis Sculpture Unveiling Celebration Saturday in downtown Alton. Hundreds of people gathered for the event honoring the jazz legend and Alton native. People gather around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill., Saturday during the unveiling ceremony in Downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
Norma Henderson, of Alton, signed a guest book at the Miles Davis Sculpture Unveiling celebration Saturday in Downtown Alton. Hundreds of people gathered for the ceremony.
Scott Cousins | For The Telegraph
A sculpture of jazz trumpeter Miles Davis, born in Alton, Ill., is unveiled Saturday during a ceremony in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
People gather Saturday around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill.,during the Miles Davis Sculpture Unveiling Celebration in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
QR Favorite
ALTON — Hundreds of people came out Saturday to the evening unveiling of a sculpture of jazz great Miles Davis, who was born in Alton; the bronze sculpture now stands on West Third Street.
Although more closely associated with East St. Louis, Davis was born in Alton and lived on Milnor Avenue for about a year there before his family moved.
Before his death in 1991, he was considered one of the most influential jazz musicians of the 20th century.
“His legacy is amazing,” said Patricia Ackman, co-chair of the Miles Davis Memorial Project.
The event featured the unveiling ceremony, jazz performances, as well as entertainment in the bars and restaurants. The crowd was estimated at between 350-400 people.
The program itself took slightly more than an hour.
Emcee James Killion called the unveiling, “A wonderful, great day for Alton.”
The program had 10 speakers, including former East St. Louis mayor and current City Manager Alvin Parks, who represented the Davis family; trumpet player Bobby Shew, and sculptor Preston Jackson.
After the speakers, the sculpture was unveiled and many in the crowd tried to get close to get a photo or talk to one of the participants.
JoAnn King, of St. Louis, was among many jazz fans that came out for the event.
“I’ve always been a jazz fan, and I’ve always loved Miles Davis. I didn’t realize until my friend sent me an email that he was from Alton. Jazz is important because it’s the foundation of all music,” she said. “All music is good music. On the Missouri side we have Chuck Berry’s statue in the Delmar Loop.”
After the ceremony, King planned to stay and listen to the jazz performances.
“I was looking at the lineup to make sure I didn’t miss anything,” she noted.
Roy Harrell, of St. Louis, met up with an old college friend, Jefferie Watkins, of Edwardsville. Both were Southern Illinois University Edwardsville students in Alton, and fans of Davis.
“When I was in high school, the band teacher was a big jazz player, and he turned us on to a lot of jazz… I didn’t know what jazz was at the time,” Harrell said.
He eventually became a fan, and then a fan of Davis.
In addition to being a fan, Watkins also knew Davis’ brother.
“Back in the day in the late ’60s when he was playing, you would see him around,” Watkins said. “I would see Miles playing.”
Before the formal ceremonies, Ackman said the evening appeared to be going very well.
“It’s going to identify Downtown Alton as an actual entertainment district. That can spur other things, other businesses that may want to come down here and become part of this. It’s going to bring tourism to the community and it’s a beautiful plaza.”
The project has been underway for about three years, including raising about $150,000 over the past two years.
Scott Cousins is a freelance writer and photographer for the Telegraph.
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=06a0a2a579) | 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=06a0a2a579&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
Throngs of fans, admirers turn out for Davis sculpture dedication – The Telegraph – thetelegraph.com
http://www.jazzpromoservices.com/
http://thetelegraph.com/news/71141/throngs-of-fans-admirers-turn-out-for-davis-sculpture-dedication
Throngs of fans, admirers turn out for Davis sculpture dedication
By Scott Cousins – For The Telegraph
Members of the Kasimu Taylor Quartet play before the Miles Davis Sculpture Unveiling Celebration Saturday in downtown Alton. Hundreds of people gathered for the event honoring the jazz legend and Alton native. People gather around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill., Saturday during the unveiling ceremony in Downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
Norma Henderson, of Alton, signed a guest book at the Miles Davis Sculpture Unveiling celebration Saturday in Downtown Alton. Hundreds of people gathered for the ceremony.
Scott Cousins | For The Telegraph
A sculpture of jazz trumpeter Miles Davis, born in Alton, Ill., is unveiled Saturday during a ceremony in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
People gather Saturday around the just-unveiled statue of jazz trumpeter Miles Davis, who was born in Alton, Ill.,during the Miles Davis Sculpture Unveiling Celebration in downtown Alton. Although more closely associated with East St. Louis, where he grew up, Davis was born in Alton May 26, 1926 and lived there for about a year.
Scott Cousins | For The Telegraph
QR Favorite
ALTON — Hundreds of people came out Saturday to the evening unveiling of a sculpture of jazz great Miles Davis, who was born in Alton; the bronze sculpture now stands on West Third Street.
Although more closely associated with East St. Louis, Davis was born in Alton and lived on Milnor Avenue for about a year there before his family moved.
Before his death in 1991, he was considered one of the most influential jazz musicians of the 20th century.
“His legacy is amazing,” said Patricia Ackman, co-chair of the Miles Davis Memorial Project.
The event featured the unveiling ceremony, jazz performances, as well as entertainment in the bars and restaurants. The crowd was estimated at between 350-400 people.
The program itself took slightly more than an hour.
Emcee James Killion called the unveiling, “A wonderful, great day for Alton.”
The program had 10 speakers, including former East St. Louis mayor and current City Manager Alvin Parks, who represented the Davis family; trumpet player Bobby Shew, and sculptor Preston Jackson.
After the speakers, the sculpture was unveiled and many in the crowd tried to get close to get a photo or talk to one of the participants.
JoAnn King, of St. Louis, was among many jazz fans that came out for the event.
“I’ve always been a jazz fan, and I’ve always loved Miles Davis. I didn’t realize until my friend sent me an email that he was from Alton. Jazz is important because it’s the foundation of all music,” she said. “All music is good music. On the Missouri side we have Chuck Berry’s statue in the Delmar Loop.”
After the ceremony, King planned to stay and listen to the jazz performances.
“I was looking at the lineup to make sure I didn’t miss anything,” she noted.
Roy Harrell, of St. Louis, met up with an old college friend, Jefferie Watkins, of Edwardsville. Both were Southern Illinois University Edwardsville students in Alton, and fans of Davis.
“When I was in high school, the band teacher was a big jazz player, and he turned us on to a lot of jazz… I didn’t know what jazz was at the time,” Harrell said.
He eventually became a fan, and then a fan of Davis.
In addition to being a fan, Watkins also knew Davis’ brother.
“Back in the day in the late ’60s when he was playing, you would see him around,” Watkins said. “I would see Miles playing.”
Before the formal ceremonies, Ackman said the evening appeared to be going very well.
“It’s going to identify Downtown Alton as an actual entertainment district. That can spur other things, other businesses that may want to come down here and become part of this. It’s going to bring tourism to the community and it’s a beautiful plaza.”
The project has been underway for about three years, including raising about $150,000 over the past two years.
Scott Cousins is a freelance writer and photographer for the Telegraph.
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=06a0a2a579) | 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=06a0a2a579&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
Explore Music Library Conover Collection: List View UNT Digital Library
http://www.jazzpromoservices.com/
The UNT Music Library has posted the first ten recordings from its Willis Conover Collection, which were digitized under a grant from the Grammy Foundation. The grant makes possible the digital preservation of the oldest 360 of the approximately 2100 reel-to-reel tapes in the collection, which span the early 1950s through 1969, and include interviews with Dave Brubeck, Eddie Condon, Benny Goodman, Louis Armstrong, Art Tatum, Billy Taylor, and many others.
http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound
Results 1 – 10 of 10
(http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=list) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=grid) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=brief)
* Sort by: Title
(http://digital.library.unt.edu/explore/collections/MLCC/feed/?fq=dc_type:sound)
http://digital.library.unt.edu/ark:/67531/metadc701832/
** Bill Evans at the Village Vanguard (http://digital.library.unt.edu/ark:/67531/metadc701832/)
————————————————————
Date: November 14, 1964
Creator: Evans, Bill, 1929-1980
Description: Bill Evans with unidentified bassist and drummer — likely Chuck Israels and Larry Bunker — at the Village Vanguard. Container indicates that titles performed include “Slow Dance” and “A Song for Now.”
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701824/
** Louis Armstrong reel addressed to Joe Glaser (http://digital.library.unt.edu/ark:/67531/metadc701824/)
————————————————————
Date: 1959
Creator: Armstrong, Louis, 1901-1971
Description: A tape from Louis Armstrong, with the container addressed to his manager, Joe Glaser. The contents of the tape include recorded music and a spoken message from Armstrong.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701833/
** Music USA #131-B, Interview with Kai Winding (http://digital.library.unt.edu/ark:/67531/metadc701833/)
————————————————————
Date: April 15, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Kai Winding. This is the first interview conducted for Music USA.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701825/
** Music USA #172-B, Art Tatum Interview (http://digital.library.unt.edu/ark:/67531/metadc701825/)
————————————————————
Date: May 18, 1955
Creator: Conover, Willis & Tatum, Art, 1909-1956
Description: Willis Conover interviews Art Tatum, with selected Tatum recordings.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701831/
** Music USA #357-B, Interview with Dave Brubeck (http://digital.library.unt.edu/ark:/67531/metadc701831/)
————————————————————
Date: November 10, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Dave Brubeck.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701829/
** Music USA #365-B (http://digital.library.unt.edu/ark:/67531/metadc701829/)
————————————————————
Date: November 29, 1955
Creator: Conover, Willis
Description: Willis Conover interviews George Avakian. This recording only contains the interview, and not the full program.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701827/
** Willis Conover interview with Johnny Hodges (http://digital.library.unt.edu/ark:/67531/metadc701827/)
————————————————————
Date: February 1955
Creator: Conover, Willis
Description: Willis Conover interviews Johnny Hodges. The intended program and broadcaster are not stated.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701830/
** Willis Conover Presents “The” Orchestra of Washington, D.C. (http://digital.library.unt.edu/ark:/67531/metadc701830/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A live performance of “The” Orchestra.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701826/
** Willis Conover, program pilot for Ballantine Ale (http://digital.library.unt.edu/ark:/67531/metadc701826/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A short pilot program, from the early 1950s, followed by Conover discussing the various programs he hosted in the Washington, D.C. area. The pilot combines elements of WEAM’s “House of Sounds” and a late-night program at that station. The tape had been previously used, and may have come from WEAM, which was a country music station at the time; remnants of a country music show or pilot follow Conover’s material, and include a performance by the Bluegrass Valley Boys.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701828/
** Willis Conover’s House of Sounds, WEAM – Interview with Woody Herman, Bobby Hackett, Louis Armstrong (http://digital.library.unt.edu/ark:/67531/metadc701828/)
————————————————————
Date: June 1955
Creator: Conover, Willis
Description: An interview with Woody Herman, Bobby Hackett, and Louis Armstrong, conducted in late June of 1955, in connection with the performance of Louis Armstrong and His All Stars at the Carter Barron Amphitheater, Washington, D.C.
Contributing Partner: UNT Music Library
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=516d98aa74) | 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=516d98aa74&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
Explore Music Library Conover Collection: List View UNT Digital Library
http://www.jazzpromoservices.com/
The UNT Music Library has posted the first ten recordings from its Willis Conover Collection, which were digitized under a grant from the Grammy Foundation. The grant makes possible the digital preservation of the oldest 360 of the approximately 2100 reel-to-reel tapes in the collection, which span the early 1950s through 1969, and include interviews with Dave Brubeck, Eddie Condon, Benny Goodman, Louis Armstrong, Art Tatum, Billy Taylor, and many others.
http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound
Results 1 – 10 of 10
(http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=list) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=grid) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=brief)
* Sort by: Title
(http://digital.library.unt.edu/explore/collections/MLCC/feed/?fq=dc_type:sound)
http://digital.library.unt.edu/ark:/67531/metadc701832/
** Bill Evans at the Village Vanguard (http://digital.library.unt.edu/ark:/67531/metadc701832/)
————————————————————
Date: November 14, 1964
Creator: Evans, Bill, 1929-1980
Description: Bill Evans with unidentified bassist and drummer — likely Chuck Israels and Larry Bunker — at the Village Vanguard. Container indicates that titles performed include “Slow Dance” and “A Song for Now.”
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701824/
** Louis Armstrong reel addressed to Joe Glaser (http://digital.library.unt.edu/ark:/67531/metadc701824/)
————————————————————
Date: 1959
Creator: Armstrong, Louis, 1901-1971
Description: A tape from Louis Armstrong, with the container addressed to his manager, Joe Glaser. The contents of the tape include recorded music and a spoken message from Armstrong.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701833/
** Music USA #131-B, Interview with Kai Winding (http://digital.library.unt.edu/ark:/67531/metadc701833/)
————————————————————
Date: April 15, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Kai Winding. This is the first interview conducted for Music USA.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701825/
** Music USA #172-B, Art Tatum Interview (http://digital.library.unt.edu/ark:/67531/metadc701825/)
————————————————————
Date: May 18, 1955
Creator: Conover, Willis & Tatum, Art, 1909-1956
Description: Willis Conover interviews Art Tatum, with selected Tatum recordings.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701831/
** Music USA #357-B, Interview with Dave Brubeck (http://digital.library.unt.edu/ark:/67531/metadc701831/)
————————————————————
Date: November 10, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Dave Brubeck.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701829/
** Music USA #365-B (http://digital.library.unt.edu/ark:/67531/metadc701829/)
————————————————————
Date: November 29, 1955
Creator: Conover, Willis
Description: Willis Conover interviews George Avakian. This recording only contains the interview, and not the full program.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701827/
** Willis Conover interview with Johnny Hodges (http://digital.library.unt.edu/ark:/67531/metadc701827/)
————————————————————
Date: February 1955
Creator: Conover, Willis
Description: Willis Conover interviews Johnny Hodges. The intended program and broadcaster are not stated.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701830/
** Willis Conover Presents “The” Orchestra of Washington, D.C. (http://digital.library.unt.edu/ark:/67531/metadc701830/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A live performance of “The” Orchestra.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701826/
** Willis Conover, program pilot for Ballantine Ale (http://digital.library.unt.edu/ark:/67531/metadc701826/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A short pilot program, from the early 1950s, followed by Conover discussing the various programs he hosted in the Washington, D.C. area. The pilot combines elements of WEAM’s “House of Sounds” and a late-night program at that station. The tape had been previously used, and may have come from WEAM, which was a country music station at the time; remnants of a country music show or pilot follow Conover’s material, and include a performance by the Bluegrass Valley Boys.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701828/
** Willis Conover’s House of Sounds, WEAM – Interview with Woody Herman, Bobby Hackett, Louis Armstrong (http://digital.library.unt.edu/ark:/67531/metadc701828/)
————————————————————
Date: June 1955
Creator: Conover, Willis
Description: An interview with Woody Herman, Bobby Hackett, and Louis Armstrong, conducted in late June of 1955, in connection with the performance of Louis Armstrong and His All Stars at the Carter Barron Amphitheater, Washington, D.C.
Contributing Partner: UNT Music Library
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=516d98aa74) | 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=516d98aa74&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
Explore Music Library Conover Collection: List View UNT Digital Library
http://www.jazzpromoservices.com/
The UNT Music Library has posted the first ten recordings from its Willis Conover Collection, which were digitized under a grant from the Grammy Foundation. The grant makes possible the digital preservation of the oldest 360 of the approximately 2100 reel-to-reel tapes in the collection, which span the early 1950s through 1969, and include interviews with Dave Brubeck, Eddie Condon, Benny Goodman, Louis Armstrong, Art Tatum, Billy Taylor, and many others.
http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound
Results 1 – 10 of 10
(http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=list) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=grid) | (http://digital.library.unt.edu/explore/collections/MLCC/browse/?fq=dc_type%3Asound&display=brief)
* Sort by: Title
(http://digital.library.unt.edu/explore/collections/MLCC/feed/?fq=dc_type:sound)
http://digital.library.unt.edu/ark:/67531/metadc701832/
** Bill Evans at the Village Vanguard (http://digital.library.unt.edu/ark:/67531/metadc701832/)
————————————————————
Date: November 14, 1964
Creator: Evans, Bill, 1929-1980
Description: Bill Evans with unidentified bassist and drummer — likely Chuck Israels and Larry Bunker — at the Village Vanguard. Container indicates that titles performed include “Slow Dance” and “A Song for Now.”
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701824/
** Louis Armstrong reel addressed to Joe Glaser (http://digital.library.unt.edu/ark:/67531/metadc701824/)
————————————————————
Date: 1959
Creator: Armstrong, Louis, 1901-1971
Description: A tape from Louis Armstrong, with the container addressed to his manager, Joe Glaser. The contents of the tape include recorded music and a spoken message from Armstrong.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701833/
** Music USA #131-B, Interview with Kai Winding (http://digital.library.unt.edu/ark:/67531/metadc701833/)
————————————————————
Date: April 15, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Kai Winding. This is the first interview conducted for Music USA.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701825/
** Music USA #172-B, Art Tatum Interview (http://digital.library.unt.edu/ark:/67531/metadc701825/)
————————————————————
Date: May 18, 1955
Creator: Conover, Willis & Tatum, Art, 1909-1956
Description: Willis Conover interviews Art Tatum, with selected Tatum recordings.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701831/
** Music USA #357-B, Interview with Dave Brubeck (http://digital.library.unt.edu/ark:/67531/metadc701831/)
————————————————————
Date: November 10, 1955
Creator: Conover, Willis
Description: The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Dave Brubeck.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701829/
** Music USA #365-B (http://digital.library.unt.edu/ark:/67531/metadc701829/)
————————————————————
Date: November 29, 1955
Creator: Conover, Willis
Description: Willis Conover interviews George Avakian. This recording only contains the interview, and not the full program.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701827/
** Willis Conover interview with Johnny Hodges (http://digital.library.unt.edu/ark:/67531/metadc701827/)
————————————————————
Date: February 1955
Creator: Conover, Willis
Description: Willis Conover interviews Johnny Hodges. The intended program and broadcaster are not stated.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701830/
** Willis Conover Presents “The” Orchestra of Washington, D.C. (http://digital.library.unt.edu/ark:/67531/metadc701830/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A live performance of “The” Orchestra.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701826/
** Willis Conover, program pilot for Ballantine Ale (http://digital.library.unt.edu/ark:/67531/metadc701826/)
————————————————————
Date: 195u
Creator: Conover, Willis
Description: A short pilot program, from the early 1950s, followed by Conover discussing the various programs he hosted in the Washington, D.C. area. The pilot combines elements of WEAM’s “House of Sounds” and a late-night program at that station. The tape had been previously used, and may have come from WEAM, which was a country music station at the time; remnants of a country music show or pilot follow Conover’s material, and include a performance by the Bluegrass Valley Boys.
Contributing Partner: UNT Music Library
http://digital.library.unt.edu/ark:/67531/metadc701828/
** Willis Conover’s House of Sounds, WEAM – Interview with Woody Herman, Bobby Hackett, Louis Armstrong (http://digital.library.unt.edu/ark:/67531/metadc701828/)
————————————————————
Date: June 1955
Creator: Conover, Willis
Description: An interview with Woody Herman, Bobby Hackett, and Louis Armstrong, conducted in late June of 1955, in connection with the performance of Louis Armstrong and His All Stars at the Carter Barron Amphitheater, Washington, D.C.
Contributing Partner: UNT Music Library
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=516d98aa74) | 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=516d98aa74&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
Book Review – ‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
http://www.jazzpromoservices.com/
** http://www.jsonline.com/entertainment/books/playboy-swings-reflects-hefner-empires-involvement-with-jazz-b99572324z1-326719001.html
‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
————————————————————
By Jon M. Gilbertson, Special to the Journal Sentinel
Despite its subtitle, “Playboy Swings” is not exclusively or even principally about what Hugh Hefner and Playboy — the magazine Hefner founded, the company he headed and the brand he grew to represent — did for music, and mainly for jazz music.
Instead, it is a book that, not unlike the magazine in its ring-a-ding heyday, slips jazz into the overall story of the Playboy lifestyle. Sometimes, the bebop is integral to the story and to the lifestyle; other times, it is a background murmur or less.
Those other times, “Playboy Swings” delves into subjects that could and probably should have made separate volumes, from ventures into television such as “Playboy’s Penthouse” to the working-stiff dues a woman paid in order to project ornamental glamour while serving drinks and food as a Playboy Bunny at a Playboy Club.
A former model, Patty Farmer understands the effort that goes into looking “effortlessly” pretty and poised, so she tells many a Bunny’s story with sympathy.
An author of 2013’s “The Persian Room Presents,” an oral history of a fabled New York City nightspot that ran from 1934 to 1975, Farmer has the experience to be an excitable, knowledgeable guide through the Playboy Club circuit, which swung the best during the 1960s.
However, because “Playboy Swings” often swings away from those subjects as well as from music, Farmer is obviously as easily distracted as a first-time visitor to the Playboy Mansion, although the early sections of the book show that she doesn’t lack the ability to focus.
The second chapter jumps past the unpromising title of “All That Jazz” to expound upon the point that “in 1957″—four years after the first issue of “Playboy”— the magazine “was one of the primary proponents of jazz.”
The same chapter notes that the first official “Playboy Interview,” conducted by Alex Haley and published in September 1962, was with Miles Davis, the uber-legendary trumpeter; and that the magazine’s annual jazz poll, introduced in the aforementioned 1957, and its “Jazz Hall of Fame,” introduced in 1966, shored up jazz’s increasing mainstream respectability.
The third chapter, “‘The Greatest Three Days in the History of Jazz,'” shores up the book’s own connection between Playboy and jazz via a solid recounting of the Playboy Jazz Festival, a three-day, sold-out event at Chicago Stadium in the summer of 1959.
With myriad significant details — a lineup including Miles, Dave Brubeck, Louis Armstrong and Sonny Rollins, the last of whom provides Farmer with warm, intelligent recollections — and technical facets — the bisected “turnabout” stage that cut waiting time between acts —the 1959 PJF chapter is a high point for the book, jazz and the Playboy name.
The high point of profitability or infamy came later: as Farmer records, by 1966 there were 14 Playboy Clubs across the United States, and in 1968 the Lake Geneva Playboy Club Hotel would open in the small Wisconsin town of, natch, Lake Geneva.
But that resort, like successors in Great Gorge (N.J.) and Miami, would be a money sink for Playboy Enterprises, and the onstage talent throughout the resorts and clubs would vary from the young-and-hungry Woody Allen, Lily Tomlin and Barbra Streisand to the older-and-gasping Larry Storch, Shelley Berman and Vic Damone.
Not enough jazz there. Nor is there much in “Playboy Rebooted,” a final chapter in which Farmer tries to view the newer London Playboy Club as a revitalization of classic style rather than as a nostalgia-angled gambling locale where croupiers wear the Bunny costume and the most expensive cocktail costs, at current exchange rates, nearly $8,500.
By the end of “Playboy Swings,” the music is all but inaudible.
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=4d09560ca7) | 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=4d09560ca7&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
Book Review – ‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
http://www.jazzpromoservices.com/
** http://www.jsonline.com/entertainment/books/playboy-swings-reflects-hefner-empires-involvement-with-jazz-b99572324z1-326719001.html
‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
————————————————————
By Jon M. Gilbertson, Special to the Journal Sentinel
Despite its subtitle, “Playboy Swings” is not exclusively or even principally about what Hugh Hefner and Playboy — the magazine Hefner founded, the company he headed and the brand he grew to represent — did for music, and mainly for jazz music.
Instead, it is a book that, not unlike the magazine in its ring-a-ding heyday, slips jazz into the overall story of the Playboy lifestyle. Sometimes, the bebop is integral to the story and to the lifestyle; other times, it is a background murmur or less.
Those other times, “Playboy Swings” delves into subjects that could and probably should have made separate volumes, from ventures into television such as “Playboy’s Penthouse” to the working-stiff dues a woman paid in order to project ornamental glamour while serving drinks and food as a Playboy Bunny at a Playboy Club.
A former model, Patty Farmer understands the effort that goes into looking “effortlessly” pretty and poised, so she tells many a Bunny’s story with sympathy.
An author of 2013’s “The Persian Room Presents,” an oral history of a fabled New York City nightspot that ran from 1934 to 1975, Farmer has the experience to be an excitable, knowledgeable guide through the Playboy Club circuit, which swung the best during the 1960s.
However, because “Playboy Swings” often swings away from those subjects as well as from music, Farmer is obviously as easily distracted as a first-time visitor to the Playboy Mansion, although the early sections of the book show that she doesn’t lack the ability to focus.
The second chapter jumps past the unpromising title of “All That Jazz” to expound upon the point that “in 1957″—four years after the first issue of “Playboy”— the magazine “was one of the primary proponents of jazz.”
The same chapter notes that the first official “Playboy Interview,” conducted by Alex Haley and published in September 1962, was with Miles Davis, the uber-legendary trumpeter; and that the magazine’s annual jazz poll, introduced in the aforementioned 1957, and its “Jazz Hall of Fame,” introduced in 1966, shored up jazz’s increasing mainstream respectability.
The third chapter, “‘The Greatest Three Days in the History of Jazz,'” shores up the book’s own connection between Playboy and jazz via a solid recounting of the Playboy Jazz Festival, a three-day, sold-out event at Chicago Stadium in the summer of 1959.
With myriad significant details — a lineup including Miles, Dave Brubeck, Louis Armstrong and Sonny Rollins, the last of whom provides Farmer with warm, intelligent recollections — and technical facets — the bisected “turnabout” stage that cut waiting time between acts —the 1959 PJF chapter is a high point for the book, jazz and the Playboy name.
The high point of profitability or infamy came later: as Farmer records, by 1966 there were 14 Playboy Clubs across the United States, and in 1968 the Lake Geneva Playboy Club Hotel would open in the small Wisconsin town of, natch, Lake Geneva.
But that resort, like successors in Great Gorge (N.J.) and Miami, would be a money sink for Playboy Enterprises, and the onstage talent throughout the resorts and clubs would vary from the young-and-hungry Woody Allen, Lily Tomlin and Barbra Streisand to the older-and-gasping Larry Storch, Shelley Berman and Vic Damone.
Not enough jazz there. Nor is there much in “Playboy Rebooted,” a final chapter in which Farmer tries to view the newer London Playboy Club as a revitalization of classic style rather than as a nostalgia-angled gambling locale where croupiers wear the Bunny costume and the most expensive cocktail costs, at current exchange rates, nearly $8,500.
By the end of “Playboy Swings,” the music is all but inaudible.
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=4d09560ca7) | 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=4d09560ca7&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
Book Review – ‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
http://www.jazzpromoservices.com/
** http://www.jsonline.com/entertainment/books/playboy-swings-reflects-hefner-empires-involvement-with-jazz-b99572324z1-326719001.html
‘Playboy Swings’ reflects Hefner empire’s involvement with jazz
————————————————————
By Jon M. Gilbertson, Special to the Journal Sentinel
Despite its subtitle, “Playboy Swings” is not exclusively or even principally about what Hugh Hefner and Playboy — the magazine Hefner founded, the company he headed and the brand he grew to represent — did for music, and mainly for jazz music.
Instead, it is a book that, not unlike the magazine in its ring-a-ding heyday, slips jazz into the overall story of the Playboy lifestyle. Sometimes, the bebop is integral to the story and to the lifestyle; other times, it is a background murmur or less.
Those other times, “Playboy Swings” delves into subjects that could and probably should have made separate volumes, from ventures into television such as “Playboy’s Penthouse” to the working-stiff dues a woman paid in order to project ornamental glamour while serving drinks and food as a Playboy Bunny at a Playboy Club.
A former model, Patty Farmer understands the effort that goes into looking “effortlessly” pretty and poised, so she tells many a Bunny’s story with sympathy.
An author of 2013’s “The Persian Room Presents,” an oral history of a fabled New York City nightspot that ran from 1934 to 1975, Farmer has the experience to be an excitable, knowledgeable guide through the Playboy Club circuit, which swung the best during the 1960s.
However, because “Playboy Swings” often swings away from those subjects as well as from music, Farmer is obviously as easily distracted as a first-time visitor to the Playboy Mansion, although the early sections of the book show that she doesn’t lack the ability to focus.
The second chapter jumps past the unpromising title of “All That Jazz” to expound upon the point that “in 1957″—four years after the first issue of “Playboy”— the magazine “was one of the primary proponents of jazz.”
The same chapter notes that the first official “Playboy Interview,” conducted by Alex Haley and published in September 1962, was with Miles Davis, the uber-legendary trumpeter; and that the magazine’s annual jazz poll, introduced in the aforementioned 1957, and its “Jazz Hall of Fame,” introduced in 1966, shored up jazz’s increasing mainstream respectability.
The third chapter, “‘The Greatest Three Days in the History of Jazz,'” shores up the book’s own connection between Playboy and jazz via a solid recounting of the Playboy Jazz Festival, a three-day, sold-out event at Chicago Stadium in the summer of 1959.
With myriad significant details — a lineup including Miles, Dave Brubeck, Louis Armstrong and Sonny Rollins, the last of whom provides Farmer with warm, intelligent recollections — and technical facets — the bisected “turnabout” stage that cut waiting time between acts —the 1959 PJF chapter is a high point for the book, jazz and the Playboy name.
The high point of profitability or infamy came later: as Farmer records, by 1966 there were 14 Playboy Clubs across the United States, and in 1968 the Lake Geneva Playboy Club Hotel would open in the small Wisconsin town of, natch, Lake Geneva.
But that resort, like successors in Great Gorge (N.J.) and Miami, would be a money sink for Playboy Enterprises, and the onstage talent throughout the resorts and clubs would vary from the young-and-hungry Woody Allen, Lily Tomlin and Barbra Streisand to the older-and-gasping Larry Storch, Shelley Berman and Vic Damone.
Not enough jazz there. Nor is there much in “Playboy Rebooted,” a final chapter in which Farmer tries to view the newer London Playboy Club as a revitalization of classic style rather than as a nostalgia-angled gambling locale where croupiers wear the Bunny costume and the most expensive cocktail costs, at current exchange rates, nearly $8,500.
By the end of “Playboy Swings,” the music is all but inaudible.
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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Billie Holiday, via Hologram, Returning to the Apollo – The New York Times
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/09/09/billie-holiday-hologram-to-debut-at-apollo-this-year/
** Billie Holiday, via Hologram, Returning to the Apollo
————————————————————
By ANDREW R. CHOW (http://artsbeat.blogs.nytimes.com/author/andrew-r-chow/)
SEPTEMBER 9, 2015 3:00 PM
Billie Holiday, circa 1947.
Billie Holiday, circa 1947.Credit William Gottlieb, via the Apollo Theater
Billie Holiday often sang about being blue, but when she appears at the Apollo later this year she’ll be closer to translucent. The Apollo has partnered with Hologram USA to bring extended, permanent hologram technology to the theater. Ms. Holiday, who performed at the Apollo in the flesh nearly 30 times, will be the first, and is scheduled to debut around Thanksgiving.
The Apollo says it will be the first theater in the United States to offer continuing presentations with hologram technology. It plans to use the technology to supplement its daytime programming, which focuses on history and education. The theater has an exclusive deal with Hologram USA and it will be the only host of the company’s technology in New York over a two-year period.
Ms. Holiday was a natural first choice for this project: she made her debut at the Apollo at 19 years old and was inducted into the Apollo Hall of Fame for her centennial (http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html) in April. Her voice will be taken from audio recordings, with her estate’s approval, to create an interactive show.
“Billie is going to be able to talk about the history of the Apollo,” said Jonelle Procope, the Apollo president. “She can take questions from the audience in an interesting way. She can sing some songs.”
Ms. Procope envisions the technology eventually being used to allow older legends to collaborate with live up-and-coming performers, as well as to recreate famous acts, like a well-known James Brown performance from 1962 (http://www.amazon.com/Live-Apollo-1962-Remastered-Expanded/dp/B0001JXQ7O) . “When people see this, they’re going understand the vast opportunities that we’ll have to bring some of these performances to life,” Ms. Procope said.
She is confident that the holograms will do the original artists justice. “We would never do anything that would compromise the integrity of the artists or the Apollo,” she said.
Hologram USA has created representations of Buddy Holly, Jimmy Kimmel and Chief Keef, the last of which caused a controversy in Chicago (http://www.nytimes.com/2015/07/27/arts/music/hologram-performance-by-chief-keef-is-shut-down-by-police.html) . The company also teamed with the National Comedy Center to create stand-up sets (http://artsbeat.blogs.nytimes.com/2015/05/06/late-comedy-greats-may-perform-again-in-hologram-form/) from different eras.
The Apollo’s 2015-6 season will include more than 100 performances, including the signature “Amateur Night.”
Correction: September 11, 2015
An earlier version of the picture caption with this post carried a credit that misstated the photographer’s given name. The picture is by William Gottlieb, not Steve Gottlieb.
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=1f398b2caa) | 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=1f398b2caa&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Billie Holiday, via Hologram, Returning to the Apollo – The New York Times
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/09/09/billie-holiday-hologram-to-debut-at-apollo-this-year/
** Billie Holiday, via Hologram, Returning to the Apollo
————————————————————
By ANDREW R. CHOW (http://artsbeat.blogs.nytimes.com/author/andrew-r-chow/)
SEPTEMBER 9, 2015 3:00 PM
Billie Holiday, circa 1947.
Billie Holiday, circa 1947.Credit William Gottlieb, via the Apollo Theater
Billie Holiday often sang about being blue, but when she appears at the Apollo later this year she’ll be closer to translucent. The Apollo has partnered with Hologram USA to bring extended, permanent hologram technology to the theater. Ms. Holiday, who performed at the Apollo in the flesh nearly 30 times, will be the first, and is scheduled to debut around Thanksgiving.
The Apollo says it will be the first theater in the United States to offer continuing presentations with hologram technology. It plans to use the technology to supplement its daytime programming, which focuses on history and education. The theater has an exclusive deal with Hologram USA and it will be the only host of the company’s technology in New York over a two-year period.
Ms. Holiday was a natural first choice for this project: she made her debut at the Apollo at 19 years old and was inducted into the Apollo Hall of Fame for her centennial (http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html) in April. Her voice will be taken from audio recordings, with her estate’s approval, to create an interactive show.
“Billie is going to be able to talk about the history of the Apollo,” said Jonelle Procope, the Apollo president. “She can take questions from the audience in an interesting way. She can sing some songs.”
Ms. Procope envisions the technology eventually being used to allow older legends to collaborate with live up-and-coming performers, as well as to recreate famous acts, like a well-known James Brown performance from 1962 (http://www.amazon.com/Live-Apollo-1962-Remastered-Expanded/dp/B0001JXQ7O) . “When people see this, they’re going understand the vast opportunities that we’ll have to bring some of these performances to life,” Ms. Procope said.
She is confident that the holograms will do the original artists justice. “We would never do anything that would compromise the integrity of the artists or the Apollo,” she said.
Hologram USA has created representations of Buddy Holly, Jimmy Kimmel and Chief Keef, the last of which caused a controversy in Chicago (http://www.nytimes.com/2015/07/27/arts/music/hologram-performance-by-chief-keef-is-shut-down-by-police.html) . The company also teamed with the National Comedy Center to create stand-up sets (http://artsbeat.blogs.nytimes.com/2015/05/06/late-comedy-greats-may-perform-again-in-hologram-form/) from different eras.
The Apollo’s 2015-6 season will include more than 100 performances, including the signature “Amateur Night.”
Correction: September 11, 2015
An earlier version of the picture caption with this post carried a credit that misstated the photographer’s given name. The picture is by William Gottlieb, not Steve Gottlieb.
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=1f398b2caa) | 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=1f398b2caa&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Billie Holiday, via Hologram, Returning to the Apollo – The New York Times
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/09/09/billie-holiday-hologram-to-debut-at-apollo-this-year/
** Billie Holiday, via Hologram, Returning to the Apollo
————————————————————
By ANDREW R. CHOW (http://artsbeat.blogs.nytimes.com/author/andrew-r-chow/)
SEPTEMBER 9, 2015 3:00 PM
Billie Holiday, circa 1947.
Billie Holiday, circa 1947.Credit William Gottlieb, via the Apollo Theater
Billie Holiday often sang about being blue, but when she appears at the Apollo later this year she’ll be closer to translucent. The Apollo has partnered with Hologram USA to bring extended, permanent hologram technology to the theater. Ms. Holiday, who performed at the Apollo in the flesh nearly 30 times, will be the first, and is scheduled to debut around Thanksgiving.
The Apollo says it will be the first theater in the United States to offer continuing presentations with hologram technology. It plans to use the technology to supplement its daytime programming, which focuses on history and education. The theater has an exclusive deal with Hologram USA and it will be the only host of the company’s technology in New York over a two-year period.
Ms. Holiday was a natural first choice for this project: she made her debut at the Apollo at 19 years old and was inducted into the Apollo Hall of Fame for her centennial (http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html) in April. Her voice will be taken from audio recordings, with her estate’s approval, to create an interactive show.
“Billie is going to be able to talk about the history of the Apollo,” said Jonelle Procope, the Apollo president. “She can take questions from the audience in an interesting way. She can sing some songs.”
Ms. Procope envisions the technology eventually being used to allow older legends to collaborate with live up-and-coming performers, as well as to recreate famous acts, like a well-known James Brown performance from 1962 (http://www.amazon.com/Live-Apollo-1962-Remastered-Expanded/dp/B0001JXQ7O) . “When people see this, they’re going understand the vast opportunities that we’ll have to bring some of these performances to life,” Ms. Procope said.
She is confident that the holograms will do the original artists justice. “We would never do anything that would compromise the integrity of the artists or the Apollo,” she said.
Hologram USA has created representations of Buddy Holly, Jimmy Kimmel and Chief Keef, the last of which caused a controversy in Chicago (http://www.nytimes.com/2015/07/27/arts/music/hologram-performance-by-chief-keef-is-shut-down-by-police.html) . The company also teamed with the National Comedy Center to create stand-up sets (http://artsbeat.blogs.nytimes.com/2015/05/06/late-comedy-greats-may-perform-again-in-hologram-form/) from different eras.
The Apollo’s 2015-6 season will include more than 100 performances, including the signature “Amateur Night.”
Correction: September 11, 2015
An earlier version of the picture caption with this post carried a credit that misstated the photographer’s given name. The picture is by William Gottlieb, not Steve Gottlieb.
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=1f398b2caa) | 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=1f398b2caa&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
Candida Royalle, Who Made Erotic Films for Women, Dies at 64 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/11/movies/candida-royalle-maker-of-x-rated-films-dies-at-64.html?hpw
** Candida Royalle, Who Made Erotic Films for Women, Dies at 64
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) SEPT. 10, 2015
Candida Royalle in her office in New York City in 1990. Credit Jim Estrin/The New York Times
Candida Royalle (http://candidaroyalle.com/) , a former star of pornographic movies who became a self-styled feminist filmmaker, spurning what she called a misogynistic “wham, bam, thank you, ma’am” genre to create erotica that would appeal to modern women, died on Monday at her home in Mattituck, N.Y., on Long Island. She was 64.
The cause was ovarian cancer, her friend and fellow actress and writer Veronica Vera said.
Ms. Royalle was 30 when she shifted from starring in movies to producing and directing films for her own company, Femme Productions. She defined her work as female-oriented, sensuously explicit cinema as opposed to the formulaic hard-core pornographic films that she said degraded women for the pleasure of men.
Ms. Royalle maintained that her niche foray into a male-dominated industry gained a degree of dignity for performers and a belated recognition that women and couples could enjoy blue movies together. She also saw an untapped market.
“Women were curious and wanted to see if there were some sexy movies they could enjoy with their partner, and there was nothing out there for that,” she told Smashing Interviews (http://smashinginterviews.com/interviews/directors/candida-royalle-interview-in-depth-and-personal-with-an-erotic-film-pioneer) magazine last year.
“What has united Candida’s work, the common thread throughout it all,” Angie Rowntree (http://www.cosmopolitan.com/sex-love/news/a45823/how-i-started-making-porn-women-actually-like/) , a producer and publisher of pornography, said in an email, “is a commitment to the principle that women have the right to explore, enjoy and celebrate their sexuality, openly and proudly, without taking any kind of metaphorical back seat to men.”
Still, some critics disagreed. Norma Ramos, general counsel of the advocacy group Women Against Pornography, said in a 1992 Elle magazine interview that there was no distinction between Ms. Royalle’s work and other pornography that “eroticizes women’s inequality” and accused Ms. Royalle had engaged in of “prostitution on paper or celluloid.”
Ms. Royalle was a founder of Feminists for Free Expression, a so-called sex-positive organization that opposes censorship; created a support group for actresses in erotic films who are exploited by their employers; insisted on safe sex in her films (when some distributors objected); and infused them with plots, passion, seduction and even romance.
Candice Marion Vadala was born on Oct. 15, 1950, in Brooklyn. Her father, Louis, was a jazz drummer. Her mother, the former Margaret O’Bannon, left her and her sister, Cinthea, when she was 18 months old. She was raised by her stepmother, Helen Duffy.
“You basically grow up thinking, ‘I wasn’t good enough for my own mother to want to stick around,’” Ms. Royalle told Smashing Interviews. She had recently discovered that her birth mother had apparently left to escape an abusive husband and had died of ovarian cancer.
She is survived by her sister.
Ms. Royalle graduated from the High School of Art and Design in New York and attended Parsons School of Design, now part of the New School. She moved to California after that and appeared in some two dozen pornographic films, with titles like “Kinky Tricks” and “Hot & Saucy Pizza Girls.”
“My parents, now deceased, were shocked when they first learned of my clandestine life as a porn star but ultimately declared their love for me, and respected what I created in terms of my production company and the business woman I became,” Ms. Royalle wrote on her website.
In 1980, she returned to New York to pursue an entrepreneurial career.
“It was unthinkable that an X-rated actress or model would go on to play such a strong executive role,” Tracy Quan, author of the novel “Diary of a Manhattan Call Girl,” said in an email. “Candida changed all that.”
She teamed with Jandirk Groet, a Dutch designer, to market ergonomic vibrators. She also gave lectures and in 2004 wrote a book, “How to Tell a Naked Man What to Do: Sex Advice From a Woman Who Knows.” (https://books.google.com/books/about/How_to_Tell_a_Naked_Man_What_to_Do.html?id=5GUR5vDhnAsC)
Mostly she wrote, directed and produced movies, originally with a partner, Lauren Niemi. Ms. Royalle’s husband, Per Sjosted (they later divorced), also produced. Members of his family, who were film distributors in Europe, helped finance Femme Productions in 1984 and its first videos, “Femme” and “Urban Heat.”
In those films, Linda Williams wrote in “Hard Core: The Power, Pleasure and the ‘Frenzy of the Visible,’” “there is a distinct shift from the confessional, voyeuristic mode of much feature-length narrative — a quality of catching bodies in the act of experiencing involuntary pleasures — to the performative mode of the jam session — a quality (akin to Astaire-Rogers) of bodies performing pleasurably for each other.”
Given her lofty aspirations to elevate the art form, Ms. Royalle was asked by nytimes.com (http://nytimes.com/) in 2012 whether pornography still deserved a bad rap.
“Perhaps if we weren’t still so consumed with guilt and shame about sex, neither watching nor performing in these films would carry the weight it does,” she replied. “But then, perhaps we wouldn’t be so interested in them, either. If the fruit were not forbidden, would anyone care to take a bite?”
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=8570ccd098) | 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=8570ccd098&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
Candida Royalle, Who Made Erotic Films for Women, Dies at 64 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/11/movies/candida-royalle-maker-of-x-rated-films-dies-at-64.html?hpw
** Candida Royalle, Who Made Erotic Films for Women, Dies at 64
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) SEPT. 10, 2015
Candida Royalle in her office in New York City in 1990. Credit Jim Estrin/The New York Times
Candida Royalle (http://candidaroyalle.com/) , a former star of pornographic movies who became a self-styled feminist filmmaker, spurning what she called a misogynistic “wham, bam, thank you, ma’am” genre to create erotica that would appeal to modern women, died on Monday at her home in Mattituck, N.Y., on Long Island. She was 64.
The cause was ovarian cancer, her friend and fellow actress and writer Veronica Vera said.
Ms. Royalle was 30 when she shifted from starring in movies to producing and directing films for her own company, Femme Productions. She defined her work as female-oriented, sensuously explicit cinema as opposed to the formulaic hard-core pornographic films that she said degraded women for the pleasure of men.
Ms. Royalle maintained that her niche foray into a male-dominated industry gained a degree of dignity for performers and a belated recognition that women and couples could enjoy blue movies together. She also saw an untapped market.
“Women were curious and wanted to see if there were some sexy movies they could enjoy with their partner, and there was nothing out there for that,” she told Smashing Interviews (http://smashinginterviews.com/interviews/directors/candida-royalle-interview-in-depth-and-personal-with-an-erotic-film-pioneer) magazine last year.
“What has united Candida’s work, the common thread throughout it all,” Angie Rowntree (http://www.cosmopolitan.com/sex-love/news/a45823/how-i-started-making-porn-women-actually-like/) , a producer and publisher of pornography, said in an email, “is a commitment to the principle that women have the right to explore, enjoy and celebrate their sexuality, openly and proudly, without taking any kind of metaphorical back seat to men.”
Still, some critics disagreed. Norma Ramos, general counsel of the advocacy group Women Against Pornography, said in a 1992 Elle magazine interview that there was no distinction between Ms. Royalle’s work and other pornography that “eroticizes women’s inequality” and accused Ms. Royalle had engaged in of “prostitution on paper or celluloid.”
Ms. Royalle was a founder of Feminists for Free Expression, a so-called sex-positive organization that opposes censorship; created a support group for actresses in erotic films who are exploited by their employers; insisted on safe sex in her films (when some distributors objected); and infused them with plots, passion, seduction and even romance.
Candice Marion Vadala was born on Oct. 15, 1950, in Brooklyn. Her father, Louis, was a jazz drummer. Her mother, the former Margaret O’Bannon, left her and her sister, Cinthea, when she was 18 months old. She was raised by her stepmother, Helen Duffy.
“You basically grow up thinking, ‘I wasn’t good enough for my own mother to want to stick around,’” Ms. Royalle told Smashing Interviews. She had recently discovered that her birth mother had apparently left to escape an abusive husband and had died of ovarian cancer.
She is survived by her sister.
Ms. Royalle graduated from the High School of Art and Design in New York and attended Parsons School of Design, now part of the New School. She moved to California after that and appeared in some two dozen pornographic films, with titles like “Kinky Tricks” and “Hot & Saucy Pizza Girls.”
“My parents, now deceased, were shocked when they first learned of my clandestine life as a porn star but ultimately declared their love for me, and respected what I created in terms of my production company and the business woman I became,” Ms. Royalle wrote on her website.
In 1980, she returned to New York to pursue an entrepreneurial career.
“It was unthinkable that an X-rated actress or model would go on to play such a strong executive role,” Tracy Quan, author of the novel “Diary of a Manhattan Call Girl,” said in an email. “Candida changed all that.”
She teamed with Jandirk Groet, a Dutch designer, to market ergonomic vibrators. She also gave lectures and in 2004 wrote a book, “How to Tell a Naked Man What to Do: Sex Advice From a Woman Who Knows.” (https://books.google.com/books/about/How_to_Tell_a_Naked_Man_What_to_Do.html?id=5GUR5vDhnAsC)
Mostly she wrote, directed and produced movies, originally with a partner, Lauren Niemi. Ms. Royalle’s husband, Per Sjosted (they later divorced), also produced. Members of his family, who were film distributors in Europe, helped finance Femme Productions in 1984 and its first videos, “Femme” and “Urban Heat.”
In those films, Linda Williams wrote in “Hard Core: The Power, Pleasure and the ‘Frenzy of the Visible,’” “there is a distinct shift from the confessional, voyeuristic mode of much feature-length narrative — a quality of catching bodies in the act of experiencing involuntary pleasures — to the performative mode of the jam session — a quality (akin to Astaire-Rogers) of bodies performing pleasurably for each other.”
Given her lofty aspirations to elevate the art form, Ms. Royalle was asked by nytimes.com (http://nytimes.com/) in 2012 whether pornography still deserved a bad rap.
“Perhaps if we weren’t still so consumed with guilt and shame about sex, neither watching nor performing in these films would carry the weight it does,” she replied. “But then, perhaps we wouldn’t be so interested in them, either. If the fruit were not forbidden, would anyone care to take a bite?”
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Candida Royalle, Who Made Erotic Films for Women, Dies at 64 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/09/11/movies/candida-royalle-maker-of-x-rated-films-dies-at-64.html?hpw
** Candida Royalle, Who Made Erotic Films for Women, Dies at 64
————————————————————
By SAM ROBERTS (http://topics.nytimes.com/top/reference/timestopics/people/r/sam_roberts/index.html) SEPT. 10, 2015
Candida Royalle in her office in New York City in 1990. Credit Jim Estrin/The New York Times
Candida Royalle (http://candidaroyalle.com/) , a former star of pornographic movies who became a self-styled feminist filmmaker, spurning what she called a misogynistic “wham, bam, thank you, ma’am” genre to create erotica that would appeal to modern women, died on Monday at her home in Mattituck, N.Y., on Long Island. She was 64.
The cause was ovarian cancer, her friend and fellow actress and writer Veronica Vera said.
Ms. Royalle was 30 when she shifted from starring in movies to producing and directing films for her own company, Femme Productions. She defined her work as female-oriented, sensuously explicit cinema as opposed to the formulaic hard-core pornographic films that she said degraded women for the pleasure of men.
Ms. Royalle maintained that her niche foray into a male-dominated industry gained a degree of dignity for performers and a belated recognition that women and couples could enjoy blue movies together. She also saw an untapped market.
“Women were curious and wanted to see if there were some sexy movies they could enjoy with their partner, and there was nothing out there for that,” she told Smashing Interviews (http://smashinginterviews.com/interviews/directors/candida-royalle-interview-in-depth-and-personal-with-an-erotic-film-pioneer) magazine last year.
“What has united Candida’s work, the common thread throughout it all,” Angie Rowntree (http://www.cosmopolitan.com/sex-love/news/a45823/how-i-started-making-porn-women-actually-like/) , a producer and publisher of pornography, said in an email, “is a commitment to the principle that women have the right to explore, enjoy and celebrate their sexuality, openly and proudly, without taking any kind of metaphorical back seat to men.”
Still, some critics disagreed. Norma Ramos, general counsel of the advocacy group Women Against Pornography, said in a 1992 Elle magazine interview that there was no distinction between Ms. Royalle’s work and other pornography that “eroticizes women’s inequality” and accused Ms. Royalle had engaged in of “prostitution on paper or celluloid.”
Ms. Royalle was a founder of Feminists for Free Expression, a so-called sex-positive organization that opposes censorship; created a support group for actresses in erotic films who are exploited by their employers; insisted on safe sex in her films (when some distributors objected); and infused them with plots, passion, seduction and even romance.
Candice Marion Vadala was born on Oct. 15, 1950, in Brooklyn. Her father, Louis, was a jazz drummer. Her mother, the former Margaret O’Bannon, left her and her sister, Cinthea, when she was 18 months old. She was raised by her stepmother, Helen Duffy.
“You basically grow up thinking, ‘I wasn’t good enough for my own mother to want to stick around,’” Ms. Royalle told Smashing Interviews. She had recently discovered that her birth mother had apparently left to escape an abusive husband and had died of ovarian cancer.
She is survived by her sister.
Ms. Royalle graduated from the High School of Art and Design in New York and attended Parsons School of Design, now part of the New School. She moved to California after that and appeared in some two dozen pornographic films, with titles like “Kinky Tricks” and “Hot & Saucy Pizza Girls.”
“My parents, now deceased, were shocked when they first learned of my clandestine life as a porn star but ultimately declared their love for me, and respected what I created in terms of my production company and the business woman I became,” Ms. Royalle wrote on her website.
In 1980, she returned to New York to pursue an entrepreneurial career.
“It was unthinkable that an X-rated actress or model would go on to play such a strong executive role,” Tracy Quan, author of the novel “Diary of a Manhattan Call Girl,” said in an email. “Candida changed all that.”
She teamed with Jandirk Groet, a Dutch designer, to market ergonomic vibrators. She also gave lectures and in 2004 wrote a book, “How to Tell a Naked Man What to Do: Sex Advice From a Woman Who Knows.” (https://books.google.com/books/about/How_to_Tell_a_Naked_Man_What_to_Do.html?id=5GUR5vDhnAsC)
Mostly she wrote, directed and produced movies, originally with a partner, Lauren Niemi. Ms. Royalle’s husband, Per Sjosted (they later divorced), also produced. Members of his family, who were film distributors in Europe, helped finance Femme Productions in 1984 and its first videos, “Femme” and “Urban Heat.”
In those films, Linda Williams wrote in “Hard Core: The Power, Pleasure and the ‘Frenzy of the Visible,’” “there is a distinct shift from the confessional, voyeuristic mode of much feature-length narrative — a quality of catching bodies in the act of experiencing involuntary pleasures — to the performative mode of the jam session — a quality (akin to Astaire-Rogers) of bodies performing pleasurably for each other.”
Given her lofty aspirations to elevate the art form, Ms. Royalle was asked by nytimes.com (http://nytimes.com/) in 2012 whether pornography still deserved a bad rap.
“Perhaps if we weren’t still so consumed with guilt and shame about sex, neither watching nor performing in these films would carry the weight it does,” she replied. “But then, perhaps we wouldn’t be so interested in them, either. If the fruit were not forbidden, would anyone care to take a bite?”
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