Author: Bash Daily Group Archive Feed
John Pizzarelli and Jessica Molaskey’s Brownstone Rental – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/23/realestate/john-pizzarelli-and-jessica-molaskey-upper-west-side-brownstone-rental.html?rref=collection%2Fcolumn%2Fwhat-i-love
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** John Pizzarelli and Jessica Molaskey’s Brownstone Rental
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html
** What I Love | John Pizzarelli and Jessica Molaskey (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
————————————————————
CreditJoshua Bright for The New York Times (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
The couple known to uptown sophisticates as the Nick and Nora of the cabaret world — and to the rest of us as John Pizzarelli (http://www.johnpizzarelli.com/) and Jessica Molaskey (http://www.jessicamolaskey.com/) — rent the parlor and garden floors of a brownstone on the Upper West Side.
You might, like Johnny Mercer, say it’s just too marvelous for words, what with the leafy deck, the period details and an abundance of space for making music, making meatballs (both specialties of the house) and making merry. You can sample the cheery hubbub of last year’s well-attended holiday party on Mr. Pizzarelli’s new CD, “Midnight McCartney,” the singer and jazz guitarist’s tribute to the post-Beatles oeuvre of Sir Paul, to be released Sept. 11. Aptly, the sound of revelers Chez Pizzarelli sweetens the track of the bonus cut “Wonderful Christmastime.” Ms. Molaskey, an actress as well as a singer, and the couple’s daughter, Maddie, 17, sing background vocals throughout the album.
Longtime residents of the Upper East Side, Mr. Pizzarelli, 55, and Ms. Molaskey, 53, decided to pull up stakes six years ago when Maddie was admitted to a selective public middle school across town. “We wanted her to be able to walk home,” recalled Ms. Molaskey, who, in any case, was ready for a change of address.
“I was starting to feel very claustrophobic in New York. I was tired of apartment living, and I didn’t want my comings and goings to be noted by a doorman,” she said. “I wanted my own front door, and I wanted not to have to see people in the elevator.”
In short, Ms. Molaskey wanted what felt like a house. She got it — with all the attendant headaches. “I thought it could be such a sweet space,” Ms. Molaskey said. “So we went to the man who owned the building and said, ‘Can we make it better? Can we make it a little bit nicer?’ ”
Mr. Pizzarelli chimed in: “There was weird carpeting there. The second after my wife finished writing the ‘i’ in ‘Jessica’ on the check, she was tearing up the carpet.”
Well, Ms. Molaskey had her reasons. “The floor probably hadn’t seen the light of day since 1957,” she said, adding: “The refrigerator broke, and we paid for a new one. We paid to have the floors done. We painted and had closets built. It was a unique idea — fixing up someone else’s house. It worked for us because we were able to get a reasonable rent on a nice space.”
That nice space includes decorative fireplaces with tile surrounds in the living and dining rooms (the handy Ms. Molaskey re-affixed the tiles that had come loose), wainscoting and stained-glass transoms, all original.
The chic (sconces, zebra-print scatter rug) coexists happily with the shabby chic (flea-market bookcases and a distressed hutch from a Madison Avenue antiques shop, which holds part of Ms. Molaskey’s collection of vintage Fire-King tableware). The black-and-white palette of the living room is the perfect backdrop for the classic black-and-white photographs on the wall: images of Peggy Lee and Tony Bennett by Bob Gomel, a veteran photographer for Life Magazine; jazz saxophonist Zoot Sims shot in the ’50s by William Claxton (http://www.williamclaxton.com/) opposite a Claxton photo of Mr. Pizzarelli taken several decades later.
“I knew Zoot; he was a friend of our family,” said Mr. Pizzarelli, whose father is the jazz guitarist Bucky Pizzarelli. “When Claxton photographed me, I said I wanted to homage that Zoot Sims picture.”
Nearby is a poster heralding an appearance by Frank Sinatra in Germany in 1993 with Mr. Pizzarelli as the opening act. There’s a framed illustration of the couple by Mr. Bennett at the top of the stairway. “He came to see us at Feinstein’s,” Ms. Molaskey said, referring to the defunct performance space at the Loews Regency. “He was looking down, so we thought he was asleep. It turned out he was sketching us on a napkin.”
Mr. Bennett is just one of many fans. There are also notes from Ol’ Blue Eyes, Stephen Sondheim and Justice Ruth Bader Ginsburg.
“Every year Ginsburg puts together something like a musicale,” Mr. Pizzarelli said. “Usually they have classical people, but this one year they wanted Barbara Cook, and Barbara’s people said they wanted us to do it with her.” Fortunately, no one objected.
Ms. Molaskey and Mr. Pizzarelli, who have been married for 17 years, met in 1996 when they were cast in the short-lived Broadway revue “Dream.” Ms. Molaskey showed her flair for home improvement very early in their relationship; she turned up one day at Mr. Pizzarelli’s all-but-empty digs in Midtown, then supervised the purchase of a sofa.
Re-covered in white, it now sits in the couple’s living room, the hub of the house. This is where Mr. Pizzarelli and Ms. Molaskey record their syndicated weekly broadcast “Radio Deluxe” (http://www.wnyc.org/shows/radio-deluxe/) and rehearse their shows at the Café Carlyle (http://www.rosewoodhotels.com/en/the-carlyle-new-york/dining/cafe-carlyle) and Birdland (http://www.birdlandjazz.com/) .
Unlike the East Side apartment, this one has plenty of room for the backup musicians, who all have their designated spots near the Tonk piano, a gift from the couple’s great friend Jonathan Schwartz (http://www.wnyc.org/shows/jonathan-schwartz/) , the radio host, who inherited it from his father, the composer Arthur Schwartz (http://www.nytimes.com/1984/09/05/obituaries/arthur-schwartz-composer-of-broadway-shows-is-dead.html) . “One day he said, ‘It’s really wrong that my father’s piano is not being played.’ So now we have the piano that ‘Make the Man Love Me’ was written on,” Ms. Molaskey said.
In this house, food is the counterpoint to music. It’s why the couple wanted a formal dining room and why the custom-made farmhouse table was more necessity than luxury. “We’ve had good family dinners here,” said Mr. Pizzarelli, a Mario Batali (http://www.mariobatali.com/) acolyte. “I sort of stalked him. When we first moved here, I wrote him a letter saying, ‘I don’t know if you know me, but I want you to understand what your food has done for us.’ He wrote back and said, ‘Of course I know who you are.’ ”
Eataly (http://www.eataly.com/) , the market and restaurant co-owned by Mr. Batali in the Flatiron district, had recently opened, Mr. Pizzarelli added: “He gave us a tour and told me to text him anytime with questions. I had a dinner here for my brother, and I texted Mario that I wanted it to be all food from Umbria, and he sent a menu for us to follow.”
Mr. Pizzarelli made every course himself, with an assist on pasta from John, 24, his son from a previous marriage. Then he sent a video to Mr. Batali: “Grazie, Mario!”
Recently, Mr. Pizzarelli and Ms. Molaskey signed a new two-year lease. All is grand. But the move six years ago created a problem that has yet to be solved. From Day 1, their “Radio Deluxe” broadcast began with “From high atop Lexington Avenue …” because, well, it was the couple’s address.
“But when we went west, we started saying, ‘From high atop Riverside Drive …’ ” Ms. Molaskey said. “Everyone wrote to us and said, ‘No, no, you’re not above Riverside Drive. You’re above Lexington Avenue.’ So we still say ‘high atop Lexington Avenue,’ because no one would let us say anything else. It’s the power of radio. Listeners had conjured a picture.”
She added melodramatically: “But now you’ve outed us, and we’re happy to be outed. We don’t want to live a lie anymore.”
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=4726093c2a) | 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=4726093c2a&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
John Pizzarelli and Jessica Molaskey’s Brownstone Rental – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/23/realestate/john-pizzarelli-and-jessica-molaskey-upper-west-side-brownstone-rental.html?rref=collection%2Fcolumn%2Fwhat-i-love
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** John Pizzarelli and Jessica Molaskey’s Brownstone Rental
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html
** What I Love | John Pizzarelli and Jessica Molaskey (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
————————————————————
CreditJoshua Bright for The New York Times (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
The couple known to uptown sophisticates as the Nick and Nora of the cabaret world — and to the rest of us as John Pizzarelli (http://www.johnpizzarelli.com/) and Jessica Molaskey (http://www.jessicamolaskey.com/) — rent the parlor and garden floors of a brownstone on the Upper West Side.
You might, like Johnny Mercer, say it’s just too marvelous for words, what with the leafy deck, the period details and an abundance of space for making music, making meatballs (both specialties of the house) and making merry. You can sample the cheery hubbub of last year’s well-attended holiday party on Mr. Pizzarelli’s new CD, “Midnight McCartney,” the singer and jazz guitarist’s tribute to the post-Beatles oeuvre of Sir Paul, to be released Sept. 11. Aptly, the sound of revelers Chez Pizzarelli sweetens the track of the bonus cut “Wonderful Christmastime.” Ms. Molaskey, an actress as well as a singer, and the couple’s daughter, Maddie, 17, sing background vocals throughout the album.
Longtime residents of the Upper East Side, Mr. Pizzarelli, 55, and Ms. Molaskey, 53, decided to pull up stakes six years ago when Maddie was admitted to a selective public middle school across town. “We wanted her to be able to walk home,” recalled Ms. Molaskey, who, in any case, was ready for a change of address.
“I was starting to feel very claustrophobic in New York. I was tired of apartment living, and I didn’t want my comings and goings to be noted by a doorman,” she said. “I wanted my own front door, and I wanted not to have to see people in the elevator.”
In short, Ms. Molaskey wanted what felt like a house. She got it — with all the attendant headaches. “I thought it could be such a sweet space,” Ms. Molaskey said. “So we went to the man who owned the building and said, ‘Can we make it better? Can we make it a little bit nicer?’ ”
Mr. Pizzarelli chimed in: “There was weird carpeting there. The second after my wife finished writing the ‘i’ in ‘Jessica’ on the check, she was tearing up the carpet.”
Well, Ms. Molaskey had her reasons. “The floor probably hadn’t seen the light of day since 1957,” she said, adding: “The refrigerator broke, and we paid for a new one. We paid to have the floors done. We painted and had closets built. It was a unique idea — fixing up someone else’s house. It worked for us because we were able to get a reasonable rent on a nice space.”
That nice space includes decorative fireplaces with tile surrounds in the living and dining rooms (the handy Ms. Molaskey re-affixed the tiles that had come loose), wainscoting and stained-glass transoms, all original.
The chic (sconces, zebra-print scatter rug) coexists happily with the shabby chic (flea-market bookcases and a distressed hutch from a Madison Avenue antiques shop, which holds part of Ms. Molaskey’s collection of vintage Fire-King tableware). The black-and-white palette of the living room is the perfect backdrop for the classic black-and-white photographs on the wall: images of Peggy Lee and Tony Bennett by Bob Gomel, a veteran photographer for Life Magazine; jazz saxophonist Zoot Sims shot in the ’50s by William Claxton (http://www.williamclaxton.com/) opposite a Claxton photo of Mr. Pizzarelli taken several decades later.
“I knew Zoot; he was a friend of our family,” said Mr. Pizzarelli, whose father is the jazz guitarist Bucky Pizzarelli. “When Claxton photographed me, I said I wanted to homage that Zoot Sims picture.”
Nearby is a poster heralding an appearance by Frank Sinatra in Germany in 1993 with Mr. Pizzarelli as the opening act. There’s a framed illustration of the couple by Mr. Bennett at the top of the stairway. “He came to see us at Feinstein’s,” Ms. Molaskey said, referring to the defunct performance space at the Loews Regency. “He was looking down, so we thought he was asleep. It turned out he was sketching us on a napkin.”
Mr. Bennett is just one of many fans. There are also notes from Ol’ Blue Eyes, Stephen Sondheim and Justice Ruth Bader Ginsburg.
“Every year Ginsburg puts together something like a musicale,” Mr. Pizzarelli said. “Usually they have classical people, but this one year they wanted Barbara Cook, and Barbara’s people said they wanted us to do it with her.” Fortunately, no one objected.
Ms. Molaskey and Mr. Pizzarelli, who have been married for 17 years, met in 1996 when they were cast in the short-lived Broadway revue “Dream.” Ms. Molaskey showed her flair for home improvement very early in their relationship; she turned up one day at Mr. Pizzarelli’s all-but-empty digs in Midtown, then supervised the purchase of a sofa.
Re-covered in white, it now sits in the couple’s living room, the hub of the house. This is where Mr. Pizzarelli and Ms. Molaskey record their syndicated weekly broadcast “Radio Deluxe” (http://www.wnyc.org/shows/radio-deluxe/) and rehearse their shows at the Café Carlyle (http://www.rosewoodhotels.com/en/the-carlyle-new-york/dining/cafe-carlyle) and Birdland (http://www.birdlandjazz.com/) .
Unlike the East Side apartment, this one has plenty of room for the backup musicians, who all have their designated spots near the Tonk piano, a gift from the couple’s great friend Jonathan Schwartz (http://www.wnyc.org/shows/jonathan-schwartz/) , the radio host, who inherited it from his father, the composer Arthur Schwartz (http://www.nytimes.com/1984/09/05/obituaries/arthur-schwartz-composer-of-broadway-shows-is-dead.html) . “One day he said, ‘It’s really wrong that my father’s piano is not being played.’ So now we have the piano that ‘Make the Man Love Me’ was written on,” Ms. Molaskey said.
In this house, food is the counterpoint to music. It’s why the couple wanted a formal dining room and why the custom-made farmhouse table was more necessity than luxury. “We’ve had good family dinners here,” said Mr. Pizzarelli, a Mario Batali (http://www.mariobatali.com/) acolyte. “I sort of stalked him. When we first moved here, I wrote him a letter saying, ‘I don’t know if you know me, but I want you to understand what your food has done for us.’ He wrote back and said, ‘Of course I know who you are.’ ”
Eataly (http://www.eataly.com/) , the market and restaurant co-owned by Mr. Batali in the Flatiron district, had recently opened, Mr. Pizzarelli added: “He gave us a tour and told me to text him anytime with questions. I had a dinner here for my brother, and I texted Mario that I wanted it to be all food from Umbria, and he sent a menu for us to follow.”
Mr. Pizzarelli made every course himself, with an assist on pasta from John, 24, his son from a previous marriage. Then he sent a video to Mr. Batali: “Grazie, Mario!”
Recently, Mr. Pizzarelli and Ms. Molaskey signed a new two-year lease. All is grand. But the move six years ago created a problem that has yet to be solved. From Day 1, their “Radio Deluxe” broadcast began with “From high atop Lexington Avenue …” because, well, it was the couple’s address.
“But when we went west, we started saying, ‘From high atop Riverside Drive …’ ” Ms. Molaskey said. “Everyone wrote to us and said, ‘No, no, you’re not above Riverside Drive. You’re above Lexington Avenue.’ So we still say ‘high atop Lexington Avenue,’ because no one would let us say anything else. It’s the power of radio. Listeners had conjured a picture.”
She added melodramatically: “But now you’ve outed us, and we’re happy to be outed. We don’t want to live a lie anymore.”
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=4726093c2a) | 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=4726093c2a&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
John Pizzarelli and Jessica Molaskey’s Brownstone Rental – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/23/realestate/john-pizzarelli-and-jessica-molaskey-upper-west-side-brownstone-rental.html?rref=collection%2Fcolumn%2Fwhat-i-love
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** John Pizzarelli and Jessica Molaskey’s Brownstone Rental
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html
** What I Love | John Pizzarelli and Jessica Molaskey (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
————————————————————
CreditJoshua Bright for The New York Times (http://www.nytimes.com/slideshow/2015/08/23/realestate/what-i-love-john-pizzarelli-and-jessica-molaskey.html)
The couple known to uptown sophisticates as the Nick and Nora of the cabaret world — and to the rest of us as John Pizzarelli (http://www.johnpizzarelli.com/) and Jessica Molaskey (http://www.jessicamolaskey.com/) — rent the parlor and garden floors of a brownstone on the Upper West Side.
You might, like Johnny Mercer, say it’s just too marvelous for words, what with the leafy deck, the period details and an abundance of space for making music, making meatballs (both specialties of the house) and making merry. You can sample the cheery hubbub of last year’s well-attended holiday party on Mr. Pizzarelli’s new CD, “Midnight McCartney,” the singer and jazz guitarist’s tribute to the post-Beatles oeuvre of Sir Paul, to be released Sept. 11. Aptly, the sound of revelers Chez Pizzarelli sweetens the track of the bonus cut “Wonderful Christmastime.” Ms. Molaskey, an actress as well as a singer, and the couple’s daughter, Maddie, 17, sing background vocals throughout the album.
Longtime residents of the Upper East Side, Mr. Pizzarelli, 55, and Ms. Molaskey, 53, decided to pull up stakes six years ago when Maddie was admitted to a selective public middle school across town. “We wanted her to be able to walk home,” recalled Ms. Molaskey, who, in any case, was ready for a change of address.
“I was starting to feel very claustrophobic in New York. I was tired of apartment living, and I didn’t want my comings and goings to be noted by a doorman,” she said. “I wanted my own front door, and I wanted not to have to see people in the elevator.”
In short, Ms. Molaskey wanted what felt like a house. She got it — with all the attendant headaches. “I thought it could be such a sweet space,” Ms. Molaskey said. “So we went to the man who owned the building and said, ‘Can we make it better? Can we make it a little bit nicer?’ ”
Mr. Pizzarelli chimed in: “There was weird carpeting there. The second after my wife finished writing the ‘i’ in ‘Jessica’ on the check, she was tearing up the carpet.”
Well, Ms. Molaskey had her reasons. “The floor probably hadn’t seen the light of day since 1957,” she said, adding: “The refrigerator broke, and we paid for a new one. We paid to have the floors done. We painted and had closets built. It was a unique idea — fixing up someone else’s house. It worked for us because we were able to get a reasonable rent on a nice space.”
That nice space includes decorative fireplaces with tile surrounds in the living and dining rooms (the handy Ms. Molaskey re-affixed the tiles that had come loose), wainscoting and stained-glass transoms, all original.
The chic (sconces, zebra-print scatter rug) coexists happily with the shabby chic (flea-market bookcases and a distressed hutch from a Madison Avenue antiques shop, which holds part of Ms. Molaskey’s collection of vintage Fire-King tableware). The black-and-white palette of the living room is the perfect backdrop for the classic black-and-white photographs on the wall: images of Peggy Lee and Tony Bennett by Bob Gomel, a veteran photographer for Life Magazine; jazz saxophonist Zoot Sims shot in the ’50s by William Claxton (http://www.williamclaxton.com/) opposite a Claxton photo of Mr. Pizzarelli taken several decades later.
“I knew Zoot; he was a friend of our family,” said Mr. Pizzarelli, whose father is the jazz guitarist Bucky Pizzarelli. “When Claxton photographed me, I said I wanted to homage that Zoot Sims picture.”
Nearby is a poster heralding an appearance by Frank Sinatra in Germany in 1993 with Mr. Pizzarelli as the opening act. There’s a framed illustration of the couple by Mr. Bennett at the top of the stairway. “He came to see us at Feinstein’s,” Ms. Molaskey said, referring to the defunct performance space at the Loews Regency. “He was looking down, so we thought he was asleep. It turned out he was sketching us on a napkin.”
Mr. Bennett is just one of many fans. There are also notes from Ol’ Blue Eyes, Stephen Sondheim and Justice Ruth Bader Ginsburg.
“Every year Ginsburg puts together something like a musicale,” Mr. Pizzarelli said. “Usually they have classical people, but this one year they wanted Barbara Cook, and Barbara’s people said they wanted us to do it with her.” Fortunately, no one objected.
Ms. Molaskey and Mr. Pizzarelli, who have been married for 17 years, met in 1996 when they were cast in the short-lived Broadway revue “Dream.” Ms. Molaskey showed her flair for home improvement very early in their relationship; she turned up one day at Mr. Pizzarelli’s all-but-empty digs in Midtown, then supervised the purchase of a sofa.
Re-covered in white, it now sits in the couple’s living room, the hub of the house. This is where Mr. Pizzarelli and Ms. Molaskey record their syndicated weekly broadcast “Radio Deluxe” (http://www.wnyc.org/shows/radio-deluxe/) and rehearse their shows at the Café Carlyle (http://www.rosewoodhotels.com/en/the-carlyle-new-york/dining/cafe-carlyle) and Birdland (http://www.birdlandjazz.com/) .
Unlike the East Side apartment, this one has plenty of room for the backup musicians, who all have their designated spots near the Tonk piano, a gift from the couple’s great friend Jonathan Schwartz (http://www.wnyc.org/shows/jonathan-schwartz/) , the radio host, who inherited it from his father, the composer Arthur Schwartz (http://www.nytimes.com/1984/09/05/obituaries/arthur-schwartz-composer-of-broadway-shows-is-dead.html) . “One day he said, ‘It’s really wrong that my father’s piano is not being played.’ So now we have the piano that ‘Make the Man Love Me’ was written on,” Ms. Molaskey said.
In this house, food is the counterpoint to music. It’s why the couple wanted a formal dining room and why the custom-made farmhouse table was more necessity than luxury. “We’ve had good family dinners here,” said Mr. Pizzarelli, a Mario Batali (http://www.mariobatali.com/) acolyte. “I sort of stalked him. When we first moved here, I wrote him a letter saying, ‘I don’t know if you know me, but I want you to understand what your food has done for us.’ He wrote back and said, ‘Of course I know who you are.’ ”
Eataly (http://www.eataly.com/) , the market and restaurant co-owned by Mr. Batali in the Flatiron district, had recently opened, Mr. Pizzarelli added: “He gave us a tour and told me to text him anytime with questions. I had a dinner here for my brother, and I texted Mario that I wanted it to be all food from Umbria, and he sent a menu for us to follow.”
Mr. Pizzarelli made every course himself, with an assist on pasta from John, 24, his son from a previous marriage. Then he sent a video to Mr. Batali: “Grazie, Mario!”
Recently, Mr. Pizzarelli and Ms. Molaskey signed a new two-year lease. All is grand. But the move six years ago created a problem that has yet to be solved. From Day 1, their “Radio Deluxe” broadcast began with “From high atop Lexington Avenue …” because, well, it was the couple’s address.
“But when we went west, we started saying, ‘From high atop Riverside Drive …’ ” Ms. Molaskey said. “Everyone wrote to us and said, ‘No, no, you’re not above Riverside Drive. You’re above Lexington Avenue.’ So we still say ‘high atop Lexington Avenue,’ because no one would let us say anything else. It’s the power of radio. Listeners had conjured a picture.”
She added melodramatically: “But now you’ve outed us, and we’re happy to be outed. We don’t want to live a lie anymore.”
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=4726093c2a) | 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=4726093c2a&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 Musician on the Upper West Side – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/09/realestate/a-musician-on-the-upper-west-side.html?_r=0
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** A Musician on the Upper West Side
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html
** What I Love | John Miller (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
————————————————————
CreditTony Cenicola/The New York Times (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
“I think every home should have an upright bass,” said John Miller, walking into his music room and nodding at the instrument in the corner. “It adds a certain je ne sais quoi. The shape of the bass, the contours, the gestalt of the bass only adds to a room.”
Mr. Miller ought to know. A bass player himself, he has two upright basses, nine electric basses, an electric guitar and a studio piano in the Upper West Side rental that he shares with his wife, Constance Barron, an actress and singer. Half a dozen more electric basses and yet another upright bass share the couple’s weekend home in the Berkshires.
“I got upright bass No. 3 from a guy who lived in my building,” recalled Mr. Miller, 70. “I was in his apartment once, and I saw this funky instrument leaning against the wall, and he said, ‘If you want it, it’s yours.’ He told me he’d ripped it off the High School of Music and Art in the 1950s.”
He added: “It had a carving on the back, ‘Maria loves Koussevitzky,’ ” a reference to the legendary double bassist (http://www.koussevitzky.com/) and conductor. “How could I resist?”
Mr. Miller makes the bulk of his living assembling orchestras; he has put together the pit crew for more than 100 Broadway shows, most recently, “Something Rotten,” “Beautiful,” “Once,” “Jersey Boys,” “It Shoulda Been You” and revivals of “Gigi,” “Les Misérables,” “On the Town” and “On the Twentieth Century.”
But this is no Johnny one-note. Mr. Miller has also been a studio musician for the likes of Frank Sinatra, Leonard Cohen, Michael Jackson, Celine Dion and Bette Midler. He was the vocalist, bass player and guitarist on his own charming album of musical theater staples, and had a featured role in the 1977 Broadway musical “I Love My Wife.” Granted, the part wasn’t much of a stretch: Mr. Miller played a bassist.
Now, he has a recurring role as a dope-dealing percussionist in the Amazon Prime series “Mozart in the Jungle”; season two starts shooting the week of Aug. 10.
Mr. Miller has occupied his apartment, a short walk from his childhood home, since graduating from the University of Michigan in 1968. A family friend who lived in the building encouraged him to go see the rental agent — and to take along some cash to expedite the transaction.
“But I wasn’t sophisticated enough to ask the friend, ‘How much do I tip the guy?’ ” Mr. Miller said.
“I remember sitting at the desk in his office. He’s not looking at me and I’m not looking at him. But at a certain point, I put a $20 bill in front of him and another $20 bill and another $20. He’s writing the contract, but clearly he sees out of the corner of his eye that the bills are starting to pile up,” he continued. “I think at four or five bills, no more than that, he sort of nodded, ‘That’s enough.’ Lucky he did or I’d still be sitting there.”
The cash got Mr. Miller a bright rent-stabilized 15th-floor space with two bedrooms, an eat-in kitchen and four closets. He was, he said, beyond busy as a musician, and left the decorating chores to the women (including two who are now ex-wives), who went in and out of his apartment, in and out of his life.
“Each relationship had a different paint color or wallpaper,” Mr. Miller recalled. “Years later, when we were taking down the wallpaper and stripping paint, I would remember them by the patterns and the colors. I’d think back and say, ‘Oh, the blue was so-and-so.’ ”
He and Ms. Barron, 72, met in 1963 while working on a campus production of “West Side Story.” She was Maria. He was smitten.
“She was the shiksa goddess, so I knew we would just be pals,” Mr. Miller said. It was, in any case, an enduring friendship. The two stayed in touch, and when Ms. Barron, divorced and with three grown children, decided, at the age of 49, to give New York a try, the pals became a couple.
“I remember it as a ‘When Harry Met Sally’ thing,” Mr. Miller said. “One morning we woke up in bed together, and we’ve been together ever since.” They married 17 years ago.
It was Ms. Barron who, in the manner of her predecessors, headed the decorating committee, first getting rid of the welter of wires embedded in the ceiling molding, then installing baseboard molding, sanding the floors, stripping the doors, re-nickeling the bathroom fixtures and sponge-painting the living room a buttery yellow.
She also did a little reshuffling, turning the bedroom into a music studio, converting Mr. Miller’s music contracting office into the bedroom, then moving the office 80 steps away — the farthest her husband was willing to commute — to a space in the building next door. “When Connie moved in, she said, ‘We have to change things around, because I’m not going to sleep in the room where you had your active social life,’ ” Mr. Miller said.
The living room, where he has practiced the Japanese tea ceremony for 25 years, is suitably serene, furnished in earth tones and wood: a well-broken-in brown leather sofa, a drop-leaf Queen Anne side table and a refectory dining table that was custom-made for the couple. Plop down on the couch and you can see into the kitchen, where the walls display paintings by the couple’s friend Ken Shaw (http://www.artistkenshaw.com/) , a Chicago artist. Elsewhere are works once owned by Mr. Miller’s parents and family photos.
Early in their relationship, Mr. Miller and Ms. Barron contemplated moving out of the apartment and buying a brownstone in the neighborhood. That way, they could spread out and give over a whole floor to the music-contracting business and its staff.
“I’ve only lived in rental apartments, so the brownstone world was fascinating to me,” Mr. Miller said. “I didn’t realize how narrow and dark many of them were. We had a number of real estate agents showing us different places, and the one thing they all said to us was, ‘If you get a brownstone, can I have your apartment?’ That’s when the light bulb went off, and I said, ‘Hey, I have an even better deal than I ever knew.’ ”
All the things Mr. Miller had long taken for granted — high floor, quiet, bright and relatively big — he stopped taking for granted. He told Ms. Barron that they really should fix up the place. Not that it all went harmoniously.
“I went kicking and screaming when Connie said, ‘Let’s change the bedroom.’ And I went kicking and screaming when she said, ‘Let’s get an office.’ And I’ve loved every change,” Mr. Miller said. “I know any other change she suggests, I’ll go kicking and screaming until she does it. And then I’ll be happy.”
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=a3782ea78a) | 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=a3782ea78a&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 Musician on the Upper West Side – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/09/realestate/a-musician-on-the-upper-west-side.html?_r=0
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** A Musician on the Upper West Side
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html
** What I Love | John Miller (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
————————————————————
CreditTony Cenicola/The New York Times (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
“I think every home should have an upright bass,” said John Miller, walking into his music room and nodding at the instrument in the corner. “It adds a certain je ne sais quoi. The shape of the bass, the contours, the gestalt of the bass only adds to a room.”
Mr. Miller ought to know. A bass player himself, he has two upright basses, nine electric basses, an electric guitar and a studio piano in the Upper West Side rental that he shares with his wife, Constance Barron, an actress and singer. Half a dozen more electric basses and yet another upright bass share the couple’s weekend home in the Berkshires.
“I got upright bass No. 3 from a guy who lived in my building,” recalled Mr. Miller, 70. “I was in his apartment once, and I saw this funky instrument leaning against the wall, and he said, ‘If you want it, it’s yours.’ He told me he’d ripped it off the High School of Music and Art in the 1950s.”
He added: “It had a carving on the back, ‘Maria loves Koussevitzky,’ ” a reference to the legendary double bassist (http://www.koussevitzky.com/) and conductor. “How could I resist?”
Mr. Miller makes the bulk of his living assembling orchestras; he has put together the pit crew for more than 100 Broadway shows, most recently, “Something Rotten,” “Beautiful,” “Once,” “Jersey Boys,” “It Shoulda Been You” and revivals of “Gigi,” “Les Misérables,” “On the Town” and “On the Twentieth Century.”
But this is no Johnny one-note. Mr. Miller has also been a studio musician for the likes of Frank Sinatra, Leonard Cohen, Michael Jackson, Celine Dion and Bette Midler. He was the vocalist, bass player and guitarist on his own charming album of musical theater staples, and had a featured role in the 1977 Broadway musical “I Love My Wife.” Granted, the part wasn’t much of a stretch: Mr. Miller played a bassist.
Now, he has a recurring role as a dope-dealing percussionist in the Amazon Prime series “Mozart in the Jungle”; season two starts shooting the week of Aug. 10.
Mr. Miller has occupied his apartment, a short walk from his childhood home, since graduating from the University of Michigan in 1968. A family friend who lived in the building encouraged him to go see the rental agent — and to take along some cash to expedite the transaction.
“But I wasn’t sophisticated enough to ask the friend, ‘How much do I tip the guy?’ ” Mr. Miller said.
“I remember sitting at the desk in his office. He’s not looking at me and I’m not looking at him. But at a certain point, I put a $20 bill in front of him and another $20 bill and another $20. He’s writing the contract, but clearly he sees out of the corner of his eye that the bills are starting to pile up,” he continued. “I think at four or five bills, no more than that, he sort of nodded, ‘That’s enough.’ Lucky he did or I’d still be sitting there.”
The cash got Mr. Miller a bright rent-stabilized 15th-floor space with two bedrooms, an eat-in kitchen and four closets. He was, he said, beyond busy as a musician, and left the decorating chores to the women (including two who are now ex-wives), who went in and out of his apartment, in and out of his life.
“Each relationship had a different paint color or wallpaper,” Mr. Miller recalled. “Years later, when we were taking down the wallpaper and stripping paint, I would remember them by the patterns and the colors. I’d think back and say, ‘Oh, the blue was so-and-so.’ ”
He and Ms. Barron, 72, met in 1963 while working on a campus production of “West Side Story.” She was Maria. He was smitten.
“She was the shiksa goddess, so I knew we would just be pals,” Mr. Miller said. It was, in any case, an enduring friendship. The two stayed in touch, and when Ms. Barron, divorced and with three grown children, decided, at the age of 49, to give New York a try, the pals became a couple.
“I remember it as a ‘When Harry Met Sally’ thing,” Mr. Miller said. “One morning we woke up in bed together, and we’ve been together ever since.” They married 17 years ago.
It was Ms. Barron who, in the manner of her predecessors, headed the decorating committee, first getting rid of the welter of wires embedded in the ceiling molding, then installing baseboard molding, sanding the floors, stripping the doors, re-nickeling the bathroom fixtures and sponge-painting the living room a buttery yellow.
She also did a little reshuffling, turning the bedroom into a music studio, converting Mr. Miller’s music contracting office into the bedroom, then moving the office 80 steps away — the farthest her husband was willing to commute — to a space in the building next door. “When Connie moved in, she said, ‘We have to change things around, because I’m not going to sleep in the room where you had your active social life,’ ” Mr. Miller said.
The living room, where he has practiced the Japanese tea ceremony for 25 years, is suitably serene, furnished in earth tones and wood: a well-broken-in brown leather sofa, a drop-leaf Queen Anne side table and a refectory dining table that was custom-made for the couple. Plop down on the couch and you can see into the kitchen, where the walls display paintings by the couple’s friend Ken Shaw (http://www.artistkenshaw.com/) , a Chicago artist. Elsewhere are works once owned by Mr. Miller’s parents and family photos.
Early in their relationship, Mr. Miller and Ms. Barron contemplated moving out of the apartment and buying a brownstone in the neighborhood. That way, they could spread out and give over a whole floor to the music-contracting business and its staff.
“I’ve only lived in rental apartments, so the brownstone world was fascinating to me,” Mr. Miller said. “I didn’t realize how narrow and dark many of them were. We had a number of real estate agents showing us different places, and the one thing they all said to us was, ‘If you get a brownstone, can I have your apartment?’ That’s when the light bulb went off, and I said, ‘Hey, I have an even better deal than I ever knew.’ ”
All the things Mr. Miller had long taken for granted — high floor, quiet, bright and relatively big — he stopped taking for granted. He told Ms. Barron that they really should fix up the place. Not that it all went harmoniously.
“I went kicking and screaming when Connie said, ‘Let’s change the bedroom.’ And I went kicking and screaming when she said, ‘Let’s get an office.’ And I’ve loved every change,” Mr. Miller said. “I know any other change she suggests, I’ll go kicking and screaming until she does it. And then I’ll be happy.”
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=a3782ea78a) | 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=a3782ea78a&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 Musician on the Upper West Side – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/09/realestate/a-musician-on-the-upper-west-side.html?_r=0
What I Love (http://www.nytimes.com/column/what-i-love)
By JOANNE KAUFMAN
** A Musician on the Upper West Side
————————————————————
Continue reading the main story Slide Show (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html
** What I Love | John Miller (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
————————————————————
CreditTony Cenicola/The New York Times (http://www.nytimes.com/slideshow/2015/08/09/realestate/what-i-love-john-miller.html)
“I think every home should have an upright bass,” said John Miller, walking into his music room and nodding at the instrument in the corner. “It adds a certain je ne sais quoi. The shape of the bass, the contours, the gestalt of the bass only adds to a room.”
Mr. Miller ought to know. A bass player himself, he has two upright basses, nine electric basses, an electric guitar and a studio piano in the Upper West Side rental that he shares with his wife, Constance Barron, an actress and singer. Half a dozen more electric basses and yet another upright bass share the couple’s weekend home in the Berkshires.
“I got upright bass No. 3 from a guy who lived in my building,” recalled Mr. Miller, 70. “I was in his apartment once, and I saw this funky instrument leaning against the wall, and he said, ‘If you want it, it’s yours.’ He told me he’d ripped it off the High School of Music and Art in the 1950s.”
He added: “It had a carving on the back, ‘Maria loves Koussevitzky,’ ” a reference to the legendary double bassist (http://www.koussevitzky.com/) and conductor. “How could I resist?”
Mr. Miller makes the bulk of his living assembling orchestras; he has put together the pit crew for more than 100 Broadway shows, most recently, “Something Rotten,” “Beautiful,” “Once,” “Jersey Boys,” “It Shoulda Been You” and revivals of “Gigi,” “Les Misérables,” “On the Town” and “On the Twentieth Century.”
But this is no Johnny one-note. Mr. Miller has also been a studio musician for the likes of Frank Sinatra, Leonard Cohen, Michael Jackson, Celine Dion and Bette Midler. He was the vocalist, bass player and guitarist on his own charming album of musical theater staples, and had a featured role in the 1977 Broadway musical “I Love My Wife.” Granted, the part wasn’t much of a stretch: Mr. Miller played a bassist.
Now, he has a recurring role as a dope-dealing percussionist in the Amazon Prime series “Mozart in the Jungle”; season two starts shooting the week of Aug. 10.
Mr. Miller has occupied his apartment, a short walk from his childhood home, since graduating from the University of Michigan in 1968. A family friend who lived in the building encouraged him to go see the rental agent — and to take along some cash to expedite the transaction.
“But I wasn’t sophisticated enough to ask the friend, ‘How much do I tip the guy?’ ” Mr. Miller said.
“I remember sitting at the desk in his office. He’s not looking at me and I’m not looking at him. But at a certain point, I put a $20 bill in front of him and another $20 bill and another $20. He’s writing the contract, but clearly he sees out of the corner of his eye that the bills are starting to pile up,” he continued. “I think at four or five bills, no more than that, he sort of nodded, ‘That’s enough.’ Lucky he did or I’d still be sitting there.”
The cash got Mr. Miller a bright rent-stabilized 15th-floor space with two bedrooms, an eat-in kitchen and four closets. He was, he said, beyond busy as a musician, and left the decorating chores to the women (including two who are now ex-wives), who went in and out of his apartment, in and out of his life.
“Each relationship had a different paint color or wallpaper,” Mr. Miller recalled. “Years later, when we were taking down the wallpaper and stripping paint, I would remember them by the patterns and the colors. I’d think back and say, ‘Oh, the blue was so-and-so.’ ”
He and Ms. Barron, 72, met in 1963 while working on a campus production of “West Side Story.” She was Maria. He was smitten.
“She was the shiksa goddess, so I knew we would just be pals,” Mr. Miller said. It was, in any case, an enduring friendship. The two stayed in touch, and when Ms. Barron, divorced and with three grown children, decided, at the age of 49, to give New York a try, the pals became a couple.
“I remember it as a ‘When Harry Met Sally’ thing,” Mr. Miller said. “One morning we woke up in bed together, and we’ve been together ever since.” They married 17 years ago.
It was Ms. Barron who, in the manner of her predecessors, headed the decorating committee, first getting rid of the welter of wires embedded in the ceiling molding, then installing baseboard molding, sanding the floors, stripping the doors, re-nickeling the bathroom fixtures and sponge-painting the living room a buttery yellow.
She also did a little reshuffling, turning the bedroom into a music studio, converting Mr. Miller’s music contracting office into the bedroom, then moving the office 80 steps away — the farthest her husband was willing to commute — to a space in the building next door. “When Connie moved in, she said, ‘We have to change things around, because I’m not going to sleep in the room where you had your active social life,’ ” Mr. Miller said.
The living room, where he has practiced the Japanese tea ceremony for 25 years, is suitably serene, furnished in earth tones and wood: a well-broken-in brown leather sofa, a drop-leaf Queen Anne side table and a refectory dining table that was custom-made for the couple. Plop down on the couch and you can see into the kitchen, where the walls display paintings by the couple’s friend Ken Shaw (http://www.artistkenshaw.com/) , a Chicago artist. Elsewhere are works once owned by Mr. Miller’s parents and family photos.
Early in their relationship, Mr. Miller and Ms. Barron contemplated moving out of the apartment and buying a brownstone in the neighborhood. That way, they could spread out and give over a whole floor to the music-contracting business and its staff.
“I’ve only lived in rental apartments, so the brownstone world was fascinating to me,” Mr. Miller said. “I didn’t realize how narrow and dark many of them were. We had a number of real estate agents showing us different places, and the one thing they all said to us was, ‘If you get a brownstone, can I have your apartment?’ That’s when the light bulb went off, and I said, ‘Hey, I have an even better deal than I ever knew.’ ”
All the things Mr. Miller had long taken for granted — high floor, quiet, bright and relatively big — he stopped taking for granted. He told Ms. Barron that they really should fix up the place. Not that it all went harmoniously.
“I went kicking and screaming when Connie said, ‘Let’s change the bedroom.’ And I went kicking and screaming when she said, ‘Let’s get an office.’ And I’ve loved every change,” Mr. Miller said. “I know any other change she suggests, I’ll go kicking and screaming until she does it. And then I’ll be happy.”
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=a3782ea78a) | 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=a3782ea78a&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
Fred Goodman | Power Player | AllAccess.com
http://www.jazzpromoservices.com/
http://www.allaccess.com/power-player/archive/22604/fred-goodman
** Fred Goodman
————————————————————
It’s one thing to report on the goings-on in the music industry. It’s another to glean insight into the actual nuts-and-bolts of the business. Longtime music journalist Fred Goodman has delved into the weeds to write “Mansion On The Hill,” which examines the relationship between artists, their managers and the labels; “Fortune’s Fool,” which details Edgar Bronfman’s tenure running the Warner Music Group; and most recently, “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll,” which recounts Klein’s efforts to get artists such as The Beatles and Rolling Stones the remuneration they deserved. Here, he describes the discovery process into the past and puts it in context to what’s going on in the business today.
After years as music journalist for Cash Box and Billboard, when did you decide to delve into book writing?
After working at Cash Box and Billboard, I was offered job at Rolling Stone. It was a great opportunity because I had been at the trades for about five years – at Cash Box, it felt like you wrote by the pound — and Rolling Stone was looking for a writer who knew the business. So I went from deadline writing at Billboard to Rolling Stone, where I was encouraged to take a deeper look at things and put more time into research and writing. This was not solely a deadline gig, but a combination of the two. It was an opportunity to go deeper into stories.
That was also when you started writing “Mansion On The Hill”…
Yes, my first book was “Mansion On The Hill,” which is basically about the relationship between artists and managers. This also goes back to my days at Cash Box, where publicists always came by with new artists to be interviewed. I was a year-and-a-half into it when it occurred to me that the most interesting and intelligent person in those meet-and-greets was often the manager, that guy quietly standing against the back wall. That intrigued me. And that’s when it also occurred to me that when you have consistently great records, you are hearing a great artist, but when you see a great career, you are probably watching a great manager at work. I became interested in the relationship between the two.
Were the relationships you developed with those managers and artists impacted in any way after that book came out?
It didn’t change too much. I continue to have a pretty good relationship with everybody. I was not going to firebomb anyone with my book. It was intended to be a thoughtful look at the music business and how it actually worked.
After that you wrote “Fortune’s Fool,” which dealt with Edgar Bronfman Jr.’s tenure at Warner Music Group. Why did you decide to focus on him?
I approached it as a look at the record business and the impact of the Internet — specifically Napster and file sharing — and how the industry dealt with it, if at all. I saw Edgar Bronfman’s purchase of Warner Bros. after the bad ending he had at Universal with the Vivendi sale, and I thought that if anybody was motivated to really dig down and try and figure this out, it would be someone who had something to prove — and that sounded like Edgar. He liked the idea. I happened to introduce myself to him at about the same time he turned down a Canadian film crew that wanted to make a documentary about him. But he liked “Mansion On The Hill,” and agreed to let me watch him for two years.
How closely were you able to watch him? Were you in the executive board room when they plotted out strategy?
No, I certainly was not involved in their executive meetings and I was not invited in to become part of the fabric of the company. Instead, I did have regular sessions with Bronfman and his label heads to talk in depth about what was going on. I relied on Edgar to discuss their business decisions and the thinking behind them. I believe it worked out well.
Which brings us to “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll.” Word has it that Klein’s son, Jody, offered you the chance to write about Klein’s career…
Yes. Jody asked me if I’d be interested in writing about Allen – and if I was, he said he’d be willing to open the company archive for me, which included the contracts, correspondence, and litigation of the Beatles, Rolling Stones and others. It was both out of the blue and very straightforward. Jody’s interest was that a lot had been said of his father — some true, but some not true. Jody had read my books, and he felt I was someone who had a grasp of the industry. He was willing to let me look at the records and decide for myself. We agreed that he’d have no editorial input whatsoever and I cautioned him that he might not be happy with the results. He was willing to accept that. In fact, Jody didn’t read the book until it was back from the printer.
When you have so much inside access to your subject, is there a tendency to examine the material with a more sympathetic eye?
It’s not a question of being sympathetic. It’s more a question of thinking constantly about what the man did and what the record says. Here’s a businessman who went to jail on a tax charge, a man certainly I wouldn’t want as my financial manager. Some of the things he did while handling the Stones’ money were certainly dubious; he made a lot of money for himself off their money, and he wasn’t giving them much information about that or advising them of all the opportunities he should have. On the other hand, they were initially delighted to have Klein because he was so brilliant and got them far better deals than they’d believed possible. He was certainly ahead of his time and I think in some ways the judgment against him has been unduly harsh.
As the reporter, I certainly form an opinion about my subjects over time, but I’m careful to be clear with readers about what that is while presenting the facts as broadly as possible. I also want to provide the kind of reporting and information that allows readers to disagree with my conclusions. Personally, I don’t go for books that try to tell me what to think or simply confirm beliefs I already hold; I prefer books that make me think and question myself, and that’s the type of book I aspire to write. I want readers mulling over the book’s questions; it doesn’t matter to me if they conclude I’m right or wrong — my goal is to write a book that is big enough and good enough to get someone thinking.
Did your perception of Klein change as you went through all the research and wrote the book?
It always evolves and changes. If you have a set idea when you go into a subject and insist on sticking to it come what may, you’ll write either a screed or a static, boring book. The book becomes what you discover while you’re doing the research – and in this case there was a lot to go through. Before I started, I said, “Let’s see what you have,” and Jody took me out to a warehouse that had skids of documents. I thought, “Oh my god, how am I going to get through this?” I literally sat and read these skids for a year before I started writing anything. I had to see what was there. There were a lot of contracts, which were very convoluted, that I had to try to figure out what they really meant. So it makes no sense to cling to preconceived notions about the subject you’re writing about.
How you were able to analyze all these convoluted record contracts?
You have to talk to people who have experience in those type of contracts. I was able to talk to other accountants and a British business manager to explain some of this, and some current managers, too. Also, when you finish the book, it goes through a legal vetting as well.
In a sense, was Allen Klein’s managerial career similar to those you profiled in “Mansion On The Hill?”
No, he was different. Allen was a financial manager; this book had a lot of do with the changing of the financial culture. Klein saw that the labels were making dollars while artists were making pennies. He wanted to do something about it – and he did. He had no pretensions about music. He didn’t know anything about the Stones’ musical direction. It’s not like we’re talking about Albert Grossman or the relationship Jon Landau had with Bruce Springsteen. They were clearly involved in shaping the personalities and the artistic vision. Klein had almost no role in shaping the artistic vision of his clients.
When you delve into so much of the dollars and cents and legalese as you did here, was it difficult to bring out their humor?
I got into it; there’s a lot of humor and a real warmth, especially between Klein and Bobby Vinton, and Klein and Lennon the first couple of years of their bromance. They really did connect and Lennon felt Klein was looking out for him. Klein also ran an unusual company. People would come to ABKCO and never leave. Allen was shaped by the years he spent as a child in a Newark orphanage, and later in life Allen became a grand figure; he’d pay hospital bills … nobody picked up a tab or flew coach or sat up in the rafters at a Knicks game when Allen Klein was around. He had good times, was an outsized personality and sought to live life as he wanted — that’s one of the things that got him into trouble. I think there’s a good deal of life in his story.
After examining how the business has been run for the past 40-odd years, where do you see the current music business going? Can it ever prosper as much as it did in the old days?
I can’t say I know where the business is going. One thing I keep thinking about — especially when I watch Taylor Swift and other artists trying to figure out what do these days — is how desperately this business could use another Allen Klein, someone gimlet-eyed who rolls up his sleeves and goes very aggressively on behalf of the artists’ interests. So much has been said by fans of the Beatles and Stones about Klein being the snake in the Garden of Eden who broke up the Beatles and robbed the Stones. The fact is they came to him because they weren’t getting paid what they were worth, and he got great deals for all of them. Later on, of course, things turned not-so-good.
Are the labels the main issue anymore, especially when Apple, Google and Spotify have essentially become significant means of music exposure, distribution and sales?
If the power has shifted, with the record companies being supplanted by Google and Apple, it’s still “meet the new boss, same as the old boss.” It’s sort of déjà vu in a sense where you’re seeing new applications or new exploiters. And in every case, it’s always about distribution, access and control — and not about the value of the content … until the artist makes it about the value of the content.
Do you see music losing its relevance due to its lack of artist development, in terms of the paucity of multi-Platinum superstar acts that used to drive the culture?
I don’t see any negative culture attached to what’s going on. When I was a kid, I remember Muhammad Ali being interviewed, and the person asking questions was giving him a hard time. He asked, “When you retire, will boxing die?” Ali said, “No, all of the other sports will die before boxing because they need teams and uniforms and fields, and all you need for boxing is two guys in an alley.” Music is the same way in that all you need is someone who wants to make music. The real question is how you go about reaching people who want to be involved with that music in a way that pays off for the artist. It’s incumbent upon us to create something worth owning.
It has long been said that the music business, like all other show businesses, is a balance between art and commerce. But if the commerce isn’t there anymore…
The art goes begging. Of course you can’t put it on music fans, because they’re just being human: No one wants to pay for anything ever. And you can’t put the genie back in the bottle in terms of CDs or vinyl. It’s incumbent on people who continue to want music to find something worth owning – and at the moment, the only thing worth owning is ease of access to get it as cheaply as possible, or for free.
Now that this book is out, have you decided on what you’re setting your eyes on next?
I’m still not sure which way I’m going next. Whatever I decide to write, it won’t be because I’m forcing myself into doing another music book. As a reader I’m all over the place. Primarily, I’ve been a business reporter, so I could easily find myself being interested in a business other than this one. That is also what fascinated me most about Allen Klein. Music aside, here was a chance to write about a self-invented man who was a businessman, an original, an empire builder. While writing this book, I found myself also thinking about Edgar Bronfman’s grandfather, Sam, who founded Seagrams. He was that kind of success-at-all-costs figure, too.
Bottom line: In terms of the future of the music business, are you bullish on its future?
Long-term, certainly. But don’t ask me for a short-term solution to the issues artists are facing. The business may not even be music per se, but some other application in which music has a role or is an appropriate use. Some of these applications have come and gone; some evolve and others don’t pan out. Many certainly don’t seem to last very long; then you start to wonder if it’s even possible to predict this. To succeed long term is probably going to take lot of time and money. And I’m not prescient enough draw you a reliable map.
To get a copy of “Allan Klein,” click here (http://www.amazon.com/Allen-Klein-Bailed-Beatles-Transformed/dp/0547896867) .
For his other books, click here (http://www.amazon.com/Fred-Goodman/e/B000APONXA) .
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=ed6cc73da1) | 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=ed6cc73da1&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
Fred Goodman | Power Player | AllAccess.com
http://www.jazzpromoservices.com/
http://www.allaccess.com/power-player/archive/22604/fred-goodman
** Fred Goodman
————————————————————
It’s one thing to report on the goings-on in the music industry. It’s another to glean insight into the actual nuts-and-bolts of the business. Longtime music journalist Fred Goodman has delved into the weeds to write “Mansion On The Hill,” which examines the relationship between artists, their managers and the labels; “Fortune’s Fool,” which details Edgar Bronfman’s tenure running the Warner Music Group; and most recently, “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll,” which recounts Klein’s efforts to get artists such as The Beatles and Rolling Stones the remuneration they deserved. Here, he describes the discovery process into the past and puts it in context to what’s going on in the business today.
After years as music journalist for Cash Box and Billboard, when did you decide to delve into book writing?
After working at Cash Box and Billboard, I was offered job at Rolling Stone. It was a great opportunity because I had been at the trades for about five years – at Cash Box, it felt like you wrote by the pound — and Rolling Stone was looking for a writer who knew the business. So I went from deadline writing at Billboard to Rolling Stone, where I was encouraged to take a deeper look at things and put more time into research and writing. This was not solely a deadline gig, but a combination of the two. It was an opportunity to go deeper into stories.
That was also when you started writing “Mansion On The Hill”…
Yes, my first book was “Mansion On The Hill,” which is basically about the relationship between artists and managers. This also goes back to my days at Cash Box, where publicists always came by with new artists to be interviewed. I was a year-and-a-half into it when it occurred to me that the most interesting and intelligent person in those meet-and-greets was often the manager, that guy quietly standing against the back wall. That intrigued me. And that’s when it also occurred to me that when you have consistently great records, you are hearing a great artist, but when you see a great career, you are probably watching a great manager at work. I became interested in the relationship between the two.
Were the relationships you developed with those managers and artists impacted in any way after that book came out?
It didn’t change too much. I continue to have a pretty good relationship with everybody. I was not going to firebomb anyone with my book. It was intended to be a thoughtful look at the music business and how it actually worked.
After that you wrote “Fortune’s Fool,” which dealt with Edgar Bronfman Jr.’s tenure at Warner Music Group. Why did you decide to focus on him?
I approached it as a look at the record business and the impact of the Internet — specifically Napster and file sharing — and how the industry dealt with it, if at all. I saw Edgar Bronfman’s purchase of Warner Bros. after the bad ending he had at Universal with the Vivendi sale, and I thought that if anybody was motivated to really dig down and try and figure this out, it would be someone who had something to prove — and that sounded like Edgar. He liked the idea. I happened to introduce myself to him at about the same time he turned down a Canadian film crew that wanted to make a documentary about him. But he liked “Mansion On The Hill,” and agreed to let me watch him for two years.
How closely were you able to watch him? Were you in the executive board room when they plotted out strategy?
No, I certainly was not involved in their executive meetings and I was not invited in to become part of the fabric of the company. Instead, I did have regular sessions with Bronfman and his label heads to talk in depth about what was going on. I relied on Edgar to discuss their business decisions and the thinking behind them. I believe it worked out well.
Which brings us to “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll.” Word has it that Klein’s son, Jody, offered you the chance to write about Klein’s career…
Yes. Jody asked me if I’d be interested in writing about Allen – and if I was, he said he’d be willing to open the company archive for me, which included the contracts, correspondence, and litigation of the Beatles, Rolling Stones and others. It was both out of the blue and very straightforward. Jody’s interest was that a lot had been said of his father — some true, but some not true. Jody had read my books, and he felt I was someone who had a grasp of the industry. He was willing to let me look at the records and decide for myself. We agreed that he’d have no editorial input whatsoever and I cautioned him that he might not be happy with the results. He was willing to accept that. In fact, Jody didn’t read the book until it was back from the printer.
When you have so much inside access to your subject, is there a tendency to examine the material with a more sympathetic eye?
It’s not a question of being sympathetic. It’s more a question of thinking constantly about what the man did and what the record says. Here’s a businessman who went to jail on a tax charge, a man certainly I wouldn’t want as my financial manager. Some of the things he did while handling the Stones’ money were certainly dubious; he made a lot of money for himself off their money, and he wasn’t giving them much information about that or advising them of all the opportunities he should have. On the other hand, they were initially delighted to have Klein because he was so brilliant and got them far better deals than they’d believed possible. He was certainly ahead of his time and I think in some ways the judgment against him has been unduly harsh.
As the reporter, I certainly form an opinion about my subjects over time, but I’m careful to be clear with readers about what that is while presenting the facts as broadly as possible. I also want to provide the kind of reporting and information that allows readers to disagree with my conclusions. Personally, I don’t go for books that try to tell me what to think or simply confirm beliefs I already hold; I prefer books that make me think and question myself, and that’s the type of book I aspire to write. I want readers mulling over the book’s questions; it doesn’t matter to me if they conclude I’m right or wrong — my goal is to write a book that is big enough and good enough to get someone thinking.
Did your perception of Klein change as you went through all the research and wrote the book?
It always evolves and changes. If you have a set idea when you go into a subject and insist on sticking to it come what may, you’ll write either a screed or a static, boring book. The book becomes what you discover while you’re doing the research – and in this case there was a lot to go through. Before I started, I said, “Let’s see what you have,” and Jody took me out to a warehouse that had skids of documents. I thought, “Oh my god, how am I going to get through this?” I literally sat and read these skids for a year before I started writing anything. I had to see what was there. There were a lot of contracts, which were very convoluted, that I had to try to figure out what they really meant. So it makes no sense to cling to preconceived notions about the subject you’re writing about.
How you were able to analyze all these convoluted record contracts?
You have to talk to people who have experience in those type of contracts. I was able to talk to other accountants and a British business manager to explain some of this, and some current managers, too. Also, when you finish the book, it goes through a legal vetting as well.
In a sense, was Allen Klein’s managerial career similar to those you profiled in “Mansion On The Hill?”
No, he was different. Allen was a financial manager; this book had a lot of do with the changing of the financial culture. Klein saw that the labels were making dollars while artists were making pennies. He wanted to do something about it – and he did. He had no pretensions about music. He didn’t know anything about the Stones’ musical direction. It’s not like we’re talking about Albert Grossman or the relationship Jon Landau had with Bruce Springsteen. They were clearly involved in shaping the personalities and the artistic vision. Klein had almost no role in shaping the artistic vision of his clients.
When you delve into so much of the dollars and cents and legalese as you did here, was it difficult to bring out their humor?
I got into it; there’s a lot of humor and a real warmth, especially between Klein and Bobby Vinton, and Klein and Lennon the first couple of years of their bromance. They really did connect and Lennon felt Klein was looking out for him. Klein also ran an unusual company. People would come to ABKCO and never leave. Allen was shaped by the years he spent as a child in a Newark orphanage, and later in life Allen became a grand figure; he’d pay hospital bills … nobody picked up a tab or flew coach or sat up in the rafters at a Knicks game when Allen Klein was around. He had good times, was an outsized personality and sought to live life as he wanted — that’s one of the things that got him into trouble. I think there’s a good deal of life in his story.
After examining how the business has been run for the past 40-odd years, where do you see the current music business going? Can it ever prosper as much as it did in the old days?
I can’t say I know where the business is going. One thing I keep thinking about — especially when I watch Taylor Swift and other artists trying to figure out what do these days — is how desperately this business could use another Allen Klein, someone gimlet-eyed who rolls up his sleeves and goes very aggressively on behalf of the artists’ interests. So much has been said by fans of the Beatles and Stones about Klein being the snake in the Garden of Eden who broke up the Beatles and robbed the Stones. The fact is they came to him because they weren’t getting paid what they were worth, and he got great deals for all of them. Later on, of course, things turned not-so-good.
Are the labels the main issue anymore, especially when Apple, Google and Spotify have essentially become significant means of music exposure, distribution and sales?
If the power has shifted, with the record companies being supplanted by Google and Apple, it’s still “meet the new boss, same as the old boss.” It’s sort of déjà vu in a sense where you’re seeing new applications or new exploiters. And in every case, it’s always about distribution, access and control — and not about the value of the content … until the artist makes it about the value of the content.
Do you see music losing its relevance due to its lack of artist development, in terms of the paucity of multi-Platinum superstar acts that used to drive the culture?
I don’t see any negative culture attached to what’s going on. When I was a kid, I remember Muhammad Ali being interviewed, and the person asking questions was giving him a hard time. He asked, “When you retire, will boxing die?” Ali said, “No, all of the other sports will die before boxing because they need teams and uniforms and fields, and all you need for boxing is two guys in an alley.” Music is the same way in that all you need is someone who wants to make music. The real question is how you go about reaching people who want to be involved with that music in a way that pays off for the artist. It’s incumbent upon us to create something worth owning.
It has long been said that the music business, like all other show businesses, is a balance between art and commerce. But if the commerce isn’t there anymore…
The art goes begging. Of course you can’t put it on music fans, because they’re just being human: No one wants to pay for anything ever. And you can’t put the genie back in the bottle in terms of CDs or vinyl. It’s incumbent on people who continue to want music to find something worth owning – and at the moment, the only thing worth owning is ease of access to get it as cheaply as possible, or for free.
Now that this book is out, have you decided on what you’re setting your eyes on next?
I’m still not sure which way I’m going next. Whatever I decide to write, it won’t be because I’m forcing myself into doing another music book. As a reader I’m all over the place. Primarily, I’ve been a business reporter, so I could easily find myself being interested in a business other than this one. That is also what fascinated me most about Allen Klein. Music aside, here was a chance to write about a self-invented man who was a businessman, an original, an empire builder. While writing this book, I found myself also thinking about Edgar Bronfman’s grandfather, Sam, who founded Seagrams. He was that kind of success-at-all-costs figure, too.
Bottom line: In terms of the future of the music business, are you bullish on its future?
Long-term, certainly. But don’t ask me for a short-term solution to the issues artists are facing. The business may not even be music per se, but some other application in which music has a role or is an appropriate use. Some of these applications have come and gone; some evolve and others don’t pan out. Many certainly don’t seem to last very long; then you start to wonder if it’s even possible to predict this. To succeed long term is probably going to take lot of time and money. And I’m not prescient enough draw you a reliable map.
To get a copy of “Allan Klein,” click here (http://www.amazon.com/Allen-Klein-Bailed-Beatles-Transformed/dp/0547896867) .
For his other books, click here (http://www.amazon.com/Fred-Goodman/e/B000APONXA) .
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=ed6cc73da1) | 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=ed6cc73da1&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
Fred Goodman | Power Player | AllAccess.com
http://www.jazzpromoservices.com/
http://www.allaccess.com/power-player/archive/22604/fred-goodman
** Fred Goodman
————————————————————
It’s one thing to report on the goings-on in the music industry. It’s another to glean insight into the actual nuts-and-bolts of the business. Longtime music journalist Fred Goodman has delved into the weeds to write “Mansion On The Hill,” which examines the relationship between artists, their managers and the labels; “Fortune’s Fool,” which details Edgar Bronfman’s tenure running the Warner Music Group; and most recently, “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll,” which recounts Klein’s efforts to get artists such as The Beatles and Rolling Stones the remuneration they deserved. Here, he describes the discovery process into the past and puts it in context to what’s going on in the business today.
After years as music journalist for Cash Box and Billboard, when did you decide to delve into book writing?
After working at Cash Box and Billboard, I was offered job at Rolling Stone. It was a great opportunity because I had been at the trades for about five years – at Cash Box, it felt like you wrote by the pound — and Rolling Stone was looking for a writer who knew the business. So I went from deadline writing at Billboard to Rolling Stone, where I was encouraged to take a deeper look at things and put more time into research and writing. This was not solely a deadline gig, but a combination of the two. It was an opportunity to go deeper into stories.
That was also when you started writing “Mansion On The Hill”…
Yes, my first book was “Mansion On The Hill,” which is basically about the relationship between artists and managers. This also goes back to my days at Cash Box, where publicists always came by with new artists to be interviewed. I was a year-and-a-half into it when it occurred to me that the most interesting and intelligent person in those meet-and-greets was often the manager, that guy quietly standing against the back wall. That intrigued me. And that’s when it also occurred to me that when you have consistently great records, you are hearing a great artist, but when you see a great career, you are probably watching a great manager at work. I became interested in the relationship between the two.
Were the relationships you developed with those managers and artists impacted in any way after that book came out?
It didn’t change too much. I continue to have a pretty good relationship with everybody. I was not going to firebomb anyone with my book. It was intended to be a thoughtful look at the music business and how it actually worked.
After that you wrote “Fortune’s Fool,” which dealt with Edgar Bronfman Jr.’s tenure at Warner Music Group. Why did you decide to focus on him?
I approached it as a look at the record business and the impact of the Internet — specifically Napster and file sharing — and how the industry dealt with it, if at all. I saw Edgar Bronfman’s purchase of Warner Bros. after the bad ending he had at Universal with the Vivendi sale, and I thought that if anybody was motivated to really dig down and try and figure this out, it would be someone who had something to prove — and that sounded like Edgar. He liked the idea. I happened to introduce myself to him at about the same time he turned down a Canadian film crew that wanted to make a documentary about him. But he liked “Mansion On The Hill,” and agreed to let me watch him for two years.
How closely were you able to watch him? Were you in the executive board room when they plotted out strategy?
No, I certainly was not involved in their executive meetings and I was not invited in to become part of the fabric of the company. Instead, I did have regular sessions with Bronfman and his label heads to talk in depth about what was going on. I relied on Edgar to discuss their business decisions and the thinking behind them. I believe it worked out well.
Which brings us to “Allen Klein, The Man Who Bailed Out The Beatles, Made The Stones and Transformed Rock & Roll.” Word has it that Klein’s son, Jody, offered you the chance to write about Klein’s career…
Yes. Jody asked me if I’d be interested in writing about Allen – and if I was, he said he’d be willing to open the company archive for me, which included the contracts, correspondence, and litigation of the Beatles, Rolling Stones and others. It was both out of the blue and very straightforward. Jody’s interest was that a lot had been said of his father — some true, but some not true. Jody had read my books, and he felt I was someone who had a grasp of the industry. He was willing to let me look at the records and decide for myself. We agreed that he’d have no editorial input whatsoever and I cautioned him that he might not be happy with the results. He was willing to accept that. In fact, Jody didn’t read the book until it was back from the printer.
When you have so much inside access to your subject, is there a tendency to examine the material with a more sympathetic eye?
It’s not a question of being sympathetic. It’s more a question of thinking constantly about what the man did and what the record says. Here’s a businessman who went to jail on a tax charge, a man certainly I wouldn’t want as my financial manager. Some of the things he did while handling the Stones’ money were certainly dubious; he made a lot of money for himself off their money, and he wasn’t giving them much information about that or advising them of all the opportunities he should have. On the other hand, they were initially delighted to have Klein because he was so brilliant and got them far better deals than they’d believed possible. He was certainly ahead of his time and I think in some ways the judgment against him has been unduly harsh.
As the reporter, I certainly form an opinion about my subjects over time, but I’m careful to be clear with readers about what that is while presenting the facts as broadly as possible. I also want to provide the kind of reporting and information that allows readers to disagree with my conclusions. Personally, I don’t go for books that try to tell me what to think or simply confirm beliefs I already hold; I prefer books that make me think and question myself, and that’s the type of book I aspire to write. I want readers mulling over the book’s questions; it doesn’t matter to me if they conclude I’m right or wrong — my goal is to write a book that is big enough and good enough to get someone thinking.
Did your perception of Klein change as you went through all the research and wrote the book?
It always evolves and changes. If you have a set idea when you go into a subject and insist on sticking to it come what may, you’ll write either a screed or a static, boring book. The book becomes what you discover while you’re doing the research – and in this case there was a lot to go through. Before I started, I said, “Let’s see what you have,” and Jody took me out to a warehouse that had skids of documents. I thought, “Oh my god, how am I going to get through this?” I literally sat and read these skids for a year before I started writing anything. I had to see what was there. There were a lot of contracts, which were very convoluted, that I had to try to figure out what they really meant. So it makes no sense to cling to preconceived notions about the subject you’re writing about.
How you were able to analyze all these convoluted record contracts?
You have to talk to people who have experience in those type of contracts. I was able to talk to other accountants and a British business manager to explain some of this, and some current managers, too. Also, when you finish the book, it goes through a legal vetting as well.
In a sense, was Allen Klein’s managerial career similar to those you profiled in “Mansion On The Hill?”
No, he was different. Allen was a financial manager; this book had a lot of do with the changing of the financial culture. Klein saw that the labels were making dollars while artists were making pennies. He wanted to do something about it – and he did. He had no pretensions about music. He didn’t know anything about the Stones’ musical direction. It’s not like we’re talking about Albert Grossman or the relationship Jon Landau had with Bruce Springsteen. They were clearly involved in shaping the personalities and the artistic vision. Klein had almost no role in shaping the artistic vision of his clients.
When you delve into so much of the dollars and cents and legalese as you did here, was it difficult to bring out their humor?
I got into it; there’s a lot of humor and a real warmth, especially between Klein and Bobby Vinton, and Klein and Lennon the first couple of years of their bromance. They really did connect and Lennon felt Klein was looking out for him. Klein also ran an unusual company. People would come to ABKCO and never leave. Allen was shaped by the years he spent as a child in a Newark orphanage, and later in life Allen became a grand figure; he’d pay hospital bills … nobody picked up a tab or flew coach or sat up in the rafters at a Knicks game when Allen Klein was around. He had good times, was an outsized personality and sought to live life as he wanted — that’s one of the things that got him into trouble. I think there’s a good deal of life in his story.
After examining how the business has been run for the past 40-odd years, where do you see the current music business going? Can it ever prosper as much as it did in the old days?
I can’t say I know where the business is going. One thing I keep thinking about — especially when I watch Taylor Swift and other artists trying to figure out what do these days — is how desperately this business could use another Allen Klein, someone gimlet-eyed who rolls up his sleeves and goes very aggressively on behalf of the artists’ interests. So much has been said by fans of the Beatles and Stones about Klein being the snake in the Garden of Eden who broke up the Beatles and robbed the Stones. The fact is they came to him because they weren’t getting paid what they were worth, and he got great deals for all of them. Later on, of course, things turned not-so-good.
Are the labels the main issue anymore, especially when Apple, Google and Spotify have essentially become significant means of music exposure, distribution and sales?
If the power has shifted, with the record companies being supplanted by Google and Apple, it’s still “meet the new boss, same as the old boss.” It’s sort of déjà vu in a sense where you’re seeing new applications or new exploiters. And in every case, it’s always about distribution, access and control — and not about the value of the content … until the artist makes it about the value of the content.
Do you see music losing its relevance due to its lack of artist development, in terms of the paucity of multi-Platinum superstar acts that used to drive the culture?
I don’t see any negative culture attached to what’s going on. When I was a kid, I remember Muhammad Ali being interviewed, and the person asking questions was giving him a hard time. He asked, “When you retire, will boxing die?” Ali said, “No, all of the other sports will die before boxing because they need teams and uniforms and fields, and all you need for boxing is two guys in an alley.” Music is the same way in that all you need is someone who wants to make music. The real question is how you go about reaching people who want to be involved with that music in a way that pays off for the artist. It’s incumbent upon us to create something worth owning.
It has long been said that the music business, like all other show businesses, is a balance between art and commerce. But if the commerce isn’t there anymore…
The art goes begging. Of course you can’t put it on music fans, because they’re just being human: No one wants to pay for anything ever. And you can’t put the genie back in the bottle in terms of CDs or vinyl. It’s incumbent on people who continue to want music to find something worth owning – and at the moment, the only thing worth owning is ease of access to get it as cheaply as possible, or for free.
Now that this book is out, have you decided on what you’re setting your eyes on next?
I’m still not sure which way I’m going next. Whatever I decide to write, it won’t be because I’m forcing myself into doing another music book. As a reader I’m all over the place. Primarily, I’ve been a business reporter, so I could easily find myself being interested in a business other than this one. That is also what fascinated me most about Allen Klein. Music aside, here was a chance to write about a self-invented man who was a businessman, an original, an empire builder. While writing this book, I found myself also thinking about Edgar Bronfman’s grandfather, Sam, who founded Seagrams. He was that kind of success-at-all-costs figure, too.
Bottom line: In terms of the future of the music business, are you bullish on its future?
Long-term, certainly. But don’t ask me for a short-term solution to the issues artists are facing. The business may not even be music per se, but some other application in which music has a role or is an appropriate use. Some of these applications have come and gone; some evolve and others don’t pan out. Many certainly don’t seem to last very long; then you start to wonder if it’s even possible to predict this. To succeed long term is probably going to take lot of time and money. And I’m not prescient enough draw you a reliable map.
To get a copy of “Allan Klein,” click here (http://www.amazon.com/Allen-Klein-Bailed-Beatles-Transformed/dp/0547896867) .
For his other books, click here (http://www.amazon.com/Fred-Goodman/e/B000APONXA) .
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=ed6cc73da1) | 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=ed6cc73da1&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
Video History of the Phonograph – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/08/video-history-of-the-phonograph.html?utm_source=feedblitz
** Video History of the Phonograph
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c238f8970b-popup
It’s video Friday! Today, one of the documentaries in the March of Timenewsreel series that was shown in movie theaters from 1935 to 1951. This one is called In the Groove: The History of the Phonograph Industry(1949), which tracks the dramatic evolution of recording technology. The only error I caught is that the American Federation of Musicians didn’t win a royalty from the recording industry in 1942, as the narrator states, but did so in 1944, when all record companies had signed its contract.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c23963970b-popup
Also, the film doesn’t fully explain why the recording industry went after the home market so aggressively in the late 1940s. The move was to avoid having to pay royalties to the AFM and to take advantage of the growing number of suburban homes being built following the passage of the G.I. bill and affordable home loans. More houses meant more phonographs and fewer middle-aged consumers willing to stand up every three minutes to turn over 78s.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08667b3a970d-popup
But perhaps the most egregious oversight is the film’s failure to showcase or even mention black recording giants—a purposeful decision that was par for the course back then. Through this film, we see why black bebop musicians fought so hard for independent recognition in the mid-1940s and why they kept their newly invented musical language a secret for as long as possible. [Photo above of Dizzy Gillespie in the late 1940s by William P. Gottlieb]
Yet despite its shortcomings,the film does offer surprises, including footage of Eddie Condon, AFM president James Petrillo, Fran Warren and, lastly, Ella Fitzgerald (accompanied by pianist Billy Taylor and bassist Ray Brown) singing How High the Moon.
Here’s (https://www.youtube.com/watch?v=7QpxogUqlt8) In the Groove…
A special JazzWax thanks to Bret Primack.
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=1024426753) | 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=1024426753&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
Video History of the Phonograph – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/08/video-history-of-the-phonograph.html?utm_source=feedblitz
** Video History of the Phonograph
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c238f8970b-popup
It’s video Friday! Today, one of the documentaries in the March of Timenewsreel series that was shown in movie theaters from 1935 to 1951. This one is called In the Groove: The History of the Phonograph Industry(1949), which tracks the dramatic evolution of recording technology. The only error I caught is that the American Federation of Musicians didn’t win a royalty from the recording industry in 1942, as the narrator states, but did so in 1944, when all record companies had signed its contract.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c23963970b-popup
Also, the film doesn’t fully explain why the recording industry went after the home market so aggressively in the late 1940s. The move was to avoid having to pay royalties to the AFM and to take advantage of the growing number of suburban homes being built following the passage of the G.I. bill and affordable home loans. More houses meant more phonographs and fewer middle-aged consumers willing to stand up every three minutes to turn over 78s.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08667b3a970d-popup
But perhaps the most egregious oversight is the film’s failure to showcase or even mention black recording giants—a purposeful decision that was par for the course back then. Through this film, we see why black bebop musicians fought so hard for independent recognition in the mid-1940s and why they kept their newly invented musical language a secret for as long as possible. [Photo above of Dizzy Gillespie in the late 1940s by William P. Gottlieb]
Yet despite its shortcomings,the film does offer surprises, including footage of Eddie Condon, AFM president James Petrillo, Fran Warren and, lastly, Ella Fitzgerald (accompanied by pianist Billy Taylor and bassist Ray Brown) singing How High the Moon.
Here’s (https://www.youtube.com/watch?v=7QpxogUqlt8) In the Groove…
A special JazzWax thanks to Bret Primack.
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=1024426753) | 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=1024426753&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
Video History of the Phonograph – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2015/08/video-history-of-the-phonograph.html?utm_source=feedblitz
** Video History of the Phonograph
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c238f8970b-popup
It’s video Friday! Today, one of the documentaries in the March of Timenewsreel series that was shown in movie theaters from 1935 to 1951. This one is called In the Groove: The History of the Phonograph Industry(1949), which tracks the dramatic evolution of recording technology. The only error I caught is that the American Federation of Musicians didn’t win a royalty from the recording industry in 1942, as the narrator states, but did so in 1944, when all record companies had signed its contract.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c7c23963970b-popup
Also, the film doesn’t fully explain why the recording industry went after the home market so aggressively in the late 1940s. The move was to avoid having to pay royalties to the AFM and to take advantage of the growing number of suburban homes being built following the passage of the G.I. bill and affordable home loans. More houses meant more phonographs and fewer middle-aged consumers willing to stand up every three minutes to turn over 78s.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08667b3a970d-popup
But perhaps the most egregious oversight is the film’s failure to showcase or even mention black recording giants—a purposeful decision that was par for the course back then. Through this film, we see why black bebop musicians fought so hard for independent recognition in the mid-1940s and why they kept their newly invented musical language a secret for as long as possible. [Photo above of Dizzy Gillespie in the late 1940s by William P. Gottlieb]
Yet despite its shortcomings,the film does offer surprises, including footage of Eddie Condon, AFM president James Petrillo, Fran Warren and, lastly, Ella Fitzgerald (accompanied by pianist Billy Taylor and bassist Ray Brown) singing How High the Moon.
Here’s (https://www.youtube.com/watch?v=7QpxogUqlt8) In the Groove…
A special JazzWax thanks to Bret Primack.
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=1024426753) | 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=1024426753&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
Don Kent The Listener – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/14/magazine/the-listener.html?_r=0
** The Listener
————————————————————
By JOHN JEREMIAH SULLIVANAUG. 14, 2015
Don Kent in January 2014. Credit Leslye Davis/The New York Times
Don Kent, the blues scholar and founder of more than one obscure yet influential record label, died last week of cancer at the age of 71. For anyone who knew the man or cared at all about prewar American music, the loss is palpable. Last year, when I was working on “The Ballad of Geeshie and Elvie” (http://www.nytimes.com/interactive/2014/04/13/magazine/blues.html) — a story about recovering the identities and lives of two lost singers from that early period — Kent proved the most illuminating and generous of sources. He was, to borrow a Barry Hannah line, “a hell of a sweet genius guy.”
In January 2014, I made a road trip to visit Kent in western North Carolina. With me in the van were the Times visual journalist Leslye Davis, my co-researcher Caitlin Love and a research assistant, Joel Finsel. It was a trip to the mountain in more than one respect. Kent was a pillar of the Blues Mafia, the loose-knit band of scholar-collectors who spent the second half of the 20th century finding and curating the forgotten black music of the ’20s and ’30s, but he was also its least-known living member, all but unicornlike in his elusiveness (I couldn’t even find a picture, didn’t know what to expect visually). He had no musicology degree, though he was often consulted by people who did. He had never written a book. A handful of articles, decades ago. Mainly, though, Kent was known for his liner notes, which transcended or at least transformed that genre, becoming in many cases authoritative statements on the artists whose lives and repertoires he examined.
About Geeshie Wiley and L.V. Thomas he’d written several good paragraphs, the best of which had appeared — ironically, now that we knew the two women came from Texas — in the notes for Yazoo’s “Mississippi Masters” compilation. “Although Geeshie Wiley may well have been the rural South’s greatest female blues singer and musician,” Kent begins, “almost nothing is known of her.” He continues in what could be considered his signature vein, both ecstatically overwhelmed and meticulous.
If Geeshie Wiley did not exist, she could not be invented: Her scope and creativity dwarfs most blues artists. She seems to represent the moment when black secular music was coalescing into blues . . . Her guitar technique is unusual: Her use of an A-minor chord in “Last Kind Words” is rare for a rural blues artist, and her adoption of a riff in A normally associated with Texas artists shows a shrewd appreciation for exciting sounds.
That last sentence was the real motivation for our trip. It was useful to ask Kent about any matter involving the country blues, but on the question of Geeshie and L.V. he was distinct: He had, with that sentence, placed himself in a minuscule group of people who were able through listening alone to pick up on the Texas origins in their music. We wanted first to tell him that he had been right, and second to find out what else he knew.
We located him in Rutherfordton, about an hour from Asheville, in a small rental house. He hadn’t been at that address long. He and his wife, Sylvia, had until recently been living happily in a restored farmhouse nearby, in an adjacent county, but that place caught fire (it started in the attic). The two of them, he and Sylvia, insisted on running back inside to retrieve things, even though the local volunteer fire department people were yelling at them to stop, over the noise of the hoses and flames. Both of them had serious burns on their hands and chests. What was it they were so desperate to save?
“Cats and old records,” Sylvia said later on the phone.
On the drive up, we had passed around a remarkable picture on Leslye’s cell, from a North Carolina local-news website’s article about the fire. It was an image of Kent and Sylvia embracing in the burn unit of a regional hospital, holding each other’s faces with gauze-mittened hands, as if they’d been posed that way.
We got there well after dark. Kent came to the door, a small, slender man with a fine-boned face and wispy white beard. A few feet behind him stood Sylvia, an attractive middle-aged Hispanic woman, quick-humored. “I tell people he went to New York, and all he brought back was records and a Puerto Rican,” she said.
Their hands didn’t have those mittens on them anymore, but something sleeker and flesh-colored that they called “burn gloves.” I noticed them only when I went to shake Don’s hand. So, the Kents were healing, and living in this little house while their other one was rebuilt. They very graciously put out food and wine for us on the table: dignity in the face of disaster.
“Did you really go in after the records?” I asked.
“Yes,” he said. “I’ve always had a ‘grab it and run’ shelf.”
“So, you . . . ”
“I grabbed it and ran.”
Then they went back for the rest of the records. And the cats (all five). In the end, nothing was lost, of 78s or pets.
When Kent had finished reading through some of the material we’d gathered — including a transcript of the blues historian Mack McCormick’s 53-year-old interview with L.V., which established beyond a doubt her and Geeshie’s Texas origins — and after he’d leaned back in his chair and was sitting there looking fuse-blown, I asked him how surprised he was, if at all, to learn that they were from Texas. Or did he feel affirmed, given what he had written about that guitar lick, that it was “associated” with Texas artists?
He sighed. “Well . . . I had always figured Geeshie Wiley was from Louisiana.”
Louisiana: where she was in fact from, according the 1930 census, born there in 1908. Only, no one had told Kent that yet. He hadn’t seen the document. When we showed it to him, his eyes got wide. He seemed much more taken aback by that news than he had been by the Texas revelations.
“When did you first start thinking she might be from Louisiana?” I asked.
“About 20 years ago,” he said.
For decades before that, he had waited like everyone else for Geeshie and “Elvie” to show up somewhere in Mississippi. When they didn’t, he sensed something was off. (Others did, too: The ethnomusicologist Dick Spottswood told Greil Marcus in 1999, “I don’t know how you make the case, that they’re from Mississippi. It’s, ‘They’re so good, they have to be from Mississippi.’ ”)
Kent had meditated on the problem and come up with Louisiana. I asked how.
“It was a case of, ‘It’s too weird even for Mississippi,’ ” he said. “That meant it had to be Louisiana.”
Except, it was really more a Texas story. But, of course, he had figured out that part, too.
Kent no longer had his 78 of “Last Kind Words Blues,” Geeshie and L.V.’s legendary 1930 recording — not even in storage, where the rest of the fire-salvaged records were. He’d sold it to another collector for an undisclosed sum, but one that I gathered had played a role in his and Sylvia’s ability to restore the old farmhouse, the one that burned.
Instead, he got out an acoustic guitar and played (he used to play quite well) the section of “Last Kind Words” that first made him hear Texas in Geeshie and L.V.’s music, and specifically the influence of Blind Lemon Jefferson, a little jumping, swooping part made of two counterpoint notes. Kent could demonstrate it only in a very crude way, because of the burn gloves, but he showed us how Blind Lemon did it, and how Geeshie and L.V. did it. We listened as Leslye filmed.
“Texas,” he said, “you only heard that in Texas.”
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=2856eac776) | 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=2856eac776&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
Don Kent The Listener – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/14/magazine/the-listener.html?_r=0
** The Listener
————————————————————
By JOHN JEREMIAH SULLIVANAUG. 14, 2015
Don Kent in January 2014. Credit Leslye Davis/The New York Times
Don Kent, the blues scholar and founder of more than one obscure yet influential record label, died last week of cancer at the age of 71. For anyone who knew the man or cared at all about prewar American music, the loss is palpable. Last year, when I was working on “The Ballad of Geeshie and Elvie” (http://www.nytimes.com/interactive/2014/04/13/magazine/blues.html) — a story about recovering the identities and lives of two lost singers from that early period — Kent proved the most illuminating and generous of sources. He was, to borrow a Barry Hannah line, “a hell of a sweet genius guy.”
In January 2014, I made a road trip to visit Kent in western North Carolina. With me in the van were the Times visual journalist Leslye Davis, my co-researcher Caitlin Love and a research assistant, Joel Finsel. It was a trip to the mountain in more than one respect. Kent was a pillar of the Blues Mafia, the loose-knit band of scholar-collectors who spent the second half of the 20th century finding and curating the forgotten black music of the ’20s and ’30s, but he was also its least-known living member, all but unicornlike in his elusiveness (I couldn’t even find a picture, didn’t know what to expect visually). He had no musicology degree, though he was often consulted by people who did. He had never written a book. A handful of articles, decades ago. Mainly, though, Kent was known for his liner notes, which transcended or at least transformed that genre, becoming in many cases authoritative statements on the artists whose lives and repertoires he examined.
About Geeshie Wiley and L.V. Thomas he’d written several good paragraphs, the best of which had appeared — ironically, now that we knew the two women came from Texas — in the notes for Yazoo’s “Mississippi Masters” compilation. “Although Geeshie Wiley may well have been the rural South’s greatest female blues singer and musician,” Kent begins, “almost nothing is known of her.” He continues in what could be considered his signature vein, both ecstatically overwhelmed and meticulous.
If Geeshie Wiley did not exist, she could not be invented: Her scope and creativity dwarfs most blues artists. She seems to represent the moment when black secular music was coalescing into blues . . . Her guitar technique is unusual: Her use of an A-minor chord in “Last Kind Words” is rare for a rural blues artist, and her adoption of a riff in A normally associated with Texas artists shows a shrewd appreciation for exciting sounds.
That last sentence was the real motivation for our trip. It was useful to ask Kent about any matter involving the country blues, but on the question of Geeshie and L.V. he was distinct: He had, with that sentence, placed himself in a minuscule group of people who were able through listening alone to pick up on the Texas origins in their music. We wanted first to tell him that he had been right, and second to find out what else he knew.
We located him in Rutherfordton, about an hour from Asheville, in a small rental house. He hadn’t been at that address long. He and his wife, Sylvia, had until recently been living happily in a restored farmhouse nearby, in an adjacent county, but that place caught fire (it started in the attic). The two of them, he and Sylvia, insisted on running back inside to retrieve things, even though the local volunteer fire department people were yelling at them to stop, over the noise of the hoses and flames. Both of them had serious burns on their hands and chests. What was it they were so desperate to save?
“Cats and old records,” Sylvia said later on the phone.
On the drive up, we had passed around a remarkable picture on Leslye’s cell, from a North Carolina local-news website’s article about the fire. It was an image of Kent and Sylvia embracing in the burn unit of a regional hospital, holding each other’s faces with gauze-mittened hands, as if they’d been posed that way.
We got there well after dark. Kent came to the door, a small, slender man with a fine-boned face and wispy white beard. A few feet behind him stood Sylvia, an attractive middle-aged Hispanic woman, quick-humored. “I tell people he went to New York, and all he brought back was records and a Puerto Rican,” she said.
Their hands didn’t have those mittens on them anymore, but something sleeker and flesh-colored that they called “burn gloves.” I noticed them only when I went to shake Don’s hand. So, the Kents were healing, and living in this little house while their other one was rebuilt. They very graciously put out food and wine for us on the table: dignity in the face of disaster.
“Did you really go in after the records?” I asked.
“Yes,” he said. “I’ve always had a ‘grab it and run’ shelf.”
“So, you . . . ”
“I grabbed it and ran.”
Then they went back for the rest of the records. And the cats (all five). In the end, nothing was lost, of 78s or pets.
When Kent had finished reading through some of the material we’d gathered — including a transcript of the blues historian Mack McCormick’s 53-year-old interview with L.V., which established beyond a doubt her and Geeshie’s Texas origins — and after he’d leaned back in his chair and was sitting there looking fuse-blown, I asked him how surprised he was, if at all, to learn that they were from Texas. Or did he feel affirmed, given what he had written about that guitar lick, that it was “associated” with Texas artists?
He sighed. “Well . . . I had always figured Geeshie Wiley was from Louisiana.”
Louisiana: where she was in fact from, according the 1930 census, born there in 1908. Only, no one had told Kent that yet. He hadn’t seen the document. When we showed it to him, his eyes got wide. He seemed much more taken aback by that news than he had been by the Texas revelations.
“When did you first start thinking she might be from Louisiana?” I asked.
“About 20 years ago,” he said.
For decades before that, he had waited like everyone else for Geeshie and “Elvie” to show up somewhere in Mississippi. When they didn’t, he sensed something was off. (Others did, too: The ethnomusicologist Dick Spottswood told Greil Marcus in 1999, “I don’t know how you make the case, that they’re from Mississippi. It’s, ‘They’re so good, they have to be from Mississippi.’ ”)
Kent had meditated on the problem and come up with Louisiana. I asked how.
“It was a case of, ‘It’s too weird even for Mississippi,’ ” he said. “That meant it had to be Louisiana.”
Except, it was really more a Texas story. But, of course, he had figured out that part, too.
Kent no longer had his 78 of “Last Kind Words Blues,” Geeshie and L.V.’s legendary 1930 recording — not even in storage, where the rest of the fire-salvaged records were. He’d sold it to another collector for an undisclosed sum, but one that I gathered had played a role in his and Sylvia’s ability to restore the old farmhouse, the one that burned.
Instead, he got out an acoustic guitar and played (he used to play quite well) the section of “Last Kind Words” that first made him hear Texas in Geeshie and L.V.’s music, and specifically the influence of Blind Lemon Jefferson, a little jumping, swooping part made of two counterpoint notes. Kent could demonstrate it only in a very crude way, because of the burn gloves, but he showed us how Blind Lemon did it, and how Geeshie and L.V. did it. We listened as Leslye filmed.
“Texas,” he said, “you only heard that in Texas.”
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=2856eac776) | 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=2856eac776&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
Don Kent The Listener – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/14/magazine/the-listener.html?_r=0
** The Listener
————————————————————
By JOHN JEREMIAH SULLIVANAUG. 14, 2015
Don Kent in January 2014. Credit Leslye Davis/The New York Times
Don Kent, the blues scholar and founder of more than one obscure yet influential record label, died last week of cancer at the age of 71. For anyone who knew the man or cared at all about prewar American music, the loss is palpable. Last year, when I was working on “The Ballad of Geeshie and Elvie” (http://www.nytimes.com/interactive/2014/04/13/magazine/blues.html) — a story about recovering the identities and lives of two lost singers from that early period — Kent proved the most illuminating and generous of sources. He was, to borrow a Barry Hannah line, “a hell of a sweet genius guy.”
In January 2014, I made a road trip to visit Kent in western North Carolina. With me in the van were the Times visual journalist Leslye Davis, my co-researcher Caitlin Love and a research assistant, Joel Finsel. It was a trip to the mountain in more than one respect. Kent was a pillar of the Blues Mafia, the loose-knit band of scholar-collectors who spent the second half of the 20th century finding and curating the forgotten black music of the ’20s and ’30s, but he was also its least-known living member, all but unicornlike in his elusiveness (I couldn’t even find a picture, didn’t know what to expect visually). He had no musicology degree, though he was often consulted by people who did. He had never written a book. A handful of articles, decades ago. Mainly, though, Kent was known for his liner notes, which transcended or at least transformed that genre, becoming in many cases authoritative statements on the artists whose lives and repertoires he examined.
About Geeshie Wiley and L.V. Thomas he’d written several good paragraphs, the best of which had appeared — ironically, now that we knew the two women came from Texas — in the notes for Yazoo’s “Mississippi Masters” compilation. “Although Geeshie Wiley may well have been the rural South’s greatest female blues singer and musician,” Kent begins, “almost nothing is known of her.” He continues in what could be considered his signature vein, both ecstatically overwhelmed and meticulous.
If Geeshie Wiley did not exist, she could not be invented: Her scope and creativity dwarfs most blues artists. She seems to represent the moment when black secular music was coalescing into blues . . . Her guitar technique is unusual: Her use of an A-minor chord in “Last Kind Words” is rare for a rural blues artist, and her adoption of a riff in A normally associated with Texas artists shows a shrewd appreciation for exciting sounds.
That last sentence was the real motivation for our trip. It was useful to ask Kent about any matter involving the country blues, but on the question of Geeshie and L.V. he was distinct: He had, with that sentence, placed himself in a minuscule group of people who were able through listening alone to pick up on the Texas origins in their music. We wanted first to tell him that he had been right, and second to find out what else he knew.
We located him in Rutherfordton, about an hour from Asheville, in a small rental house. He hadn’t been at that address long. He and his wife, Sylvia, had until recently been living happily in a restored farmhouse nearby, in an adjacent county, but that place caught fire (it started in the attic). The two of them, he and Sylvia, insisted on running back inside to retrieve things, even though the local volunteer fire department people were yelling at them to stop, over the noise of the hoses and flames. Both of them had serious burns on their hands and chests. What was it they were so desperate to save?
“Cats and old records,” Sylvia said later on the phone.
On the drive up, we had passed around a remarkable picture on Leslye’s cell, from a North Carolina local-news website’s article about the fire. It was an image of Kent and Sylvia embracing in the burn unit of a regional hospital, holding each other’s faces with gauze-mittened hands, as if they’d been posed that way.
We got there well after dark. Kent came to the door, a small, slender man with a fine-boned face and wispy white beard. A few feet behind him stood Sylvia, an attractive middle-aged Hispanic woman, quick-humored. “I tell people he went to New York, and all he brought back was records and a Puerto Rican,” she said.
Their hands didn’t have those mittens on them anymore, but something sleeker and flesh-colored that they called “burn gloves.” I noticed them only when I went to shake Don’s hand. So, the Kents were healing, and living in this little house while their other one was rebuilt. They very graciously put out food and wine for us on the table: dignity in the face of disaster.
“Did you really go in after the records?” I asked.
“Yes,” he said. “I’ve always had a ‘grab it and run’ shelf.”
“So, you . . . ”
“I grabbed it and ran.”
Then they went back for the rest of the records. And the cats (all five). In the end, nothing was lost, of 78s or pets.
When Kent had finished reading through some of the material we’d gathered — including a transcript of the blues historian Mack McCormick’s 53-year-old interview with L.V., which established beyond a doubt her and Geeshie’s Texas origins — and after he’d leaned back in his chair and was sitting there looking fuse-blown, I asked him how surprised he was, if at all, to learn that they were from Texas. Or did he feel affirmed, given what he had written about that guitar lick, that it was “associated” with Texas artists?
He sighed. “Well . . . I had always figured Geeshie Wiley was from Louisiana.”
Louisiana: where she was in fact from, according the 1930 census, born there in 1908. Only, no one had told Kent that yet. He hadn’t seen the document. When we showed it to him, his eyes got wide. He seemed much more taken aback by that news than he had been by the Texas revelations.
“When did you first start thinking she might be from Louisiana?” I asked.
“About 20 years ago,” he said.
For decades before that, he had waited like everyone else for Geeshie and “Elvie” to show up somewhere in Mississippi. When they didn’t, he sensed something was off. (Others did, too: The ethnomusicologist Dick Spottswood told Greil Marcus in 1999, “I don’t know how you make the case, that they’re from Mississippi. It’s, ‘They’re so good, they have to be from Mississippi.’ ”)
Kent had meditated on the problem and come up with Louisiana. I asked how.
“It was a case of, ‘It’s too weird even for Mississippi,’ ” he said. “That meant it had to be Louisiana.”
Except, it was really more a Texas story. But, of course, he had figured out that part, too.
Kent no longer had his 78 of “Last Kind Words Blues,” Geeshie and L.V.’s legendary 1930 recording — not even in storage, where the rest of the fire-salvaged records were. He’d sold it to another collector for an undisclosed sum, but one that I gathered had played a role in his and Sylvia’s ability to restore the old farmhouse, the one that burned.
Instead, he got out an acoustic guitar and played (he used to play quite well) the section of “Last Kind Words” that first made him hear Texas in Geeshie and L.V.’s music, and specifically the influence of Blind Lemon Jefferson, a little jumping, swooping part made of two counterpoint notes. Kent could demonstrate it only in a very crude way, because of the burn gloves, but he showed us how Blind Lemon did it, and how Geeshie and L.V. did it. We listened as Leslye filmed.
“Texas,” he said, “you only heard that in Texas.”
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=2856eac776) | 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=2856eac776&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
Vintage Sax Solo Improves With (Listener’s) Age – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/21/arts/music/vintage-sax-solo-improves-with-listeners-age.html?emc=edit_tnt_20150820
** Vintage Sax Solo Improves With (Listener’s) Age
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) AUG. 20, 2015
Charlie Parker, the matchless alto saxophonist and bebop exemplar, had few better days in a recording studio than March 28, 1946. He was in Hollywood, leading his first session under an exclusive contract with Dial Records. His handpicked sidemen included the well-seasoned tenor saxophonist Lucky Thompson and a young trumpeter named Miles Davis, and by the end of the date they had recorded several of Parker’s most canonical tracks, including “A Night in Tunisia” and “Yardbird Suite.”
Photo
Lucky Thompson in 1944.Credit Charles ‘Teenie’ Harris/Carnegie Museum of Art, via Getty Images
I doubt whether I knew any of this context when I first heard the music, dubbed onto cassette by a teacher when I was a high school sophomore. (Knowing he was a Bird fanatic, I had requested some of his favorite stuff, pestering him for weeks.) That 1946 Dial session, a portion of which appeared on Side B of the cassette, knocked me out right away: Parker was just so unerringly brilliant, and the arrangements so crisp and relaxed. There was only one problem, as I saw it, and that was Thompson.
A veteran of swing-era big bands led by Lionel Hampton and Count Basie, Thompson was just four years older than Parker. But his sound — muscular and breathy, with a broad vibrato — harked back to a previous generation, the one that (to my mind, at the time) Parker had vanquished to certain obsolescence. One particular track, “Ornithology,” seemed to crystallize my point: Parker and Davis each fashion a brisk, boppish 32-bar chorus, after which Thompson’s solo arrives as if out of a fog. I thought his solo sounded outmoded and discombobulated. Every time I heard it, I felt sorry for the guy.
Audio
** ‘Ornithology,’ From ‘The Complete Dial Modern Jazz Sessions’ 3:02
————————————————————
A track including a tenor saxophone solo by Lucky Thompson. Mosaic Records
Thompson, who died almost exactly a decade ago (http://www.nytimes.com/2005/08/05/arts/lucky-thompson-jazz-saxophonist-is-dead-at-81.html) , never achieved mainstream success in jazz. But he was a far better and more compelling musician than my youthful ear led me to assume. Years later, having devoured a lot more jazz (and jazz history), I grew to consider him a maverick, dauntless in the face of bebop’s disruptions and true at every turn to his own idiosyncratic style.
Late last year, when Mosaic Records issued “The Complete Dial Modern Jazz Sessions,” (http://www.mosaicrecords.com/prodinfo.asp?number=260-MD-CD) a nine-CD boxed set, I re-encountered that master take of “Ornithology” for the first time in a while. Every note rang familiar, but Thompson’s solo struck me as a revelation: 35 seconds of brave and gallant intrigue, a pocket marvel of insinuative harmony and spry syncopation.
It seems to hover outside of time, harboring some kind of secret, even as it adheres to popular song form. By my current estimation, it’s easily the most interesting thing about the track — though I guess that could change again in another two dozen years.
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=3b36012573) | 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=3b36012573&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
Vintage Sax Solo Improves With (Listener’s) Age – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/21/arts/music/vintage-sax-solo-improves-with-listeners-age.html?emc=edit_tnt_20150820
** Vintage Sax Solo Improves With (Listener’s) Age
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) AUG. 20, 2015
Charlie Parker, the matchless alto saxophonist and bebop exemplar, had few better days in a recording studio than March 28, 1946. He was in Hollywood, leading his first session under an exclusive contract with Dial Records. His handpicked sidemen included the well-seasoned tenor saxophonist Lucky Thompson and a young trumpeter named Miles Davis, and by the end of the date they had recorded several of Parker’s most canonical tracks, including “A Night in Tunisia” and “Yardbird Suite.”
Photo
Lucky Thompson in 1944.Credit Charles ‘Teenie’ Harris/Carnegie Museum of Art, via Getty Images
I doubt whether I knew any of this context when I first heard the music, dubbed onto cassette by a teacher when I was a high school sophomore. (Knowing he was a Bird fanatic, I had requested some of his favorite stuff, pestering him for weeks.) That 1946 Dial session, a portion of which appeared on Side B of the cassette, knocked me out right away: Parker was just so unerringly brilliant, and the arrangements so crisp and relaxed. There was only one problem, as I saw it, and that was Thompson.
A veteran of swing-era big bands led by Lionel Hampton and Count Basie, Thompson was just four years older than Parker. But his sound — muscular and breathy, with a broad vibrato — harked back to a previous generation, the one that (to my mind, at the time) Parker had vanquished to certain obsolescence. One particular track, “Ornithology,” seemed to crystallize my point: Parker and Davis each fashion a brisk, boppish 32-bar chorus, after which Thompson’s solo arrives as if out of a fog. I thought his solo sounded outmoded and discombobulated. Every time I heard it, I felt sorry for the guy.
Audio
** ‘Ornithology,’ From ‘The Complete Dial Modern Jazz Sessions’ 3:02
————————————————————
A track including a tenor saxophone solo by Lucky Thompson. Mosaic Records
Thompson, who died almost exactly a decade ago (http://www.nytimes.com/2005/08/05/arts/lucky-thompson-jazz-saxophonist-is-dead-at-81.html) , never achieved mainstream success in jazz. But he was a far better and more compelling musician than my youthful ear led me to assume. Years later, having devoured a lot more jazz (and jazz history), I grew to consider him a maverick, dauntless in the face of bebop’s disruptions and true at every turn to his own idiosyncratic style.
Late last year, when Mosaic Records issued “The Complete Dial Modern Jazz Sessions,” (http://www.mosaicrecords.com/prodinfo.asp?number=260-MD-CD) a nine-CD boxed set, I re-encountered that master take of “Ornithology” for the first time in a while. Every note rang familiar, but Thompson’s solo struck me as a revelation: 35 seconds of brave and gallant intrigue, a pocket marvel of insinuative harmony and spry syncopation.
It seems to hover outside of time, harboring some kind of secret, even as it adheres to popular song form. By my current estimation, it’s easily the most interesting thing about the track — though I guess that could change again in another two dozen years.
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=3b36012573) | 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=3b36012573&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
Vintage Sax Solo Improves With (Listener’s) Age – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/21/arts/music/vintage-sax-solo-improves-with-listeners-age.html?emc=edit_tnt_20150820
** Vintage Sax Solo Improves With (Listener’s) Age
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) AUG. 20, 2015
Charlie Parker, the matchless alto saxophonist and bebop exemplar, had few better days in a recording studio than March 28, 1946. He was in Hollywood, leading his first session under an exclusive contract with Dial Records. His handpicked sidemen included the well-seasoned tenor saxophonist Lucky Thompson and a young trumpeter named Miles Davis, and by the end of the date they had recorded several of Parker’s most canonical tracks, including “A Night in Tunisia” and “Yardbird Suite.”
Photo
Lucky Thompson in 1944.Credit Charles ‘Teenie’ Harris/Carnegie Museum of Art, via Getty Images
I doubt whether I knew any of this context when I first heard the music, dubbed onto cassette by a teacher when I was a high school sophomore. (Knowing he was a Bird fanatic, I had requested some of his favorite stuff, pestering him for weeks.) That 1946 Dial session, a portion of which appeared on Side B of the cassette, knocked me out right away: Parker was just so unerringly brilliant, and the arrangements so crisp and relaxed. There was only one problem, as I saw it, and that was Thompson.
A veteran of swing-era big bands led by Lionel Hampton and Count Basie, Thompson was just four years older than Parker. But his sound — muscular and breathy, with a broad vibrato — harked back to a previous generation, the one that (to my mind, at the time) Parker had vanquished to certain obsolescence. One particular track, “Ornithology,” seemed to crystallize my point: Parker and Davis each fashion a brisk, boppish 32-bar chorus, after which Thompson’s solo arrives as if out of a fog. I thought his solo sounded outmoded and discombobulated. Every time I heard it, I felt sorry for the guy.
Audio
** ‘Ornithology,’ From ‘The Complete Dial Modern Jazz Sessions’ 3:02
————————————————————
A track including a tenor saxophone solo by Lucky Thompson. Mosaic Records
Thompson, who died almost exactly a decade ago (http://www.nytimes.com/2005/08/05/arts/lucky-thompson-jazz-saxophonist-is-dead-at-81.html) , never achieved mainstream success in jazz. But he was a far better and more compelling musician than my youthful ear led me to assume. Years later, having devoured a lot more jazz (and jazz history), I grew to consider him a maverick, dauntless in the face of bebop’s disruptions and true at every turn to his own idiosyncratic style.
Late last year, when Mosaic Records issued “The Complete Dial Modern Jazz Sessions,” (http://www.mosaicrecords.com/prodinfo.asp?number=260-MD-CD) a nine-CD boxed set, I re-encountered that master take of “Ornithology” for the first time in a while. Every note rang familiar, but Thompson’s solo struck me as a revelation: 35 seconds of brave and gallant intrigue, a pocket marvel of insinuative harmony and spry syncopation.
It seems to hover outside of time, harboring some kind of secret, even as it adheres to popular song form. By my current estimation, it’s easily the most interesting thing about the track — though I guess that could change again in another two dozen years.
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=3b36012573) | 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=3b36012573&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
Harold Ousley sunup, 1/23/29 sundown, 8/13/15
http://www.jazzpromoservices.com/
August 14, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Harold Ousley
sunup, 1/23/29 sundown, 8/13/15
Harold Lomax Ousley, born January 23, 1929 in Chicago, Ill.
After studying in high school, Ousley became a professional musician working with circus bands for a number of years from the late 40s. Concurrently, in the early 50s, he played with Gene Ammons, King Kolax and also, in vivid demonstration of his versatility and stylistic range, with Miles Davis. Through the 50s, mostly playing tenor saxophone, Ousley was often in company with artists of note, among them, Billie Holiday, Brother Jake McDuff, Howard McGhee, Joe Newman, Bud Powell, Clark Terry (the last two playing at the 1959 trip to Paris with a song revue),Dinah Washington (appearing with her at the 1958 Newport Jazz Festival), and Joe Williams. In the 70s, Ousley had a brief spells playing in the big bands of Count Basie, Duke Ellington and Lionel Hampton. His eclectic versatility was also displayed during engagements with pop, blues and R&B performers, such as George Benson, Big Maybelle, Charles Brown, Ruth Brown, Percy Mayfield, Sunnyland Slim and Jimmy Witherspoon.
Ousley’s obvious love for many years has been jazz education. He has presented jazz programs to schools and also became involved in the use of music as therapy with the Groves Therapeutic Counseling Service owned and ran by his late wife Alice Groves Ousley. Ousley who also played flute and digital horn, has made some film and television appearances, including appearing in Cotton Comes To Harlem (1970) and hosting his own early 90s cable television show, Harold Ousley Presents. Also in the early 90s, he was teamed up with Bill Doggett, A vigorous player with a rugged emotionalism. Ousley’s work often shows the influence of blues, regardless of the setting. The latest CD, Grit- Gittin Feelin.
Watch
Harold Ousley Jazz Circle of Friends – Four, Blue Bossa, & Freedom’s Child (https://www.youtube.com/watch?v=BkkM1Nc3jZU)
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=67dd3cd8bb) | 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=67dd3cd8bb&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
Harold Ousley sunup, 1/23/29 sundown, 8/13/15
http://www.jazzpromoservices.com/
August 14, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Harold Ousley
sunup, 1/23/29 sundown, 8/13/15
Harold Lomax Ousley, born January 23, 1929 in Chicago, Ill.
After studying in high school, Ousley became a professional musician working with circus bands for a number of years from the late 40s. Concurrently, in the early 50s, he played with Gene Ammons, King Kolax and also, in vivid demonstration of his versatility and stylistic range, with Miles Davis. Through the 50s, mostly playing tenor saxophone, Ousley was often in company with artists of note, among them, Billie Holiday, Brother Jake McDuff, Howard McGhee, Joe Newman, Bud Powell, Clark Terry (the last two playing at the 1959 trip to Paris with a song revue),Dinah Washington (appearing with her at the 1958 Newport Jazz Festival), and Joe Williams. In the 70s, Ousley had a brief spells playing in the big bands of Count Basie, Duke Ellington and Lionel Hampton. His eclectic versatility was also displayed during engagements with pop, blues and R&B performers, such as George Benson, Big Maybelle, Charles Brown, Ruth Brown, Percy Mayfield, Sunnyland Slim and Jimmy Witherspoon.
Ousley’s obvious love for many years has been jazz education. He has presented jazz programs to schools and also became involved in the use of music as therapy with the Groves Therapeutic Counseling Service owned and ran by his late wife Alice Groves Ousley. Ousley who also played flute and digital horn, has made some film and television appearances, including appearing in Cotton Comes To Harlem (1970) and hosting his own early 90s cable television show, Harold Ousley Presents. Also in the early 90s, he was teamed up with Bill Doggett, A vigorous player with a rugged emotionalism. Ousley’s work often shows the influence of blues, regardless of the setting. The latest CD, Grit- Gittin Feelin.
Watch
Harold Ousley Jazz Circle of Friends – Four, Blue Bossa, & Freedom’s Child (https://www.youtube.com/watch?v=BkkM1Nc3jZU)
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=67dd3cd8bb) | 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=67dd3cd8bb&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
Harold Ousley sunup, 1/23/29 sundown, 8/13/15
http://www.jazzpromoservices.com/
August 14, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
Harold Ousley
sunup, 1/23/29 sundown, 8/13/15
Harold Lomax Ousley, born January 23, 1929 in Chicago, Ill.
After studying in high school, Ousley became a professional musician working with circus bands for a number of years from the late 40s. Concurrently, in the early 50s, he played with Gene Ammons, King Kolax and also, in vivid demonstration of his versatility and stylistic range, with Miles Davis. Through the 50s, mostly playing tenor saxophone, Ousley was often in company with artists of note, among them, Billie Holiday, Brother Jake McDuff, Howard McGhee, Joe Newman, Bud Powell, Clark Terry (the last two playing at the 1959 trip to Paris with a song revue),Dinah Washington (appearing with her at the 1958 Newport Jazz Festival), and Joe Williams. In the 70s, Ousley had a brief spells playing in the big bands of Count Basie, Duke Ellington and Lionel Hampton. His eclectic versatility was also displayed during engagements with pop, blues and R&B performers, such as George Benson, Big Maybelle, Charles Brown, Ruth Brown, Percy Mayfield, Sunnyland Slim and Jimmy Witherspoon.
Ousley’s obvious love for many years has been jazz education. He has presented jazz programs to schools and also became involved in the use of music as therapy with the Groves Therapeutic Counseling Service owned and ran by his late wife Alice Groves Ousley. Ousley who also played flute and digital horn, has made some film and television appearances, including appearing in Cotton Comes To Harlem (1970) and hosting his own early 90s cable television show, Harold Ousley Presents. Also in the early 90s, he was teamed up with Bill Doggett, A vigorous player with a rugged emotionalism. Ousley’s work often shows the influence of blues, regardless of the setting. The latest CD, Grit- Gittin Feelin.
Watch
Harold Ousley Jazz Circle of Friends – Four, Blue Bossa, & Freedom’s Child (https://www.youtube.com/watch?v=BkkM1Nc3jZU)
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=67dd3cd8bb) | 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=67dd3cd8bb&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
HE RODE WITH JAMES P. JOHNSON: TALKING WITH IRV KRATKA (July 31, 2015) | JAZZ LIVES
http://www.jazzpromoservices.com/
https://jazzlives.wordpress.com/2015/08/14/he-rode-with-james-p-johnson-talking-with-irv-kratka-july-31-2015/
** HE RODE WITH JAMES P. JOHNSON: TALKING WITH IRV KRATKA (July 31, 2015)
————————————————————
https://jazzlives.files.wordpress.com/2015/08/irv.jpg
Irv Kratka (drums) doesn’t have a huge discographical entry in Tom Lord’s books, but he played with some fine musicians: Bunk Johnson, Dick Wellstood, James P. Johnson, Ephie Resnick, Joe Muranyi, Bob Mielke, Knocky Parker, Jerry Blumberg, Cyrus St. Clair, among others, in the years 1947-50. I knew of Irv from those recordings (many of which are quite rare) but also as the creator and guiding genius of Music Minus One and a number of other jazz labels including Classic Jazz and Inner City.
But I had never met Irv Kratka (human being, jazz fan, record producer, concert promoter) in the flesh until this year when we encountered each other at the Terry Blaine / Mark Shane concert in Croton-on-Hudson, and I immediately asked if he’d be willing to sit for a video interview, which he agreed to on the spot. Irv is now 89 . . . please let that sink in . . . and sharp as a tack, as Louis would say. His stories encompass all sorts of people and scenes, from Bunk’s band at the Stuyvesant Casino, Louis and Bunk at a club, a car ride with James P. Johnson, lessons from Billy Gladstone, a disagreement between Oscar Pettiford and Kenny Clarke, all the way up to the present and his current hero, multi-instrumentalist Glenn Zottola.
I didn’t want to interrogate Irv, so I didn’t pin him to the wall with minutiae about what James P. might have said in the car ride or what Jerry Blumberg ordered at the delicatessen, but from these four casual interview segments, you can get a warm sense of what it was like to be a young jazz fan in the late Thirties, an aspiring musician and concert producer in the Forties, onwards to today. It was a privilege to speak with Irv and he generously shared his memories — anecdotes of Bunk Johnson, Baby Dodds, James P. Johnson, Sidney Bechet, George Lewis, Bill Russell, Louis Armstrong, Duke Ellington, Dick Wellstood, Peg Leg Bates, Lena Horne, Joe Muranyi, Billy Gladstone, Jacques Butler, Jerry Blumberg, Art Hodes, Albert Nicholas, Sarah Vaughan, George Brunis — also fond recollections of Bob Wilber, Bob Mielke, Ephie Resnick and others.
Here are four informal segments from our conversation — the first and last fairly lengthy discussions, the middle two vignettes.
One:
Two:
Three:
Four:
Now, here’s another part of the story. Irv plans to sell several of his labels: Inner City, Classic Jazz, Proscenium (the last with three Dick Hyman discs) Audio Journal (The Beatles at Shea Stadium – Audience Reaction), and Rockland Records which consists of the first and only CD by the Chapin Bros. (Harry, Tom, and Steve) comedy albums by Theodore, and a disc featuring Mae West songs / W.C. Fields. The catalogue includes 141 titles, and there are more than 42,000 discs to turn over to the new owner, all at “a very nominal price.” Serious inquiries only to ikratka@mmogroup.com (mailto:ikratka@mmogroup.com) .
May your happiness increase!
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
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=e8bf4eded0) | 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=e8bf4eded0&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
HE RODE WITH JAMES P. JOHNSON: TALKING WITH IRV KRATKA (July 31, 2015) | JAZZ LIVES
http://www.jazzpromoservices.com/
https://jazzlives.wordpress.com/2015/08/14/he-rode-with-james-p-johnson-talking-with-irv-kratka-july-31-2015/
** HE RODE WITH JAMES P. JOHNSON: TALKING WITH IRV KRATKA (July 31, 2015)
————————————————————
https://jazzlives.files.wordpress.com/2015/08/irv.jpg
Irv Kratka (drums) doesn’t have a huge discographical entry in Tom Lord’s books, but he played with some fine musicians: Bunk Johnson, Dick Wellstood, James P. Johnson, Ephie Resnick, Joe Muranyi, Bob Mielke, Knocky Parker, Jerry Blumberg, Cyrus St. Clair, among others, in the years 1947-50. I knew of Irv from those recordings (many of which are quite rare) but also as the creator and guiding genius of Music Minus One and a number of other jazz labels including Classic Jazz and Inner City.
But I had never met Irv Kratka (human being, jazz fan, record producer, concert promoter) in the flesh until this year when we encountered each other at the Terry Blaine / Mark Shane concert in Croton-on-Hudson, and I immediately asked if he’d be willing to sit for a video interview, which he agreed to on the spot. Irv is now 89 . . . please let that sink in . . . and sharp as a tack, as Louis would say. His stories encompass all sorts of people and scenes, from Bunk’s band at the Stuyvesant Casino, Louis and Bunk at a club, a car ride with James P. Johnson, lessons from Billy Gladstone, a disagreement between Oscar Pettiford and Kenny Clarke, all the way up to the present and his current hero, multi-instrumentalist Glenn Zottola.
I didn’t want to interrogate Irv, so I didn’t pin him to the wall with minutiae about what James P. might have said in the car ride or what Jerry Blumberg ordered at the delicatessen, but from these four casual interview segments, you can get a warm sense of what it was like to be a young jazz fan in the late Thirties, an aspiring musician and concert producer in the Forties, onwards to today. It was a privilege to speak with Irv and he generously shared his memories — anecdotes of Bunk Johnson, Baby Dodds, James P. Johnson, Sidney Bechet, George Lewis, Bill Russell, Louis Armstrong, Duke Ellington, Dick Wellstood, Peg Leg Bates, Lena Horne, Joe Muranyi, Billy Gladstone, Jacques Butler, Jerry Blumberg, Art Hodes, Albert Nicholas, Sarah Vaughan, George Brunis — also fond recollections of Bob Wilber, Bob Mielke, Ephie Resnick and others.
Here are four informal segments from our conversation — the first and last fairly lengthy discussions, the middle two vignettes.
One:
Two:
Three:
Four:
Now, here’s another part of the story. Irv plans to sell several of his labels: Inner City, Classic Jazz, Proscenium (the last with three Dick Hyman discs) Audio Journal (The Beatles at Shea Stadium – Audience Reaction), and Rockland Records which consists of the first and only CD by the Chapin Bros. (Harry, Tom, and Steve) comedy albums by Theodore, and a disc featuring Mae West songs / W.C. Fields. The catalogue includes 141 titles, and there are more than 42,000 discs to turn over to the new owner, all at “a very nominal price.” Serious inquiries only to ikratka@mmogroup.com (mailto:ikratka@mmogroup.com) .
May your happiness increase!
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
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=e8bf4eded0) | 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=e8bf4eded0&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
Oscar Peterson’s personal items up for auction | Toronto Star
http://www.jazzpromoservices.com/
http://www.thestar.com/entertainment/music/2015/08/14/oscar-petersons-personal-items-up-for-auction.html
** Oscar Peterson’s personal items up for auction | Toronto Star
————————————————————
Oscar Peterson seemed like a public institution for more than a half century as media star, virtuoso pianist and activist. Now, some aspects of the jazz great’s carefully guarded private life (http://www.thestar.com/news/2007/12/27/the_private_side_of_peterson.html) are being made public via eBay’s Oscar Peterson Auction.
It began just after midnight Friday and ends Aug. 24.
Synthesizers, microphones, a high-end Studer D-780 DAT recorder and a rare Grado HP-1000 headphone set Peterson used in his home recording studio are among the 25 items available at eBay.ca/oscarpeterson (http://ebay.ca/oscarpeterson) .
A number of jazz books — some signed by authors such as Gene Lees — are also on the block. His poster collection has the auction’s lowest starting price of $100.
Then there’s Peterson’s fabulous signature blue brocade tux jacket, the tailored lapels in a contrasting midnight blue. Peterson proved big guys can be snazzy too wearing this ensemble onstage, which comes complete with a bespoke Turnbull & Asser tuxedo shirt.
“We want to commemorate Oscar’s 90th birthday and share some of these things with his fans,” says Kelly Peterson (http://www.thestar.com/entertainment/music/2010/10/27/remembering_oscar_peterson.html) , the pianist’s widow. (Oscar, born in 1925, died Dec. 23, 2007, age 82.)
“We also want to raise funds for World Vision Canada. But that doesn’t mean it’s been easy parting with them. There’s something about each piece that makes it wrenching to me to see it go.”
Take Peterson’s protective travelling cases for instance, the one that held his Yamaha keyboard speakers or the other with his collection of digital cameras.
To others a crushproof box might hardly seem the stuff of nostalgia. But to Peterson, the cases mean private time with her husband. “I can remember how we’d have to pack just about everything in them every time we went on vacation to the Barbados,” says Peterson. “I’d have to start packing three weeks before we’d get away.”
The prize catch of the lot is probably the “Exclusive Musical Experience” — with a $1,000 starting price — which includes a pair of tickets for a Dec. 11 Koerner Hall Oscar @ 90concert (http://performance.rcmusic.ca/event/oscar) by an A-list of pianists led by Ramsey Lewis and Oliver Jones playing, in some cases, never-heard Peterson pieces.
“People are going to be surprised in hearing some of his compositions,” Kelly Peterson says.
Many of the concert pieces are included in Oscar, With Love, a CD of 30-plus solos recorded over the past months on the grandest of all grand pianos, Peterson’s beloved Bösendorfer Imperial, being seen and played at Koerner for the first time outside Peterson’s home.
The lineup of performers so far includes Bill Charlap, Renee Rosnes, Monty Alexander, Kenny Barron, Benny Green, Makoto Ozone and Chick Corea, who wrote his own tribute, “One for Oscar.” At least one other pianist is expected.
The recording, available as of Dec. 11, is being released in a three-CD set, a “deluxe” CD set that has a commemorative book as well as a five-LP vinyl package scheduled for next year.
The Peterson Bösendorfer is almost as much a star attraction as those playing it. The celebrity-rich tribute package began when the family wanted to utilize the piano in some productive way, says a friend of the late pianist.
Kelly, who married Oscar in 1986, has been very active in keeping the Peterson legacy alive. In 2011, she helped promote a digitally engineered “reperformance” of earlier recordings on a specially prepared piano at Koerner Hall.
A Bösendorfer — an old Austrian company now owned by Yamaha — is a Rolls-Royce among pianos, perhaps with less flash than a Steinway but with more “bottom,” as they say. And how. An “Imperial” Bösendorfer has 97 keys, an extension of the traditional 88, with the extra octave added to the lower end of the keyboard for greater oomph.
(Bösendorfer buffs, along with Peterson and Franz Liszt, include Dr. Evil and Mini-Me, who secreted their matching Bösendorfer grands on their private island in Austin Powers: The Spy Who Shagged Me.)
Along with getting a deluxe CD package, the eventual winner of the concert package is invited to a postconcert meet and greet with the night’s stars with a chance to be photographed next to the Bösendorfer, which Peterson himself picked out at the company’s Vienna factory in 1981.
“It’s eight years after Oscar’s death,” says Kelly Peterson. “Many things have already gone to Library and Archives Canada because Oscar had been donating to them since the early ’90s. I kept all of these things. Now it’s a good time to let them go.”
Peter Goddard is a freelance writer and the Star’s former jazz critic. He can be reached at peter_g1@sympatico.ca (mailto:peter_g1@sympatico.ca)
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=b244f49678) | 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=b244f49678&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
Oscar Peterson’s personal items up for auction | Toronto Star
http://www.jazzpromoservices.com/
http://www.thestar.com/entertainment/music/2015/08/14/oscar-petersons-personal-items-up-for-auction.html
** Oscar Peterson’s personal items up for auction | Toronto Star
————————————————————
Oscar Peterson seemed like a public institution for more than a half century as media star, virtuoso pianist and activist. Now, some aspects of the jazz great’s carefully guarded private life (http://www.thestar.com/news/2007/12/27/the_private_side_of_peterson.html) are being made public via eBay’s Oscar Peterson Auction.
It began just after midnight Friday and ends Aug. 24.
Synthesizers, microphones, a high-end Studer D-780 DAT recorder and a rare Grado HP-1000 headphone set Peterson used in his home recording studio are among the 25 items available at eBay.ca/oscarpeterson (http://ebay.ca/oscarpeterson) .
A number of jazz books — some signed by authors such as Gene Lees — are also on the block. His poster collection has the auction’s lowest starting price of $100.
Then there’s Peterson’s fabulous signature blue brocade tux jacket, the tailored lapels in a contrasting midnight blue. Peterson proved big guys can be snazzy too wearing this ensemble onstage, which comes complete with a bespoke Turnbull & Asser tuxedo shirt.
“We want to commemorate Oscar’s 90th birthday and share some of these things with his fans,” says Kelly Peterson (http://www.thestar.com/entertainment/music/2010/10/27/remembering_oscar_peterson.html) , the pianist’s widow. (Oscar, born in 1925, died Dec. 23, 2007, age 82.)
“We also want to raise funds for World Vision Canada. But that doesn’t mean it’s been easy parting with them. There’s something about each piece that makes it wrenching to me to see it go.”
Take Peterson’s protective travelling cases for instance, the one that held his Yamaha keyboard speakers or the other with his collection of digital cameras.
To others a crushproof box might hardly seem the stuff of nostalgia. But to Peterson, the cases mean private time with her husband. “I can remember how we’d have to pack just about everything in them every time we went on vacation to the Barbados,” says Peterson. “I’d have to start packing three weeks before we’d get away.”
The prize catch of the lot is probably the “Exclusive Musical Experience” — with a $1,000 starting price — which includes a pair of tickets for a Dec. 11 Koerner Hall Oscar @ 90concert (http://performance.rcmusic.ca/event/oscar) by an A-list of pianists led by Ramsey Lewis and Oliver Jones playing, in some cases, never-heard Peterson pieces.
“People are going to be surprised in hearing some of his compositions,” Kelly Peterson says.
Many of the concert pieces are included in Oscar, With Love, a CD of 30-plus solos recorded over the past months on the grandest of all grand pianos, Peterson’s beloved Bösendorfer Imperial, being seen and played at Koerner for the first time outside Peterson’s home.
The lineup of performers so far includes Bill Charlap, Renee Rosnes, Monty Alexander, Kenny Barron, Benny Green, Makoto Ozone and Chick Corea, who wrote his own tribute, “One for Oscar.” At least one other pianist is expected.
The recording, available as of Dec. 11, is being released in a three-CD set, a “deluxe” CD set that has a commemorative book as well as a five-LP vinyl package scheduled for next year.
The Peterson Bösendorfer is almost as much a star attraction as those playing it. The celebrity-rich tribute package began when the family wanted to utilize the piano in some productive way, says a friend of the late pianist.
Kelly, who married Oscar in 1986, has been very active in keeping the Peterson legacy alive. In 2011, she helped promote a digitally engineered “reperformance” of earlier recordings on a specially prepared piano at Koerner Hall.
A Bösendorfer — an old Austrian company now owned by Yamaha — is a Rolls-Royce among pianos, perhaps with less flash than a Steinway but with more “bottom,” as they say. And how. An “Imperial” Bösendorfer has 97 keys, an extension of the traditional 88, with the extra octave added to the lower end of the keyboard for greater oomph.
(Bösendorfer buffs, along with Peterson and Franz Liszt, include Dr. Evil and Mini-Me, who secreted their matching Bösendorfer grands on their private island in Austin Powers: The Spy Who Shagged Me.)
Along with getting a deluxe CD package, the eventual winner of the concert package is invited to a postconcert meet and greet with the night’s stars with a chance to be photographed next to the Bösendorfer, which Peterson himself picked out at the company’s Vienna factory in 1981.
“It’s eight years after Oscar’s death,” says Kelly Peterson. “Many things have already gone to Library and Archives Canada because Oscar had been donating to them since the early ’90s. I kept all of these things. Now it’s a good time to let them go.”
Peter Goddard is a freelance writer and the Star’s former jazz critic. He can be reached at peter_g1@sympatico.ca (mailto:peter_g1@sympatico.ca)
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=b244f49678) | 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=b244f49678&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
Vail Daily column: Remembering Mezz, the Muggles King | VailDaily.com
http://www.jazzpromoservices.com/
http://www.vaildaily.com/news/17698379-113/vail-daily-column-remembering-mezz-the-muggles-king
By Howard Stone
** Vail Daily column: Remembering Mezz, the Muggles King
————————————————————
Early this year I was in New York and dropped by Mezzrow, a new jazz club in Greenwich Village. It is the sister club to the very hip Smalls Jazz Club, located less than a block away. When I am in New York, Smalls is one of my go-to spots for great jazz with an appreciative audience that comes to listen. Mezzrow bills itself as a listening room and “a place for music lovers to have an intimate experience, … a musical environment run by musicians for musicians.” I thoroughly enjoyed the experience at the club and it got me thinking about the name “Mezzrow.”
I knew there was a musician by the name of Mezz Mezzrow who had played the clarinet, and my curiosity got the better of me, so I spent some wonderful time learning about one of the more fascinating characters in jazz who epitomized the early years of the genre and the legendary hipster image of long ago.
Milton “Mezz” Mezzrow was born into a middle class (some say impoverished) Jewish immigrant family in Chicago before the turn of the last century and died in 1972. His teen years were marked by brushes with the law and he was in and out of reform schools and prisons, where he first was exposed to jazz and blues. Inspired to take up the clarinet (he also played the alto and tenor saxophone), Mezz immersed himself in the jazz scene of Chicago in the ’20s.
Hanging out with many of the giants of jazz, his circle of musician friends included King Oliver, Sidney Bechet, Louis Armstrong and many other people of color. Embracing the culture of his African-American friends, he married an African-American woman and moved to Harlem. He explained later in his autobiography, “Really The Blues” (1946), that when he first heard jazz he knew what his calling in life would be. He “was going to be a Negro musician, hipping (teaching) the world about the blues the way only Negroes can.” He declared himself to be a “voluntary Negro.”
Mezz can also be heard on six recordings with the legendary Fats Waller and many others greats.
The Muggles King
In a career that was probably more noted for off-the-band-stand activities than accomplishments with his horn, his friendship with Louis Armstrong led him to become Armstrong’s assistant and for a time his manager.
He organized, played in and financed many historic recording sessions with the black titans of jazz in the 1930s and 1940s and helped reignite an interest in New Orleans-style jazz. Ultimately, Mezz founded King Jazz Records in the mid-’40s, recording multiple “sides” with his friend Sidney Bechet, who is considered to be one of the greatest soprano sax players of all time.
Mezz can also be heard on six recordings with the legendary Fats Waller and many others greats. Notwithstanding the company he kept and recorded with, the consensus is that he wasn’t one of the top clarinetist of the day, but it was his devotion to the music and generosity with his musician friends that earned him their respect.
I would be leaving out an important detail of this story if I didn’t tell you about Mezz’s activities as a marijuana dealer. He was an advocate of marijuana as an alternative to alcohol and other drugs and he was a reliable supplier to many musicians. In fact, “mezz,” “the mighty mezz” and “mess-rolls” all became slang for marijuana in the jazz community. Mezz himself was known as the “Muggles King,” another slang term for marijuana at the time. In 1940, he was busted for his drug selling activities and sentenced to jail. When he was about to be placed in a cell block with other white prisoners he protested that he was black and was ultimately placed in the prison’s segregated black section.
Mezz was an outspoken critic of segregation and a proponent of equal rights for all, well before the Civil Rights Movement of the 1960s. Mezz was truly a complex one-of-a-kind character who lived at a time when the values and mores of the U.S. were undergoing a dramatic change and he was right in the forefront of it all.
After appearing at the 1948 Nice Jazz Festival, he joined many other ex-pat American jazz musicians living in France, making Paris his home during the last 20 years of his life, playing jazz and being Mezz.
Howard Stone is the founder and artistic director of the Vail Jazz Foundation, which produces the annual Vail Jazz Festival. Celebrating its 21st year, the Vail Jazz Festival is a summer-long celebration of jazz music, culminating with the Labor Day weekend Vail Jazz Party. Visit vailjazz.org (http://www.vailjazz.org/) for more information.
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=8b7f6cfb05) | 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=8b7f6cfb05&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
Vail Daily column: Remembering Mezz, the Muggles King | VailDaily.com
http://www.jazzpromoservices.com/
http://www.vaildaily.com/news/17698379-113/vail-daily-column-remembering-mezz-the-muggles-king
By Howard Stone
** Vail Daily column: Remembering Mezz, the Muggles King
————————————————————
Early this year I was in New York and dropped by Mezzrow, a new jazz club in Greenwich Village. It is the sister club to the very hip Smalls Jazz Club, located less than a block away. When I am in New York, Smalls is one of my go-to spots for great jazz with an appreciative audience that comes to listen. Mezzrow bills itself as a listening room and “a place for music lovers to have an intimate experience, … a musical environment run by musicians for musicians.” I thoroughly enjoyed the experience at the club and it got me thinking about the name “Mezzrow.”
I knew there was a musician by the name of Mezz Mezzrow who had played the clarinet, and my curiosity got the better of me, so I spent some wonderful time learning about one of the more fascinating characters in jazz who epitomized the early years of the genre and the legendary hipster image of long ago.
Milton “Mezz” Mezzrow was born into a middle class (some say impoverished) Jewish immigrant family in Chicago before the turn of the last century and died in 1972. His teen years were marked by brushes with the law and he was in and out of reform schools and prisons, where he first was exposed to jazz and blues. Inspired to take up the clarinet (he also played the alto and tenor saxophone), Mezz immersed himself in the jazz scene of Chicago in the ’20s.
Hanging out with many of the giants of jazz, his circle of musician friends included King Oliver, Sidney Bechet, Louis Armstrong and many other people of color. Embracing the culture of his African-American friends, he married an African-American woman and moved to Harlem. He explained later in his autobiography, “Really The Blues” (1946), that when he first heard jazz he knew what his calling in life would be. He “was going to be a Negro musician, hipping (teaching) the world about the blues the way only Negroes can.” He declared himself to be a “voluntary Negro.”
Mezz can also be heard on six recordings with the legendary Fats Waller and many others greats.
The Muggles King
In a career that was probably more noted for off-the-band-stand activities than accomplishments with his horn, his friendship with Louis Armstrong led him to become Armstrong’s assistant and for a time his manager.
He organized, played in and financed many historic recording sessions with the black titans of jazz in the 1930s and 1940s and helped reignite an interest in New Orleans-style jazz. Ultimately, Mezz founded King Jazz Records in the mid-’40s, recording multiple “sides” with his friend Sidney Bechet, who is considered to be one of the greatest soprano sax players of all time.
Mezz can also be heard on six recordings with the legendary Fats Waller and many others greats. Notwithstanding the company he kept and recorded with, the consensus is that he wasn’t one of the top clarinetist of the day, but it was his devotion to the music and generosity with his musician friends that earned him their respect.
I would be leaving out an important detail of this story if I didn’t tell you about Mezz’s activities as a marijuana dealer. He was an advocate of marijuana as an alternative to alcohol and other drugs and he was a reliable supplier to many musicians. In fact, “mezz,” “the mighty mezz” and “mess-rolls” all became slang for marijuana in the jazz community. Mezz himself was known as the “Muggles King,” another slang term for marijuana at the time. In 1940, he was busted for his drug selling activities and sentenced to jail. When he was about to be placed in a cell block with other white prisoners he protested that he was black and was ultimately placed in the prison’s segregated black section.
Mezz was an outspoken critic of segregation and a proponent of equal rights for all, well before the Civil Rights Movement of the 1960s. Mezz was truly a complex one-of-a-kind character who lived at a time when the values and mores of the U.S. were undergoing a dramatic change and he was right in the forefront of it all.
After appearing at the 1948 Nice Jazz Festival, he joined many other ex-pat American jazz musicians living in France, making Paris his home during the last 20 years of his life, playing jazz and being Mezz.
Howard Stone is the founder and artistic director of the Vail Jazz Foundation, which produces the annual Vail Jazz Festival. Celebrating its 21st year, the Vail Jazz Festival is a summer-long celebration of jazz music, culminating with the Labor Day weekend Vail Jazz Party. Visit vailjazz.org (http://www.vailjazz.org/) for more information.
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=8b7f6cfb05) | 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=8b7f6cfb05&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
Photographs from Metronome Magazine’s jazz archives in Pierre Vudrag’s exhibit, The Metronome Jazz Photo Collection
http://www.jazzpromoservices.com/
http://www.slate.com/blogs/behold/2015/08/11/photographs_from_metronome_magazine_s_jazz_archives_in_pierre_vudrag_s_exhibit.html
Rare Photographs of Jazz Icons From the Archives of Metronome Magazine
By Jordan G. Teicher (http://www.slate.com/authors.jordan_g_teicher.html)
10 Nat King Cole Trio, 1944. Photographer: Charlie Mihn.
Courtesy of Limited Runs
Founded in 1881, Metronome magazine became indispensable during the swing era, when it switched its focus to jazz. For decades, it was the best publication for reviews, features, and show listings of the era’s foremost music genre.
The magazine struggled to adapt as tastes changed, and in 1961 it closed. Getty Images eventually acquired its vast photo archives, but for decades, nobody had explored them until Pierre Vudrag, founder of the vintage photography and poster site, Limited Runs (http://www.limitedruns.com/) , decided to take a look. His selections from the archives are now featured in a traveling exhibition, “The Metronome Jazz Photo Collection,” which will be on display in New York and Chicago this fall.
jazz3 Left: Milt Hinton, 1950. Photographer: Mike Miller. Right: Lester Jumps In. Lester Young, 1944.
Courtesy of Limited Runs
“If you were a photographer shooting jazz, you had to get your stuff in the magazine. I don’t think they paid their photographers very well, but every major photographer whose work is identified today as a key player in jazz music, you see their work in Metronome,” Vudrag said.
Starting in 2013, Vudrag visited Getty’s downtown New York City office regularly to sift through rusty filing cabinets filled with tens of thousands of photos of jazz pioneers from the 1930s to the early 1960s. More than half of the photos in the exhibit are alternate shots that never made it in print. Others were only used in advertisements.
jazz1 Left: Billie Holiday performs at the Downbeat club in February 1947 in New York City. Right: Dizzy hangs with Bird. Dizzy Gillespie, 1940s.
Courtesy of Limited Runs
Many of the photographers weren’t credited in the magazine, and even after more than two years of research, Vudrag wasn’t able to identify many of the people behind the historically significant photos he uncovered. The photos capture the musicians in performance and in more casual settings.
“It wasn’t just glamorous. We try to show the other side: their everyday lives, their interactions with each other, the guys in the studio rehearsing and out on the streets,” Vudrag said.
jazz2 Left: The Collaborators. Duke Ellington and Billy Strayhorn, 1948. Photographer: Barry Kramer. Right: Welcome Home Ella. Ella Fitzgerald, 1952. Photographer: David B. Hecht.
Courtesy of Limited Runs
Among those photos are some of the most iconic images in jazz history, including Maurice Seymour’s portrait of the top hatted Duke Ellington. For that image, Vudrag could only find prints; Seymour burned most of his negatives, convinced that they’d never be worth anything. “We digitally scanned the photograph and tried to get it back to its original state. We ended up doing that for a number of the photos because the original negatives were lost,” he said.
Starting from an initial edit of 460 photos, Vudrag was eventually able to narrow down his selection to 27 favorites after a painstaking edit process. “I think what we put together is a great representation of what came out of that collection, but there’s so much work in that collection it could go on forever,” he said.
The exhibition will be on view Oct. 1–3 at 360 Design Space in New York and Oct. 8–10 at the Study Chicago in Chicago. Photos can also be purchased at Limited Runs (http://www.limitedruns.com/) .
jazz4 Left: Satchmo. Louis Armstrong, 1940s. Right: Dizzy Plays. Dizzy Gillespie, 1945. Photographer: Frank Kuchirchuk.
Courtesy of Limited Runs
Jordan G. Teicher writes about photography for Slate’s Behold blog. Follow him on Twitter (https://twitter.com/teicherj) .
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=768ec864e7) | 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=768ec864e7&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
Photographs from Metronome Magazine’s jazz archives in Pierre Vudrag’s exhibit, The Metronome Jazz Photo Collection
http://www.jazzpromoservices.com/
http://www.slate.com/blogs/behold/2015/08/11/photographs_from_metronome_magazine_s_jazz_archives_in_pierre_vudrag_s_exhibit.html
Rare Photographs of Jazz Icons From the Archives of Metronome Magazine
By Jordan G. Teicher (http://www.slate.com/authors.jordan_g_teicher.html)
10 Nat King Cole Trio, 1944. Photographer: Charlie Mihn.
Courtesy of Limited Runs
Founded in 1881, Metronome magazine became indispensable during the swing era, when it switched its focus to jazz. For decades, it was the best publication for reviews, features, and show listings of the era’s foremost music genre.
The magazine struggled to adapt as tastes changed, and in 1961 it closed. Getty Images eventually acquired its vast photo archives, but for decades, nobody had explored them until Pierre Vudrag, founder of the vintage photography and poster site, Limited Runs (http://www.limitedruns.com/) , decided to take a look. His selections from the archives are now featured in a traveling exhibition, “The Metronome Jazz Photo Collection,” which will be on display in New York and Chicago this fall.
jazz3 Left: Milt Hinton, 1950. Photographer: Mike Miller. Right: Lester Jumps In. Lester Young, 1944.
Courtesy of Limited Runs
“If you were a photographer shooting jazz, you had to get your stuff in the magazine. I don’t think they paid their photographers very well, but every major photographer whose work is identified today as a key player in jazz music, you see their work in Metronome,” Vudrag said.
Starting in 2013, Vudrag visited Getty’s downtown New York City office regularly to sift through rusty filing cabinets filled with tens of thousands of photos of jazz pioneers from the 1930s to the early 1960s. More than half of the photos in the exhibit are alternate shots that never made it in print. Others were only used in advertisements.
jazz1 Left: Billie Holiday performs at the Downbeat club in February 1947 in New York City. Right: Dizzy hangs with Bird. Dizzy Gillespie, 1940s.
Courtesy of Limited Runs
Many of the photographers weren’t credited in the magazine, and even after more than two years of research, Vudrag wasn’t able to identify many of the people behind the historically significant photos he uncovered. The photos capture the musicians in performance and in more casual settings.
“It wasn’t just glamorous. We try to show the other side: their everyday lives, their interactions with each other, the guys in the studio rehearsing and out on the streets,” Vudrag said.
jazz2 Left: The Collaborators. Duke Ellington and Billy Strayhorn, 1948. Photographer: Barry Kramer. Right: Welcome Home Ella. Ella Fitzgerald, 1952. Photographer: David B. Hecht.
Courtesy of Limited Runs
Among those photos are some of the most iconic images in jazz history, including Maurice Seymour’s portrait of the top hatted Duke Ellington. For that image, Vudrag could only find prints; Seymour burned most of his negatives, convinced that they’d never be worth anything. “We digitally scanned the photograph and tried to get it back to its original state. We ended up doing that for a number of the photos because the original negatives were lost,” he said.
Starting from an initial edit of 460 photos, Vudrag was eventually able to narrow down his selection to 27 favorites after a painstaking edit process. “I think what we put together is a great representation of what came out of that collection, but there’s so much work in that collection it could go on forever,” he said.
The exhibition will be on view Oct. 1–3 at 360 Design Space in New York and Oct. 8–10 at the Study Chicago in Chicago. Photos can also be purchased at Limited Runs (http://www.limitedruns.com/) .
jazz4 Left: Satchmo. Louis Armstrong, 1940s. Right: Dizzy Plays. Dizzy Gillespie, 1945. Photographer: Frank Kuchirchuk.
Courtesy of Limited Runs
Jordan G. Teicher writes about photography for Slate’s Behold blog. Follow him on Twitter (https://twitter.com/teicherj) .
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=768ec864e7) | 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=768ec864e7&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
Birdland Club to Open a Theater Next Spring – The New York Times
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/08/11/birdland-club-to-open-a-theater-next-spring/?emc=edit_tnt_20150811
By STEPHEN HOLDEN
** Birdland Club to Open a Theater Next Spring
————————————————————
The Birdland (http://www.birdlandjazz.com/) jazz club announced that the Birdland Theater, a 100-seat space that will occupy the lower level of the club at 315 West 44th Street in Manhattan, would open in the spring. The programming will include cabaret, jazz, dance, burlesque and comedy.
The theater will allow for the extension of the current “Broadway at Birdland” programming with more performances by Broadway stars and limited-run Off Broadway productions, said the club owner, Gianni Valenti. The theater will add new dressing rooms, bathrooms and backstage space.
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=df4afa7ab6) | 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=df4afa7ab6&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
Birdland Club to Open a Theater Next Spring – The New York Times
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/08/11/birdland-club-to-open-a-theater-next-spring/?emc=edit_tnt_20150811
By STEPHEN HOLDEN
** Birdland Club to Open a Theater Next Spring
————————————————————
The Birdland (http://www.birdlandjazz.com/) jazz club announced that the Birdland Theater, a 100-seat space that will occupy the lower level of the club at 315 West 44th Street in Manhattan, would open in the spring. The programming will include cabaret, jazz, dance, burlesque and comedy.
The theater will allow for the extension of the current “Broadway at Birdland” programming with more performances by Broadway stars and limited-run Off Broadway productions, said the club owner, Gianni Valenti. The theater will add new dressing rooms, bathrooms and backstage space.
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=df4afa7ab6) | 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=df4afa7ab6&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
▶ Chet Baker The Final Days – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=tKYtDgpdnPI
Very rare video and Much better treatment of Chet Baker as far as his trumpet playing and innate and natural talent than was Let’s Get Lost. Produced for Television in the Netherlands in the early 90’s it is the best look at the life career and the Final Days of Chet Baker.
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=0de3f7e039) | 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=0de3f7e039&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
▶ Chet Baker The Final Days – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=tKYtDgpdnPI
Very rare video and Much better treatment of Chet Baker as far as his trumpet playing and innate and natural talent than was Let’s Get Lost. Produced for Television in the Netherlands in the early 90’s it is the best look at the life career and the Final Days of Chet Baker.
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=0de3f7e039) | 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=0de3f7e039&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
R.I.P. Columbia House, mail-order music club to cease operations | Consequence of Sound
http://www.jazzpromoservices.com/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/
** R.I.P. Columbia House, mail-order music club to cease operations
————————————————————
Columbia-House-RIP-bankrupt
The rise of digital media has finally, but sadly, taken its toll on Columbia House (http://www.columbiahouse.com/) . The mail-order music club that once raked in as much as $1.4 billion in sales during its peak in the mid-’90s is calling it quits (http://www.latimes.com/business/la-fi-columbia-house-bankruptcy-20150810-story.html) for good. Its parent company, Filmed Entertainment. Inc., officially filed for Chapter 11 bankruptcy this week.
Columbia House — known for deals like 13 records for $1 — ceased its music operations in 2010 after more than 50 years of business, but proceeded to continue providing its customers with movies and TV series. Sales, however, never recovered, and in 2014, its yearly earnings totaled only $17 million.
(Read: Music Streaming for Dummies: A Consumer’s Guide (http://consequenceofsound.net/2015/07/music-streaming-for-dummies-a-consumers-guide/) )
The demise of Columbia House should come as no surprise, considering the proliferation of streaming services in both the music (TIDAL, Apple Music, Spotify) and film/TV industries (Netflix, Amazon, Hulu). In fact, last year marked the first time (http://consequenceofsound.net/2015/03/streaming-music-services-made-more-money-than-cd-sales-for-the-first-time-ever/) streaming music services made more money than CD sales; similarly, at one point, Spotify alone was worth more than the entire music industry (http://consequenceofsound.net/2015/04/spotify-is-now-worth-more-than-the-entire-music-industry/) .
(Editor’s note: For more on the inner-workings of Columbia House and the company’s unique business model, check out The A.V. Club’s fascinating roundtable interview (http://www.avclub.com/article/four-columbia-house-insiders-explain-shady-math-be-219964) with former employees.)
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbia-house/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbia-house-bw-magazine/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbiahouse_01/
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=a0420f3296) | 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=a0420f3296&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
R.I.P. Columbia House, mail-order music club to cease operations | Consequence of Sound
http://www.jazzpromoservices.com/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/
** R.I.P. Columbia House, mail-order music club to cease operations
————————————————————
Columbia-House-RIP-bankrupt
The rise of digital media has finally, but sadly, taken its toll on Columbia House (http://www.columbiahouse.com/) . The mail-order music club that once raked in as much as $1.4 billion in sales during its peak in the mid-’90s is calling it quits (http://www.latimes.com/business/la-fi-columbia-house-bankruptcy-20150810-story.html) for good. Its parent company, Filmed Entertainment. Inc., officially filed for Chapter 11 bankruptcy this week.
Columbia House — known for deals like 13 records for $1 — ceased its music operations in 2010 after more than 50 years of business, but proceeded to continue providing its customers with movies and TV series. Sales, however, never recovered, and in 2014, its yearly earnings totaled only $17 million.
(Read: Music Streaming for Dummies: A Consumer’s Guide (http://consequenceofsound.net/2015/07/music-streaming-for-dummies-a-consumers-guide/) )
The demise of Columbia House should come as no surprise, considering the proliferation of streaming services in both the music (TIDAL, Apple Music, Spotify) and film/TV industries (Netflix, Amazon, Hulu). In fact, last year marked the first time (http://consequenceofsound.net/2015/03/streaming-music-services-made-more-money-than-cd-sales-for-the-first-time-ever/) streaming music services made more money than CD sales; similarly, at one point, Spotify alone was worth more than the entire music industry (http://consequenceofsound.net/2015/04/spotify-is-now-worth-more-than-the-entire-music-industry/) .
(Editor’s note: For more on the inner-workings of Columbia House and the company’s unique business model, check out The A.V. Club’s fascinating roundtable interview (http://www.avclub.com/article/four-columbia-house-insiders-explain-shady-math-be-219964) with former employees.)
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbia-house/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbia-house-bw-magazine/
http://consequenceofsound.net/2015/08/r-i-p-columbia-house-mail-order-music-club-to-cease-operations/columbiahouse_01/
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=a0420f3296) | 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=a0420f3296&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
Yoshio Toyama and wife Keiko celebrate their long love affair with Satchmo, jazz and New Orleans | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/satchmofest/index.ssf/2015/08/yoshio_toyama_and_wife_keiko_c.html#incart_river
** Yoshio Toyama and wife Keiko celebrate their long love affair with Satchmo, jazz and New Orleans
————————————————————
By Sheila Stroup, The Times-Picayune (http://connect.nola.com/user/sstroup/posts.html)
Every year when Yoshio and Keiko Toyama come to New Orleans to perform at Satchmo Summerfest (http://www.nola.com/satchmofest/) , they arrive with Yoshio’s traditional jazz band, several members of their foundation, and gifts. This time was no different. As I waited for the presentation to begin in the band room at Landry-Walker High School, I checked out the horns and the banjo on the table.
Each one had the same message: “This instrument is donated by Wonderful World Jazz Foundation, Tokyo, Japan. A present to the children of New Orleans from jazz fans in Japan. To express our thanks for jazz, which New Orleans, Satchmo and your country have given us.”
That pretty much sums up what the Toyamas are all about.
I look forward to seeing them every summer. Yoshio Toyama and the Dixie Saints always put on a great show at the school, complete with a second-line. The kids love them, and the couple’s love for Louis Armstrong, jazz and New Orleans is boundless.
During this year’s festivities, Wilbert Rawlins, Landry-Walker’s band director, surprised the Toyamas with matching Landry-Walker letterman jackets.
“You always bring us presents,” he told them. “We want you to know we appreciate you.”
Yoshio put on his jacket and wore it through the rest of the program, the way he did the year Rawlins gave him an O. Perry Walker jacket (http://www.nola.com/music/index.ssf/2013/08/yoshio_and_keiko_toyama_happy.html) , before the two Algiers schools merged.
When he got up to speak, he told the audience about the first time he met Rawlins. It was in 2003 at Carver High School in the 9th Ward, where Rawlins was band director until the levees failed and the school flooded.
That year, the Wonderful World Jazz Foundation brought 39 shiny new instruments — everything from trumpets to tubas — to Rawlins’ band students.
Yoshio told us how surprised he’d been to see the raggedy condition of the instruments the Carver students were playing.
“All the valves on the horns were broken,” he said. “I was wondering how this could happen in the town that was the first to make the world swing. The whole world was captured by the music you made with Louis Armstrong.”
I remembered that day well, and I remembered the condition of the instruments. Many were held together with string and duct tape.
That August morning was the first time I heard Yoshio play his horn and sing in that gravely voice that pays homage to Louis Armstrong. And at that first presentation I could see that the Japanese trumpet player and the New Orleans band director shared a special bond: They were united by their belief that music could change, and even save, the lives of young people.
That was also when I first learned how the Toyamas had come to live in New Orleans and why they started the Wonderful World Jazz Foundation.
Their story begins in 1963 when they were college musicians. That year the eminent clarinetist George Lewis toured Japan with the Preservation Hall Jazz Band, and the young couple fell in love with his music.
“The band manager, Allan Jaffe, suggested that if we liked jazz so much we should come to New Orleans,” Yoshio said.
In 1968, after they’d graduated from college and married, they followed Jaffe’s advice and embarked on a wonderful adventure. They moved into a third-floor apartment on Bourbon Street above Sonny Vaucresson’s Cafe Creole.
“The window was broken, and at night you could hear the music coming from Preservation Hall,” Yoshio said.
Sounds of Yoshio practicing his trumpet and Keiko playing her banjo drifted down from the broken window, and Vaucresson told them if they’d play on the patio every evening, he’d pay them in dinners.
“So every day, we ate Creole food,” Yoshio said.
They stayed in New Orleans for five years, working as musicians and learning from the jazz masters at Preservation Hall, sometimes even sitting in with the band. Then they went home to Japan to play traditional jazz.
“Jazz is very well-loved in Japan,” Yoshio said.
When they came back to New Orleans for Mardi Gras 20 years later, they were upset to see high school bands marching with old battered horns and sad to learn that teenagers had guns. So they established the Wonderful World Jazz Foundation to put new musical instruments into teenagers’ hands instead.
“I was thinking, ‘When they get a trumpet, they might be like Louis Armstrong,'” Yoshio said.
Since then, they have brought more than 800 musical instruments to New Orleans schoolchildren and done many other good works for the city.
As I watched them second-line around the band room the morning before the start of this year’s Satchmo Summerfest, I thought how remarkable it was that their love affair with New Orleans has stayed so strong for 47 years.
“Everything we do here is about kids,” Rawlins told the audience at the end of the program, “and this great man and his wife from a whole other country help us in our struggles.”
That afternoon, I went with the Toyamas and their group to the grave of George Lewis. He is buried in the McDonoghville Cemetery in Gretna, and they go every year to pay homage to the clarinetist who made them dream of coming to New Orleans.
I wanted to go because of my dad. Lewis was one of his favorite performers. Every year he and my mom would escape the cold Illinois winter and spend a heavenly week in New Orleans. They’d go to Preservation Hall every night and bring home another record to tide them over until the next January.
I grew up with the music of Lewis and “Sweet Emma” Barrett drifting up from the front porch to my bedroom in the summer. One year when I was in college Dad brought home a poster with rows of Japanese writing at the top, a sketch of the Preservation Hall Jazz Band in the middle, and the words “George Lewis — New Orleans” at the bottom.
I didn’t realize it was a poster advertising one of Lewis’ tours in Japan until I met the Toyamas 40 years later.
At the gravesite, the Dixie Saints played “Just a Closer Walk with Thee” and then “Burgundy Street Blues,” one of Lewis’ most famous compositions. “The sweet soulful, beautiful sound from his clarinet will be forever more,” is written on his tombstone, and while we listened to those sweet, soulful clarinet notes, I was touched to see members of the foundation reach out to pull weeds and grass from the grave.
When we were leaving the cemetery, I learned that Yoshio and Keiko had been there when Lewis was buried on a rainy January morning in 1969 and that Keiko had played a banjo given to her by the widow of Lawrence Marrero, Lewis’ favorite banjo player.
“After he died, banjo players and collectors from all over the world were after that banjo, but she just didn’t want to let it go,” Yoshio said.
When Eloise Marrero learned that a young Japanese woman was in need of a banjo, though, she gave it to Keiko.
“Lawrence never made it to Japan with George, so she wanted the banjo to see Japan,” Yoshio said.
I followed the group across the river to West End, where the band played “The Old Rugged Cross” in honor of Yoshiro Suzuki, a fellow trumpet player who died in April.
“He loved Louis Armstrong very much, and he listened to Pop’s music in bed until he left us,” Yoshio said.
As the last notes of the hymn drifted away, Yoshio sprinkled his friend’s ashes in Lake Pontchartrain.
“Not all,” he said, smiling. “I save some for our riverboat cruise tonight.”
Before I said goodbye at the lakefront, I listened to the band play “West End Blues,” the song Armstrong recorded in 1928 that captured his genius.
“His jazz feeling, his swing, his blues feeling — everything was so far ahead of his time,” Yoshio said. “Pops laid out a line for horn players like Roy Eldridge and Dizzy Gillespie with the start of ‘West End Blues.'”
After leaving the Toyamas and their friends, I remembered it was supposed to rain that afternoon, but puffy white clouds drifted across a blue sky above the lake, and I knew Yoshio would think Pops had taken care of the weather.
The next time I talked to him was Monday morning, when the festival was over and he and his group of 30 were about to leave New Orleans. He’d been at Preservation Hall the night before for the Satchmo tribute.
“It was 47 years ago when we first went there,” he said. “All those memories came flooding back. I was just knocked out.”
It was hard for him to name the highlights of his visit.
“It was so many things,” he said. “Snug Harbor was packed when we played Friday night, and the same thing happened at the Old Mint. Everybody just went crazy for us. They were so warm and welcoming.”
Then Sunday morning he opened the Jazz Mass at St. Augustine Church with “What a Wonderful World.”
“People loved it. We just had so much fun,” he said.
I asked him if he was tired after four days of nonstop activity, and he said he was too happy and excited to sleep.
“This is a special festival with a lot of heart,” he said, “and we love giving back to the city where everybody was so kind to us when we were young.”
When I asked him about their cruise on the Steamship Natchez, he explained that it was raining at the start, and the Dukes of Dixieland were playing in the dining room.
“You have to be dining guests to sit in there,” he said. ” At first we were sitting outside with no band, so I was disappointed.”
But then the rain stopped, and at the end of the cruise the band came outside to play for the Japanese tourists.
“It became a big jam session, and we were having so much fun I almost forgot Yoshiro’s ashes,” he said.
When he remembered, he hurried to the other side of the boat and threw them into the Mississippi River.
“Just as they hit the water, fireworks went off in Algiers, and it was like his spirit was there with us,” Yoshio said. “This year our trip was perfect. Pops took care of everything.”
Contact Sheila Stroup at sstroup@bellsouth.ne (mailto:sstroup@bellsouth.ne) t.
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=4e1557f4d9) | 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=4e1557f4d9&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
Yoshio Toyama and wife Keiko celebrate their long love affair with Satchmo, jazz and New Orleans | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/satchmofest/index.ssf/2015/08/yoshio_toyama_and_wife_keiko_c.html#incart_river
** Yoshio Toyama and wife Keiko celebrate their long love affair with Satchmo, jazz and New Orleans
————————————————————
By Sheila Stroup, The Times-Picayune (http://connect.nola.com/user/sstroup/posts.html)
Every year when Yoshio and Keiko Toyama come to New Orleans to perform at Satchmo Summerfest (http://www.nola.com/satchmofest/) , they arrive with Yoshio’s traditional jazz band, several members of their foundation, and gifts. This time was no different. As I waited for the presentation to begin in the band room at Landry-Walker High School, I checked out the horns and the banjo on the table.
Each one had the same message: “This instrument is donated by Wonderful World Jazz Foundation, Tokyo, Japan. A present to the children of New Orleans from jazz fans in Japan. To express our thanks for jazz, which New Orleans, Satchmo and your country have given us.”
That pretty much sums up what the Toyamas are all about.
I look forward to seeing them every summer. Yoshio Toyama and the Dixie Saints always put on a great show at the school, complete with a second-line. The kids love them, and the couple’s love for Louis Armstrong, jazz and New Orleans is boundless.
During this year’s festivities, Wilbert Rawlins, Landry-Walker’s band director, surprised the Toyamas with matching Landry-Walker letterman jackets.
“You always bring us presents,” he told them. “We want you to know we appreciate you.”
Yoshio put on his jacket and wore it through the rest of the program, the way he did the year Rawlins gave him an O. Perry Walker jacket (http://www.nola.com/music/index.ssf/2013/08/yoshio_and_keiko_toyama_happy.html) , before the two Algiers schools merged.
When he got up to speak, he told the audience about the first time he met Rawlins. It was in 2003 at Carver High School in the 9th Ward, where Rawlins was band director until the levees failed and the school flooded.
That year, the Wonderful World Jazz Foundation brought 39 shiny new instruments — everything from trumpets to tubas — to Rawlins’ band students.
Yoshio told us how surprised he’d been to see the raggedy condition of the instruments the Carver students were playing.
“All the valves on the horns were broken,” he said. “I was wondering how this could happen in the town that was the first to make the world swing. The whole world was captured by the music you made with Louis Armstrong.”
I remembered that day well, and I remembered the condition of the instruments. Many were held together with string and duct tape.
That August morning was the first time I heard Yoshio play his horn and sing in that gravely voice that pays homage to Louis Armstrong. And at that first presentation I could see that the Japanese trumpet player and the New Orleans band director shared a special bond: They were united by their belief that music could change, and even save, the lives of young people.
That was also when I first learned how the Toyamas had come to live in New Orleans and why they started the Wonderful World Jazz Foundation.
Their story begins in 1963 when they were college musicians. That year the eminent clarinetist George Lewis toured Japan with the Preservation Hall Jazz Band, and the young couple fell in love with his music.
“The band manager, Allan Jaffe, suggested that if we liked jazz so much we should come to New Orleans,” Yoshio said.
In 1968, after they’d graduated from college and married, they followed Jaffe’s advice and embarked on a wonderful adventure. They moved into a third-floor apartment on Bourbon Street above Sonny Vaucresson’s Cafe Creole.
“The window was broken, and at night you could hear the music coming from Preservation Hall,” Yoshio said.
Sounds of Yoshio practicing his trumpet and Keiko playing her banjo drifted down from the broken window, and Vaucresson told them if they’d play on the patio every evening, he’d pay them in dinners.
“So every day, we ate Creole food,” Yoshio said.
They stayed in New Orleans for five years, working as musicians and learning from the jazz masters at Preservation Hall, sometimes even sitting in with the band. Then they went home to Japan to play traditional jazz.
“Jazz is very well-loved in Japan,” Yoshio said.
When they came back to New Orleans for Mardi Gras 20 years later, they were upset to see high school bands marching with old battered horns and sad to learn that teenagers had guns. So they established the Wonderful World Jazz Foundation to put new musical instruments into teenagers’ hands instead.
“I was thinking, ‘When they get a trumpet, they might be like Louis Armstrong,'” Yoshio said.
Since then, they have brought more than 800 musical instruments to New Orleans schoolchildren and done many other good works for the city.
As I watched them second-line around the band room the morning before the start of this year’s Satchmo Summerfest, I thought how remarkable it was that their love affair with New Orleans has stayed so strong for 47 years.
“Everything we do here is about kids,” Rawlins told the audience at the end of the program, “and this great man and his wife from a whole other country help us in our struggles.”
That afternoon, I went with the Toyamas and their group to the grave of George Lewis. He is buried in the McDonoghville Cemetery in Gretna, and they go every year to pay homage to the clarinetist who made them dream of coming to New Orleans.
I wanted to go because of my dad. Lewis was one of his favorite performers. Every year he and my mom would escape the cold Illinois winter and spend a heavenly week in New Orleans. They’d go to Preservation Hall every night and bring home another record to tide them over until the next January.
I grew up with the music of Lewis and “Sweet Emma” Barrett drifting up from the front porch to my bedroom in the summer. One year when I was in college Dad brought home a poster with rows of Japanese writing at the top, a sketch of the Preservation Hall Jazz Band in the middle, and the words “George Lewis — New Orleans” at the bottom.
I didn’t realize it was a poster advertising one of Lewis’ tours in Japan until I met the Toyamas 40 years later.
At the gravesite, the Dixie Saints played “Just a Closer Walk with Thee” and then “Burgundy Street Blues,” one of Lewis’ most famous compositions. “The sweet soulful, beautiful sound from his clarinet will be forever more,” is written on his tombstone, and while we listened to those sweet, soulful clarinet notes, I was touched to see members of the foundation reach out to pull weeds and grass from the grave.
When we were leaving the cemetery, I learned that Yoshio and Keiko had been there when Lewis was buried on a rainy January morning in 1969 and that Keiko had played a banjo given to her by the widow of Lawrence Marrero, Lewis’ favorite banjo player.
“After he died, banjo players and collectors from all over the world were after that banjo, but she just didn’t want to let it go,” Yoshio said.
When Eloise Marrero learned that a young Japanese woman was in need of a banjo, though, she gave it to Keiko.
“Lawrence never made it to Japan with George, so she wanted the banjo to see Japan,” Yoshio said.
I followed the group across the river to West End, where the band played “The Old Rugged Cross” in honor of Yoshiro Suzuki, a fellow trumpet player who died in April.
“He loved Louis Armstrong very much, and he listened to Pop’s music in bed until he left us,” Yoshio said.
As the last notes of the hymn drifted away, Yoshio sprinkled his friend’s ashes in Lake Pontchartrain.
“Not all,” he said, smiling. “I save some for our riverboat cruise tonight.”
Before I said goodbye at the lakefront, I listened to the band play “West End Blues,” the song Armstrong recorded in 1928 that captured his genius.
“His jazz feeling, his swing, his blues feeling — everything was so far ahead of his time,” Yoshio said. “Pops laid out a line for horn players like Roy Eldridge and Dizzy Gillespie with the start of ‘West End Blues.'”
After leaving the Toyamas and their friends, I remembered it was supposed to rain that afternoon, but puffy white clouds drifted across a blue sky above the lake, and I knew Yoshio would think Pops had taken care of the weather.
The next time I talked to him was Monday morning, when the festival was over and he and his group of 30 were about to leave New Orleans. He’d been at Preservation Hall the night before for the Satchmo tribute.
“It was 47 years ago when we first went there,” he said. “All those memories came flooding back. I was just knocked out.”
It was hard for him to name the highlights of his visit.
“It was so many things,” he said. “Snug Harbor was packed when we played Friday night, and the same thing happened at the Old Mint. Everybody just went crazy for us. They were so warm and welcoming.”
Then Sunday morning he opened the Jazz Mass at St. Augustine Church with “What a Wonderful World.”
“People loved it. We just had so much fun,” he said.
I asked him if he was tired after four days of nonstop activity, and he said he was too happy and excited to sleep.
“This is a special festival with a lot of heart,” he said, “and we love giving back to the city where everybody was so kind to us when we were young.”
When I asked him about their cruise on the Steamship Natchez, he explained that it was raining at the start, and the Dukes of Dixieland were playing in the dining room.
“You have to be dining guests to sit in there,” he said. ” At first we were sitting outside with no band, so I was disappointed.”
But then the rain stopped, and at the end of the cruise the band came outside to play for the Japanese tourists.
“It became a big jam session, and we were having so much fun I almost forgot Yoshiro’s ashes,” he said.
When he remembered, he hurried to the other side of the boat and threw them into the Mississippi River.
“Just as they hit the water, fireworks went off in Algiers, and it was like his spirit was there with us,” Yoshio said. “This year our trip was perfect. Pops took care of everything.”
Contact Sheila Stroup at sstroup@bellsouth.ne (mailto:sstroup@bellsouth.ne) t.
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=4e1557f4d9) | 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=4e1557f4d9&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
Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke to Debut at Toronto Film Fest : Classicalite
http://www.jazzpromoservices.com/
http://www.classicalite.com/articles/26376/20150807/chet-baker-biopic-born-blue-starring-ethan-hawke-debut-toronto-film-festival.htm
** Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke to Debut at Toronto Film Fest
————————————————————
Aug 07, 2015 02:52 PM EDT | Ian Holubiak (http://www.classicalite.com/reporters/ian-holubiak)
Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke Debuts at Toronto Film Fest
Ethan Hawke is coming off a hot year with a much cooler film that is set to debut at the Toronto Film Festival (http://www.theguardian.com/film/2015/aug/05/ethan-hawke-and-ellen-page-films-added-to-toronto-film-festival-lineup) . Born to Be Blue, which features Ethan Hawke as the studded trumpeter-vocalist, Chet Baker, will premiere at the festival in September.
Like Us on Facebook (https://www.facebook.com/Classicalite)
Robert Budreau’s biopic of Baker takes a different path than most movies in a similar vein. Blue is considered a “reimagining” of the trumpeters life in the 1960s. Hawke even went insofar as to say that the film is “not what was, but what could have been.”
Whatever that means, the film also stars Selma’s Carmen Ejogo as Baker’s partner and Callum Keith Rennie from 50 Shades of Grey.
The film is written and directed by the Canadian filmmaker Robert Budreau whose resume of movies includes Dream Recording with jazz pianist David Braid and an earlier short about Baker called The Deaths of Chet Baker.
It has also been reported (http://www.classicalite.com/articles/12519/20141101/ethan-hawke-to-play-chet-baker-in-new-biopic-born-to-be-blue-directed-by-robert-budreau.htm) that the story will chart Baker’s 1970s resurgence, tumultuous love affair and ultimate recovery from a period of self-destruction.
Other films announced recently that will also premiere at the festival are Patricia Rozema’s Into the Forest, which stars Ellen Page and Evan Rachel Wood, Avi Lewis’ documentary This Changes Everything and many more.
The festival is gearing up to be a melting pot of visual art for the fall. Hopefully, Baker’s latest tribute (http://variety.com/2015/film/news/toronto-film-festival-born-to-be-blue-into-the-forest-1201556975/) will receive enough accolades to keep it at the forefront and thus, keep the spirit of jazz a mainstream ideal.
The 40th Toronto International Festival runs from Sept. 10-20.
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=9ef5ca4678) | 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=9ef5ca4678&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
Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke to Debut at Toronto Film Fest : Classicalite
http://www.jazzpromoservices.com/
http://www.classicalite.com/articles/26376/20150807/chet-baker-biopic-born-blue-starring-ethan-hawke-debut-toronto-film-festival.htm
** Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke to Debut at Toronto Film Fest
————————————————————
Aug 07, 2015 02:52 PM EDT | Ian Holubiak (http://www.classicalite.com/reporters/ian-holubiak)
Chet Baker Biopic ‘Born to Be Blue’ Starring Ethan Hawke Debuts at Toronto Film Fest
Ethan Hawke is coming off a hot year with a much cooler film that is set to debut at the Toronto Film Festival (http://www.theguardian.com/film/2015/aug/05/ethan-hawke-and-ellen-page-films-added-to-toronto-film-festival-lineup) . Born to Be Blue, which features Ethan Hawke as the studded trumpeter-vocalist, Chet Baker, will premiere at the festival in September.
Like Us on Facebook (https://www.facebook.com/Classicalite)
Robert Budreau’s biopic of Baker takes a different path than most movies in a similar vein. Blue is considered a “reimagining” of the trumpeters life in the 1960s. Hawke even went insofar as to say that the film is “not what was, but what could have been.”
Whatever that means, the film also stars Selma’s Carmen Ejogo as Baker’s partner and Callum Keith Rennie from 50 Shades of Grey.
The film is written and directed by the Canadian filmmaker Robert Budreau whose resume of movies includes Dream Recording with jazz pianist David Braid and an earlier short about Baker called The Deaths of Chet Baker.
It has also been reported (http://www.classicalite.com/articles/12519/20141101/ethan-hawke-to-play-chet-baker-in-new-biopic-born-to-be-blue-directed-by-robert-budreau.htm) that the story will chart Baker’s 1970s resurgence, tumultuous love affair and ultimate recovery from a period of self-destruction.
Other films announced recently that will also premiere at the festival are Patricia Rozema’s Into the Forest, which stars Ellen Page and Evan Rachel Wood, Avi Lewis’ documentary This Changes Everything and many more.
The festival is gearing up to be a melting pot of visual art for the fall. Hopefully, Baker’s latest tribute (http://variety.com/2015/film/news/toronto-film-festival-born-to-be-blue-into-the-forest-1201556975/) will receive enough accolades to keep it at the forefront and thus, keep the spirit of jazz a mainstream ideal.
The 40th Toronto International Festival runs from Sept. 10-20.
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=9ef5ca4678) | 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=9ef5ca4678&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
Terence Blanchard Feat. The E-Collective: Tiny Desk Concert : NPR
http://www.jazzpromoservices.com/
http://www.npr.org/event/music/429766653/terence-blanchard-feat-the-e-collective-tiny-desk-concert?utm_source=npr_newsletter
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=11cbcf617a) | 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=11cbcf617a&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