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Robert Martin pleads guilty in death of Savannah jazz legend, Be – WTOC-TV: Savannah, Beaufort, SC, News, Weather
http://www.jazzpromoservices.com/
http://www.wtoc.com/story/29624602/robert-martin-pleads-guilty-in-death-of-savannah-jazz-legend-ben-tucker
Posted: Jul 24, 2015 9:51 AM EDTUpdated: Jul 24, 2015 6:55 PM EDT
By Elizabeth Rawlins
** Robert Martin pleads guilty in death of Savannah jazz legend, Ben Tucker
————————————————————
SAVANNAH, GA (WTOC) –
The man charged with the death of local jazz legend, Ben Tucker, has been sentenced to five years’ probation.
Robert Martin pleaded guilty to vehicular homicide in court on Friday. He was charged with vehicular homicide in the first degree for the June 2013 crash that killed Tucker. Prosecutors say Martin was speeding along Grand Prize of America Avenue on Hutchinson Island when he collided with Tucker’s golf cart.
Martin, a Texas native, was in Savannah for a conference at the time of the incident. He has no prior criminal record and was not under the influence of drugs or alcohol at the time of the crash. Investigators say Martin was testing out the track on Hutchinson Island when the crash happened. Data from his car showed he was traveling at 97 miles-per-hour two seconds prior to hitting Tucker.
Even though Martin takes the responsibility of the crash, the defense says it is not entirely his fault because the road should have been blocked off
At one time, there were big plans for the area, including for the road to be a racetrack, but it was a flop. The area was supposed to be secured to prevent situations like the one in question, but it wasn’t.
“This could happen to anyone, judge, and it’s happened to Mr. Martin,” the defense said.
Little did Martin know, he was about be on a ride that would change his family’s and the Tucker family’s lives.
Investigators say he takes full responsibility for his decision. But, the defense argues that the track should have been blocked off, because it had already been deemed unsafe for several reasons.
Defense: “Is there a speed limit sign posted anywhere on grand prize avenue?”
“No sir, there’s not,” replied Terry Shook, Savannah-Chatham Metro Police Department.
D: “Is there any marking on the track indicating that there’s a crossing for golf carts, to warn a driver to watch out?”
TS, SCMPD: “No sir.
In fact, the defense showed the judge that there is a designated cart path for all golf carts to use that runs underneath the track, because according to the law, golf carts should not be on the road — a combination of what the defense says was unfortunate circumstances that lead to this tragedy.
Tucker’s wife took the stand, describing the love of her life, who was taken from her so suddenly, two years ago.
“His death left a huge whole in my life,” said Gloria Tucker. “He’ll never walk through the door again. He’ll never kiss me hello. I didn’t have the chance to say goodbye.”
Robert Martin got very emotional when he took the stand himself.
I relive it everyday…it’s not easy to talk about,” he said.
Martin is a father of four, and until Friday, was unsure if he would be around to help finish raising his children. But regardless, he knew he would live with this the rest of his life, while others live without Ben Tucker.
“I’d like to apologize to Savannah and the icon that was lost here. I didn’t know Mr. Tucker prior to coming here,” Martin said.
A civil lawsuit has been filed regarding who is responsible for keeping the area safe and blocked off.
Martin could have faced anywhere from three to 15 years.
Copyright 2015 WTOC (http://www.wtoc.com/) . All rights reserved.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Don Cheadle-Helmed ‘Miles Ahead’ To Close New York Film Festival | Deadline
http://www.jazzpromoservices.com/
http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/
The Film Society of Lincoln Center announced today that Don Cheadle (http://deadline.com/tag/don-cheadle/) ’s directorial debut Miles Ahead (http://deadline.com/tag/miles-ahead/) will make its World Premiere as the Closing Night selection of the upcoming 53rd New York Film Festival (http://deadline.com/tag/new-york-film-festival/) (September 25 – October 11). Cheadle, who co-wrote the script, stars as the legendary musician opposite Emayatzy Corinealdi and Ewan McGregor.
Related (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival To Open With Robert Zemeckis 3D Philippe Petit World Trade Center… (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival Director andMiles Ahead Poster NYFF Selection Committee Chair Kent Jones said: “I admire Don’s film because of all the intelligent decisions he’s made about how to deal with Miles, but I was moved—deeply moved—by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles’ music, that intelligent decisions and well-planned strategies only get you so far, that finally it’s your own commitment and attention to every moment and every detail that brings a movie to life. ‘There is no longer much else but ourselves, in the place given us,’ wrote the poet Robert Creeley. ‘To make that present, and actual … is not an embarrassment, but love.’ That’s the core of art. Miles Davis knew it, and Don Cheadle knows it.”
“I am happy that the selection committee saw fit to invite us to the dance,” added Cheadle. It’s very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles’ music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him. Alice Tully Hall, Lincoln Center… feels very ‘right place, right time.’ Very exciting.”
RECENT COMMENTS
ADD COMMENT (http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/#comments)
3 People Commenting
Sterling Z
3 days
Congratulations to Cheadle et al for finally getting this made after many, many stalled attempts over the…
Oh Hai
3 days
So there’s no distributor for the film yet?
Trevan
3 days
Yeah!!
The film chronicles Davis, one of the greatest artists of the 20th century, through his crazy days in the late ’70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and fiending for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi)
Ewan MacGregor plays Dave Brill, the “reporter” who cons his way into Miles’ apartment. The film was produced by Don Cheadle, Pamela Hirsch, Lenore Zerman. Along with Daniel Wagner, Robert Barnum, Vince Willburn and Daryl Porter.
The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.
NYFF previously announced Robert Zemeckis’s The Walk as the Opening Night selection and Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler, the first-ever complete dual retrospective of the experimental filmmakers.
Subscribe to Deadline Breaking News Alerts (http://pages.email.deadline.com/signup) and keep your inbox 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=03eceb2395) | 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=03eceb2395&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 Cheadle-Helmed ‘Miles Ahead’ To Close New York Film Festival | Deadline
http://www.jazzpromoservices.com/
http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/
The Film Society of Lincoln Center announced today that Don Cheadle (http://deadline.com/tag/don-cheadle/) ’s directorial debut Miles Ahead (http://deadline.com/tag/miles-ahead/) will make its World Premiere as the Closing Night selection of the upcoming 53rd New York Film Festival (http://deadline.com/tag/new-york-film-festival/) (September 25 – October 11). Cheadle, who co-wrote the script, stars as the legendary musician opposite Emayatzy Corinealdi and Ewan McGregor.
Related (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival To Open With Robert Zemeckis 3D Philippe Petit World Trade Center… (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival Director andMiles Ahead Poster NYFF Selection Committee Chair Kent Jones said: “I admire Don’s film because of all the intelligent decisions he’s made about how to deal with Miles, but I was moved—deeply moved—by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles’ music, that intelligent decisions and well-planned strategies only get you so far, that finally it’s your own commitment and attention to every moment and every detail that brings a movie to life. ‘There is no longer much else but ourselves, in the place given us,’ wrote the poet Robert Creeley. ‘To make that present, and actual … is not an embarrassment, but love.’ That’s the core of art. Miles Davis knew it, and Don Cheadle knows it.”
“I am happy that the selection committee saw fit to invite us to the dance,” added Cheadle. It’s very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles’ music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him. Alice Tully Hall, Lincoln Center… feels very ‘right place, right time.’ Very exciting.”
RECENT COMMENTS
ADD COMMENT (http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/#comments)
3 People Commenting
Sterling Z
3 days
Congratulations to Cheadle et al for finally getting this made after many, many stalled attempts over the…
Oh Hai
3 days
So there’s no distributor for the film yet?
Trevan
3 days
Yeah!!
The film chronicles Davis, one of the greatest artists of the 20th century, through his crazy days in the late ’70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and fiending for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi)
Ewan MacGregor plays Dave Brill, the “reporter” who cons his way into Miles’ apartment. The film was produced by Don Cheadle, Pamela Hirsch, Lenore Zerman. Along with Daniel Wagner, Robert Barnum, Vince Willburn and Daryl Porter.
The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.
NYFF previously announced Robert Zemeckis’s The Walk as the Opening Night selection and Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler, the first-ever complete dual retrospective of the experimental filmmakers.
Subscribe to Deadline Breaking News Alerts (http://pages.email.deadline.com/signup) and keep your inbox 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=03eceb2395) | 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=03eceb2395&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 Cheadle-Helmed ‘Miles Ahead’ To Close New York Film Festival | Deadline
http://www.jazzpromoservices.com/
http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/
The Film Society of Lincoln Center announced today that Don Cheadle (http://deadline.com/tag/don-cheadle/) ’s directorial debut Miles Ahead (http://deadline.com/tag/miles-ahead/) will make its World Premiere as the Closing Night selection of the upcoming 53rd New York Film Festival (http://deadline.com/tag/new-york-film-festival/) (September 25 – October 11). Cheadle, who co-wrote the script, stars as the legendary musician opposite Emayatzy Corinealdi and Ewan McGregor.
Related (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival To Open With Robert Zemeckis 3D Philippe Petit World Trade Center… (http://deadline.com/2015/06/the-walk-new-york-film-festival-premiere-philippe-petit-robert-zemeckis-3d-joseph-gordon-levitt-sony-pictures-world-trade-center-1201437763/)
New York Film Festival Director andMiles Ahead Poster NYFF Selection Committee Chair Kent Jones said: “I admire Don’s film because of all the intelligent decisions he’s made about how to deal with Miles, but I was moved—deeply moved—by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles’ music, that intelligent decisions and well-planned strategies only get you so far, that finally it’s your own commitment and attention to every moment and every detail that brings a movie to life. ‘There is no longer much else but ourselves, in the place given us,’ wrote the poet Robert Creeley. ‘To make that present, and actual … is not an embarrassment, but love.’ That’s the core of art. Miles Davis knew it, and Don Cheadle knows it.”
“I am happy that the selection committee saw fit to invite us to the dance,” added Cheadle. It’s very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles’ music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him. Alice Tully Hall, Lincoln Center… feels very ‘right place, right time.’ Very exciting.”
RECENT COMMENTS
ADD COMMENT (http://deadline.com/2015/07/don-cheadle-miles-ahead-closing-new-york-film-festival-1201483426/#comments)
3 People Commenting
Sterling Z
3 days
Congratulations to Cheadle et al for finally getting this made after many, many stalled attempts over the…
Oh Hai
3 days
So there’s no distributor for the film yet?
Trevan
3 days
Yeah!!
The film chronicles Davis, one of the greatest artists of the 20th century, through his crazy days in the late ’70s. Holed up in his Manhattan apartment, wracked with pain from a variety of ailments and fiending for the next check from his record company, dodging sycophants and industry executives, he is haunted by memories of old glories and humiliations and of his years with his great love Frances Taylor (Emayatzy Corinealdi)
Ewan MacGregor plays Dave Brill, the “reporter” who cons his way into Miles’ apartment. The film was produced by Don Cheadle, Pamela Hirsch, Lenore Zerman. Along with Daniel Wagner, Robert Barnum, Vince Willburn and Daryl Porter.
The selection committee, chaired by Jones, also includes Dennis Lim, FSLC Director of Programming; Marian Masone, FSLC Senior Programming Advisor; Gavin Smith, Editor-in-Chief, Film Comment; and Amy Taubin, Contributing Editor, Film Comment and Sight & Sound.
NYFF previously announced Robert Zemeckis’s The Walk as the Opening Night selection and Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler, the first-ever complete dual retrospective of the experimental filmmakers.
Subscribe to Deadline Breaking News Alerts (http://pages.email.deadline.com/signup) and keep your inbox 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=03eceb2395) | 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=03eceb2395&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
Jazz at Saint Peter’s: August 2015
http://www.jazzpromoservices.com/
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AUG.
2015 ISSUE
No. 1
UPCOMING JAZZ EVENTS
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
It’s a summer full of jazz programming at Saint Peter’s! Here’s a list of what’s going on in August. More detail about each event will be added to the Saint Peter’s website (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rERZOY6o46HinCxG_y6K4NKze5eLU66mC2JJ4DJ3v4Ry21_HaE4FLCjk8DBM25vXdy7IXTJuq7lLOhwNGHxQzVPgsrBs5dAFR3AlyqTVCp9_WgjZVdVf9SiadV7OD_XEcbcZ5zP-SBGTqv1MUzJmWJttWJPtf_Jyi4w==&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==) in the coming weeks. Pictured above: Noah Baerman’s Resonance Ensemble at Jazz Vespers on June 28.
Sunday, August 2, 5:00 p.m. (Jazz Vespers)
Vivian Sessoms
Wednesday, August 5, 1:00 p.m. (Midday Jazz Midtown)
Marion Cowings & Ilya Lushtak
Thursday, August 6, 12:30 p.m. (Jazz on the Plaza)
Luis Perdomo and Controlling Ear Unit
Sunday, August 9, 5:00 p.m. (Jazz Vespers)
Benje Daneman’s Search Party
Wednesday, August 12, 1:00 p.m. (Midday Jazz Midtown)
Carrie Jackson & Noriko Kamo
Thursday, August 13, 12:30 p.m. (Jazz on the Plaza)
Nicki Parrott Quartet
Sunday, August 16, 5:00 p.m. (Jazz Vespers)
Kirk Knuffke / Mark Helias / Bill Goodwin
Wednesday, August 19, 1:00 p.m. (Midday Jazz Midtown)
Peter Mintun
Thursday, August 20, 12:30 p.m. (Jazz on the Plaza)
Warren Wolf & Wolfpack
Sunday, August 23, 5:00 p.m. (Jazz Vespers)
Ken Simon Quartet
Wednesday, August 26, 1:00 p.m. (Midday Jazz Midtown)
Lincoln Mayorga Trio
Thursday, August 27, 12:30 p.m. (Jazz on the Plaza)
Cynthia Sayer and Her Sparks Fly Quartet
Sunday, August 30, 5:00 p.m. (Jazz Vespers)
Kris Allen Quartet
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Jazz on the Plaza is a concert series presented by Midtown Arts Common and Saint Peter’s Church with the generous support of Boston Properties, The Grand Central Partnership, and the Coca Cola Company. Concerts are held on the outdoor plaza at Lexington Ave & 53rd Street and are FREE.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi
https://www.facebook.com/saintpetersjazz (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEZIv8DvGtvhrBpfPsHzN1pRX_6h0erJSqd3vyqBJkm_fLCSDwa_Wczf0GI5iNYuW_PZj-f51XZ5TwQXd1dgsQIJ3KCK_zz6FUiYByTeA46Z2RysbRuJoiHPlbjNCY-uuQokh4yuJXVmi&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
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=fc98262cd7) | 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=fc98262cd7&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz at Saint Peter’s: August 2015
http://www.jazzpromoservices.com/
Having trouble viewing this email? Click here (http://campaign.r20.constantcontact.com/render?ca=28448428-90f4-4c29-944c-f96937f4a7ff&c=d399ba90-ddc5-11e3-92da-d4ae52806905&ch=d3efa2c0-ddc5-11e3-932b-d4ae52806905)
AUG.
2015 ISSUE
No. 1
UPCOMING JAZZ EVENTS
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
It’s a summer full of jazz programming at Saint Peter’s! Here’s a list of what’s going on in August. More detail about each event will be added to the Saint Peter’s website (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rERZOY6o46HinCxG_y6K4NKze5eLU66mC2JJ4DJ3v4Ry21_HaE4FLCjk8DBM25vXdy7IXTJuq7lLOhwNGHxQzVPgsrBs5dAFR3AlyqTVCp9_WgjZVdVf9SiadV7OD_XEcbcZ5zP-SBGTqv1MUzJmWJttWJPtf_Jyi4w==&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==) in the coming weeks. Pictured above: Noah Baerman’s Resonance Ensemble at Jazz Vespers on June 28.
Sunday, August 2, 5:00 p.m. (Jazz Vespers)
Vivian Sessoms
Wednesday, August 5, 1:00 p.m. (Midday Jazz Midtown)
Marion Cowings & Ilya Lushtak
Thursday, August 6, 12:30 p.m. (Jazz on the Plaza)
Luis Perdomo and Controlling Ear Unit
Sunday, August 9, 5:00 p.m. (Jazz Vespers)
Benje Daneman’s Search Party
Wednesday, August 12, 1:00 p.m. (Midday Jazz Midtown)
Carrie Jackson & Noriko Kamo
Thursday, August 13, 12:30 p.m. (Jazz on the Plaza)
Nicki Parrott Quartet
Sunday, August 16, 5:00 p.m. (Jazz Vespers)
Kirk Knuffke / Mark Helias / Bill Goodwin
Wednesday, August 19, 1:00 p.m. (Midday Jazz Midtown)
Peter Mintun
Thursday, August 20, 12:30 p.m. (Jazz on the Plaza)
Warren Wolf & Wolfpack
Sunday, August 23, 5:00 p.m. (Jazz Vespers)
Ken Simon Quartet
Wednesday, August 26, 1:00 p.m. (Midday Jazz Midtown)
Lincoln Mayorga Trio
Thursday, August 27, 12:30 p.m. (Jazz on the Plaza)
Cynthia Sayer and Her Sparks Fly Quartet
Sunday, August 30, 5:00 p.m. (Jazz Vespers)
Kris Allen Quartet
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Jazz on the Plaza is a concert series presented by Midtown Arts Common and Saint Peter’s Church with the generous support of Boston Properties, The Grand Central Partnership, and the Coca Cola Company. Concerts are held on the outdoor plaza at Lexington Ave & 53rd Street and are FREE.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi
https://www.facebook.com/saintpetersjazz (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEZIv8DvGtvhrBpfPsHzN1pRX_6h0erJSqd3vyqBJkm_fLCSDwa_Wczf0GI5iNYuW_PZj-f51XZ5TwQXd1dgsQIJ3KCK_zz6FUiYByTeA46Z2RysbRuJoiHPlbjNCY-uuQokh4yuJXVmi&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
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=fc98262cd7) | 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=fc98262cd7&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz at Saint Peter’s: August 2015
http://www.jazzpromoservices.com/
Having trouble viewing this email? Click here (http://campaign.r20.constantcontact.com/render?ca=28448428-90f4-4c29-944c-f96937f4a7ff&c=d399ba90-ddc5-11e3-92da-d4ae52806905&ch=d3efa2c0-ddc5-11e3-932b-d4ae52806905)
AUG.
2015 ISSUE
No. 1
UPCOMING JAZZ EVENTS
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
It’s a summer full of jazz programming at Saint Peter’s! Here’s a list of what’s going on in August. More detail about each event will be added to the Saint Peter’s website (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rERZOY6o46HinCxG_y6K4NKze5eLU66mC2JJ4DJ3v4Ry21_HaE4FLCjk8DBM25vXdy7IXTJuq7lLOhwNGHxQzVPgsrBs5dAFR3AlyqTVCp9_WgjZVdVf9SiadV7OD_XEcbcZ5zP-SBGTqv1MUzJmWJttWJPtf_Jyi4w==&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==) in the coming weeks. Pictured above: Noah Baerman’s Resonance Ensemble at Jazz Vespers on June 28.
Sunday, August 2, 5:00 p.m. (Jazz Vespers)
Vivian Sessoms
Wednesday, August 5, 1:00 p.m. (Midday Jazz Midtown)
Marion Cowings & Ilya Lushtak
Thursday, August 6, 12:30 p.m. (Jazz on the Plaza)
Luis Perdomo and Controlling Ear Unit
Sunday, August 9, 5:00 p.m. (Jazz Vespers)
Benje Daneman’s Search Party
Wednesday, August 12, 1:00 p.m. (Midday Jazz Midtown)
Carrie Jackson & Noriko Kamo
Thursday, August 13, 12:30 p.m. (Jazz on the Plaza)
Nicki Parrott Quartet
Sunday, August 16, 5:00 p.m. (Jazz Vespers)
Kirk Knuffke / Mark Helias / Bill Goodwin
Wednesday, August 19, 1:00 p.m. (Midday Jazz Midtown)
Peter Mintun
Thursday, August 20, 12:30 p.m. (Jazz on the Plaza)
Warren Wolf & Wolfpack
Sunday, August 23, 5:00 p.m. (Jazz Vespers)
Ken Simon Quartet
Wednesday, August 26, 1:00 p.m. (Midday Jazz Midtown)
Lincoln Mayorga Trio
Thursday, August 27, 12:30 p.m. (Jazz on the Plaza)
Cynthia Sayer and Her Sparks Fly Quartet
Sunday, August 30, 5:00 p.m. (Jazz Vespers)
Kris Allen Quartet
Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
Jazz Vespers is for the nourishment of mind, body and soul. All are welcome!
Jazz on the Plaza is a concert series presented by Midtown Arts Common and Saint Peter’s Church with the generous support of Boston Properties, The Grand Central Partnership, and the Coca Cola Company. Concerts are held on the outdoor plaza at Lexington Ave & 53rd Street and are FREE.
PARKING
Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)
Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.
Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!
http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi
https://www.facebook.com/saintpetersjazz (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEZIv8DvGtvhrBpfPsHzN1pRX_6h0erJSqd3vyqBJkm_fLCSDwa_Wczf0GI5iNYuW_PZj-f51XZ5TwQXd1dgsQIJ3KCK_zz6FUiYByTeA46Z2RysbRuJoiHPlbjNCY-uuQokh4yuJXVmi&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0010-JYQe0CtqaJsU34MWdbNK7ESVteY-lcBdojdkZk9ApHMtoMLe-rEfwvWDKRX69mFaMBkYSEwJLjEDgbQqTun-tHwHfCZIO5YLZZx_QWdfUUWLNz4idUsLxqBoUIVYv3Ihd4gdvaGo2SeGtxN-SJO_ObyPHM0giG6MSfmWycBb0=&c=7vSxAIwaxxxLo5zVfp_raXtL8_vBBw9mgL8RuAOQeIIXxHHsd564Sw==&ch=2qLVIphfwlT4e6qXuzRE8r9EjERAVXheslCZfbI2_EJJTckE_rA2Mw==)
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=fc98262cd7) | 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=fc98262cd7&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
6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy – Culture – Forward.com
http://www.jazzpromoservices.com/
http://forward.com/culture/316213/6-yiddish-idioms-you-didnt-know-were-in-popular-music/
Hilary Saunders (http://forward.com/author/hilary-saunders/) July 23, 2015
** 6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy
————————————————————
It’s astounding how much Yiddish has infiltrated today’s popular culture. From classic musicals like “Fiddler on the Roof” to sitcoms like Seinfeld, some words and phrases of Ashkenazi Jews’ native tongue have become Americanized, naturalized, and sometimes clichéd.
So, when Public Enemy released its latest album, “Man Plans, God Laughs,” emblazoned with such an obvious Yiddish proverb (http://www.jewishjournal.com/culture/article/believe_the_hype_new_public_enemy_album_named_for_yiddish_proverb) , we decided to investigate. Here are six Yiddish idioms that classic and modern musicians across major genres have invoked their work.
1) Man Plans, God Laughs
Transliteration: Der mentsh trakht un got lakht
Famed hip-hop group Public Enemy released its 15th LP, Man Plans, God Laughs, last week. Although rapper and producer Chuck D has said that Kendrick Lamar and Run the Jewels inspired this record, we know that the title is actually a Yiddish proverb. Whether intentional or not, the connection seems fitting: Public Enemy still represents the pinnacle of political rap and Yiddish sayings often comment on such issues as well.
00:00 00:00
2) Mazel Tov
Transliteration: Mazal tov
This obvious, congratulatory phrase has already breached most forms of mass cultural consumption. But this 2009 Grammy award-winning track from The Black Eyed Peas integrated an exclamatory “Mazel tov!” so flawlessly into the middle of “I Gotta Feeling” that the song has since become a mainstay at all bar and bat mitzvahs and Jewish weddings until the end of time. Plus, it’s like The Peas even knew about Pesach’s four cups of wine, as the Yiddish exclamation comes right after the line about “Fill up my cup.”
Extra Listening: Jay-Z & Kanye West also used recently the phrase in “New Day” from 2011’s Watch The Throne, rapping, “So at thirteen we’ll have our first drink together / Black bar mitzvahs, mazel tov, mogul talk.”
00:00 00:00
3) Walls Have Ears
Transliteration: Vent hobn oyern
Many have researched and analyzed Elvis Presley’s relationship with Judaism (http://forward.com/culture/205079/how-elvis-presley-missed-his-true-calling-%C2%A0as-a/) . It’s been rumored that his mother was part Jewish and part Native America, and the King was often spotted sporting a Chai or Star of David necklace. In 1962, Elvis recorded ‘The Walls Have Ears” for his film Girls! Girls! Girls! The title refers to a Yiddish phrase that warns someone is always listening.
Extra Listening: A Sonic Youth bootleg, unapproved by the band, was released in 1986 by this name.
00:00 00:00
4) Still Water Runs Deep
Transliteration: Shtil vaser grobt tif
The origin of this phrase is debated (some say Italian/Latin, other say Shakespearian.), the Yiddish version still offers a cautious admonition of the roiling emotions that can hide beneath a calm exterior. Detroit soul group The Four Tops made this idiom famous in 1970, with its Hitsville USA record Still Waters Run Deep and chart topping single “Still Water (Love).”
00:00 00:00
5) Either All Or Nothing
Transliteration: Oder gor oder gornisht
Although quite a common turn of phrase in pop culture today, one of the most groundbreaking uses came from Arthur Altman and Jack Lawrence’s 1939 composition “All or Nothing At All.” But it wasn’t until 1943 until consummate crooner Frank Sinatra made the song a smash, when Columbia Records re-released his vocal version. Since then, other famous musicians including Chet Baker, John Coltrane, Diana Krall, and Sarah Vaughan have all covered “All or Nothing At All.”
00:00 00:00
6) Jack of All Trades, Master of None
Transliteration: Fil meloches, vainik broches
Diana Krall actually channeled another Yiddish phrase on her 1997 album Love Scenes. She chastises a potential love interest with this saying in each chorus, revisiting the shame of his lack of excellence brings. While some have argued that this figure of speech was originally two separate phrases, the Yiddish version usually links them together.
Extra Listening: Dream pop duo Beach House shortened the idiom to just “Master of None” and on their eponymous debut album in 2006.
00:00 00:00
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=1f858d7bd1) | 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=1f858d7bd1&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
6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy – Culture – Forward.com
http://www.jazzpromoservices.com/
http://forward.com/culture/316213/6-yiddish-idioms-you-didnt-know-were-in-popular-music/
Hilary Saunders (http://forward.com/author/hilary-saunders/) July 23, 2015
** 6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy
————————————————————
It’s astounding how much Yiddish has infiltrated today’s popular culture. From classic musicals like “Fiddler on the Roof” to sitcoms like Seinfeld, some words and phrases of Ashkenazi Jews’ native tongue have become Americanized, naturalized, and sometimes clichéd.
So, when Public Enemy released its latest album, “Man Plans, God Laughs,” emblazoned with such an obvious Yiddish proverb (http://www.jewishjournal.com/culture/article/believe_the_hype_new_public_enemy_album_named_for_yiddish_proverb) , we decided to investigate. Here are six Yiddish idioms that classic and modern musicians across major genres have invoked their work.
1) Man Plans, God Laughs
Transliteration: Der mentsh trakht un got lakht
Famed hip-hop group Public Enemy released its 15th LP, Man Plans, God Laughs, last week. Although rapper and producer Chuck D has said that Kendrick Lamar and Run the Jewels inspired this record, we know that the title is actually a Yiddish proverb. Whether intentional or not, the connection seems fitting: Public Enemy still represents the pinnacle of political rap and Yiddish sayings often comment on such issues as well.
00:00 00:00
2) Mazel Tov
Transliteration: Mazal tov
This obvious, congratulatory phrase has already breached most forms of mass cultural consumption. But this 2009 Grammy award-winning track from The Black Eyed Peas integrated an exclamatory “Mazel tov!” so flawlessly into the middle of “I Gotta Feeling” that the song has since become a mainstay at all bar and bat mitzvahs and Jewish weddings until the end of time. Plus, it’s like The Peas even knew about Pesach’s four cups of wine, as the Yiddish exclamation comes right after the line about “Fill up my cup.”
Extra Listening: Jay-Z & Kanye West also used recently the phrase in “New Day” from 2011’s Watch The Throne, rapping, “So at thirteen we’ll have our first drink together / Black bar mitzvahs, mazel tov, mogul talk.”
00:00 00:00
3) Walls Have Ears
Transliteration: Vent hobn oyern
Many have researched and analyzed Elvis Presley’s relationship with Judaism (http://forward.com/culture/205079/how-elvis-presley-missed-his-true-calling-%C2%A0as-a/) . It’s been rumored that his mother was part Jewish and part Native America, and the King was often spotted sporting a Chai or Star of David necklace. In 1962, Elvis recorded ‘The Walls Have Ears” for his film Girls! Girls! Girls! The title refers to a Yiddish phrase that warns someone is always listening.
Extra Listening: A Sonic Youth bootleg, unapproved by the band, was released in 1986 by this name.
00:00 00:00
4) Still Water Runs Deep
Transliteration: Shtil vaser grobt tif
The origin of this phrase is debated (some say Italian/Latin, other say Shakespearian.), the Yiddish version still offers a cautious admonition of the roiling emotions that can hide beneath a calm exterior. Detroit soul group The Four Tops made this idiom famous in 1970, with its Hitsville USA record Still Waters Run Deep and chart topping single “Still Water (Love).”
00:00 00:00
5) Either All Or Nothing
Transliteration: Oder gor oder gornisht
Although quite a common turn of phrase in pop culture today, one of the most groundbreaking uses came from Arthur Altman and Jack Lawrence’s 1939 composition “All or Nothing At All.” But it wasn’t until 1943 until consummate crooner Frank Sinatra made the song a smash, when Columbia Records re-released his vocal version. Since then, other famous musicians including Chet Baker, John Coltrane, Diana Krall, and Sarah Vaughan have all covered “All or Nothing At All.”
00:00 00:00
6) Jack of All Trades, Master of None
Transliteration: Fil meloches, vainik broches
Diana Krall actually channeled another Yiddish phrase on her 1997 album Love Scenes. She chastises a potential love interest with this saying in each chorus, revisiting the shame of his lack of excellence brings. While some have argued that this figure of speech was originally two separate phrases, the Yiddish version usually links them together.
Extra Listening: Dream pop duo Beach House shortened the idiom to just “Master of None” and on their eponymous debut album in 2006.
00:00 00:00
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy – Culture – Forward.com
http://www.jazzpromoservices.com/
http://forward.com/culture/316213/6-yiddish-idioms-you-didnt-know-were-in-popular-music/
Hilary Saunders (http://forward.com/author/hilary-saunders/) July 23, 2015
** 6 Artists You Didn’t Know Used Yiddish, From Elvis to Public Enemy
————————————————————
It’s astounding how much Yiddish has infiltrated today’s popular culture. From classic musicals like “Fiddler on the Roof” to sitcoms like Seinfeld, some words and phrases of Ashkenazi Jews’ native tongue have become Americanized, naturalized, and sometimes clichéd.
So, when Public Enemy released its latest album, “Man Plans, God Laughs,” emblazoned with such an obvious Yiddish proverb (http://www.jewishjournal.com/culture/article/believe_the_hype_new_public_enemy_album_named_for_yiddish_proverb) , we decided to investigate. Here are six Yiddish idioms that classic and modern musicians across major genres have invoked their work.
1) Man Plans, God Laughs
Transliteration: Der mentsh trakht un got lakht
Famed hip-hop group Public Enemy released its 15th LP, Man Plans, God Laughs, last week. Although rapper and producer Chuck D has said that Kendrick Lamar and Run the Jewels inspired this record, we know that the title is actually a Yiddish proverb. Whether intentional or not, the connection seems fitting: Public Enemy still represents the pinnacle of political rap and Yiddish sayings often comment on such issues as well.
00:00 00:00
2) Mazel Tov
Transliteration: Mazal tov
This obvious, congratulatory phrase has already breached most forms of mass cultural consumption. But this 2009 Grammy award-winning track from The Black Eyed Peas integrated an exclamatory “Mazel tov!” so flawlessly into the middle of “I Gotta Feeling” that the song has since become a mainstay at all bar and bat mitzvahs and Jewish weddings until the end of time. Plus, it’s like The Peas even knew about Pesach’s four cups of wine, as the Yiddish exclamation comes right after the line about “Fill up my cup.”
Extra Listening: Jay-Z & Kanye West also used recently the phrase in “New Day” from 2011’s Watch The Throne, rapping, “So at thirteen we’ll have our first drink together / Black bar mitzvahs, mazel tov, mogul talk.”
00:00 00:00
3) Walls Have Ears
Transliteration: Vent hobn oyern
Many have researched and analyzed Elvis Presley’s relationship with Judaism (http://forward.com/culture/205079/how-elvis-presley-missed-his-true-calling-%C2%A0as-a/) . It’s been rumored that his mother was part Jewish and part Native America, and the King was often spotted sporting a Chai or Star of David necklace. In 1962, Elvis recorded ‘The Walls Have Ears” for his film Girls! Girls! Girls! The title refers to a Yiddish phrase that warns someone is always listening.
Extra Listening: A Sonic Youth bootleg, unapproved by the band, was released in 1986 by this name.
00:00 00:00
4) Still Water Runs Deep
Transliteration: Shtil vaser grobt tif
The origin of this phrase is debated (some say Italian/Latin, other say Shakespearian.), the Yiddish version still offers a cautious admonition of the roiling emotions that can hide beneath a calm exterior. Detroit soul group The Four Tops made this idiom famous in 1970, with its Hitsville USA record Still Waters Run Deep and chart topping single “Still Water (Love).”
00:00 00:00
5) Either All Or Nothing
Transliteration: Oder gor oder gornisht
Although quite a common turn of phrase in pop culture today, one of the most groundbreaking uses came from Arthur Altman and Jack Lawrence’s 1939 composition “All or Nothing At All.” But it wasn’t until 1943 until consummate crooner Frank Sinatra made the song a smash, when Columbia Records re-released his vocal version. Since then, other famous musicians including Chet Baker, John Coltrane, Diana Krall, and Sarah Vaughan have all covered “All or Nothing At All.”
00:00 00:00
6) Jack of All Trades, Master of None
Transliteration: Fil meloches, vainik broches
Diana Krall actually channeled another Yiddish phrase on her 1997 album Love Scenes. She chastises a potential love interest with this saying in each chorus, revisiting the shame of his lack of excellence brings. While some have argued that this figure of speech was originally two separate phrases, the Yiddish version usually links them together.
Extra Listening: Dream pop duo Beach House shortened the idiom to just “Master of None” and on their eponymous debut album in 2006.
00:00 00:00
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=1f858d7bd1) | 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=1f858d7bd1&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 Concert by the Man Who Knows Everything About Jazz – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/a-concert-by-the-man-who-knows-everything-about-jazz-1437601886
** A Concert by the Man Who Knows Everything About Jazz
————————————————————
By
Marc Myers
July 22, 2015 5:51 p.m. ET
Princeton, N.J.
Dressed conservatively in a black suit, a pale-pink shirt with French cuffs, and a burgundy tie, Dick Hyman looked relaxed, almost bankerly. But once seated at the piano here on Friday night at Princeton University’s Taplin Auditorium as part of the Golandsky Institute’s annual concert series, Mr. Hyman launched into ferocious solo improvisations that made eclectic use of Scott Joplin, Jelly Roll Morton, Fats Waller, Duke Ellingtonand other jazz piano greats.
Dick Hyman, who is still touring, in 1960. ENLARGE
Dick Hyman, who is still touring, in 1960.Photo: Getty Images
At 88, Mr. Hyman is widely regarded as one of jazz’s most spellbinding virtuosos, a master of piano approaches, some dating back to jazz’s start in the early 20th century. For the past 65 years, Mr. Hyman has been recording and performing ragtime, stride, boogie-woogie, swing, bebop and all other jazz styles in between and beyond, becoming an encyclopedic link to the music’s past.
He has recorded upward of 1,000 albums, including more than 100 under his own name. He is one of the last surviving jazz pianists to have played with Charlie Parker and Dizzy Gillespie together (their 1952 TV clip of “Hot House” appears on YouTube). He studied with pianist Teddy Wilson and recorded behind many jazz greats of his time, including Lester Young. Three of his jazz singles were Billboard pop hits.
In 1968, Mr. Hyman was one of the first jazz musicians to record on a Moog synthesizer, and pianist Marian McPartland, before she died in 2013, told me that Mr. Hyman knows more songs than any other jazz musician. Starting in 1980, Mr. Hyman composed the music for 12 of Woody Allen (http://topics.wsj.com/person/A/Woody-Allen/6989) ’s films, including “Zelig” and “Radio Days,” and in 1987 he wrote the score for the film “Moonstruck.” He is also probably the only jazz musician who routinely practices piano while reading the daily newspapers.
Today, Mr. Hyman continues to tour and is appearing at five more venues nationwide this summer (see dickhyman.com for tour dates). In concert last Friday, he performed 12 songs plus an encore—each an improvised masterpiece that featured multiple jazz styles and classical motifs. His technique is so polished and fluid that his hands at times seem to belong to two different pianists.
Mr. Hyman opened with “Children’s Prayer” from the opera “Hansel and Gretel,” at one point playing in waltz time with his left hand and 4/4 with his right. On “Sweet Georgia Brown,” this left-brain, right-brain dichotomy expanded as his right hand unleashed cascades of runs down the keyboard while his left maintained a firm walking bass line.
Mr. Hyman turned next to “Lullaby,” which George Gershwin wrote in 1919 for a string quartet. Here, Mr. Hyman included a passage with block chords in the style of George Shearing. On Thelonious Monk’s “Misterioso,” first recorded in 1948, Mr. Hyman turned the song inside out to expose its blues base.
About halfway through the concert, Mr. Hyman asked the capacity audience of 200 for suggestions. On W.C. Handy’s “Yellow Dog Rag” (1914), he demonstrated his masterly command of ragtime; on the ballad “A Child Is Born” (1969), by Thad Jones and Alec Wilder, he created a happy marriage of stride and Chopin.
The last two songs were the concert’s high points. On Duke Ellington’s “Dancers in Love,” which Ellington first recorded in 1944 at Carnegie Hall as a live tribute to Fats Waller, Mr. Hyman reprised Waller’s keyboard mischief and Ellington’s romanticism. Then he took on “Carolina Shout” (1921), a rambunctious midtempo boogie-woogie by pianist James P. Johnson. As Mr. Hyman’s right hand splashed away high up on the keyboard, his left wove in complex boogie-woogie figures.
Mr. Hyman’s passion for the physically challenging piano styles of jazz greats began early. Born in 1927, he was exposed to jazz by his brother, Arthur, who brought Bix Beiderbecke records home from college. To unravel the intricate mysteries of syncopation and improvisation, Mr. Hyman slowed down the rolls on his family’s player piano and listened to records backward and forward. He also took up the clarinet and jammed along to records, which helped give him the jazz feel.
Throughout the 1950s, the pianist recorded jazz and pop frequently as a sideman, leader and arranger. When he began doubling on organ, his workload expanded in the 1950s and ’60s to include playing on soap operas and TV game shows. In the 1970s, when the organ’s popularity waned, Mr. Hyman focused again on the piano, becoming a one-man Smithsonian of jazz styles.
But Mr. Hyman’s hands weren’t the only appendages active during his recent performance. Under the piano, his right heel kept time during tricky passages, occasionally letting out an emphatic bang or two on the polished wood floor. When his right hand shifted into double- or triple-time, the same foot moved from back to front, as if pumping a gas pedal or sewing machine to gain momentum. As for his left foot, it kept time only intermittently with his left hand. Further proof that when Mr. Hyman performs solo piano, it’s really a duet.
Mr. Myers, a frequent contributor to the Journal, writes daily about music at JazzWax.com, winner of the 2015 Jazz Journalists Association’s “blog of the year” award.
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=1c2efd9e66) | 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=1c2efd9e66&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 Concert by the Man Who Knows Everything About Jazz – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/a-concert-by-the-man-who-knows-everything-about-jazz-1437601886
** A Concert by the Man Who Knows Everything About Jazz
————————————————————
By
Marc Myers
July 22, 2015 5:51 p.m. ET
Princeton, N.J.
Dressed conservatively in a black suit, a pale-pink shirt with French cuffs, and a burgundy tie, Dick Hyman looked relaxed, almost bankerly. But once seated at the piano here on Friday night at Princeton University’s Taplin Auditorium as part of the Golandsky Institute’s annual concert series, Mr. Hyman launched into ferocious solo improvisations that made eclectic use of Scott Joplin, Jelly Roll Morton, Fats Waller, Duke Ellingtonand other jazz piano greats.
Dick Hyman, who is still touring, in 1960. ENLARGE
Dick Hyman, who is still touring, in 1960.Photo: Getty Images
At 88, Mr. Hyman is widely regarded as one of jazz’s most spellbinding virtuosos, a master of piano approaches, some dating back to jazz’s start in the early 20th century. For the past 65 years, Mr. Hyman has been recording and performing ragtime, stride, boogie-woogie, swing, bebop and all other jazz styles in between and beyond, becoming an encyclopedic link to the music’s past.
He has recorded upward of 1,000 albums, including more than 100 under his own name. He is one of the last surviving jazz pianists to have played with Charlie Parker and Dizzy Gillespie together (their 1952 TV clip of “Hot House” appears on YouTube). He studied with pianist Teddy Wilson and recorded behind many jazz greats of his time, including Lester Young. Three of his jazz singles were Billboard pop hits.
In 1968, Mr. Hyman was one of the first jazz musicians to record on a Moog synthesizer, and pianist Marian McPartland, before she died in 2013, told me that Mr. Hyman knows more songs than any other jazz musician. Starting in 1980, Mr. Hyman composed the music for 12 of Woody Allen (http://topics.wsj.com/person/A/Woody-Allen/6989) ’s films, including “Zelig” and “Radio Days,” and in 1987 he wrote the score for the film “Moonstruck.” He is also probably the only jazz musician who routinely practices piano while reading the daily newspapers.
Today, Mr. Hyman continues to tour and is appearing at five more venues nationwide this summer (see dickhyman.com for tour dates). In concert last Friday, he performed 12 songs plus an encore—each an improvised masterpiece that featured multiple jazz styles and classical motifs. His technique is so polished and fluid that his hands at times seem to belong to two different pianists.
Mr. Hyman opened with “Children’s Prayer” from the opera “Hansel and Gretel,” at one point playing in waltz time with his left hand and 4/4 with his right. On “Sweet Georgia Brown,” this left-brain, right-brain dichotomy expanded as his right hand unleashed cascades of runs down the keyboard while his left maintained a firm walking bass line.
Mr. Hyman turned next to “Lullaby,” which George Gershwin wrote in 1919 for a string quartet. Here, Mr. Hyman included a passage with block chords in the style of George Shearing. On Thelonious Monk’s “Misterioso,” first recorded in 1948, Mr. Hyman turned the song inside out to expose its blues base.
About halfway through the concert, Mr. Hyman asked the capacity audience of 200 for suggestions. On W.C. Handy’s “Yellow Dog Rag” (1914), he demonstrated his masterly command of ragtime; on the ballad “A Child Is Born” (1969), by Thad Jones and Alec Wilder, he created a happy marriage of stride and Chopin.
The last two songs were the concert’s high points. On Duke Ellington’s “Dancers in Love,” which Ellington first recorded in 1944 at Carnegie Hall as a live tribute to Fats Waller, Mr. Hyman reprised Waller’s keyboard mischief and Ellington’s romanticism. Then he took on “Carolina Shout” (1921), a rambunctious midtempo boogie-woogie by pianist James P. Johnson. As Mr. Hyman’s right hand splashed away high up on the keyboard, his left wove in complex boogie-woogie figures.
Mr. Hyman’s passion for the physically challenging piano styles of jazz greats began early. Born in 1927, he was exposed to jazz by his brother, Arthur, who brought Bix Beiderbecke records home from college. To unravel the intricate mysteries of syncopation and improvisation, Mr. Hyman slowed down the rolls on his family’s player piano and listened to records backward and forward. He also took up the clarinet and jammed along to records, which helped give him the jazz feel.
Throughout the 1950s, the pianist recorded jazz and pop frequently as a sideman, leader and arranger. When he began doubling on organ, his workload expanded in the 1950s and ’60s to include playing on soap operas and TV game shows. In the 1970s, when the organ’s popularity waned, Mr. Hyman focused again on the piano, becoming a one-man Smithsonian of jazz styles.
But Mr. Hyman’s hands weren’t the only appendages active during his recent performance. Under the piano, his right heel kept time during tricky passages, occasionally letting out an emphatic bang or two on the polished wood floor. When his right hand shifted into double- or triple-time, the same foot moved from back to front, as if pumping a gas pedal or sewing machine to gain momentum. As for his left foot, it kept time only intermittently with his left hand. Further proof that when Mr. Hyman performs solo piano, it’s really a duet.
Mr. Myers, a frequent contributor to the Journal, writes daily about music at JazzWax.com, winner of the 2015 Jazz Journalists Association’s “blog of the year” award.
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=1c2efd9e66) | 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=1c2efd9e66&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 Concert by the Man Who Knows Everything About Jazz – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/a-concert-by-the-man-who-knows-everything-about-jazz-1437601886
** A Concert by the Man Who Knows Everything About Jazz
————————————————————
By
Marc Myers
July 22, 2015 5:51 p.m. ET
Princeton, N.J.
Dressed conservatively in a black suit, a pale-pink shirt with French cuffs, and a burgundy tie, Dick Hyman looked relaxed, almost bankerly. But once seated at the piano here on Friday night at Princeton University’s Taplin Auditorium as part of the Golandsky Institute’s annual concert series, Mr. Hyman launched into ferocious solo improvisations that made eclectic use of Scott Joplin, Jelly Roll Morton, Fats Waller, Duke Ellingtonand other jazz piano greats.
Dick Hyman, who is still touring, in 1960. ENLARGE
Dick Hyman, who is still touring, in 1960.Photo: Getty Images
At 88, Mr. Hyman is widely regarded as one of jazz’s most spellbinding virtuosos, a master of piano approaches, some dating back to jazz’s start in the early 20th century. For the past 65 years, Mr. Hyman has been recording and performing ragtime, stride, boogie-woogie, swing, bebop and all other jazz styles in between and beyond, becoming an encyclopedic link to the music’s past.
He has recorded upward of 1,000 albums, including more than 100 under his own name. He is one of the last surviving jazz pianists to have played with Charlie Parker and Dizzy Gillespie together (their 1952 TV clip of “Hot House” appears on YouTube). He studied with pianist Teddy Wilson and recorded behind many jazz greats of his time, including Lester Young. Three of his jazz singles were Billboard pop hits.
In 1968, Mr. Hyman was one of the first jazz musicians to record on a Moog synthesizer, and pianist Marian McPartland, before she died in 2013, told me that Mr. Hyman knows more songs than any other jazz musician. Starting in 1980, Mr. Hyman composed the music for 12 of Woody Allen (http://topics.wsj.com/person/A/Woody-Allen/6989) ’s films, including “Zelig” and “Radio Days,” and in 1987 he wrote the score for the film “Moonstruck.” He is also probably the only jazz musician who routinely practices piano while reading the daily newspapers.
Today, Mr. Hyman continues to tour and is appearing at five more venues nationwide this summer (see dickhyman.com for tour dates). In concert last Friday, he performed 12 songs plus an encore—each an improvised masterpiece that featured multiple jazz styles and classical motifs. His technique is so polished and fluid that his hands at times seem to belong to two different pianists.
Mr. Hyman opened with “Children’s Prayer” from the opera “Hansel and Gretel,” at one point playing in waltz time with his left hand and 4/4 with his right. On “Sweet Georgia Brown,” this left-brain, right-brain dichotomy expanded as his right hand unleashed cascades of runs down the keyboard while his left maintained a firm walking bass line.
Mr. Hyman turned next to “Lullaby,” which George Gershwin wrote in 1919 for a string quartet. Here, Mr. Hyman included a passage with block chords in the style of George Shearing. On Thelonious Monk’s “Misterioso,” first recorded in 1948, Mr. Hyman turned the song inside out to expose its blues base.
About halfway through the concert, Mr. Hyman asked the capacity audience of 200 for suggestions. On W.C. Handy’s “Yellow Dog Rag” (1914), he demonstrated his masterly command of ragtime; on the ballad “A Child Is Born” (1969), by Thad Jones and Alec Wilder, he created a happy marriage of stride and Chopin.
The last two songs were the concert’s high points. On Duke Ellington’s “Dancers in Love,” which Ellington first recorded in 1944 at Carnegie Hall as a live tribute to Fats Waller, Mr. Hyman reprised Waller’s keyboard mischief and Ellington’s romanticism. Then he took on “Carolina Shout” (1921), a rambunctious midtempo boogie-woogie by pianist James P. Johnson. As Mr. Hyman’s right hand splashed away high up on the keyboard, his left wove in complex boogie-woogie figures.
Mr. Hyman’s passion for the physically challenging piano styles of jazz greats began early. Born in 1927, he was exposed to jazz by his brother, Arthur, who brought Bix Beiderbecke records home from college. To unravel the intricate mysteries of syncopation and improvisation, Mr. Hyman slowed down the rolls on his family’s player piano and listened to records backward and forward. He also took up the clarinet and jammed along to records, which helped give him the jazz feel.
Throughout the 1950s, the pianist recorded jazz and pop frequently as a sideman, leader and arranger. When he began doubling on organ, his workload expanded in the 1950s and ’60s to include playing on soap operas and TV game shows. In the 1970s, when the organ’s popularity waned, Mr. Hyman focused again on the piano, becoming a one-man Smithsonian of jazz styles.
But Mr. Hyman’s hands weren’t the only appendages active during his recent performance. Under the piano, his right heel kept time during tricky passages, occasionally letting out an emphatic bang or two on the polished wood floor. When his right hand shifted into double- or triple-time, the same foot moved from back to front, as if pumping a gas pedal or sewing machine to gain momentum. As for his left foot, it kept time only intermittently with his left hand. Further proof that when Mr. Hyman performs solo piano, it’s really a duet.
Mr. Myers, a frequent contributor to the Journal, writes daily about music at JazzWax.com, winner of the 2015 Jazz Journalists Association’s “blog of the year” award.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
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Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/07/22/theater/theodore-bikel-master-of-versatility-in-songs-roles-and-activism-dies-at-91.html?_r=0
** Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91
————————————————————
By RICHARD SEVERO and RALPH BLUMENTHAL (http://topics.nytimes.com/top/reference/timestopics/people/b/ralph_blumenthal/index.html) JULY 21, 2015
** Theodore Bikel, 1924-2015
————————————————————
CreditPhotofest
Theodore Bikel (http://www.bikel.com/) , the multilingual troubadour, character actor and social activist who created the role of Baron von Trapp in the original Broadway production of “The Sound of Music” and toured for decades as Tevye in “Fiddler on the Roof,” died on Tuesday in Los Angeles. He was 91.
B. Harlan Böll, his publicist, confirmed the death, at the UCLA Medical Center. Mr. Bikel lived in Los Angeles.
A bulky, bearish man with an international background — he was born in Vienna and lived for years in England and British-administered Palestine (http://topics.nytimes.com/top/reference/timestopics/subjects/p/palestinians/index.html?inline=nyt-classifier) — Mr. Bikel (pronounced bih-KEL) sang in 21 languages and was comfortable playing characters of almost any nationality, whether comic buffoons or scoundrels. He won warm reviews and a loyal following, but it was often suggested that he was underappreciated — an “actor in search of an ID,” in the words of a 1988 headline in The Los Angeles Times.
To many, Mr. Bikel was simply and enduringly Tevye, the stoic and irrepressible Jewish peasant who survives czarist Russia only to be brought low by his daughters. Zero Mostel originated the role on Broadway in 1964, but Mr. Bikel took on the part in 1967 and never entirely stopped, appearing in more than 2,000 performances of “Fiddler.”
He also portrayed both Tevye and Tevye’s creator, the author Sholem Aleichem, in a one-man show, “Sholem Aleichem: Laughter Through Tears,” (http://www.laughterthroughtears.org/) with which he began touring in late 2008, when he was 84.
In his autobiography, “Theo,” first published in 1994 and revised in 2002 and 2014, he wrote with scant modesty that he was often asked “which of the many things I do I enjoy most.”
His answer: “Versatility in itself.”
And so on television Mr. Bikel played an Armenian merchant on “Ironside,” a Polish professor on “Charlie’s Angels,” an American professor on “The Paper Chase,” a Bulgarian villain on “Falcon Crest,” the Russian adoptive father of a Klingon on “Star Trek: The Next Generation,” and an Italian opera star on “Murder, She Wrote.”
He also played a Greek peanut vendor, a blind Portuguese cobbler, a prison guard on Devil’s Island, a mad bomber, a South African Boer, a sinister Chinese gangster, Henry A. Kissinger and a misanthrope who gets his comeuppance on “The Twilight Zone.”
In movies he played several German officers, beginning with “The African Queen” (1951); a compassionate Southern sheriff in “The Defiant Ones” (1958), for which he received an Academy Award nomination; the king of Serbia in “Moulin Rouge” (1953); a Russian-speaking submarine commander in “The Russians Are Coming, the Russians Are Coming” (1966); and an effusive, overbearing Hungarian linguist in “My Fair Lady” (1964).
He also had a radio show on WBAI in New York, opened two espresso cafes in Hollywood, and campaigned for Mayors John V. Lindsay and Edward I. Koch.
“I’m sure I could have had a much bigger career had I followed the advice of agents and friends: Stick to one aspect of what you do and stay in one place to do it — California, for example,” he wrote. But as it was, Mr. Bikel traveled the world in multiple guises.
After nearly two years on Broadway opposite Mary Martin as the gruff patriarch of a family of Austrian singers (the role later played by Christopher Plummer in the movie version), Mr. Bikel announced in 1961 that he was leaving “The Sound of Music.” (This, as he recounted, after Rodgers and Hammerstein had written “Edelweiss” (https://www.youtube.com/watch?v=btrt9_e5F5w) for him at the last minute to exploit his folk-singing talents.)
“I do not believe an actor should provide himself with an insurance policy,” he explained. “After this time everything you can do artistically to a part has been done. I don’t want to be stifled.”
Some time later he told The New York Times: “Some actors are what they are no matter what name you give them. Clark Gable looked, walked and talked exactly the same in every picture. I like to change shape, accent and gait. That way I never get stale.”
And perhaps never get all that famous.
Sometimes his roles were brief, sometimes extended, sometimes quite memorable. In “My Fair Lady,” for example, he had the small but conspicuous role of the windbag Zoltan Karpathy, a former student of Professor Henry Higgins (Rex Harrison). Karpathy thinks he can unmask impostors by listening to them speak — which he tries to do, unsuccessfully, with Eliza Doolittle (Audrey Hepburn), a flower girl transformed into an aristocrat by the crafty Higgins.
At other times Mr. Bikel simply suffered the fate of the subsidiary character actor, as when The Times lumped him with several other actors as having been “excellent in small roles” in the 1958 drama “I Want to Live,” starring Susan Hayward.
He was more often given his due later in his career. When he starred as a Holocaust survivor in “The Gathering” at the Jewish Repertory Theater in New York in 1999, Clive Barnes of The New York Post praised the “sheer magnificent conviction that Theodore Bikel (http://movies.nytimes.com/person/6169/Theodore-Bikel?inline=nyt-per) brings to the grandfather who survived the Holocaust,” adding, “This is being, not acting.”
For a while Mr. Bikel was as well known for his singing (https://www.youtube.com/watch?v=qtLr2-bOLiU) as he was for his acting. “According to my mother,” he wrote, “I sang before I could talk.”
He began recording folk song albums for the Elektra label in 1955, shortly after he arrived in the United States, singing in Yiddish, Hebrew, German, Russian, medieval Spanish, Zulu and English, among other languages. His better-known albums from that period included “Israeli Folk Songs” (1955) and “Songs of Russia Old & New” (1960). Among his later recordings were “A Taste of Passover (http://topics.nytimes.com/top/reference/timestopics/subjects/p/passover/index.html?inline=nyt-classifier) ” (1998) and “A Taste of Hanukkah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) ” (2000), both on Rounder, and “In My Own Lifetime: 12 Musical Theater Classics” (2006), on the Jewish Music Group label.
Mr. Bikel was also long active in the civil rights and human rights movements, as both a fund-raiser and a participant. He was president of Actors’ Equity from 1973 to 1982 and a member of the National Council on the Arts from 1977 to 1982.
He was also a delegate to the tumultuous 1968 Democratic National Convention in Chicago, a founder of the Newport Folk Festival (https://www.youtube.com/watch?v=FU88_OVIkHE) and an officer of the American Jewish Congress (http://www.ajcongress.org/site/PageServer) . An outspoken advocate for the rights of Jews worldwide — he was arrested in front of the Soviet Embassy in Washington in 1986 for protesting the plight of Soviet Jews — he was an avid supporter of the state of Israel but not an uncritical one.
“The American Jewish response to Israel is woefully monolithic,” he wrote in his autobiography. “We who are so capable of intricate thought are almost boorishly insistent about viewing the complexities of Israeli society and political makeup through a one-channel, narrow prism.”
In 2010 he was among a group of 150 artists, Jews and non-Jews alike, listed by an American advocacy group, Jewish Voice for Peace, as backing Israeli artists who had refused to entertain in Jewish settlements on the West Bank.
He also denounced the militant Jewish Defense League in 1969, and, in 1967, publicly quit the Student Nonviolent Coordinating Committee, a civil-rights group, in protest over its accusations that the Israeli Army had committed atrocities against the Arabs.
Theodor Meir Bikel was born in Vienna on May 2, 1924, to Josef Bikel and the former Miriam Riegler. He later said he had been named for Theodor Herzl, the founder of Zionism, who was born on the same date 64 years earlier.
Mr. Bikel said in his autobiography that the family name had originally been Cohen, but that his great-grandfather changed it because there was another Cohen in the village where he lived in Bukovina, an area that has at different times been part of Romania and Russia. His great-grandfather, he wrote, arrived at the name Bikel by pointing his finger at random in an old prayer book and combining the first letters of the Hebrew words in the sentence where his finger landed, translated as “The children of Israel are holy to God.”
The family later moved to Austria. But although he was born in Vienna, Mr. Bikel corrected people if they called him Viennese. “I am nothing of the kind; I am an Austrian-born Jew,” he wrote. “I refuse to let a country that so shamefully treated my people lay any claim to me, to my life, to my successes, to my failures, to my very identity.” When he was 13, two years before the Nazis marched into Poland, his family moved again, to Palestine. He apprenticed at the Habimah theater in Tel Aviv in 1943, and in his first appearance on a professional stage he played the constable in “Tevye, the Milkman,” speaking just 29 words. Three years later he left the kibbutz where he was living to study at the Royal Academy of Dramatic Art in London.
There he starred in numerous small productions and, after graduating with honors in 1948, was discovered by Laurence Olivier, who cast him in a small role in the London production of “A Streetcar Named Desire.” A few months later, Mr. Bikel took over the second male lead.
He made his Broadway debut in 1955, in “Tonight in Samarkand,” with Louis Jourdan. And he soon decided to make the United States his permanent home. He became a citizen in 1961.
One of Mr. Bikel’s most challenging performances came in 1979, when he was aboard a United Airlines flight from Los Angeles that had been commandeered by a disturbed woman threatening to blow up the plane with nitroglycerin. Mr. Bikel, who had just three years earlier played the part of a hijacked passenger in the television film “Victory at Entebbe,” rose to the occasion, rallying his fellow hostages with songs. The plane landed safely in New York.
Mr. Bikel’s first two marriages, to Ofra Ichilov and Rita Weinberg Call, ended in divorce. His third wife, the conductor and pianist Tamara Brooks, died in 2012. The next year he married Aimee Ginsburg, a journalist. She survives him, as do his sons, Robert and Daniel; his stepsons, Zeev and Noam Ginsburg; and three grandchildren.
Mr. Bikel rejoiced in his varied career. “Horizons,” he said, “are not meant to be shrunk. You do as much as you can in as many fields as you know how to master.” He was often asked how he could do so many things so well.
“Simple,” he would reply. “Whatever I don’t do well, I don’t do.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/07/22/theater/theodore-bikel-master-of-versatility-in-songs-roles-and-activism-dies-at-91.html?_r=0
** Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91
————————————————————
By RICHARD SEVERO and RALPH BLUMENTHAL (http://topics.nytimes.com/top/reference/timestopics/people/b/ralph_blumenthal/index.html) JULY 21, 2015
** Theodore Bikel, 1924-2015
————————————————————
CreditPhotofest
Theodore Bikel (http://www.bikel.com/) , the multilingual troubadour, character actor and social activist who created the role of Baron von Trapp in the original Broadway production of “The Sound of Music” and toured for decades as Tevye in “Fiddler on the Roof,” died on Tuesday in Los Angeles. He was 91.
B. Harlan Böll, his publicist, confirmed the death, at the UCLA Medical Center. Mr. Bikel lived in Los Angeles.
A bulky, bearish man with an international background — he was born in Vienna and lived for years in England and British-administered Palestine (http://topics.nytimes.com/top/reference/timestopics/subjects/p/palestinians/index.html?inline=nyt-classifier) — Mr. Bikel (pronounced bih-KEL) sang in 21 languages and was comfortable playing characters of almost any nationality, whether comic buffoons or scoundrels. He won warm reviews and a loyal following, but it was often suggested that he was underappreciated — an “actor in search of an ID,” in the words of a 1988 headline in The Los Angeles Times.
To many, Mr. Bikel was simply and enduringly Tevye, the stoic and irrepressible Jewish peasant who survives czarist Russia only to be brought low by his daughters. Zero Mostel originated the role on Broadway in 1964, but Mr. Bikel took on the part in 1967 and never entirely stopped, appearing in more than 2,000 performances of “Fiddler.”
He also portrayed both Tevye and Tevye’s creator, the author Sholem Aleichem, in a one-man show, “Sholem Aleichem: Laughter Through Tears,” (http://www.laughterthroughtears.org/) with which he began touring in late 2008, when he was 84.
In his autobiography, “Theo,” first published in 1994 and revised in 2002 and 2014, he wrote with scant modesty that he was often asked “which of the many things I do I enjoy most.”
His answer: “Versatility in itself.”
And so on television Mr. Bikel played an Armenian merchant on “Ironside,” a Polish professor on “Charlie’s Angels,” an American professor on “The Paper Chase,” a Bulgarian villain on “Falcon Crest,” the Russian adoptive father of a Klingon on “Star Trek: The Next Generation,” and an Italian opera star on “Murder, She Wrote.”
He also played a Greek peanut vendor, a blind Portuguese cobbler, a prison guard on Devil’s Island, a mad bomber, a South African Boer, a sinister Chinese gangster, Henry A. Kissinger and a misanthrope who gets his comeuppance on “The Twilight Zone.”
In movies he played several German officers, beginning with “The African Queen” (1951); a compassionate Southern sheriff in “The Defiant Ones” (1958), for which he received an Academy Award nomination; the king of Serbia in “Moulin Rouge” (1953); a Russian-speaking submarine commander in “The Russians Are Coming, the Russians Are Coming” (1966); and an effusive, overbearing Hungarian linguist in “My Fair Lady” (1964).
He also had a radio show on WBAI in New York, opened two espresso cafes in Hollywood, and campaigned for Mayors John V. Lindsay and Edward I. Koch.
“I’m sure I could have had a much bigger career had I followed the advice of agents and friends: Stick to one aspect of what you do and stay in one place to do it — California, for example,” he wrote. But as it was, Mr. Bikel traveled the world in multiple guises.
After nearly two years on Broadway opposite Mary Martin as the gruff patriarch of a family of Austrian singers (the role later played by Christopher Plummer in the movie version), Mr. Bikel announced in 1961 that he was leaving “The Sound of Music.” (This, as he recounted, after Rodgers and Hammerstein had written “Edelweiss” (https://www.youtube.com/watch?v=btrt9_e5F5w) for him at the last minute to exploit his folk-singing talents.)
“I do not believe an actor should provide himself with an insurance policy,” he explained. “After this time everything you can do artistically to a part has been done. I don’t want to be stifled.”
Some time later he told The New York Times: “Some actors are what they are no matter what name you give them. Clark Gable looked, walked and talked exactly the same in every picture. I like to change shape, accent and gait. That way I never get stale.”
And perhaps never get all that famous.
Sometimes his roles were brief, sometimes extended, sometimes quite memorable. In “My Fair Lady,” for example, he had the small but conspicuous role of the windbag Zoltan Karpathy, a former student of Professor Henry Higgins (Rex Harrison). Karpathy thinks he can unmask impostors by listening to them speak — which he tries to do, unsuccessfully, with Eliza Doolittle (Audrey Hepburn), a flower girl transformed into an aristocrat by the crafty Higgins.
At other times Mr. Bikel simply suffered the fate of the subsidiary character actor, as when The Times lumped him with several other actors as having been “excellent in small roles” in the 1958 drama “I Want to Live,” starring Susan Hayward.
He was more often given his due later in his career. When he starred as a Holocaust survivor in “The Gathering” at the Jewish Repertory Theater in New York in 1999, Clive Barnes of The New York Post praised the “sheer magnificent conviction that Theodore Bikel (http://movies.nytimes.com/person/6169/Theodore-Bikel?inline=nyt-per) brings to the grandfather who survived the Holocaust,” adding, “This is being, not acting.”
For a while Mr. Bikel was as well known for his singing (https://www.youtube.com/watch?v=qtLr2-bOLiU) as he was for his acting. “According to my mother,” he wrote, “I sang before I could talk.”
He began recording folk song albums for the Elektra label in 1955, shortly after he arrived in the United States, singing in Yiddish, Hebrew, German, Russian, medieval Spanish, Zulu and English, among other languages. His better-known albums from that period included “Israeli Folk Songs” (1955) and “Songs of Russia Old & New” (1960). Among his later recordings were “A Taste of Passover (http://topics.nytimes.com/top/reference/timestopics/subjects/p/passover/index.html?inline=nyt-classifier) ” (1998) and “A Taste of Hanukkah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) ” (2000), both on Rounder, and “In My Own Lifetime: 12 Musical Theater Classics” (2006), on the Jewish Music Group label.
Mr. Bikel was also long active in the civil rights and human rights movements, as both a fund-raiser and a participant. He was president of Actors’ Equity from 1973 to 1982 and a member of the National Council on the Arts from 1977 to 1982.
He was also a delegate to the tumultuous 1968 Democratic National Convention in Chicago, a founder of the Newport Folk Festival (https://www.youtube.com/watch?v=FU88_OVIkHE) and an officer of the American Jewish Congress (http://www.ajcongress.org/site/PageServer) . An outspoken advocate for the rights of Jews worldwide — he was arrested in front of the Soviet Embassy in Washington in 1986 for protesting the plight of Soviet Jews — he was an avid supporter of the state of Israel but not an uncritical one.
“The American Jewish response to Israel is woefully monolithic,” he wrote in his autobiography. “We who are so capable of intricate thought are almost boorishly insistent about viewing the complexities of Israeli society and political makeup through a one-channel, narrow prism.”
In 2010 he was among a group of 150 artists, Jews and non-Jews alike, listed by an American advocacy group, Jewish Voice for Peace, as backing Israeli artists who had refused to entertain in Jewish settlements on the West Bank.
He also denounced the militant Jewish Defense League in 1969, and, in 1967, publicly quit the Student Nonviolent Coordinating Committee, a civil-rights group, in protest over its accusations that the Israeli Army had committed atrocities against the Arabs.
Theodor Meir Bikel was born in Vienna on May 2, 1924, to Josef Bikel and the former Miriam Riegler. He later said he had been named for Theodor Herzl, the founder of Zionism, who was born on the same date 64 years earlier.
Mr. Bikel said in his autobiography that the family name had originally been Cohen, but that his great-grandfather changed it because there was another Cohen in the village where he lived in Bukovina, an area that has at different times been part of Romania and Russia. His great-grandfather, he wrote, arrived at the name Bikel by pointing his finger at random in an old prayer book and combining the first letters of the Hebrew words in the sentence where his finger landed, translated as “The children of Israel are holy to God.”
The family later moved to Austria. But although he was born in Vienna, Mr. Bikel corrected people if they called him Viennese. “I am nothing of the kind; I am an Austrian-born Jew,” he wrote. “I refuse to let a country that so shamefully treated my people lay any claim to me, to my life, to my successes, to my failures, to my very identity.” When he was 13, two years before the Nazis marched into Poland, his family moved again, to Palestine. He apprenticed at the Habimah theater in Tel Aviv in 1943, and in his first appearance on a professional stage he played the constable in “Tevye, the Milkman,” speaking just 29 words. Three years later he left the kibbutz where he was living to study at the Royal Academy of Dramatic Art in London.
There he starred in numerous small productions and, after graduating with honors in 1948, was discovered by Laurence Olivier, who cast him in a small role in the London production of “A Streetcar Named Desire.” A few months later, Mr. Bikel took over the second male lead.
He made his Broadway debut in 1955, in “Tonight in Samarkand,” with Louis Jourdan. And he soon decided to make the United States his permanent home. He became a citizen in 1961.
One of Mr. Bikel’s most challenging performances came in 1979, when he was aboard a United Airlines flight from Los Angeles that had been commandeered by a disturbed woman threatening to blow up the plane with nitroglycerin. Mr. Bikel, who had just three years earlier played the part of a hijacked passenger in the television film “Victory at Entebbe,” rose to the occasion, rallying his fellow hostages with songs. The plane landed safely in New York.
Mr. Bikel’s first two marriages, to Ofra Ichilov and Rita Weinberg Call, ended in divorce. His third wife, the conductor and pianist Tamara Brooks, died in 2012. The next year he married Aimee Ginsburg, a journalist. She survives him, as do his sons, Robert and Daniel; his stepsons, Zeev and Noam Ginsburg; and three grandchildren.
Mr. Bikel rejoiced in his varied career. “Horizons,” he said, “are not meant to be shrunk. You do as much as you can in as many fields as you know how to master.” He was often asked how he could do so many things so well.
“Simple,” he would reply. “Whatever I don’t do well, I don’t do.”
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=da6f257b90) | 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=da6f257b90&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
Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/07/22/theater/theodore-bikel-master-of-versatility-in-songs-roles-and-activism-dies-at-91.html?_r=0
** Theodore Bikel, Master of Versatility in Songs, Roles and Activism, Dies at 91
————————————————————
By RICHARD SEVERO and RALPH BLUMENTHAL (http://topics.nytimes.com/top/reference/timestopics/people/b/ralph_blumenthal/index.html) JULY 21, 2015
** Theodore Bikel, 1924-2015
————————————————————
CreditPhotofest
Theodore Bikel (http://www.bikel.com/) , the multilingual troubadour, character actor and social activist who created the role of Baron von Trapp in the original Broadway production of “The Sound of Music” and toured for decades as Tevye in “Fiddler on the Roof,” died on Tuesday in Los Angeles. He was 91.
B. Harlan Böll, his publicist, confirmed the death, at the UCLA Medical Center. Mr. Bikel lived in Los Angeles.
A bulky, bearish man with an international background — he was born in Vienna and lived for years in England and British-administered Palestine (http://topics.nytimes.com/top/reference/timestopics/subjects/p/palestinians/index.html?inline=nyt-classifier) — Mr. Bikel (pronounced bih-KEL) sang in 21 languages and was comfortable playing characters of almost any nationality, whether comic buffoons or scoundrels. He won warm reviews and a loyal following, but it was often suggested that he was underappreciated — an “actor in search of an ID,” in the words of a 1988 headline in The Los Angeles Times.
To many, Mr. Bikel was simply and enduringly Tevye, the stoic and irrepressible Jewish peasant who survives czarist Russia only to be brought low by his daughters. Zero Mostel originated the role on Broadway in 1964, but Mr. Bikel took on the part in 1967 and never entirely stopped, appearing in more than 2,000 performances of “Fiddler.”
He also portrayed both Tevye and Tevye’s creator, the author Sholem Aleichem, in a one-man show, “Sholem Aleichem: Laughter Through Tears,” (http://www.laughterthroughtears.org/) with which he began touring in late 2008, when he was 84.
In his autobiography, “Theo,” first published in 1994 and revised in 2002 and 2014, he wrote with scant modesty that he was often asked “which of the many things I do I enjoy most.”
His answer: “Versatility in itself.”
And so on television Mr. Bikel played an Armenian merchant on “Ironside,” a Polish professor on “Charlie’s Angels,” an American professor on “The Paper Chase,” a Bulgarian villain on “Falcon Crest,” the Russian adoptive father of a Klingon on “Star Trek: The Next Generation,” and an Italian opera star on “Murder, She Wrote.”
He also played a Greek peanut vendor, a blind Portuguese cobbler, a prison guard on Devil’s Island, a mad bomber, a South African Boer, a sinister Chinese gangster, Henry A. Kissinger and a misanthrope who gets his comeuppance on “The Twilight Zone.”
In movies he played several German officers, beginning with “The African Queen” (1951); a compassionate Southern sheriff in “The Defiant Ones” (1958), for which he received an Academy Award nomination; the king of Serbia in “Moulin Rouge” (1953); a Russian-speaking submarine commander in “The Russians Are Coming, the Russians Are Coming” (1966); and an effusive, overbearing Hungarian linguist in “My Fair Lady” (1964).
He also had a radio show on WBAI in New York, opened two espresso cafes in Hollywood, and campaigned for Mayors John V. Lindsay and Edward I. Koch.
“I’m sure I could have had a much bigger career had I followed the advice of agents and friends: Stick to one aspect of what you do and stay in one place to do it — California, for example,” he wrote. But as it was, Mr. Bikel traveled the world in multiple guises.
After nearly two years on Broadway opposite Mary Martin as the gruff patriarch of a family of Austrian singers (the role later played by Christopher Plummer in the movie version), Mr. Bikel announced in 1961 that he was leaving “The Sound of Music.” (This, as he recounted, after Rodgers and Hammerstein had written “Edelweiss” (https://www.youtube.com/watch?v=btrt9_e5F5w) for him at the last minute to exploit his folk-singing talents.)
“I do not believe an actor should provide himself with an insurance policy,” he explained. “After this time everything you can do artistically to a part has been done. I don’t want to be stifled.”
Some time later he told The New York Times: “Some actors are what they are no matter what name you give them. Clark Gable looked, walked and talked exactly the same in every picture. I like to change shape, accent and gait. That way I never get stale.”
And perhaps never get all that famous.
Sometimes his roles were brief, sometimes extended, sometimes quite memorable. In “My Fair Lady,” for example, he had the small but conspicuous role of the windbag Zoltan Karpathy, a former student of Professor Henry Higgins (Rex Harrison). Karpathy thinks he can unmask impostors by listening to them speak — which he tries to do, unsuccessfully, with Eliza Doolittle (Audrey Hepburn), a flower girl transformed into an aristocrat by the crafty Higgins.
At other times Mr. Bikel simply suffered the fate of the subsidiary character actor, as when The Times lumped him with several other actors as having been “excellent in small roles” in the 1958 drama “I Want to Live,” starring Susan Hayward.
He was more often given his due later in his career. When he starred as a Holocaust survivor in “The Gathering” at the Jewish Repertory Theater in New York in 1999, Clive Barnes of The New York Post praised the “sheer magnificent conviction that Theodore Bikel (http://movies.nytimes.com/person/6169/Theodore-Bikel?inline=nyt-per) brings to the grandfather who survived the Holocaust,” adding, “This is being, not acting.”
For a while Mr. Bikel was as well known for his singing (https://www.youtube.com/watch?v=qtLr2-bOLiU) as he was for his acting. “According to my mother,” he wrote, “I sang before I could talk.”
He began recording folk song albums for the Elektra label in 1955, shortly after he arrived in the United States, singing in Yiddish, Hebrew, German, Russian, medieval Spanish, Zulu and English, among other languages. His better-known albums from that period included “Israeli Folk Songs” (1955) and “Songs of Russia Old & New” (1960). Among his later recordings were “A Taste of Passover (http://topics.nytimes.com/top/reference/timestopics/subjects/p/passover/index.html?inline=nyt-classifier) ” (1998) and “A Taste of Hanukkah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) ” (2000), both on Rounder, and “In My Own Lifetime: 12 Musical Theater Classics” (2006), on the Jewish Music Group label.
Mr. Bikel was also long active in the civil rights and human rights movements, as both a fund-raiser and a participant. He was president of Actors’ Equity from 1973 to 1982 and a member of the National Council on the Arts from 1977 to 1982.
He was also a delegate to the tumultuous 1968 Democratic National Convention in Chicago, a founder of the Newport Folk Festival (https://www.youtube.com/watch?v=FU88_OVIkHE) and an officer of the American Jewish Congress (http://www.ajcongress.org/site/PageServer) . An outspoken advocate for the rights of Jews worldwide — he was arrested in front of the Soviet Embassy in Washington in 1986 for protesting the plight of Soviet Jews — he was an avid supporter of the state of Israel but not an uncritical one.
“The American Jewish response to Israel is woefully monolithic,” he wrote in his autobiography. “We who are so capable of intricate thought are almost boorishly insistent about viewing the complexities of Israeli society and political makeup through a one-channel, narrow prism.”
In 2010 he was among a group of 150 artists, Jews and non-Jews alike, listed by an American advocacy group, Jewish Voice for Peace, as backing Israeli artists who had refused to entertain in Jewish settlements on the West Bank.
He also denounced the militant Jewish Defense League in 1969, and, in 1967, publicly quit the Student Nonviolent Coordinating Committee, a civil-rights group, in protest over its accusations that the Israeli Army had committed atrocities against the Arabs.
Theodor Meir Bikel was born in Vienna on May 2, 1924, to Josef Bikel and the former Miriam Riegler. He later said he had been named for Theodor Herzl, the founder of Zionism, who was born on the same date 64 years earlier.
Mr. Bikel said in his autobiography that the family name had originally been Cohen, but that his great-grandfather changed it because there was another Cohen in the village where he lived in Bukovina, an area that has at different times been part of Romania and Russia. His great-grandfather, he wrote, arrived at the name Bikel by pointing his finger at random in an old prayer book and combining the first letters of the Hebrew words in the sentence where his finger landed, translated as “The children of Israel are holy to God.”
The family later moved to Austria. But although he was born in Vienna, Mr. Bikel corrected people if they called him Viennese. “I am nothing of the kind; I am an Austrian-born Jew,” he wrote. “I refuse to let a country that so shamefully treated my people lay any claim to me, to my life, to my successes, to my failures, to my very identity.” When he was 13, two years before the Nazis marched into Poland, his family moved again, to Palestine. He apprenticed at the Habimah theater in Tel Aviv in 1943, and in his first appearance on a professional stage he played the constable in “Tevye, the Milkman,” speaking just 29 words. Three years later he left the kibbutz where he was living to study at the Royal Academy of Dramatic Art in London.
There he starred in numerous small productions and, after graduating with honors in 1948, was discovered by Laurence Olivier, who cast him in a small role in the London production of “A Streetcar Named Desire.” A few months later, Mr. Bikel took over the second male lead.
He made his Broadway debut in 1955, in “Tonight in Samarkand,” with Louis Jourdan. And he soon decided to make the United States his permanent home. He became a citizen in 1961.
One of Mr. Bikel’s most challenging performances came in 1979, when he was aboard a United Airlines flight from Los Angeles that had been commandeered by a disturbed woman threatening to blow up the plane with nitroglycerin. Mr. Bikel, who had just three years earlier played the part of a hijacked passenger in the television film “Victory at Entebbe,” rose to the occasion, rallying his fellow hostages with songs. The plane landed safely in New York.
Mr. Bikel’s first two marriages, to Ofra Ichilov and Rita Weinberg Call, ended in divorce. His third wife, the conductor and pianist Tamara Brooks, died in 2012. The next year he married Aimee Ginsburg, a journalist. She survives him, as do his sons, Robert and Daniel; his stepsons, Zeev and Noam Ginsburg; and three grandchildren.
Mr. Bikel rejoiced in his varied career. “Horizons,” he said, “are not meant to be shrunk. You do as much as you can in as many fields as you know how to master.” He was often asked how he could do so many things so well.
“Simple,” he would reply. “Whatever I don’t do well, I don’t do.”
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Bob Koester Featured On American Pickers – HISTORY.com
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Legendary record man Bob Koester owner of Delmark Records and the Jazz Record Mart is featured in this episode of American Pickers.
Frank and Mike pick and old general store in Georgia and buy a load of 78 rpm blues records.
Daniele takes them to Bob Koester to be appraised.
Note: The Bob Koester segment is towards the end of the show.
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
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Bob Koester Featured On American Pickers – HISTORY.com
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Legendary record man Bob Koester owner of Delmark Records and the Jazz Record Mart is featured in this episode of American Pickers.
Frank and Mike pick and old general store in Georgia and buy a load of 78 rpm blues records.
Daniele takes them to Bob Koester to be appraised.
Note: The Bob Koester segment is towards the end of the show.
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
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Bob Koester Featured On American Pickers – HISTORY.com
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Legendary record man Bob Koester owner of Delmark Records and the Jazz Record Mart is featured in this episode of American Pickers.
Frank and Mike pick and old general store in Georgia and buy a load of 78 rpm blues records.
Daniele takes them to Bob Koester to be appraised.
Note: The Bob Koester segment is towards the end of the show.
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
http://www.history.com/shows/american-pickers/videos/red-white-and-blues
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Nat Hentoff-George Wein-Tony Scott
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John Taylor, jazz pianist – obituary – Telegraph
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http://www.telegraph.co.uk/news/obituaries/11753872/John-Taylor-jazz-pianist-obituary.html
** John Taylor, jazz pianist – obituary – Telegraph
————————————————————
John Taylor, who has died aged 72, who has died aged 72, was one of the finest, though often underrated, British jazz pianists and composers of his generation.
Taylor’s playing was virtuosic but never overwrought, combining a melodic lyricism with rhythmic originality and drawing influences from classical music. He was regarded by connoisseurs as one of the most creative and technically brilliant pianists in jazz.
Taylor first came to the attention of jazz audiences in 1969 when he partnered the saxophonists Alan Skidmore and John Surman. In the early 1970s he was accompanist to Cleo Laine and began composing for his own sextet. He worked with many visiting artists at Ronnie Scott’s Club, eventually becoming a member of Scott’s quintet. In 1977 he formed the trio Azimuth with the singer (and his first wife) Norma Winstone and trumpeter Kenny Wheeler, performing with them intermittently until the early 1990s and also establishing his credentials as a composer.
But even though he recorded more than 80 albums , the fact that for much of his career he provided the self-deprecating harmonic foil for others meant that Taylor did not become a household name. He was probably less well known in his native Britain than he was in mainland Europe, where he taught at the Music Academy in Cologne and recorded (with Azimuth) for the Munich-based ECM label. His compositions were performed by Hanover’s radio symphony orchestra and he appeared with many of the Continent’s leading jazz musicians, from the bassists Arild Andersen and Miroslav Vitous to the trumpeter Enrico Rava and saxophonist Jan Garbarek.
In later life, however, Taylor’s reputation in Britain saw something of a revival after the Contemporary Music Network decided to mark his 60th birthday in 2002 with a UK tour. Leading a new trio (including virtuoso bassist and band leader Marc Johnson and drummer Joey Baron), and teaming up with the Creative Jazz Orchestra, he won a BBC Jazz award for for “Best New Work” for his Green Man Suite, inspired by the romantic and archaeological landscape of Britain.
^John Taylor at the Cheltenham Jazz Festival in 2004 (Photoshot)
Taylor was born in Manchester on September 25 1942 and taught himself to play the piano, beginning his career with Manchester dance bands before moving to London in 1964. Over his career he worked with, among others, groups led by Gil Evans, Lee Konitz and Charlie Mariano and performed in duos with Tony Coe and Steve Arguelles .
From 2006, Taylor was a member of Kenny Wheeler’s quartet, and larger ensemble, and throughout his career he continued to work with the saxophonist John Surman, playing the organ on his choral work Proverbs and Songs from Salisbury Cathedral (1996).
In 2003 his solo piano album Insight was hailed by critics as one of his best recordings. The following year Taylor formed a new trio with Palle Danielsson and Martin France, performing at the Vancouver Jazz Festival and realeasing their recording Angel of the Presence in 2006 to coincide with a UK tour.
Taylor became a professor of jazz piano at the Cologne Music Academy in 1993 and taught jazz at York University from 2005.
In 2012 he marked his 70th birthday with a commission for BBC Radio 3 that included a suite inspired by Kurt Vonnegut. A new album, Duets – featuring Taylor and Richard Fairhurst, one of his former students, is due to be released in August.
Taylor was performing at the Saveurs Jazz Festival in Segré, France, on July 17 when he suffered a heart attack. He died later in hospital.
Taylor’s first marriage to Norma Winstone was dissolved. He is survived by his second wife, Carol, and by two sons of his first marriage.
John Taylor, born September 25 1942, died July 17 2015
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John Taylor, jazz pianist – obituary – Telegraph
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/news/obituaries/11753872/John-Taylor-jazz-pianist-obituary.html
** John Taylor, jazz pianist – obituary – Telegraph
————————————————————
John Taylor, who has died aged 72, who has died aged 72, was one of the finest, though often underrated, British jazz pianists and composers of his generation.
Taylor’s playing was virtuosic but never overwrought, combining a melodic lyricism with rhythmic originality and drawing influences from classical music. He was regarded by connoisseurs as one of the most creative and technically brilliant pianists in jazz.
Taylor first came to the attention of jazz audiences in 1969 when he partnered the saxophonists Alan Skidmore and John Surman. In the early 1970s he was accompanist to Cleo Laine and began composing for his own sextet. He worked with many visiting artists at Ronnie Scott’s Club, eventually becoming a member of Scott’s quintet. In 1977 he formed the trio Azimuth with the singer (and his first wife) Norma Winstone and trumpeter Kenny Wheeler, performing with them intermittently until the early 1990s and also establishing his credentials as a composer.
But even though he recorded more than 80 albums , the fact that for much of his career he provided the self-deprecating harmonic foil for others meant that Taylor did not become a household name. He was probably less well known in his native Britain than he was in mainland Europe, where he taught at the Music Academy in Cologne and recorded (with Azimuth) for the Munich-based ECM label. His compositions were performed by Hanover’s radio symphony orchestra and he appeared with many of the Continent’s leading jazz musicians, from the bassists Arild Andersen and Miroslav Vitous to the trumpeter Enrico Rava and saxophonist Jan Garbarek.
In later life, however, Taylor’s reputation in Britain saw something of a revival after the Contemporary Music Network decided to mark his 60th birthday in 2002 with a UK tour. Leading a new trio (including virtuoso bassist and band leader Marc Johnson and drummer Joey Baron), and teaming up with the Creative Jazz Orchestra, he won a BBC Jazz award for for “Best New Work” for his Green Man Suite, inspired by the romantic and archaeological landscape of Britain.
^John Taylor at the Cheltenham Jazz Festival in 2004 (Photoshot)
Taylor was born in Manchester on September 25 1942 and taught himself to play the piano, beginning his career with Manchester dance bands before moving to London in 1964. Over his career he worked with, among others, groups led by Gil Evans, Lee Konitz and Charlie Mariano and performed in duos with Tony Coe and Steve Arguelles .
From 2006, Taylor was a member of Kenny Wheeler’s quartet, and larger ensemble, and throughout his career he continued to work with the saxophonist John Surman, playing the organ on his choral work Proverbs and Songs from Salisbury Cathedral (1996).
In 2003 his solo piano album Insight was hailed by critics as one of his best recordings. The following year Taylor formed a new trio with Palle Danielsson and Martin France, performing at the Vancouver Jazz Festival and realeasing their recording Angel of the Presence in 2006 to coincide with a UK tour.
Taylor became a professor of jazz piano at the Cologne Music Academy in 1993 and taught jazz at York University from 2005.
In 2012 he marked his 70th birthday with a commission for BBC Radio 3 that included a suite inspired by Kurt Vonnegut. A new album, Duets – featuring Taylor and Richard Fairhurst, one of his former students, is due to be released in August.
Taylor was performing at the Saveurs Jazz Festival in Segré, France, on July 17 when he suffered a heart attack. He died later in hospital.
Taylor’s first marriage to Norma Winstone was dissolved. He is survived by his second wife, Carol, and by two sons of his first marriage.
John Taylor, born September 25 1942, died July 17 2015
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
John Taylor, jazz pianist – obituary – Telegraph
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/news/obituaries/11753872/John-Taylor-jazz-pianist-obituary.html
** John Taylor, jazz pianist – obituary – Telegraph
————————————————————
John Taylor, who has died aged 72, who has died aged 72, was one of the finest, though often underrated, British jazz pianists and composers of his generation.
Taylor’s playing was virtuosic but never overwrought, combining a melodic lyricism with rhythmic originality and drawing influences from classical music. He was regarded by connoisseurs as one of the most creative and technically brilliant pianists in jazz.
Taylor first came to the attention of jazz audiences in 1969 when he partnered the saxophonists Alan Skidmore and John Surman. In the early 1970s he was accompanist to Cleo Laine and began composing for his own sextet. He worked with many visiting artists at Ronnie Scott’s Club, eventually becoming a member of Scott’s quintet. In 1977 he formed the trio Azimuth with the singer (and his first wife) Norma Winstone and trumpeter Kenny Wheeler, performing with them intermittently until the early 1990s and also establishing his credentials as a composer.
But even though he recorded more than 80 albums , the fact that for much of his career he provided the self-deprecating harmonic foil for others meant that Taylor did not become a household name. He was probably less well known in his native Britain than he was in mainland Europe, where he taught at the Music Academy in Cologne and recorded (with Azimuth) for the Munich-based ECM label. His compositions were performed by Hanover’s radio symphony orchestra and he appeared with many of the Continent’s leading jazz musicians, from the bassists Arild Andersen and Miroslav Vitous to the trumpeter Enrico Rava and saxophonist Jan Garbarek.
In later life, however, Taylor’s reputation in Britain saw something of a revival after the Contemporary Music Network decided to mark his 60th birthday in 2002 with a UK tour. Leading a new trio (including virtuoso bassist and band leader Marc Johnson and drummer Joey Baron), and teaming up with the Creative Jazz Orchestra, he won a BBC Jazz award for for “Best New Work” for his Green Man Suite, inspired by the romantic and archaeological landscape of Britain.
^John Taylor at the Cheltenham Jazz Festival in 2004 (Photoshot)
Taylor was born in Manchester on September 25 1942 and taught himself to play the piano, beginning his career with Manchester dance bands before moving to London in 1964. Over his career he worked with, among others, groups led by Gil Evans, Lee Konitz and Charlie Mariano and performed in duos with Tony Coe and Steve Arguelles .
From 2006, Taylor was a member of Kenny Wheeler’s quartet, and larger ensemble, and throughout his career he continued to work with the saxophonist John Surman, playing the organ on his choral work Proverbs and Songs from Salisbury Cathedral (1996).
In 2003 his solo piano album Insight was hailed by critics as one of his best recordings. The following year Taylor formed a new trio with Palle Danielsson and Martin France, performing at the Vancouver Jazz Festival and realeasing their recording Angel of the Presence in 2006 to coincide with a UK tour.
Taylor became a professor of jazz piano at the Cologne Music Academy in 1993 and taught jazz at York University from 2005.
In 2012 he marked his 70th birthday with a commission for BBC Radio 3 that included a suite inspired by Kurt Vonnegut. A new album, Duets – featuring Taylor and Richard Fairhurst, one of his former students, is due to be released in August.
Taylor was performing at the Saveurs Jazz Festival in Segré, France, on July 17 when he suffered a heart attack. He died later in hospital.
Taylor’s first marriage to Norma Winstone was dissolved. He is survived by his second wife, Carol, and by two sons of his first marriage.
John Taylor, born September 25 1942, died July 17 2015
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/books/jacketcopy/la-et-jc-e-l-doctorow-dies-ragtime-author-20150721-story.html
By RYAN PARKER (http://www.latimes.com/la-bio-ryan-parker-staff.html#navtype=byline) AND CHRISTINA LITTLEFIELDcontact the reporter (mailto:ryan.parker@latimes.com?subject=Regarding%20E.L.%20Doctorow%20dies%20at%2084;%20award-wining%20author%20of%20’Ragtime’)
* Obituaries (http://www.latimes.com/topic/human-interest/obituaries/0800000056-topic.html#navtype=taxonomy-article)
** E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’
————————————————————
E.L. Doctorow, the renowned author of “Ragtime” and many other works of historical fiction and nonfiction, has died. He was 84.
He died Tuesday at a hospital in New York of complications from lung cancer, his son, Richard Doctorow, told the Los Angeles Times.
Doctrow’s books included “Ragtime,” which was adapted into a film and a Broadway musical, and “World’s Fair,” which won the National Book Award in 1986.
A January 2014 Los Angeles Times book review (http://www.latimes.com/books/jacketcopy/la-ca-jc-el-doctorow-20140112-story.html) of his most recent novel, “Andrew’s Brain,” described him as operating in the shadow of the Transcendentalists, “a romantic, a true believer — in the myth of America as a shining city, despite its various and ongoing failures to live up to its better self.”
Times’ book critic David L. Ulin has described (http://www.latimes.com/entertainment/arts/la-ca-e-l-doctorow30-2009aug30-story.html) Doctorow as the “Lon Chaney of American fiction” for the variety of characters and genres he covered.
Doctorow’s first book, 1960’s “Welcome to Hard Times” was a Western, and his 1966 follow-up “Big as Life” borrowed from science fiction. “The Book of Daniel,” published in 1971, intersects history and personality, “the drama of America, its brilliant promise and its awful failings, in which private matters play out against a broader world,” Ulin wrote. “Ragtime” is about a nation struggling with modernity.
Shortly after news of Doctorow’s death became public, President Obama called the author “one of America’s greatest novelists.”
“His books taught me much, and he will be missed,” Obama said on Twitter (https://twitter.com/POTUS/status/623661992952377344) .
Born in 1931 and raised in the Bronx, N.Y., Doctorow was a broadly American author, writing novels that operated as what he called “immense social documents,” taking on the messy ambiguities of the national mythosphere.
cComments
3
“Ragtime,” which four decades after its initial publication remains his best-known work, weaves historical figures such as architect Stanford White, White’s lover, Evelyn Nesbit, and anarchist Emma Goldman into the fabric of its fiction to create a three-dimensional pastiche of turn-of-the-20th-century America.
A novelist, Doctorow told the Times in 2006, “partakes of many identities. People say to me, ‘A lot of your novels take place in the past. Are you a historical novelist?’ I don’t think of myself that way, but if you want to call me that, go ahead. Then someone will say, ‘There’s a certain political quality to a lot of your work. Would you call yourself a political novelist?’ And I’ll say, ‘I’ve never thought of myself as a political novelist, but if that suits you, why not?’ And then someone will say, ‘You’re a Jewish novelist’ — and yes, I guess that’s true, too. So I accept any kind of identity. I’m willing to participate in all of them, as long as none claims to be an exhaustive interpretation.”
In addition to his son, Doctorow is survived by his wife, Helen Setzer; daughters Jenny Doctorow Fe-Bornstein and Caroline Doctorow Gatewood; and four grandchildren.
Follow Ryan Parker on Twitter (https://twitter.com/TheRyanParker) , Facebook (https://www.facebook.com/pages/Ryan-Parker/447789775296656?ref=bookmarks) and Instagram (https://instagram.com/the_ryan_parker/)
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
** UPDATES
————————————————————
7:01 p.m.: This post has been updated with information from Richard Doctorow and with E.L. Doctorow’s survivors.
6:36 p.m.: This post has been updated with information about E.L. Doctorow’s books, a quote from E.L. Doctorow and a comment from President Obama.
The first version of this post was published at 6:13 p.m.
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=43ba175c8c) | 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=43ba175c8c&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
E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/books/jacketcopy/la-et-jc-e-l-doctorow-dies-ragtime-author-20150721-story.html
By RYAN PARKER (http://www.latimes.com/la-bio-ryan-parker-staff.html#navtype=byline) AND CHRISTINA LITTLEFIELDcontact the reporter (mailto:ryan.parker@latimes.com?subject=Regarding%20E.L.%20Doctorow%20dies%20at%2084;%20award-wining%20author%20of%20’Ragtime’)
* Obituaries (http://www.latimes.com/topic/human-interest/obituaries/0800000056-topic.html#navtype=taxonomy-article)
** E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’
————————————————————
E.L. Doctorow, the renowned author of “Ragtime” and many other works of historical fiction and nonfiction, has died. He was 84.
He died Tuesday at a hospital in New York of complications from lung cancer, his son, Richard Doctorow, told the Los Angeles Times.
Doctrow’s books included “Ragtime,” which was adapted into a film and a Broadway musical, and “World’s Fair,” which won the National Book Award in 1986.
A January 2014 Los Angeles Times book review (http://www.latimes.com/books/jacketcopy/la-ca-jc-el-doctorow-20140112-story.html) of his most recent novel, “Andrew’s Brain,” described him as operating in the shadow of the Transcendentalists, “a romantic, a true believer — in the myth of America as a shining city, despite its various and ongoing failures to live up to its better self.”
Times’ book critic David L. Ulin has described (http://www.latimes.com/entertainment/arts/la-ca-e-l-doctorow30-2009aug30-story.html) Doctorow as the “Lon Chaney of American fiction” for the variety of characters and genres he covered.
Doctorow’s first book, 1960’s “Welcome to Hard Times” was a Western, and his 1966 follow-up “Big as Life” borrowed from science fiction. “The Book of Daniel,” published in 1971, intersects history and personality, “the drama of America, its brilliant promise and its awful failings, in which private matters play out against a broader world,” Ulin wrote. “Ragtime” is about a nation struggling with modernity.
Shortly after news of Doctorow’s death became public, President Obama called the author “one of America’s greatest novelists.”
“His books taught me much, and he will be missed,” Obama said on Twitter (https://twitter.com/POTUS/status/623661992952377344) .
Born in 1931 and raised in the Bronx, N.Y., Doctorow was a broadly American author, writing novels that operated as what he called “immense social documents,” taking on the messy ambiguities of the national mythosphere.
cComments
3
“Ragtime,” which four decades after its initial publication remains his best-known work, weaves historical figures such as architect Stanford White, White’s lover, Evelyn Nesbit, and anarchist Emma Goldman into the fabric of its fiction to create a three-dimensional pastiche of turn-of-the-20th-century America.
A novelist, Doctorow told the Times in 2006, “partakes of many identities. People say to me, ‘A lot of your novels take place in the past. Are you a historical novelist?’ I don’t think of myself that way, but if you want to call me that, go ahead. Then someone will say, ‘There’s a certain political quality to a lot of your work. Would you call yourself a political novelist?’ And I’ll say, ‘I’ve never thought of myself as a political novelist, but if that suits you, why not?’ And then someone will say, ‘You’re a Jewish novelist’ — and yes, I guess that’s true, too. So I accept any kind of identity. I’m willing to participate in all of them, as long as none claims to be an exhaustive interpretation.”
In addition to his son, Doctorow is survived by his wife, Helen Setzer; daughters Jenny Doctorow Fe-Bornstein and Caroline Doctorow Gatewood; and four grandchildren.
Follow Ryan Parker on Twitter (https://twitter.com/TheRyanParker) , Facebook (https://www.facebook.com/pages/Ryan-Parker/447789775296656?ref=bookmarks) and Instagram (https://instagram.com/the_ryan_parker/)
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
** UPDATES
————————————————————
7:01 p.m.: This post has been updated with information from Richard Doctorow and with E.L. Doctorow’s survivors.
6:36 p.m.: This post has been updated with information about E.L. Doctorow’s books, a quote from E.L. Doctorow and a comment from President Obama.
The first version of this post was published at 6:13 p.m.
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=43ba175c8c) | 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=43ba175c8c&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
E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’ – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/books/jacketcopy/la-et-jc-e-l-doctorow-dies-ragtime-author-20150721-story.html
By RYAN PARKER (http://www.latimes.com/la-bio-ryan-parker-staff.html#navtype=byline) AND CHRISTINA LITTLEFIELDcontact the reporter (mailto:ryan.parker@latimes.com?subject=Regarding%20E.L.%20Doctorow%20dies%20at%2084;%20award-wining%20author%20of%20’Ragtime’)
* Obituaries (http://www.latimes.com/topic/human-interest/obituaries/0800000056-topic.html#navtype=taxonomy-article)
** E.L. Doctorow dies at 84; award-wining author of ‘Ragtime’
————————————————————
E.L. Doctorow, the renowned author of “Ragtime” and many other works of historical fiction and nonfiction, has died. He was 84.
He died Tuesday at a hospital in New York of complications from lung cancer, his son, Richard Doctorow, told the Los Angeles Times.
Doctrow’s books included “Ragtime,” which was adapted into a film and a Broadway musical, and “World’s Fair,” which won the National Book Award in 1986.
A January 2014 Los Angeles Times book review (http://www.latimes.com/books/jacketcopy/la-ca-jc-el-doctorow-20140112-story.html) of his most recent novel, “Andrew’s Brain,” described him as operating in the shadow of the Transcendentalists, “a romantic, a true believer — in the myth of America as a shining city, despite its various and ongoing failures to live up to its better self.”
Times’ book critic David L. Ulin has described (http://www.latimes.com/entertainment/arts/la-ca-e-l-doctorow30-2009aug30-story.html) Doctorow as the “Lon Chaney of American fiction” for the variety of characters and genres he covered.
Doctorow’s first book, 1960’s “Welcome to Hard Times” was a Western, and his 1966 follow-up “Big as Life” borrowed from science fiction. “The Book of Daniel,” published in 1971, intersects history and personality, “the drama of America, its brilliant promise and its awful failings, in which private matters play out against a broader world,” Ulin wrote. “Ragtime” is about a nation struggling with modernity.
Shortly after news of Doctorow’s death became public, President Obama called the author “one of America’s greatest novelists.”
“His books taught me much, and he will be missed,” Obama said on Twitter (https://twitter.com/POTUS/status/623661992952377344) .
Born in 1931 and raised in the Bronx, N.Y., Doctorow was a broadly American author, writing novels that operated as what he called “immense social documents,” taking on the messy ambiguities of the national mythosphere.
cComments
3
“Ragtime,” which four decades after its initial publication remains his best-known work, weaves historical figures such as architect Stanford White, White’s lover, Evelyn Nesbit, and anarchist Emma Goldman into the fabric of its fiction to create a three-dimensional pastiche of turn-of-the-20th-century America.
A novelist, Doctorow told the Times in 2006, “partakes of many identities. People say to me, ‘A lot of your novels take place in the past. Are you a historical novelist?’ I don’t think of myself that way, but if you want to call me that, go ahead. Then someone will say, ‘There’s a certain political quality to a lot of your work. Would you call yourself a political novelist?’ And I’ll say, ‘I’ve never thought of myself as a political novelist, but if that suits you, why not?’ And then someone will say, ‘You’re a Jewish novelist’ — and yes, I guess that’s true, too. So I accept any kind of identity. I’m willing to participate in all of them, as long as none claims to be an exhaustive interpretation.”
In addition to his son, Doctorow is survived by his wife, Helen Setzer; daughters Jenny Doctorow Fe-Bornstein and Caroline Doctorow Gatewood; and four grandchildren.
Follow Ryan Parker on Twitter (https://twitter.com/TheRyanParker) , Facebook (https://www.facebook.com/pages/Ryan-Parker/447789775296656?ref=bookmarks) and Instagram (https://instagram.com/the_ryan_parker/)
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
** UPDATES
————————————————————
7:01 p.m.: This post has been updated with information from Richard Doctorow and with E.L. Doctorow’s survivors.
6:36 p.m.: This post has been updated with information about E.L. Doctorow’s books, a quote from E.L. Doctorow and a comment from President Obama.
The first version of this post was published at 6:13 p.m.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Van Alexander dies at 100, big band leader and Ella Fitzgerald composer – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-van-alexander-20150720-story.html
Van Alexander was a distinguished band leader, arranger and composer.
(Mitch Tobias)
By DON HECKMAN
** Van Alexander dies at 100, big band leader and Ella Fitzgerald composer
————————————————————
When he was young, Van Alexander knew that he wanted to have a life in music. What he didn’t know was that his long list of future musical achievements would be ignited by a children’s song that he arranged and co-wrote with singer Ella Fitzgerald.
The 1938 jazz-tinged recording of “A Tisket-A Tasket,” sung by Fitzgerald with the Chick Webb Orchestra, became one of the classics of the Swing Era, propelling Alexander into a high-soaring career that reached across the musical spectrum. He was a band leader, a composer and a prolific music arranger in Hollywood for television and film.
Ella Fitzgerald
Alexander, who continued to compose and arrange television and film scores well into his 90s, died Sunday of natural causes at Cedars-Sinai Medical Center, his daughter Joyce Harris said. He was 100.
Alexander was “central to the development of the Swing Era, and so much of what followed,” jazz critic Garry Giddins said.
Although, in his later years, he did not continue the high-intensity work schedule he kept most of his life, Alexander continued to be a musical advisor and teacher to young composers and arrangers who sought out his creative guidance.
During a 100th birthday celebration in May at Catalina Bar & Grill in Hollywood, composer-arranger Johnny Mandel recalled studying with Alexander as a young musician.
“He threw me in the water and yelled ‘swim,’“ Mandel said. “If it wasn’t for Van, I don’t know what I’d be doing.”
Born Alexander Van Vliet Feldman on May 2, 1915, he grew up in New York City. His father was a pharmacist, his mother a classical pianist who gave him piano lessons from the age of six.
Although his mother trained him classically, Alexander — like many young people who grew up in the Roaring ’20s and the Prohibition era that followed — was attracted to jazz and the rapidly expanding big band music of the Swing era. Living in Harlem, he was exposed to the great black bands of the era at dance halls such as the Savoy Ballroom.
In high school, he began to write arrangements for his own group – the Al Feldman Band – using his birth name, while he took theory and orchestration classes at Columbia.
It was at the Savoy that Alexander, still a teenager, met drummer and big jazz bandleader Chick Webb, who gave him the opportunity to write his first arrangements.
“Chick liked what I did with the songs,” Alexander told Marc Myers of Jazz Wax, a leading jazz blog. “He paid me $10 for each one, and I went home on Cloud 9. I had sold my first arrangement, and I was 19 years old.”
cComments
Got something to say? Start the conversation and be the first to comment.
0
By the mid-’30s, he was arranging for Webb’s band on a regular basis. After Webb died in 1939, Alexander was asked by RCA Victor Records to start his own band. But Eli Oberstein, then head of RCA, wasn’t certain Alexander’s birth name would work as a label for a new big band.
“He asked me to change my name so it would be more dramatic,” Alexander told Myers. “Mr. Oberstein asked me my middle name. I told him. He said I should use it as my first name and Alexander as my last. So I did.”
He stuck with Alexander for the rest of his long-running career, as an arranger and, increasingly, as a composer for films and television.
His television credits included “Dennis The Menace,” “The Brady Bunch,” “I Dream of Jeannie” and “Bewitched.” He arranged and conducted variety shows featuring Dean Martin, Mickey Rooney, Gordon McRae, Jimmy Stewart and others. And in film, he was favored for his ability to create richly atmospheric music deemed necessary for film noir titles like “Big Operator,” “Baby Face Nelson,” “I Saw What You Did” and “The Private Lives of Adam and Eve.”
Alexander chronicled his life in “From Harlem to Hollywood: My Life In Music” and wrote “First Arrangement,” a textbook on film music arrangement widely used in collegiate scoring classes in the 1950s. It was followed by “First Chart: A New Method to Teach Arranging to Today’s Contemporary Musicians.”
Alexander’s honors included Grammy and Emmy awards and a Lifetime Achievement Award from ASCAP. But the stellar turn-out for his 100th birthday celebration highlighted the honor in which he was cheered by hundreds of his contemporaries.
“I’ve really been blessed and I don’t take anything for granted.” Alexander said. “I never touched a cigarette, a drink or a woman… until I was 11 years old.”
Then he grew serious. “This has been a night to savor. I’ve had so much fun, I’m going to try for 101!”
Alexander’s wife of 72 years, Beth, died. In addition to his daughter Joyce, he is survived by daughter Lynn Tobias, four grandchildren and 14 great-grandchildren.
News.obits@latimes.com
Don Heckman is a former jazz critic for the Los Angeles Times.
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Van Alexander dies at 100, big band leader and Ella Fitzgerald composer – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-van-alexander-20150720-story.html
Van Alexander was a distinguished band leader, arranger and composer.
(Mitch Tobias)
By DON HECKMAN
** Van Alexander dies at 100, big band leader and Ella Fitzgerald composer
————————————————————
When he was young, Van Alexander knew that he wanted to have a life in music. What he didn’t know was that his long list of future musical achievements would be ignited by a children’s song that he arranged and co-wrote with singer Ella Fitzgerald.
The 1938 jazz-tinged recording of “A Tisket-A Tasket,” sung by Fitzgerald with the Chick Webb Orchestra, became one of the classics of the Swing Era, propelling Alexander into a high-soaring career that reached across the musical spectrum. He was a band leader, a composer and a prolific music arranger in Hollywood for television and film.
Ella Fitzgerald
Alexander, who continued to compose and arrange television and film scores well into his 90s, died Sunday of natural causes at Cedars-Sinai Medical Center, his daughter Joyce Harris said. He was 100.
Alexander was “central to the development of the Swing Era, and so much of what followed,” jazz critic Garry Giddins said.
Although, in his later years, he did not continue the high-intensity work schedule he kept most of his life, Alexander continued to be a musical advisor and teacher to young composers and arrangers who sought out his creative guidance.
During a 100th birthday celebration in May at Catalina Bar & Grill in Hollywood, composer-arranger Johnny Mandel recalled studying with Alexander as a young musician.
“He threw me in the water and yelled ‘swim,’“ Mandel said. “If it wasn’t for Van, I don’t know what I’d be doing.”
Born Alexander Van Vliet Feldman on May 2, 1915, he grew up in New York City. His father was a pharmacist, his mother a classical pianist who gave him piano lessons from the age of six.
Although his mother trained him classically, Alexander — like many young people who grew up in the Roaring ’20s and the Prohibition era that followed — was attracted to jazz and the rapidly expanding big band music of the Swing era. Living in Harlem, he was exposed to the great black bands of the era at dance halls such as the Savoy Ballroom.
In high school, he began to write arrangements for his own group – the Al Feldman Band – using his birth name, while he took theory and orchestration classes at Columbia.
It was at the Savoy that Alexander, still a teenager, met drummer and big jazz bandleader Chick Webb, who gave him the opportunity to write his first arrangements.
“Chick liked what I did with the songs,” Alexander told Marc Myers of Jazz Wax, a leading jazz blog. “He paid me $10 for each one, and I went home on Cloud 9. I had sold my first arrangement, and I was 19 years old.”
cComments
Got something to say? Start the conversation and be the first to comment.
0
By the mid-’30s, he was arranging for Webb’s band on a regular basis. After Webb died in 1939, Alexander was asked by RCA Victor Records to start his own band. But Eli Oberstein, then head of RCA, wasn’t certain Alexander’s birth name would work as a label for a new big band.
“He asked me to change my name so it would be more dramatic,” Alexander told Myers. “Mr. Oberstein asked me my middle name. I told him. He said I should use it as my first name and Alexander as my last. So I did.”
He stuck with Alexander for the rest of his long-running career, as an arranger and, increasingly, as a composer for films and television.
His television credits included “Dennis The Menace,” “The Brady Bunch,” “I Dream of Jeannie” and “Bewitched.” He arranged and conducted variety shows featuring Dean Martin, Mickey Rooney, Gordon McRae, Jimmy Stewart and others. And in film, he was favored for his ability to create richly atmospheric music deemed necessary for film noir titles like “Big Operator,” “Baby Face Nelson,” “I Saw What You Did” and “The Private Lives of Adam and Eve.”
Alexander chronicled his life in “From Harlem to Hollywood: My Life In Music” and wrote “First Arrangement,” a textbook on film music arrangement widely used in collegiate scoring classes in the 1950s. It was followed by “First Chart: A New Method to Teach Arranging to Today’s Contemporary Musicians.”
Alexander’s honors included Grammy and Emmy awards and a Lifetime Achievement Award from ASCAP. But the stellar turn-out for his 100th birthday celebration highlighted the honor in which he was cheered by hundreds of his contemporaries.
“I’ve really been blessed and I don’t take anything for granted.” Alexander said. “I never touched a cigarette, a drink or a woman… until I was 11 years old.”
Then he grew serious. “This has been a night to savor. I’ve had so much fun, I’m going to try for 101!”
Alexander’s wife of 72 years, Beth, died. In addition to his daughter Joyce, he is survived by daughter Lynn Tobias, four grandchildren and 14 great-grandchildren.
News.obits@latimes.com
Don Heckman is a former jazz critic for the Los Angeles Times.
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3de81c2d8e) | 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=3de81c2d8e&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
Van Alexander dies at 100, big band leader and Ella Fitzgerald composer – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-van-alexander-20150720-story.html
Van Alexander was a distinguished band leader, arranger and composer.
(Mitch Tobias)
By DON HECKMAN
** Van Alexander dies at 100, big band leader and Ella Fitzgerald composer
————————————————————
When he was young, Van Alexander knew that he wanted to have a life in music. What he didn’t know was that his long list of future musical achievements would be ignited by a children’s song that he arranged and co-wrote with singer Ella Fitzgerald.
The 1938 jazz-tinged recording of “A Tisket-A Tasket,” sung by Fitzgerald with the Chick Webb Orchestra, became one of the classics of the Swing Era, propelling Alexander into a high-soaring career that reached across the musical spectrum. He was a band leader, a composer and a prolific music arranger in Hollywood for television and film.
Ella Fitzgerald
Alexander, who continued to compose and arrange television and film scores well into his 90s, died Sunday of natural causes at Cedars-Sinai Medical Center, his daughter Joyce Harris said. He was 100.
Alexander was “central to the development of the Swing Era, and so much of what followed,” jazz critic Garry Giddins said.
Although, in his later years, he did not continue the high-intensity work schedule he kept most of his life, Alexander continued to be a musical advisor and teacher to young composers and arrangers who sought out his creative guidance.
During a 100th birthday celebration in May at Catalina Bar & Grill in Hollywood, composer-arranger Johnny Mandel recalled studying with Alexander as a young musician.
“He threw me in the water and yelled ‘swim,’“ Mandel said. “If it wasn’t for Van, I don’t know what I’d be doing.”
Born Alexander Van Vliet Feldman on May 2, 1915, he grew up in New York City. His father was a pharmacist, his mother a classical pianist who gave him piano lessons from the age of six.
Although his mother trained him classically, Alexander — like many young people who grew up in the Roaring ’20s and the Prohibition era that followed — was attracted to jazz and the rapidly expanding big band music of the Swing era. Living in Harlem, he was exposed to the great black bands of the era at dance halls such as the Savoy Ballroom.
In high school, he began to write arrangements for his own group – the Al Feldman Band – using his birth name, while he took theory and orchestration classes at Columbia.
It was at the Savoy that Alexander, still a teenager, met drummer and big jazz bandleader Chick Webb, who gave him the opportunity to write his first arrangements.
“Chick liked what I did with the songs,” Alexander told Marc Myers of Jazz Wax, a leading jazz blog. “He paid me $10 for each one, and I went home on Cloud 9. I had sold my first arrangement, and I was 19 years old.”
cComments
Got something to say? Start the conversation and be the first to comment.
0
By the mid-’30s, he was arranging for Webb’s band on a regular basis. After Webb died in 1939, Alexander was asked by RCA Victor Records to start his own band. But Eli Oberstein, then head of RCA, wasn’t certain Alexander’s birth name would work as a label for a new big band.
“He asked me to change my name so it would be more dramatic,” Alexander told Myers. “Mr. Oberstein asked me my middle name. I told him. He said I should use it as my first name and Alexander as my last. So I did.”
He stuck with Alexander for the rest of his long-running career, as an arranger and, increasingly, as a composer for films and television.
His television credits included “Dennis The Menace,” “The Brady Bunch,” “I Dream of Jeannie” and “Bewitched.” He arranged and conducted variety shows featuring Dean Martin, Mickey Rooney, Gordon McRae, Jimmy Stewart and others. And in film, he was favored for his ability to create richly atmospheric music deemed necessary for film noir titles like “Big Operator,” “Baby Face Nelson,” “I Saw What You Did” and “The Private Lives of Adam and Eve.”
Alexander chronicled his life in “From Harlem to Hollywood: My Life In Music” and wrote “First Arrangement,” a textbook on film music arrangement widely used in collegiate scoring classes in the 1950s. It was followed by “First Chart: A New Method to Teach Arranging to Today’s Contemporary Musicians.”
Alexander’s honors included Grammy and Emmy awards and a Lifetime Achievement Award from ASCAP. But the stellar turn-out for his 100th birthday celebration highlighted the honor in which he was cheered by hundreds of his contemporaries.
“I’ve really been blessed and I don’t take anything for granted.” Alexander said. “I never touched a cigarette, a drink or a woman… until I was 11 years old.”
Then he grew serious. “This has been a night to savor. I’ve had so much fun, I’m going to try for 101!”
Alexander’s wife of 72 years, Beth, died. In addition to his daughter Joyce, he is survived by daughter Lynn Tobias, four grandchildren and 14 great-grandchildren.
News.obits@latimes.com
Don Heckman is a former jazz critic for the Los Angeles Times.
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
http://www.jazzpromoservices.com/
http://www.pottsmerc.com/opinion/20150711/nat-hentoff-oh-im-not-retired-at-90-x2014-retire-to-what
** NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
————————————————————
Now 90, I have a number of expected age-related problems. But as long as you can still read my reporting on our presidents tossing aside the separation of powers and other constitutional limitations on the executive branch, why should I retire?
As the late Cardinal John O’Connor once said to me, “Nat, I hope we don’t lose you. You’re the only Jewish, atheist, civil libertarian, pro-lifer, tireless free speech advocate we have.”
So said this Catholic leader of the New York archdiocese.
And from Duke Ellington I learned to never retire from jazz and life. This was when I was in my teens, working at a Boston radio station where I’d also had a weekly jazz program.
Later I was struck at how tired Duke had become while he and his orchestra were playing more than 200 one-nighters a year all over this land.
Presumptuously, I told him: “Duke, you don’t have to endure this. You’ve written classics and can retire on your ASCAP income.”
Duke looked at me as if I’d lost all my marbles and roared: “Retire? To what?”
That burned a hole in my consciousness. After all, one of Duke’s songs was called “What Am I Here For?”
If I weren’t researching vital stories and sending them across this country and beyond, of what use would I be?
Recently, I received a direct answer to Duke’s query in a call from Ron Strom, the commentary editor of World Net Daily, the independent news site. He told me that editors there were worried about my absences, which until the past few months had been very rare. They wanted to know what current, controversial topics I’d eventually be writing about. Readers had also been concerned, presumably about my health.
Added Strom: “You have my best wishes for continued improvement in your health. We look forward to your return to weekly writing. May you continue for many years to come.”
I certainly intend to. The more I research and write, the more my physical situation improves because I get so involved in reporting that I forget my health problems.
One story I’d been eager to write about was my enthusiasm for Jeb Bush’s presidential candidacy in 2016 — and then what abruptly ended it.
To his great credit, Bush, while governor of Florida, tried hard to prevent the death of Terri Schiavo in 2005.
I had researched and written about that case in my then-regular Village Voice column. As I concluded, hers was “the longest public execution in American history” (“Terri Schiavo: Judicial Murder,” The Village Voice, March 22, 2005).
I added: “She is not brain-dead or comatose, and breathes naturally on her own. Although brain-damaged, she is not in a persistent vegetative state, according to an increasing number of radiologists and neurologists.”
Her husband and legal guardian, Michael Schiavo, had been intervening for years in order to remove her feeding tube. Her parents and siblings, however, tried to keep her alive.
Federal courts refused to get involved and the Supreme Court denied emergency calls for help.
The Florida legislature even passed a law in 2003 protecting Terri Schiavo’s right to life. Bush signed it, but the state Supreme Court threw it out two years later, thus ensuring that Michael Schiavo would be allowed to have his wife’s feeding tube permanently removed.
It’s worth noting, as was reported extensively at the time, that her husband was living with another woman with whom he’d had children.
It’s also worth reminding readers, as I did 10 years ago, that “the American Civil Liberties Union, which would be passionately criticizing state court decisions and demanding due process if Terri were a convict on death row, has shamefully served as co-counsel for her husband, Michael Schiavo, in his insistent desire to have her die.”
Can you imagine that?
On March 31, 2005, CNN’s headline proclaimed: “Terri Schiavo has died.”
It further noted: “Terri Schiavo, the 41-year-old brain-damaged woman who became the centerpiece of a national right-to-die battle, died Thursday morning, nearly two weeks after doctors removed the feeding tube that had sustained her for more than a decade.”
In response, Bush has said he has no regrets in waging his sustained battle to keep her alive.
Yet, as admirable as his position has been, I am not urging him to become our next president.
Why?
Dig what he told a gathering in Concord, New Hampshire, earlier this year about the Patriot Act: “There’s not a shred of evidence that anybody’s civil liberties have been violated by it. Not a shred” (“Jeb Bush: ‘Not a Shred of Evidence’ That Patriot Act Violated Anyone’s Civil Liberties,” Igor Bobic, huffingtonpost.com, May 21).
What a national disgrace.
The Patriot Act was rushed through Congress so quickly following the Sept. 11 attacks that many legislators didn’t even have time to read it. The most anti-constitutional legislation in our history passed easily. In it, Section 215 destroyed the Fourth Amendment’s protections against government invasions of our personal privacy.
Recent legislation happily signed by Barack Obama supposedly changes that section — but not essentially! Government intelligence agencies are still spying on us.
Indeed, as The Washington Post reported last week: “The Foreign Intelligence Surveillance Court on Monday ruled that the NSA could resume gathering millions of Americans’ phone metadata — call times, dates and durations — to scan for links to foreign terrorists” (“With court approval, NSA resumes bulk collection of phone data,” Ellen Nakashima, The Washington Post, June 30).
So are there any Constitutionalists you can trust to become president in 2016? What about members of Congress? Do you trust any of the current presidential candidates to fill Supreme Court vacancies?
Will this still be America after next year’s elections? Do you still give a damn?
I still do, and that’s why I’m not retiring.
That’s what I’m here for.
Nat Hentoff is a nationally renowned authority on the First Amendment and the Bill of Rights. He is a member of the Reporters Committee for Freedom of the Press, and the Cato Institute, where he is a senior fellow.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
http://www.jazzpromoservices.com/
http://www.pottsmerc.com/opinion/20150711/nat-hentoff-oh-im-not-retired-at-90-x2014-retire-to-what
** NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
————————————————————
Now 90, I have a number of expected age-related problems. But as long as you can still read my reporting on our presidents tossing aside the separation of powers and other constitutional limitations on the executive branch, why should I retire?
As the late Cardinal John O’Connor once said to me, “Nat, I hope we don’t lose you. You’re the only Jewish, atheist, civil libertarian, pro-lifer, tireless free speech advocate we have.”
So said this Catholic leader of the New York archdiocese.
And from Duke Ellington I learned to never retire from jazz and life. This was when I was in my teens, working at a Boston radio station where I’d also had a weekly jazz program.
Later I was struck at how tired Duke had become while he and his orchestra were playing more than 200 one-nighters a year all over this land.
Presumptuously, I told him: “Duke, you don’t have to endure this. You’ve written classics and can retire on your ASCAP income.”
Duke looked at me as if I’d lost all my marbles and roared: “Retire? To what?”
That burned a hole in my consciousness. After all, one of Duke’s songs was called “What Am I Here For?”
If I weren’t researching vital stories and sending them across this country and beyond, of what use would I be?
Recently, I received a direct answer to Duke’s query in a call from Ron Strom, the commentary editor of World Net Daily, the independent news site. He told me that editors there were worried about my absences, which until the past few months had been very rare. They wanted to know what current, controversial topics I’d eventually be writing about. Readers had also been concerned, presumably about my health.
Added Strom: “You have my best wishes for continued improvement in your health. We look forward to your return to weekly writing. May you continue for many years to come.”
I certainly intend to. The more I research and write, the more my physical situation improves because I get so involved in reporting that I forget my health problems.
One story I’d been eager to write about was my enthusiasm for Jeb Bush’s presidential candidacy in 2016 — and then what abruptly ended it.
To his great credit, Bush, while governor of Florida, tried hard to prevent the death of Terri Schiavo in 2005.
I had researched and written about that case in my then-regular Village Voice column. As I concluded, hers was “the longest public execution in American history” (“Terri Schiavo: Judicial Murder,” The Village Voice, March 22, 2005).
I added: “She is not brain-dead or comatose, and breathes naturally on her own. Although brain-damaged, she is not in a persistent vegetative state, according to an increasing number of radiologists and neurologists.”
Her husband and legal guardian, Michael Schiavo, had been intervening for years in order to remove her feeding tube. Her parents and siblings, however, tried to keep her alive.
Federal courts refused to get involved and the Supreme Court denied emergency calls for help.
The Florida legislature even passed a law in 2003 protecting Terri Schiavo’s right to life. Bush signed it, but the state Supreme Court threw it out two years later, thus ensuring that Michael Schiavo would be allowed to have his wife’s feeding tube permanently removed.
It’s worth noting, as was reported extensively at the time, that her husband was living with another woman with whom he’d had children.
It’s also worth reminding readers, as I did 10 years ago, that “the American Civil Liberties Union, which would be passionately criticizing state court decisions and demanding due process if Terri were a convict on death row, has shamefully served as co-counsel for her husband, Michael Schiavo, in his insistent desire to have her die.”
Can you imagine that?
On March 31, 2005, CNN’s headline proclaimed: “Terri Schiavo has died.”
It further noted: “Terri Schiavo, the 41-year-old brain-damaged woman who became the centerpiece of a national right-to-die battle, died Thursday morning, nearly two weeks after doctors removed the feeding tube that had sustained her for more than a decade.”
In response, Bush has said he has no regrets in waging his sustained battle to keep her alive.
Yet, as admirable as his position has been, I am not urging him to become our next president.
Why?
Dig what he told a gathering in Concord, New Hampshire, earlier this year about the Patriot Act: “There’s not a shred of evidence that anybody’s civil liberties have been violated by it. Not a shred” (“Jeb Bush: ‘Not a Shred of Evidence’ That Patriot Act Violated Anyone’s Civil Liberties,” Igor Bobic, huffingtonpost.com, May 21).
What a national disgrace.
The Patriot Act was rushed through Congress so quickly following the Sept. 11 attacks that many legislators didn’t even have time to read it. The most anti-constitutional legislation in our history passed easily. In it, Section 215 destroyed the Fourth Amendment’s protections against government invasions of our personal privacy.
Recent legislation happily signed by Barack Obama supposedly changes that section — but not essentially! Government intelligence agencies are still spying on us.
Indeed, as The Washington Post reported last week: “The Foreign Intelligence Surveillance Court on Monday ruled that the NSA could resume gathering millions of Americans’ phone metadata — call times, dates and durations — to scan for links to foreign terrorists” (“With court approval, NSA resumes bulk collection of phone data,” Ellen Nakashima, The Washington Post, June 30).
So are there any Constitutionalists you can trust to become president in 2016? What about members of Congress? Do you trust any of the current presidential candidates to fill Supreme Court vacancies?
Will this still be America after next year’s elections? Do you still give a damn?
I still do, and that’s why I’m not retiring.
That’s what I’m here for.
Nat Hentoff is a nationally renowned authority on the First Amendment and the Bill of Rights. He is a member of the Reporters Committee for Freedom of the Press, and the Cato Institute, where he is a senior fellow.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
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NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
http://www.jazzpromoservices.com/
http://www.pottsmerc.com/opinion/20150711/nat-hentoff-oh-im-not-retired-at-90-x2014-retire-to-what
** NAT HENTOFF: Oh, I’m not retired at 90 — retire to what?
————————————————————
Now 90, I have a number of expected age-related problems. But as long as you can still read my reporting on our presidents tossing aside the separation of powers and other constitutional limitations on the executive branch, why should I retire?
As the late Cardinal John O’Connor once said to me, “Nat, I hope we don’t lose you. You’re the only Jewish, atheist, civil libertarian, pro-lifer, tireless free speech advocate we have.”
So said this Catholic leader of the New York archdiocese.
And from Duke Ellington I learned to never retire from jazz and life. This was when I was in my teens, working at a Boston radio station where I’d also had a weekly jazz program.
Later I was struck at how tired Duke had become while he and his orchestra were playing more than 200 one-nighters a year all over this land.
Presumptuously, I told him: “Duke, you don’t have to endure this. You’ve written classics and can retire on your ASCAP income.”
Duke looked at me as if I’d lost all my marbles and roared: “Retire? To what?”
That burned a hole in my consciousness. After all, one of Duke’s songs was called “What Am I Here For?”
If I weren’t researching vital stories and sending them across this country and beyond, of what use would I be?
Recently, I received a direct answer to Duke’s query in a call from Ron Strom, the commentary editor of World Net Daily, the independent news site. He told me that editors there were worried about my absences, which until the past few months had been very rare. They wanted to know what current, controversial topics I’d eventually be writing about. Readers had also been concerned, presumably about my health.
Added Strom: “You have my best wishes for continued improvement in your health. We look forward to your return to weekly writing. May you continue for many years to come.”
I certainly intend to. The more I research and write, the more my physical situation improves because I get so involved in reporting that I forget my health problems.
One story I’d been eager to write about was my enthusiasm for Jeb Bush’s presidential candidacy in 2016 — and then what abruptly ended it.
To his great credit, Bush, while governor of Florida, tried hard to prevent the death of Terri Schiavo in 2005.
I had researched and written about that case in my then-regular Village Voice column. As I concluded, hers was “the longest public execution in American history” (“Terri Schiavo: Judicial Murder,” The Village Voice, March 22, 2005).
I added: “She is not brain-dead or comatose, and breathes naturally on her own. Although brain-damaged, she is not in a persistent vegetative state, according to an increasing number of radiologists and neurologists.”
Her husband and legal guardian, Michael Schiavo, had been intervening for years in order to remove her feeding tube. Her parents and siblings, however, tried to keep her alive.
Federal courts refused to get involved and the Supreme Court denied emergency calls for help.
The Florida legislature even passed a law in 2003 protecting Terri Schiavo’s right to life. Bush signed it, but the state Supreme Court threw it out two years later, thus ensuring that Michael Schiavo would be allowed to have his wife’s feeding tube permanently removed.
It’s worth noting, as was reported extensively at the time, that her husband was living with another woman with whom he’d had children.
It’s also worth reminding readers, as I did 10 years ago, that “the American Civil Liberties Union, which would be passionately criticizing state court decisions and demanding due process if Terri were a convict on death row, has shamefully served as co-counsel for her husband, Michael Schiavo, in his insistent desire to have her die.”
Can you imagine that?
On March 31, 2005, CNN’s headline proclaimed: “Terri Schiavo has died.”
It further noted: “Terri Schiavo, the 41-year-old brain-damaged woman who became the centerpiece of a national right-to-die battle, died Thursday morning, nearly two weeks after doctors removed the feeding tube that had sustained her for more than a decade.”
In response, Bush has said he has no regrets in waging his sustained battle to keep her alive.
Yet, as admirable as his position has been, I am not urging him to become our next president.
Why?
Dig what he told a gathering in Concord, New Hampshire, earlier this year about the Patriot Act: “There’s not a shred of evidence that anybody’s civil liberties have been violated by it. Not a shred” (“Jeb Bush: ‘Not a Shred of Evidence’ That Patriot Act Violated Anyone’s Civil Liberties,” Igor Bobic, huffingtonpost.com, May 21).
What a national disgrace.
The Patriot Act was rushed through Congress so quickly following the Sept. 11 attacks that many legislators didn’t even have time to read it. The most anti-constitutional legislation in our history passed easily. In it, Section 215 destroyed the Fourth Amendment’s protections against government invasions of our personal privacy.
Recent legislation happily signed by Barack Obama supposedly changes that section — but not essentially! Government intelligence agencies are still spying on us.
Indeed, as The Washington Post reported last week: “The Foreign Intelligence Surveillance Court on Monday ruled that the NSA could resume gathering millions of Americans’ phone metadata — call times, dates and durations — to scan for links to foreign terrorists” (“With court approval, NSA resumes bulk collection of phone data,” Ellen Nakashima, The Washington Post, June 30).
So are there any Constitutionalists you can trust to become president in 2016? What about members of Congress? Do you trust any of the current presidential candidates to fill Supreme Court vacancies?
Will this still be America after next year’s elections? Do you still give a damn?
I still do, and that’s why I’m not retiring.
That’s what I’m here for.
Nat Hentoff is a nationally renowned authority on the First Amendment and the Bill of Rights. He is a member of the Reporters Committee for Freedom of the Press, and the Cato Institute, where he is a senior fellow.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Mahwah prepares to lay Les Paul walkway – Celebrities – NorthJersey.com
http://www.jazzpromoservices.com/
http://www.northjersey.com/arts-and-entertainment/celebrities/conceptual-plans-for-les-paul-walkway-ok-d-1.1370685
** Mahwah prepares to lay Les Paul walkway
————————————————————
JULY 9, 2015 LAST UPDATED: THURSDAY, JULY 9, 2015, 12:31 AM
BY TOM NOBILE
STAFF WRITER |
MAHWAH SUBURBAN NEWS
Photo courtesy of the committee of les paul park
A depiction of current and future plans for parks in Mahwah.
Mahwah — Conceptual plans for a walkway dedicated to musician Les Paul in Winters Park are closer to becoming reality.
Mayor William Laforet, resident Bill Dator and architect Tetsu Amagasu on June 25 gave a presentation on the $239,000 endeavor that would see the installation of a slate walkway encircling the top half of Winters Pond and crossing the bridge, accessing the parking area. Benches and streetlights would line the walkway, which Laforet described as a meandering one following the perimeter of a pond with an added fountain. Flowers would line the railings of the bridge, leading to a rain garden between the pond and parking area and designed to manage storm water runoff.
And a plaque honoring the longtime resident of nearly 60 years would be positioned at the walkway’s entrance.
Paul, who passed away at age 94 in 2009, is credited with pioneering the solid body electric guitar, sound-on-sound recording and overdubbing.
He achieved fame in the early 1950s with such popular songs as “How High the Moon” and “Vaya Con Dios,” recorded with his wife Mary Ford. The duo performed a weekly radio show that was sometimes broadcast from their home in Mahwah.
“He’s an innovator,” Laforet said of Paul. “He’s probably changed rock-and-roll music forever.”
Areas of the park that “look good, but not great, and can look even better” are among those that would be targeted, Laforet said, including gathering spots for geese where little grass grows.
“We don’t want to change that tranquility,” Laforet said. “We want to enhance it.”
The Les Paul Foundation will fund the work, along with donations and fundraising by the three-member committee, which is dedicated to the walkway’s design and creation. The foundation has agreed to donate $200,000, Laforet said.
The council reacted more favorably to this proposal than the one in January that had suggested the construction of a concert plaza with a stage and benches. Parking and traffic concerns were the council’s main issues.
Laforet and members of committee answered the council’s questions about additional parking accommodations and maintenance costs. Laforet said the project would not add to the park’s 15 parking spaces. Maintenance of the walkway would not put any significant demands on the parks department.
Councilwoman Janet Ariemma called the proposal “beautiful” and said it would be a nice fit for wildlife as well.
Because the project is proposed for township property, Councilman Robert Hermansen raised the money issue.
“My question is that you get into the middle of a project and you run out of money. When you don’t have it, then you have half a project,” Hermansen said.
Dater said the project would be done in phases. The $239,000 cost covers the first phase. Money would be raised for an additional walkway that runs further along Winters Pond.
“We’re not going to sign a contract that obligates the town to finish something that goes over [budget],” Dater said.
The council approved the proposal by a unanimous vote.
Laforet said the committee next will present a finalized proposal by Amagasu & Associates, Architects, to the council.
E-mail: nobile@northjersey.com
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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USA
Mahwah prepares to lay Les Paul walkway – Celebrities – NorthJersey.com
http://www.jazzpromoservices.com/
http://www.northjersey.com/arts-and-entertainment/celebrities/conceptual-plans-for-les-paul-walkway-ok-d-1.1370685
** Mahwah prepares to lay Les Paul walkway
————————————————————
JULY 9, 2015 LAST UPDATED: THURSDAY, JULY 9, 2015, 12:31 AM
BY TOM NOBILE
STAFF WRITER |
MAHWAH SUBURBAN NEWS
Photo courtesy of the committee of les paul park
A depiction of current and future plans for parks in Mahwah.
Mahwah — Conceptual plans for a walkway dedicated to musician Les Paul in Winters Park are closer to becoming reality.
Mayor William Laforet, resident Bill Dator and architect Tetsu Amagasu on June 25 gave a presentation on the $239,000 endeavor that would see the installation of a slate walkway encircling the top half of Winters Pond and crossing the bridge, accessing the parking area. Benches and streetlights would line the walkway, which Laforet described as a meandering one following the perimeter of a pond with an added fountain. Flowers would line the railings of the bridge, leading to a rain garden between the pond and parking area and designed to manage storm water runoff.
And a plaque honoring the longtime resident of nearly 60 years would be positioned at the walkway’s entrance.
Paul, who passed away at age 94 in 2009, is credited with pioneering the solid body electric guitar, sound-on-sound recording and overdubbing.
He achieved fame in the early 1950s with such popular songs as “How High the Moon” and “Vaya Con Dios,” recorded with his wife Mary Ford. The duo performed a weekly radio show that was sometimes broadcast from their home in Mahwah.
“He’s an innovator,” Laforet said of Paul. “He’s probably changed rock-and-roll music forever.”
Areas of the park that “look good, but not great, and can look even better” are among those that would be targeted, Laforet said, including gathering spots for geese where little grass grows.
“We don’t want to change that tranquility,” Laforet said. “We want to enhance it.”
The Les Paul Foundation will fund the work, along with donations and fundraising by the three-member committee, which is dedicated to the walkway’s design and creation. The foundation has agreed to donate $200,000, Laforet said.
The council reacted more favorably to this proposal than the one in January that had suggested the construction of a concert plaza with a stage and benches. Parking and traffic concerns were the council’s main issues.
Laforet and members of committee answered the council’s questions about additional parking accommodations and maintenance costs. Laforet said the project would not add to the park’s 15 parking spaces. Maintenance of the walkway would not put any significant demands on the parks department.
Councilwoman Janet Ariemma called the proposal “beautiful” and said it would be a nice fit for wildlife as well.
Because the project is proposed for township property, Councilman Robert Hermansen raised the money issue.
“My question is that you get into the middle of a project and you run out of money. When you don’t have it, then you have half a project,” Hermansen said.
Dater said the project would be done in phases. The $239,000 cost covers the first phase. Money would be raised for an additional walkway that runs further along Winters Pond.
“We’re not going to sign a contract that obligates the town to finish something that goes over [budget],” Dater said.
The council approved the proposal by a unanimous vote.
Laforet said the committee next will present a finalized proposal by Amagasu & Associates, Architects, to the council.
E-mail: nobile@northjersey.com
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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50 Years After Dylan Went Electric, George Wein Remembers – Music – Forward.com
http://www.jazzpromoservices.com/
http://forward.com/culture/music/312007/50-years-after-dylan-went-electric-george-wein-remembers-newport/
** 50 Years After Dylan Went Electric, George Wein Remembers
————————————————————
George Wein, co-founder of the Newport Jazz Festival, once wrote, “If there was ever an average middle-class, Jewish-American kid… I was it.” But the life that followed Wein’s childhood in the Boston suburbs has been anything but commonplace.
Consider a few facts:
As a teenager who hungrily sought out live jazz, Wein sometimes brought musicians home with him for late-night meals and jam sessions. “Picture a carload of Negro jazz musicians in 1943 driving through our slumbering suburb after midnight and playing music there until the early morning hours,” he wrote in his 2003 memoir. “This sort of thing just didn’t happen in Newton, Massachusetts.”
In the 1940s, Wein enlisted in the Army, where he bounced between stateside bases before being shipped over to Europe. He was heading ever closer to the German front lines in 1945, when he learned of Hitler’s death. A few months later he was in a tent city in a French village, awaiting deployment to the Pacific, when the Japanese surrendered. He collapsed in relief, weeping.
In a 1954 New Yorker article on the jazz festival’s debut, reporter Lillian Ross described Wein as a “stocky man of twenty-eight who seemed to be filled with controlled frenzy.” “This town will never be the same again,” Wein told Ross. “We could make Newport the jazz center of the world. What Salzburg is to Mozart! What Bayreuth is to Wagner! What Tanglewood is to classical music!”
Wein’s festival not only succeeded, but sometimes over-succeeded. In 1960, Newport was jammed with so many rowdy, beer-soaked young folks (many of whom were forced to sleep on the beach in the rain, due to a lack of hotel rooms) that the National Guard was called in to quell riots. Unrest returned again in 1971, when hordes of young fans trampled a fence and took to the stage to smash light fixtures, toss chairs, rip the lid off a piano and light sheet music on fire.
Wein has received an array of accolades, including a Commandeur de L’Ordre des Arts et Lettres from France, lifetime achievement awards from DownBeat magazine and York College of the City University of New York, a Patron of the Arts Award from the Studio Museum of Harlem and a “Jazz Master” distinction from the National Endowment for the Arts. In 2001 the famed critic Nat Hentoff wrote that Wein has “expanded the audience for jazz more than any other promoter in the music’s history.”
In February 2015, during the Grammy Awards in Los Angeles, the host of the show paused to recognize Wein, who had recently received a Grammy Trustees Award. “More than anyone, George set the stage for what great festivals today look like,” the rapper/actor L.L. Cool J told thousands in the audience, and millions of TV viewers. “Festivals like Coachella, Bonnaroo — he made this possible. George is 89 years young and strong and still playing piano beautifully.”
Indeed, Wein’s life is so stunningly nonaverage that it’s surprising he hasn’t been the subject of a Hollywood biopic. And if that film ever is produced, the first few scenes will be pretty Jewish.
Wein’s household wasn’t intensely observant — “I grew up thinking that shrimp and lobster were kosher,” he once said — but his father, Barnet Wein, a doctor, took pride in being able to converse with his patients in Yiddish. And Ruth Wein, George’s mother, insisted that both he and Larry Wein, his brother, have bar mitzvahs. In his memoir, Wein describes his elementary school in Newton as a “cultural cocoon” that was “probably 95 percent Jewish.”
The turning point in Wein’s life came in 1953. He had returned safely from the war and launched a jazz club in downtown Boston called Storyville. Later, he was approached by a jazz-buff Boston University professor and Elaine Lorillard, a Newport socialite and the wife of the tobacco-fortune heir Pierre Lorillard. The professor explained that Ms. Lorillard was interested in launching a jazz festival in Rhode Island’s posh seaside town, and Wein would make a fitting producer.
“I had no rulebook to go by,” Wein wrote of his approach to programming the event. “I knew it had to be something unique, that no jazz fan had ever been exposed to. I remembered my nights in New York City when I had started off in Greenwich Village at 8 p.m., gone to Harlem, and ended up seven hours later at 52nd Street… I heard Dixieland, big bands, swing, unique singers, and modern jazz. If this is what I loved, then that was what should appeal to any jazz fan.”
The bill for the July 1954 inaugural Newport Jazz Festival included traditional jazz, freeform jam sessions, panel discussions on “The Place of Jazz in American Culture” and performances by Billie Holiday, Dizzy Gillespie, Oscar Peterson, Gerry Mulligan and Ella Fitzgerald. The rave reviews poured in, including one from The Providence Journal, which read, “To say the whole affair was a success is a considerable understatement.” In ensuing years, the fest became such a smash that in 1959, Wein launched a second event dedicated to folk music, with the help of Pete Seeger and his wife, Toshi Seeger.
The list of performers who have appeared onstage at those two festivals is staggering. Ray Charles. Janis Joplin. Frank Sinatra. Joni Mitchell. Leonard Cohen. Louis Armstrong. John Coltrane. Joan Baez. Thelonious Monk. Nina Simone. Chuck Berry. Aretha Franklin. Al Green. The 1969 jazz fest alone featured Led Zeppelin, Anita O’Day, Jethro Tull, Miles Davis, Sly and the Family Stone, James Brown, Herbie Hancock, Dave Brubeck, and Frank Zappa and The Mothers of Invention.
In some cases, Newport gigs have defined careers. After Duke Ellington’s famous 1956 performance of “Diminuendo and Crescendo in Blue” (featuring a 27-chorus solo from saxophonist Paul Gonsalves) cured a professional slump, the legendary bandleader told people, “I was born at the Newport Jazz Festival on July 7, 1956.”
Then, of course, there was the moment when a brash, talented, Jewish folk singer from Minnesota took the stage in 1965 wearing a leather jacket and carrying a Fender Stratocaster. Bob Dylan’s plugged-in performance that day was a “dramatic declaration of independence, a symbol for a rebellious decade and a generation that did not want to succeed on their parents’ and teachers’ terms or succumb to the establishment,” Elijah Wald has written in his new book, “Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties.” “What happened… was not just a musical disagreement or a single artist breaking with his past. It marked the end of the folk revival as a mass movement, and the birth of rock as the mature artistic voice of a generation.”
Who was waiting for Dylan when he exited the stage?
George Wein, who implored him to go back and play an acoustic number, in order to stave off a riot. Dylan ultimately agreed, and, with a borrowed guitar, performed, “It’s All Over Now, Baby Blue.” This year’s folk festival marks 50 years since that fateful day. And among the scheduled performances is a set from a secret lineup of musicians playing as “’65 Revisited.” Not so secret is the fact that Wein will be in attendance (and at the jazz festival the following weekend), riding around in his signature golf cart, nicknamed the “Wein Machine.”
Posters from bygone jazz festivals line the walls of the hallway leading to Wein’s apartment, in his building on Manhattan’s Upper East Side. When I visited on a recent afternoon, I was greeted at the door by one of the young employees who spend weekdays there. Since the passing of Wein’s wife of 46 years, Joyce Wein, in 2005, his apartment has been headquarters for Newport Festivals Foundation Inc., the not-for-profit organization that runs the jazz and folk festivals. Wein remains its chairman.
I was ushered through a foyer and into a spacious living room, where Wein’s Grammy award sat on a coffee table. In a corner was a grand piano that, as Wein told me when he entered the room, had been played by a host of stars, including John Lewis, the late musician director of the Modern Jazz Quartet; Jon Batiste, the young phenom recently named bandleader of “The Late Show With Stephen Colbert,” and Joey Alexander, the 11-year-old Indonesian prodigy headlining this year’s Newport Jazz
‘I’m proud that I made my own way. I kept thinking of unique approaches and then made them work.’
Festival. Wein’s apartment is a kind of holy pilgrimage site for jazz musicians.
Six decades have passed since The New Yorker’s Ross marveled at Wein’s energy. And that “controlled frenzy” doesn’t seem to have diminished significantly. “I go out and listen to music all year long,” Wein told me when describing how he hand-picks each artist who performs at the jazz fest. He spends much of the rest of his time writing emails, meeting with the festival foundation’s board and posting mini-essays on Facebook and talking to journalists. “When you get to be 90 years old, a lot of people want to talk to you,” he said with a laugh. During our visit, Wein was soft-spoken but ebullient. He told me about the time he produced a concert that paired a cantor and blues musician. (“It could have been a great concert, but it didn’t work.”) He talked about how he views flagging record sales for jazz albums as a positive thing. (“It sells records like classical music sells records… [and] everybody considers classical music great music.”) He told me how — after stints as a ma
nager, record executive and piano player — he identifies as a producer. (“I’m an impresario. I create events.”)
The life of an 89-year-old music-business legend, it seems, is sprinkled with a greater-than-usual number of joys and sorrows. Follow Wein on Facebook, and you’ll see how frequently he writes about friends and acquaintances who have passed away. (The past few months have brought tributes to B.B. King, Lew Soloff, Ornette Coleman and the folk singer Jean Ritchie.) And as we chatted, he told me that due to hearing loss, he recently stopped playing piano. “I have a sound in my head that I’m looking for,” he said. “When I play… I don’t get that sound.”
But Wein doesn’t dwell on bad news. And he was soon gushing about how, last June, the American Society of Composers, Authors and Publishers inducted him into its Hall of Fame, where he joins the company of Louis Armstrong, Benny Goodman and Jelly Roll Morton. A few months earlier he traveled to New Orleans to cut the ribbon on the George and Joyce Wein Jazz & Heritage Center. “That meant a lot to me, because I was married to an African-American woman,” he said. “And we were married before the Civil Rights [Act] was passed, and the first time I went to New Orleans I couldn’t bring my wife. And now you see our names up there, right there on Rampart Street.”
The themes that arose most prominently in our conversation were respect and pride. For much of his life, Wein told me, he sought the kind of esteem that came naturally to a physician like his father: “Everybody respected Dr. Wein. I wanted that same respect, and I worked very hard for it.
“I’m proud of the fact that I think everybody that’s involved with jazz has more respect, and I think that I’m very much a part of that.” He pointed to the existence of Jazz at Lincoln Center, and to the fact that, nowadays, parents don’t balk if a teenager aspires to a career in jazz. (More evidence: The Newport Festivals Foundation’s gala, in August, will be co-chaired by two U.S. senators and by Rhode Island’s governor, Gina Raimondo.) “And I’m proud that I made my own way,” he added. “I wasn’t copying people along the way. I kept thinking of unique approaches and then made them work.”
In other words, he improvised.
What better way to describe a life of jazz?
Philip Eil is a freelance journalist based in Providence, RI. He is the former news editor of the Providence Phoenix.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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50 Years After Dylan Went Electric, George Wein Remembers – Music – Forward.com
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http://forward.com/culture/music/312007/50-years-after-dylan-went-electric-george-wein-remembers-newport/
** 50 Years After Dylan Went Electric, George Wein Remembers
————————————————————
George Wein, co-founder of the Newport Jazz Festival, once wrote, “If there was ever an average middle-class, Jewish-American kid… I was it.” But the life that followed Wein’s childhood in the Boston suburbs has been anything but commonplace.
Consider a few facts:
As a teenager who hungrily sought out live jazz, Wein sometimes brought musicians home with him for late-night meals and jam sessions. “Picture a carload of Negro jazz musicians in 1943 driving through our slumbering suburb after midnight and playing music there until the early morning hours,” he wrote in his 2003 memoir. “This sort of thing just didn’t happen in Newton, Massachusetts.”
In the 1940s, Wein enlisted in the Army, where he bounced between stateside bases before being shipped over to Europe. He was heading ever closer to the German front lines in 1945, when he learned of Hitler’s death. A few months later he was in a tent city in a French village, awaiting deployment to the Pacific, when the Japanese surrendered. He collapsed in relief, weeping.
In a 1954 New Yorker article on the jazz festival’s debut, reporter Lillian Ross described Wein as a “stocky man of twenty-eight who seemed to be filled with controlled frenzy.” “This town will never be the same again,” Wein told Ross. “We could make Newport the jazz center of the world. What Salzburg is to Mozart! What Bayreuth is to Wagner! What Tanglewood is to classical music!”
Wein’s festival not only succeeded, but sometimes over-succeeded. In 1960, Newport was jammed with so many rowdy, beer-soaked young folks (many of whom were forced to sleep on the beach in the rain, due to a lack of hotel rooms) that the National Guard was called in to quell riots. Unrest returned again in 1971, when hordes of young fans trampled a fence and took to the stage to smash light fixtures, toss chairs, rip the lid off a piano and light sheet music on fire.
Wein has received an array of accolades, including a Commandeur de L’Ordre des Arts et Lettres from France, lifetime achievement awards from DownBeat magazine and York College of the City University of New York, a Patron of the Arts Award from the Studio Museum of Harlem and a “Jazz Master” distinction from the National Endowment for the Arts. In 2001 the famed critic Nat Hentoff wrote that Wein has “expanded the audience for jazz more than any other promoter in the music’s history.”
In February 2015, during the Grammy Awards in Los Angeles, the host of the show paused to recognize Wein, who had recently received a Grammy Trustees Award. “More than anyone, George set the stage for what great festivals today look like,” the rapper/actor L.L. Cool J told thousands in the audience, and millions of TV viewers. “Festivals like Coachella, Bonnaroo — he made this possible. George is 89 years young and strong and still playing piano beautifully.”
Indeed, Wein’s life is so stunningly nonaverage that it’s surprising he hasn’t been the subject of a Hollywood biopic. And if that film ever is produced, the first few scenes will be pretty Jewish.
Wein’s household wasn’t intensely observant — “I grew up thinking that shrimp and lobster were kosher,” he once said — but his father, Barnet Wein, a doctor, took pride in being able to converse with his patients in Yiddish. And Ruth Wein, George’s mother, insisted that both he and Larry Wein, his brother, have bar mitzvahs. In his memoir, Wein describes his elementary school in Newton as a “cultural cocoon” that was “probably 95 percent Jewish.”
The turning point in Wein’s life came in 1953. He had returned safely from the war and launched a jazz club in downtown Boston called Storyville. Later, he was approached by a jazz-buff Boston University professor and Elaine Lorillard, a Newport socialite and the wife of the tobacco-fortune heir Pierre Lorillard. The professor explained that Ms. Lorillard was interested in launching a jazz festival in Rhode Island’s posh seaside town, and Wein would make a fitting producer.
“I had no rulebook to go by,” Wein wrote of his approach to programming the event. “I knew it had to be something unique, that no jazz fan had ever been exposed to. I remembered my nights in New York City when I had started off in Greenwich Village at 8 p.m., gone to Harlem, and ended up seven hours later at 52nd Street… I heard Dixieland, big bands, swing, unique singers, and modern jazz. If this is what I loved, then that was what should appeal to any jazz fan.”
The bill for the July 1954 inaugural Newport Jazz Festival included traditional jazz, freeform jam sessions, panel discussions on “The Place of Jazz in American Culture” and performances by Billie Holiday, Dizzy Gillespie, Oscar Peterson, Gerry Mulligan and Ella Fitzgerald. The rave reviews poured in, including one from The Providence Journal, which read, “To say the whole affair was a success is a considerable understatement.” In ensuing years, the fest became such a smash that in 1959, Wein launched a second event dedicated to folk music, with the help of Pete Seeger and his wife, Toshi Seeger.
The list of performers who have appeared onstage at those two festivals is staggering. Ray Charles. Janis Joplin. Frank Sinatra. Joni Mitchell. Leonard Cohen. Louis Armstrong. John Coltrane. Joan Baez. Thelonious Monk. Nina Simone. Chuck Berry. Aretha Franklin. Al Green. The 1969 jazz fest alone featured Led Zeppelin, Anita O’Day, Jethro Tull, Miles Davis, Sly and the Family Stone, James Brown, Herbie Hancock, Dave Brubeck, and Frank Zappa and The Mothers of Invention.
In some cases, Newport gigs have defined careers. After Duke Ellington’s famous 1956 performance of “Diminuendo and Crescendo in Blue” (featuring a 27-chorus solo from saxophonist Paul Gonsalves) cured a professional slump, the legendary bandleader told people, “I was born at the Newport Jazz Festival on July 7, 1956.”
Then, of course, there was the moment when a brash, talented, Jewish folk singer from Minnesota took the stage in 1965 wearing a leather jacket and carrying a Fender Stratocaster. Bob Dylan’s plugged-in performance that day was a “dramatic declaration of independence, a symbol for a rebellious decade and a generation that did not want to succeed on their parents’ and teachers’ terms or succumb to the establishment,” Elijah Wald has written in his new book, “Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties.” “What happened… was not just a musical disagreement or a single artist breaking with his past. It marked the end of the folk revival as a mass movement, and the birth of rock as the mature artistic voice of a generation.”
Who was waiting for Dylan when he exited the stage?
George Wein, who implored him to go back and play an acoustic number, in order to stave off a riot. Dylan ultimately agreed, and, with a borrowed guitar, performed, “It’s All Over Now, Baby Blue.” This year’s folk festival marks 50 years since that fateful day. And among the scheduled performances is a set from a secret lineup of musicians playing as “’65 Revisited.” Not so secret is the fact that Wein will be in attendance (and at the jazz festival the following weekend), riding around in his signature golf cart, nicknamed the “Wein Machine.”
Posters from bygone jazz festivals line the walls of the hallway leading to Wein’s apartment, in his building on Manhattan’s Upper East Side. When I visited on a recent afternoon, I was greeted at the door by one of the young employees who spend weekdays there. Since the passing of Wein’s wife of 46 years, Joyce Wein, in 2005, his apartment has been headquarters for Newport Festivals Foundation Inc., the not-for-profit organization that runs the jazz and folk festivals. Wein remains its chairman.
I was ushered through a foyer and into a spacious living room, where Wein’s Grammy award sat on a coffee table. In a corner was a grand piano that, as Wein told me when he entered the room, had been played by a host of stars, including John Lewis, the late musician director of the Modern Jazz Quartet; Jon Batiste, the young phenom recently named bandleader of “The Late Show With Stephen Colbert,” and Joey Alexander, the 11-year-old Indonesian prodigy headlining this year’s Newport Jazz
‘I’m proud that I made my own way. I kept thinking of unique approaches and then made them work.’
Festival. Wein’s apartment is a kind of holy pilgrimage site for jazz musicians.
Six decades have passed since The New Yorker’s Ross marveled at Wein’s energy. And that “controlled frenzy” doesn’t seem to have diminished significantly. “I go out and listen to music all year long,” Wein told me when describing how he hand-picks each artist who performs at the jazz fest. He spends much of the rest of his time writing emails, meeting with the festival foundation’s board and posting mini-essays on Facebook and talking to journalists. “When you get to be 90 years old, a lot of people want to talk to you,” he said with a laugh. During our visit, Wein was soft-spoken but ebullient. He told me about the time he produced a concert that paired a cantor and blues musician. (“It could have been a great concert, but it didn’t work.”) He talked about how he views flagging record sales for jazz albums as a positive thing. (“It sells records like classical music sells records… [and] everybody considers classical music great music.”) He told me how — after stints as a ma
nager, record executive and piano player — he identifies as a producer. (“I’m an impresario. I create events.”)
The life of an 89-year-old music-business legend, it seems, is sprinkled with a greater-than-usual number of joys and sorrows. Follow Wein on Facebook, and you’ll see how frequently he writes about friends and acquaintances who have passed away. (The past few months have brought tributes to B.B. King, Lew Soloff, Ornette Coleman and the folk singer Jean Ritchie.) And as we chatted, he told me that due to hearing loss, he recently stopped playing piano. “I have a sound in my head that I’m looking for,” he said. “When I play… I don’t get that sound.”
But Wein doesn’t dwell on bad news. And he was soon gushing about how, last June, the American Society of Composers, Authors and Publishers inducted him into its Hall of Fame, where he joins the company of Louis Armstrong, Benny Goodman and Jelly Roll Morton. A few months earlier he traveled to New Orleans to cut the ribbon on the George and Joyce Wein Jazz & Heritage Center. “That meant a lot to me, because I was married to an African-American woman,” he said. “And we were married before the Civil Rights [Act] was passed, and the first time I went to New Orleans I couldn’t bring my wife. And now you see our names up there, right there on Rampart Street.”
The themes that arose most prominently in our conversation were respect and pride. For much of his life, Wein told me, he sought the kind of esteem that came naturally to a physician like his father: “Everybody respected Dr. Wein. I wanted that same respect, and I worked very hard for it.
“I’m proud of the fact that I think everybody that’s involved with jazz has more respect, and I think that I’m very much a part of that.” He pointed to the existence of Jazz at Lincoln Center, and to the fact that, nowadays, parents don’t balk if a teenager aspires to a career in jazz. (More evidence: The Newport Festivals Foundation’s gala, in August, will be co-chaired by two U.S. senators and by Rhode Island’s governor, Gina Raimondo.) “And I’m proud that I made my own way,” he added. “I wasn’t copying people along the way. I kept thinking of unique approaches and then made them work.”
In other words, he improvised.
What better way to describe a life of jazz?
Philip Eil is a freelance journalist based in Providence, RI. He is the former news editor of the Providence Phoenix.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Remembering Hazen Schumacher, host of “Jazz Revisited” | Michigan Radio
http://www.jazzpromoservices.com/
http://michiganradio.org/post/remembering-hazen-schumacher-host-jazz-revisited#stream/0
By KATE WELLS (http://michiganradio.org/people/kate-wells) • 20 HOURS AGO
** Remembering Hazen Schumacher, host of “Jazz Revisited”
————————————————————
http://mediad.publicbroadcasting.net/p/michigan/files/styles/x_large/public/201507/hazen__1_.jpg
Sad news for jazz lovers this weekend.
Radio legend Hazen Schumacher died yesterday at the age of 88.
The Michigan broadcaster was known nationally as host of the “Jazz Revisited” program.
Hear how Hazen Schumacher introduced a generation of listeners to jazz.
Schumacher was on the air for more than 30 years, and his show introduced a generation to jazz.
Back in the 1960s, Shumacher was working at the local radio station at the University of Michigan.
And he wanted to create a program that would reintroduce people to the music he felt like audiences had largely forgotten: a very specific era of great, classic jazz recorded between 1917 and 1947.
“Someone has called the programs an audio time capsule from that period, which is maybe a pretty good description,” Shumacher said in recent German documentary about the show.
Now maybe this doesn’t sound like a recipe for mass commercial success.
But it really took off.
“National Public Radio came along and it went national,” Shumacher says in the documentary. “So then we would get records from all over the country.”
For a generation of music lovers, Hazen Schumaker gave them one of their first introductions to jazz.
“That show, Jazz Revisited, knitted the nation together in music appreciation,” says Linda Yohn, the music director at WEMU and a longtime jazz radio host.
She grew up listening to Schumacher’s program as kid in Ohio. When she moved to Michigan, meeting Schumacher was one of the first things she wanted to do.
Yohn remembers wearing a “Jazz Revisited” commemorative sweatshirt when she went hiking through some of the national parks out west, and says it felt like every person she bumped into wanted to tell her their story of growing up listening to the same show.
“And he had such a way of meticulously putting these pieces together, and telling you the story and teaching you, yet doing it with such humor and he was so relaxed and friendly about it that you’d couldn’t help but learn to love your grandparent’s music,” Yohn says.
Eventually the audience went international.
“People from around the world would contact Hazen with the most obscure questions about the dawn of the genre,” says Scott Westerman, who grew up in Schumacher’s neighborhood.
Westerman went on to work in radio and TV in Michigan for years.
But he says he got his first job at age 13, running to get records for Schumacher from the radio’s extensive library.
“Hazen believed that jazz was really the one true American contribution to the world at that time. It’s uniquely American.”
After the show ended, a German jazz museum collected all the recordings of Schumacher’s shows – more than 1,500 of them.
Schumacher went on to be the director of broadcasting at WUOM. He also taught music and broadcast students at the University of Michigan.
He’s survived by his wife, Rusty, and their four adult children.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Remembering Hazen Schumacher, host of “Jazz Revisited” | Michigan Radio
http://www.jazzpromoservices.com/
http://michiganradio.org/post/remembering-hazen-schumacher-host-jazz-revisited#stream/0
By KATE WELLS (http://michiganradio.org/people/kate-wells) • 20 HOURS AGO
** Remembering Hazen Schumacher, host of “Jazz Revisited”
————————————————————
http://mediad.publicbroadcasting.net/p/michigan/files/styles/x_large/public/201507/hazen__1_.jpg
Sad news for jazz lovers this weekend.
Radio legend Hazen Schumacher died yesterday at the age of 88.
The Michigan broadcaster was known nationally as host of the “Jazz Revisited” program.
Hear how Hazen Schumacher introduced a generation of listeners to jazz.
Schumacher was on the air for more than 30 years, and his show introduced a generation to jazz.
Back in the 1960s, Shumacher was working at the local radio station at the University of Michigan.
And he wanted to create a program that would reintroduce people to the music he felt like audiences had largely forgotten: a very specific era of great, classic jazz recorded between 1917 and 1947.
“Someone has called the programs an audio time capsule from that period, which is maybe a pretty good description,” Shumacher said in recent German documentary about the show.
Now maybe this doesn’t sound like a recipe for mass commercial success.
But it really took off.
“National Public Radio came along and it went national,” Shumacher says in the documentary. “So then we would get records from all over the country.”
For a generation of music lovers, Hazen Schumaker gave them one of their first introductions to jazz.
“That show, Jazz Revisited, knitted the nation together in music appreciation,” says Linda Yohn, the music director at WEMU and a longtime jazz radio host.
She grew up listening to Schumacher’s program as kid in Ohio. When she moved to Michigan, meeting Schumacher was one of the first things she wanted to do.
Yohn remembers wearing a “Jazz Revisited” commemorative sweatshirt when she went hiking through some of the national parks out west, and says it felt like every person she bumped into wanted to tell her their story of growing up listening to the same show.
“And he had such a way of meticulously putting these pieces together, and telling you the story and teaching you, yet doing it with such humor and he was so relaxed and friendly about it that you’d couldn’t help but learn to love your grandparent’s music,” Yohn says.
Eventually the audience went international.
“People from around the world would contact Hazen with the most obscure questions about the dawn of the genre,” says Scott Westerman, who grew up in Schumacher’s neighborhood.
Westerman went on to work in radio and TV in Michigan for years.
But he says he got his first job at age 13, running to get records for Schumacher from the radio’s extensive library.
“Hazen believed that jazz was really the one true American contribution to the world at that time. It’s uniquely American.”
After the show ended, a German jazz museum collected all the recordings of Schumacher’s shows – more than 1,500 of them.
Schumacher went on to be the director of broadcasting at WUOM. He also taught music and broadcast students at the University of Michigan.
He’s survived by his wife, Rusty, and their four adult children.
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=267773df2c) | 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=267773df2c&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