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‘Concert by the Sea,’ a Jazz Classic by Erroll Garner, Is to Be Reissued – NYTimes.com
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/06/15/concert-by-the-sea-a-jazz-classic-by-erroll-garner-to-be-reissued/?emc=edit_tnt_20150615
** ‘Concert by the Sea,’ a Jazz Classic by Erroll Garner, Is to Be Reissued
————————————————————
Photo
Erroll Garner during the original “Concert by the Sea” in 1955.
Erroll Garner during the original “Concert by the Sea” in 1955.Credit Peter Breinig
Few jazz albums have reached as wide an audience as the pianist Erroll Garner (safari-reader://artsbeat.blogs.nytimes.com/2015/06/15/concert-by-the-sea-a-jazz-classic-by-erroll-garner-to-be-reissued/www.errollgarner.com) ’s “Concert by the Sea.” Recorded in Carmel-by-the-Sea, Calif., in 1955, it was released on Columbia and quickly achieved a rare sort of success — becoming not only a standout moment in Mr. Garner’s career but also an essential touchstone for pianists, and one of the best-selling jazz albums ever.
This fall, timed to coincide with the 60th anniversary of the album’s live recording, Sony Legacy and the Octave Music Publishing Corporation will release “The Complete Concert by The Sea,” a 3-CD boxed set featuring 11 previously unissued tracks along with bonus materials.
Due out on Sept. 18, the set will double the available music from the concert, shedding new light on Garner in what is often considered his finest hour (in reality, about an hour and a half). Among the newly unearthed material — never circulated in any form — is a hard-charging, nearly eight-minute version of “Caravan,” which stamped the concert with a bravura finale.
Garner, who would have turned 94 today, is remembered as the composer of “Misty,” the indelible pop ballad. (Although he had written it the previous year, he didn’t play the song at Carmel.) A self-taught dynamo of a pianist, Garner had an ebullient drive and a knack for spontaneous, elaborate digression. He appeared at the Sunset Center with the bassist Eddie Calhoun and the drummer Denzil Best, who constituted his trio at the time but sometimes sounded, by the recorded evidence, as if they had little choice but to just hang on for the ride.
The Carmel concert was produced by the jazz radio personality Jimmy Lyons, just a few years before he founded the Monterey Jazz Festival. Fittingly, on Sept. 18 the 58th annual Monterey Jazz Festival will present a “Concert by the Sea” tribute organized by the pianist Geri Allen. The program will otherwise feature the pianists Jason Moran and Christian Sands, the drummer Jimmy Cobb, the guitarist Russell Malone and the bassist Darek Oles.
“The Complete Concert by the Sea” is just the most visible byproduct of a current archival boon for Garner, who died in 1977 at 53. Ms. Allen, who produced the new release with Steve Rosenthal, is also the director of jazz studies at the University of Pittsburgh, in Garner’s hometown. The university recently established the first official Erroll Garner archive, a trove of recordings, film reels, photographs and correspondence. Which means that there is literally more where this came from, although the archive has chosen the right material for its opening fanfare.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
‘Concert by the Sea,’ a Jazz Classic by Erroll Garner, Is to Be Reissued – NYTimes.com
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/06/15/concert-by-the-sea-a-jazz-classic-by-erroll-garner-to-be-reissued/?emc=edit_tnt_20150615
** ‘Concert by the Sea,’ a Jazz Classic by Erroll Garner, Is to Be Reissued
————————————————————
Photo
Erroll Garner during the original “Concert by the Sea” in 1955.
Erroll Garner during the original “Concert by the Sea” in 1955.Credit Peter Breinig
Few jazz albums have reached as wide an audience as the pianist Erroll Garner (safari-reader://artsbeat.blogs.nytimes.com/2015/06/15/concert-by-the-sea-a-jazz-classic-by-erroll-garner-to-be-reissued/www.errollgarner.com) ’s “Concert by the Sea.” Recorded in Carmel-by-the-Sea, Calif., in 1955, it was released on Columbia and quickly achieved a rare sort of success — becoming not only a standout moment in Mr. Garner’s career but also an essential touchstone for pianists, and one of the best-selling jazz albums ever.
This fall, timed to coincide with the 60th anniversary of the album’s live recording, Sony Legacy and the Octave Music Publishing Corporation will release “The Complete Concert by The Sea,” a 3-CD boxed set featuring 11 previously unissued tracks along with bonus materials.
Due out on Sept. 18, the set will double the available music from the concert, shedding new light on Garner in what is often considered his finest hour (in reality, about an hour and a half). Among the newly unearthed material — never circulated in any form — is a hard-charging, nearly eight-minute version of “Caravan,” which stamped the concert with a bravura finale.
Garner, who would have turned 94 today, is remembered as the composer of “Misty,” the indelible pop ballad. (Although he had written it the previous year, he didn’t play the song at Carmel.) A self-taught dynamo of a pianist, Garner had an ebullient drive and a knack for spontaneous, elaborate digression. He appeared at the Sunset Center with the bassist Eddie Calhoun and the drummer Denzil Best, who constituted his trio at the time but sometimes sounded, by the recorded evidence, as if they had little choice but to just hang on for the ride.
The Carmel concert was produced by the jazz radio personality Jimmy Lyons, just a few years before he founded the Monterey Jazz Festival. Fittingly, on Sept. 18 the 58th annual Monterey Jazz Festival will present a “Concert by the Sea” tribute organized by the pianist Geri Allen. The program will otherwise feature the pianists Jason Moran and Christian Sands, the drummer Jimmy Cobb, the guitarist Russell Malone and the bassist Darek Oles.
“The Complete Concert by the Sea” is just the most visible byproduct of a current archival boon for Garner, who died in 1977 at 53. Ms. Allen, who produced the new release with Steve Rosenthal, is also the director of jazz studies at the University of Pittsburgh, in Garner’s hometown. The university recently established the first official Erroll Garner archive, a trove of recordings, film reels, photographs and correspondence. Which means that there is literally more where this came from, although the archive has chosen the right material for its opening fanfare.
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=16faf907a9) | 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=16faf907a9&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 musician Erroll Garner’s materials donated to Pitt library | Pittsburgh Post-Gazette
http://www.jazzpromoservices.com/
http://www.post-gazette.com/local/city/2015/06/15/Jazz-musician-Erroll-Garner-donates-materials-to-Pitt-library/stories/201506150062
** Jazz musician Erroll Garner’s materials donated to Pitt library
————————————————————
The man who wrote the music to the song “Misty” is long gone, but his legacy will live in his hometown.
The professional materials of internationally renowned jazz pianist Erroll Garner, an East Liberty native who died in 1977, have been donated to the University of Pittsburgh Library System by the estate of Martha Glaser, Mr. Garner’s longtime agent and manager and a civil-rights advocate who also grew up in Pittsburgh.
The announcement was made today, which would have been Mr. Garner’s 94th birthday. He died of lung cancer at age 55 and is buried in Homewood Cemetery.
“He was one of the major pianists in the history of jazz, and so by definition this is an important acquisition,” said Bill Kirchner, author of the “Oxford Companion to Jazz,” who noted that Mr. Garner was self-taught. “What is amazing is he couldn’t read a word of music. Everything he did was totally by ear.”
After graduating from Westinghouse High School, Mr. Garner left for New York City in 1944. Ten years later, he composed the music to “Misty,” his most well-known ballad, which was recorded by Johnny Mathis in 1954, becoming his signature song.
The donated materials include correspondence, performance and recording contracts, photographs, sheet music, awards and sound and video recordings. They also include such memorabilia as a cocktail napkin with a sketch of Mr. Garner made in a Paris jazz club and a telephone book. Under his contract with Sol Hurok, a fabled impresario and producer in the mid-20th century, Mr. Garner insisted on a telephone directory for the New York City borough of Manhattan that he could sit on while playing because of his short stature, Mr. Kirchner said.
Mr. Garner was 5 feet 2 inches tall, and his small hands meant he could barely span an octave on the keyboard.
Also to mark Mr. Garner’s birthday, Sony Legacy is expected to announce the release of a new Garner album called “The Complete Concert by the Sea,” which is co-produced by Pitt’s jazz studies director and pianist, Geri Allen. It will feature 11 unreleased tracks and interviews.
According to a release from the University of Pittsburgh, Mr. Garner began playing piano at age 3 and played by ear all of his life. By age 7, he performed on KDKA radio with a group called the Kan-D-Kids, and by the time he was a teenager he played on Pittsburgh riverboats and with the Leroy Brown Orchestra.
After moving to New York City, he played at the Three Deuces with Slam Stewart, guitarist Johnny Collings and drummer Harold West.
A year after composing “Misty,” Mr. Garner released a live album in 1955, “Concert by the Sea,” which became one of the best-selling jazz releases.
He continued through two more decades of releasing albums, writing musical scores for film and stage productions and touring the country and world.
In the 1960s, he wrote the scores for films including “A New Kind of Love,” starring Paul Newman and Joanne Woodward, and released several successful albums.
In the 1970s, Mr. Garner continued touring and wrote scores for films, ballets and Broadway musicals. His song “Misty” was featured in the 1971 film “Play Misty for Me,” starring Clint Eastwood and Jessica Walter.
Steven Smallovitz, spokesman for the Glaser estate, said in the Pitt news release that the university is the appropriate place for the Erroll Garner Archive because both Mr. Garner and Ms. Glaser were from Pittsburgh and because of the “long and marvelous history of black music and jazz that originated in Pittsburgh.”
Mary Niederberger, mniederberger@post-gazette.com, 412-263-1590. Mackenzie Carpenter also contributed to this story.
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=d357c3f318) | 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=d357c3f318&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 musician Erroll Garner’s materials donated to Pitt library | Pittsburgh Post-Gazette
http://www.jazzpromoservices.com/
http://www.post-gazette.com/local/city/2015/06/15/Jazz-musician-Erroll-Garner-donates-materials-to-Pitt-library/stories/201506150062
** Jazz musician Erroll Garner’s materials donated to Pitt library
————————————————————
The man who wrote the music to the song “Misty” is long gone, but his legacy will live in his hometown.
The professional materials of internationally renowned jazz pianist Erroll Garner, an East Liberty native who died in 1977, have been donated to the University of Pittsburgh Library System by the estate of Martha Glaser, Mr. Garner’s longtime agent and manager and a civil-rights advocate who also grew up in Pittsburgh.
The announcement was made today, which would have been Mr. Garner’s 94th birthday. He died of lung cancer at age 55 and is buried in Homewood Cemetery.
“He was one of the major pianists in the history of jazz, and so by definition this is an important acquisition,” said Bill Kirchner, author of the “Oxford Companion to Jazz,” who noted that Mr. Garner was self-taught. “What is amazing is he couldn’t read a word of music. Everything he did was totally by ear.”
After graduating from Westinghouse High School, Mr. Garner left for New York City in 1944. Ten years later, he composed the music to “Misty,” his most well-known ballad, which was recorded by Johnny Mathis in 1954, becoming his signature song.
The donated materials include correspondence, performance and recording contracts, photographs, sheet music, awards and sound and video recordings. They also include such memorabilia as a cocktail napkin with a sketch of Mr. Garner made in a Paris jazz club and a telephone book. Under his contract with Sol Hurok, a fabled impresario and producer in the mid-20th century, Mr. Garner insisted on a telephone directory for the New York City borough of Manhattan that he could sit on while playing because of his short stature, Mr. Kirchner said.
Mr. Garner was 5 feet 2 inches tall, and his small hands meant he could barely span an octave on the keyboard.
Also to mark Mr. Garner’s birthday, Sony Legacy is expected to announce the release of a new Garner album called “The Complete Concert by the Sea,” which is co-produced by Pitt’s jazz studies director and pianist, Geri Allen. It will feature 11 unreleased tracks and interviews.
According to a release from the University of Pittsburgh, Mr. Garner began playing piano at age 3 and played by ear all of his life. By age 7, he performed on KDKA radio with a group called the Kan-D-Kids, and by the time he was a teenager he played on Pittsburgh riverboats and with the Leroy Brown Orchestra.
After moving to New York City, he played at the Three Deuces with Slam Stewart, guitarist Johnny Collings and drummer Harold West.
A year after composing “Misty,” Mr. Garner released a live album in 1955, “Concert by the Sea,” which became one of the best-selling jazz releases.
He continued through two more decades of releasing albums, writing musical scores for film and stage productions and touring the country and world.
In the 1960s, he wrote the scores for films including “A New Kind of Love,” starring Paul Newman and Joanne Woodward, and released several successful albums.
In the 1970s, Mr. Garner continued touring and wrote scores for films, ballets and Broadway musicals. His song “Misty” was featured in the 1971 film “Play Misty for Me,” starring Clint Eastwood and Jessica Walter.
Steven Smallovitz, spokesman for the Glaser estate, said in the Pitt news release that the university is the appropriate place for the Erroll Garner Archive because both Mr. Garner and Ms. Glaser were from Pittsburgh and because of the “long and marvelous history of black music and jazz that originated in Pittsburgh.”
Mary Niederberger, mniederberger@post-gazette.com, 412-263-1590. Mackenzie Carpenter also contributed to this story.
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=d357c3f318) | 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=d357c3f318&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 musician Erroll Garner’s materials donated to Pitt library | Pittsburgh Post-Gazette
http://www.jazzpromoservices.com/
http://www.post-gazette.com/local/city/2015/06/15/Jazz-musician-Erroll-Garner-donates-materials-to-Pitt-library/stories/201506150062
** Jazz musician Erroll Garner’s materials donated to Pitt library
————————————————————
The man who wrote the music to the song “Misty” is long gone, but his legacy will live in his hometown.
The professional materials of internationally renowned jazz pianist Erroll Garner, an East Liberty native who died in 1977, have been donated to the University of Pittsburgh Library System by the estate of Martha Glaser, Mr. Garner’s longtime agent and manager and a civil-rights advocate who also grew up in Pittsburgh.
The announcement was made today, which would have been Mr. Garner’s 94th birthday. He died of lung cancer at age 55 and is buried in Homewood Cemetery.
“He was one of the major pianists in the history of jazz, and so by definition this is an important acquisition,” said Bill Kirchner, author of the “Oxford Companion to Jazz,” who noted that Mr. Garner was self-taught. “What is amazing is he couldn’t read a word of music. Everything he did was totally by ear.”
After graduating from Westinghouse High School, Mr. Garner left for New York City in 1944. Ten years later, he composed the music to “Misty,” his most well-known ballad, which was recorded by Johnny Mathis in 1954, becoming his signature song.
The donated materials include correspondence, performance and recording contracts, photographs, sheet music, awards and sound and video recordings. They also include such memorabilia as a cocktail napkin with a sketch of Mr. Garner made in a Paris jazz club and a telephone book. Under his contract with Sol Hurok, a fabled impresario and producer in the mid-20th century, Mr. Garner insisted on a telephone directory for the New York City borough of Manhattan that he could sit on while playing because of his short stature, Mr. Kirchner said.
Mr. Garner was 5 feet 2 inches tall, and his small hands meant he could barely span an octave on the keyboard.
Also to mark Mr. Garner’s birthday, Sony Legacy is expected to announce the release of a new Garner album called “The Complete Concert by the Sea,” which is co-produced by Pitt’s jazz studies director and pianist, Geri Allen. It will feature 11 unreleased tracks and interviews.
According to a release from the University of Pittsburgh, Mr. Garner began playing piano at age 3 and played by ear all of his life. By age 7, he performed on KDKA radio with a group called the Kan-D-Kids, and by the time he was a teenager he played on Pittsburgh riverboats and with the Leroy Brown Orchestra.
After moving to New York City, he played at the Three Deuces with Slam Stewart, guitarist Johnny Collings and drummer Harold West.
A year after composing “Misty,” Mr. Garner released a live album in 1955, “Concert by the Sea,” which became one of the best-selling jazz releases.
He continued through two more decades of releasing albums, writing musical scores for film and stage productions and touring the country and world.
In the 1960s, he wrote the scores for films including “A New Kind of Love,” starring Paul Newman and Joanne Woodward, and released several successful albums.
In the 1970s, Mr. Garner continued touring and wrote scores for films, ballets and Broadway musicals. His song “Misty” was featured in the 1971 film “Play Misty for Me,” starring Clint Eastwood and Jessica Walter.
Steven Smallovitz, spokesman for the Glaser estate, said in the Pitt news release that the university is the appropriate place for the Erroll Garner Archive because both Mr. Garner and Ms. Glaser were from Pittsburgh and because of the “long and marvelous history of black music and jazz that originated in Pittsburgh.”
Mary Niederberger, mniederberger@post-gazette.com, 412-263-1590. Mackenzie Carpenter also contributed to this story.
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=d357c3f318) | 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=d357c3f318&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
FYI, “Pincus the Peddler” is 70 this year
http://www.jazzpromoservices.com/
https://www.linkedin.com/grp/post/1890460-6015225481866076164
** FYI, “Pincus the Peddler” is 70 this year.
————————————————————
By Joel Samberg
One of the most iconic, intriguing, and flavorful novelty songs in novelty song history celebrates a milestone this year. “Pincus the Peddler,” the tale of a hopeful, hapless peddler on the Lower East Side of Manhattan, was written and recorded in 1945 by the legendary Benny Bell, and once it was played by Martin Block on his famous “Make Believe Ballroom” radio show, it instantly became a mega jukebox hit all over New York City. How it came about was equally intriguing.
When Benny was a youngster, he loved the down-but-never-out characters he used to see plying their trade below his bedroom window. The first songs Benny wrote that were professionally recorded were “The Bowery Bums,” “The Bum’s Rush,” and “Once a Bum, Always a Bum.” By the early 1940s he already had a few hits, but in 1945, when he was 29, Benny’s luck ran out, so he joined his brother-in-law as one of the street merchants he found so colorful. Fellow merchants began to call him Pincus the Peddler. At the suggestion of a friend, he combined that alliterative name with a story he made up, set it to evocative music—and the result was “Pincus the Peddler.”
This is the 70th year in which fans are able to listen to Pincus’s bittersweet story-song on records, CD, or online.
Benny Bell, who had his greatest popularity between the mid-1930s and early 1950s, was also known for such novelty classics as “Shaving Cream,” “Everybody Wants My Fanny,” “My Janitor’s Can,” “Go to Work, You Jerk,” “A Goose for My Girl” and others.Bell died in 1999 at the age of 93, but his musical legacy has been preserved in a series of compilation CDs available at CDBaby.com, such as “Benny Bell: A to P” and “Benny Bell: P to Almost Z.” Even today, almost 80 years after “Take a Ship,” his first novelty hit, thousands of people coast to coast still search for rare Benny Bell 78, 45 and 33 rpm albums and singles. There have been several Benny Bell fan clubs through the years, and many music and record industry professionals continue to call for additional retrospectives of his work. Benny Bell was one of the funniest, busiest, most resilient performers ever to come out of vaudeville and the Borscht Belt.
Born in 1906 on the Lower East Side of Manhattan, Bell’s story in some ways parallels that of the young Al Jolson. His Russian immigrant father was a cantor who would have liked for his son to follow in his footsteps. Benny was, indeed, deeply drawn to his faith, but too deeply drawn to music and humor to consider that a viable path.
In 1922, at the age of 16, he wrote new lyrics to the old standard, “Sweet Violets,” which then became a modest success. Throughout the next few years he was able to interest artists such as Eddie Cantor and Harry Von Tilzer in listening to his songs. He appeared on radio and entered many contests, winning fans along the way. By his early twenties, his songs were accepted for recording by Herman Rose, Ted Collins and others—although many were never released. So Benny began recording on his own.
Like his idol, Irving Berlin, Bell also wrote several elegant ballads, including “If You Promise to Be Mine,” poignant war-time tunes, such as “Ship Ahoy, Sailor Boy” (recorded by Rose Marie, famous for her role as Sally on “The Dick Van Dyke Show”) and quirky romances such as “Brooklyn Bridge.”
In addition to the official compilation CDs, there is also my book, called “Grandpa Had a Long One: Personal Notes on the Life, Career & Legacy of Benny Bell,” available from the publisher, BearManor Media, and from other online sites. Benny Bell is also be discussed in the upcoming feature film documentary about novelty disk jockey Dr. Demento, ”Under the Smogberry Trees.” Demento helped resurrect Bell’s career in 1974 when he started playing “Shaving Cream” on his syndicated radio show, and the two became friends.
LISTEN HERE (https://archive.org/details/BennyBell)
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
FYI, “Pincus the Peddler” is 70 this year
http://www.jazzpromoservices.com/
https://www.linkedin.com/grp/post/1890460-6015225481866076164
** FYI, “Pincus the Peddler” is 70 this year.
————————————————————
By Joel Samberg
One of the most iconic, intriguing, and flavorful novelty songs in novelty song history celebrates a milestone this year. “Pincus the Peddler,” the tale of a hopeful, hapless peddler on the Lower East Side of Manhattan, was written and recorded in 1945 by the legendary Benny Bell, and once it was played by Martin Block on his famous “Make Believe Ballroom” radio show, it instantly became a mega jukebox hit all over New York City. How it came about was equally intriguing.
When Benny was a youngster, he loved the down-but-never-out characters he used to see plying their trade below his bedroom window. The first songs Benny wrote that were professionally recorded were “The Bowery Bums,” “The Bum’s Rush,” and “Once a Bum, Always a Bum.” By the early 1940s he already had a few hits, but in 1945, when he was 29, Benny’s luck ran out, so he joined his brother-in-law as one of the street merchants he found so colorful. Fellow merchants began to call him Pincus the Peddler. At the suggestion of a friend, he combined that alliterative name with a story he made up, set it to evocative music—and the result was “Pincus the Peddler.”
This is the 70th year in which fans are able to listen to Pincus’s bittersweet story-song on records, CD, or online.
Benny Bell, who had his greatest popularity between the mid-1930s and early 1950s, was also known for such novelty classics as “Shaving Cream,” “Everybody Wants My Fanny,” “My Janitor’s Can,” “Go to Work, You Jerk,” “A Goose for My Girl” and others.Bell died in 1999 at the age of 93, but his musical legacy has been preserved in a series of compilation CDs available at CDBaby.com, such as “Benny Bell: A to P” and “Benny Bell: P to Almost Z.” Even today, almost 80 years after “Take a Ship,” his first novelty hit, thousands of people coast to coast still search for rare Benny Bell 78, 45 and 33 rpm albums and singles. There have been several Benny Bell fan clubs through the years, and many music and record industry professionals continue to call for additional retrospectives of his work. Benny Bell was one of the funniest, busiest, most resilient performers ever to come out of vaudeville and the Borscht Belt.
Born in 1906 on the Lower East Side of Manhattan, Bell’s story in some ways parallels that of the young Al Jolson. His Russian immigrant father was a cantor who would have liked for his son to follow in his footsteps. Benny was, indeed, deeply drawn to his faith, but too deeply drawn to music and humor to consider that a viable path.
In 1922, at the age of 16, he wrote new lyrics to the old standard, “Sweet Violets,” which then became a modest success. Throughout the next few years he was able to interest artists such as Eddie Cantor and Harry Von Tilzer in listening to his songs. He appeared on radio and entered many contests, winning fans along the way. By his early twenties, his songs were accepted for recording by Herman Rose, Ted Collins and others—although many were never released. So Benny began recording on his own.
Like his idol, Irving Berlin, Bell also wrote several elegant ballads, including “If You Promise to Be Mine,” poignant war-time tunes, such as “Ship Ahoy, Sailor Boy” (recorded by Rose Marie, famous for her role as Sally on “The Dick Van Dyke Show”) and quirky romances such as “Brooklyn Bridge.”
In addition to the official compilation CDs, there is also my book, called “Grandpa Had a Long One: Personal Notes on the Life, Career & Legacy of Benny Bell,” available from the publisher, BearManor Media, and from other online sites. Benny Bell is also be discussed in the upcoming feature film documentary about novelty disk jockey Dr. Demento, ”Under the Smogberry Trees.” Demento helped resurrect Bell’s career in 1974 when he started playing “Shaving Cream” on his syndicated radio show, and the two became friends.
LISTEN HERE (https://archive.org/details/BennyBell)
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=b7fdf98aff) | 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=b7fdf98aff&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
FYI, “Pincus the Peddler” is 70 this year
http://www.jazzpromoservices.com/
https://www.linkedin.com/grp/post/1890460-6015225481866076164
** FYI, “Pincus the Peddler” is 70 this year.
————————————————————
By Joel Samberg
One of the most iconic, intriguing, and flavorful novelty songs in novelty song history celebrates a milestone this year. “Pincus the Peddler,” the tale of a hopeful, hapless peddler on the Lower East Side of Manhattan, was written and recorded in 1945 by the legendary Benny Bell, and once it was played by Martin Block on his famous “Make Believe Ballroom” radio show, it instantly became a mega jukebox hit all over New York City. How it came about was equally intriguing.
When Benny was a youngster, he loved the down-but-never-out characters he used to see plying their trade below his bedroom window. The first songs Benny wrote that were professionally recorded were “The Bowery Bums,” “The Bum’s Rush,” and “Once a Bum, Always a Bum.” By the early 1940s he already had a few hits, but in 1945, when he was 29, Benny’s luck ran out, so he joined his brother-in-law as one of the street merchants he found so colorful. Fellow merchants began to call him Pincus the Peddler. At the suggestion of a friend, he combined that alliterative name with a story he made up, set it to evocative music—and the result was “Pincus the Peddler.”
This is the 70th year in which fans are able to listen to Pincus’s bittersweet story-song on records, CD, or online.
Benny Bell, who had his greatest popularity between the mid-1930s and early 1950s, was also known for such novelty classics as “Shaving Cream,” “Everybody Wants My Fanny,” “My Janitor’s Can,” “Go to Work, You Jerk,” “A Goose for My Girl” and others.Bell died in 1999 at the age of 93, but his musical legacy has been preserved in a series of compilation CDs available at CDBaby.com, such as “Benny Bell: A to P” and “Benny Bell: P to Almost Z.” Even today, almost 80 years after “Take a Ship,” his first novelty hit, thousands of people coast to coast still search for rare Benny Bell 78, 45 and 33 rpm albums and singles. There have been several Benny Bell fan clubs through the years, and many music and record industry professionals continue to call for additional retrospectives of his work. Benny Bell was one of the funniest, busiest, most resilient performers ever to come out of vaudeville and the Borscht Belt.
Born in 1906 on the Lower East Side of Manhattan, Bell’s story in some ways parallels that of the young Al Jolson. His Russian immigrant father was a cantor who would have liked for his son to follow in his footsteps. Benny was, indeed, deeply drawn to his faith, but too deeply drawn to music and humor to consider that a viable path.
In 1922, at the age of 16, he wrote new lyrics to the old standard, “Sweet Violets,” which then became a modest success. Throughout the next few years he was able to interest artists such as Eddie Cantor and Harry Von Tilzer in listening to his songs. He appeared on radio and entered many contests, winning fans along the way. By his early twenties, his songs were accepted for recording by Herman Rose, Ted Collins and others—although many were never released. So Benny began recording on his own.
Like his idol, Irving Berlin, Bell also wrote several elegant ballads, including “If You Promise to Be Mine,” poignant war-time tunes, such as “Ship Ahoy, Sailor Boy” (recorded by Rose Marie, famous for her role as Sally on “The Dick Van Dyke Show”) and quirky romances such as “Brooklyn Bridge.”
In addition to the official compilation CDs, there is also my book, called “Grandpa Had a Long One: Personal Notes on the Life, Career & Legacy of Benny Bell,” available from the publisher, BearManor Media, and from other online sites. Benny Bell is also be discussed in the upcoming feature film documentary about novelty disk jockey Dr. Demento, ”Under the Smogberry Trees.” Demento helped resurrect Bell’s career in 1974 when he started playing “Shaving Cream” on his syndicated radio show, and the two became friends.
LISTEN HERE (https://archive.org/details/BennyBell)
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=b7fdf98aff) | 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=b7fdf98aff&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
Ornette Coleman’s Revolution -BY RICHARD BRODY The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/ornette-colemans-revolution
** Ornette Coleman’s Revolution
————————————————————
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
http://www.newyorker.com/wp-content/uploads/2015/06/Brody-Ornette-Coleman1-886.jpgCredit Photograph by Sam Falk/The New York Times/Redux One of the main reasons why 1959 is often cited as a watershed year in modern art is the arrival of Ornette Coleman to New York; the release of his first major-label record, “The Shape of Jazz to Come,” in October of that year; and the beginning of his epochal gig at the Five Spot, in November. The radical nature of his work was in its newfound, hard-won simplicity. Coleman, who died on Thursday, was born in Texas, in 1930, and got started playing rhythm and blues. But his advanced ideas—and his idiosyncratic habits—got him into trouble, and he continued having trouble (including insults from critics and from such musicians as Miles Davis and Roy Eldridge) even when he became a seeming overnight success in late 1959 and early 1960, after ten years of struggle.
Coleman was a musician who always thought of his music in philosophical terms; in Shirley Clarke’s film, “Ornette: Made in America (http://www.newyorker.com/culture/richard-brody/ornette-colemans-big-adventure) ,” from 1985, Coleman discusses some of those ideas in detail; he does so, too, in this conversation with Jacques Derrida (http://www.newyorker.com/culture/richard-brody/a-thing-the-existence-of-which-jacques-derrida-interviews-ornette-coleman) , from 1997. But the essence of Coleman’s philosophy connects it to the defining trait of philosophical thought from Socrates onward: the puncturing of shibboleths, the rational devaluation of concepts considered essential, the proof through reason that ideas and categories believed to derive from nature are merely convenient artifices and social markers and can easily be dispensed with. But those ideas and categories are dispensed with by those who cherish their freedom of spirit, and often at the cost of their social position.
To expose familiar habits as fusty fabrications is to expose oneself to ridicule, as a weirdo, and to persecution, as a threat to the established order.
The order that Coleman overturned with, seemingly, a blast from his alto saxophone is, in a word, bebop. Not that he didn’t love the music of Charlie Parker. (They narrowly missed playing together at a Los Angeles club in 1951 or 1952.) Coleman said (http://www.amazon.com/The-Jazz-Musician-Tony-Scherman/dp/0312095007) , “I wanted to have the experience of him hearing what I had done, because by the time we met, in 1951 or ’52, I was really into what I did later on my own records.” Coleman’s frequent musical collaborator, the trumpeter Don Cherry, explained what went wrong
(https://books.google.com/books?id=m1zs6lpr5SkC&pg=PA407&lpg=PA407&dq=Ornette+was+to+go+sit+in+with+him+at+the+Tiffany+Club.+And+Ornette%27s+saxophone+wasn%27t+a+new+saxophone+and&source=bl&ots=x7VgoJeLtO&sig=bh9rBwA95_vkqJGVAgcYgtpLV3I&hl=en&sa=X&ved=0CCEQ6AEwAGoVChMI7c2txJGIxgIVyyusCh0isgCz#v=onepage&q=Ornette%20was%20to%20go%20sit%20in%20with%20him%20at%20the%20Tiffany%20Club.%20And%20Ornette%27s%20saxophone%20wasn%27t%20a%20new%20saxophone%20and&f=false) : “When he got to the club, they wouldn’t allow him in because of his long hair.”
Parker took the harmonic structures of popular songs, and of his own compositions, and complexified them, extending the range of improvisations into exotically chromatic realms. But as far as Parker’s solos may have ranged, he and his fellow musicians kept the structure of the tune in their heads, matching chords to bars and replicating, in chorus after chorus, the underlying musical architecture of the composition. Coleman’s idea was to play the melody. He didn’t get rid of the notion of harmony—he and his musicians created magnificent contrapuntal interweavings—but he got rid of the idea of a fixed series of chords that matched to a fixed series of bars and to particular beats within bars. Coleman composed melodies that had wondrous harmonic implications—and he and his bandmates adopted those implications freely, as the inspiration struck them.
Coleman was from Fort Worth and he grew up hearing and playing the blues. Much of his music was inspired by the blues, and the first thing that strikes a listener, upon hearing the 1959 recording, “The Shape of Jazz to Come (https://open.spotify.com/album/2iPH3iUmpa9ufIpwY76keF) ,” is that, as radicalism goes, it’s damn catchy. The sobriquet “free jazz” may have been an apt slogan for what Coleman was doing, and it became the title for his 1960 album that was built around collective improvisations by Coleman’s “double quartet” (in practice, it featured individual solos punctuated freely with interjections from three other horn players), but much of what Coleman and his fellow musicians chose to do with their freedom involved irresistible melodic invention and deeply swinging grooves.
Yet to working musicians whose sense of form and craft were deeply ingrained—and whose personal artistry and place in the profession were built on improvising on the harmonies of songs—Coleman, for all his lyrical inventiveness and rhythmic drive, was a threat. Jazz could suddenly dispense with their techniques—and when Coleman became an instant succès de scandale, battle lines and generational lines were drawn.
Just as, at the very same moment, the French New Wave swept away many of the conventions of filmmaking while honoring its greatest artistic traditions, Coleman inaugurated a new era in jazz that rendered it instantly pliable to a generation of musicians whose background differed from that of classic artists. The club scene was withering; local bands were often supplanted by recordings; rock and roll had risen to take the place of jazz-like music as the central popular style; and younger musicians were likelier to have conservatory training. The instant, across-the-board freedom that Coleman heralded and that he put into action opened the door to a panorama of possibilities.
By 1962, he had composed a string quartet, while also playing with a trio that meandered through tempi and rhythms with him in vast organic compositions developed on the wing. His trumpeter, Don Cherry, became one of the early avatars of world music; the bassist in his famous quartet, Charlie Haden, became one of the key figures in a sort of archeologically eclectic classicism; and Coleman’s own music took visionary turns (as seen in Clarke’s film) that involved technological and sociological experiments, symphony orchestras, international cross-pollination, and, in the nineteen-seventies, plugging in with a band that featured multiple electric guitars and a new theory that he called “harmolodics.” (He spoke to The New Yorker’s editor, David Remnick (http://www.newyorker.com/magazine/2000/06/05/the-jazz-life-ornette-colemans-harmolodics-at-home) , about it in 2000.) Here’s a remarkable early example (https://youtu.be/d0HB8ybKJzo?t=33s) , from 1978, of its power. It features
the guitarist James “Blood” Ulmer, one of the avant-funk masters.
But if there is, above all, one core word for Coleman’s achievement, it’s passing from the realm of music—with its social and conventional implications—to the realm of sound. Coleman broke through style and structure to seek sound. He himself had a sound like no other (initially, playing a plastic saxophone). Coleman is instantly recognizable from a single note (https://www.youtube.com/watch?v=XCLKhZmIaXw) , and that sound—separated from the theoretical apparatus of music, from the modes of the profession, from the critical categories of jazz—is inseparable from his very being. Coleman’s liberation of jazz was intimate and personal from the start, for listeners and musicians alike.
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Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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=d88732ccdf) | 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=d88732ccdf&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
Ornette Coleman’s Revolution -BY RICHARD BRODY The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/ornette-colemans-revolution
** Ornette Coleman’s Revolution
————————————————————
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
http://www.newyorker.com/wp-content/uploads/2015/06/Brody-Ornette-Coleman1-886.jpgCredit Photograph by Sam Falk/The New York Times/Redux One of the main reasons why 1959 is often cited as a watershed year in modern art is the arrival of Ornette Coleman to New York; the release of his first major-label record, “The Shape of Jazz to Come,” in October of that year; and the beginning of his epochal gig at the Five Spot, in November. The radical nature of his work was in its newfound, hard-won simplicity. Coleman, who died on Thursday, was born in Texas, in 1930, and got started playing rhythm and blues. But his advanced ideas—and his idiosyncratic habits—got him into trouble, and he continued having trouble (including insults from critics and from such musicians as Miles Davis and Roy Eldridge) even when he became a seeming overnight success in late 1959 and early 1960, after ten years of struggle.
Coleman was a musician who always thought of his music in philosophical terms; in Shirley Clarke’s film, “Ornette: Made in America (http://www.newyorker.com/culture/richard-brody/ornette-colemans-big-adventure) ,” from 1985, Coleman discusses some of those ideas in detail; he does so, too, in this conversation with Jacques Derrida (http://www.newyorker.com/culture/richard-brody/a-thing-the-existence-of-which-jacques-derrida-interviews-ornette-coleman) , from 1997. But the essence of Coleman’s philosophy connects it to the defining trait of philosophical thought from Socrates onward: the puncturing of shibboleths, the rational devaluation of concepts considered essential, the proof through reason that ideas and categories believed to derive from nature are merely convenient artifices and social markers and can easily be dispensed with. But those ideas and categories are dispensed with by those who cherish their freedom of spirit, and often at the cost of their social position.
To expose familiar habits as fusty fabrications is to expose oneself to ridicule, as a weirdo, and to persecution, as a threat to the established order.
The order that Coleman overturned with, seemingly, a blast from his alto saxophone is, in a word, bebop. Not that he didn’t love the music of Charlie Parker. (They narrowly missed playing together at a Los Angeles club in 1951 or 1952.) Coleman said (http://www.amazon.com/The-Jazz-Musician-Tony-Scherman/dp/0312095007) , “I wanted to have the experience of him hearing what I had done, because by the time we met, in 1951 or ’52, I was really into what I did later on my own records.” Coleman’s frequent musical collaborator, the trumpeter Don Cherry, explained what went wrong
(https://books.google.com/books?id=m1zs6lpr5SkC&pg=PA407&lpg=PA407&dq=Ornette+was+to+go+sit+in+with+him+at+the+Tiffany+Club.+And+Ornette%27s+saxophone+wasn%27t+a+new+saxophone+and&source=bl&ots=x7VgoJeLtO&sig=bh9rBwA95_vkqJGVAgcYgtpLV3I&hl=en&sa=X&ved=0CCEQ6AEwAGoVChMI7c2txJGIxgIVyyusCh0isgCz#v=onepage&q=Ornette%20was%20to%20go%20sit%20in%20with%20him%20at%20the%20Tiffany%20Club.%20And%20Ornette%27s%20saxophone%20wasn%27t%20a%20new%20saxophone%20and&f=false) : “When he got to the club, they wouldn’t allow him in because of his long hair.”
Parker took the harmonic structures of popular songs, and of his own compositions, and complexified them, extending the range of improvisations into exotically chromatic realms. But as far as Parker’s solos may have ranged, he and his fellow musicians kept the structure of the tune in their heads, matching chords to bars and replicating, in chorus after chorus, the underlying musical architecture of the composition. Coleman’s idea was to play the melody. He didn’t get rid of the notion of harmony—he and his musicians created magnificent contrapuntal interweavings—but he got rid of the idea of a fixed series of chords that matched to a fixed series of bars and to particular beats within bars. Coleman composed melodies that had wondrous harmonic implications—and he and his bandmates adopted those implications freely, as the inspiration struck them.
Coleman was from Fort Worth and he grew up hearing and playing the blues. Much of his music was inspired by the blues, and the first thing that strikes a listener, upon hearing the 1959 recording, “The Shape of Jazz to Come (https://open.spotify.com/album/2iPH3iUmpa9ufIpwY76keF) ,” is that, as radicalism goes, it’s damn catchy. The sobriquet “free jazz” may have been an apt slogan for what Coleman was doing, and it became the title for his 1960 album that was built around collective improvisations by Coleman’s “double quartet” (in practice, it featured individual solos punctuated freely with interjections from three other horn players), but much of what Coleman and his fellow musicians chose to do with their freedom involved irresistible melodic invention and deeply swinging grooves.
Yet to working musicians whose sense of form and craft were deeply ingrained—and whose personal artistry and place in the profession were built on improvising on the harmonies of songs—Coleman, for all his lyrical inventiveness and rhythmic drive, was a threat. Jazz could suddenly dispense with their techniques—and when Coleman became an instant succès de scandale, battle lines and generational lines were drawn.
Just as, at the very same moment, the French New Wave swept away many of the conventions of filmmaking while honoring its greatest artistic traditions, Coleman inaugurated a new era in jazz that rendered it instantly pliable to a generation of musicians whose background differed from that of classic artists. The club scene was withering; local bands were often supplanted by recordings; rock and roll had risen to take the place of jazz-like music as the central popular style; and younger musicians were likelier to have conservatory training. The instant, across-the-board freedom that Coleman heralded and that he put into action opened the door to a panorama of possibilities.
By 1962, he had composed a string quartet, while also playing with a trio that meandered through tempi and rhythms with him in vast organic compositions developed on the wing. His trumpeter, Don Cherry, became one of the early avatars of world music; the bassist in his famous quartet, Charlie Haden, became one of the key figures in a sort of archeologically eclectic classicism; and Coleman’s own music took visionary turns (as seen in Clarke’s film) that involved technological and sociological experiments, symphony orchestras, international cross-pollination, and, in the nineteen-seventies, plugging in with a band that featured multiple electric guitars and a new theory that he called “harmolodics.” (He spoke to The New Yorker’s editor, David Remnick (http://www.newyorker.com/magazine/2000/06/05/the-jazz-life-ornette-colemans-harmolodics-at-home) , about it in 2000.) Here’s a remarkable early example (https://youtu.be/d0HB8ybKJzo?t=33s) , from 1978, of its power. It features
the guitarist James “Blood” Ulmer, one of the avant-funk masters.
But if there is, above all, one core word for Coleman’s achievement, it’s passing from the realm of music—with its social and conventional implications—to the realm of sound. Coleman broke through style and structure to seek sound. He himself had a sound like no other (initially, playing a plastic saxophone). Coleman is instantly recognizable from a single note (https://www.youtube.com/watch?v=XCLKhZmIaXw) , and that sound—separated from the theoretical apparatus of music, from the modes of the profession, from the critical categories of jazz—is inseparable from his very being. Coleman’s liberation of jazz was intimate and personal from the start, for listeners and musicians alike.
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Ornette Coleman’s Revolution -BY RICHARD BRODY The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/richard-brody/ornette-colemans-revolution
** Ornette Coleman’s Revolution
————————————————————
BY RICHARD BRODY (http://www.newyorker.com/contributors/richard-brody)
http://www.newyorker.com/wp-content/uploads/2015/06/Brody-Ornette-Coleman1-886.jpgCredit Photograph by Sam Falk/The New York Times/Redux One of the main reasons why 1959 is often cited as a watershed year in modern art is the arrival of Ornette Coleman to New York; the release of his first major-label record, “The Shape of Jazz to Come,” in October of that year; and the beginning of his epochal gig at the Five Spot, in November. The radical nature of his work was in its newfound, hard-won simplicity. Coleman, who died on Thursday, was born in Texas, in 1930, and got started playing rhythm and blues. But his advanced ideas—and his idiosyncratic habits—got him into trouble, and he continued having trouble (including insults from critics and from such musicians as Miles Davis and Roy Eldridge) even when he became a seeming overnight success in late 1959 and early 1960, after ten years of struggle.
Coleman was a musician who always thought of his music in philosophical terms; in Shirley Clarke’s film, “Ornette: Made in America (http://www.newyorker.com/culture/richard-brody/ornette-colemans-big-adventure) ,” from 1985, Coleman discusses some of those ideas in detail; he does so, too, in this conversation with Jacques Derrida (http://www.newyorker.com/culture/richard-brody/a-thing-the-existence-of-which-jacques-derrida-interviews-ornette-coleman) , from 1997. But the essence of Coleman’s philosophy connects it to the defining trait of philosophical thought from Socrates onward: the puncturing of shibboleths, the rational devaluation of concepts considered essential, the proof through reason that ideas and categories believed to derive from nature are merely convenient artifices and social markers and can easily be dispensed with. But those ideas and categories are dispensed with by those who cherish their freedom of spirit, and often at the cost of their social position.
To expose familiar habits as fusty fabrications is to expose oneself to ridicule, as a weirdo, and to persecution, as a threat to the established order.
The order that Coleman overturned with, seemingly, a blast from his alto saxophone is, in a word, bebop. Not that he didn’t love the music of Charlie Parker. (They narrowly missed playing together at a Los Angeles club in 1951 or 1952.) Coleman said (http://www.amazon.com/The-Jazz-Musician-Tony-Scherman/dp/0312095007) , “I wanted to have the experience of him hearing what I had done, because by the time we met, in 1951 or ’52, I was really into what I did later on my own records.” Coleman’s frequent musical collaborator, the trumpeter Don Cherry, explained what went wrong
(https://books.google.com/books?id=m1zs6lpr5SkC&pg=PA407&lpg=PA407&dq=Ornette+was+to+go+sit+in+with+him+at+the+Tiffany+Club.+And+Ornette%27s+saxophone+wasn%27t+a+new+saxophone+and&source=bl&ots=x7VgoJeLtO&sig=bh9rBwA95_vkqJGVAgcYgtpLV3I&hl=en&sa=X&ved=0CCEQ6AEwAGoVChMI7c2txJGIxgIVyyusCh0isgCz#v=onepage&q=Ornette%20was%20to%20go%20sit%20in%20with%20him%20at%20the%20Tiffany%20Club.%20And%20Ornette%27s%20saxophone%20wasn%27t%20a%20new%20saxophone%20and&f=false) : “When he got to the club, they wouldn’t allow him in because of his long hair.”
Parker took the harmonic structures of popular songs, and of his own compositions, and complexified them, extending the range of improvisations into exotically chromatic realms. But as far as Parker’s solos may have ranged, he and his fellow musicians kept the structure of the tune in their heads, matching chords to bars and replicating, in chorus after chorus, the underlying musical architecture of the composition. Coleman’s idea was to play the melody. He didn’t get rid of the notion of harmony—he and his musicians created magnificent contrapuntal interweavings—but he got rid of the idea of a fixed series of chords that matched to a fixed series of bars and to particular beats within bars. Coleman composed melodies that had wondrous harmonic implications—and he and his bandmates adopted those implications freely, as the inspiration struck them.
Coleman was from Fort Worth and he grew up hearing and playing the blues. Much of his music was inspired by the blues, and the first thing that strikes a listener, upon hearing the 1959 recording, “The Shape of Jazz to Come (https://open.spotify.com/album/2iPH3iUmpa9ufIpwY76keF) ,” is that, as radicalism goes, it’s damn catchy. The sobriquet “free jazz” may have been an apt slogan for what Coleman was doing, and it became the title for his 1960 album that was built around collective improvisations by Coleman’s “double quartet” (in practice, it featured individual solos punctuated freely with interjections from three other horn players), but much of what Coleman and his fellow musicians chose to do with their freedom involved irresistible melodic invention and deeply swinging grooves.
Yet to working musicians whose sense of form and craft were deeply ingrained—and whose personal artistry and place in the profession were built on improvising on the harmonies of songs—Coleman, for all his lyrical inventiveness and rhythmic drive, was a threat. Jazz could suddenly dispense with their techniques—and when Coleman became an instant succès de scandale, battle lines and generational lines were drawn.
Just as, at the very same moment, the French New Wave swept away many of the conventions of filmmaking while honoring its greatest artistic traditions, Coleman inaugurated a new era in jazz that rendered it instantly pliable to a generation of musicians whose background differed from that of classic artists. The club scene was withering; local bands were often supplanted by recordings; rock and roll had risen to take the place of jazz-like music as the central popular style; and younger musicians were likelier to have conservatory training. The instant, across-the-board freedom that Coleman heralded and that he put into action opened the door to a panorama of possibilities.
By 1962, he had composed a string quartet, while also playing with a trio that meandered through tempi and rhythms with him in vast organic compositions developed on the wing. His trumpeter, Don Cherry, became one of the early avatars of world music; the bassist in his famous quartet, Charlie Haden, became one of the key figures in a sort of archeologically eclectic classicism; and Coleman’s own music took visionary turns (as seen in Clarke’s film) that involved technological and sociological experiments, symphony orchestras, international cross-pollination, and, in the nineteen-seventies, plugging in with a band that featured multiple electric guitars and a new theory that he called “harmolodics.” (He spoke to The New Yorker’s editor, David Remnick (http://www.newyorker.com/magazine/2000/06/05/the-jazz-life-ornette-colemans-harmolodics-at-home) , about it in 2000.) Here’s a remarkable early example (https://youtu.be/d0HB8ybKJzo?t=33s) , from 1978, of its power. It features
the guitarist James “Blood” Ulmer, one of the avant-funk masters.
But if there is, above all, one core word for Coleman’s achievement, it’s passing from the realm of music—with its social and conventional implications—to the realm of sound. Coleman broke through style and structure to seek sound. He himself had a sound like no other (initially, playing a plastic saxophone). Coleman is instantly recognizable from a single note (https://www.youtube.com/watch?v=XCLKhZmIaXw) , and that sound—separated from the theoretical apparatus of music, from the modes of the profession, from the critical categories of jazz—is inseparable from his very being. Coleman’s liberation of jazz was intimate and personal from the start, for listeners and musicians alike.
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Don’t Go to Music School – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/13/opinion/dont-go-to-music-school.html?_r=0
** Don’t Go to Music School
————————————————————
By BERT STRATTONJUNE 12, 2015
Cleveland Heights, Ohio
HOW many bands are there? Almost 7,000 musical acts entered NPR’s recent Tiny Desk Concert Contest, vying for a slot on national radio. Nobody knows the exact number of professional musicians. The Bureau of Labor Statistics says there are about 68,000 musicians, but that’s “employees,” like orchestra musicians. Most musicians I know are self-employed.
I’ve played in bands for decades, and always with self-employed independent contractors — hyphenated guys (landlord-musician, schoolteacher-musician, warehouse worker-musician). I know few full-time musicians. “Full time” is the highest status — and often the lowest pay.
My 27-year-old son, Jack, is a full-time musician. That’s my fault. When he was 8, I gave him $5 to play “Wipe Out” at a Hannukah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) party. Everybody in my klezmer band told Jack not to go into music. “Do not apply to music school,” said the trombone player, who had attended the Eastman School of Music and has hustled freelance gigs ever since. His biggest payday was with the Caracas Philharmonic during the 1970s oil boom.
My son listened to us. He went off to the University of Michigan, to the liberal arts college, and lived in a dorm where the residents spoke Spanish — or some other foreign language — at lunch. Spanish seemed a useful skill, at least to me. But halfway through Jack’s first year, he said, “I have to go to music school.” He absolutely had to transfer into the music school.
I didn’t discourage him. I once told my father I wanted to be Cannonball Adderley (I played alto sax). My dad, who owned rental property, liked to ramble on about radiator valves and air vents. I said: “Cannonball Adderley is the best. He’s not far out, Dad. He’s solid.”
“Are you pulling my leg, son? Tell me, so I won’t get mad.”
I was half-pulling his leg. I liked to upset him — not drive him crazy, just rile him.
“The arts is one big ego trip,” my dad said. That hurt, and still does. I became a hyphenated guy: landlord-musician.
Jack loaded up his Chevy after college and drove to California. I wrote him a letter — an old-fashioned letter — which I told him to open in Nebraska, because it’s a long state. I wrote: “It’s better to try something and fail than not to try. When you look back on the risk/adventure in 40 years, you might not find it a failure after all.” I skipped the ego trip part.
Jack pays his rent on time in Los Angeles. He has toured with Darren Criss (who played Blaine Anderson on the TV show “Glee”), traveling across the country in a cushy tour bus with beds. That beats a couch. I slept on some couches into my 50s. Finally, in 2008, I told a festival organizer in Middletown, Ohio: “We’re not exactly college kids. We need beds!”
Jack’s band, Vulfpeck (http://www.vulfpeck.com/) , uploads its new recordings and videos to the Internet, then performs the tunes live. The group has developed a following — possibly every 500th hipster in the world has heard of them. Their music is in an iPhone 6 commercial (https://www.youtube.com/watch?v=FwaV1pIJyZU) and is on SiriusXM radio.
Every band is its own label and YouTube channel. Market yourself. The songwriter Kenny Gamble said there are 100 pennies in a dollar, and where is each one going? In Vulfpeck’s case, 70 cents go to the band, and 30 cents to iTunes.
Jack wrote “musician” on his self-employment/Schedule C tax form this year. So did I. I also wrote “property management.” Jack is a bandleader who plays bass, drums and keyboards. That’s him, period.
Sales of digital albums dropped 9 percent last year. Sales of digital songs fell 12 percent. You can stream almost any song in the world free of charge.
You can pay Spotify $10 a month for listening without commercials, or listen free with commercials. Spotify has 15 million American subscribers, and grew by more than five million subscribers last year. Will Apple Music’s new streaming service kill Spotify? Not likely, unless Apple Music signs the Beatles, who have resisted streaming so far.
Last year Jack and his band put out a silent record, “Sleepify,” which was 10 silent cuts (“Z,” “ZZ,” “ZZZ,” “ZZZZ”, etc.) that fans played all night at one-half cent a play. Vulfpeck made $20,000 before Spotify shut them down.
In the 1960s, my wife took the bus to the Lazarus department store in downtown Columbus, Ohio, to buy “C’mon and Swim” by Bobby Freeman. That record and her bus ride were a big deal, she said. In the 1970s she lined up for new LPs outside the record store by Ohio State University. Now she sits on a bar stool in the kitchen and clicks on her laptop for the latest songs from iTunes and Bandcamp.
She heard about Bandcamp from Jack. It pays musicians eight times what Spotify pays. Musicians love Bandcamp; nevertheless, many musicians dutifully pay Spotify $10 a month for commercial-free listening. Spotify is almost unavoidable. Twenty thousand new songs go up on Spotify every day. At least four million have never even been listened to.
“Don’t go to music school.” That’s what I told my son. He didn’t listen. I hope somebody listens to him. And pays.
Bert Stratton is the author of the blog Klezmer Guy: Real Music and Real Estate (http://www.yiddishecup.com/blog) .
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
Don’t Go to Music School – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/13/opinion/dont-go-to-music-school.html?_r=0
** Don’t Go to Music School
————————————————————
By BERT STRATTONJUNE 12, 2015
Cleveland Heights, Ohio
HOW many bands are there? Almost 7,000 musical acts entered NPR’s recent Tiny Desk Concert Contest, vying for a slot on national radio. Nobody knows the exact number of professional musicians. The Bureau of Labor Statistics says there are about 68,000 musicians, but that’s “employees,” like orchestra musicians. Most musicians I know are self-employed.
I’ve played in bands for decades, and always with self-employed independent contractors — hyphenated guys (landlord-musician, schoolteacher-musician, warehouse worker-musician). I know few full-time musicians. “Full time” is the highest status — and often the lowest pay.
My 27-year-old son, Jack, is a full-time musician. That’s my fault. When he was 8, I gave him $5 to play “Wipe Out” at a Hannukah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) party. Everybody in my klezmer band told Jack not to go into music. “Do not apply to music school,” said the trombone player, who had attended the Eastman School of Music and has hustled freelance gigs ever since. His biggest payday was with the Caracas Philharmonic during the 1970s oil boom.
My son listened to us. He went off to the University of Michigan, to the liberal arts college, and lived in a dorm where the residents spoke Spanish — or some other foreign language — at lunch. Spanish seemed a useful skill, at least to me. But halfway through Jack’s first year, he said, “I have to go to music school.” He absolutely had to transfer into the music school.
I didn’t discourage him. I once told my father I wanted to be Cannonball Adderley (I played alto sax). My dad, who owned rental property, liked to ramble on about radiator valves and air vents. I said: “Cannonball Adderley is the best. He’s not far out, Dad. He’s solid.”
“Are you pulling my leg, son? Tell me, so I won’t get mad.”
I was half-pulling his leg. I liked to upset him — not drive him crazy, just rile him.
“The arts is one big ego trip,” my dad said. That hurt, and still does. I became a hyphenated guy: landlord-musician.
Jack loaded up his Chevy after college and drove to California. I wrote him a letter — an old-fashioned letter — which I told him to open in Nebraska, because it’s a long state. I wrote: “It’s better to try something and fail than not to try. When you look back on the risk/adventure in 40 years, you might not find it a failure after all.” I skipped the ego trip part.
Jack pays his rent on time in Los Angeles. He has toured with Darren Criss (who played Blaine Anderson on the TV show “Glee”), traveling across the country in a cushy tour bus with beds. That beats a couch. I slept on some couches into my 50s. Finally, in 2008, I told a festival organizer in Middletown, Ohio: “We’re not exactly college kids. We need beds!”
Jack’s band, Vulfpeck (http://www.vulfpeck.com/) , uploads its new recordings and videos to the Internet, then performs the tunes live. The group has developed a following — possibly every 500th hipster in the world has heard of them. Their music is in an iPhone 6 commercial (https://www.youtube.com/watch?v=FwaV1pIJyZU) and is on SiriusXM radio.
Every band is its own label and YouTube channel. Market yourself. The songwriter Kenny Gamble said there are 100 pennies in a dollar, and where is each one going? In Vulfpeck’s case, 70 cents go to the band, and 30 cents to iTunes.
Jack wrote “musician” on his self-employment/Schedule C tax form this year. So did I. I also wrote “property management.” Jack is a bandleader who plays bass, drums and keyboards. That’s him, period.
Sales of digital albums dropped 9 percent last year. Sales of digital songs fell 12 percent. You can stream almost any song in the world free of charge.
You can pay Spotify $10 a month for listening without commercials, or listen free with commercials. Spotify has 15 million American subscribers, and grew by more than five million subscribers last year. Will Apple Music’s new streaming service kill Spotify? Not likely, unless Apple Music signs the Beatles, who have resisted streaming so far.
Last year Jack and his band put out a silent record, “Sleepify,” which was 10 silent cuts (“Z,” “ZZ,” “ZZZ,” “ZZZZ”, etc.) that fans played all night at one-half cent a play. Vulfpeck made $20,000 before Spotify shut them down.
In the 1960s, my wife took the bus to the Lazarus department store in downtown Columbus, Ohio, to buy “C’mon and Swim” by Bobby Freeman. That record and her bus ride were a big deal, she said. In the 1970s she lined up for new LPs outside the record store by Ohio State University. Now she sits on a bar stool in the kitchen and clicks on her laptop for the latest songs from iTunes and Bandcamp.
She heard about Bandcamp from Jack. It pays musicians eight times what Spotify pays. Musicians love Bandcamp; nevertheless, many musicians dutifully pay Spotify $10 a month for commercial-free listening. Spotify is almost unavoidable. Twenty thousand new songs go up on Spotify every day. At least four million have never even been listened to.
“Don’t go to music school.” That’s what I told my son. He didn’t listen. I hope somebody listens to him. And pays.
Bert Stratton is the author of the blog Klezmer Guy: Real Music and Real Estate (http://www.yiddishecup.com/blog) .
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=13b5adc9de) | 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=13b5adc9de&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’t Go to Music School – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/13/opinion/dont-go-to-music-school.html?_r=0
** Don’t Go to Music School
————————————————————
By BERT STRATTONJUNE 12, 2015
Cleveland Heights, Ohio
HOW many bands are there? Almost 7,000 musical acts entered NPR’s recent Tiny Desk Concert Contest, vying for a slot on national radio. Nobody knows the exact number of professional musicians. The Bureau of Labor Statistics says there are about 68,000 musicians, but that’s “employees,” like orchestra musicians. Most musicians I know are self-employed.
I’ve played in bands for decades, and always with self-employed independent contractors — hyphenated guys (landlord-musician, schoolteacher-musician, warehouse worker-musician). I know few full-time musicians. “Full time” is the highest status — and often the lowest pay.
My 27-year-old son, Jack, is a full-time musician. That’s my fault. When he was 8, I gave him $5 to play “Wipe Out” at a Hannukah (http://topics.nytimes.com/top/reference/timestopics/subjects/h/hanukkah/index.html?inline=nyt-classifier) party. Everybody in my klezmer band told Jack not to go into music. “Do not apply to music school,” said the trombone player, who had attended the Eastman School of Music and has hustled freelance gigs ever since. His biggest payday was with the Caracas Philharmonic during the 1970s oil boom.
My son listened to us. He went off to the University of Michigan, to the liberal arts college, and lived in a dorm where the residents spoke Spanish — or some other foreign language — at lunch. Spanish seemed a useful skill, at least to me. But halfway through Jack’s first year, he said, “I have to go to music school.” He absolutely had to transfer into the music school.
I didn’t discourage him. I once told my father I wanted to be Cannonball Adderley (I played alto sax). My dad, who owned rental property, liked to ramble on about radiator valves and air vents. I said: “Cannonball Adderley is the best. He’s not far out, Dad. He’s solid.”
“Are you pulling my leg, son? Tell me, so I won’t get mad.”
I was half-pulling his leg. I liked to upset him — not drive him crazy, just rile him.
“The arts is one big ego trip,” my dad said. That hurt, and still does. I became a hyphenated guy: landlord-musician.
Jack loaded up his Chevy after college and drove to California. I wrote him a letter — an old-fashioned letter — which I told him to open in Nebraska, because it’s a long state. I wrote: “It’s better to try something and fail than not to try. When you look back on the risk/adventure in 40 years, you might not find it a failure after all.” I skipped the ego trip part.
Jack pays his rent on time in Los Angeles. He has toured with Darren Criss (who played Blaine Anderson on the TV show “Glee”), traveling across the country in a cushy tour bus with beds. That beats a couch. I slept on some couches into my 50s. Finally, in 2008, I told a festival organizer in Middletown, Ohio: “We’re not exactly college kids. We need beds!”
Jack’s band, Vulfpeck (http://www.vulfpeck.com/) , uploads its new recordings and videos to the Internet, then performs the tunes live. The group has developed a following — possibly every 500th hipster in the world has heard of them. Their music is in an iPhone 6 commercial (https://www.youtube.com/watch?v=FwaV1pIJyZU) and is on SiriusXM radio.
Every band is its own label and YouTube channel. Market yourself. The songwriter Kenny Gamble said there are 100 pennies in a dollar, and where is each one going? In Vulfpeck’s case, 70 cents go to the band, and 30 cents to iTunes.
Jack wrote “musician” on his self-employment/Schedule C tax form this year. So did I. I also wrote “property management.” Jack is a bandleader who plays bass, drums and keyboards. That’s him, period.
Sales of digital albums dropped 9 percent last year. Sales of digital songs fell 12 percent. You can stream almost any song in the world free of charge.
You can pay Spotify $10 a month for listening without commercials, or listen free with commercials. Spotify has 15 million American subscribers, and grew by more than five million subscribers last year. Will Apple Music’s new streaming service kill Spotify? Not likely, unless Apple Music signs the Beatles, who have resisted streaming so far.
Last year Jack and his band put out a silent record, “Sleepify,” which was 10 silent cuts (“Z,” “ZZ,” “ZZZ,” “ZZZZ”, etc.) that fans played all night at one-half cent a play. Vulfpeck made $20,000 before Spotify shut them down.
In the 1960s, my wife took the bus to the Lazarus department store in downtown Columbus, Ohio, to buy “C’mon and Swim” by Bobby Freeman. That record and her bus ride were a big deal, she said. In the 1970s she lined up for new LPs outside the record store by Ohio State University. Now she sits on a bar stool in the kitchen and clicks on her laptop for the latest songs from iTunes and Bandcamp.
She heard about Bandcamp from Jack. It pays musicians eight times what Spotify pays. Musicians love Bandcamp; nevertheless, many musicians dutifully pay Spotify $10 a month for commercial-free listening. Spotify is almost unavoidable. Twenty thousand new songs go up on Spotify every day. At least four million have never even been listened to.
“Don’t go to music school.” That’s what I told my son. He didn’t listen. I hope somebody listens to him. And pays.
Bert Stratton is the author of the blog Klezmer Guy: Real Music and Real Estate (http://www.yiddishecup.com/blog) .
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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Rare Xanadu albums to be reissued
http://www.jazzpromoservices.com/
http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued
** Rare Xanadu albums to be reissued (http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued)
————————————————————
**
————————————————————
** A broad sweep of titles from Don Schlitten’s 1970s-era Xanadu label are to be reissued, many on CD for the first time beginning in the summer.
————————————————————
The Xanadu Master Edition Series, reissue producer Zev Feldman of Elemental Music (http://www.elemental-music.com/) explains in brochure marketing material “is a collection of 23 highlights from the Xanadu catalogue on CD and LP, including several out-of-print titles being reissued for the first time since their initial LP release and others having been primarily available only digitally since the late-90s by way of eMusic and The Orchard acquisitions.”
The first six releases are Albert “Tootie” Heath’s Kwanza (The First) recorded in June 1973; the second a 1975 trio session Barry Harris Plays Tadd Dameron; next Jimmy Heath’s Picture of Heath again from a 1975 session; Al Cohn and Jimmy Rowles’ Heavy Love from 1977; Sam Most’s From the Attic of My Mind dating to 1978, the flautist leader joined by Kenny Barron on piano, George Mraz bass, Warren Smith percussion, and Walter Boden drums; and, finally, the 2-CD Xanadu All-Stars Night Flight to Dakar/Xanadu in Africa recorded in Senegal drawn from recordings made on a tour of West Africa coordinated by the US State Department that included Al Cohn, Billy Mitchell, Frank Butler, Leroy Vinnegar, and Dolo Coker. SG
The cover of Kwanza (The First), above
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
Rare Xanadu albums to be reissued
http://www.jazzpromoservices.com/
http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued
** Rare Xanadu albums to be reissued (http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued)
————————————————————
**
————————————————————
** A broad sweep of titles from Don Schlitten’s 1970s-era Xanadu label are to be reissued, many on CD for the first time beginning in the summer.
————————————————————
The Xanadu Master Edition Series, reissue producer Zev Feldman of Elemental Music (http://www.elemental-music.com/) explains in brochure marketing material “is a collection of 23 highlights from the Xanadu catalogue on CD and LP, including several out-of-print titles being reissued for the first time since their initial LP release and others having been primarily available only digitally since the late-90s by way of eMusic and The Orchard acquisitions.”
The first six releases are Albert “Tootie” Heath’s Kwanza (The First) recorded in June 1973; the second a 1975 trio session Barry Harris Plays Tadd Dameron; next Jimmy Heath’s Picture of Heath again from a 1975 session; Al Cohn and Jimmy Rowles’ Heavy Love from 1977; Sam Most’s From the Attic of My Mind dating to 1978, the flautist leader joined by Kenny Barron on piano, George Mraz bass, Warren Smith percussion, and Walter Boden drums; and, finally, the 2-CD Xanadu All-Stars Night Flight to Dakar/Xanadu in Africa recorded in Senegal drawn from recordings made on a tour of West Africa coordinated by the US State Department that included Al Cohn, Billy Mitchell, Frank Butler, Leroy Vinnegar, and Dolo Coker. SG
The cover of Kwanza (The First), above
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
Rare Xanadu albums to be reissued
http://www.jazzpromoservices.com/
http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued
** Rare Xanadu albums to be reissued (http://www.marlbank.net/news/2819-1970s-jazz-label-xanadu-titles-to-be-reissued)
————————————————————
**
————————————————————
** A broad sweep of titles from Don Schlitten’s 1970s-era Xanadu label are to be reissued, many on CD for the first time beginning in the summer.
————————————————————
The Xanadu Master Edition Series, reissue producer Zev Feldman of Elemental Music (http://www.elemental-music.com/) explains in brochure marketing material “is a collection of 23 highlights from the Xanadu catalogue on CD and LP, including several out-of-print titles being reissued for the first time since their initial LP release and others having been primarily available only digitally since the late-90s by way of eMusic and The Orchard acquisitions.”
The first six releases are Albert “Tootie” Heath’s Kwanza (The First) recorded in June 1973; the second a 1975 trio session Barry Harris Plays Tadd Dameron; next Jimmy Heath’s Picture of Heath again from a 1975 session; Al Cohn and Jimmy Rowles’ Heavy Love from 1977; Sam Most’s From the Attic of My Mind dating to 1978, the flautist leader joined by Kenny Barron on piano, George Mraz bass, Warren Smith percussion, and Walter Boden drums; and, finally, the 2-CD Xanadu All-Stars Night Flight to Dakar/Xanadu in Africa recorded in Senegal drawn from recordings made on a tour of West Africa coordinated by the US State Department that included Al Cohn, Billy Mitchell, Frank Butler, Leroy Vinnegar, and Dolo Coker. SG
The cover of Kwanza (The First), above
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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Scott LaFaro’s bass donated to International Society of Bassists
http://www.jazzpromoservices.com/
http://forbassplayersonly.com/scott-lafaros-bass-donated-to-international-society-of-bassists/
** Scott LaFaro’s bass donated to International Society of Bassists
————————————————————
“Extraordinary and extremely generous gift” from Barrie Kolstein announced at ISB convention
By Jon Liebman (http://jonliebman.com/)
June 8, 2015
The instrument once belonging to legendary bassist Scott LaFaro is now in the hands of the International Society of Bassists. The magnanimous gift was made by luthier Barrie Kolstein, president of Kolstein Music in Baldwin, NY. Barrie’s father, Sam Kolstein, purchased the bass from LaFaro’s mother after LaFaro died tragically in an auto accident in 1961.
FBPO’s Jon Liebman with Scott LaFaro’s sisters, Linda (L) and Helene, at the 2015 ISB convention
FBPO’s Jon Liebman with Scott LaFaro’s sisters, Linda (L) and Helene, at the 2015 ISB convention
The donation was announced Saturday night in a presentation by Nicholas Walker, Associate Professor of Music at the Ithaca College School of Music, at the annual convention of the International Society of Bassists in Fort Collins, CO. Standing alongside Walker were LaFaro’s sisters, Linda LaFaro and Helene LaFaro-Fernandez.
The LaFaro and Kolstein families have enjoyed a close relationship for nearly 60 years. The bond began when legendary bassist George Duvivier introduced Scott to Sam Kolstein, suggesting he work on LaFaro’s then newly-acquired instrument at Kolstein’s shop in Long Island. Upon acquiring the bass, the elder Kolstein promised the LaFaro family that the badly damaged bass would ultimately be restored to playing condition. In the end, it was Barrie who undertook the arduous task of restoring the bass, which was presented at the 1988 International Society of Bassists convention in Los Angeles.
Barrie, now president of Kolstein Music (http://kolstein.com/) in Baldwin, NY, vividly recalls his father’s reaction to seeing Scott sample various basses at the shop. He looked at Duvivier and simply said, “Who is that and what is that?”
More than five decades after his untimely death at age 25, Scott LaFaro remains a profound influence on double bass players. “You have to understand that even by today’s standards, Scotty’s playing would turn heads,” says Barrie, “but back in those years, his style of playing was unheard of and completely unique in every aspect.”
With the new acquisition, the ISB plans to make the instrument available for select performances by ISB members as part of a future Scott LaFaro Archives, which will be housed at Ithaca College.
Walker explained why Ithaca College is the optimum location for the archives. “You see, Scott’s father, a violin virtuoso and bandleader, attended Ithaca College in the early days of the conservatory,” he says, “and Scott went to classes for a year at Ithaca College before leaving school for a career that continues to grow in legend and influence.”
Professor Walker profusely thanked Kolstein for his “extraordinary and extremely generous gift to the ISB,” adding that the donation “raises our net worth by six figures.”
“Barrie, a long time dedicated member of the ISB, could easily have sold this instrument to a collector for a hefty profit,” said Walker, “but it never occurred to him to do this. Instead he ensured the residency of Scott’s bass at Ithaca College will be a lasting tribute to Scott and his legacy.”
The ISB awards a “Scott LaFaro Prize” to the first place winner in the jazz competition at its biannual convention, courtesy of Scott’s four sisters and the endowment fund they formed for the ISB in their brother’s memory.
“For bassists everywhere, Scott LaFaro’s sound and musicianship have been a deep source of inspiration,” Walker concluded. “Both the LaFaro and Kolstein families are committed to keeping us all connected to the man behind that sound, a man they loved dearly. The creation of a living archive at Ithaca College will make it possible for future generations of bassists to come into direct contact with his instrument and the materials that helped shape Scott LaFaro as an artist. What a gift to us all!”
Also of interest:
http://www.jonliebman.com/
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Scott LaFaro’s bass donated to International Society of Bassists
http://www.jazzpromoservices.com/
http://forbassplayersonly.com/scott-lafaros-bass-donated-to-international-society-of-bassists/
** Scott LaFaro’s bass donated to International Society of Bassists
————————————————————
“Extraordinary and extremely generous gift” from Barrie Kolstein announced at ISB convention
By Jon Liebman (http://jonliebman.com/)
June 8, 2015
The instrument once belonging to legendary bassist Scott LaFaro is now in the hands of the International Society of Bassists. The magnanimous gift was made by luthier Barrie Kolstein, president of Kolstein Music in Baldwin, NY. Barrie’s father, Sam Kolstein, purchased the bass from LaFaro’s mother after LaFaro died tragically in an auto accident in 1961.
FBPO’s Jon Liebman with Scott LaFaro’s sisters, Linda (L) and Helene, at the 2015 ISB convention
FBPO’s Jon Liebman with Scott LaFaro’s sisters, Linda (L) and Helene, at the 2015 ISB convention
The donation was announced Saturday night in a presentation by Nicholas Walker, Associate Professor of Music at the Ithaca College School of Music, at the annual convention of the International Society of Bassists in Fort Collins, CO. Standing alongside Walker were LaFaro’s sisters, Linda LaFaro and Helene LaFaro-Fernandez.
The LaFaro and Kolstein families have enjoyed a close relationship for nearly 60 years. The bond began when legendary bassist George Duvivier introduced Scott to Sam Kolstein, suggesting he work on LaFaro’s then newly-acquired instrument at Kolstein’s shop in Long Island. Upon acquiring the bass, the elder Kolstein promised the LaFaro family that the badly damaged bass would ultimately be restored to playing condition. In the end, it was Barrie who undertook the arduous task of restoring the bass, which was presented at the 1988 International Society of Bassists convention in Los Angeles.
Barrie, now president of Kolstein Music (http://kolstein.com/) in Baldwin, NY, vividly recalls his father’s reaction to seeing Scott sample various basses at the shop. He looked at Duvivier and simply said, “Who is that and what is that?”
More than five decades after his untimely death at age 25, Scott LaFaro remains a profound influence on double bass players. “You have to understand that even by today’s standards, Scotty’s playing would turn heads,” says Barrie, “but back in those years, his style of playing was unheard of and completely unique in every aspect.”
With the new acquisition, the ISB plans to make the instrument available for select performances by ISB members as part of a future Scott LaFaro Archives, which will be housed at Ithaca College.
Walker explained why Ithaca College is the optimum location for the archives. “You see, Scott’s father, a violin virtuoso and bandleader, attended Ithaca College in the early days of the conservatory,” he says, “and Scott went to classes for a year at Ithaca College before leaving school for a career that continues to grow in legend and influence.”
Professor Walker profusely thanked Kolstein for his “extraordinary and extremely generous gift to the ISB,” adding that the donation “raises our net worth by six figures.”
“Barrie, a long time dedicated member of the ISB, could easily have sold this instrument to a collector for a hefty profit,” said Walker, “but it never occurred to him to do this. Instead he ensured the residency of Scott’s bass at Ithaca College will be a lasting tribute to Scott and his legacy.”
The ISB awards a “Scott LaFaro Prize” to the first place winner in the jazz competition at its biannual convention, courtesy of Scott’s four sisters and the endowment fund they formed for the ISB in their brother’s memory.
“For bassists everywhere, Scott LaFaro’s sound and musicianship have been a deep source of inspiration,” Walker concluded. “Both the LaFaro and Kolstein families are committed to keeping us all connected to the man behind that sound, a man they loved dearly. The creation of a living archive at Ithaca College will make it possible for future generations of bassists to come into direct contact with his instrument and the materials that helped shape Scott LaFaro as an artist. What a gift to us all!”
Also of interest:
http://www.jonliebman.com/
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Ornette Coleman Dies at 85 – Speakeasy – By MARC MYERS WSJ
http://www.jazzpromoservices.com/
http://blogs.wsj.com/speakeasy/2015/06/11/ornette-coleman-free-jazz-pioneer-dies-at-85/?mod=newsreel
* By
*
*
** Ornette Coleman Dies at 85
————————————————————
Ornette Coleman performs at The Bell Atlanic Jazz Festival in Battery Park, New York June 1, 2000.
Getty Images
Ornette Coleman, an alto saxophonist whose highly expressive approach to jazz both jolted listeners and deeply influenced jazz, rock and funk musicians in the 1960s and beyond, died Thursday morning in Manhattan. He was 85.
From his first album, “Something Else!!!” in 1958, Coleman eschewed earlier, more commercially acceptable jazz styles, opting instead for a more intuitive and explosive approach to improvisation. The result was a free form that focused more intently on fleet flurries of notes rather than tone, harmony and chord progressions. Beauty wasn’t part of the mix—or rather, Coleman was inventing a new form of jagged beauty that reflected the individual’s feelings at any given moment.
Born in Fort Worth, Texas, in 1930, Coleman moved to New Orleans in the late 1940s, where he played tenor saxophone in R&B bands. An altercation after a show in Baton Rouge, La., left his instrument crushed, causing him to switch to the more nimble and more portable alto saxophone. He joined Pee Wee Crayton’s R&B band in the early 1950s in Los Angeles, where he worked at a series of menial day jobs and played jazz clubs at night.
Related: Ornette Coleman: 5 Clips That Show His Musical Versatility (http://blogs.wsj.com/speakeasy/2015/06/11/ornette-coleman-videos/)
But his free approach became problematic, particularly in Los Angeles, one of the most competitive recording markets in the country at the time. Instead of conforming to the technical principles of commercial jazz, Coleman was more inspired to explore abstraction. As a result, his notes tended to sound sour, or off-key, while his music came across to some as frantic and aimless—more wailing than swinging. At some clubs, musicians packed up their instruments and walked out.
In truth, Coleman knew exactly what he was doing and, as many peers soon found out, the so-called free music he was playing wasn’t easy to duplicate with sophistication. “When I went to Los Angeles in early 1957, Ornette and I used to practice on the beach,” said tenor saxophonist Sonny Rollins, 84, in a phone interview. “Ornette was authentic. He wasn’t just jumping into improvisation. He knew exactly what he was doing. He was channeling Charlie Parker’s free spirit.”
Following Coleman’s second album for the West Coast Contemporary jazz label, “Tomorrow Is the Question!” in 1959, Coleman signed with Atlantic. Several months later he recorded “The Shape of Jazz to Come,” a free-jazz manifesto that featured Don Cherry on cornet, bassist Charlie Haden and drummer Billy Higgins. A series of important free jazz albums followed for Atlantic.
While Coleman wasn’t the first to record a freer form of jazz—the Lennie Tristano Sextet with Lee Konitz in March 1949 is widely considered to be first, with “Intuition” and “Digression”—Coleman was first to more fully explore free jazz without rehearsed melody, harmony or rhythm in the LP era.
While Coleman’s recordings didn’t generate substantial AM-radio play or sales, his music had a profound impact on John Coltrane, Miles Davis and other avant-garde jazz artists in the 1960s who were looking for ways to break free from the confines of previous jazz styles and express themselves more fully and emotionally.
In the decades that followed, Coleman recorded every few years. In 2010, an ailing Mr. Coleman appeared on stage at the Beacon Theatre as a surprise guest at an 80th birthday concert by Sonny Rollins. Mr. Rollins, who also experimented with a freer form of jazz in the early 1960s, traded solos with Coleman, inching closer to Coleman’s free approach while Coleman came closer to Mr. Rollins’ style. It was a duel that Mr. Rollins later said touched him deeply.
“Ornette was adventurous,” said Mr. Rollins. “It takes enormous courage to play music that many people might not like and to stick with it, no matter what. In this regard, Ornette made a great contribution that freed a lot of artists to go further and look deeper inside themselves.”
For the latest entertainment news
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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Ornette Coleman Dies at 85 – Speakeasy – By MARC MYERS WSJ
http://www.jazzpromoservices.com/
http://blogs.wsj.com/speakeasy/2015/06/11/ornette-coleman-free-jazz-pioneer-dies-at-85/?mod=newsreel
* By
*
*
** Ornette Coleman Dies at 85
————————————————————
Ornette Coleman performs at The Bell Atlanic Jazz Festival in Battery Park, New York June 1, 2000.
Getty Images
Ornette Coleman, an alto saxophonist whose highly expressive approach to jazz both jolted listeners and deeply influenced jazz, rock and funk musicians in the 1960s and beyond, died Thursday morning in Manhattan. He was 85.
From his first album, “Something Else!!!” in 1958, Coleman eschewed earlier, more commercially acceptable jazz styles, opting instead for a more intuitive and explosive approach to improvisation. The result was a free form that focused more intently on fleet flurries of notes rather than tone, harmony and chord progressions. Beauty wasn’t part of the mix—or rather, Coleman was inventing a new form of jagged beauty that reflected the individual’s feelings at any given moment.
Born in Fort Worth, Texas, in 1930, Coleman moved to New Orleans in the late 1940s, where he played tenor saxophone in R&B bands. An altercation after a show in Baton Rouge, La., left his instrument crushed, causing him to switch to the more nimble and more portable alto saxophone. He joined Pee Wee Crayton’s R&B band in the early 1950s in Los Angeles, where he worked at a series of menial day jobs and played jazz clubs at night.
Related: Ornette Coleman: 5 Clips That Show His Musical Versatility (http://blogs.wsj.com/speakeasy/2015/06/11/ornette-coleman-videos/)
But his free approach became problematic, particularly in Los Angeles, one of the most competitive recording markets in the country at the time. Instead of conforming to the technical principles of commercial jazz, Coleman was more inspired to explore abstraction. As a result, his notes tended to sound sour, or off-key, while his music came across to some as frantic and aimless—more wailing than swinging. At some clubs, musicians packed up their instruments and walked out.
In truth, Coleman knew exactly what he was doing and, as many peers soon found out, the so-called free music he was playing wasn’t easy to duplicate with sophistication. “When I went to Los Angeles in early 1957, Ornette and I used to practice on the beach,” said tenor saxophonist Sonny Rollins, 84, in a phone interview. “Ornette was authentic. He wasn’t just jumping into improvisation. He knew exactly what he was doing. He was channeling Charlie Parker’s free spirit.”
Following Coleman’s second album for the West Coast Contemporary jazz label, “Tomorrow Is the Question!” in 1959, Coleman signed with Atlantic. Several months later he recorded “The Shape of Jazz to Come,” a free-jazz manifesto that featured Don Cherry on cornet, bassist Charlie Haden and drummer Billy Higgins. A series of important free jazz albums followed for Atlantic.
While Coleman wasn’t the first to record a freer form of jazz—the Lennie Tristano Sextet with Lee Konitz in March 1949 is widely considered to be first, with “Intuition” and “Digression”—Coleman was first to more fully explore free jazz without rehearsed melody, harmony or rhythm in the LP era.
While Coleman’s recordings didn’t generate substantial AM-radio play or sales, his music had a profound impact on John Coltrane, Miles Davis and other avant-garde jazz artists in the 1960s who were looking for ways to break free from the confines of previous jazz styles and express themselves more fully and emotionally.
In the decades that followed, Coleman recorded every few years. In 2010, an ailing Mr. Coleman appeared on stage at the Beacon Theatre as a surprise guest at an 80th birthday concert by Sonny Rollins. Mr. Rollins, who also experimented with a freer form of jazz in the early 1960s, traded solos with Coleman, inching closer to Coleman’s free approach while Coleman came closer to Mr. Rollins’ style. It was a duel that Mr. Rollins later said touched him deeply.
“Ornette was adventurous,” said Mr. Rollins. “It takes enormous courage to play music that many people might not like and to stick with it, no matter what. In this regard, Ornette made a great contribution that freed a lot of artists to go further and look deeper inside themselves.”
For the latest entertainment news
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
Paul Bacon (1923-2015): JazzWax
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?_r=2
** Ornette Coleman, Jazz Innovator, Dies at 85
————————————————————
Photo
Ornette Coleman during a performance in Brooklyn last year. Credit Christopher Gregory for The New York Times
Continue reading the main story
Photo
Mr. Coleman performing at the Village Vanguard in 1961. Credit Sam Falk/The New York Times
The alto saxophonist and composer Ornette Coleman, one of the most powerful and contentious innovators in the history of jazz, died on Thursday morning in Manhattan. He was 85.
The cause was cardiac arrest, a representative of the family said.
Mr. Coleman widened the options in jazz, and helped change its course. Partly through his example in the late 1950s and early ’60s, jazz became less beholden to the rules of harmony and rhythm, and gained more distance from the American songbook repertory. His own music, then and later, became a new form of highly informed folk song: deceptively simple melodies for small groups with an intuitive, collective language, and a strategy for playing without preconceived chord sequences.
Though his early work, a kind of personal answer to Charlie Parker, lay right within jazz — and generated a handful of standards among jazz musicians of the last half-century, he later challenged assumptions about jazz from top to bottom, bringing in his own ideas about instrumentation, process and technical expertise. He was also more voluble and theoretical than John Coltrane, the other great pathbreaker of that era in jazz, and became known as a kind of musician-philosopher, with interests much wider than jazz alone; he was seen as a native avant-gardist, and symbolized the American independent will as effectively as any artist of the last century.
Slight, southern, soft-spoken, Mr. Coleman eventually became a visible part of New York cultural life, attending parties in bright-colored satin suits; even when frail, he attracted attention. He could talk in nonspecific and sometimes baffling language about harmony and ontology; he became famous for utterances that were sometimes disarming in their freshness and clarity, or that began to make sense about the 10th time you read them.
Yet his music usually was not so oblique. At best, it could be for everybody. Very few adult listeners, at this point, would need prompting to understand the appeal of his early songs like “Una Muy Bonita” (bright, bouncy) and “Lonely Woman” (tragic, flamenco-esque). His run of records for Atlantic near the beginning of his career — especially “The Shape of Jazz to Come,” “Change of the Century,” and “This Is Our Music” — pushed through skepticism, ridicule and condescension, as well as advocacy, to become recognized as some of the greatest records in jazz history.
A fuller obituary will be posted shortly.
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Bacon (1923-2015): JazzWax
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?_r=2
** Ornette Coleman, Jazz Innovator, Dies at 85
————————————————————
Photo
Ornette Coleman during a performance in Brooklyn last year. Credit Christopher Gregory for The New York Times
Continue reading the main story
Photo
Mr. Coleman performing at the Village Vanguard in 1961. Credit Sam Falk/The New York Times
The alto saxophonist and composer Ornette Coleman, one of the most powerful and contentious innovators in the history of jazz, died on Thursday morning in Manhattan. He was 85.
The cause was cardiac arrest, a representative of the family said.
Mr. Coleman widened the options in jazz, and helped change its course. Partly through his example in the late 1950s and early ’60s, jazz became less beholden to the rules of harmony and rhythm, and gained more distance from the American songbook repertory. His own music, then and later, became a new form of highly informed folk song: deceptively simple melodies for small groups with an intuitive, collective language, and a strategy for playing without preconceived chord sequences.
Though his early work, a kind of personal answer to Charlie Parker, lay right within jazz — and generated a handful of standards among jazz musicians of the last half-century, he later challenged assumptions about jazz from top to bottom, bringing in his own ideas about instrumentation, process and technical expertise. He was also more voluble and theoretical than John Coltrane, the other great pathbreaker of that era in jazz, and became known as a kind of musician-philosopher, with interests much wider than jazz alone; he was seen as a native avant-gardist, and symbolized the American independent will as effectively as any artist of the last century.
Slight, southern, soft-spoken, Mr. Coleman eventually became a visible part of New York cultural life, attending parties in bright-colored satin suits; even when frail, he attracted attention. He could talk in nonspecific and sometimes baffling language about harmony and ontology; he became famous for utterances that were sometimes disarming in their freshness and clarity, or that began to make sense about the 10th time you read them.
Yet his music usually was not so oblique. At best, it could be for everybody. Very few adult listeners, at this point, would need prompting to understand the appeal of his early songs like “Una Muy Bonita” (bright, bouncy) and “Lonely Woman” (tragic, flamenco-esque). His run of records for Atlantic near the beginning of his career — especially “The Shape of Jazz to Come,” “Change of the Century,” and “This Is Our Music” — pushed through skepticism, ridicule and condescension, as well as advocacy, to become recognized as some of the greatest records in jazz history.
A fuller obituary will be posted shortly.
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Ornette Coleman, Jazz Innovator, Dies at 85 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?_r=2
** Ornette Coleman, Jazz Innovator, Dies at 85
————————————————————
Photo
Ornette Coleman during a performance in Brooklyn last year. Credit Christopher Gregory for The New York Times
Continue reading the main story
Photo
Mr. Coleman performing at the Village Vanguard in 1961. Credit Sam Falk/The New York Times
The alto saxophonist and composer Ornette Coleman, one of the most powerful and contentious innovators in the history of jazz, died on Thursday morning in Manhattan. He was 85.
The cause was cardiac arrest, a representative of the family said.
Mr. Coleman widened the options in jazz, and helped change its course. Partly through his example in the late 1950s and early ’60s, jazz became less beholden to the rules of harmony and rhythm, and gained more distance from the American songbook repertory. His own music, then and later, became a new form of highly informed folk song: deceptively simple melodies for small groups with an intuitive, collective language, and a strategy for playing without preconceived chord sequences.
Though his early work, a kind of personal answer to Charlie Parker, lay right within jazz — and generated a handful of standards among jazz musicians of the last half-century, he later challenged assumptions about jazz from top to bottom, bringing in his own ideas about instrumentation, process and technical expertise. He was also more voluble and theoretical than John Coltrane, the other great pathbreaker of that era in jazz, and became known as a kind of musician-philosopher, with interests much wider than jazz alone; he was seen as a native avant-gardist, and symbolized the American independent will as effectively as any artist of the last century.
Slight, southern, soft-spoken, Mr. Coleman eventually became a visible part of New York cultural life, attending parties in bright-colored satin suits; even when frail, he attracted attention. He could talk in nonspecific and sometimes baffling language about harmony and ontology; he became famous for utterances that were sometimes disarming in their freshness and clarity, or that began to make sense about the 10th time you read them.
Yet his music usually was not so oblique. At best, it could be for everybody. Very few adult listeners, at this point, would need prompting to understand the appeal of his early songs like “Una Muy Bonita” (bright, bouncy) and “Lonely Woman” (tragic, flamenco-esque). His run of records for Atlantic near the beginning of his career — especially “The Shape of Jazz to Come,” “Change of the Century,” and “This Is Our Music” — pushed through skepticism, ridicule and condescension, as well as advocacy, to become recognized as some of the greatest records in jazz history.
A fuller obituary will be posted shortly.
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Ornette Coleman, Jazz Innovator, Dies at 85 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?_r=2
** Ornette Coleman, Jazz Innovator, Dies at 85
————————————————————
Photo
Ornette Coleman during a performance in Brooklyn last year. Credit Christopher Gregory for The New York Times
Continue reading the main story
Photo
Mr. Coleman performing at the Village Vanguard in 1961. Credit Sam Falk/The New York Times
The alto saxophonist and composer Ornette Coleman, one of the most powerful and contentious innovators in the history of jazz, died on Thursday morning in Manhattan. He was 85.
The cause was cardiac arrest, a representative of the family said.
Mr. Coleman widened the options in jazz, and helped change its course. Partly through his example in the late 1950s and early ’60s, jazz became less beholden to the rules of harmony and rhythm, and gained more distance from the American songbook repertory. His own music, then and later, became a new form of highly informed folk song: deceptively simple melodies for small groups with an intuitive, collective language, and a strategy for playing without preconceived chord sequences.
Though his early work, a kind of personal answer to Charlie Parker, lay right within jazz — and generated a handful of standards among jazz musicians of the last half-century, he later challenged assumptions about jazz from top to bottom, bringing in his own ideas about instrumentation, process and technical expertise. He was also more voluble and theoretical than John Coltrane, the other great pathbreaker of that era in jazz, and became known as a kind of musician-philosopher, with interests much wider than jazz alone; he was seen as a native avant-gardist, and symbolized the American independent will as effectively as any artist of the last century.
Slight, southern, soft-spoken, Mr. Coleman eventually became a visible part of New York cultural life, attending parties in bright-colored satin suits; even when frail, he attracted attention. He could talk in nonspecific and sometimes baffling language about harmony and ontology; he became famous for utterances that were sometimes disarming in their freshness and clarity, or that began to make sense about the 10th time you read them.
Yet his music usually was not so oblique. At best, it could be for everybody. Very few adult listeners, at this point, would need prompting to understand the appeal of his early songs like “Una Muy Bonita” (bright, bouncy) and “Lonely Woman” (tragic, flamenco-esque). His run of records for Atlantic near the beginning of his career — especially “The Shape of Jazz to Come,” “Change of the Century,” and “This Is Our Music” — pushed through skepticism, ridicule and condescension, as well as advocacy, to become recognized as some of the greatest records in jazz history.
A fuller obituary will be posted shortly.
Jim Eigo
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Jazz Town: American Jazz Walk of Fame to honor six on Saturday | The Kansas City Star The Kansas City Star
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http://www.kansascity.com/entertainment/music-news-reviews/article23090388.html
** Jazz Town: American Jazz Walk of Fame to honor six on Saturday
————————————————————
The American Jazz Walk of Fame in the 18th and Vine district became a reality last year, with six bronze medallions that honor musical giants appearing in front of the American Jazz Museum. And the organizers promised to keep the effort going and the Walk of Fame growing.
They’ve stayed true to their word. The developing attraction gets six more medallions next weekend in an unveiling set for 6:30 p.m. Saturday. The ceremony is followed by a concert featuring singer Kevin Mahogany and guitarist Norman Brown. This year’s well-chosen honorees are:
▪ Bennie Moten, the most famous Kansas City bandleader before Count Basie (who in his younger years said his ambition was to become a Moten sideman).
▪ Claude “Fiddler” Williams, a wonder of swing and a fountain of musical youth and invention into his 90s.
▪ Coleman Hawkins, the man who placed the tenor saxophone in the very center of jazz, and one of the first standard-setters for saxophonists in general.
▪ Myra Taylor, Kansas City singer and songwriter who entertained from the era of FDR to the time of Obama.
▪ Lester Young, tenor saxophonist whose rhythmic and harmonic fearlessness helped open the way for modern jazz.
▪ Everette DeVan, reigning king of the Hammond B-3 organ in Kansas City, and mentor to musicians all over town.
The unveiling is followed by a 7 p.m. concert featuring Mahogany and Brown, two brilliant artists who learned their stuff in Kansas City. It’s in the Gem Theater, 1615 E. 18th St. Tickets are $30. They’re available at the Gem box office, 816-474-6262 (tel:816-474-6262) , or at Ticketmaster.com (http://ticketmaster.com/) .
(For the record, last year’s honorees were Count Basie, Charlie Parker, Mary Lou Williams, Jay McShann, Pat Metheny and Bobby Watson.)
** Looking ahead
————————————————————
Grab the calendar. The area’s two biggest jazz concert series have unveiled what they’ll be presenting over the next year.
Folly Theater’s jazz series:
▪ Sept. 18: Alto saxophonist Bobby Watson’s quartet, with his longtime musical partner bassist Curtis Lundy.
▪ Nov. 21: Guitarist Julian Lage’s trio.
▪ Dec. 18: Pianist and composer David Benoit, in a themed show they’s calling “A Christmas tribute to Charlie Brown,” featuring singer Jane Monheit.
▪ March 11, 2016: The Folly Spotlight show, featuring a deserving artist who’s relatively unknown, this year presents singer Alicia Olatuja, who made a splash singing “The Battle Hymn of the Republic” at the 2013 presidential inauguration.
▪ April 9: Bassist Christian McBride returns, this time with a trio.
▪ May 21: Singer Dee Dee Bridgewater, with trumpeter Irvin Mayfield and the New Orleans Jazz Orchestra.
Single tickets for the Folly series go on sale Aug. 17.
Jammin’ at the Gem (Theater):
▪ Dec. 12: Bass phenom Julian Vaughn.
▪ Feb. 13, 2016: “Urban adult contemporary” saxophonist Kim Waters.
▪ March 26: Singer Patti Austin.
▪ April 16: The Bad Plus with tenor saxophonist Joshua Redman.
▪ May 21: A showcase for two hometown originals, the singing, dancing, horn-playing McFadden Brothers and singer Ida McBeth.
For tickets, call 816-474-6262 (tel:816-474-6262) or check Ticketmaster.com (http://ticketmaster.com/) .
There’s also the Kansas City Jazz Orchestra’s season at the Kauffman Center for the Performing Arts:
▪ Oct. 2: “A Night at the Cotton Club,” sounds of the ’20s and ’30s.
▪ Dec. 8: “A Swinging Kansas City Christmas,” with singer Ann Hampton Callaway.
Feb. 26, 2016: “British Invasion,” songs from World War II to the ’60s.
April 29: “From New Orleans to Chicago,” exploring the early evolution of jazz.
Single tickets for the KCJO go on sale Aug. 1. Call 816-994-7222 (tel:816-994-7222%20) or visit KauffmanCenter.org (http://kauffmancenter.org/) .
** Noteworthy
————————————————————
▪ Highlights at the Green Lady Lounge, 1809 Grand Blvd., include the Foundation 627 Big Band at 8:30 p.m. Sunday; B Vibe at 9 p.m. Monday; Dojo at 8 p.m. Tuesday; organist Ken Lovern’s OJT at 9 p.m. Wednesday; organist Chris Hazelton’s trio at 9 p.m. Thursday; bassist Dominique Sanders’ trio at 8:30 p.m. Friday, followed by Hazelton’s Boogaloo 7 at 10 p.m.; and singer Molly Hammer at 6 p.m. Saturday, followed by OJT at 9:30 p.m.
▪ Tenor saxophonist James Isaac’s group is featured on the next show in the Jazz Underground series, at 8 p.m. Thursday at the Westport CoffeeHouse Theatre, 4010 Pennsylvania Ave.
▪ The Blue Room, 1600 E. 18th St., has drummer Tyree Johnson and his Group 101 in charge of the Monday jam at 7 p.m. The Band Oasis appears at 7 p.m. Thursday and singer Lee Langston is on at 8:30 p.m. Friday. St. Louis drummer Montez Coleman brings his quartet across Interstate 70 for a show at 8:30 p.m. Saturday.
▪ Take Five Coffee + Bar, 6601 W. 135th St., Suite A-21, Overland Park, behind the Von Maur store, has organist Everette DeVan’s group at 8 p.m. Friday and bassist Bill McKemy’s group at 8 p.m. Saturday.
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=aba5449a64) | 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=aba5449a64&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 Town: American Jazz Walk of Fame to honor six on Saturday | The Kansas City Star The Kansas City Star
http://www.jazzpromoservices.com/
http://www.kansascity.com/entertainment/music-news-reviews/article23090388.html
** Jazz Town: American Jazz Walk of Fame to honor six on Saturday
————————————————————
The American Jazz Walk of Fame in the 18th and Vine district became a reality last year, with six bronze medallions that honor musical giants appearing in front of the American Jazz Museum. And the organizers promised to keep the effort going and the Walk of Fame growing.
They’ve stayed true to their word. The developing attraction gets six more medallions next weekend in an unveiling set for 6:30 p.m. Saturday. The ceremony is followed by a concert featuring singer Kevin Mahogany and guitarist Norman Brown. This year’s well-chosen honorees are:
▪ Bennie Moten, the most famous Kansas City bandleader before Count Basie (who in his younger years said his ambition was to become a Moten sideman).
▪ Claude “Fiddler” Williams, a wonder of swing and a fountain of musical youth and invention into his 90s.
▪ Coleman Hawkins, the man who placed the tenor saxophone in the very center of jazz, and one of the first standard-setters for saxophonists in general.
▪ Myra Taylor, Kansas City singer and songwriter who entertained from the era of FDR to the time of Obama.
▪ Lester Young, tenor saxophonist whose rhythmic and harmonic fearlessness helped open the way for modern jazz.
▪ Everette DeVan, reigning king of the Hammond B-3 organ in Kansas City, and mentor to musicians all over town.
The unveiling is followed by a 7 p.m. concert featuring Mahogany and Brown, two brilliant artists who learned their stuff in Kansas City. It’s in the Gem Theater, 1615 E. 18th St. Tickets are $30. They’re available at the Gem box office, 816-474-6262 (tel:816-474-6262) , or at Ticketmaster.com (http://ticketmaster.com/) .
(For the record, last year’s honorees were Count Basie, Charlie Parker, Mary Lou Williams, Jay McShann, Pat Metheny and Bobby Watson.)
** Looking ahead
————————————————————
Grab the calendar. The area’s two biggest jazz concert series have unveiled what they’ll be presenting over the next year.
Folly Theater’s jazz series:
▪ Sept. 18: Alto saxophonist Bobby Watson’s quartet, with his longtime musical partner bassist Curtis Lundy.
▪ Nov. 21: Guitarist Julian Lage’s trio.
▪ Dec. 18: Pianist and composer David Benoit, in a themed show they’s calling “A Christmas tribute to Charlie Brown,” featuring singer Jane Monheit.
▪ March 11, 2016: The Folly Spotlight show, featuring a deserving artist who’s relatively unknown, this year presents singer Alicia Olatuja, who made a splash singing “The Battle Hymn of the Republic” at the 2013 presidential inauguration.
▪ April 9: Bassist Christian McBride returns, this time with a trio.
▪ May 21: Singer Dee Dee Bridgewater, with trumpeter Irvin Mayfield and the New Orleans Jazz Orchestra.
Single tickets for the Folly series go on sale Aug. 17.
Jammin’ at the Gem (Theater):
▪ Dec. 12: Bass phenom Julian Vaughn.
▪ Feb. 13, 2016: “Urban adult contemporary” saxophonist Kim Waters.
▪ March 26: Singer Patti Austin.
▪ April 16: The Bad Plus with tenor saxophonist Joshua Redman.
▪ May 21: A showcase for two hometown originals, the singing, dancing, horn-playing McFadden Brothers and singer Ida McBeth.
For tickets, call 816-474-6262 (tel:816-474-6262) or check Ticketmaster.com (http://ticketmaster.com/) .
There’s also the Kansas City Jazz Orchestra’s season at the Kauffman Center for the Performing Arts:
▪ Oct. 2: “A Night at the Cotton Club,” sounds of the ’20s and ’30s.
▪ Dec. 8: “A Swinging Kansas City Christmas,” with singer Ann Hampton Callaway.
Feb. 26, 2016: “British Invasion,” songs from World War II to the ’60s.
April 29: “From New Orleans to Chicago,” exploring the early evolution of jazz.
Single tickets for the KCJO go on sale Aug. 1. Call 816-994-7222 (tel:816-994-7222%20) or visit KauffmanCenter.org (http://kauffmancenter.org/) .
** Noteworthy
————————————————————
▪ Highlights at the Green Lady Lounge, 1809 Grand Blvd., include the Foundation 627 Big Band at 8:30 p.m. Sunday; B Vibe at 9 p.m. Monday; Dojo at 8 p.m. Tuesday; organist Ken Lovern’s OJT at 9 p.m. Wednesday; organist Chris Hazelton’s trio at 9 p.m. Thursday; bassist Dominique Sanders’ trio at 8:30 p.m. Friday, followed by Hazelton’s Boogaloo 7 at 10 p.m.; and singer Molly Hammer at 6 p.m. Saturday, followed by OJT at 9:30 p.m.
▪ Tenor saxophonist James Isaac’s group is featured on the next show in the Jazz Underground series, at 8 p.m. Thursday at the Westport CoffeeHouse Theatre, 4010 Pennsylvania Ave.
▪ The Blue Room, 1600 E. 18th St., has drummer Tyree Johnson and his Group 101 in charge of the Monday jam at 7 p.m. The Band Oasis appears at 7 p.m. Thursday and singer Lee Langston is on at 8:30 p.m. Friday. St. Louis drummer Montez Coleman brings his quartet across Interstate 70 for a show at 8:30 p.m. Saturday.
▪ Take Five Coffee + Bar, 6601 W. 135th St., Suite A-21, Overland Park, behind the Von Maur store, has organist Everette DeVan’s group at 8 p.m. Friday and bassist Bill McKemy’s group at 8 p.m. Saturday.
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=aba5449a64) | 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=aba5449a64&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
Will the music stop for Maine jazz legend Brad Terry? — Living — Bangor Daily News — BDN Maine
http://www.jazzpromoservices.com/
http://bangordailynews.com/2015/06/06/living/will-the-music-stop-for-maine-jazz-legend-brad-terry/
** Will the music stop for Maine jazz legend Brad Terry?
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By Darren Fishell (http://bangordailynews.com/author/dfishell/) , BDN Staff
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Posted June 06, 2015, at 6:03 a.m.
Brad Terry took a rowboat oar he found and bolted it to the wall, next to the stairs. It serves as the handrail he grips going between the first and second floors, whistling a flurry of notes over the chord changes in his head.
He didn’t plan the oar, the music or much else.
“Everything is improvised in this house,” Terry said. “I don’t think there’s a right angle anywhere.”
He found the wooden oar amid broken light bulbs and other rubbish about 30 years ago inside the three-car garage in Bath he bought to convert into a home.
From jazz to daily things, improvisation is where Terry is comfortable. But nearing his 78th birthday, the unknowns ahead and thoughts he might hang it all up are tinged with anxiety.
“Maybe it’s time,” said Terry, whose expansive career can be traced back to the suggestion of a Connecticut neighbor, swing bandleader Benny Goodman, that his mother buy him a clarinet.
Terry took the instrument in his own direction from there, finding attention deficit disorder — diagnosed in his 50s — had complicated his efforts to learn to read music or take well to instruction. He relied on his ears and the inspiration of other players. And he still does.
Terry in May put the finishing touches on a 413-page memoir (http://www.google.com/url?q=http%3A%2F%2Fwww.lulu.com%2Fshop%2Fbrad-terry%2Fi-feel-more-like-i-do-now-than-i-did-yesterday%2Fpaperback%2Fproduct-22183786.html&sa=D&sntz=1&usg=AFQjCNHKeEErxMJxkyleC5KAhCF1qZCZtg) , titled “I Feel More Like I Do Now Than I Did Yesterday,” documenting stories behind his musical career and memories of the musicians who influenced him most, from New York to Poland and destinations in between.
On June 9, the clarinetist and whistler will play his last scheduled duet (https://www.google.com/url?q=https%3A%2F%2Fwww.facebook.com%2Fevents%2F1600522490164814%2F&sa=D&sntz=1&usg=AFQjCNFPK9RfuWy0ZKwgDJ-Yq_JilHvR-Q) with 25-year-old Mount Vernon guitarist Peter Herman (https://youtu.be/Tx52aqXKXrQ) and host a book signing at the Theater Project in Brunswick, the last scheduled before Herman sets out for Oregon. That’s bittersweet for Terry.
“I’m hoping that he will realize how good he is,” Terry said of Herman. “What I want to do is to promote (Herman) and help him in any way I can while I’ve got the time.”
During the past two years, the musician who’s shared a stage with Dizzy Gillespie, borrowed the kitchen floor of Buddy Tate’s New York apartment and taught scores of young instrumentalists the language of music has sought out gigs wherever he could find them for what could be his last duo.
He describes Herman as “a phenomenon,” one of six players in his long career with whom he’s had “this locked-in communication.”
That list also includes late guitarist Lenny Breau, with whom Terry recorded informal sessions around 1979 and released in 2003 as the “Living Room Tapes.” It was during an annual tribute concert to Breau in 2012 that Herman and Terry met and first shared the stage (https://youtu.be/Dw7daJTATl4?t=366) .
“He got me out of a slump,” Terry said. “I wasn’t playing, and he forced me out of retirement, which I am not objected to.”
Having relied on a keen ear and not reading music for his entire life, Terry said Herman’s fresh takes on jazz standards provide a new font of ideas for his single-note lines.
“What’s interesting is the curveballs that he throws at me harmonically,” Terry said. “And I say, ‘That was the chord I was looking for 45 years ago!’”
At 75, Terry began to consider he might hang it up, seeking to end his career at the right time. He said that ending makes him think of seeing saxophone great Lester Young at an outdoor concert in Bryant Park in New York.
“I had heard so much about him and heard so many of his records and he could hardly walk and it was just awful,” Terry said.
It’s not just that. Terry jokes that he’s one of the jazz musicians in it for the money, but he’s not interested in settling down his clarinet in a Dixieland band playing weddings, he said.
“Here I am, dead broke and with my house falling down on my head, but I made sort of a commitment to myself early early on that the day I went to work for the sole sake of the paycheck was the last day of that job,” Terry said. “I want to be the low man on the totem pole and be hanging on by a thread. I’m sure I could find a bunch of people that would play all of the old standards the old way.”
In his living room recently, Terry demonstrated his method for practicing, whirling through notes on the Selmer clarinet he bought in Paris in 1958, with his 15-year-old Belgian shepherd Holly listening nearby.
“I try to hear something in my head and play it accurately once and then move on,” Terry said. “If you practice licks or scales and patterns, then when you’re improvising, then you start using those patterns and you stop thinking.”
Terry said he feels he’s playing at a peak now, which might make it time to quit. But he’s still taking down names of leads. And in his mind, he’s got a picture of how he’d like to go out.
“I sort of imagine that I’ll play the best concert ever and the announcer will say, ‘Brad won’t be out for the encore.’ That’s how I’d like it to end,” Terry said at his home recently, laughing. “I’ll have to have someone to catch the clarinet, because I don’t want to drop it on the floor.”
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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Warwick, Ny 10990
USA
Will the music stop for Maine jazz legend Brad Terry? — Living — Bangor Daily News — BDN Maine
http://www.jazzpromoservices.com/
http://bangordailynews.com/2015/06/06/living/will-the-music-stop-for-maine-jazz-legend-brad-terry/
** Will the music stop for Maine jazz legend Brad Terry?
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By Darren Fishell (http://bangordailynews.com/author/dfishell/) , BDN Staff
Follow on Twitter (http://twitter.com/darrenfishell) Find on Facebook (https://www.facebook.com/darren.fishell)
Posted June 06, 2015, at 6:03 a.m.
Brad Terry took a rowboat oar he found and bolted it to the wall, next to the stairs. It serves as the handrail he grips going between the first and second floors, whistling a flurry of notes over the chord changes in his head.
He didn’t plan the oar, the music or much else.
“Everything is improvised in this house,” Terry said. “I don’t think there’s a right angle anywhere.”
He found the wooden oar amid broken light bulbs and other rubbish about 30 years ago inside the three-car garage in Bath he bought to convert into a home.
From jazz to daily things, improvisation is where Terry is comfortable. But nearing his 78th birthday, the unknowns ahead and thoughts he might hang it all up are tinged with anxiety.
“Maybe it’s time,” said Terry, whose expansive career can be traced back to the suggestion of a Connecticut neighbor, swing bandleader Benny Goodman, that his mother buy him a clarinet.
Terry took the instrument in his own direction from there, finding attention deficit disorder — diagnosed in his 50s — had complicated his efforts to learn to read music or take well to instruction. He relied on his ears and the inspiration of other players. And he still does.
Terry in May put the finishing touches on a 413-page memoir (http://www.google.com/url?q=http%3A%2F%2Fwww.lulu.com%2Fshop%2Fbrad-terry%2Fi-feel-more-like-i-do-now-than-i-did-yesterday%2Fpaperback%2Fproduct-22183786.html&sa=D&sntz=1&usg=AFQjCNHKeEErxMJxkyleC5KAhCF1qZCZtg) , titled “I Feel More Like I Do Now Than I Did Yesterday,” documenting stories behind his musical career and memories of the musicians who influenced him most, from New York to Poland and destinations in between.
On June 9, the clarinetist and whistler will play his last scheduled duet (https://www.google.com/url?q=https%3A%2F%2Fwww.facebook.com%2Fevents%2F1600522490164814%2F&sa=D&sntz=1&usg=AFQjCNFPK9RfuWy0ZKwgDJ-Yq_JilHvR-Q) with 25-year-old Mount Vernon guitarist Peter Herman (https://youtu.be/Tx52aqXKXrQ) and host a book signing at the Theater Project in Brunswick, the last scheduled before Herman sets out for Oregon. That’s bittersweet for Terry.
“I’m hoping that he will realize how good he is,” Terry said of Herman. “What I want to do is to promote (Herman) and help him in any way I can while I’ve got the time.”
During the past two years, the musician who’s shared a stage with Dizzy Gillespie, borrowed the kitchen floor of Buddy Tate’s New York apartment and taught scores of young instrumentalists the language of music has sought out gigs wherever he could find them for what could be his last duo.
He describes Herman as “a phenomenon,” one of six players in his long career with whom he’s had “this locked-in communication.”
That list also includes late guitarist Lenny Breau, with whom Terry recorded informal sessions around 1979 and released in 2003 as the “Living Room Tapes.” It was during an annual tribute concert to Breau in 2012 that Herman and Terry met and first shared the stage (https://youtu.be/Dw7daJTATl4?t=366) .
“He got me out of a slump,” Terry said. “I wasn’t playing, and he forced me out of retirement, which I am not objected to.”
Having relied on a keen ear and not reading music for his entire life, Terry said Herman’s fresh takes on jazz standards provide a new font of ideas for his single-note lines.
“What’s interesting is the curveballs that he throws at me harmonically,” Terry said. “And I say, ‘That was the chord I was looking for 45 years ago!’”
At 75, Terry began to consider he might hang it up, seeking to end his career at the right time. He said that ending makes him think of seeing saxophone great Lester Young at an outdoor concert in Bryant Park in New York.
“I had heard so much about him and heard so many of his records and he could hardly walk and it was just awful,” Terry said.
It’s not just that. Terry jokes that he’s one of the jazz musicians in it for the money, but he’s not interested in settling down his clarinet in a Dixieland band playing weddings, he said.
“Here I am, dead broke and with my house falling down on my head, but I made sort of a commitment to myself early early on that the day I went to work for the sole sake of the paycheck was the last day of that job,” Terry said. “I want to be the low man on the totem pole and be hanging on by a thread. I’m sure I could find a bunch of people that would play all of the old standards the old way.”
In his living room recently, Terry demonstrated his method for practicing, whirling through notes on the Selmer clarinet he bought in Paris in 1958, with his 15-year-old Belgian shepherd Holly listening nearby.
“I try to hear something in my head and play it accurately once and then move on,” Terry said. “If you practice licks or scales and patterns, then when you’re improvising, then you start using those patterns and you stop thinking.”
Terry said he feels he’s playing at a peak now, which might make it time to quit. But he’s still taking down names of leads. And in his mind, he’s got a picture of how he’d like to go out.
“I sort of imagine that I’ll play the best concert ever and the announcer will say, ‘Brad won’t be out for the encore.’ That’s how I’d like it to end,” Terry said at his home recently, laughing. “I’ll have to have someone to catch the clarinet, because I don’t want to drop it on the floor.”
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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Review: ‘Charlie Parker’s Yardbird’ Uses Opera to Tell a Jazz Story – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/08/arts/music/review-charlie-parkers-yardbird-uses-opera-to-tell-a-jazz-story.html?_r=0
** Review: ‘Charlie Parker’s Yardbird’ Uses Opera to Tell a Jazz Story
————————————————————
Photo
Charlie Parker’s Yardbird Lawrence Brownlee plays the lead in this opera about the jazz saxophonist at the Perelman Theater in Philadelphia. Credit Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — Writing an opera about a famous person who lived a well-documented life is difficult enough. Writing an opera about a famous musician is even harder, especially a figure like the towering jazz saxophonist and composer Charlie Parker, a pioneer of bebop, an artist whose music still defines the art form and remains as astounding as ever. How can a composer make Parker the subject of an opera without putting Parker’s music into the score?
The composer Daniel Schnyder (http://www.danielschnyder.com/) and the librettist Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) have come up with effective solutions to these challenges in “Charlie Parker’s Yardbird,” (http://www.nytimes.com/2015/05/31/arts/music/charlie-parkers-yardbird-ties-jazz-and-opera-together-in-philadelphia.html) an awkward title for an opera that is anything but. “Yardbird,” a 90-minute, swift-paced chamber opera with a pulsing, jazz-infused score, had its premiere here on Friday night in the Perelman Theater at the Kimmel Center for the Performing Arts, presented by Opera Philadelphia (https://www.operaphila.org/) , which commissioned it along with Gotham Chamber Opera, which will present the work in New York next year.
The solution the creators devised for structuring a narrative that sweeps through Parker’s tumultuous life is a fresh variation on the device of flashbacks. The opera opens on the day Parker died in 1955 at 34 from the combined effect of heroin addiction, alcoholism and a weakened heart. He died in the hotel suite of his British-born friend and patron Baroness Pannonica de Koenigswarter, also known as “Nica.” In “Yardbird” Parker first appears as a kind of ghost, having arrived at Birdland, the Manhattan jazz club named for him. In this spare, fluid production, directed by Ron Daniels with set designs by Riccardo Hernandez, the club looks mystical, with a row of video panels spelling out “Birdland,” each one showing the image of a jazz great.
Charlie has come through a storm. But once this Charlie, the energetic, bright-voiced tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) , removes his wet overcoat, he looks dapper in a three-piece-suit and seems elated to be at Birdland.
He goes through a kind of purgatory, where the people who shaped his life appear: Addie, his mother, who raised him as an only child in Kansas City, Mo.; his wives, especially Chan Parker, his free-spirited last wife (though they never legally married); and Dizzy Gillespie, the ingenious jazz trumpeter and Parker’s most important colleague. The opera becomes a series of scenes in which Charlie relives his relationships and crises in order to complete the process of dying.
The Swiss-born Mr. Schnyder, who has won acclaim for works that combine jazz and modernist contemporary styles, knew better than to fold actual Parker compositions into his score. Instead, he takes Parker riffs and motifs and uses them as thematic cells. Charlie sometimes sings bursts of bebop, scatting, which Mr. Brownlee deftly handles. Mostly though, the lines unfold in snappy, lyrical phrases. In crucial scenes, Mr. Brownlee, a superb bel canto tenor, dispatched runs that suggested jazzy Rossini.
A problem in combining jazz and modernist idioms can be that the resulting music sounds less like a merger than a compromise, an issue with some less effective scenes in “Yardbird.” But as the story developed the score, played vibrantly by a 15-piece ensemble conducted by Corrado Rovaris, grew darker and riskier. A powerful scene comes when Addie, Charlie’s mother, sings a bluesy duet with Rebecca, his first wife, with whom he had a son, a child Parker saw little after he went to New York as a young man. The soprano Angela Brown (http://www.angelambrown.com/home.html) brings deep richness and earthy expressivity to Addie in an affecting portrayal. Despair suffuses the poignant singing of the mezzo-soprano Chrystal Williams as Rebecca.
The opera does less well at plumbing the wreck Parker’s drug use made of his personal life. A climactic episode depicts what happened on a tour to Southern California, when Parker, on heroin, wound up being arrested, nearly naked, on the street and confined to a hospital. Despite sirens, gnashing brass and strobe lights, this scene does not suggest the severity of Parker’s breakdown. But the next one, in the hospital, works powerfully, with Charlie and other patients in straitjackets all looking lost and hearing voices. The eerie music, with wiry lines and slippery chords, conveys collective disorientation.
Mr. Schnyder comes closest to evoking Parker bebop in the wonderful scenes between Charlie and Dizzy, here the dynamic baritone Will Liverman (http://www.willliverman.com/) . “You are the other half of my heartbeat,” Dizzy sings in a jazzy, bopping duet.
The mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) brings opulent sound and elegance to Nica. The soprano Angela Mortellaro grabs her moments in the role of Doris, Parker’s proprietary third wife. Rachel Sterrenberg makes an ideal Chan, especially in the wrenching scene when she mourns the death of the baby girl she had with Parker.
I only wish some of the modernist complexities and grit in Mr. Schnyder’s music came through more overtly, rather than being folded into a score that sometimes seems eager to please. Still, “Yardbird” kept me involved and admiring right through.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Warwick, Ny 10990
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Review: ‘Charlie Parker’s Yardbird’ Uses Opera to Tell a Jazz Story – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/06/08/arts/music/review-charlie-parkers-yardbird-uses-opera-to-tell-a-jazz-story.html?_r=0
** Review: ‘Charlie Parker’s Yardbird’ Uses Opera to Tell a Jazz Story
————————————————————
Photo
Charlie Parker’s Yardbird Lawrence Brownlee plays the lead in this opera about the jazz saxophonist at the Perelman Theater in Philadelphia. Credit Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — Writing an opera about a famous person who lived a well-documented life is difficult enough. Writing an opera about a famous musician is even harder, especially a figure like the towering jazz saxophonist and composer Charlie Parker, a pioneer of bebop, an artist whose music still defines the art form and remains as astounding as ever. How can a composer make Parker the subject of an opera without putting Parker’s music into the score?
The composer Daniel Schnyder (http://www.danielschnyder.com/) and the librettist Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) have come up with effective solutions to these challenges in “Charlie Parker’s Yardbird,” (http://www.nytimes.com/2015/05/31/arts/music/charlie-parkers-yardbird-ties-jazz-and-opera-together-in-philadelphia.html) an awkward title for an opera that is anything but. “Yardbird,” a 90-minute, swift-paced chamber opera with a pulsing, jazz-infused score, had its premiere here on Friday night in the Perelman Theater at the Kimmel Center for the Performing Arts, presented by Opera Philadelphia (https://www.operaphila.org/) , which commissioned it along with Gotham Chamber Opera, which will present the work in New York next year.
The solution the creators devised for structuring a narrative that sweeps through Parker’s tumultuous life is a fresh variation on the device of flashbacks. The opera opens on the day Parker died in 1955 at 34 from the combined effect of heroin addiction, alcoholism and a weakened heart. He died in the hotel suite of his British-born friend and patron Baroness Pannonica de Koenigswarter, also known as “Nica.” In “Yardbird” Parker first appears as a kind of ghost, having arrived at Birdland, the Manhattan jazz club named for him. In this spare, fluid production, directed by Ron Daniels with set designs by Riccardo Hernandez, the club looks mystical, with a row of video panels spelling out “Birdland,” each one showing the image of a jazz great.
Charlie has come through a storm. But once this Charlie, the energetic, bright-voiced tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) , removes his wet overcoat, he looks dapper in a three-piece-suit and seems elated to be at Birdland.
He goes through a kind of purgatory, where the people who shaped his life appear: Addie, his mother, who raised him as an only child in Kansas City, Mo.; his wives, especially Chan Parker, his free-spirited last wife (though they never legally married); and Dizzy Gillespie, the ingenious jazz trumpeter and Parker’s most important colleague. The opera becomes a series of scenes in which Charlie relives his relationships and crises in order to complete the process of dying.
The Swiss-born Mr. Schnyder, who has won acclaim for works that combine jazz and modernist contemporary styles, knew better than to fold actual Parker compositions into his score. Instead, he takes Parker riffs and motifs and uses them as thematic cells. Charlie sometimes sings bursts of bebop, scatting, which Mr. Brownlee deftly handles. Mostly though, the lines unfold in snappy, lyrical phrases. In crucial scenes, Mr. Brownlee, a superb bel canto tenor, dispatched runs that suggested jazzy Rossini.
A problem in combining jazz and modernist idioms can be that the resulting music sounds less like a merger than a compromise, an issue with some less effective scenes in “Yardbird.” But as the story developed the score, played vibrantly by a 15-piece ensemble conducted by Corrado Rovaris, grew darker and riskier. A powerful scene comes when Addie, Charlie’s mother, sings a bluesy duet with Rebecca, his first wife, with whom he had a son, a child Parker saw little after he went to New York as a young man. The soprano Angela Brown (http://www.angelambrown.com/home.html) brings deep richness and earthy expressivity to Addie in an affecting portrayal. Despair suffuses the poignant singing of the mezzo-soprano Chrystal Williams as Rebecca.
The opera does less well at plumbing the wreck Parker’s drug use made of his personal life. A climactic episode depicts what happened on a tour to Southern California, when Parker, on heroin, wound up being arrested, nearly naked, on the street and confined to a hospital. Despite sirens, gnashing brass and strobe lights, this scene does not suggest the severity of Parker’s breakdown. But the next one, in the hospital, works powerfully, with Charlie and other patients in straitjackets all looking lost and hearing voices. The eerie music, with wiry lines and slippery chords, conveys collective disorientation.
Mr. Schnyder comes closest to evoking Parker bebop in the wonderful scenes between Charlie and Dizzy, here the dynamic baritone Will Liverman (http://www.willliverman.com/) . “You are the other half of my heartbeat,” Dizzy sings in a jazzy, bopping duet.
The mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) brings opulent sound and elegance to Nica. The soprano Angela Mortellaro grabs her moments in the role of Doris, Parker’s proprietary third wife. Rachel Sterrenberg makes an ideal Chan, especially in the wrenching scene when she mourns the death of the baby girl she had with Parker.
I only wish some of the modernist complexities and grit in Mr. Schnyder’s music came through more overtly, rather than being folded into a score that sometimes seems eager to please. Still, “Yardbird” kept me involved and admiring right through.
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
YaleNews | Preserving the ‘King of Swing’ on film: Rare footage shows Benny Goodman backstage and at home
http://www.jazzpromoservices.com/
http://news.yale.edu/2015/06/05/preserving-king-swing-film-rare-footage-shows-benny-goodman-backstage-and-home?utm_source=YNemail
** Preserving the ‘King of Swing’ on film: Rare footage shows Benny Goodman backstage and at home
————————————————————
By Amy Athey McDonald
June 5, 2015
The “King of Swing” is getting a second life on the silver screen thanks to an extensive preservation project at Yale’s Irving S. Gilmore Music Library (http://web.library.yale.edu/music) . More than a hundred of jazz legend Benny Goodman’s personal film reels — including never-before-seen footage of rehearsals and home movies with the likes of Harpo Marx — have been saved from irreparable damage and preserved for generations to come.
“We have dozens of hours of commercial grade footage on 16 mm and 35 mm film, as well as the audio tracks on magnetic reels,” said Remi Castonguay, public services project librarian at the Gilmore Library, who spearheaded the project. “We quickly realized that the collection was quite special, including raw footage of trips that Goodman took to Brussels, Thailand, and Russia as a cultural diplomat during the Cold War.”
Goodman moved to Stamford in the 1940s and regularly visited and performed at Yale. He received an honorary degree from the university in 1982; that’s when he first met Harold Samuel, Yale’s music librarian. It wasn’t revealed until after Goodman’s death in 1986, however, that he had left his vast musical collection to his adopted alma mater.
Among the Benny Goodman Papers (http://drs.library.yale.edu/HLTransformer/HLTransServlet?stylename=yul.ead2002.xhtml.xsl&pid=music:mss.0053&clear-stylesheet-cache=yes) are 1,500 musical arrangements, 5,000 photographs, 500 reel-to-reel audiotapes and recordings, 150 film reels, personal correspondence, scrapbooks, and memorabilia, including a plaster cast of his teeth. Goodman also donated master tapes of concerts, live performances, and studio performances that had not been published before, and gave permission for the library to issue previously unreleased recordings, for which it receives royalties. To date, Yale has produced 12 CDs (http://www.allmusic.com/album/the-complete-yale-music-archives-mw0001932571) from the material in the archives, all with support from the Goodman estate.
An archive at risk
Remi Castonguay (pictured) and Francesca Livermore ran every piece of film in the Goodman archive through a hand-cranked machine, noting its physical condition and manufacturer.
According to Castonguay, the clock was ticking for the film reels. A recent Library of Congress report indicated that acetate films have a shelf-life of about 20 years before exceeding preservation capabilities. Too much or too little heat and humidity in storage areas produces acetate deterioration — also known as vinegar syndrome, due to the distinct acidic odor it produces — which can cause shrinkage, cracking, flaking, and other distortions.
The library team — including former arts-area digital librarian Francesca Livermore and Brian Meacham, archive and special collections manager at the Yale Film Study Center — invited Goodman scholar David Jessup to spend time at Yale to review films and assess their condition.
“We projected films for three days,” said Castonguay. “There were several things Jessup had never seen before that were completely unique to Yale, which helped us prioritize. We didn’t want to digitize and duplicate films that already existed in 50 other places.”
Using that information, Castonguay successfully applied for Arcadia funds (http://guides.library.yale.edu/content.php?pid=344338&sid=3183607) at the library, receiving $260,000 to preserve the films and create a detailed guide to the collection. Castonguay and Livermore began looking at every single film through a hand-crank machine, noting its physical characteristics, time codes, and where it was manufactured. The library worked with Colorlab in New York City, which copied the films onto a polyester material, considered much more stable than acetate. They also created a digitized version of each film.
“To a lot of people it may seem anachronistic, but film-to-film duplication is still the gold standard for preservation, as opposed to digitizing,” Castonguay said. “I’ve been told that in the right conditions it will last 500 years.”
Those conditions include cold storage at 55 degrees Fahrenheit and relative humidity of 30%, which exist at the library’s state-of-the-art storage facility, according to Suzanne Lovejoy, assistant music librarian for public services.
One particular challenge the team faced is that the magnetic audiotapes were not marked with their corresponding film footage.
“The inscriptions on the original film canisters were cryptic, or just wrong. We didn’t have any idea of what went with what,” said Castonguay, who added that a second grant-funded project could support matching up the audio and visual elements. So far, he’s managed to complete a few short clips on his own.
Benny Goodman in Moscow’s Red Square during his state sponsored tour in June, 1962.
The “King of Swing”
The film footage in the Benny Goodman Papers shows how the trailblazing musician fits into the larger framework of U.S. and world history.
Born in Chicago in 1909, Goodman picked up the clarinet at age 10. He left home to become a professional musician when he was 16, performing for a while with another relative newcomer, Glenn Miller, in the Ben Pollack Orchestra.
Goodman formed his own big band in 1934 and, according to the library’s online guide to the collection, “achieved unprecedented success, acclaimed both for his dazzling clarinet solos and for the brilliance of his band.” In an era of segregation, Goodman was a pioneer in hiring without regard to race. His ensemble included outstanding black musicians, such as pianist Teddy Wilson, as well as leading white performers, like drummer Gene Krupa.
“Black and white musicians had performed together on radio and in studio sessions, but performing in public and on film was groundbreaking,” said Lovejoy. “Once when the band was scheduled to perform at the Hollywood Hotel, the managers wanted to pull Teddy Wilson and replace him with a white musician. Benny simply told them that if Teddy didn’t play, the band didn’t play.”
Goodman’s career culminated in 1938 with a concert at Carnegie Hall, still considered a key moment in jazz history. While big band music gave way to new forms of jazz, such as bebop, Goodman continued to be one of the most popular musicians alive. His career saw a revival in the 1950s and early 1960s, and his was the first big jazz band to be tapped as a cultural ambassador for U.S. State Department.
Benny Goodman with Thai dancers during his tour of the East in 1956.
Film footage shows performances from the 1956 tour he made of the far East, visiting Japan, Cambodia, Hong Kong, Burma (now Myanmar), and Thailand, where he jammed with the King of Thailand, Bhumibol Adulyadej, a huge jazz buff and saxophone player.
“The New York Times ran a piece saying that Goodman did more to improve relations with Thailand than any other diplomatic mission at that time,” said Castonguay.
In 1958, at the height of the Cold War, Goodman performed at the Brussels World Fair. Silent B-roll footage shows the various national pavilions and the Atomium building, which still stands today.
“The Brussels engagement was organized in response to the Russians outperforming the Americans at the World Fair,” said Castonguay. “The Americans realized they needed to up their contribution, and Benny was part of that. Some of the most interesting materials to look at in the archive aren’t related to music.”
Four years later, Goodman made an unprecedented six-week tour of the Soviet Union and performed jazz in Moscow’s Red Square.
“The Cold War is a really important and interesting aspect of the collection,” said Castonguay. “It reveals cultural rivalries going on at the time. Kennedy actually thanked Khrushchev for attending Goodman’s concert.”
Benny Goodman (right) with composer Paul Hindemith, Yale School of Music, rehearsing at Goodman’s home in Stamford. Goodman commissioned a “Clarinet Concerto” from Hindemith in 1947.
Beyond diplomacy
The archives also contain kinescopes and telecasts of Goodman performing on network programs like NBC’s “Swing into Spring,” and ABC’s “High Road,” with an episode titled, “Benny Goodman, Our Most Unusual Ambassador.” Castonguay notes that because the telecasts were commercial products, they are synchronized with audio tracks and fully preserved.
Other areas of the collection include Goodman’s home movies, which show his children playing with the family dog, a family outing at the beach, and Goodman enjoying one of his favorite pastimes, fishing.
One 1955 Columbia Studios recording session, shot for a documentary that was never produced, offers a behind-the-scenes look at Goodman’s small ensemble — including Buck Clayton (trumpet), Urbie Green (trombone), Aaron Bell (bass), Bobby Donaldson (drums), and Claude Thornhill (piano) — rehearsing in a smoke-filled room.
“It shows them behind closed doors, and we get to see musicians warming up and commenting during playback sessions. It’s the music-making process in action,” said Castonguay.
Goodman liked to experiment with all musical forms, including classical. According to Lovejoy, he commissioned work by contemporary composers, including Béla Bartók (“Contrasts,” 1938); Aaron Copland (“Clarinet Concerto,” 1949); and Paul Hindemith (“Clarinet Concerto,” 1947), who taught at the Yale School of Music. In fact, Goodman’s piano player, Mel Powell, studied with Hindemith in the late 1940s after stints in Glenn Miller’s Army Air Forces Band — which broadcasted weekly from Woolsey Hall during WWII — and at MGM in Hollywood. Powell went on to have a successful teaching career at Yale, which also houses the Mel Powell Papers (http://drs.library.yale.edu/HLTransformer/HLTransServlet?stylename=yul.ead2002.xhtml.xsl&pid=music:mss.0070&clear-stylesheet-cache=yes) in the music library, and at the California Institute of the Arts.
Preserving history
Goodman appeared on NBC’s “Swing into Spring” in 1958 with Jo Stafford and Ella Fitzgerald. The library held it’s own “Swing into Spring” event this year to showcase the Goodman archives.
Building on the Goodman preservation project, the library will begin the first phase of a two-phase project to inventory its unique audio-visual collections this summer.
“Yale was an early leader in the conservation movement,” said Lovejoy. “I feel confident that when the survey is done, Yale’s library will have a complete picture of the collection and can make decisions and establish priorities.”
Castonguay, who is an enthusiast of 17^th century French music and amateur harpsichordist, says he now listens to Goodman and big band music while cooking at home. As a foreigner, he noted, the films evoke an era in American history when there was a sense of optimism. He will be leaving Yale at the end of the month, but is proud of the work his team completed and of the programs that accompanied the preservation project.
“A month ago we did our own ‘Swing into Spring’ event at the library. This is really why we do these projects. Preserving in a vacuum is anticlimactic. Once you do the work you have to broadcast it, make noise so people know the collection is there and can be used,” he said.
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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YaleNews | Preserving the ‘King of Swing’ on film: Rare footage shows Benny Goodman backstage and at home
http://www.jazzpromoservices.com/
http://news.yale.edu/2015/06/05/preserving-king-swing-film-rare-footage-shows-benny-goodman-backstage-and-home?utm_source=YNemail
** Preserving the ‘King of Swing’ on film: Rare footage shows Benny Goodman backstage and at home
————————————————————
By Amy Athey McDonald
June 5, 2015
The “King of Swing” is getting a second life on the silver screen thanks to an extensive preservation project at Yale’s Irving S. Gilmore Music Library (http://web.library.yale.edu/music) . More than a hundred of jazz legend Benny Goodman’s personal film reels — including never-before-seen footage of rehearsals and home movies with the likes of Harpo Marx — have been saved from irreparable damage and preserved for generations to come.
“We have dozens of hours of commercial grade footage on 16 mm and 35 mm film, as well as the audio tracks on magnetic reels,” said Remi Castonguay, public services project librarian at the Gilmore Library, who spearheaded the project. “We quickly realized that the collection was quite special, including raw footage of trips that Goodman took to Brussels, Thailand, and Russia as a cultural diplomat during the Cold War.”
Goodman moved to Stamford in the 1940s and regularly visited and performed at Yale. He received an honorary degree from the university in 1982; that’s when he first met Harold Samuel, Yale’s music librarian. It wasn’t revealed until after Goodman’s death in 1986, however, that he had left his vast musical collection to his adopted alma mater.
Among the Benny Goodman Papers (http://drs.library.yale.edu/HLTransformer/HLTransServlet?stylename=yul.ead2002.xhtml.xsl&pid=music:mss.0053&clear-stylesheet-cache=yes) are 1,500 musical arrangements, 5,000 photographs, 500 reel-to-reel audiotapes and recordings, 150 film reels, personal correspondence, scrapbooks, and memorabilia, including a plaster cast of his teeth. Goodman also donated master tapes of concerts, live performances, and studio performances that had not been published before, and gave permission for the library to issue previously unreleased recordings, for which it receives royalties. To date, Yale has produced 12 CDs (http://www.allmusic.com/album/the-complete-yale-music-archives-mw0001932571) from the material in the archives, all with support from the Goodman estate.
An archive at risk
Remi Castonguay (pictured) and Francesca Livermore ran every piece of film in the Goodman archive through a hand-cranked machine, noting its physical condition and manufacturer.
According to Castonguay, the clock was ticking for the film reels. A recent Library of Congress report indicated that acetate films have a shelf-life of about 20 years before exceeding preservation capabilities. Too much or too little heat and humidity in storage areas produces acetate deterioration — also known as vinegar syndrome, due to the distinct acidic odor it produces — which can cause shrinkage, cracking, flaking, and other distortions.
The library team — including former arts-area digital librarian Francesca Livermore and Brian Meacham, archive and special collections manager at the Yale Film Study Center — invited Goodman scholar David Jessup to spend time at Yale to review films and assess their condition.
“We projected films for three days,” said Castonguay. “There were several things Jessup had never seen before that were completely unique to Yale, which helped us prioritize. We didn’t want to digitize and duplicate films that already existed in 50 other places.”
Using that information, Castonguay successfully applied for Arcadia funds (http://guides.library.yale.edu/content.php?pid=344338&sid=3183607) at the library, receiving $260,000 to preserve the films and create a detailed guide to the collection. Castonguay and Livermore began looking at every single film through a hand-crank machine, noting its physical characteristics, time codes, and where it was manufactured. The library worked with Colorlab in New York City, which copied the films onto a polyester material, considered much more stable than acetate. They also created a digitized version of each film.
“To a lot of people it may seem anachronistic, but film-to-film duplication is still the gold standard for preservation, as opposed to digitizing,” Castonguay said. “I’ve been told that in the right conditions it will last 500 years.”
Those conditions include cold storage at 55 degrees Fahrenheit and relative humidity of 30%, which exist at the library’s state-of-the-art storage facility, according to Suzanne Lovejoy, assistant music librarian for public services.
One particular challenge the team faced is that the magnetic audiotapes were not marked with their corresponding film footage.
“The inscriptions on the original film canisters were cryptic, or just wrong. We didn’t have any idea of what went with what,” said Castonguay, who added that a second grant-funded project could support matching up the audio and visual elements. So far, he’s managed to complete a few short clips on his own.
Benny Goodman in Moscow’s Red Square during his state sponsored tour in June, 1962.
The “King of Swing”
The film footage in the Benny Goodman Papers shows how the trailblazing musician fits into the larger framework of U.S. and world history.
Born in Chicago in 1909, Goodman picked up the clarinet at age 10. He left home to become a professional musician when he was 16, performing for a while with another relative newcomer, Glenn Miller, in the Ben Pollack Orchestra.
Goodman formed his own big band in 1934 and, according to the library’s online guide to the collection, “achieved unprecedented success, acclaimed both for his dazzling clarinet solos and for the brilliance of his band.” In an era of segregation, Goodman was a pioneer in hiring without regard to race. His ensemble included outstanding black musicians, such as pianist Teddy Wilson, as well as leading white performers, like drummer Gene Krupa.
“Black and white musicians had performed together on radio and in studio sessions, but performing in public and on film was groundbreaking,” said Lovejoy. “Once when the band was scheduled to perform at the Hollywood Hotel, the managers wanted to pull Teddy Wilson and replace him with a white musician. Benny simply told them that if Teddy didn’t play, the band didn’t play.”
Goodman’s career culminated in 1938 with a concert at Carnegie Hall, still considered a key moment in jazz history. While big band music gave way to new forms of jazz, such as bebop, Goodman continued to be one of the most popular musicians alive. His career saw a revival in the 1950s and early 1960s, and his was the first big jazz band to be tapped as a cultural ambassador for U.S. State Department.
Benny Goodman with Thai dancers during his tour of the East in 1956.
Film footage shows performances from the 1956 tour he made of the far East, visiting Japan, Cambodia, Hong Kong, Burma (now Myanmar), and Thailand, where he jammed with the King of Thailand, Bhumibol Adulyadej, a huge jazz buff and saxophone player.
“The New York Times ran a piece saying that Goodman did more to improve relations with Thailand than any other diplomatic mission at that time,” said Castonguay.
In 1958, at the height of the Cold War, Goodman performed at the Brussels World Fair. Silent B-roll footage shows the various national pavilions and the Atomium building, which still stands today.
“The Brussels engagement was organized in response to the Russians outperforming the Americans at the World Fair,” said Castonguay. “The Americans realized they needed to up their contribution, and Benny was part of that. Some of the most interesting materials to look at in the archive aren’t related to music.”
Four years later, Goodman made an unprecedented six-week tour of the Soviet Union and performed jazz in Moscow’s Red Square.
“The Cold War is a really important and interesting aspect of the collection,” said Castonguay. “It reveals cultural rivalries going on at the time. Kennedy actually thanked Khrushchev for attending Goodman’s concert.”
Benny Goodman (right) with composer Paul Hindemith, Yale School of Music, rehearsing at Goodman’s home in Stamford. Goodman commissioned a “Clarinet Concerto” from Hindemith in 1947.
Beyond diplomacy
The archives also contain kinescopes and telecasts of Goodman performing on network programs like NBC’s “Swing into Spring,” and ABC’s “High Road,” with an episode titled, “Benny Goodman, Our Most Unusual Ambassador.” Castonguay notes that because the telecasts were commercial products, they are synchronized with audio tracks and fully preserved.
Other areas of the collection include Goodman’s home movies, which show his children playing with the family dog, a family outing at the beach, and Goodman enjoying one of his favorite pastimes, fishing.
One 1955 Columbia Studios recording session, shot for a documentary that was never produced, offers a behind-the-scenes look at Goodman’s small ensemble — including Buck Clayton (trumpet), Urbie Green (trombone), Aaron Bell (bass), Bobby Donaldson (drums), and Claude Thornhill (piano) — rehearsing in a smoke-filled room.
“It shows them behind closed doors, and we get to see musicians warming up and commenting during playback sessions. It’s the music-making process in action,” said Castonguay.
Goodman liked to experiment with all musical forms, including classical. According to Lovejoy, he commissioned work by contemporary composers, including Béla Bartók (“Contrasts,” 1938); Aaron Copland (“Clarinet Concerto,” 1949); and Paul Hindemith (“Clarinet Concerto,” 1947), who taught at the Yale School of Music. In fact, Goodman’s piano player, Mel Powell, studied with Hindemith in the late 1940s after stints in Glenn Miller’s Army Air Forces Band — which broadcasted weekly from Woolsey Hall during WWII — and at MGM in Hollywood. Powell went on to have a successful teaching career at Yale, which also houses the Mel Powell Papers (http://drs.library.yale.edu/HLTransformer/HLTransServlet?stylename=yul.ead2002.xhtml.xsl&pid=music:mss.0070&clear-stylesheet-cache=yes) in the music library, and at the California Institute of the Arts.
Preserving history
Goodman appeared on NBC’s “Swing into Spring” in 1958 with Jo Stafford and Ella Fitzgerald. The library held it’s own “Swing into Spring” event this year to showcase the Goodman archives.
Building on the Goodman preservation project, the library will begin the first phase of a two-phase project to inventory its unique audio-visual collections this summer.
“Yale was an early leader in the conservation movement,” said Lovejoy. “I feel confident that when the survey is done, Yale’s library will have a complete picture of the collection and can make decisions and establish priorities.”
Castonguay, who is an enthusiast of 17^th century French music and amateur harpsichordist, says he now listens to Goodman and big band music while cooking at home. As a foreigner, he noted, the films evoke an era in American history when there was a sense of optimism. He will be leaving Yale at the end of the month, but is proud of the work his team completed and of the programs that accompanied the preservation project.
“A month ago we did our own ‘Swing into Spring’ event at the library. This is really why we do these projects. Preserving in a vacuum is anticlimactic. Once you do the work you have to broadcast it, make noise so people know the collection is there and can be used,” he said.
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=aca816d292) | 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=aca816d292&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Archie Alleyne, renowned Toronto jazz drummer, dead at 82 – Toronto – CBC News
http://www.jazzpromoservices.com/
http://www.cbc.ca/news/canada/toronto/archie-alleyne-renowned-toronto-jazz-drummer-dead-at-82-1.3104666
** Archie Alleyne, renowned Toronto jazz drummer, dead at 82
————————————————————
Drummer Archie Alleyne is shown in this December 7, 1988.
Drummer Archie Alleyne is shown in this December 7, 1988. (Alan Dunlop/Toronto Star File Photo)
Archie Alleyne, a Toronto jazz drummer who played with Billie Holiday, Stan Getz and Lester Young, has died, his family confirmed Monday.
Alleyne had been fighting cancer for several years. He passed away at Bridgepoint Health at the age of 82.
Archibald Alexander Alleyne was born in 1933 and grew up around the Kensington Market neighbourhood.
Alleyne taught himself the drums when, at a young age, he decided he did not want to follow his father into the railroad industry.
In his 20s, he became the house drummer at Town Tavern, a famous jazz bar on the north side of Queen Street East just off of Yonge Street.
It was at the Town Tavern in the 1950s that Alleyne earned his legend as Toronto’s premier jazz percussionist. He played with legends like Billie Holiday, Lester Young, Stan Getz, Coleman Hawkins and Ben Webster.
He later toured the world, released several well-regarded albums, opened a trailblazing restaurant and became a de facto spokesman for jazz in Canada, but he is frequently remembered for drumming in local jazz clubs early in his career.
** Outside of jazz
————————————————————
Just as his career was taking off, Alleyne had an unexpected exit from playing music in his early 30s.
In 1967, he was involved in a serious car accident on Lakeshore Boulevard as he was driving home from a concert. As he tells it, he fell asleep at the wheel and crashed into a lamp post, he told Vice News earlier this year. He did not perform jazz again until 1982.
Though he was not playing drums on stage at the Town, he was still in the spotlight. During his time away from jazz, he became a partner at the Underground Railroad restaurant in the Bloor and Sherbourne streets area.
Opened in 1969, the restaurant was an unorthodox addition to Toronto’s restaurant scene. It was black-owned and specialized in soul food. The restaurant to this day is seen as trailblazing, as black restaurateurs were a rarity at the time and the soul food on the menu was considered a first for the city.
Archie Alleyne
Archie Alleyne played drums into his 80s, though he took an extended break after a car accident in 1967. (Archie Alleyne/Twitter)
Alleyne owned the Underground Railroad with several partners, including Toronto Argonauts’ great Dave Mann.
The restaurant changed ownership in the early 1980s and shut down a few years after that.
** Pushing jazz forward in Canada
————————————————————
By 1982, Alleyne was back playing music with Up Here, an album with the Frank Wright Quartet. For the album cover, he and Wright posed in tuxedos and instruments in front of the Flat Iron building on Front Street.
But Alleyne became frustrated with the progress of jazz music in Canada since he was last playing music in the 1960s.
In 1983, the drummer launched a protest aimed at the Canada Council for the Arts for excluding jazz when providing subsidies for recordings. He called it discrimination, and recruited a number of high-profile Canadians to join him in the call for change.
Eventually the federal government provided funding for jazz recordings.
A few years later, he led another successful lobby to get more black musicians into the Toronto Jazz Festival.
All the while he continued to make jazz.
In 1989, Alleyne toured countries in the Caribbean and Africa with pianist Oliver Jones.
A concert they played in Nigeria was turned into a concert film by the National Film Board of Canada. Called Oliver Jones in Africa, the 1990 film is kept at the American Library of Congress for its cultural import.
More recently, Alleyne established The Archie Alleyne Fund for aspiring musicians. He was recognized for his efforts with a Harry Jerome award in 2015.
Alleyne was named as an officer for the Order Of Canada in 2012.
Colour Me Jazz: The Archie Alleyne Story, an autobiography written with Sheldon Taylor, was set to be released June 14 but the book launch was postponed indefinitely following Alleyne’s death.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72c400cbc0) | 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=72c400cbc0&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
Archie Alleyne, renowned Toronto jazz drummer, dead at 82 – Toronto – CBC News
http://www.jazzpromoservices.com/
http://www.cbc.ca/news/canada/toronto/archie-alleyne-renowned-toronto-jazz-drummer-dead-at-82-1.3104666
** Archie Alleyne, renowned Toronto jazz drummer, dead at 82
————————————————————
Drummer Archie Alleyne is shown in this December 7, 1988.
Drummer Archie Alleyne is shown in this December 7, 1988. (Alan Dunlop/Toronto Star File Photo)
Archie Alleyne, a Toronto jazz drummer who played with Billie Holiday, Stan Getz and Lester Young, has died, his family confirmed Monday.
Alleyne had been fighting cancer for several years. He passed away at Bridgepoint Health at the age of 82.
Archibald Alexander Alleyne was born in 1933 and grew up around the Kensington Market neighbourhood.
Alleyne taught himself the drums when, at a young age, he decided he did not want to follow his father into the railroad industry.
In his 20s, he became the house drummer at Town Tavern, a famous jazz bar on the north side of Queen Street East just off of Yonge Street.
It was at the Town Tavern in the 1950s that Alleyne earned his legend as Toronto’s premier jazz percussionist. He played with legends like Billie Holiday, Lester Young, Stan Getz, Coleman Hawkins and Ben Webster.
He later toured the world, released several well-regarded albums, opened a trailblazing restaurant and became a de facto spokesman for jazz in Canada, but he is frequently remembered for drumming in local jazz clubs early in his career.
** Outside of jazz
————————————————————
Just as his career was taking off, Alleyne had an unexpected exit from playing music in his early 30s.
In 1967, he was involved in a serious car accident on Lakeshore Boulevard as he was driving home from a concert. As he tells it, he fell asleep at the wheel and crashed into a lamp post, he told Vice News earlier this year. He did not perform jazz again until 1982.
Though he was not playing drums on stage at the Town, he was still in the spotlight. During his time away from jazz, he became a partner at the Underground Railroad restaurant in the Bloor and Sherbourne streets area.
Opened in 1969, the restaurant was an unorthodox addition to Toronto’s restaurant scene. It was black-owned and specialized in soul food. The restaurant to this day is seen as trailblazing, as black restaurateurs were a rarity at the time and the soul food on the menu was considered a first for the city.
Archie Alleyne
Archie Alleyne played drums into his 80s, though he took an extended break after a car accident in 1967. (Archie Alleyne/Twitter)
Alleyne owned the Underground Railroad with several partners, including Toronto Argonauts’ great Dave Mann.
The restaurant changed ownership in the early 1980s and shut down a few years after that.
** Pushing jazz forward in Canada
————————————————————
By 1982, Alleyne was back playing music with Up Here, an album with the Frank Wright Quartet. For the album cover, he and Wright posed in tuxedos and instruments in front of the Flat Iron building on Front Street.
But Alleyne became frustrated with the progress of jazz music in Canada since he was last playing music in the 1960s.
In 1983, the drummer launched a protest aimed at the Canada Council for the Arts for excluding jazz when providing subsidies for recordings. He called it discrimination, and recruited a number of high-profile Canadians to join him in the call for change.
Eventually the federal government provided funding for jazz recordings.
A few years later, he led another successful lobby to get more black musicians into the Toronto Jazz Festival.
All the while he continued to make jazz.
In 1989, Alleyne toured countries in the Caribbean and Africa with pianist Oliver Jones.
A concert they played in Nigeria was turned into a concert film by the National Film Board of Canada. Called Oliver Jones in Africa, the 1990 film is kept at the American Library of Congress for its cultural import.
More recently, Alleyne established The Archie Alleyne Fund for aspiring musicians. He was recognized for his efforts with a Harry Jerome award in 2015.
Alleyne was named as an officer for the Order Of Canada in 2012.
Colour Me Jazz: The Archie Alleyne Story, an autobiography written with Sheldon Taylor, was set to be released June 14 but the book launch was postponed indefinitely following Alleyne’s death.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72c400cbc0) | 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=72c400cbc0&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 pianist Corky McClerkin and wife killed in auto accident – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/ct-corky-mcclerkin-accident-20150608-story.html
Longtime Chicago jazz pianist Corky McClerkin, 73, and his wife, Winnie Mae Cole-McClerkin, 72, died Sunday afternoon near 57th Drive and Hyde Park Boulevard, according to their daughter, Casemmie Cole-Kweli.
The couple’s car crashed into a tree in a single-car accident, according to the Chicago Police Department.
4
McClerkin was beloved in Chicago jazz circles for the exuberance and virtuosity of his pianism. “He was so full of joy when he would play, he would just make you laugh,” said Joanie Pallatto, co-owner of Southport Records, which released McClerkin’s critically applauded album “The Power of One” in the 1990s. “For Southport, he was our first-call pianist.”
In performance, McClerkin displayed a regal command of the keyboard, throwing off complex figures even amid the speedy tempos he preferred. His harmonic sense was sophisticated, his chords streaked with unexpected dissonance and, often, a blues sensibility.
“He had his own sound, really,” said Curtis Prince, who accompanied McClerkin on drums for more than three decades. “You’d hear a little bit of everybody in him. A little bit of Ramsey Lewis, Herbie Hancock, a little of Ahmad Jamal – all from Chicago.”
McClerkin succeeded Hancock as pianist in the jazz band at Hyde Park High School, according to McClerkin’s website. He received an undergraduate degree from Roosevelt University and an M.A. degree in urban studies from Loyola University, according to the website.
He served as pianist and musical director for singer Sasha Daltonn and shared a stage with Elvin Jones, Jack DeJohnette, Sonny Stitt and Dee Dee Bridgewater, among other jazz masters. “This is a great loss to the music community,” said Daltonn.
“Not only was he great musician, he was a great humanitarian, and he was an intellect.”
A memorial service is being planned.
Copyright © 2015, Chicago Tribune (http://www.chicagotribune.com/)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
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Jazz pianist Corky McClerkin and wife killed in auto accident – Chicago Tribune
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http://www.chicagotribune.com/entertainment/music/ct-corky-mcclerkin-accident-20150608-story.html
Longtime Chicago jazz pianist Corky McClerkin, 73, and his wife, Winnie Mae Cole-McClerkin, 72, died Sunday afternoon near 57th Drive and Hyde Park Boulevard, according to their daughter, Casemmie Cole-Kweli.
The couple’s car crashed into a tree in a single-car accident, according to the Chicago Police Department.
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McClerkin was beloved in Chicago jazz circles for the exuberance and virtuosity of his pianism. “He was so full of joy when he would play, he would just make you laugh,” said Joanie Pallatto, co-owner of Southport Records, which released McClerkin’s critically applauded album “The Power of One” in the 1990s. “For Southport, he was our first-call pianist.”
In performance, McClerkin displayed a regal command of the keyboard, throwing off complex figures even amid the speedy tempos he preferred. His harmonic sense was sophisticated, his chords streaked with unexpected dissonance and, often, a blues sensibility.
“He had his own sound, really,” said Curtis Prince, who accompanied McClerkin on drums for more than three decades. “You’d hear a little bit of everybody in him. A little bit of Ramsey Lewis, Herbie Hancock, a little of Ahmad Jamal – all from Chicago.”
McClerkin succeeded Hancock as pianist in the jazz band at Hyde Park High School, according to McClerkin’s website. He received an undergraduate degree from Roosevelt University and an M.A. degree in urban studies from Loyola University, according to the website.
He served as pianist and musical director for singer Sasha Daltonn and shared a stage with Elvin Jones, Jack DeJohnette, Sonny Stitt and Dee Dee Bridgewater, among other jazz masters. “This is a great loss to the music community,” said Daltonn.
“Not only was he great musician, he was a great humanitarian, and he was an intellect.”
A memorial service is being planned.
Copyright © 2015, Chicago Tribune (http://www.chicagotribune.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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