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Keep (it) Swinging: Oscar and the Duke: An Encounter In Paris, 1933
http://www.jazzpromoservices.com/
http://keepitswinging.blogspot.com/2015/06/oscar-and-duke-encounter-in-paris-1933_8.html?utm_source=feedburner
** Oscar and the Duke: An Encounter In Paris, 1933
————————————————————
Some time ago I received an article about the encounter between Oscar Alemán and Duke Ellington in Paris, 1933. The article is written by Luis ‘Tito’ Liber and is published below. It puts focus on Alemán’s reactions and has quotes from interviews in Argentine printed media, here available in English for the first time.
http://4.bp.blogspot.com/-Ae8n4rrf2rc/VXV-SMO6_OI/AAAAAAAADXQ/2UI9oUZlYek/s1600/Oscar_Jakupi%2Billustration.jpg
Illustration in Gani Jakupi: Le roi invisible (Futuropolis, 2009)
One thing is that fans and collectors of today claim that Oscar Alemán is one of the best jazz guitar players, but another thing is the opinion of one of the greatest personalities in jazz history. The great Duke Ellington, and the members of his band, affirmed that Oscar Alemán was not one of the best, but THE BEST guitarist in 1930s Europe… Here is the story.
http://1.bp.blogspot.com/-BMYoddthZy4/VXWBTuVZ3oI/AAAAAAAADXg/EmZ4G9PEX9Q/s1600/1933-07-21%2BEllington%2BPleyel.jpg
Concert ad (source: Luis Liber)
In July 1933 Ellington`s band arrived in Paris to play at the Salle Pleyel(Thursday 27th) and at the Casino de Bauville, in a tour promoted by Jack Hylton. Music-hall star Josephine Baker, convalescent at home following a car accident that had injured her hand (the driver was Oscar Alemán, and the car was seriously damaged), welcomed Ellington and introduced him to Alemán. Ellington, who was very impressed by the skills of the “chaqueño”, tried to persuade Md. Baker to ‘lend’ him Alemán as a guest musician of an upcoming USA tour, but the “Venus” declined and retained Oscar as a member of her staff which impossibly could have a substitute.
http://3.bp.blogspot.com/-mTVvzbUn1-8/VXWDLRi2ysI/AAAAAAAADXs/d9uax_Zdd8k/s1600/1935-06-16%2BBaker.JPG
Josephine Baker and her car – June 1935 (photo ABC Madrid)
Oscar Alemán later recalled in an interview:
“I met Duke Ellington by the time I had an accident. One day I was driving my car to my work at the Casino de Paris, with Josephine Baker. They crashed me. I stayed for ten days at the hospital, and later at my hotel. The first visit I made when I got out of the hotel was to see my friends from the Casino. I arrived at Josephine`s dressing room. Everybody came to salute me. She had an injured knee and some scratches on her face. I was patched all over and walked with a stick. While I stayed at Josephine`s dressing room Duke Ellington entered with his two trombonists. One of them was Juan Tizol, the author of “Caravan”, he was a Puerto Rican; he made myself understood by Duke Ellington, because Tizol spoke in Spanish. With them also was Freddie Guy, Ellington`s guitarist. The four were good “orejeros” (in Argentine: they had good ears for music). In a certain moment Duke told Josephine: “I came to greet you and to hear a recommended guitarplayer” (…) Next I asked one of the
dancers to go to the second floor and bring me my guitar. The kid went running. I opened the case, took the guitar and began to play for Duke Ellington. When I finished, he told Juan Tizol to ask me if I wanted to go with him to North America (…) “You are not going as a staff guitarist, but as a soloist.” Josephine objected: “No. Where am I going to find another guy who plays all the styles Oscar do: dancing, tapping, singing? Besides, I have seven suits and shoes made for him, all of the same colour. And those costumes aren`t useful to another person. And his substitute has to be black.” Because of that I didn`t go to the USA and I had to stay in France.” (Ardiles Gray, Julio. Historias de artistas contadas por ellos mismos. Ed. Belgrano, Bs.As. 1981, pp. 285-297).
Another Alemán comment about the encounter with Ellington in Paris, 1933:
“I should be angry with Josephine because my life would have changed. Ellington had offered me the triple than she paid me and he was going to present me better” (cited by Espinosa, R. Oscar Alemán. Hablando con Dios (http://www.mundoclasico.com/) . 2002)
Further, Oscar later has an interesting remark on Duke`s ability for “stealing”/memorize the tunes heard for the first time. Alemán’s theme song Hombre Mío could have had the same fortune as Juan Tizol`s Caravan: “Juan Tizol was present, the Ellington`s trombonist, now already dead, who is the true author of “Caravan”. Duke Ellington insisted me to play my own composition, called “Hombre mío”, by that time not registered neither recorded. Tizol advised me not to play it, because he (Duke) was going to steal it from me.” (El tenedor y el cuchillo. Pelo. Julio 1978).
Yet another quote of Alemán’s remembrance of his meeting with Ellington in Paris, 1933:
“What an immense emotion the day that, without expecting it, I have him in front of me, ready to juzge my guitarplayer skills! Can you imagine my nervousness?… Even today I don`t know how I had the nerve to play all the pieces he asked me and some I knew he was going to like (…) Getting up of his seat, he came to congratulate me. That ment to me the greatest honour I ever received.” (Oscar Alemán tiene un galardón que es orgullo. Es amigo de Duke Ellington. Mi Cine, 22-05-1947).
http://3.bp.blogspot.com/-fIhw6olHNUw/VXWFdbGhRII/AAAAAAAADX4/VnfoasdKgoI/s1600/1933%2BEllington%2BCottonClub.jpeg
Ellington Band at Cotton Club 1933
As a demonstration of fondness and admiration, the members of Ellington’s band presented Oscar with a photo similar to the shown dedicated at the reverse side by all of them.
http://4.bp.blogspot.com/-iunF7K5g5GI/VXWGQGWUm5I/AAAAAAAADYA/XTbsJwSI-5w/s1600/1933%2BEllington%2Borqu%2Bdedicada%2Ba%2BOA.JPG
Handwritten dedications to Oscar (click to enlarge), wrongly dated 1932
Some of the dedications read: “Muchos recuerdos para el mejor guitarrista que hemos oido” (Juan Tizol), “To my good friend Oscar Aleman, the greatest guitar player we heard in Europe” (Art Whetsol), “To Oscar, to me the greatest guitarist of today” (Fred Guy), “To the greatest guitarist in the world” (???)
During that same 1933 tour through France and the UK, Ellington`s banjoist, Fred Guy (b.1897 – d.1971), adopted permanently the guitar as part of the rythm section of the big band. Maybe the Duke had made this change after hearing the sound of the instrument in the hands of Oscar. So, the rythm section (tuba, banjo, piano, drums) changed from tuba/banjo to double bass/guitar. It is worth mentioning that Guy (who was with Ellington for 24 years: 1925-1949),after changing to guitar, became almost inaudible and a less important member of the orchestra (it was prior to electric amplification), while the loud volume of the banjo had allowed him to be heard clearly.
http://2.bp.blogspot.com/-S9-nEdyB90U/VXWKBsOdGvI/AAAAAAAADYM/1WLfKVj8Hkk/s1600/1933-07%2Bduke-london-palladium.jpg
The Duke Ellington Orchestra at Palladium, London, July 1933 –
Notice Fred Guy is featured with both banjo and guitar
The years of Alemán’s success in Argentina during the 1940s and 1950s passed away and he came into a dark period in the 1960s. He would, however, meet Ellington again in September 1968, during Duke`s tour through Argentina. A turning point in Oscar’s career. But that is another story.
Luis ‘Tito’ Liber
—
Jo
keepitswinging.domain@gmail.com
http://www.bxbluesband.nl/media/eyeflash.gifRetrospect Keep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Keep (it) Swinging: Oscar and the Duke: An Encounter In Paris, 1933
http://www.jazzpromoservices.com/
http://keepitswinging.blogspot.com/2015/06/oscar-and-duke-encounter-in-paris-1933_8.html?utm_source=feedburner
** Oscar and the Duke: An Encounter In Paris, 1933
————————————————————
Some time ago I received an article about the encounter between Oscar Alemán and Duke Ellington in Paris, 1933. The article is written by Luis ‘Tito’ Liber and is published below. It puts focus on Alemán’s reactions and has quotes from interviews in Argentine printed media, here available in English for the first time.
http://4.bp.blogspot.com/-Ae8n4rrf2rc/VXV-SMO6_OI/AAAAAAAADXQ/2UI9oUZlYek/s1600/Oscar_Jakupi%2Billustration.jpg
Illustration in Gani Jakupi: Le roi invisible (Futuropolis, 2009)
One thing is that fans and collectors of today claim that Oscar Alemán is one of the best jazz guitar players, but another thing is the opinion of one of the greatest personalities in jazz history. The great Duke Ellington, and the members of his band, affirmed that Oscar Alemán was not one of the best, but THE BEST guitarist in 1930s Europe… Here is the story.
http://1.bp.blogspot.com/-BMYoddthZy4/VXWBTuVZ3oI/AAAAAAAADXg/EmZ4G9PEX9Q/s1600/1933-07-21%2BEllington%2BPleyel.jpg
Concert ad (source: Luis Liber)
In July 1933 Ellington`s band arrived in Paris to play at the Salle Pleyel(Thursday 27th) and at the Casino de Bauville, in a tour promoted by Jack Hylton. Music-hall star Josephine Baker, convalescent at home following a car accident that had injured her hand (the driver was Oscar Alemán, and the car was seriously damaged), welcomed Ellington and introduced him to Alemán. Ellington, who was very impressed by the skills of the “chaqueño”, tried to persuade Md. Baker to ‘lend’ him Alemán as a guest musician of an upcoming USA tour, but the “Venus” declined and retained Oscar as a member of her staff which impossibly could have a substitute.
http://3.bp.blogspot.com/-mTVvzbUn1-8/VXWDLRi2ysI/AAAAAAAADXs/d9uax_Zdd8k/s1600/1935-06-16%2BBaker.JPG
Josephine Baker and her car – June 1935 (photo ABC Madrid)
Oscar Alemán later recalled in an interview:
“I met Duke Ellington by the time I had an accident. One day I was driving my car to my work at the Casino de Paris, with Josephine Baker. They crashed me. I stayed for ten days at the hospital, and later at my hotel. The first visit I made when I got out of the hotel was to see my friends from the Casino. I arrived at Josephine`s dressing room. Everybody came to salute me. She had an injured knee and some scratches on her face. I was patched all over and walked with a stick. While I stayed at Josephine`s dressing room Duke Ellington entered with his two trombonists. One of them was Juan Tizol, the author of “Caravan”, he was a Puerto Rican; he made myself understood by Duke Ellington, because Tizol spoke in Spanish. With them also was Freddie Guy, Ellington`s guitarist. The four were good “orejeros” (in Argentine: they had good ears for music). In a certain moment Duke told Josephine: “I came to greet you and to hear a recommended guitarplayer” (…) Next I asked one of the
dancers to go to the second floor and bring me my guitar. The kid went running. I opened the case, took the guitar and began to play for Duke Ellington. When I finished, he told Juan Tizol to ask me if I wanted to go with him to North America (…) “You are not going as a staff guitarist, but as a soloist.” Josephine objected: “No. Where am I going to find another guy who plays all the styles Oscar do: dancing, tapping, singing? Besides, I have seven suits and shoes made for him, all of the same colour. And those costumes aren`t useful to another person. And his substitute has to be black.” Because of that I didn`t go to the USA and I had to stay in France.” (Ardiles Gray, Julio. Historias de artistas contadas por ellos mismos. Ed. Belgrano, Bs.As. 1981, pp. 285-297).
Another Alemán comment about the encounter with Ellington in Paris, 1933:
“I should be angry with Josephine because my life would have changed. Ellington had offered me the triple than she paid me and he was going to present me better” (cited by Espinosa, R. Oscar Alemán. Hablando con Dios (http://www.mundoclasico.com/) . 2002)
Further, Oscar later has an interesting remark on Duke`s ability for “stealing”/memorize the tunes heard for the first time. Alemán’s theme song Hombre Mío could have had the same fortune as Juan Tizol`s Caravan: “Juan Tizol was present, the Ellington`s trombonist, now already dead, who is the true author of “Caravan”. Duke Ellington insisted me to play my own composition, called “Hombre mío”, by that time not registered neither recorded. Tizol advised me not to play it, because he (Duke) was going to steal it from me.” (El tenedor y el cuchillo. Pelo. Julio 1978).
Yet another quote of Alemán’s remembrance of his meeting with Ellington in Paris, 1933:
“What an immense emotion the day that, without expecting it, I have him in front of me, ready to juzge my guitarplayer skills! Can you imagine my nervousness?… Even today I don`t know how I had the nerve to play all the pieces he asked me and some I knew he was going to like (…) Getting up of his seat, he came to congratulate me. That ment to me the greatest honour I ever received.” (Oscar Alemán tiene un galardón que es orgullo. Es amigo de Duke Ellington. Mi Cine, 22-05-1947).
http://3.bp.blogspot.com/-fIhw6olHNUw/VXWFdbGhRII/AAAAAAAADX4/VnfoasdKgoI/s1600/1933%2BEllington%2BCottonClub.jpeg
Ellington Band at Cotton Club 1933
As a demonstration of fondness and admiration, the members of Ellington’s band presented Oscar with a photo similar to the shown dedicated at the reverse side by all of them.
http://4.bp.blogspot.com/-iunF7K5g5GI/VXWGQGWUm5I/AAAAAAAADYA/XTbsJwSI-5w/s1600/1933%2BEllington%2Borqu%2Bdedicada%2Ba%2BOA.JPG
Handwritten dedications to Oscar (click to enlarge), wrongly dated 1932
Some of the dedications read: “Muchos recuerdos para el mejor guitarrista que hemos oido” (Juan Tizol), “To my good friend Oscar Aleman, the greatest guitar player we heard in Europe” (Art Whetsol), “To Oscar, to me the greatest guitarist of today” (Fred Guy), “To the greatest guitarist in the world” (???)
During that same 1933 tour through France and the UK, Ellington`s banjoist, Fred Guy (b.1897 – d.1971), adopted permanently the guitar as part of the rythm section of the big band. Maybe the Duke had made this change after hearing the sound of the instrument in the hands of Oscar. So, the rythm section (tuba, banjo, piano, drums) changed from tuba/banjo to double bass/guitar. It is worth mentioning that Guy (who was with Ellington for 24 years: 1925-1949),after changing to guitar, became almost inaudible and a less important member of the orchestra (it was prior to electric amplification), while the loud volume of the banjo had allowed him to be heard clearly.
http://2.bp.blogspot.com/-S9-nEdyB90U/VXWKBsOdGvI/AAAAAAAADYM/1WLfKVj8Hkk/s1600/1933-07%2Bduke-london-palladium.jpg
The Duke Ellington Orchestra at Palladium, London, July 1933 –
Notice Fred Guy is featured with both banjo and guitar
The years of Alemán’s success in Argentina during the 1940s and 1950s passed away and he came into a dark period in the 1960s. He would, however, meet Ellington again in September 1968, during Duke`s tour through Argentina. A turning point in Oscar’s career. But that is another story.
Luis ‘Tito’ Liber
—
Jo
keepitswinging.domain@gmail.com
http://www.bxbluesband.nl/media/eyeflash.gifRetrospect Keep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
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=32dac4905d) | 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=32dac4905d&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
Keep (it) Swinging: Oscar and the Duke: An Encounter In Paris, 1933
http://www.jazzpromoservices.com/
http://keepitswinging.blogspot.com/2015/06/oscar-and-duke-encounter-in-paris-1933_8.html?utm_source=feedburner
** Oscar and the Duke: An Encounter In Paris, 1933
————————————————————
Some time ago I received an article about the encounter between Oscar Alemán and Duke Ellington in Paris, 1933. The article is written by Luis ‘Tito’ Liber and is published below. It puts focus on Alemán’s reactions and has quotes from interviews in Argentine printed media, here available in English for the first time.
http://4.bp.blogspot.com/-Ae8n4rrf2rc/VXV-SMO6_OI/AAAAAAAADXQ/2UI9oUZlYek/s1600/Oscar_Jakupi%2Billustration.jpg
Illustration in Gani Jakupi: Le roi invisible (Futuropolis, 2009)
One thing is that fans and collectors of today claim that Oscar Alemán is one of the best jazz guitar players, but another thing is the opinion of one of the greatest personalities in jazz history. The great Duke Ellington, and the members of his band, affirmed that Oscar Alemán was not one of the best, but THE BEST guitarist in 1930s Europe… Here is the story.
http://1.bp.blogspot.com/-BMYoddthZy4/VXWBTuVZ3oI/AAAAAAAADXg/EmZ4G9PEX9Q/s1600/1933-07-21%2BEllington%2BPleyel.jpg
Concert ad (source: Luis Liber)
In July 1933 Ellington`s band arrived in Paris to play at the Salle Pleyel(Thursday 27th) and at the Casino de Bauville, in a tour promoted by Jack Hylton. Music-hall star Josephine Baker, convalescent at home following a car accident that had injured her hand (the driver was Oscar Alemán, and the car was seriously damaged), welcomed Ellington and introduced him to Alemán. Ellington, who was very impressed by the skills of the “chaqueño”, tried to persuade Md. Baker to ‘lend’ him Alemán as a guest musician of an upcoming USA tour, but the “Venus” declined and retained Oscar as a member of her staff which impossibly could have a substitute.
http://3.bp.blogspot.com/-mTVvzbUn1-8/VXWDLRi2ysI/AAAAAAAADXs/d9uax_Zdd8k/s1600/1935-06-16%2BBaker.JPG
Josephine Baker and her car – June 1935 (photo ABC Madrid)
Oscar Alemán later recalled in an interview:
“I met Duke Ellington by the time I had an accident. One day I was driving my car to my work at the Casino de Paris, with Josephine Baker. They crashed me. I stayed for ten days at the hospital, and later at my hotel. The first visit I made when I got out of the hotel was to see my friends from the Casino. I arrived at Josephine`s dressing room. Everybody came to salute me. She had an injured knee and some scratches on her face. I was patched all over and walked with a stick. While I stayed at Josephine`s dressing room Duke Ellington entered with his two trombonists. One of them was Juan Tizol, the author of “Caravan”, he was a Puerto Rican; he made myself understood by Duke Ellington, because Tizol spoke in Spanish. With them also was Freddie Guy, Ellington`s guitarist. The four were good “orejeros” (in Argentine: they had good ears for music). In a certain moment Duke told Josephine: “I came to greet you and to hear a recommended guitarplayer” (…) Next I asked one of the
dancers to go to the second floor and bring me my guitar. The kid went running. I opened the case, took the guitar and began to play for Duke Ellington. When I finished, he told Juan Tizol to ask me if I wanted to go with him to North America (…) “You are not going as a staff guitarist, but as a soloist.” Josephine objected: “No. Where am I going to find another guy who plays all the styles Oscar do: dancing, tapping, singing? Besides, I have seven suits and shoes made for him, all of the same colour. And those costumes aren`t useful to another person. And his substitute has to be black.” Because of that I didn`t go to the USA and I had to stay in France.” (Ardiles Gray, Julio. Historias de artistas contadas por ellos mismos. Ed. Belgrano, Bs.As. 1981, pp. 285-297).
Another Alemán comment about the encounter with Ellington in Paris, 1933:
“I should be angry with Josephine because my life would have changed. Ellington had offered me the triple than she paid me and he was going to present me better” (cited by Espinosa, R. Oscar Alemán. Hablando con Dios (http://www.mundoclasico.com/) . 2002)
Further, Oscar later has an interesting remark on Duke`s ability for “stealing”/memorize the tunes heard for the first time. Alemán’s theme song Hombre Mío could have had the same fortune as Juan Tizol`s Caravan: “Juan Tizol was present, the Ellington`s trombonist, now already dead, who is the true author of “Caravan”. Duke Ellington insisted me to play my own composition, called “Hombre mío”, by that time not registered neither recorded. Tizol advised me not to play it, because he (Duke) was going to steal it from me.” (El tenedor y el cuchillo. Pelo. Julio 1978).
Yet another quote of Alemán’s remembrance of his meeting with Ellington in Paris, 1933:
“What an immense emotion the day that, without expecting it, I have him in front of me, ready to juzge my guitarplayer skills! Can you imagine my nervousness?… Even today I don`t know how I had the nerve to play all the pieces he asked me and some I knew he was going to like (…) Getting up of his seat, he came to congratulate me. That ment to me the greatest honour I ever received.” (Oscar Alemán tiene un galardón que es orgullo. Es amigo de Duke Ellington. Mi Cine, 22-05-1947).
http://3.bp.blogspot.com/-fIhw6olHNUw/VXWFdbGhRII/AAAAAAAADX4/VnfoasdKgoI/s1600/1933%2BEllington%2BCottonClub.jpeg
Ellington Band at Cotton Club 1933
As a demonstration of fondness and admiration, the members of Ellington’s band presented Oscar with a photo similar to the shown dedicated at the reverse side by all of them.
http://4.bp.blogspot.com/-iunF7K5g5GI/VXWGQGWUm5I/AAAAAAAADYA/XTbsJwSI-5w/s1600/1933%2BEllington%2Borqu%2Bdedicada%2Ba%2BOA.JPG
Handwritten dedications to Oscar (click to enlarge), wrongly dated 1932
Some of the dedications read: “Muchos recuerdos para el mejor guitarrista que hemos oido” (Juan Tizol), “To my good friend Oscar Aleman, the greatest guitar player we heard in Europe” (Art Whetsol), “To Oscar, to me the greatest guitarist of today” (Fred Guy), “To the greatest guitarist in the world” (???)
During that same 1933 tour through France and the UK, Ellington`s banjoist, Fred Guy (b.1897 – d.1971), adopted permanently the guitar as part of the rythm section of the big band. Maybe the Duke had made this change after hearing the sound of the instrument in the hands of Oscar. So, the rythm section (tuba, banjo, piano, drums) changed from tuba/banjo to double bass/guitar. It is worth mentioning that Guy (who was with Ellington for 24 years: 1925-1949),after changing to guitar, became almost inaudible and a less important member of the orchestra (it was prior to electric amplification), while the loud volume of the banjo had allowed him to be heard clearly.
http://2.bp.blogspot.com/-S9-nEdyB90U/VXWKBsOdGvI/AAAAAAAADYM/1WLfKVj8Hkk/s1600/1933-07%2Bduke-london-palladium.jpg
The Duke Ellington Orchestra at Palladium, London, July 1933 –
Notice Fred Guy is featured with both banjo and guitar
The years of Alemán’s success in Argentina during the 1940s and 1950s passed away and he came into a dark period in the 1960s. He would, however, meet Ellington again in September 1968, during Duke`s tour through Argentina. A turning point in Oscar’s career. But that is another story.
Luis ‘Tito’ Liber
—
Jo
keepitswinging.domain@gmail.com
http://www.bxbluesband.nl/media/eyeflash.gifRetrospect Keep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
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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** Slim Gaillard in the 1980s (https://crownpropeller.wordpress.com/2015/06/07/slim-gaillard-in-the-1980s/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)
https://crownpropeller.files.wordpress.com/2015/06/slim.jpgSlim Gaillard in Burghausen, Germany, 1986
It’s been a while since something happened on this blog. That is because in the last months my regular work was so tiring that I started to loose my interest in music for a while – something you should never let happen.
Anyway this blog is back now and offering something special for you: two clips from the 1980s featuring the master of Vout: Slim Gaillard (1916–1991). I found these two clips on VHS cassettes in the collection of my friend, the late jazz researcher Otto Flückiger.
The first one was made – I guess – in the mid 1980s, probably either in switzerland or in germany. Apparently this was filmed privately and I have no information in regard to where it was filmed, when or by whom. It may have been Otto himself or one of his researching friends. If someone knows who filmed this, please let me know. Unfortunately I also do not know who the bassist and the drummer in this clip are:
I know more about the second clip though. This was filmed professionally for the bavarian TV station BR at the Jazz Festival 1986 in Burghausen (does someone know the exact date?). Playing the bass here is versatile swiss bassist/trombonist Isla Eckinger, and the drummer is Michael Carvin.
Enjoy!
crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | June 7, 2015 at 1:19 pm | Tags: Burghausen (https://crownpropeller.wordpress.com/?tag=burghausen) , Isla Eckinger (https://crownpropeller.wordpress.com/?tag=isla-eckinger) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Michael Carvin (https://crownpropeller.wordpress.com/?tag=michael-carvin) , Slim Gaillard (https://crownpropeller.wordpress.com/?tag=slim-gaillard) | Categories: clips (https://crownpropeller.wordpress.com/?cat=2232) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Slim Gaillard (https://crownpropeller.wordpress.com/?cat=838187) | URL: http://wp.me/pOgZZ-Qa
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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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Slim Gaillard in the 1980s
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** Slim Gaillard in the 1980s (https://crownpropeller.wordpress.com/2015/06/07/slim-gaillard-in-the-1980s/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)
https://crownpropeller.files.wordpress.com/2015/06/slim.jpgSlim Gaillard in Burghausen, Germany, 1986
It’s been a while since something happened on this blog. That is because in the last months my regular work was so tiring that I started to loose my interest in music for a while – something you should never let happen.
Anyway this blog is back now and offering something special for you: two clips from the 1980s featuring the master of Vout: Slim Gaillard (1916–1991). I found these two clips on VHS cassettes in the collection of my friend, the late jazz researcher Otto Flückiger.
The first one was made – I guess – in the mid 1980s, probably either in switzerland or in germany. Apparently this was filmed privately and I have no information in regard to where it was filmed, when or by whom. It may have been Otto himself or one of his researching friends. If someone knows who filmed this, please let me know. Unfortunately I also do not know who the bassist and the drummer in this clip are:
I know more about the second clip though. This was filmed professionally for the bavarian TV station BR at the Jazz Festival 1986 in Burghausen (does someone know the exact date?). Playing the bass here is versatile swiss bassist/trombonist Isla Eckinger, and the drummer is Michael Carvin.
Enjoy!
crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | June 7, 2015 at 1:19 pm | Tags: Burghausen (https://crownpropeller.wordpress.com/?tag=burghausen) , Isla Eckinger (https://crownpropeller.wordpress.com/?tag=isla-eckinger) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Michael Carvin (https://crownpropeller.wordpress.com/?tag=michael-carvin) , Slim Gaillard (https://crownpropeller.wordpress.com/?tag=slim-gaillard) | Categories: clips (https://crownpropeller.wordpress.com/?cat=2232) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Slim Gaillard (https://crownpropeller.wordpress.com/?cat=838187) | URL: http://wp.me/pOgZZ-Qa
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Warwick, Ny 10990
USA
Slim Gaillard in the 1980s
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** Slim Gaillard in the 1980s (https://crownpropeller.wordpress.com/2015/06/07/slim-gaillard-in-the-1980s/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)
https://crownpropeller.files.wordpress.com/2015/06/slim.jpgSlim Gaillard in Burghausen, Germany, 1986
It’s been a while since something happened on this blog. That is because in the last months my regular work was so tiring that I started to loose my interest in music for a while – something you should never let happen.
Anyway this blog is back now and offering something special for you: two clips from the 1980s featuring the master of Vout: Slim Gaillard (1916–1991). I found these two clips on VHS cassettes in the collection of my friend, the late jazz researcher Otto Flückiger.
The first one was made – I guess – in the mid 1980s, probably either in switzerland or in germany. Apparently this was filmed privately and I have no information in regard to where it was filmed, when or by whom. It may have been Otto himself or one of his researching friends. If someone knows who filmed this, please let me know. Unfortunately I also do not know who the bassist and the drummer in this clip are:
I know more about the second clip though. This was filmed professionally for the bavarian TV station BR at the Jazz Festival 1986 in Burghausen (does someone know the exact date?). Playing the bass here is versatile swiss bassist/trombonist Isla Eckinger, and the drummer is Michael Carvin.
Enjoy!
crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | June 7, 2015 at 1:19 pm | Tags: Burghausen (https://crownpropeller.wordpress.com/?tag=burghausen) , Isla Eckinger (https://crownpropeller.wordpress.com/?tag=isla-eckinger) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Michael Carvin (https://crownpropeller.wordpress.com/?tag=michael-carvin) , Slim Gaillard (https://crownpropeller.wordpress.com/?tag=slim-gaillard) | Categories: clips (https://crownpropeller.wordpress.com/?cat=2232) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Slim Gaillard (https://crownpropeller.wordpress.com/?cat=838187) | URL: http://wp.me/pOgZZ-Qa
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
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USA
Dick Hyman: House of Pianos review – a master of jazz | Music | The Guardian
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http://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master
** Dick Hyman: House of Pianos review – a master of jazz
————————————————————
safari-reader://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master#img-1Dick Hyman: simply untouchable. Photograph by Jack Vartoogian/Getty
It’s a mystery how Dick Hyman can have reached the age of 88 and still be “Dick who?”, even in some jazz circles. A pianist of genius, master of many jazz styles and a prolific composer (including the music for 11 Woody Allen films), he’s still busily playing solo recitals. This one was recorded live just a year ago, covering everything from Send in the Clowns to Blue Monk, with significant nods to Duke Ellington and Jerome Kern, and it’s as sparkling as ever. For ingenuity and wit, linked to outrageous virtuosity, Hyman is simply untouchable. His own two pieces are by far the shortest here, but at just over two minutes the Purple Rose of Cairo theme (https://www.youtube.com/watch?v=TfFRDbkxZyk) is a little gem.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Dick Hyman: House of Pianos review – a master of jazz | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master
** Dick Hyman: House of Pianos review – a master of jazz
————————————————————
safari-reader://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master#img-1Dick Hyman: simply untouchable. Photograph by Jack Vartoogian/Getty
It’s a mystery how Dick Hyman can have reached the age of 88 and still be “Dick who?”, even in some jazz circles. A pianist of genius, master of many jazz styles and a prolific composer (including the music for 11 Woody Allen films), he’s still busily playing solo recitals. This one was recorded live just a year ago, covering everything from Send in the Clowns to Blue Monk, with significant nods to Duke Ellington and Jerome Kern, and it’s as sparkling as ever. For ingenuity and wit, linked to outrageous virtuosity, Hyman is simply untouchable. His own two pieces are by far the shortest here, but at just over two minutes the Purple Rose of Cairo theme (https://www.youtube.com/watch?v=TfFRDbkxZyk) is a little gem.
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=15063a691b) | 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=15063a691b&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
Dick Hyman: House of Pianos review – a master of jazz | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master
** Dick Hyman: House of Pianos review – a master of jazz
————————————————————
safari-reader://www.theguardian.com/music/2015/jun/07/dick-hyman-house-of-pianos-jazz-master#img-1Dick Hyman: simply untouchable. Photograph by Jack Vartoogian/Getty
It’s a mystery how Dick Hyman can have reached the age of 88 and still be “Dick who?”, even in some jazz circles. A pianist of genius, master of many jazz styles and a prolific composer (including the music for 11 Woody Allen films), he’s still busily playing solo recitals. This one was recorded live just a year ago, covering everything from Send in the Clowns to Blue Monk, with significant nods to Duke Ellington and Jerome Kern, and it’s as sparkling as ever. For ingenuity and wit, linked to outrageous virtuosity, Hyman is simply untouchable. His own two pieces are by far the shortest here, but at just over two minutes the Purple Rose of Cairo theme (https://www.youtube.com/watch?v=TfFRDbkxZyk) is a little gem.
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=15063a691b) | 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=15063a691b&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
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Warwick, Ny 10990
USA
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC Summer Record + CD Sale
http://www.jazzpromoservices.com/
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@arcmusic.org http://arcmusic.org
Muslim World Music Day Brazilian Music Day India Music Week
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than two million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: David Bowie, Jellybean Benitez,
Jonathan Demme, Michael Feinstein, Ellie Greenwich, Jerry Leiber, Youssou N’Dour,
Lou Reed, Keith Richards, Nile Rodgers, Todd Rundgren,
Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Previous Board Members include: Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
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=5a0323288c) | 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=5a0323288c&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
ARC Summer Record + CD Sale
http://www.jazzpromoservices.com/
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@arcmusic.org http://arcmusic.org
Muslim World Music Day Brazilian Music Day India Music Week
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than two million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: David Bowie, Jellybean Benitez,
Jonathan Demme, Michael Feinstein, Ellie Greenwich, Jerry Leiber, Youssou N’Dour,
Lou Reed, Keith Richards, Nile Rodgers, Todd Rundgren,
Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Previous Board Members include: Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
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=5a0323288c) | 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=5a0323288c&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
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
http://www.jazzpromoservices.com/
** https://www.youtube.com/watch?v=KUNQl5sanHM
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
————————————————————
https://www.youtube.com/watch?v=KUNQl5sanHM
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=c84217f6b6) | 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=c84217f6b6&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
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
http://www.jazzpromoservices.com/
** https://www.youtube.com/watch?v=KUNQl5sanHM
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
————————————————————
https://www.youtube.com/watch?v=KUNQl5sanHM
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=c84217f6b6) | 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=c84217f6b6&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
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
http://www.jazzpromoservices.com/
** https://www.youtube.com/watch?v=KUNQl5sanHM
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
————————————————————
https://www.youtube.com/watch?v=KUNQl5sanHM
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=c84217f6b6) | 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=c84217f6b6&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
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
http://www.jazzpromoservices.com/
** https://www.youtube.com/watch?v=KUNQl5sanHM
Aint Nobody Here But Us Chickens – Louis Jordan & his Tympany Five (Live video 1974)
————————————————————
https://www.youtube.com/watch?v=KUNQl5sanHM
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=c84217f6b6) | 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=c84217f6b6&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
Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
http://www.jazzpromoservices.com/
http://mashable.com/2015/06/04/stephen-colbert-band-leader-jon-batiste/
** Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
————————————————————
When Stephen Colbert (http://mashable.com/category/stephen-colbert/) ‘s The Late Show debuts on Sept. 8, he’ll have a helping hand on camera from jazz artist Jon Batiste, his newly appointed band leader.
“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert said in a CBS statement announcing Batiste’s role.
In a short video, Colbert also introduced New Orleans-bred Batiste, whose latest album with his band Stay Human claimed the No. 1 spot on Billboard Jazz Album Chart (listen, below).
stephen-colbert-jon-batiste
Meet ‘The Late Show’ band leader Jon Batiste. Clean up, Stephen Colbert.
Batiste, who lives in New York City, is a a graduate of Juilliard and associate artistic director of the National Jazz Museum in Harlem. He has performed with Prince, Wynton Marsalis and Lenny Kravitz, among other artists.
“I’m thrilled,” Batiste, who will release another album this fall, said in the statement. “This is a match made in heaven. Get ready for a love riot in late night.”
The Late Show will be taped at New York City’s Ed Sullivan Theater. CBS will reveal the show’s producers and more details about the show’s structure before September.
** BONUS: Stephen Colbert’s first ‘Late Show’ video is all about the Colbeard (http://mashable.com/2015/06/03/stephen-colbert-late-show-promo/)
————————————————————
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=2a572b8e8e) | 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=2a572b8e8e&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
Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
http://www.jazzpromoservices.com/
http://mashable.com/2015/06/04/stephen-colbert-band-leader-jon-batiste/
** Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
————————————————————
When Stephen Colbert (http://mashable.com/category/stephen-colbert/) ‘s The Late Show debuts on Sept. 8, he’ll have a helping hand on camera from jazz artist Jon Batiste, his newly appointed band leader.
“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert said in a CBS statement announcing Batiste’s role.
In a short video, Colbert also introduced New Orleans-bred Batiste, whose latest album with his band Stay Human claimed the No. 1 spot on Billboard Jazz Album Chart (listen, below).
stephen-colbert-jon-batiste
Meet ‘The Late Show’ band leader Jon Batiste. Clean up, Stephen Colbert.
Batiste, who lives in New York City, is a a graduate of Juilliard and associate artistic director of the National Jazz Museum in Harlem. He has performed with Prince, Wynton Marsalis and Lenny Kravitz, among other artists.
“I’m thrilled,” Batiste, who will release another album this fall, said in the statement. “This is a match made in heaven. Get ready for a love riot in late night.”
The Late Show will be taped at New York City’s Ed Sullivan Theater. CBS will reveal the show’s producers and more details about the show’s structure before September.
** BONUS: Stephen Colbert’s first ‘Late Show’ video is all about the Colbeard (http://mashable.com/2015/06/03/stephen-colbert-late-show-promo/)
————————————————————
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=2a572b8e8e) | 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=2a572b8e8e&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
Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
http://www.jazzpromoservices.com/
http://mashable.com/2015/06/04/stephen-colbert-band-leader-jon-batiste/
** Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
————————————————————
When Stephen Colbert (http://mashable.com/category/stephen-colbert/) ‘s The Late Show debuts on Sept. 8, he’ll have a helping hand on camera from jazz artist Jon Batiste, his newly appointed band leader.
“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert said in a CBS statement announcing Batiste’s role.
In a short video, Colbert also introduced New Orleans-bred Batiste, whose latest album with his band Stay Human claimed the No. 1 spot on Billboard Jazz Album Chart (listen, below).
stephen-colbert-jon-batiste
Meet ‘The Late Show’ band leader Jon Batiste. Clean up, Stephen Colbert.
Batiste, who lives in New York City, is a a graduate of Juilliard and associate artistic director of the National Jazz Museum in Harlem. He has performed with Prince, Wynton Marsalis and Lenny Kravitz, among other artists.
“I’m thrilled,” Batiste, who will release another album this fall, said in the statement. “This is a match made in heaven. Get ready for a love riot in late night.”
The Late Show will be taped at New York City’s Ed Sullivan Theater. CBS will reveal the show’s producers and more details about the show’s structure before September.
** BONUS: Stephen Colbert’s first ‘Late Show’ video is all about the Colbeard (http://mashable.com/2015/06/03/stephen-colbert-late-show-promo/)
————————————————————
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=2a572b8e8e) | 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=2a572b8e8e&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
Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
http://www.jazzpromoservices.com/
http://mashable.com/2015/06/04/stephen-colbert-band-leader-jon-batiste/
** Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
————————————————————
When Stephen Colbert (http://mashable.com/category/stephen-colbert/) ‘s The Late Show debuts on Sept. 8, he’ll have a helping hand on camera from jazz artist Jon Batiste, his newly appointed band leader.
“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert said in a CBS statement announcing Batiste’s role.
In a short video, Colbert also introduced New Orleans-bred Batiste, whose latest album with his band Stay Human claimed the No. 1 spot on Billboard Jazz Album Chart (listen, below).
stephen-colbert-jon-batiste
Meet ‘The Late Show’ band leader Jon Batiste. Clean up, Stephen Colbert.
Batiste, who lives in New York City, is a a graduate of Juilliard and associate artistic director of the National Jazz Museum in Harlem. He has performed with Prince, Wynton Marsalis and Lenny Kravitz, among other artists.
“I’m thrilled,” Batiste, who will release another album this fall, said in the statement. “This is a match made in heaven. Get ready for a love riot in late night.”
The Late Show will be taped at New York City’s Ed Sullivan Theater. CBS will reveal the show’s producers and more details about the show’s structure before September.
** BONUS: Stephen Colbert’s first ‘Late Show’ video is all about the Colbeard (http://mashable.com/2015/06/03/stephen-colbert-late-show-promo/)
————————————————————
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=2a572b8e8e) | 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=2a572b8e8e&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
Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
http://www.jazzpromoservices.com/
http://mashable.com/2015/06/04/stephen-colbert-band-leader-jon-batiste/
** Stephen Colbert appoints jazz man Jon Batiste as ‘The Late Show’ band leader
————————————————————
When Stephen Colbert (http://mashable.com/category/stephen-colbert/) ‘s The Late Show debuts on Sept. 8, he’ll have a helping hand on camera from jazz artist Jon Batiste, his newly appointed band leader.
“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert said in a CBS statement announcing Batiste’s role.
In a short video, Colbert also introduced New Orleans-bred Batiste, whose latest album with his band Stay Human claimed the No. 1 spot on Billboard Jazz Album Chart (listen, below).
stephen-colbert-jon-batiste
Meet ‘The Late Show’ band leader Jon Batiste. Clean up, Stephen Colbert.
Batiste, who lives in New York City, is a a graduate of Juilliard and associate artistic director of the National Jazz Museum in Harlem. He has performed with Prince, Wynton Marsalis and Lenny Kravitz, among other artists.
“I’m thrilled,” Batiste, who will release another album this fall, said in the statement. “This is a match made in heaven. Get ready for a love riot in late night.”
The Late Show will be taped at New York City’s Ed Sullivan Theater. CBS will reveal the show’s producers and more details about the show’s structure before September.
** BONUS: Stephen Colbert’s first ‘Late Show’ video is all about the Colbeard (http://mashable.com/2015/06/03/stephen-colbert-late-show-promo/)
————————————————————
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=2a572b8e8e) | 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=2a572b8e8e&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
Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right | Blu Notes | BLOUIN ARTINFO Blogs
http://www.jazzpromoservices.com/
http://blogs.artinfo.com/blunotes/2015/06/come-celebrate-the-national-jazz-museum-in-harlem-where-it-gets-done-right/
** Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right
————————————————————
http://blogs.artinfo.com/blunotes/files/2015/06/NJMH-Flag.jpgEarly in my career, the idea of institutions and museums dedicated to jazz, then a new thing, was met with consternation and fear. Jazz is organic, not dead, some said. It doesn’t belong in a museum.
Depends on the museum. Like most things, it’s all in how you do it. And where.
The National Jazz Museum in Harlem has been doing it right and in an appropriate place since 1997, when it was founded by Leonard Garment, counsel to two U.S. Presidents and accomplished jazz saxophonist, with the help of a $1 million Congressional Appropriation. It waves jazz’s banner smartly and warmly, with wisdom and coolness.
The museum’s 2015 benefit concert (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) on June 10 at Hunter College’s Kaye Playhouse in Manhattan—highlighted by performances by saxophonist Joe Lovano and singer Dianne Reeves, and featuring award presentations to bassist Reggie Workman and the late filmmaker Albert Maysles—should be a glittering event. Go here (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) for more information or scroll down this post.) It will help support year-round programs, most of which are far more modest in scale but bold in the ways they truly live up to this statement, from the museum’s website:
The National Jazz Museum in Harlem is committed to keeping jazz relevant and exciting in the lives of a diverse range of audiences: young and old, novice and scholar, artist and patron, enthusiast and curious listener. We engage our audiences through live performances, exhibitions, educational workshops, and our news-worthy archival collection of jazz artifacts.
I’ve had firsthand experience in what that means because NJMIH Artistic Director Loren Schoenberg gave me a month of Tuesday evenings, three years in a row, to host “Tuning Into Treme,” whereby I used David Simon’s HBO series as a teachable moment and a window into my own writing about the fight for New Orleans jazz culture since the floods caused by the 2005 levee breaches. I brought in musicians including pianist Henry Butler and clarinetist Michael White, along with filmmakers and critics. I showed videos, played music, read from my own work and those of other writers. I thought I’d be educating others. But in the end, I learned as much as I shared. Each Tuesday night was more like a community gathering—some young, some old, including musicians and students and displaced New Orleanians and folks who just gave a damn or liked the music. Elder Harlem residents, the most consistent attendees, led me to a clearer understanding of what a jazz community once meant in their
neighborhood, as in the real Tremé, and what it might mean today in either place.
That program was free to the public, as is a fascinating June series (http://jazzmuseuminharlem.org/events/) —”Conversations on Civic Jazz”—delving into the relationship between jazz culture, politics and social organization. (I know I’ll be there.)
Should you go, you’ll get a chance to see the ongoing exhibition, “Bebo Valdés: Giant of Cuban Music.” Via rare recordings, photographs, films, and recorded interviews, it tells an unlikely story of stardom, obscurity and then even greater acclaim. It details the career of a pianist who played on the earliest Cuban jazz recordings, pioneered use of the batá in popular Cuban music, and helped, as one of the exhibit’s curators, Ned Sublette, put it, “polyrhythmicize the jazz band.” It traces blood bonds that course through so much current New York City music, and that invigorate any understanding of jazz’s story.
That’s one tiny window into what the museum now does, and just a hint of what’s coming in the future.
But is the joint hip, you ask? Enough so that Stephen Colbert just tapped (http://artsbeat.blogs.nytimes.com/2015/06/04/colbert-picks-jon-batiste-as-late-show-bandleader/?_r=0) its Artistic Director at Large, Jonathan Batiste, as his bandleader and right-hand-man for the new “Late Night.”
** THE JAZZ MUSEUM IN HARLEM 2015 BENEFIT CONCERT
————————————————————
** Wednesday, June 10, 2015, 7:30 PM
THE KAYE PLAYHOUSE AT HUNTER COLLEGE
East 68^th Street between Park & Lexington Avenues
————————————————————
6:00 PM – VIP Reception
7:30 PM – Awards Presentation & Concert
Join us for a special evening featuring Five-time Grammy Award winner Dianne Reeves along with Grammy Award winning saxophonist Joe Lovano. We are honoring legendary bassist Reggie Workman with the Legends of Jazz Award and acclaimed filmmaker Albert Maysles (in memoriam) and the Maysles Institute with the Jazz and Community Leadership Award. The host for the evening will be WBGO’s Rhonda Hamilton.
** TICKETS:
————————————————————
To purchase $35 and $55 online tickets and $20 student and senior tickets, click HERE (https://kayeplayhouse.primetix.com/Tickets/?perfid=192) .
Click here to purchase VIP Benefactor tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-benefactor-ticket-to-benefit-concert) .
Click here to purchase VIP Patron tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-patron-ticket-to-benefit-concert) .
You may also call 212-348-8300 ext. 103 for assistance processing your ticket order.
Corporate and private sponsorships are still available. Please email or call Jasna Radonjic for more information and the sponsorship package. 212-348-8300 ext. 106, jradonjic@jmih.org.
** ARTISTS:
————————————————————
DIANNE REEVES won her fifth Grammy® Award for Best Jazz Vocal Album for Beautiful Life on February 8, 2015. She holds Grammy® Awards for Best Jazz Vocal Performance for three consecutive recordings – a Grammy® first in any vocal category. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball.
“The most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday, Ms. Reeves has a keen sense of herself as a custodian of a jazz vocal tradition.” -The New York Times
“Reeves reaffirmed her stature as one of the most creative and technically accomplished female vocalists working today … Here was the essence of jazz.” -The Chicago Tribune
JOE LOVANO was hailed by the New York Times as “one of the greatest musicians in jazz history.” The Grammy® Award winning saxophone giant has distinguished himself for some three decades as a prescient and path finding force in the arena of creative music. The secret to Lovano’s success is his fearless ability to push the conceptual and thematic choices he has made in his quest to find new modes of artistic expression within the jazz idiom.
** AWARDS & HONOREES
————————————————————
LEGEND OF JAZZ AWARD – REGGIE WORKMAN
Given to individuals whose artistry embodies the highest jazz standards and traditions.
The 2015 Legend of Jazz Award is presented to Reginald “Reggie” Workman for a lifetime of high artistic achievement in jazz standards and traditions. Workman is a brilliant bassist whose versatile style fits into both hard bop and very avant-garde settings and was a member of the John Coltrane Quartet. Since that time, Workman has been both an educator and a working musician, and has played with legendary jazz artists including Max Roach and Art Farmer among others. Workman is a Professor and Coordinator of Curriculum at the New School for Jazz and Contemporary Studies, an institution recognized around the world as one the greatest schools for jazz education.
JAZZ AND COMMUNITY LEADERSHIP AWARD ALBERT MAYSLES (IN MEMORIAM) AND THE MAYSLES INSTITUTE
Given to individuals and organizations for leadership in advancing the appreciation of jazz and for enduring contributions to the quality of life in local Harlem communities.
The 2015 Jazz and Community Leadership Award is presented to the late Albert Maysles and the Maysles Institute for advancing the appreciation and acceptance of jazz with his masterful work in film and for enduring contributions to the communities of Harlem through the Maysles Institute. In 2014, Maysles was awarded the esteemed National Medal of Arts by President Obama. Maysles and his late brother David are recognized as pioneers of “direct cinema,” the distinctly American version of French “cinema verité.” Maysles’ forays into the world of music range from What’s Happening! The Beatles in the USA (1964), and Gimme Shelter (1970) the cult film that featured Mick Jagger and the Rolling Stones in concert at Altamont, to films on Leonard Bernstein, Seiji Ozawa, Vladimir Horowitz, Mstislav Rostropovich and Wynton Marsalis.
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=73b84db99c) | 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=73b84db99c&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
Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right | Blu Notes | BLOUIN ARTINFO Blogs
http://www.jazzpromoservices.com/
http://blogs.artinfo.com/blunotes/2015/06/come-celebrate-the-national-jazz-museum-in-harlem-where-it-gets-done-right/
** Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right
————————————————————
http://blogs.artinfo.com/blunotes/files/2015/06/NJMH-Flag.jpgEarly in my career, the idea of institutions and museums dedicated to jazz, then a new thing, was met with consternation and fear. Jazz is organic, not dead, some said. It doesn’t belong in a museum.
Depends on the museum. Like most things, it’s all in how you do it. And where.
The National Jazz Museum in Harlem has been doing it right and in an appropriate place since 1997, when it was founded by Leonard Garment, counsel to two U.S. Presidents and accomplished jazz saxophonist, with the help of a $1 million Congressional Appropriation. It waves jazz’s banner smartly and warmly, with wisdom and coolness.
The museum’s 2015 benefit concert (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) on June 10 at Hunter College’s Kaye Playhouse in Manhattan—highlighted by performances by saxophonist Joe Lovano and singer Dianne Reeves, and featuring award presentations to bassist Reggie Workman and the late filmmaker Albert Maysles—should be a glittering event. Go here (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) for more information or scroll down this post.) It will help support year-round programs, most of which are far more modest in scale but bold in the ways they truly live up to this statement, from the museum’s website:
The National Jazz Museum in Harlem is committed to keeping jazz relevant and exciting in the lives of a diverse range of audiences: young and old, novice and scholar, artist and patron, enthusiast and curious listener. We engage our audiences through live performances, exhibitions, educational workshops, and our news-worthy archival collection of jazz artifacts.
I’ve had firsthand experience in what that means because NJMIH Artistic Director Loren Schoenberg gave me a month of Tuesday evenings, three years in a row, to host “Tuning Into Treme,” whereby I used David Simon’s HBO series as a teachable moment and a window into my own writing about the fight for New Orleans jazz culture since the floods caused by the 2005 levee breaches. I brought in musicians including pianist Henry Butler and clarinetist Michael White, along with filmmakers and critics. I showed videos, played music, read from my own work and those of other writers. I thought I’d be educating others. But in the end, I learned as much as I shared. Each Tuesday night was more like a community gathering—some young, some old, including musicians and students and displaced New Orleanians and folks who just gave a damn or liked the music. Elder Harlem residents, the most consistent attendees, led me to a clearer understanding of what a jazz community once meant in their
neighborhood, as in the real Tremé, and what it might mean today in either place.
That program was free to the public, as is a fascinating June series (http://jazzmuseuminharlem.org/events/) —”Conversations on Civic Jazz”—delving into the relationship between jazz culture, politics and social organization. (I know I’ll be there.)
Should you go, you’ll get a chance to see the ongoing exhibition, “Bebo Valdés: Giant of Cuban Music.” Via rare recordings, photographs, films, and recorded interviews, it tells an unlikely story of stardom, obscurity and then even greater acclaim. It details the career of a pianist who played on the earliest Cuban jazz recordings, pioneered use of the batá in popular Cuban music, and helped, as one of the exhibit’s curators, Ned Sublette, put it, “polyrhythmicize the jazz band.” It traces blood bonds that course through so much current New York City music, and that invigorate any understanding of jazz’s story.
That’s one tiny window into what the museum now does, and just a hint of what’s coming in the future.
But is the joint hip, you ask? Enough so that Stephen Colbert just tapped (http://artsbeat.blogs.nytimes.com/2015/06/04/colbert-picks-jon-batiste-as-late-show-bandleader/?_r=0) its Artistic Director at Large, Jonathan Batiste, as his bandleader and right-hand-man for the new “Late Night.”
** THE JAZZ MUSEUM IN HARLEM 2015 BENEFIT CONCERT
————————————————————
** Wednesday, June 10, 2015, 7:30 PM
THE KAYE PLAYHOUSE AT HUNTER COLLEGE
East 68^th Street between Park & Lexington Avenues
————————————————————
6:00 PM – VIP Reception
7:30 PM – Awards Presentation & Concert
Join us for a special evening featuring Five-time Grammy Award winner Dianne Reeves along with Grammy Award winning saxophonist Joe Lovano. We are honoring legendary bassist Reggie Workman with the Legends of Jazz Award and acclaimed filmmaker Albert Maysles (in memoriam) and the Maysles Institute with the Jazz and Community Leadership Award. The host for the evening will be WBGO’s Rhonda Hamilton.
** TICKETS:
————————————————————
To purchase $35 and $55 online tickets and $20 student and senior tickets, click HERE (https://kayeplayhouse.primetix.com/Tickets/?perfid=192) .
Click here to purchase VIP Benefactor tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-benefactor-ticket-to-benefit-concert) .
Click here to purchase VIP Patron tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-patron-ticket-to-benefit-concert) .
You may also call 212-348-8300 ext. 103 for assistance processing your ticket order.
Corporate and private sponsorships are still available. Please email or call Jasna Radonjic for more information and the sponsorship package. 212-348-8300 ext. 106, jradonjic@jmih.org.
** ARTISTS:
————————————————————
DIANNE REEVES won her fifth Grammy® Award for Best Jazz Vocal Album for Beautiful Life on February 8, 2015. She holds Grammy® Awards for Best Jazz Vocal Performance for three consecutive recordings – a Grammy® first in any vocal category. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball.
“The most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday, Ms. Reeves has a keen sense of herself as a custodian of a jazz vocal tradition.” -The New York Times
“Reeves reaffirmed her stature as one of the most creative and technically accomplished female vocalists working today … Here was the essence of jazz.” -The Chicago Tribune
JOE LOVANO was hailed by the New York Times as “one of the greatest musicians in jazz history.” The Grammy® Award winning saxophone giant has distinguished himself for some three decades as a prescient and path finding force in the arena of creative music. The secret to Lovano’s success is his fearless ability to push the conceptual and thematic choices he has made in his quest to find new modes of artistic expression within the jazz idiom.
** AWARDS & HONOREES
————————————————————
LEGEND OF JAZZ AWARD – REGGIE WORKMAN
Given to individuals whose artistry embodies the highest jazz standards and traditions.
The 2015 Legend of Jazz Award is presented to Reginald “Reggie” Workman for a lifetime of high artistic achievement in jazz standards and traditions. Workman is a brilliant bassist whose versatile style fits into both hard bop and very avant-garde settings and was a member of the John Coltrane Quartet. Since that time, Workman has been both an educator and a working musician, and has played with legendary jazz artists including Max Roach and Art Farmer among others. Workman is a Professor and Coordinator of Curriculum at the New School for Jazz and Contemporary Studies, an institution recognized around the world as one the greatest schools for jazz education.
JAZZ AND COMMUNITY LEADERSHIP AWARD ALBERT MAYSLES (IN MEMORIAM) AND THE MAYSLES INSTITUTE
Given to individuals and organizations for leadership in advancing the appreciation of jazz and for enduring contributions to the quality of life in local Harlem communities.
The 2015 Jazz and Community Leadership Award is presented to the late Albert Maysles and the Maysles Institute for advancing the appreciation and acceptance of jazz with his masterful work in film and for enduring contributions to the communities of Harlem through the Maysles Institute. In 2014, Maysles was awarded the esteemed National Medal of Arts by President Obama. Maysles and his late brother David are recognized as pioneers of “direct cinema,” the distinctly American version of French “cinema verité.” Maysles’ forays into the world of music range from What’s Happening! The Beatles in the USA (1964), and Gimme Shelter (1970) the cult film that featured Mick Jagger and the Rolling Stones in concert at Altamont, to films on Leonard Bernstein, Seiji Ozawa, Vladimir Horowitz, Mstislav Rostropovich and Wynton Marsalis.
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=73b84db99c) | 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=73b84db99c&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
Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right | Blu Notes | BLOUIN ARTINFO Blogs
http://www.jazzpromoservices.com/
http://blogs.artinfo.com/blunotes/2015/06/come-celebrate-the-national-jazz-museum-in-harlem-where-it-gets-done-right/
** Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right
————————————————————
http://blogs.artinfo.com/blunotes/files/2015/06/NJMH-Flag.jpgEarly in my career, the idea of institutions and museums dedicated to jazz, then a new thing, was met with consternation and fear. Jazz is organic, not dead, some said. It doesn’t belong in a museum.
Depends on the museum. Like most things, it’s all in how you do it. And where.
The National Jazz Museum in Harlem has been doing it right and in an appropriate place since 1997, when it was founded by Leonard Garment, counsel to two U.S. Presidents and accomplished jazz saxophonist, with the help of a $1 million Congressional Appropriation. It waves jazz’s banner smartly and warmly, with wisdom and coolness.
The museum’s 2015 benefit concert (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) on June 10 at Hunter College’s Kaye Playhouse in Manhattan—highlighted by performances by saxophonist Joe Lovano and singer Dianne Reeves, and featuring award presentations to bassist Reggie Workman and the late filmmaker Albert Maysles—should be a glittering event. Go here (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) for more information or scroll down this post.) It will help support year-round programs, most of which are far more modest in scale but bold in the ways they truly live up to this statement, from the museum’s website:
The National Jazz Museum in Harlem is committed to keeping jazz relevant and exciting in the lives of a diverse range of audiences: young and old, novice and scholar, artist and patron, enthusiast and curious listener. We engage our audiences through live performances, exhibitions, educational workshops, and our news-worthy archival collection of jazz artifacts.
I’ve had firsthand experience in what that means because NJMIH Artistic Director Loren Schoenberg gave me a month of Tuesday evenings, three years in a row, to host “Tuning Into Treme,” whereby I used David Simon’s HBO series as a teachable moment and a window into my own writing about the fight for New Orleans jazz culture since the floods caused by the 2005 levee breaches. I brought in musicians including pianist Henry Butler and clarinetist Michael White, along with filmmakers and critics. I showed videos, played music, read from my own work and those of other writers. I thought I’d be educating others. But in the end, I learned as much as I shared. Each Tuesday night was more like a community gathering—some young, some old, including musicians and students and displaced New Orleanians and folks who just gave a damn or liked the music. Elder Harlem residents, the most consistent attendees, led me to a clearer understanding of what a jazz community once meant in their
neighborhood, as in the real Tremé, and what it might mean today in either place.
That program was free to the public, as is a fascinating June series (http://jazzmuseuminharlem.org/events/) —”Conversations on Civic Jazz”—delving into the relationship between jazz culture, politics and social organization. (I know I’ll be there.)
Should you go, you’ll get a chance to see the ongoing exhibition, “Bebo Valdés: Giant of Cuban Music.” Via rare recordings, photographs, films, and recorded interviews, it tells an unlikely story of stardom, obscurity and then even greater acclaim. It details the career of a pianist who played on the earliest Cuban jazz recordings, pioneered use of the batá in popular Cuban music, and helped, as one of the exhibit’s curators, Ned Sublette, put it, “polyrhythmicize the jazz band.” It traces blood bonds that course through so much current New York City music, and that invigorate any understanding of jazz’s story.
That’s one tiny window into what the museum now does, and just a hint of what’s coming in the future.
But is the joint hip, you ask? Enough so that Stephen Colbert just tapped (http://artsbeat.blogs.nytimes.com/2015/06/04/colbert-picks-jon-batiste-as-late-show-bandleader/?_r=0) its Artistic Director at Large, Jonathan Batiste, as his bandleader and right-hand-man for the new “Late Night.”
** THE JAZZ MUSEUM IN HARLEM 2015 BENEFIT CONCERT
————————————————————
** Wednesday, June 10, 2015, 7:30 PM
THE KAYE PLAYHOUSE AT HUNTER COLLEGE
East 68^th Street between Park & Lexington Avenues
————————————————————
6:00 PM – VIP Reception
7:30 PM – Awards Presentation & Concert
Join us for a special evening featuring Five-time Grammy Award winner Dianne Reeves along with Grammy Award winning saxophonist Joe Lovano. We are honoring legendary bassist Reggie Workman with the Legends of Jazz Award and acclaimed filmmaker Albert Maysles (in memoriam) and the Maysles Institute with the Jazz and Community Leadership Award. The host for the evening will be WBGO’s Rhonda Hamilton.
** TICKETS:
————————————————————
To purchase $35 and $55 online tickets and $20 student and senior tickets, click HERE (https://kayeplayhouse.primetix.com/Tickets/?perfid=192) .
Click here to purchase VIP Benefactor tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-benefactor-ticket-to-benefit-concert) .
Click here to purchase VIP Patron tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-patron-ticket-to-benefit-concert) .
You may also call 212-348-8300 ext. 103 for assistance processing your ticket order.
Corporate and private sponsorships are still available. Please email or call Jasna Radonjic for more information and the sponsorship package. 212-348-8300 ext. 106, jradonjic@jmih.org.
** ARTISTS:
————————————————————
DIANNE REEVES won her fifth Grammy® Award for Best Jazz Vocal Album for Beautiful Life on February 8, 2015. She holds Grammy® Awards for Best Jazz Vocal Performance for three consecutive recordings – a Grammy® first in any vocal category. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball.
“The most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday, Ms. Reeves has a keen sense of herself as a custodian of a jazz vocal tradition.” -The New York Times
“Reeves reaffirmed her stature as one of the most creative and technically accomplished female vocalists working today … Here was the essence of jazz.” -The Chicago Tribune
JOE LOVANO was hailed by the New York Times as “one of the greatest musicians in jazz history.” The Grammy® Award winning saxophone giant has distinguished himself for some three decades as a prescient and path finding force in the arena of creative music. The secret to Lovano’s success is his fearless ability to push the conceptual and thematic choices he has made in his quest to find new modes of artistic expression within the jazz idiom.
** AWARDS & HONOREES
————————————————————
LEGEND OF JAZZ AWARD – REGGIE WORKMAN
Given to individuals whose artistry embodies the highest jazz standards and traditions.
The 2015 Legend of Jazz Award is presented to Reginald “Reggie” Workman for a lifetime of high artistic achievement in jazz standards and traditions. Workman is a brilliant bassist whose versatile style fits into both hard bop and very avant-garde settings and was a member of the John Coltrane Quartet. Since that time, Workman has been both an educator and a working musician, and has played with legendary jazz artists including Max Roach and Art Farmer among others. Workman is a Professor and Coordinator of Curriculum at the New School for Jazz and Contemporary Studies, an institution recognized around the world as one the greatest schools for jazz education.
JAZZ AND COMMUNITY LEADERSHIP AWARD ALBERT MAYSLES (IN MEMORIAM) AND THE MAYSLES INSTITUTE
Given to individuals and organizations for leadership in advancing the appreciation of jazz and for enduring contributions to the quality of life in local Harlem communities.
The 2015 Jazz and Community Leadership Award is presented to the late Albert Maysles and the Maysles Institute for advancing the appreciation and acceptance of jazz with his masterful work in film and for enduring contributions to the communities of Harlem through the Maysles Institute. In 2014, Maysles was awarded the esteemed National Medal of Arts by President Obama. Maysles and his late brother David are recognized as pioneers of “direct cinema,” the distinctly American version of French “cinema verité.” Maysles’ forays into the world of music range from What’s Happening! The Beatles in the USA (1964), and Gimme Shelter (1970) the cult film that featured Mick Jagger and the Rolling Stones in concert at Altamont, to films on Leonard Bernstein, Seiji Ozawa, Vladimir Horowitz, Mstislav Rostropovich and Wynton Marsalis.
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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Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right | Blu Notes | BLOUIN ARTINFO Blogs
http://www.jazzpromoservices.com/
http://blogs.artinfo.com/blunotes/2015/06/come-celebrate-the-national-jazz-museum-in-harlem-where-it-gets-done-right/
** Come Celebrate the National Jazz Museum in Harlem, Where It Gets Done Right
————————————————————
http://blogs.artinfo.com/blunotes/files/2015/06/NJMH-Flag.jpgEarly in my career, the idea of institutions and museums dedicated to jazz, then a new thing, was met with consternation and fear. Jazz is organic, not dead, some said. It doesn’t belong in a museum.
Depends on the museum. Like most things, it’s all in how you do it. And where.
The National Jazz Museum in Harlem has been doing it right and in an appropriate place since 1997, when it was founded by Leonard Garment, counsel to two U.S. Presidents and accomplished jazz saxophonist, with the help of a $1 million Congressional Appropriation. It waves jazz’s banner smartly and warmly, with wisdom and coolness.
The museum’s 2015 benefit concert (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) on June 10 at Hunter College’s Kaye Playhouse in Manhattan—highlighted by performances by saxophonist Joe Lovano and singer Dianne Reeves, and featuring award presentations to bassist Reggie Workman and the late filmmaker Albert Maysles—should be a glittering event. Go here (http://jazzmuseuminharlem.org/events/2015-spring-benefit-concert-with-dianne-reeves/) for more information or scroll down this post.) It will help support year-round programs, most of which are far more modest in scale but bold in the ways they truly live up to this statement, from the museum’s website:
The National Jazz Museum in Harlem is committed to keeping jazz relevant and exciting in the lives of a diverse range of audiences: young and old, novice and scholar, artist and patron, enthusiast and curious listener. We engage our audiences through live performances, exhibitions, educational workshops, and our news-worthy archival collection of jazz artifacts.
I’ve had firsthand experience in what that means because NJMIH Artistic Director Loren Schoenberg gave me a month of Tuesday evenings, three years in a row, to host “Tuning Into Treme,” whereby I used David Simon’s HBO series as a teachable moment and a window into my own writing about the fight for New Orleans jazz culture since the floods caused by the 2005 levee breaches. I brought in musicians including pianist Henry Butler and clarinetist Michael White, along with filmmakers and critics. I showed videos, played music, read from my own work and those of other writers. I thought I’d be educating others. But in the end, I learned as much as I shared. Each Tuesday night was more like a community gathering—some young, some old, including musicians and students and displaced New Orleanians and folks who just gave a damn or liked the music. Elder Harlem residents, the most consistent attendees, led me to a clearer understanding of what a jazz community once meant in their
neighborhood, as in the real Tremé, and what it might mean today in either place.
That program was free to the public, as is a fascinating June series (http://jazzmuseuminharlem.org/events/) —”Conversations on Civic Jazz”—delving into the relationship between jazz culture, politics and social organization. (I know I’ll be there.)
Should you go, you’ll get a chance to see the ongoing exhibition, “Bebo Valdés: Giant of Cuban Music.” Via rare recordings, photographs, films, and recorded interviews, it tells an unlikely story of stardom, obscurity and then even greater acclaim. It details the career of a pianist who played on the earliest Cuban jazz recordings, pioneered use of the batá in popular Cuban music, and helped, as one of the exhibit’s curators, Ned Sublette, put it, “polyrhythmicize the jazz band.” It traces blood bonds that course through so much current New York City music, and that invigorate any understanding of jazz’s story.
That’s one tiny window into what the museum now does, and just a hint of what’s coming in the future.
But is the joint hip, you ask? Enough so that Stephen Colbert just tapped (http://artsbeat.blogs.nytimes.com/2015/06/04/colbert-picks-jon-batiste-as-late-show-bandleader/?_r=0) its Artistic Director at Large, Jonathan Batiste, as his bandleader and right-hand-man for the new “Late Night.”
** THE JAZZ MUSEUM IN HARLEM 2015 BENEFIT CONCERT
————————————————————
** Wednesday, June 10, 2015, 7:30 PM
THE KAYE PLAYHOUSE AT HUNTER COLLEGE
East 68^th Street between Park & Lexington Avenues
————————————————————
6:00 PM – VIP Reception
7:30 PM – Awards Presentation & Concert
Join us for a special evening featuring Five-time Grammy Award winner Dianne Reeves along with Grammy Award winning saxophonist Joe Lovano. We are honoring legendary bassist Reggie Workman with the Legends of Jazz Award and acclaimed filmmaker Albert Maysles (in memoriam) and the Maysles Institute with the Jazz and Community Leadership Award. The host for the evening will be WBGO’s Rhonda Hamilton.
** TICKETS:
————————————————————
To purchase $35 and $55 online tickets and $20 student and senior tickets, click HERE (https://kayeplayhouse.primetix.com/Tickets/?perfid=192) .
Click here to purchase VIP Benefactor tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-benefactor-ticket-to-benefit-concert) .
Click here to purchase VIP Patron tickets (https://squareup.com/market/the-national-jazz-museum-in-harlem/vip-patron-ticket-to-benefit-concert) .
You may also call 212-348-8300 ext. 103 for assistance processing your ticket order.
Corporate and private sponsorships are still available. Please email or call Jasna Radonjic for more information and the sponsorship package. 212-348-8300 ext. 106, jradonjic@jmih.org.
** ARTISTS:
————————————————————
DIANNE REEVES won her fifth Grammy® Award for Best Jazz Vocal Album for Beautiful Life on February 8, 2015. She holds Grammy® Awards for Best Jazz Vocal Performance for three consecutive recordings – a Grammy® first in any vocal category. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball.
“The most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday, Ms. Reeves has a keen sense of herself as a custodian of a jazz vocal tradition.” -The New York Times
“Reeves reaffirmed her stature as one of the most creative and technically accomplished female vocalists working today … Here was the essence of jazz.” -The Chicago Tribune
JOE LOVANO was hailed by the New York Times as “one of the greatest musicians in jazz history.” The Grammy® Award winning saxophone giant has distinguished himself for some three decades as a prescient and path finding force in the arena of creative music. The secret to Lovano’s success is his fearless ability to push the conceptual and thematic choices he has made in his quest to find new modes of artistic expression within the jazz idiom.
** AWARDS & HONOREES
————————————————————
LEGEND OF JAZZ AWARD – REGGIE WORKMAN
Given to individuals whose artistry embodies the highest jazz standards and traditions.
The 2015 Legend of Jazz Award is presented to Reginald “Reggie” Workman for a lifetime of high artistic achievement in jazz standards and traditions. Workman is a brilliant bassist whose versatile style fits into both hard bop and very avant-garde settings and was a member of the John Coltrane Quartet. Since that time, Workman has been both an educator and a working musician, and has played with legendary jazz artists including Max Roach and Art Farmer among others. Workman is a Professor and Coordinator of Curriculum at the New School for Jazz and Contemporary Studies, an institution recognized around the world as one the greatest schools for jazz education.
JAZZ AND COMMUNITY LEADERSHIP AWARD ALBERT MAYSLES (IN MEMORIAM) AND THE MAYSLES INSTITUTE
Given to individuals and organizations for leadership in advancing the appreciation of jazz and for enduring contributions to the quality of life in local Harlem communities.
The 2015 Jazz and Community Leadership Award is presented to the late Albert Maysles and the Maysles Institute for advancing the appreciation and acceptance of jazz with his masterful work in film and for enduring contributions to the communities of Harlem through the Maysles Institute. In 2014, Maysles was awarded the esteemed National Medal of Arts by President Obama. Maysles and his late brother David are recognized as pioneers of “direct cinema,” the distinctly American version of French “cinema verité.” Maysles’ forays into the world of music range from What’s Happening! The Beatles in the USA (1964), and Gimme Shelter (1970) the cult film that featured Mick Jagger and the Rolling Stones in concert at Altamont, to films on Leonard Bernstein, Seiji Ozawa, Vladimir Horowitz, Mstislav Rostropovich and Wynton Marsalis.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia – NYTimes.com
http://www.jazzpromoservices.com/
** ‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia
————————————————————
Photo
Charlie Parker, left, and Lawrence Brownlee, who will portray him in the world premiere of “Charlie Parker’s Yardbird” at Opera Philadelphia. Credit Agence France-Press – Getty Images; Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — On a recent morning in a rehearsal room behind the Academy of Music here, the tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) practiced a tricky passage at the piano. The melodic profile of his vocal line zigzagged and spiked like an erratic electrocardiogram, but what gave Mr. Brownlee the most trouble was the text.
The composer had left it up to him to match syllables to the notes. But how best to render, say, a rising triplet followed by a longer high note? Was it ba-nda-doo-BAH? Or ba-nda-doo-WEE?
Mr. Brownlee, a rising bel canto star on the international opera circuit known for his nimble coloratura and buttery legato, is learning to scat. On June 5, Opera Philadelphia (https://www.operaphila.org/) presents the world premiere of “Charlie Parker’s Yardbird” by the composer Daniel Schnyder (http://www.danielschnyder.com/) , with a libretto by Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) . Mr. Brownlee stars as the brilliant jazz saxophonist and bebop legend best known by his nickname, Bird.
“I’ve been watching scat masters on YouTube,” Mr. Brownlee said during a break in rehearsals. “A singer like Ella Fitzgerald was able to use her voice like an instrument, and she knew exactly what vowels or syllables worked best for any given note. One of the challenges of this opera is to learn to think like an instrumentalist.”
Photo
Daniel Schnyder and Bridgette A. Wimberly at the jazz club Birdland. Credit Krista Schlueter for The New York Times
Opera Philadelphia has much riding on this world premiere, its first since it unveiled Gian Carlo Menotti’s “The Hero” during the company’s inaugural season 40 years ago. “Yardbird,” commissioned in partnership with New York’s Gotham Chamber Opera (which will produce it next season at the Apollo Theater), signals a wider shift toward more new music, co-commissions and a general willingness to take risks on unorthodox subjects and genres. Philadelphia’s last season featured the American premiere of Ana Sokolovic’s “Svadba,” a raucous Balkan wedding ritual; October will bring a “Popera” about Andy Warhol, mixing elements of cabaret and opera.
The mix of musical styles is especially risky in “Yardbird,” since it offers a portrait of a historical figure from the world of jazz, many of whose tunes have become iconic. But in an interview near his home in Harlem, Mr. Schnyder, a Swiss-born saxophonist and composer of sophisticated scores blending classical and jazz traditions, said he sees it as an opportunity to integrate “the Afro-American musical language that was developed in the 1920s and went on to change the world” into an operatic context.
So while there are occasional direct quotes — including the saxophone riffs Mr. Brownlee will render through scatting — they are woven into a classically rooted score that is very much Mr. Schnyder’s.
“You can’t use Charlie Parker’s music one to one,” he said. “That’s not playable with a classical orchestra, and it’s not going to sound right. But his language is made out of small motifs that return again and again — a bit like Mozart’s. If you use small things out of that language, you can use it also in an opera in a way that’s going to be recognized.”
The stylistic balancing act is also written into the libretto. Ms. Wimberly conceived the opera as a ghost story, taking as her point of departure Parker’s death, at the age of 34, from a heart attack related to alcoholism and heroin abuse.
Parker died on March 12, 1955, in the hotel suite of his wealthy patron Baroness Pannonica De Koenigswarter (in Philadelphia, the mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) ), but the world didn’t learn of his death for another 48 hours. The baroness had trouble locating Parker’s wife, Chan, and in the morgue, his corpse was initially mislabeled: “They put the wrong name on his toe,” Ms. Wimberly said in a phone interview.
The opera takes place during those 48 hours, with Parker in a kind of purgatory. As the clock runs down, he sets out to write out some of the music he never had a chance to make in life — including working with instruments from the classical orchestra.
Photo
Will Liverman as Dizzy Gillespie, left, and Mr. Brownlee, at a rehearsal. Credit Dominic M. Mercier/Opera Philadelphia
Parker’s interest in the classical music of his time is well documented: He once surprised Stravinsky, in the audience at Birdland, by quoting music from his ballet “The Firebird.” And he was interested in Varèse’s work developing a new sonic palette.
“He really wanted to explore different sounds,” Mr. Schnyder said, adding that Parker had voiced a desire to travel to Europe and study composition and had mentioned to friends that he wanted to write music for larger ensembles.
In life, Parker’s ambitions were frustrated by pervasive racism and segregation. In the opera, a succession of characters — his mother, his wives, his bebop partner Dizzy Gillespie — barge in and force him to re-examine his past.
Ms. Wimberly said she wanted to avoid the “tragic” label that is often attached to Parker. “Some people lived three times longer than Charlie Parker did,” she said, “but look what he did with the short time he had.”
But she, too, had to overcome her preconceptions of Parker, formed at her grandmother’s kitchen table. Ms. Wimberly’s uncle, Marcus Smith, was also a jazz saxophonist and obsessed with Parker, who was 14 years his senior. Like many jazz musicians at the time, Smith began using heroin, a drug many associated with Parker’s virtuosity and improvisational genius, and he died at 35.
“My grandmother hated Charlie Parker because she thought he got my uncle hooked on heroin,” Ms. Wimberly said. “All my life, he was just a bad name.”
Mr. Brownlee, a committed teetotaler, said that playing the role of a junkie was a new challenge. “I’ve never been under the influence of anything,” he said. “I’ve never drunk any alcohol — not even beer or wine — or used cigarettes, or drugs. So portraying something that has an instant effect on you is a challenge. But walking down the street in the center of Philadelphia, I see people who have obvious addictions and I’ve been studying these people to see the effect drugs can have.”
Photo
Angela Brown rehearsing as Parker’s mother. Credit Dominic M. Mercier/Opera Philadelphia
Above all, Mr. Brownlee said, he is trying to flesh out Parker’s character as the product of his time: “Growing up in the South prior to the civil rights movement, all the hardship he dealt with, riding on the back of trains with the rats and garbage and not being treated as a human — I try to show the effect this had on him.”
As for the music, Mr. Brownlee has a wide range of experiences to draw on. (And, in fact, he has to scat very little; many of his lines in the opera are smoothly lyrical.) He grew up singing gospel in church choirs and played trumpet, piano and drums. In his early 20s, he was the bass guitarist in a band that played Nine Inch Nails covers at the Cedar Point amusement park in Ohio.
And, he says, singing Rossini is actually not that far removed from jazz. “There’s a little bit of swing,” he said. “Even if it is written out, it has to have the idea and feel of being improvised.”
But Mr. Schnyder said too few classically trained musicians are stylistically versed in jazz. “The Afro-American heritage is not taught at conservatory,” he said. “When people confront it they don’t know how to deal with it. The result usually is corny. It’s like someone pronouncing everything wrong.”
His work with Opera Philadelphia’s chamber orchestra seems to have done little to dispel this view.
“It’s not about rhythmic challenges,” he said of his efforts to communicate stylistic nuances to the players. “It’s how to play the music right. If you have four eighth notes, classical musicians play them as written: ta-ta-ta-ta. Jazz musicians would play them as da-ba-du-BA! The second one is a little bit softer than the other ones, the last one a little bit shorter: You have to know that.”
He is fortunate in having the company’s music director, Corrado Rovaris, as an ally in the pit. It was Mr. Rovaris who connected Mr. Schnyder, whose music he had heard while conducting in Switzerland, with Mr. Brownlee. He appreciated the “dancing attitude” he detected in Mr. Schnyder’s music. And he happened to know of Mr. Brownlee’s prowess as a salsa dancer.
“I thought they would be a perfect match,” Mr. Rovaris said.
As for the musical world portrayed in “Yardbird,” Mr. Rovaris feels right at home: As a teenager, he played piano in a jazz quartet, performing during the summers in Sardinia. When he subsequently turned his focus to the classical scene as a harpsichord player performing Baroque music, he said: “It was very similar, and I had a lot of fun. I think that Baroque music is more related to jazz than the next two centuries of classical music, because you have changes of rhythm and improvisation.”
And, he added, just as in Mr. Schnyder’s da-ba-du-BA! example, within any group of equally notated notes, “there is the good note and the bad note.” Merging the worlds of jazz and classical music, Mr. Rovaris added, is something “I’ve been waiting to do for a long time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72372ec964) | 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=72372ec964&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
‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia – NYTimes.com
http://www.jazzpromoservices.com/
** ‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia
————————————————————
Photo
Charlie Parker, left, and Lawrence Brownlee, who will portray him in the world premiere of “Charlie Parker’s Yardbird” at Opera Philadelphia. Credit Agence France-Press – Getty Images; Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — On a recent morning in a rehearsal room behind the Academy of Music here, the tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) practiced a tricky passage at the piano. The melodic profile of his vocal line zigzagged and spiked like an erratic electrocardiogram, but what gave Mr. Brownlee the most trouble was the text.
The composer had left it up to him to match syllables to the notes. But how best to render, say, a rising triplet followed by a longer high note? Was it ba-nda-doo-BAH? Or ba-nda-doo-WEE?
Mr. Brownlee, a rising bel canto star on the international opera circuit known for his nimble coloratura and buttery legato, is learning to scat. On June 5, Opera Philadelphia (https://www.operaphila.org/) presents the world premiere of “Charlie Parker’s Yardbird” by the composer Daniel Schnyder (http://www.danielschnyder.com/) , with a libretto by Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) . Mr. Brownlee stars as the brilliant jazz saxophonist and bebop legend best known by his nickname, Bird.
“I’ve been watching scat masters on YouTube,” Mr. Brownlee said during a break in rehearsals. “A singer like Ella Fitzgerald was able to use her voice like an instrument, and she knew exactly what vowels or syllables worked best for any given note. One of the challenges of this opera is to learn to think like an instrumentalist.”
Photo
Daniel Schnyder and Bridgette A. Wimberly at the jazz club Birdland. Credit Krista Schlueter for The New York Times
Opera Philadelphia has much riding on this world premiere, its first since it unveiled Gian Carlo Menotti’s “The Hero” during the company’s inaugural season 40 years ago. “Yardbird,” commissioned in partnership with New York’s Gotham Chamber Opera (which will produce it next season at the Apollo Theater), signals a wider shift toward more new music, co-commissions and a general willingness to take risks on unorthodox subjects and genres. Philadelphia’s last season featured the American premiere of Ana Sokolovic’s “Svadba,” a raucous Balkan wedding ritual; October will bring a “Popera” about Andy Warhol, mixing elements of cabaret and opera.
The mix of musical styles is especially risky in “Yardbird,” since it offers a portrait of a historical figure from the world of jazz, many of whose tunes have become iconic. But in an interview near his home in Harlem, Mr. Schnyder, a Swiss-born saxophonist and composer of sophisticated scores blending classical and jazz traditions, said he sees it as an opportunity to integrate “the Afro-American musical language that was developed in the 1920s and went on to change the world” into an operatic context.
So while there are occasional direct quotes — including the saxophone riffs Mr. Brownlee will render through scatting — they are woven into a classically rooted score that is very much Mr. Schnyder’s.
“You can’t use Charlie Parker’s music one to one,” he said. “That’s not playable with a classical orchestra, and it’s not going to sound right. But his language is made out of small motifs that return again and again — a bit like Mozart’s. If you use small things out of that language, you can use it also in an opera in a way that’s going to be recognized.”
The stylistic balancing act is also written into the libretto. Ms. Wimberly conceived the opera as a ghost story, taking as her point of departure Parker’s death, at the age of 34, from a heart attack related to alcoholism and heroin abuse.
Parker died on March 12, 1955, in the hotel suite of his wealthy patron Baroness Pannonica De Koenigswarter (in Philadelphia, the mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) ), but the world didn’t learn of his death for another 48 hours. The baroness had trouble locating Parker’s wife, Chan, and in the morgue, his corpse was initially mislabeled: “They put the wrong name on his toe,” Ms. Wimberly said in a phone interview.
The opera takes place during those 48 hours, with Parker in a kind of purgatory. As the clock runs down, he sets out to write out some of the music he never had a chance to make in life — including working with instruments from the classical orchestra.
Photo
Will Liverman as Dizzy Gillespie, left, and Mr. Brownlee, at a rehearsal. Credit Dominic M. Mercier/Opera Philadelphia
Parker’s interest in the classical music of his time is well documented: He once surprised Stravinsky, in the audience at Birdland, by quoting music from his ballet “The Firebird.” And he was interested in Varèse’s work developing a new sonic palette.
“He really wanted to explore different sounds,” Mr. Schnyder said, adding that Parker had voiced a desire to travel to Europe and study composition and had mentioned to friends that he wanted to write music for larger ensembles.
In life, Parker’s ambitions were frustrated by pervasive racism and segregation. In the opera, a succession of characters — his mother, his wives, his bebop partner Dizzy Gillespie — barge in and force him to re-examine his past.
Ms. Wimberly said she wanted to avoid the “tragic” label that is often attached to Parker. “Some people lived three times longer than Charlie Parker did,” she said, “but look what he did with the short time he had.”
But she, too, had to overcome her preconceptions of Parker, formed at her grandmother’s kitchen table. Ms. Wimberly’s uncle, Marcus Smith, was also a jazz saxophonist and obsessed with Parker, who was 14 years his senior. Like many jazz musicians at the time, Smith began using heroin, a drug many associated with Parker’s virtuosity and improvisational genius, and he died at 35.
“My grandmother hated Charlie Parker because she thought he got my uncle hooked on heroin,” Ms. Wimberly said. “All my life, he was just a bad name.”
Mr. Brownlee, a committed teetotaler, said that playing the role of a junkie was a new challenge. “I’ve never been under the influence of anything,” he said. “I’ve never drunk any alcohol — not even beer or wine — or used cigarettes, or drugs. So portraying something that has an instant effect on you is a challenge. But walking down the street in the center of Philadelphia, I see people who have obvious addictions and I’ve been studying these people to see the effect drugs can have.”
Photo
Angela Brown rehearsing as Parker’s mother. Credit Dominic M. Mercier/Opera Philadelphia
Above all, Mr. Brownlee said, he is trying to flesh out Parker’s character as the product of his time: “Growing up in the South prior to the civil rights movement, all the hardship he dealt with, riding on the back of trains with the rats and garbage and not being treated as a human — I try to show the effect this had on him.”
As for the music, Mr. Brownlee has a wide range of experiences to draw on. (And, in fact, he has to scat very little; many of his lines in the opera are smoothly lyrical.) He grew up singing gospel in church choirs and played trumpet, piano and drums. In his early 20s, he was the bass guitarist in a band that played Nine Inch Nails covers at the Cedar Point amusement park in Ohio.
And, he says, singing Rossini is actually not that far removed from jazz. “There’s a little bit of swing,” he said. “Even if it is written out, it has to have the idea and feel of being improvised.”
But Mr. Schnyder said too few classically trained musicians are stylistically versed in jazz. “The Afro-American heritage is not taught at conservatory,” he said. “When people confront it they don’t know how to deal with it. The result usually is corny. It’s like someone pronouncing everything wrong.”
His work with Opera Philadelphia’s chamber orchestra seems to have done little to dispel this view.
“It’s not about rhythmic challenges,” he said of his efforts to communicate stylistic nuances to the players. “It’s how to play the music right. If you have four eighth notes, classical musicians play them as written: ta-ta-ta-ta. Jazz musicians would play them as da-ba-du-BA! The second one is a little bit softer than the other ones, the last one a little bit shorter: You have to know that.”
He is fortunate in having the company’s music director, Corrado Rovaris, as an ally in the pit. It was Mr. Rovaris who connected Mr. Schnyder, whose music he had heard while conducting in Switzerland, with Mr. Brownlee. He appreciated the “dancing attitude” he detected in Mr. Schnyder’s music. And he happened to know of Mr. Brownlee’s prowess as a salsa dancer.
“I thought they would be a perfect match,” Mr. Rovaris said.
As for the musical world portrayed in “Yardbird,” Mr. Rovaris feels right at home: As a teenager, he played piano in a jazz quartet, performing during the summers in Sardinia. When he subsequently turned his focus to the classical scene as a harpsichord player performing Baroque music, he said: “It was very similar, and I had a lot of fun. I think that Baroque music is more related to jazz than the next two centuries of classical music, because you have changes of rhythm and improvisation.”
And, he added, just as in Mr. Schnyder’s da-ba-du-BA! example, within any group of equally notated notes, “there is the good note and the bad note.” Merging the worlds of jazz and classical music, Mr. Rovaris added, is something “I’ve been waiting to do for a long time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia – NYTimes.com
http://www.jazzpromoservices.com/
** ‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia
————————————————————
Photo
Charlie Parker, left, and Lawrence Brownlee, who will portray him in the world premiere of “Charlie Parker’s Yardbird” at Opera Philadelphia. Credit Agence France-Press – Getty Images; Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — On a recent morning in a rehearsal room behind the Academy of Music here, the tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) practiced a tricky passage at the piano. The melodic profile of his vocal line zigzagged and spiked like an erratic electrocardiogram, but what gave Mr. Brownlee the most trouble was the text.
The composer had left it up to him to match syllables to the notes. But how best to render, say, a rising triplet followed by a longer high note? Was it ba-nda-doo-BAH? Or ba-nda-doo-WEE?
Mr. Brownlee, a rising bel canto star on the international opera circuit known for his nimble coloratura and buttery legato, is learning to scat. On June 5, Opera Philadelphia (https://www.operaphila.org/) presents the world premiere of “Charlie Parker’s Yardbird” by the composer Daniel Schnyder (http://www.danielschnyder.com/) , with a libretto by Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) . Mr. Brownlee stars as the brilliant jazz saxophonist and bebop legend best known by his nickname, Bird.
“I’ve been watching scat masters on YouTube,” Mr. Brownlee said during a break in rehearsals. “A singer like Ella Fitzgerald was able to use her voice like an instrument, and she knew exactly what vowels or syllables worked best for any given note. One of the challenges of this opera is to learn to think like an instrumentalist.”
Photo
Daniel Schnyder and Bridgette A. Wimberly at the jazz club Birdland. Credit Krista Schlueter for The New York Times
Opera Philadelphia has much riding on this world premiere, its first since it unveiled Gian Carlo Menotti’s “The Hero” during the company’s inaugural season 40 years ago. “Yardbird,” commissioned in partnership with New York’s Gotham Chamber Opera (which will produce it next season at the Apollo Theater), signals a wider shift toward more new music, co-commissions and a general willingness to take risks on unorthodox subjects and genres. Philadelphia’s last season featured the American premiere of Ana Sokolovic’s “Svadba,” a raucous Balkan wedding ritual; October will bring a “Popera” about Andy Warhol, mixing elements of cabaret and opera.
The mix of musical styles is especially risky in “Yardbird,” since it offers a portrait of a historical figure from the world of jazz, many of whose tunes have become iconic. But in an interview near his home in Harlem, Mr. Schnyder, a Swiss-born saxophonist and composer of sophisticated scores blending classical and jazz traditions, said he sees it as an opportunity to integrate “the Afro-American musical language that was developed in the 1920s and went on to change the world” into an operatic context.
So while there are occasional direct quotes — including the saxophone riffs Mr. Brownlee will render through scatting — they are woven into a classically rooted score that is very much Mr. Schnyder’s.
“You can’t use Charlie Parker’s music one to one,” he said. “That’s not playable with a classical orchestra, and it’s not going to sound right. But his language is made out of small motifs that return again and again — a bit like Mozart’s. If you use small things out of that language, you can use it also in an opera in a way that’s going to be recognized.”
The stylistic balancing act is also written into the libretto. Ms. Wimberly conceived the opera as a ghost story, taking as her point of departure Parker’s death, at the age of 34, from a heart attack related to alcoholism and heroin abuse.
Parker died on March 12, 1955, in the hotel suite of his wealthy patron Baroness Pannonica De Koenigswarter (in Philadelphia, the mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) ), but the world didn’t learn of his death for another 48 hours. The baroness had trouble locating Parker’s wife, Chan, and in the morgue, his corpse was initially mislabeled: “They put the wrong name on his toe,” Ms. Wimberly said in a phone interview.
The opera takes place during those 48 hours, with Parker in a kind of purgatory. As the clock runs down, he sets out to write out some of the music he never had a chance to make in life — including working with instruments from the classical orchestra.
Photo
Will Liverman as Dizzy Gillespie, left, and Mr. Brownlee, at a rehearsal. Credit Dominic M. Mercier/Opera Philadelphia
Parker’s interest in the classical music of his time is well documented: He once surprised Stravinsky, in the audience at Birdland, by quoting music from his ballet “The Firebird.” And he was interested in Varèse’s work developing a new sonic palette.
“He really wanted to explore different sounds,” Mr. Schnyder said, adding that Parker had voiced a desire to travel to Europe and study composition and had mentioned to friends that he wanted to write music for larger ensembles.
In life, Parker’s ambitions were frustrated by pervasive racism and segregation. In the opera, a succession of characters — his mother, his wives, his bebop partner Dizzy Gillespie — barge in and force him to re-examine his past.
Ms. Wimberly said she wanted to avoid the “tragic” label that is often attached to Parker. “Some people lived three times longer than Charlie Parker did,” she said, “but look what he did with the short time he had.”
But she, too, had to overcome her preconceptions of Parker, formed at her grandmother’s kitchen table. Ms. Wimberly’s uncle, Marcus Smith, was also a jazz saxophonist and obsessed with Parker, who was 14 years his senior. Like many jazz musicians at the time, Smith began using heroin, a drug many associated with Parker’s virtuosity and improvisational genius, and he died at 35.
“My grandmother hated Charlie Parker because she thought he got my uncle hooked on heroin,” Ms. Wimberly said. “All my life, he was just a bad name.”
Mr. Brownlee, a committed teetotaler, said that playing the role of a junkie was a new challenge. “I’ve never been under the influence of anything,” he said. “I’ve never drunk any alcohol — not even beer or wine — or used cigarettes, or drugs. So portraying something that has an instant effect on you is a challenge. But walking down the street in the center of Philadelphia, I see people who have obvious addictions and I’ve been studying these people to see the effect drugs can have.”
Photo
Angela Brown rehearsing as Parker’s mother. Credit Dominic M. Mercier/Opera Philadelphia
Above all, Mr. Brownlee said, he is trying to flesh out Parker’s character as the product of his time: “Growing up in the South prior to the civil rights movement, all the hardship he dealt with, riding on the back of trains with the rats and garbage and not being treated as a human — I try to show the effect this had on him.”
As for the music, Mr. Brownlee has a wide range of experiences to draw on. (And, in fact, he has to scat very little; many of his lines in the opera are smoothly lyrical.) He grew up singing gospel in church choirs and played trumpet, piano and drums. In his early 20s, he was the bass guitarist in a band that played Nine Inch Nails covers at the Cedar Point amusement park in Ohio.
And, he says, singing Rossini is actually not that far removed from jazz. “There’s a little bit of swing,” he said. “Even if it is written out, it has to have the idea and feel of being improvised.”
But Mr. Schnyder said too few classically trained musicians are stylistically versed in jazz. “The Afro-American heritage is not taught at conservatory,” he said. “When people confront it they don’t know how to deal with it. The result usually is corny. It’s like someone pronouncing everything wrong.”
His work with Opera Philadelphia’s chamber orchestra seems to have done little to dispel this view.
“It’s not about rhythmic challenges,” he said of his efforts to communicate stylistic nuances to the players. “It’s how to play the music right. If you have four eighth notes, classical musicians play them as written: ta-ta-ta-ta. Jazz musicians would play them as da-ba-du-BA! The second one is a little bit softer than the other ones, the last one a little bit shorter: You have to know that.”
He is fortunate in having the company’s music director, Corrado Rovaris, as an ally in the pit. It was Mr. Rovaris who connected Mr. Schnyder, whose music he had heard while conducting in Switzerland, with Mr. Brownlee. He appreciated the “dancing attitude” he detected in Mr. Schnyder’s music. And he happened to know of Mr. Brownlee’s prowess as a salsa dancer.
“I thought they would be a perfect match,” Mr. Rovaris said.
As for the musical world portrayed in “Yardbird,” Mr. Rovaris feels right at home: As a teenager, he played piano in a jazz quartet, performing during the summers in Sardinia. When he subsequently turned his focus to the classical scene as a harpsichord player performing Baroque music, he said: “It was very similar, and I had a lot of fun. I think that Baroque music is more related to jazz than the next two centuries of classical music, because you have changes of rhythm and improvisation.”
And, he added, just as in Mr. Schnyder’s da-ba-du-BA! example, within any group of equally notated notes, “there is the good note and the bad note.” Merging the worlds of jazz and classical music, Mr. Rovaris added, is something “I’ve been waiting to do for a long time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72372ec964) | 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=72372ec964&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
‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia – NYTimes.com
http://www.jazzpromoservices.com/
** ‘Charlie Parker’s Yardbird’ Ties Jazz and Opera Together in Philadelphia
————————————————————
Photo
Charlie Parker, left, and Lawrence Brownlee, who will portray him in the world premiere of “Charlie Parker’s Yardbird” at Opera Philadelphia. Credit Agence France-Press – Getty Images; Dominic M. Mercier/Opera Philadelphia
PHILADELPHIA — On a recent morning in a rehearsal room behind the Academy of Music here, the tenor Lawrence Brownlee (http://www.lawrencebrownlee.com/) practiced a tricky passage at the piano. The melodic profile of his vocal line zigzagged and spiked like an erratic electrocardiogram, but what gave Mr. Brownlee the most trouble was the text.
The composer had left it up to him to match syllables to the notes. But how best to render, say, a rising triplet followed by a longer high note? Was it ba-nda-doo-BAH? Or ba-nda-doo-WEE?
Mr. Brownlee, a rising bel canto star on the international opera circuit known for his nimble coloratura and buttery legato, is learning to scat. On June 5, Opera Philadelphia (https://www.operaphila.org/) presents the world premiere of “Charlie Parker’s Yardbird” by the composer Daniel Schnyder (http://www.danielschnyder.com/) , with a libretto by Bridgette A. Wimberly (http://www.nytimes.com/2001/07/05/nyregion/public-lives-a-playwright-who-found-the-courage-to-look.html) . Mr. Brownlee stars as the brilliant jazz saxophonist and bebop legend best known by his nickname, Bird.
“I’ve been watching scat masters on YouTube,” Mr. Brownlee said during a break in rehearsals. “A singer like Ella Fitzgerald was able to use her voice like an instrument, and she knew exactly what vowels or syllables worked best for any given note. One of the challenges of this opera is to learn to think like an instrumentalist.”
Photo
Daniel Schnyder and Bridgette A. Wimberly at the jazz club Birdland. Credit Krista Schlueter for The New York Times
Opera Philadelphia has much riding on this world premiere, its first since it unveiled Gian Carlo Menotti’s “The Hero” during the company’s inaugural season 40 years ago. “Yardbird,” commissioned in partnership with New York’s Gotham Chamber Opera (which will produce it next season at the Apollo Theater), signals a wider shift toward more new music, co-commissions and a general willingness to take risks on unorthodox subjects and genres. Philadelphia’s last season featured the American premiere of Ana Sokolovic’s “Svadba,” a raucous Balkan wedding ritual; October will bring a “Popera” about Andy Warhol, mixing elements of cabaret and opera.
The mix of musical styles is especially risky in “Yardbird,” since it offers a portrait of a historical figure from the world of jazz, many of whose tunes have become iconic. But in an interview near his home in Harlem, Mr. Schnyder, a Swiss-born saxophonist and composer of sophisticated scores blending classical and jazz traditions, said he sees it as an opportunity to integrate “the Afro-American musical language that was developed in the 1920s and went on to change the world” into an operatic context.
So while there are occasional direct quotes — including the saxophone riffs Mr. Brownlee will render through scatting — they are woven into a classically rooted score that is very much Mr. Schnyder’s.
“You can’t use Charlie Parker’s music one to one,” he said. “That’s not playable with a classical orchestra, and it’s not going to sound right. But his language is made out of small motifs that return again and again — a bit like Mozart’s. If you use small things out of that language, you can use it also in an opera in a way that’s going to be recognized.”
The stylistic balancing act is also written into the libretto. Ms. Wimberly conceived the opera as a ghost story, taking as her point of departure Parker’s death, at the age of 34, from a heart attack related to alcoholism and heroin abuse.
Parker died on March 12, 1955, in the hotel suite of his wealthy patron Baroness Pannonica De Koenigswarter (in Philadelphia, the mezzo-soprano Tamara Mumford (http://www.tamaramumford.com/) ), but the world didn’t learn of his death for another 48 hours. The baroness had trouble locating Parker’s wife, Chan, and in the morgue, his corpse was initially mislabeled: “They put the wrong name on his toe,” Ms. Wimberly said in a phone interview.
The opera takes place during those 48 hours, with Parker in a kind of purgatory. As the clock runs down, he sets out to write out some of the music he never had a chance to make in life — including working with instruments from the classical orchestra.
Photo
Will Liverman as Dizzy Gillespie, left, and Mr. Brownlee, at a rehearsal. Credit Dominic M. Mercier/Opera Philadelphia
Parker’s interest in the classical music of his time is well documented: He once surprised Stravinsky, in the audience at Birdland, by quoting music from his ballet “The Firebird.” And he was interested in Varèse’s work developing a new sonic palette.
“He really wanted to explore different sounds,” Mr. Schnyder said, adding that Parker had voiced a desire to travel to Europe and study composition and had mentioned to friends that he wanted to write music for larger ensembles.
In life, Parker’s ambitions were frustrated by pervasive racism and segregation. In the opera, a succession of characters — his mother, his wives, his bebop partner Dizzy Gillespie — barge in and force him to re-examine his past.
Ms. Wimberly said she wanted to avoid the “tragic” label that is often attached to Parker. “Some people lived three times longer than Charlie Parker did,” she said, “but look what he did with the short time he had.”
But she, too, had to overcome her preconceptions of Parker, formed at her grandmother’s kitchen table. Ms. Wimberly’s uncle, Marcus Smith, was also a jazz saxophonist and obsessed with Parker, who was 14 years his senior. Like many jazz musicians at the time, Smith began using heroin, a drug many associated with Parker’s virtuosity and improvisational genius, and he died at 35.
“My grandmother hated Charlie Parker because she thought he got my uncle hooked on heroin,” Ms. Wimberly said. “All my life, he was just a bad name.”
Mr. Brownlee, a committed teetotaler, said that playing the role of a junkie was a new challenge. “I’ve never been under the influence of anything,” he said. “I’ve never drunk any alcohol — not even beer or wine — or used cigarettes, or drugs. So portraying something that has an instant effect on you is a challenge. But walking down the street in the center of Philadelphia, I see people who have obvious addictions and I’ve been studying these people to see the effect drugs can have.”
Photo
Angela Brown rehearsing as Parker’s mother. Credit Dominic M. Mercier/Opera Philadelphia
Above all, Mr. Brownlee said, he is trying to flesh out Parker’s character as the product of his time: “Growing up in the South prior to the civil rights movement, all the hardship he dealt with, riding on the back of trains with the rats and garbage and not being treated as a human — I try to show the effect this had on him.”
As for the music, Mr. Brownlee has a wide range of experiences to draw on. (And, in fact, he has to scat very little; many of his lines in the opera are smoothly lyrical.) He grew up singing gospel in church choirs and played trumpet, piano and drums. In his early 20s, he was the bass guitarist in a band that played Nine Inch Nails covers at the Cedar Point amusement park in Ohio.
And, he says, singing Rossini is actually not that far removed from jazz. “There’s a little bit of swing,” he said. “Even if it is written out, it has to have the idea and feel of being improvised.”
But Mr. Schnyder said too few classically trained musicians are stylistically versed in jazz. “The Afro-American heritage is not taught at conservatory,” he said. “When people confront it they don’t know how to deal with it. The result usually is corny. It’s like someone pronouncing everything wrong.”
His work with Opera Philadelphia’s chamber orchestra seems to have done little to dispel this view.
“It’s not about rhythmic challenges,” he said of his efforts to communicate stylistic nuances to the players. “It’s how to play the music right. If you have four eighth notes, classical musicians play them as written: ta-ta-ta-ta. Jazz musicians would play them as da-ba-du-BA! The second one is a little bit softer than the other ones, the last one a little bit shorter: You have to know that.”
He is fortunate in having the company’s music director, Corrado Rovaris, as an ally in the pit. It was Mr. Rovaris who connected Mr. Schnyder, whose music he had heard while conducting in Switzerland, with Mr. Brownlee. He appreciated the “dancing attitude” he detected in Mr. Schnyder’s music. And he happened to know of Mr. Brownlee’s prowess as a salsa dancer.
“I thought they would be a perfect match,” Mr. Rovaris said.
As for the musical world portrayed in “Yardbird,” Mr. Rovaris feels right at home: As a teenager, he played piano in a jazz quartet, performing during the summers in Sardinia. When he subsequently turned his focus to the classical scene as a harpsichord player performing Baroque music, he said: “It was very similar, and I had a lot of fun. I think that Baroque music is more related to jazz than the next two centuries of classical music, because you have changes of rhythm and improvisation.”
And, he added, just as in Mr. Schnyder’s da-ba-du-BA! example, within any group of equally notated notes, “there is the good note and the bad note.” Merging the worlds of jazz and classical music, Mr. Rovaris added, is something “I’ve been waiting to do for a long time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72372ec964) | 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=72372ec964&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
Concerts At The Saints presents Scott Wenzel and The Reddy Valentino Swing Orchestra Sunday, June 7th 3:00 pm
http://www.jazzpromoservices.com/
May 27, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.allsaintsharrison.org/parish/p_news.html
The Reddy Valentino Orchestra is a 16 piece band that was formed back in the mid 1980s by Harrison resident, the late Frank Casale. His idol as a young boy was silent film actor Rudolph Valentino and because of Frank’s red hair he was soon nicknamed Reddy Valentino! When ill health forced Casale to retire from leading the band, trumpeter Paul Pugliese along with his vocalist-wife Patty stepped in. Pugliese, who had been a member of both the Jimmy Dorsey and Ralph Flanagan orchestras, and teacher for many years at his Music Center on the Post Road in Larchmont (which is still going strong), waved the baton until the late 1990s.
The band has been led since then by lifetime Rye resident Scott Wenzel. This saxophonist, world renowned record collector and record producer (whose reissues for the Mosaic label have garnered three Grammy Award nominations during the past few years) has made sure the Valentino legacy continues. The band’s credentials include playing at Glen Island Casino, Westchester Country Club, Windows On The World and countless other concerts, weddings and dances.
The band currently includes a number of renown musicians:
Johnny Amaroso (trumpet): Johnny was 20 when he joined Tommy Dorsey in 1950 and stayed there until 1954. During this run he was the featured male vocalist and can be heard on many of TD’s RCA Victor and Decca recordings as well as numerous radio and TV broadcasts including a New Year’s Eve “Honeymooners” episode on the “The Jackie Gleason Show” in 1952. Johnny also saw action with the bands of Harry James, Ralph Flanagan, Lee Castle, Les Brown, Sammy Kaye and Vincent Lopez throughout the 1950s.
Other outstanding musicians in the band include trumpeters Ron LoPinto and Jerry Lucadamo (with Larry Elgart’s band), Howard Levy on trombone, Ross Schneider on tenor and baritone saxist Steve Cristos. One of the outstanding young drummers in New York, Paul Francis(who just recently was backing up Tony Bennett and Lady Ga Ga latest offerings) brings his flare to the rhythm section. The vivacious Kathie Hart sings and dances to some great pop standards.
www.allsaintsharrison.org/parish (http://www.allsaintsharrison.org/parish/p_news.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d12f86f484) | 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=d12f86f484&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
Concerts At The Saints presents Scott Wenzel and The Reddy Valentino Swing Orchestra Sunday, June 7th 3:00 pm
http://www.jazzpromoservices.com/
May 27, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.allsaintsharrison.org/parish/p_news.html
The Reddy Valentino Orchestra is a 16 piece band that was formed back in the mid 1980s by Harrison resident, the late Frank Casale. His idol as a young boy was silent film actor Rudolph Valentino and because of Frank’s red hair he was soon nicknamed Reddy Valentino! When ill health forced Casale to retire from leading the band, trumpeter Paul Pugliese along with his vocalist-wife Patty stepped in. Pugliese, who had been a member of both the Jimmy Dorsey and Ralph Flanagan orchestras, and teacher for many years at his Music Center on the Post Road in Larchmont (which is still going strong), waved the baton until the late 1990s.
The band has been led since then by lifetime Rye resident Scott Wenzel. This saxophonist, world renowned record collector and record producer (whose reissues for the Mosaic label have garnered three Grammy Award nominations during the past few years) has made sure the Valentino legacy continues. The band’s credentials include playing at Glen Island Casino, Westchester Country Club, Windows On The World and countless other concerts, weddings and dances.
The band currently includes a number of renown musicians:
Johnny Amaroso (trumpet): Johnny was 20 when he joined Tommy Dorsey in 1950 and stayed there until 1954. During this run he was the featured male vocalist and can be heard on many of TD’s RCA Victor and Decca recordings as well as numerous radio and TV broadcasts including a New Year’s Eve “Honeymooners” episode on the “The Jackie Gleason Show” in 1952. Johnny also saw action with the bands of Harry James, Ralph Flanagan, Lee Castle, Les Brown, Sammy Kaye and Vincent Lopez throughout the 1950s.
Other outstanding musicians in the band include trumpeters Ron LoPinto and Jerry Lucadamo (with Larry Elgart’s band), Howard Levy on trombone, Ross Schneider on tenor and baritone saxist Steve Cristos. One of the outstanding young drummers in New York, Paul Francis(who just recently was backing up Tony Bennett and Lady Ga Ga latest offerings) brings his flare to the rhythm section. The vivacious Kathie Hart sings and dances to some great pop standards.
www.allsaintsharrison.org/parish (http://www.allsaintsharrison.org/parish/p_news.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d12f86f484) | 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=d12f86f484&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
Concerts At The Saints presents Scott Wenzel and The Reddy Valentino Swing Orchestra Sunday, June 7th 3:00 pm
http://www.jazzpromoservices.com/
May 27, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.allsaintsharrison.org/parish/p_news.html
The Reddy Valentino Orchestra is a 16 piece band that was formed back in the mid 1980s by Harrison resident, the late Frank Casale. His idol as a young boy was silent film actor Rudolph Valentino and because of Frank’s red hair he was soon nicknamed Reddy Valentino! When ill health forced Casale to retire from leading the band, trumpeter Paul Pugliese along with his vocalist-wife Patty stepped in. Pugliese, who had been a member of both the Jimmy Dorsey and Ralph Flanagan orchestras, and teacher for many years at his Music Center on the Post Road in Larchmont (which is still going strong), waved the baton until the late 1990s.
The band has been led since then by lifetime Rye resident Scott Wenzel. This saxophonist, world renowned record collector and record producer (whose reissues for the Mosaic label have garnered three Grammy Award nominations during the past few years) has made sure the Valentino legacy continues. The band’s credentials include playing at Glen Island Casino, Westchester Country Club, Windows On The World and countless other concerts, weddings and dances.
The band currently includes a number of renown musicians:
Johnny Amaroso (trumpet): Johnny was 20 when he joined Tommy Dorsey in 1950 and stayed there until 1954. During this run he was the featured male vocalist and can be heard on many of TD’s RCA Victor and Decca recordings as well as numerous radio and TV broadcasts including a New Year’s Eve “Honeymooners” episode on the “The Jackie Gleason Show” in 1952. Johnny also saw action with the bands of Harry James, Ralph Flanagan, Lee Castle, Les Brown, Sammy Kaye and Vincent Lopez throughout the 1950s.
Other outstanding musicians in the band include trumpeters Ron LoPinto and Jerry Lucadamo (with Larry Elgart’s band), Howard Levy on trombone, Ross Schneider on tenor and baritone saxist Steve Cristos. One of the outstanding young drummers in New York, Paul Francis(who just recently was backing up Tony Bennett and Lady Ga Ga latest offerings) brings his flare to the rhythm section. The vivacious Kathie Hart sings and dances to some great pop standards.
www.allsaintsharrison.org/parish (http://www.allsaintsharrison.org/parish/p_news.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d12f86f484) | 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=d12f86f484&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
Concerts At The Saints presents Scott Wenzel and The Reddy Valentino Swing Orchestra Sunday, June 7th 3:00 pm
http://www.jazzpromoservices.com/
May 27, 2015
To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.allsaintsharrison.org/parish/p_news.html
The Reddy Valentino Orchestra is a 16 piece band that was formed back in the mid 1980s by Harrison resident, the late Frank Casale. His idol as a young boy was silent film actor Rudolph Valentino and because of Frank’s red hair he was soon nicknamed Reddy Valentino! When ill health forced Casale to retire from leading the band, trumpeter Paul Pugliese along with his vocalist-wife Patty stepped in. Pugliese, who had been a member of both the Jimmy Dorsey and Ralph Flanagan orchestras, and teacher for many years at his Music Center on the Post Road in Larchmont (which is still going strong), waved the baton until the late 1990s.
The band has been led since then by lifetime Rye resident Scott Wenzel. This saxophonist, world renowned record collector and record producer (whose reissues for the Mosaic label have garnered three Grammy Award nominations during the past few years) has made sure the Valentino legacy continues. The band’s credentials include playing at Glen Island Casino, Westchester Country Club, Windows On The World and countless other concerts, weddings and dances.
The band currently includes a number of renown musicians:
Johnny Amaroso (trumpet): Johnny was 20 when he joined Tommy Dorsey in 1950 and stayed there until 1954. During this run he was the featured male vocalist and can be heard on many of TD’s RCA Victor and Decca recordings as well as numerous radio and TV broadcasts including a New Year’s Eve “Honeymooners” episode on the “The Jackie Gleason Show” in 1952. Johnny also saw action with the bands of Harry James, Ralph Flanagan, Lee Castle, Les Brown, Sammy Kaye and Vincent Lopez throughout the 1950s.
Other outstanding musicians in the band include trumpeters Ron LoPinto and Jerry Lucadamo (with Larry Elgart’s band), Howard Levy on trombone, Ross Schneider on tenor and baritone saxist Steve Cristos. One of the outstanding young drummers in New York, Paul Francis(who just recently was backing up Tony Bennett and Lady Ga Ga latest offerings) brings his flare to the rhythm section. The vivacious Kathie Hart sings and dances to some great pop standards.
www.allsaintsharrison.org/parish (http://www.allsaintsharrison.org/parish/p_news.html)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d12f86f484) | 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=d12f86f484&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
Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/05/27/arts/marcus-belgrave-trumpeter-and-mentor-in-detroits-jazz-scene-dies-at-78.html?emc=edit_tnt_20150526
** Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78
————————————————————
Photo
Marcus Belgrave, right, on fluegelhorn, at the JVC Jazz Festival in New York in 2008, with Phil Ranelin on trombone. Credit Hiroyuki Ito for The New York Times
Marcus Belgrave (http://marcusbelgrave.net/) , a trumpet and fluegelhorn player who worked with Ray Charles, Charles Mingus, Max Roach and others before settling in Detroit in the early 1960s and becoming a coach and conscience for that city’s jazz scene (https://www.youtube.com/watch?v=eL7xjX5mWLM) , died on Sunday in Ann Arbor, Mich. He was 78.
His wife, the singer Joan Belgrave, said he died of heart failure, the result of chronic obstructive pulmonary disease, at Glacier Hills, a care and rehabilitation facility.
In one way or another, Mr. Belgrave served as mentor to many of Detroit’s greatest jazz musicians over the past 50 years. They include the pianist Geri Allen, the saxophonists Kenny Garrett and James Carter, the violinist Regina Carter, the bassists Rodney Whitaker and Robert Hurst, and the drummers Karriem Riggins and Ali Jackson.
In the early 1970s, as the live jazz scene in Detroit (https://www.youtube.com/watch?v=dTFx2fGOJnw) diminished and Motown Records, which had given work to Mr. Belgrave and many other local musicians, decamped for Los Angeles, he became involved in various teaching opportunities that had grown out of antipoverty programs instituted during the administration of President Lyndon B. Johnson.
Mr. Belgrave founded the Jazz Development Workshop as a structure for his formal and informal teaching in schools, after-school programs, camps and workshops. Eventually he took teaching positions around the country, the longest of which was at Oberlin College in Ohio from 2001 to 2010.
Mr. Belgrave was born in Chester, Pa., on June 12, 1936. At 12 he joined a concert band in Wilmington, Del., which included the trumpeter Clifford Brown, who would later have great influence on Mr. Belgrave’s driving, organized, melodic improvising.
Mr. Belgrave joined Ray Charles at 21 and played with him on and off for five years, on records including “The Genius of Ray Charles.” During off periods from the Charles band, he worked with Mr. Mingus and Mr. Roach in New York.
In 1963, Mr. Belgrave moved to Detroit. “This was just a natural place for me to come,” he said in an interview with The Detroit Metro Times (http://www.metrotimes.com/detroit/serious-bell/Content?oid=2176928) in 2003. “This was probably the only place in the country where music was No. 1.” He played on many Motown sessions for the next two years, and toured with Lloyd Price, Jerry Butler and other R&B singers until 1967.
In addition to Ms. Belgrave, his third wife, he is survived by two daughters, Akua Belgrave and Marcia Monroe; two sons, Kasan Belgrave and Marcus Belgrave Jr.; a stepdaughter, Alia McCants; two stepsons, Kenan Smith and Landon Smith; a sister, Eudora Muhammad; and three brothers, Darnley, Louie and Lemmuel. He had homes in Detroit and Ann Arbor.
Mr. Belgrave’s work as a teacher tended to overshadow his recording career, but he made several albums as a leader after leaving Ray Charles. They include “Gemini II,” (https://www.youtube.com/watch?v=OrbzCU4bNRM) his first, a powerful, spacey jazz-funk record released in 1974 but little heard before its CD reissue 30 years later; “Working Together” (1992), a sophisticated postbop record with the drummer Lawrence Williams, one of his old colleagues in the Jazz Development Workshop; and “You Don’t Know Me” (2006), a mixture of early jazz numbers and songs from the Ray Charles repertoire, one of several albums he made with his wife. He also recorded with Geri Allen, the saxophonist Joe Henderson and the pianist Horace Tapscott, among others. In 1988 he was a founding member of the Lincoln Center Jazz Orchestra (now the Jazz at Lincoln Center Orchestra), and he toured with the orchestra through the mid-’90s.
A sunny, energetic presence, Mr. Belgrave performed in recent years while on oxygen support, playing every day to help his lungs. He performed last July at Dizzy’s Club Coca-Cola in New York with his latest Detroit protégés and was preparing for an appearance at Orchestra Hall in Detroit on July 12.
**
————————————————————
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=87cdee6b0a) | 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=87cdee6b0a&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
Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/05/27/arts/marcus-belgrave-trumpeter-and-mentor-in-detroits-jazz-scene-dies-at-78.html?emc=edit_tnt_20150526
** Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78
————————————————————
Photo
Marcus Belgrave, right, on fluegelhorn, at the JVC Jazz Festival in New York in 2008, with Phil Ranelin on trombone. Credit Hiroyuki Ito for The New York Times
Marcus Belgrave (http://marcusbelgrave.net/) , a trumpet and fluegelhorn player who worked with Ray Charles, Charles Mingus, Max Roach and others before settling in Detroit in the early 1960s and becoming a coach and conscience for that city’s jazz scene (https://www.youtube.com/watch?v=eL7xjX5mWLM) , died on Sunday in Ann Arbor, Mich. He was 78.
His wife, the singer Joan Belgrave, said he died of heart failure, the result of chronic obstructive pulmonary disease, at Glacier Hills, a care and rehabilitation facility.
In one way or another, Mr. Belgrave served as mentor to many of Detroit’s greatest jazz musicians over the past 50 years. They include the pianist Geri Allen, the saxophonists Kenny Garrett and James Carter, the violinist Regina Carter, the bassists Rodney Whitaker and Robert Hurst, and the drummers Karriem Riggins and Ali Jackson.
In the early 1970s, as the live jazz scene in Detroit (https://www.youtube.com/watch?v=dTFx2fGOJnw) diminished and Motown Records, which had given work to Mr. Belgrave and many other local musicians, decamped for Los Angeles, he became involved in various teaching opportunities that had grown out of antipoverty programs instituted during the administration of President Lyndon B. Johnson.
Mr. Belgrave founded the Jazz Development Workshop as a structure for his formal and informal teaching in schools, after-school programs, camps and workshops. Eventually he took teaching positions around the country, the longest of which was at Oberlin College in Ohio from 2001 to 2010.
Mr. Belgrave was born in Chester, Pa., on June 12, 1936. At 12 he joined a concert band in Wilmington, Del., which included the trumpeter Clifford Brown, who would later have great influence on Mr. Belgrave’s driving, organized, melodic improvising.
Mr. Belgrave joined Ray Charles at 21 and played with him on and off for five years, on records including “The Genius of Ray Charles.” During off periods from the Charles band, he worked with Mr. Mingus and Mr. Roach in New York.
In 1963, Mr. Belgrave moved to Detroit. “This was just a natural place for me to come,” he said in an interview with The Detroit Metro Times (http://www.metrotimes.com/detroit/serious-bell/Content?oid=2176928) in 2003. “This was probably the only place in the country where music was No. 1.” He played on many Motown sessions for the next two years, and toured with Lloyd Price, Jerry Butler and other R&B singers until 1967.
In addition to Ms. Belgrave, his third wife, he is survived by two daughters, Akua Belgrave and Marcia Monroe; two sons, Kasan Belgrave and Marcus Belgrave Jr.; a stepdaughter, Alia McCants; two stepsons, Kenan Smith and Landon Smith; a sister, Eudora Muhammad; and three brothers, Darnley, Louie and Lemmuel. He had homes in Detroit and Ann Arbor.
Mr. Belgrave’s work as a teacher tended to overshadow his recording career, but he made several albums as a leader after leaving Ray Charles. They include “Gemini II,” (https://www.youtube.com/watch?v=OrbzCU4bNRM) his first, a powerful, spacey jazz-funk record released in 1974 but little heard before its CD reissue 30 years later; “Working Together” (1992), a sophisticated postbop record with the drummer Lawrence Williams, one of his old colleagues in the Jazz Development Workshop; and “You Don’t Know Me” (2006), a mixture of early jazz numbers and songs from the Ray Charles repertoire, one of several albums he made with his wife. He also recorded with Geri Allen, the saxophonist Joe Henderson and the pianist Horace Tapscott, among others. In 1988 he was a founding member of the Lincoln Center Jazz Orchestra (now the Jazz at Lincoln Center Orchestra), and he toured with the orchestra through the mid-’90s.
A sunny, energetic presence, Mr. Belgrave performed in recent years while on oxygen support, playing every day to help his lungs. He performed last July at Dizzy’s Club Coca-Cola in New York with his latest Detroit protégés and was preparing for an appearance at Orchestra Hall in Detroit on July 12.
**
————————————————————
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=87cdee6b0a) | 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=87cdee6b0a&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
Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/05/27/arts/marcus-belgrave-trumpeter-and-mentor-in-detroits-jazz-scene-dies-at-78.html?emc=edit_tnt_20150526
** Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78
————————————————————
Photo
Marcus Belgrave, right, on fluegelhorn, at the JVC Jazz Festival in New York in 2008, with Phil Ranelin on trombone. Credit Hiroyuki Ito for The New York Times
Marcus Belgrave (http://marcusbelgrave.net/) , a trumpet and fluegelhorn player who worked with Ray Charles, Charles Mingus, Max Roach and others before settling in Detroit in the early 1960s and becoming a coach and conscience for that city’s jazz scene (https://www.youtube.com/watch?v=eL7xjX5mWLM) , died on Sunday in Ann Arbor, Mich. He was 78.
His wife, the singer Joan Belgrave, said he died of heart failure, the result of chronic obstructive pulmonary disease, at Glacier Hills, a care and rehabilitation facility.
In one way or another, Mr. Belgrave served as mentor to many of Detroit’s greatest jazz musicians over the past 50 years. They include the pianist Geri Allen, the saxophonists Kenny Garrett and James Carter, the violinist Regina Carter, the bassists Rodney Whitaker and Robert Hurst, and the drummers Karriem Riggins and Ali Jackson.
In the early 1970s, as the live jazz scene in Detroit (https://www.youtube.com/watch?v=dTFx2fGOJnw) diminished and Motown Records, which had given work to Mr. Belgrave and many other local musicians, decamped for Los Angeles, he became involved in various teaching opportunities that had grown out of antipoverty programs instituted during the administration of President Lyndon B. Johnson.
Mr. Belgrave founded the Jazz Development Workshop as a structure for his formal and informal teaching in schools, after-school programs, camps and workshops. Eventually he took teaching positions around the country, the longest of which was at Oberlin College in Ohio from 2001 to 2010.
Mr. Belgrave was born in Chester, Pa., on June 12, 1936. At 12 he joined a concert band in Wilmington, Del., which included the trumpeter Clifford Brown, who would later have great influence on Mr. Belgrave’s driving, organized, melodic improvising.
Mr. Belgrave joined Ray Charles at 21 and played with him on and off for five years, on records including “The Genius of Ray Charles.” During off periods from the Charles band, he worked with Mr. Mingus and Mr. Roach in New York.
In 1963, Mr. Belgrave moved to Detroit. “This was just a natural place for me to come,” he said in an interview with The Detroit Metro Times (http://www.metrotimes.com/detroit/serious-bell/Content?oid=2176928) in 2003. “This was probably the only place in the country where music was No. 1.” He played on many Motown sessions for the next two years, and toured with Lloyd Price, Jerry Butler and other R&B singers until 1967.
In addition to Ms. Belgrave, his third wife, he is survived by two daughters, Akua Belgrave and Marcia Monroe; two sons, Kasan Belgrave and Marcus Belgrave Jr.; a stepdaughter, Alia McCants; two stepsons, Kenan Smith and Landon Smith; a sister, Eudora Muhammad; and three brothers, Darnley, Louie and Lemmuel. He had homes in Detroit and Ann Arbor.
Mr. Belgrave’s work as a teacher tended to overshadow his recording career, but he made several albums as a leader after leaving Ray Charles. They include “Gemini II,” (https://www.youtube.com/watch?v=OrbzCU4bNRM) his first, a powerful, spacey jazz-funk record released in 1974 but little heard before its CD reissue 30 years later; “Working Together” (1992), a sophisticated postbop record with the drummer Lawrence Williams, one of his old colleagues in the Jazz Development Workshop; and “You Don’t Know Me” (2006), a mixture of early jazz numbers and songs from the Ray Charles repertoire, one of several albums he made with his wife. He also recorded with Geri Allen, the saxophonist Joe Henderson and the pianist Horace Tapscott, among others. In 1988 he was a founding member of the Lincoln Center Jazz Orchestra (now the Jazz at Lincoln Center Orchestra), and he toured with the orchestra through the mid-’90s.
A sunny, energetic presence, Mr. Belgrave performed in recent years while on oxygen support, playing every day to help his lungs. He performed last July at Dizzy’s Club Coca-Cola in New York with his latest Detroit protégés and was preparing for an appearance at Orchestra Hall in Detroit on July 12.
**
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Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/05/27/arts/marcus-belgrave-trumpeter-and-mentor-in-detroits-jazz-scene-dies-at-78.html?emc=edit_tnt_20150526
** Marcus Belgrave, Trumpeter and Mentor in Detroit’s Jazz Scene, Dies at 78
————————————————————
Photo
Marcus Belgrave, right, on fluegelhorn, at the JVC Jazz Festival in New York in 2008, with Phil Ranelin on trombone. Credit Hiroyuki Ito for The New York Times
Marcus Belgrave (http://marcusbelgrave.net/) , a trumpet and fluegelhorn player who worked with Ray Charles, Charles Mingus, Max Roach and others before settling in Detroit in the early 1960s and becoming a coach and conscience for that city’s jazz scene (https://www.youtube.com/watch?v=eL7xjX5mWLM) , died on Sunday in Ann Arbor, Mich. He was 78.
His wife, the singer Joan Belgrave, said he died of heart failure, the result of chronic obstructive pulmonary disease, at Glacier Hills, a care and rehabilitation facility.
In one way or another, Mr. Belgrave served as mentor to many of Detroit’s greatest jazz musicians over the past 50 years. They include the pianist Geri Allen, the saxophonists Kenny Garrett and James Carter, the violinist Regina Carter, the bassists Rodney Whitaker and Robert Hurst, and the drummers Karriem Riggins and Ali Jackson.
In the early 1970s, as the live jazz scene in Detroit (https://www.youtube.com/watch?v=dTFx2fGOJnw) diminished and Motown Records, which had given work to Mr. Belgrave and many other local musicians, decamped for Los Angeles, he became involved in various teaching opportunities that had grown out of antipoverty programs instituted during the administration of President Lyndon B. Johnson.
Mr. Belgrave founded the Jazz Development Workshop as a structure for his formal and informal teaching in schools, after-school programs, camps and workshops. Eventually he took teaching positions around the country, the longest of which was at Oberlin College in Ohio from 2001 to 2010.
Mr. Belgrave was born in Chester, Pa., on June 12, 1936. At 12 he joined a concert band in Wilmington, Del., which included the trumpeter Clifford Brown, who would later have great influence on Mr. Belgrave’s driving, organized, melodic improvising.
Mr. Belgrave joined Ray Charles at 21 and played with him on and off for five years, on records including “The Genius of Ray Charles.” During off periods from the Charles band, he worked with Mr. Mingus and Mr. Roach in New York.
In 1963, Mr. Belgrave moved to Detroit. “This was just a natural place for me to come,” he said in an interview with The Detroit Metro Times (http://www.metrotimes.com/detroit/serious-bell/Content?oid=2176928) in 2003. “This was probably the only place in the country where music was No. 1.” He played on many Motown sessions for the next two years, and toured with Lloyd Price, Jerry Butler and other R&B singers until 1967.
In addition to Ms. Belgrave, his third wife, he is survived by two daughters, Akua Belgrave and Marcia Monroe; two sons, Kasan Belgrave and Marcus Belgrave Jr.; a stepdaughter, Alia McCants; two stepsons, Kenan Smith and Landon Smith; a sister, Eudora Muhammad; and three brothers, Darnley, Louie and Lemmuel. He had homes in Detroit and Ann Arbor.
Mr. Belgrave’s work as a teacher tended to overshadow his recording career, but he made several albums as a leader after leaving Ray Charles. They include “Gemini II,” (https://www.youtube.com/watch?v=OrbzCU4bNRM) his first, a powerful, spacey jazz-funk record released in 1974 but little heard before its CD reissue 30 years later; “Working Together” (1992), a sophisticated postbop record with the drummer Lawrence Williams, one of his old colleagues in the Jazz Development Workshop; and “You Don’t Know Me” (2006), a mixture of early jazz numbers and songs from the Ray Charles repertoire, one of several albums he made with his wife. He also recorded with Geri Allen, the saxophonist Joe Henderson and the pianist Horace Tapscott, among others. In 1988 he was a founding member of the Lincoln Center Jazz Orchestra (now the Jazz at Lincoln Center Orchestra), and he toured with the orchestra through the mid-’90s.
A sunny, energetic presence, Mr. Belgrave performed in recent years while on oxygen support, playing every day to help his lungs. He performed last July at Dizzy’s Club Coca-Cola in New York with his latest Detroit protégés and was preparing for an appearance at Orchestra Hall in Detroit on July 12.
**
————————————————————
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Wonderful World of Louis Armstrong: 50 Years of The Slivovice Interview: RICKY RICCARDI
http://www.jazzpromoservices.com/
http://dippermouth.blogspot.de/2015/05/50-years-of-sliviovice-interview.html
** 50 Years of The Slivovice Interview
————————————————————
Today’s a fun anniversary for Pops nuts because it was 50 years ago today that Dan Morgenstern and Jack Bradley paid Louis Armstrong a visit in his Corona, Queens home, spoke to him for over two hours and polished off a bottle of Slivovice plum brandy to boot. Dan recorded the audio, which Phil Schaap played many times over the years on WKCR, making “The Slivovice Interview” fairly well known in Armstrong circles. On this here blog, I’ve posted the audio multiple times, usually while celebrating Dan and Jack’s respective birthdays. Thus, on the 50th anniversary, I have to post it again but with some more information and many more photos from the Louis Armstrong House Museum. Sound good? Let’s begin!
In July 1965, the world was preparing to celebrate what was then perceived as Louis Armstrong’s 65th birthday, as well as Armstrong’s 50th anniversary in show business. Dan, who was then Down Beat’s New York Editor decided to mark the occasion by interviewing Pops at his Corona home on May 22 for what would become the magazine’s “Salute to Satch” issue. The resulting portrait would be published in the July issue.
http://1.bp.blogspot.com/-V_Jg_9zOzRc/VV3VBem-7CI/AAAAAAAABts/FtleAavUArc/s1600/Downbeat%2B1965%2BSalute%2BWM.jpg
If you’d like to read Dan’s beautiful finished portrait, it appears in his indispensable Pantheon volume Living With Jazz. But if you’d like to HEAR it, you’ve come to the right place.
Though Dan had known Armstrong for about 15 years, he hadn’t ever been to the Armstrong home. Thus, he asked Louis’s good friend Jack Bradley to put in the good word. Jack did just that, got the okay and accompanied Dan on May 22, taking a bunch of photos, some of which appeared in the final Down Beat article. Most of the watermarked images appearing in this blog have never been seen before. Here’s Louis, Lucille Armstrong and Dan in the backyard that May day:
http://4.bp.blogspot.com/-n-Et_vk16yE/VV3VA83urRI/AAAAAAAABtk/iX5iQ17owHo/s1600/2006.1.1695h%2BWM.jpg
Jack wanted to get in on it but Dan, not being a trained photographer left our man in Cape Cod a little blurry!
http://4.bp.blogspot.com/-U4eIHVp7XPA/VV3VAjIx1aI/AAAAAAAABtc/_1Dw6LMMeBc/s1600/2006.1.1695c%2BWM.jpg
Armstrong’s career was just as busy as ever, but Dan actually caught Louis during a rare break. After a historic tour that found Armstrong breaking down the Iron Curtain by playing such places as East Berlin, Prague and Yugoslavia in March and April, Armstrong took over a month off for a dental procedure to fix his chops. Armstrong’s mentor King Oliver lost his chops because of bad teeth (pyorrhea) and Armstrong wasn’t about to do the same. He had also just won a Grammy for “Hello, Dolly!,” which he was eager to show Dan and Jack once they got up in his den:
http://2.bp.blogspot.com/-l-3zMubKg2s/VV3U_YexPgI/AAAAAAAABs8/ALq61tuAPkU/s1600/2006.1.106%2B-%2BGrammy%2BWM.jpg
During Dan’s interview Armstrong was resting from the dental procedure, but about to embark on yet another tour of Europe. Surrounded by his friends Jack and Dan (with Lucille chiming in now and then from the background), Louis sounds very relaxed and friendly. But there was something else present that made for the relaxed atmosphere: a bottle of Slivovice plum brandy Armstrong brought back from Europe earlier that year. Slivovice (now known as Slivovitz) is still around as an online search quickly shows. Louis and Lucille both testify early on about the powers of Slivovice. They warn Dan and Jack that it’s pretty much going to knock them on their asses. Dan and Jack are up for the challenge, so the bottle of Slivovice is cracked open.
http://2.bp.blogspot.com/-PAVX9Dcg1H8/VV3U_2EaYJI/AAAAAAAABtE/E_RbRWoAPEk/s1600/2006.1.1694c%2BWM.jpg
Not only will you hear the sound of ice clinking around the glasses during this interview, but you’ll also hear Dan and Jack get progressively sillier as the interview goes on. Pops doesn’t change much but the laughter certainly gets goofier towards the end. Here’s some Bradley photos of Louis and Dan and the bottle of Slivovice that day:
http://4.bp.blogspot.com/-nD8zYwKy8Jg/VEp05FIHNTI/AAAAAAAABH4/KDhmDJmqazs/s1600/10374974_10152779253647398_3774044174011682320_n.jpg
http://4.bp.blogspot.com/-4ZtgP-idqbo/VV3VAHSKmCI/AAAAAAAABtM/a4CTGmEoXXI/s1600/2006.1.1694e%2BWM.jpg
http://3.bp.blogspot.com/-paQGvt3P2ZY/VV3VAeSt30I/AAAAAAAABtQ/FLxqnW_TaHU/s1600/2006.1.1694k%2BWM.jpg
http://2.bp.blogspot.com/-Cs8J4_FO3mQ/VV3U_mcOi7I/AAAAAAAABtA/iZyJtO2NK2A/s1600/2006.1.1694a%2BWM.jpg
I should mention the length of the Slivovice interview: two hours and ten minutes. Thus, I obviously don’t expect anyone to set in front of their computer for the next 130 minutes and listen to every second of this. But I still want to share it and let it be known that it will always be here to savor if you want to listen to it in bits and pieces. And to make it easier, I’ve broken it into three small segments (see below for my notes). Here’s the 50-minute first part:
Here’s the 50-minute second part:
And finally, the 30 minute third part:
It’s a fascinating interview from start to finish (this is the one where Pops finally came out and admitted he wrote “Muskrat Ramble”) but it’s also a fun way to feel like you’re spending an afternoon with the Armstrong’s in Corona in 1965. Thanks to David Ostwald for the tapes and thanks for Dan and Jack for just plain being there.
Oh, and as a postscript, you should know by now that I was hired as Archivist for the Louis Armstrong House Museum in 2009 specifically to process Jack Bradley’s Collection. It’s monumental but what’s my favorite artifact?
http://1.bp.blogspot.com/_Q4FsScvCOJQ/SuL-uWqD3hI/AAAAAAAAATk/qiIRGqUq9L4/s1600-h/IMG_3731.JPG
Yes indeed, that’s the ORIGINAL Slivovice bottle polished off by Jack, Dan and Louis on that May day in 1965, now an artifact that’s been preserved and displayed at the Louis Armstrong House Museum. Incredible.
One final note on this 50th anniversary. I recently listened to the entire interview on one of my 2 1/2 hour commutes, pulled out my iPhone and typed up the following notes. It might not make sense but if you’re looking for a specific part, the timings can help. Enjoy!
Part 1
0:00 opening, Louis gives upcoming schedule
2:30 Ali-Liston
4:15 Iron Curtain
5:40 Slivovice introduced, Jack’s great line
6:35 back to iron curtain
9:15 Lucille enters, back to Slivovice
11:00 Lucille takes lead, gifts
11:50 common ground, music, no politics, ambassador
13:00 convoy story
16:45 no Checkpoint Charlie
17:40 no Russia
18:50 Louis opens window, pour Slivovice
20:35 Dan tells him about Downbeat issue
21:40 Lucille talks about traveling.
22:55 Lucille talks about her organizations
26:00 Louis talks about few days off, stuff piling up, cleaning basement
27:00 Louis toasts Slivovice, mention of Zutty
28:15 Louis talks about opening up a club
29:55 is jazz dying, jazz musicians need chance to record, stay before the public, being forgotten , watching TV
32:40 Erskine Tate
33:50 Louis shows Dan books from Europe
34:25 big bands, 1931, switching to All Stars, preference
36:25 singing with Fletcher Henderson , reading music, leaving Henderson and going back to Chicago, doubling
39:55 Chicago in the 1920s, other acts
40:40 Tom Anderson’s and Tuxedo Brass Band in NOLA, Fate Marable, Jack Teagarden hearing him, in the land of beginning again, steamer sidney
44:15 getting experience, going out on his own, Carroll Dickerson, ain’t Misbehavin’ , never go to tables only dressing room
45:55 Louis musicians drunk on NYE, never professed to be a saint, having a ball, missed very few gigs
47:05 writing another book, needing time to do it
49:20 Bunk Johnson
Part 2
0:00, Bunk continued, Aquarium, as long as you’re alive you can always do something, Bunk playing with him in 1949
1:40 Zulus 1949
5:15 Louis’s tapes, no time to listen
5:40 opening nightclub on corner, giving lessons, stop traveling
7:37 Lucille comes back, drinks, Jack talks about food in New Orleans
9:45 Suburban Gardens
15:30 the south, Arkansas
16:30 the Music’s always good. More Slivovice. Trojans
17:15 being around the youngsters, no regrets about life and music
17:50 Bechet, Louis lists New Orleans musicians, “they were all soul musicians”
19;45 Kid Ory
20:45 if a cat can play a beautiful lead, anyone can scream out a high note, Joe Oliver, bop, play more lead
22:10 sad ending of King Oliver, dead and forgotten,
23:05 Hoagy Carmichael songs from 1930s, Louis remembers every record, has them all
23;55 Louis admires the youngsters, Watusi , playing for dances, TV
25:50 writing tunes, Kid Ory, Muskrat Ramble composer, Sister Kate
29:00 first trip to Europe
32:54 Booker Pittman
34:30 musicians moving to Europe
37:35 Louis retiring to Ghana? Edmond Hall in Africa, adopting baby
42:05 life’s wonderful if you look at it the right way, joint joke, Louis shaking hands, autographs (great stuff)
Part 3
0:00 Dancing, Nicodemus, “going to stay there with you”
0:49 criticism, as long as they spell my name right ,
1:20 public is a funny thing, they love you, how fast America is
2:12 falling on stage in Germany
4:00 Europe, cassette recorder, demonstration
9;10 Trummy didn’t write anybody after he left
10:30 Talk about an award ceremony, having a suite, wishing Dan came, playing with Woody Herman
12:14 Took Joe Glaser while to realize Louis could play with white musicians
12:45 working with Jimmy Durante , making records, checking out tunes
13:50 some people try to do too much in life, as long as I’m in music,
14:30 back to tapes
15:30 Redd Foxx, turns off cassette, shows off tapes, Erroll Garner, cassette player
20:00 Chop time, back to work, that’s his profession, toothache
21:40 hospital in Chicago , Slim Thompson
23:45 big laughs with tonsils
26:40 human body is like a car
29:44 upcoming Steel Pier engagement , Newport (big laugh), Jack goes to bathroom (Louis joke)
31:54 ending, Louis says thanks, Dan closes
**
————————————————————
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=edd0529509) | 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=edd0529509&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Wonderful World of Louis Armstrong: 50 Years of The Slivovice Interview: RICKY RICCARDI
http://www.jazzpromoservices.com/
http://dippermouth.blogspot.de/2015/05/50-years-of-sliviovice-interview.html
** 50 Years of The Slivovice Interview
————————————————————
Today’s a fun anniversary for Pops nuts because it was 50 years ago today that Dan Morgenstern and Jack Bradley paid Louis Armstrong a visit in his Corona, Queens home, spoke to him for over two hours and polished off a bottle of Slivovice plum brandy to boot. Dan recorded the audio, which Phil Schaap played many times over the years on WKCR, making “The Slivovice Interview” fairly well known in Armstrong circles. On this here blog, I’ve posted the audio multiple times, usually while celebrating Dan and Jack’s respective birthdays. Thus, on the 50th anniversary, I have to post it again but with some more information and many more photos from the Louis Armstrong House Museum. Sound good? Let’s begin!
In July 1965, the world was preparing to celebrate what was then perceived as Louis Armstrong’s 65th birthday, as well as Armstrong’s 50th anniversary in show business. Dan, who was then Down Beat’s New York Editor decided to mark the occasion by interviewing Pops at his Corona home on May 22 for what would become the magazine’s “Salute to Satch” issue. The resulting portrait would be published in the July issue.
http://1.bp.blogspot.com/-V_Jg_9zOzRc/VV3VBem-7CI/AAAAAAAABts/FtleAavUArc/s1600/Downbeat%2B1965%2BSalute%2BWM.jpg
If you’d like to read Dan’s beautiful finished portrait, it appears in his indispensable Pantheon volume Living With Jazz. But if you’d like to HEAR it, you’ve come to the right place.
Though Dan had known Armstrong for about 15 years, he hadn’t ever been to the Armstrong home. Thus, he asked Louis’s good friend Jack Bradley to put in the good word. Jack did just that, got the okay and accompanied Dan on May 22, taking a bunch of photos, some of which appeared in the final Down Beat article. Most of the watermarked images appearing in this blog have never been seen before. Here’s Louis, Lucille Armstrong and Dan in the backyard that May day:
http://4.bp.blogspot.com/-n-Et_vk16yE/VV3VA83urRI/AAAAAAAABtk/iX5iQ17owHo/s1600/2006.1.1695h%2BWM.jpg
Jack wanted to get in on it but Dan, not being a trained photographer left our man in Cape Cod a little blurry!
http://4.bp.blogspot.com/-U4eIHVp7XPA/VV3VAjIx1aI/AAAAAAAABtc/_1Dw6LMMeBc/s1600/2006.1.1695c%2BWM.jpg
Armstrong’s career was just as busy as ever, but Dan actually caught Louis during a rare break. After a historic tour that found Armstrong breaking down the Iron Curtain by playing such places as East Berlin, Prague and Yugoslavia in March and April, Armstrong took over a month off for a dental procedure to fix his chops. Armstrong’s mentor King Oliver lost his chops because of bad teeth (pyorrhea) and Armstrong wasn’t about to do the same. He had also just won a Grammy for “Hello, Dolly!,” which he was eager to show Dan and Jack once they got up in his den:
http://2.bp.blogspot.com/-l-3zMubKg2s/VV3U_YexPgI/AAAAAAAABs8/ALq61tuAPkU/s1600/2006.1.106%2B-%2BGrammy%2BWM.jpg
During Dan’s interview Armstrong was resting from the dental procedure, but about to embark on yet another tour of Europe. Surrounded by his friends Jack and Dan (with Lucille chiming in now and then from the background), Louis sounds very relaxed and friendly. But there was something else present that made for the relaxed atmosphere: a bottle of Slivovice plum brandy Armstrong brought back from Europe earlier that year. Slivovice (now known as Slivovitz) is still around as an online search quickly shows. Louis and Lucille both testify early on about the powers of Slivovice. They warn Dan and Jack that it’s pretty much going to knock them on their asses. Dan and Jack are up for the challenge, so the bottle of Slivovice is cracked open.
http://2.bp.blogspot.com/-PAVX9Dcg1H8/VV3U_2EaYJI/AAAAAAAABtE/E_RbRWoAPEk/s1600/2006.1.1694c%2BWM.jpg
Not only will you hear the sound of ice clinking around the glasses during this interview, but you’ll also hear Dan and Jack get progressively sillier as the interview goes on. Pops doesn’t change much but the laughter certainly gets goofier towards the end. Here’s some Bradley photos of Louis and Dan and the bottle of Slivovice that day:
http://4.bp.blogspot.com/-nD8zYwKy8Jg/VEp05FIHNTI/AAAAAAAABH4/KDhmDJmqazs/s1600/10374974_10152779253647398_3774044174011682320_n.jpg
http://4.bp.blogspot.com/-4ZtgP-idqbo/VV3VAHSKmCI/AAAAAAAABtM/a4CTGmEoXXI/s1600/2006.1.1694e%2BWM.jpg
http://3.bp.blogspot.com/-paQGvt3P2ZY/VV3VAeSt30I/AAAAAAAABtQ/FLxqnW_TaHU/s1600/2006.1.1694k%2BWM.jpg
http://2.bp.blogspot.com/-Cs8J4_FO3mQ/VV3U_mcOi7I/AAAAAAAABtA/iZyJtO2NK2A/s1600/2006.1.1694a%2BWM.jpg
I should mention the length of the Slivovice interview: two hours and ten minutes. Thus, I obviously don’t expect anyone to set in front of their computer for the next 130 minutes and listen to every second of this. But I still want to share it and let it be known that it will always be here to savor if you want to listen to it in bits and pieces. And to make it easier, I’ve broken it into three small segments (see below for my notes). Here’s the 50-minute first part:
Here’s the 50-minute second part:
And finally, the 30 minute third part:
It’s a fascinating interview from start to finish (this is the one where Pops finally came out and admitted he wrote “Muskrat Ramble”) but it’s also a fun way to feel like you’re spending an afternoon with the Armstrong’s in Corona in 1965. Thanks to David Ostwald for the tapes and thanks for Dan and Jack for just plain being there.
Oh, and as a postscript, you should know by now that I was hired as Archivist for the Louis Armstrong House Museum in 2009 specifically to process Jack Bradley’s Collection. It’s monumental but what’s my favorite artifact?
http://1.bp.blogspot.com/_Q4FsScvCOJQ/SuL-uWqD3hI/AAAAAAAAATk/qiIRGqUq9L4/s1600-h/IMG_3731.JPG
Yes indeed, that’s the ORIGINAL Slivovice bottle polished off by Jack, Dan and Louis on that May day in 1965, now an artifact that’s been preserved and displayed at the Louis Armstrong House Museum. Incredible.
One final note on this 50th anniversary. I recently listened to the entire interview on one of my 2 1/2 hour commutes, pulled out my iPhone and typed up the following notes. It might not make sense but if you’re looking for a specific part, the timings can help. Enjoy!
Part 1
0:00 opening, Louis gives upcoming schedule
2:30 Ali-Liston
4:15 Iron Curtain
5:40 Slivovice introduced, Jack’s great line
6:35 back to iron curtain
9:15 Lucille enters, back to Slivovice
11:00 Lucille takes lead, gifts
11:50 common ground, music, no politics, ambassador
13:00 convoy story
16:45 no Checkpoint Charlie
17:40 no Russia
18:50 Louis opens window, pour Slivovice
20:35 Dan tells him about Downbeat issue
21:40 Lucille talks about traveling.
22:55 Lucille talks about her organizations
26:00 Louis talks about few days off, stuff piling up, cleaning basement
27:00 Louis toasts Slivovice, mention of Zutty
28:15 Louis talks about opening up a club
29:55 is jazz dying, jazz musicians need chance to record, stay before the public, being forgotten , watching TV
32:40 Erskine Tate
33:50 Louis shows Dan books from Europe
34:25 big bands, 1931, switching to All Stars, preference
36:25 singing with Fletcher Henderson , reading music, leaving Henderson and going back to Chicago, doubling
39:55 Chicago in the 1920s, other acts
40:40 Tom Anderson’s and Tuxedo Brass Band in NOLA, Fate Marable, Jack Teagarden hearing him, in the land of beginning again, steamer sidney
44:15 getting experience, going out on his own, Carroll Dickerson, ain’t Misbehavin’ , never go to tables only dressing room
45:55 Louis musicians drunk on NYE, never professed to be a saint, having a ball, missed very few gigs
47:05 writing another book, needing time to do it
49:20 Bunk Johnson
Part 2
0:00, Bunk continued, Aquarium, as long as you’re alive you can always do something, Bunk playing with him in 1949
1:40 Zulus 1949
5:15 Louis’s tapes, no time to listen
5:40 opening nightclub on corner, giving lessons, stop traveling
7:37 Lucille comes back, drinks, Jack talks about food in New Orleans
9:45 Suburban Gardens
15:30 the south, Arkansas
16:30 the Music’s always good. More Slivovice. Trojans
17:15 being around the youngsters, no regrets about life and music
17:50 Bechet, Louis lists New Orleans musicians, “they were all soul musicians”
19;45 Kid Ory
20:45 if a cat can play a beautiful lead, anyone can scream out a high note, Joe Oliver, bop, play more lead
22:10 sad ending of King Oliver, dead and forgotten,
23:05 Hoagy Carmichael songs from 1930s, Louis remembers every record, has them all
23;55 Louis admires the youngsters, Watusi , playing for dances, TV
25:50 writing tunes, Kid Ory, Muskrat Ramble composer, Sister Kate
29:00 first trip to Europe
32:54 Booker Pittman
34:30 musicians moving to Europe
37:35 Louis retiring to Ghana? Edmond Hall in Africa, adopting baby
42:05 life’s wonderful if you look at it the right way, joint joke, Louis shaking hands, autographs (great stuff)
Part 3
0:00 Dancing, Nicodemus, “going to stay there with you”
0:49 criticism, as long as they spell my name right ,
1:20 public is a funny thing, they love you, how fast America is
2:12 falling on stage in Germany
4:00 Europe, cassette recorder, demonstration
9;10 Trummy didn’t write anybody after he left
10:30 Talk about an award ceremony, having a suite, wishing Dan came, playing with Woody Herman
12:14 Took Joe Glaser while to realize Louis could play with white musicians
12:45 working with Jimmy Durante , making records, checking out tunes
13:50 some people try to do too much in life, as long as I’m in music,
14:30 back to tapes
15:30 Redd Foxx, turns off cassette, shows off tapes, Erroll Garner, cassette player
20:00 Chop time, back to work, that’s his profession, toothache
21:40 hospital in Chicago , Slim Thompson
23:45 big laughs with tonsils
26:40 human body is like a car
29:44 upcoming Steel Pier engagement , Newport (big laugh), Jack goes to bathroom (Louis joke)
31:54 ending, Louis says thanks, Dan closes
**
————————————————————
This E Mail Is Being Sent by:
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The Wonderful World of Louis Armstrong: 50 Years of The Slivovice Interview: RICKY RICCARDI
http://www.jazzpromoservices.com/
http://dippermouth.blogspot.de/2015/05/50-years-of-sliviovice-interview.html
** 50 Years of The Slivovice Interview
————————————————————
Today’s a fun anniversary for Pops nuts because it was 50 years ago today that Dan Morgenstern and Jack Bradley paid Louis Armstrong a visit in his Corona, Queens home, spoke to him for over two hours and polished off a bottle of Slivovice plum brandy to boot. Dan recorded the audio, which Phil Schaap played many times over the years on WKCR, making “The Slivovice Interview” fairly well known in Armstrong circles. On this here blog, I’ve posted the audio multiple times, usually while celebrating Dan and Jack’s respective birthdays. Thus, on the 50th anniversary, I have to post it again but with some more information and many more photos from the Louis Armstrong House Museum. Sound good? Let’s begin!
In July 1965, the world was preparing to celebrate what was then perceived as Louis Armstrong’s 65th birthday, as well as Armstrong’s 50th anniversary in show business. Dan, who was then Down Beat’s New York Editor decided to mark the occasion by interviewing Pops at his Corona home on May 22 for what would become the magazine’s “Salute to Satch” issue. The resulting portrait would be published in the July issue.
http://1.bp.blogspot.com/-V_Jg_9zOzRc/VV3VBem-7CI/AAAAAAAABts/FtleAavUArc/s1600/Downbeat%2B1965%2BSalute%2BWM.jpg
If you’d like to read Dan’s beautiful finished portrait, it appears in his indispensable Pantheon volume Living With Jazz. But if you’d like to HEAR it, you’ve come to the right place.
Though Dan had known Armstrong for about 15 years, he hadn’t ever been to the Armstrong home. Thus, he asked Louis’s good friend Jack Bradley to put in the good word. Jack did just that, got the okay and accompanied Dan on May 22, taking a bunch of photos, some of which appeared in the final Down Beat article. Most of the watermarked images appearing in this blog have never been seen before. Here’s Louis, Lucille Armstrong and Dan in the backyard that May day:
http://4.bp.blogspot.com/-n-Et_vk16yE/VV3VA83urRI/AAAAAAAABtk/iX5iQ17owHo/s1600/2006.1.1695h%2BWM.jpg
Jack wanted to get in on it but Dan, not being a trained photographer left our man in Cape Cod a little blurry!
http://4.bp.blogspot.com/-U4eIHVp7XPA/VV3VAjIx1aI/AAAAAAAABtc/_1Dw6LMMeBc/s1600/2006.1.1695c%2BWM.jpg
Armstrong’s career was just as busy as ever, but Dan actually caught Louis during a rare break. After a historic tour that found Armstrong breaking down the Iron Curtain by playing such places as East Berlin, Prague and Yugoslavia in March and April, Armstrong took over a month off for a dental procedure to fix his chops. Armstrong’s mentor King Oliver lost his chops because of bad teeth (pyorrhea) and Armstrong wasn’t about to do the same. He had also just won a Grammy for “Hello, Dolly!,” which he was eager to show Dan and Jack once they got up in his den:
http://2.bp.blogspot.com/-l-3zMubKg2s/VV3U_YexPgI/AAAAAAAABs8/ALq61tuAPkU/s1600/2006.1.106%2B-%2BGrammy%2BWM.jpg
During Dan’s interview Armstrong was resting from the dental procedure, but about to embark on yet another tour of Europe. Surrounded by his friends Jack and Dan (with Lucille chiming in now and then from the background), Louis sounds very relaxed and friendly. But there was something else present that made for the relaxed atmosphere: a bottle of Slivovice plum brandy Armstrong brought back from Europe earlier that year. Slivovice (now known as Slivovitz) is still around as an online search quickly shows. Louis and Lucille both testify early on about the powers of Slivovice. They warn Dan and Jack that it’s pretty much going to knock them on their asses. Dan and Jack are up for the challenge, so the bottle of Slivovice is cracked open.
http://2.bp.blogspot.com/-PAVX9Dcg1H8/VV3U_2EaYJI/AAAAAAAABtE/E_RbRWoAPEk/s1600/2006.1.1694c%2BWM.jpg
Not only will you hear the sound of ice clinking around the glasses during this interview, but you’ll also hear Dan and Jack get progressively sillier as the interview goes on. Pops doesn’t change much but the laughter certainly gets goofier towards the end. Here’s some Bradley photos of Louis and Dan and the bottle of Slivovice that day:
http://4.bp.blogspot.com/-nD8zYwKy8Jg/VEp05FIHNTI/AAAAAAAABH4/KDhmDJmqazs/s1600/10374974_10152779253647398_3774044174011682320_n.jpg
http://4.bp.blogspot.com/-4ZtgP-idqbo/VV3VAHSKmCI/AAAAAAAABtM/a4CTGmEoXXI/s1600/2006.1.1694e%2BWM.jpg
http://3.bp.blogspot.com/-paQGvt3P2ZY/VV3VAeSt30I/AAAAAAAABtQ/FLxqnW_TaHU/s1600/2006.1.1694k%2BWM.jpg
http://2.bp.blogspot.com/-Cs8J4_FO3mQ/VV3U_mcOi7I/AAAAAAAABtA/iZyJtO2NK2A/s1600/2006.1.1694a%2BWM.jpg
I should mention the length of the Slivovice interview: two hours and ten minutes. Thus, I obviously don’t expect anyone to set in front of their computer for the next 130 minutes and listen to every second of this. But I still want to share it and let it be known that it will always be here to savor if you want to listen to it in bits and pieces. And to make it easier, I’ve broken it into three small segments (see below for my notes). Here’s the 50-minute first part:
Here’s the 50-minute second part:
And finally, the 30 minute third part:
It’s a fascinating interview from start to finish (this is the one where Pops finally came out and admitted he wrote “Muskrat Ramble”) but it’s also a fun way to feel like you’re spending an afternoon with the Armstrong’s in Corona in 1965. Thanks to David Ostwald for the tapes and thanks for Dan and Jack for just plain being there.
Oh, and as a postscript, you should know by now that I was hired as Archivist for the Louis Armstrong House Museum in 2009 specifically to process Jack Bradley’s Collection. It’s monumental but what’s my favorite artifact?
http://1.bp.blogspot.com/_Q4FsScvCOJQ/SuL-uWqD3hI/AAAAAAAAATk/qiIRGqUq9L4/s1600-h/IMG_3731.JPG
Yes indeed, that’s the ORIGINAL Slivovice bottle polished off by Jack, Dan and Louis on that May day in 1965, now an artifact that’s been preserved and displayed at the Louis Armstrong House Museum. Incredible.
One final note on this 50th anniversary. I recently listened to the entire interview on one of my 2 1/2 hour commutes, pulled out my iPhone and typed up the following notes. It might not make sense but if you’re looking for a specific part, the timings can help. Enjoy!
Part 1
0:00 opening, Louis gives upcoming schedule
2:30 Ali-Liston
4:15 Iron Curtain
5:40 Slivovice introduced, Jack’s great line
6:35 back to iron curtain
9:15 Lucille enters, back to Slivovice
11:00 Lucille takes lead, gifts
11:50 common ground, music, no politics, ambassador
13:00 convoy story
16:45 no Checkpoint Charlie
17:40 no Russia
18:50 Louis opens window, pour Slivovice
20:35 Dan tells him about Downbeat issue
21:40 Lucille talks about traveling.
22:55 Lucille talks about her organizations
26:00 Louis talks about few days off, stuff piling up, cleaning basement
27:00 Louis toasts Slivovice, mention of Zutty
28:15 Louis talks about opening up a club
29:55 is jazz dying, jazz musicians need chance to record, stay before the public, being forgotten , watching TV
32:40 Erskine Tate
33:50 Louis shows Dan books from Europe
34:25 big bands, 1931, switching to All Stars, preference
36:25 singing with Fletcher Henderson , reading music, leaving Henderson and going back to Chicago, doubling
39:55 Chicago in the 1920s, other acts
40:40 Tom Anderson’s and Tuxedo Brass Band in NOLA, Fate Marable, Jack Teagarden hearing him, in the land of beginning again, steamer sidney
44:15 getting experience, going out on his own, Carroll Dickerson, ain’t Misbehavin’ , never go to tables only dressing room
45:55 Louis musicians drunk on NYE, never professed to be a saint, having a ball, missed very few gigs
47:05 writing another book, needing time to do it
49:20 Bunk Johnson
Part 2
0:00, Bunk continued, Aquarium, as long as you’re alive you can always do something, Bunk playing with him in 1949
1:40 Zulus 1949
5:15 Louis’s tapes, no time to listen
5:40 opening nightclub on corner, giving lessons, stop traveling
7:37 Lucille comes back, drinks, Jack talks about food in New Orleans
9:45 Suburban Gardens
15:30 the south, Arkansas
16:30 the Music’s always good. More Slivovice. Trojans
17:15 being around the youngsters, no regrets about life and music
17:50 Bechet, Louis lists New Orleans musicians, “they were all soul musicians”
19;45 Kid Ory
20:45 if a cat can play a beautiful lead, anyone can scream out a high note, Joe Oliver, bop, play more lead
22:10 sad ending of King Oliver, dead and forgotten,
23:05 Hoagy Carmichael songs from 1930s, Louis remembers every record, has them all
23;55 Louis admires the youngsters, Watusi , playing for dances, TV
25:50 writing tunes, Kid Ory, Muskrat Ramble composer, Sister Kate
29:00 first trip to Europe
32:54 Booker Pittman
34:30 musicians moving to Europe
37:35 Louis retiring to Ghana? Edmond Hall in Africa, adopting baby
42:05 life’s wonderful if you look at it the right way, joint joke, Louis shaking hands, autographs (great stuff)
Part 3
0:00 Dancing, Nicodemus, “going to stay there with you”
0:49 criticism, as long as they spell my name right ,
1:20 public is a funny thing, they love you, how fast America is
2:12 falling on stage in Germany
4:00 Europe, cassette recorder, demonstration
9;10 Trummy didn’t write anybody after he left
10:30 Talk about an award ceremony, having a suite, wishing Dan came, playing with Woody Herman
12:14 Took Joe Glaser while to realize Louis could play with white musicians
12:45 working with Jimmy Durante , making records, checking out tunes
13:50 some people try to do too much in life, as long as I’m in music,
14:30 back to tapes
15:30 Redd Foxx, turns off cassette, shows off tapes, Erroll Garner, cassette player
20:00 Chop time, back to work, that’s his profession, toothache
21:40 hospital in Chicago , Slim Thompson
23:45 big laughs with tonsils
26:40 human body is like a car
29:44 upcoming Steel Pier engagement , Newport (big laugh), Jack goes to bathroom (Louis joke)
31:54 ending, Louis says thanks, Dan closes
**
————————————————————
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=edd0529509) | 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=edd0529509&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