Author: Bash Daily Group Archive Feed
Marty Napoleon RIP
http://www.jazzpromoservices.com/
Greetings jazz lovers,
It is with sadness we tell you that piano legend, and
longtime SBS friend, Marty Napoleon passed away
Monday evening, April 27th.
A full obituary follows below. Along with details of his
wake on Thursday, in Glen Cove, NY.
We leave you with a link to a clip we sent recently
when we relayed the news that Marty was in the
hospital. While this is a repeat, it is well worth a
second viewing, and vital and amazing if you have
not watched it previously. A fantastic performance
of Marty at the peak of his powers. Enjoy again, or
discover anew:
https://www.youtube.com/watch?v=ipcfGAkjUZM
Wake info:
For anyone who would like to pay their respects,
the family will be receiving friends and family on
Thursday, April 30th from 3 – 5pm and 7 – 9pm.
McLaughlin Kramer Funeral Home
220 Glen Street, Glen Cove, NY 11542
(516) 676-8600 * Map (https://www.google.com/maps/place/Mc+Laughlin+Kramer+Funeral+Home/@40.86121,-73.623205,15z/data=!4m2!3m1!1s0x0:0xade1c7f4af314a96)
MARTY NAPOLEON, JAZZ PIANIST, 93
June 2, 1921 – April 27, 2015
Marty Napoleon, a man who lived a life of true passion, has died.
Benny Goodman, Louis Armstrong, Gene Krupa, & Charlie Barnett
are just some of the jazz luminaries who Marty played piano with.
Born in Brooklyn on June 2, 1921 to Sicilian immigrants Matteo Napoli
and Giovanina (nee Giamporcaro) (a/k/a Marty and Jenny Napoleon).
Marty was destined for a life in music. Music constantly filled the
Napoleon household. His father Marty played banjo. His mother Jenny
played guitar and sang. Older brothers Teddy (piano), Andy (drums),
older sister Marge Alleluia and younger sister Jo Shine were vocal-
ists. And his Uncle Phil gained fame as “Phil Napoleon and His
Memphis Five”. Marty’s father and his brother Andy were also artists.
Blessed with innate talent and combined with a passionate dedication,
Marty began his illustrious career as a teenager, playing with Bob Astor’s
band. At age 20, he joined Chico Marx and his Orchestra, with lead singer,
16 year old Mel Torme.
He soon became a favorite of all the top jazz musicians, who wanted the
remarkably talented and always jovial Marty to join them: George Auld,
Teddy Powell, Joe Venuti, Lee Castle, Charlie Barnett, Benny Goodman,
Gene Krupa, Charlie Shavers, Coleman Hawkins, Red Allen & Charlie Ventura.
Soon he became part of the legendary, “The Big Four”, which included Marty,
Buddy Rich, Chubby Jackson and Charlie Ventura.
He went on to form several groups who gained wide-spread fame… particularly
in the early days of the Hamptons. Included in these groups were Ronnie Odrich,
Doc Severinson, and Morgana King, among others. Marty also had a two-piano
quartet with his brother Teddy on the second piano, in Las Vegas.
Marty gained his greatest fame and joined the pantheon of all-time greats playing
with Louis Armstrong and His All Stars, replacing Earl Hines in 1952. He toured
the world with the All Stars. They were featured on the Dean Martin Show, Johnny
Carson, Dick Cavett, Jackie Gleason and Danny Kaye shows. They also did an
NBC special with Herb Alpert.
He continued playing with “Satchmo” over the years until Louis’ final performance
at the Waldorf Astoria. Marty’s distinctive piano virtuosity can be heard on many of
Armstrong’s biggest hits, including “Hello Dolly”, “Mame”, & “It’s A Wonderful World”.
Over the course of his storied career Marty played at the top jazz venues – Michael’s
Pub, the Metropole, Basin Street East, and the World Trade Center. He performed
at the most prestigious jazz festivals in the world – Newport, Kool, JVC, and San
Remo (in Italy). Marty also performed a one-man concert at Carnegie Hall.
1987 was a particularly good year for Marty. He was selected to play with Lionel
Hampton at the historic Frank Sinatra Show at Carnegie Hall…and topped that by
playing at The White House for President Ronald Reagan.
Marty’s movie credits include “To Beat The Band”, “The Glenn Miller Story”,
“All That Jazz”, “The French Connection”, “Raging Bull” and “Tootsie”.
Marty never lost his passion for music, playing jazz concerts into his early 90’s
with his friends, drummer Ray Mosca, bassist Bill Crow & clarinetist Ron Odrich.
But Marty Napoleon’s passion extended way beyond the keys of his piano.
Marty was all about family. Marty was married to the love of his life, the late
“Bebe” (nee Marie Giordano) Napoleon for 67 years. He was a loving father to
Jeanine and her husband Steve Goldman, and to Marty Jr. and his wife Teresa.
He adored his grandchildren Cherie Napoleon Goldman, Todd Goldman, Marty
Warren Napoleon and Brent Napoleon, as they adored him. (Brent was instru-
mental in helping his grandfather put together all his biographical notes for a
book.) He was also the cherished great-grandfather of Alexander Napoleon Inoa.
The world will miss this amazing talent.
His friends and family will miss this amazing man.
=====================================
** St Louis Blues – Marty Napoleon 1982.mov (https://www.youtube.com/watch?v=OJu29nuiNpQ)
————————————————————
~~~~~~~~~~~~~~~~~~~~~
Phil Stern
philstern5@aol.com (mailto:philstern5@aol.com)
516-209-1437
The Sidney Bechet Society
www.sidneybechet.org (http://www.sidneybechet.org/)
~~~~~~~~~~~~~~~~~~~~~
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=3098ffdf31) | 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=3098ffdf31&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
Marty Napoleon RIP
http://www.jazzpromoservices.com/
Greetings jazz lovers,
It is with sadness we tell you that piano legend, and
longtime SBS friend, Marty Napoleon passed away
Monday evening, April 27th.
A full obituary follows below. Along with details of his
wake on Thursday, in Glen Cove, NY.
We leave you with a link to a clip we sent recently
when we relayed the news that Marty was in the
hospital. While this is a repeat, it is well worth a
second viewing, and vital and amazing if you have
not watched it previously. A fantastic performance
of Marty at the peak of his powers. Enjoy again, or
discover anew:
https://www.youtube.com/watch?v=ipcfGAkjUZM
Wake info:
For anyone who would like to pay their respects,
the family will be receiving friends and family on
Thursday, April 30th from 3 – 5pm and 7 – 9pm.
McLaughlin Kramer Funeral Home
220 Glen Street, Glen Cove, NY 11542
(516) 676-8600 * Map (https://www.google.com/maps/place/Mc+Laughlin+Kramer+Funeral+Home/@40.86121,-73.623205,15z/data=!4m2!3m1!1s0x0:0xade1c7f4af314a96)
MARTY NAPOLEON, JAZZ PIANIST, 93
June 2, 1921 – April 27, 2015
Marty Napoleon, a man who lived a life of true passion, has died.
Benny Goodman, Louis Armstrong, Gene Krupa, & Charlie Barnett
are just some of the jazz luminaries who Marty played piano with.
Born in Brooklyn on June 2, 1921 to Sicilian immigrants Matteo Napoli
and Giovanina (nee Giamporcaro) (a/k/a Marty and Jenny Napoleon).
Marty was destined for a life in music. Music constantly filled the
Napoleon household. His father Marty played banjo. His mother Jenny
played guitar and sang. Older brothers Teddy (piano), Andy (drums),
older sister Marge Alleluia and younger sister Jo Shine were vocal-
ists. And his Uncle Phil gained fame as “Phil Napoleon and His
Memphis Five”. Marty’s father and his brother Andy were also artists.
Blessed with innate talent and combined with a passionate dedication,
Marty began his illustrious career as a teenager, playing with Bob Astor’s
band. At age 20, he joined Chico Marx and his Orchestra, with lead singer,
16 year old Mel Torme.
He soon became a favorite of all the top jazz musicians, who wanted the
remarkably talented and always jovial Marty to join them: George Auld,
Teddy Powell, Joe Venuti, Lee Castle, Charlie Barnett, Benny Goodman,
Gene Krupa, Charlie Shavers, Coleman Hawkins, Red Allen & Charlie Ventura.
Soon he became part of the legendary, “The Big Four”, which included Marty,
Buddy Rich, Chubby Jackson and Charlie Ventura.
He went on to form several groups who gained wide-spread fame… particularly
in the early days of the Hamptons. Included in these groups were Ronnie Odrich,
Doc Severinson, and Morgana King, among others. Marty also had a two-piano
quartet with his brother Teddy on the second piano, in Las Vegas.
Marty gained his greatest fame and joined the pantheon of all-time greats playing
with Louis Armstrong and His All Stars, replacing Earl Hines in 1952. He toured
the world with the All Stars. They were featured on the Dean Martin Show, Johnny
Carson, Dick Cavett, Jackie Gleason and Danny Kaye shows. They also did an
NBC special with Herb Alpert.
He continued playing with “Satchmo” over the years until Louis’ final performance
at the Waldorf Astoria. Marty’s distinctive piano virtuosity can be heard on many of
Armstrong’s biggest hits, including “Hello Dolly”, “Mame”, & “It’s A Wonderful World”.
Over the course of his storied career Marty played at the top jazz venues – Michael’s
Pub, the Metropole, Basin Street East, and the World Trade Center. He performed
at the most prestigious jazz festivals in the world – Newport, Kool, JVC, and San
Remo (in Italy). Marty also performed a one-man concert at Carnegie Hall.
1987 was a particularly good year for Marty. He was selected to play with Lionel
Hampton at the historic Frank Sinatra Show at Carnegie Hall…and topped that by
playing at The White House for President Ronald Reagan.
Marty’s movie credits include “To Beat The Band”, “The Glenn Miller Story”,
“All That Jazz”, “The French Connection”, “Raging Bull” and “Tootsie”.
Marty never lost his passion for music, playing jazz concerts into his early 90’s
with his friends, drummer Ray Mosca, bassist Bill Crow & clarinetist Ron Odrich.
But Marty Napoleon’s passion extended way beyond the keys of his piano.
Marty was all about family. Marty was married to the love of his life, the late
“Bebe” (nee Marie Giordano) Napoleon for 67 years. He was a loving father to
Jeanine and her husband Steve Goldman, and to Marty Jr. and his wife Teresa.
He adored his grandchildren Cherie Napoleon Goldman, Todd Goldman, Marty
Warren Napoleon and Brent Napoleon, as they adored him. (Brent was instru-
mental in helping his grandfather put together all his biographical notes for a
book.) He was also the cherished great-grandfather of Alexander Napoleon Inoa.
The world will miss this amazing talent.
His friends and family will miss this amazing man.
=====================================
** St Louis Blues – Marty Napoleon 1982.mov (https://www.youtube.com/watch?v=OJu29nuiNpQ)
————————————————————
~~~~~~~~~~~~~~~~~~~~~
Phil Stern
philstern5@aol.com (mailto:philstern5@aol.com)
516-209-1437
The Sidney Bechet Society
www.sidneybechet.org (http://www.sidneybechet.org/)
~~~~~~~~~~~~~~~~~~~~~
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=3098ffdf31) | 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=3098ffdf31&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
Marty Napoleon RIP
http://www.jazzpromoservices.com/
Greetings jazz lovers,
It is with sadness we tell you that piano legend, and
longtime SBS friend, Marty Napoleon passed away
Monday evening, April 27th.
A full obituary follows below. Along with details of his
wake on Thursday, in Glen Cove, NY.
We leave you with a link to a clip we sent recently
when we relayed the news that Marty was in the
hospital. While this is a repeat, it is well worth a
second viewing, and vital and amazing if you have
not watched it previously. A fantastic performance
of Marty at the peak of his powers. Enjoy again, or
discover anew:
https://www.youtube.com/watch?v=ipcfGAkjUZM
Wake info:
For anyone who would like to pay their respects,
the family will be receiving friends and family on
Thursday, April 30th from 3 – 5pm and 7 – 9pm.
McLaughlin Kramer Funeral Home
220 Glen Street, Glen Cove, NY 11542
(516) 676-8600 * Map (https://www.google.com/maps/place/Mc+Laughlin+Kramer+Funeral+Home/@40.86121,-73.623205,15z/data=!4m2!3m1!1s0x0:0xade1c7f4af314a96)
MARTY NAPOLEON, JAZZ PIANIST, 93
June 2, 1921 – April 27, 2015
Marty Napoleon, a man who lived a life of true passion, has died.
Benny Goodman, Louis Armstrong, Gene Krupa, & Charlie Barnett
are just some of the jazz luminaries who Marty played piano with.
Born in Brooklyn on June 2, 1921 to Sicilian immigrants Matteo Napoli
and Giovanina (nee Giamporcaro) (a/k/a Marty and Jenny Napoleon).
Marty was destined for a life in music. Music constantly filled the
Napoleon household. His father Marty played banjo. His mother Jenny
played guitar and sang. Older brothers Teddy (piano), Andy (drums),
older sister Marge Alleluia and younger sister Jo Shine were vocal-
ists. And his Uncle Phil gained fame as “Phil Napoleon and His
Memphis Five”. Marty’s father and his brother Andy were also artists.
Blessed with innate talent and combined with a passionate dedication,
Marty began his illustrious career as a teenager, playing with Bob Astor’s
band. At age 20, he joined Chico Marx and his Orchestra, with lead singer,
16 year old Mel Torme.
He soon became a favorite of all the top jazz musicians, who wanted the
remarkably talented and always jovial Marty to join them: George Auld,
Teddy Powell, Joe Venuti, Lee Castle, Charlie Barnett, Benny Goodman,
Gene Krupa, Charlie Shavers, Coleman Hawkins, Red Allen & Charlie Ventura.
Soon he became part of the legendary, “The Big Four”, which included Marty,
Buddy Rich, Chubby Jackson and Charlie Ventura.
He went on to form several groups who gained wide-spread fame… particularly
in the early days of the Hamptons. Included in these groups were Ronnie Odrich,
Doc Severinson, and Morgana King, among others. Marty also had a two-piano
quartet with his brother Teddy on the second piano, in Las Vegas.
Marty gained his greatest fame and joined the pantheon of all-time greats playing
with Louis Armstrong and His All Stars, replacing Earl Hines in 1952. He toured
the world with the All Stars. They were featured on the Dean Martin Show, Johnny
Carson, Dick Cavett, Jackie Gleason and Danny Kaye shows. They also did an
NBC special with Herb Alpert.
He continued playing with “Satchmo” over the years until Louis’ final performance
at the Waldorf Astoria. Marty’s distinctive piano virtuosity can be heard on many of
Armstrong’s biggest hits, including “Hello Dolly”, “Mame”, & “It’s A Wonderful World”.
Over the course of his storied career Marty played at the top jazz venues – Michael’s
Pub, the Metropole, Basin Street East, and the World Trade Center. He performed
at the most prestigious jazz festivals in the world – Newport, Kool, JVC, and San
Remo (in Italy). Marty also performed a one-man concert at Carnegie Hall.
1987 was a particularly good year for Marty. He was selected to play with Lionel
Hampton at the historic Frank Sinatra Show at Carnegie Hall…and topped that by
playing at The White House for President Ronald Reagan.
Marty’s movie credits include “To Beat The Band”, “The Glenn Miller Story”,
“All That Jazz”, “The French Connection”, “Raging Bull” and “Tootsie”.
Marty never lost his passion for music, playing jazz concerts into his early 90’s
with his friends, drummer Ray Mosca, bassist Bill Crow & clarinetist Ron Odrich.
But Marty Napoleon’s passion extended way beyond the keys of his piano.
Marty was all about family. Marty was married to the love of his life, the late
“Bebe” (nee Marie Giordano) Napoleon for 67 years. He was a loving father to
Jeanine and her husband Steve Goldman, and to Marty Jr. and his wife Teresa.
He adored his grandchildren Cherie Napoleon Goldman, Todd Goldman, Marty
Warren Napoleon and Brent Napoleon, as they adored him. (Brent was instru-
mental in helping his grandfather put together all his biographical notes for a
book.) He was also the cherished great-grandfather of Alexander Napoleon Inoa.
The world will miss this amazing talent.
His friends and family will miss this amazing man.
=====================================
** St Louis Blues – Marty Napoleon 1982.mov (https://www.youtube.com/watch?v=OJu29nuiNpQ)
————————————————————
~~~~~~~~~~~~~~~~~~~~~
Phil Stern
philstern5@aol.com (mailto:philstern5@aol.com)
516-209-1437
The Sidney Bechet Society
www.sidneybechet.org (http://www.sidneybechet.org/)
~~~~~~~~~~~~~~~~~~~~~
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=3098ffdf31) | 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=3098ffdf31&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
Live: Slim Gaillard on The Flip Wilson Show – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=thA6nULIiew
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=a845489780) | 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=a845489780&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
Live: Slim Gaillard on The Flip Wilson Show – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=thA6nULIiew
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=a845489780) | 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=a845489780&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Live: Slim Gaillard on The Flip Wilson Show – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=thA6nULIiew
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=a845489780) | 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=a845489780&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
Live: Slim Gaillard on The Flip Wilson Show – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=thA6nULIiew
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)
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Art Ford Jazz Party 1958 Harry Sheppard – YouTube
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Harry Sheppard’s on Facebook (https://www.facebook.com/malletkat/videos) …
Send him a friendly hello.
https://www.youtube.com/watch?v=FjjbSgGDHAE
9/25/1958 N.J. WNTA-TV&bc Art Ford Jazz Party – Charlie Shavers (t,v) J.C.Higginbotham (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Lester Young (*ts) Willie”The Lion”Smith (p) Harry Sheppard (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v) George Wettling (d added on -15), all on JCH-CD-8 / 5-9 & 13&14 on DVD-33a
https://www.youtube.com/watch?v=FjjbSgGDHAE
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Art Ford Jazz Party 1958 Harry Sheppard – YouTube
http://www.jazzpromoservices.com/
Harry Sheppard’s on Facebook (https://www.facebook.com/malletkat/videos) …
Send him a friendly hello.
https://www.youtube.com/watch?v=FjjbSgGDHAE
9/25/1958 N.J. WNTA-TV&bc Art Ford Jazz Party – Charlie Shavers (t,v) J.C.Higginbotham (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Lester Young (*ts) Willie”The Lion”Smith (p) Harry Sheppard (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v) George Wettling (d added on -15), all on JCH-CD-8 / 5-9 & 13&14 on DVD-33a
https://www.youtube.com/watch?v=FjjbSgGDHAE
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Art Ford Jazz Party 1958 Harry Sheppard – YouTube
http://www.jazzpromoservices.com/
Harry Sheppard’s on Facebook (https://www.facebook.com/malletkat/videos) …
Send him a friendly hello.
https://www.youtube.com/watch?v=FjjbSgGDHAE
9/25/1958 N.J. WNTA-TV&bc Art Ford Jazz Party – Charlie Shavers (t,v) J.C.Higginbotham (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Lester Young (*ts) Willie”The Lion”Smith (p) Harry Sheppard (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v) George Wettling (d added on -15), all on JCH-CD-8 / 5-9 & 13&14 on DVD-33a
https://www.youtube.com/watch?v=FjjbSgGDHAE
This E Mail Is Being Sent by:
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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
Art Ford Jazz Party 1958 Harry Sheppard – YouTube
http://www.jazzpromoservices.com/
Harry Sheppard’s on Facebook (https://www.facebook.com/malletkat/videos) …
Send him a friendly hello.
https://www.youtube.com/watch?v=FjjbSgGDHAE
9/25/1958 N.J. WNTA-TV&bc Art Ford Jazz Party – Charlie Shavers (t,v) J.C.Higginbotham (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Lester Young (*ts) Willie”The Lion”Smith (p) Harry Sheppard (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v) George Wettling (d added on -15), all on JCH-CD-8 / 5-9 & 13&14 on DVD-33a
https://www.youtube.com/watch?v=FjjbSgGDHAE
This E Mail Is Being Sent by:
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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)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c90d0b7835) | 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=c90d0b7835&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Marty Napoleon RIP
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
This E Mail Is Being Sent by:
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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)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Marty Napoleon RIP
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
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=2f812f4adf) | 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=2f812f4adf&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
Marty Napoleon RIP
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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Marty Napoleon RIP
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
This E Mail Is Being Sent by:
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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)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2f812f4adf) | 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=2f812f4adf&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time – The Washington Post
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
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=983f3be160) | 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=983f3be160&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time – The Washington Post
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
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)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=983f3be160) | 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=983f3be160&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time – The Washington Post
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
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)
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A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time – The Washington Post
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
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A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time – The Washington Post
http://www.jazzpromoservices.com/
http://www.washingtonpost.com/news/morning-mix/wp/2015/04/22/watch-102-year-old-harlem-renaissance-dancer-sees-herself-on-film-for-the-first-time/
** A 102-year-old Harlem Renaissance dancer sees her young self on film for the first time
————————————————————
A 102-year-old Harlem Renaissance dancer watched her young self on film for the first time performing in dance clubs in the 1930s and 1940s. (Tenfresh)
It has been decades since Alice Barker last danced on a stage. But after the 102-year-old finally saw video footage of her glory days performing in dance clubs in the 1930s and 1940s, she wanted to get out of her bed to do it all over again.
The remarkable moment was made possible thanks to director David Shuff; the nursing home’s recreational director, Gail Campbell; and the Celluloid Improvisations Music Film Archive (http://jazz-on-film.com/) ‘s Mark Cantor, who found footage of Barker that had been filed under the name “Baker.”
Lying in her Brooklyn nursing home room, Barker sat back and watched the video on an iPad, seeing her younger self on film for the very first time.
The video, posted on YouTube this week, was filmed in the fall of 2014. (Barker is still alive and well, Shuff says.)
“Making me wish that I could get out of this bed and do it all over again,” Barker said when asked how she felt while watching the footage.
[The women over 100 who say staying single is a key to their longevity (http://www.washingtonpost.com/news/morning-mix/wp/2015/02/19/the-women-over-100-who-say-staying-single-is-a-key-to-their-longevity/) ]
She remembered some things vividly: the singers, their songs but mostly, the feeling of being carried away in the music.
“I used to often say to myself, ‘I am being paid to do something that I enjoy doing and I would do it for free, because it just felt so good doing it,” Barker said. “Because that music, you know, I just get carried away in it.”
On Reddit (https://www.reddit.com/r/videos/comments/33dvcr/102_yo_dancer_sees_herself_on_film_for_the_first/) , where the video has garnered thousands of comments, Shuff said that he has known Barker for years and had hoped to be able to find the videos and share them with her.
“I knew Alice for several years — my dog is a therapy dog and we visited her nursing home — the recreation nurse and I always talked about how amazing it would be to find her films and show her,” Shuff said. “And we finally were able to.”
In an interview with the Washington Post, Shuff said that the process of tracking down the video took almost three years of searching.
“Being that she has no family, never had kids, all of her memorabilia has kind of been lost in the shuffle,” said Shuff, who now lives in California. “We didn’t have a photo of her or anything. Nothing at all.”
But after months of digging they had a breakthrough. They discovered that films, called “soundies,” were short music videos of their time and they would have been be recorded in night clubs, where Barker likely danced.
Cantor, it turned out, had a collection of those archived soundies. And he was able to find evidence of three soundies that included a “Ms. Baker.”
Shuff watched the videos and knew the search was over.
“I was like holy s*** that’s her, that’s totally her,” he said.
[Minnesota’s oldest woman had to lie about her age to sign up for Facebook (http://www.washingtonpost.com/news/post-nation/wp/2014/10/10/minnesotas-oldest-woman-had-to-lie-about-her-age-to-sign-up-for-facebook/) ]
Soon after, he brought his iPad to the nursing home to show his friend. Realizing that the moment should probably be recorded for “posterity,” asked someone to record the video on a cellphone.
“In this case, I’m neither a documentarian nor a producer, just a dude who brings his dog to the nursing home to visit with people, and a friend of Alice’s,” Shuff said on Reddit. “Shooting this at all was an afterthought.”
[A 65-year-old mother of 13 is pregnant with quadruplets (http://www.washingtonpost.com/news/morning-mix/wp/2015/04/13/a-65-year-old-mother-of-13-is-pregnant-with-quadruplets/) ]
The public reaction to the video came as a surprise, Shuff said. But he is encouraging all of Barker’s admirers to consider sending her “fan mail” to the Bishop Henry B. Hucles Episcopal Nursing Home. (https://www.youtube.com/watch?list=PLUgRTD1mpwSXbaOTCPcGb5znT10fgVmMm&v=bktozJWbLQg)
“What’s awesome is that she definitely found this whole thing super invigorating,” Shuff said. “She love seeing them and seeing herself in them.”
Barker danced at clubs such as the Apollo, the Cotton Club and the Zanzibar Club, and her dancing appeared in movies, commercials and television shows and with stars like Frank Sinatra, Gene Kelly and Bill “Bojangles” Robinson, according to Shuff.
Asked how many years she danced during that time, Barker touched her hand to her chest and replied, “Oh, that’s all I ever did.”
“That was it,” she said.
[This post has been updated.]
This E Mail Is Being Sent by:
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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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SONNY ROLLINS Sax and Sky – NYTimes.com APRIL 23, 2015
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/26/magazine/sax-and-sky.html?ref=magazine
** Sax and Sky
————————————————————
SONNY ROLLINSAPRIL 23, 2015
Photo
Lower East Side: The Williamsburg Bridge, viewed from an F.D.R. Drive pedestrian overpass. Credit Dolly Faibyshev for The New York Times
In the late 1950s, I moved into a loft on Grand Street between Clinton and Suffolk. I used to go to Ratner’s to pick up pastries for my wife, Lucille. On her way home from work, she used to visit a man named Izzy and his wife, who ran a pickle store on Suffolk near Grand. We bought our chickens at a kosher butcher next door. We were welcomed on the Lower East Side, as an interracial couple. The rest of the world isn’t like that. That’s a special place.
The problem was that I had no place to practice. My neighbor on Grand Street was the drummer Frankie Dunlop, and his wife was pregnant. The horn I’m playing, it’s loud. I felt really guilty. One day I was on Delancey Street, and I walked up the steps to the Williamsburg Bridge and came to this big expanse. Nobody was there, and it was beautiful. I went to the bridge to practice just about every day for two years. I would walk north from Grand Street, two blocks up to Delancey Street, and then from Delancey Street down to the entrance of the bridge. Playing against the sky really does improve your volume, and your wind capacity. I could have just stayed up there forever. But Lucille was supporting us, and I had to go back to work. You can’t be in heaven and on earth at the same time.
** More Walks
————————————————————
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SONNY ROLLINS Sax and Sky – NYTimes.com APRIL 23, 2015
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/26/magazine/sax-and-sky.html?ref=magazine
** Sax and Sky
————————————————————
SONNY ROLLINSAPRIL 23, 2015
Photo
Lower East Side: The Williamsburg Bridge, viewed from an F.D.R. Drive pedestrian overpass. Credit Dolly Faibyshev for The New York Times
In the late 1950s, I moved into a loft on Grand Street between Clinton and Suffolk. I used to go to Ratner’s to pick up pastries for my wife, Lucille. On her way home from work, she used to visit a man named Izzy and his wife, who ran a pickle store on Suffolk near Grand. We bought our chickens at a kosher butcher next door. We were welcomed on the Lower East Side, as an interracial couple. The rest of the world isn’t like that. That’s a special place.
The problem was that I had no place to practice. My neighbor on Grand Street was the drummer Frankie Dunlop, and his wife was pregnant. The horn I’m playing, it’s loud. I felt really guilty. One day I was on Delancey Street, and I walked up the steps to the Williamsburg Bridge and came to this big expanse. Nobody was there, and it was beautiful. I went to the bridge to practice just about every day for two years. I would walk north from Grand Street, two blocks up to Delancey Street, and then from Delancey Street down to the entrance of the bridge. Playing against the sky really does improve your volume, and your wind capacity. I could have just stayed up there forever. But Lucille was supporting us, and I had to go back to work. You can’t be in heaven and on earth at the same time.
** More Walks
————————————————————
This E Mail Is Being Sent by:
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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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SONNY ROLLINS Sax and Sky – NYTimes.com APRIL 23, 2015
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/26/magazine/sax-and-sky.html?ref=magazine
** Sax and Sky
————————————————————
SONNY ROLLINSAPRIL 23, 2015
Photo
Lower East Side: The Williamsburg Bridge, viewed from an F.D.R. Drive pedestrian overpass. Credit Dolly Faibyshev for The New York Times
In the late 1950s, I moved into a loft on Grand Street between Clinton and Suffolk. I used to go to Ratner’s to pick up pastries for my wife, Lucille. On her way home from work, she used to visit a man named Izzy and his wife, who ran a pickle store on Suffolk near Grand. We bought our chickens at a kosher butcher next door. We were welcomed on the Lower East Side, as an interracial couple. The rest of the world isn’t like that. That’s a special place.
The problem was that I had no place to practice. My neighbor on Grand Street was the drummer Frankie Dunlop, and his wife was pregnant. The horn I’m playing, it’s loud. I felt really guilty. One day I was on Delancey Street, and I walked up the steps to the Williamsburg Bridge and came to this big expanse. Nobody was there, and it was beautiful. I went to the bridge to practice just about every day for two years. I would walk north from Grand Street, two blocks up to Delancey Street, and then from Delancey Street down to the entrance of the bridge. Playing against the sky really does improve your volume, and your wind capacity. I could have just stayed up there forever. But Lucille was supporting us, and I had to go back to work. You can’t be in heaven and on earth at the same time.
** More Walks
————————————————————
This E Mail Is Being Sent by:
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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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Bernard Stollman, Record Label Founder, Dies at 85 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/23/arts/music/bernard-stollman-record-label-founder-dies-at-85.html?emc=edit_tnt_20150423
** Bernard Stollman, Record Label Founder, Dies at 85
————————————————————
Photo
Bernard Stollman CreditSandra Stollman
Bernard Stollman, whose staunchly independent record label, ESP-Disk, provided an indispensable chronicle of the free jazz of the 1960s, and a series of provocations from the psychedelic counterculture, died on Monday in Great Barrington, Mass. He was 85.
The case was heart failure related to complications of prostate cancer, his brother Steve said.
A lawyer by training (https://www.youtube.com/watch?v=H69a3EY9Kko) , Mr. Stollman operated as a tenacious outsider to the music business — one thing he had in common with the artists he recorded. The jazz avant-garde of the mid-to-late-’60s, a searching music of political and often spiritual urgency, had few champions in the record industry, and ESP-Disk filled a void just as the movement reached its peak.
Some of the label’s releases are regarded as avant-garde classics, including “Spiritual Unity (https://www.youtube.com/watch?v=xWsIG5sNq1Q) ,” by the tenor saxophonist Albert Ayler; “The Heliocentric Worlds of Sun Ra,” in two volumes; and the self-titled debut album by the New York Art Quartet.
Among the many other uncompromising musicians who recorded for ESP-Disk were the saxophonists Pharoah Sanders, Frank Wright, Giuseppi Logan and Marion Brown; the singer Patty Waters; the pianists Paul Bley, Ran Blake and Burton Greene; and the drummers Sunny Murray and Milford Graves.
Photo
“The Heliocentric Worlds of Sun Ra” is regarded as an avant-garde classic. CreditESP-Disk
At the same time, as a reflection of Mr. Stollman’s interests, ESP-Disk was home to a clutch of underground folk and rock bands — the Fugs, Pearls Before Swine, the Holy Modal Rounders, the Godz, Cromagnon — that pushed against social conventions. A similar spirit extended to several spoken-word albums on the label, including “Turn On, Tune In, Drop Out,” by Timothy Leary, and “Call Me Burroughs,” by the novelist William S. Burroughs.
“I didn’t want ESP to be a niche label,” Mr. Stollman explained in “Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America,” by Jason Weiss, published in 2012 by Wesleyan University Press. “Art is anarchistic, and when it becomes categorized, it loses impact. I wanted people who were innovative and inspirational.”
Mr. Stollman prided himself on a hands-off policy with regard to the music’s creation: “The artists alone decide what you hear on their ESP-Disk,” read a slogan on the record sleeves. But he also developed a reputation for not paying his artists fairly. In her book “As Serious as Your Life: The Story of the New Jazz” (1977), Valerie Wilmer wrote that “as far as many of the new musicians were concerned, Bernard Stollman became simultaneously the most hated and most needed man in the recording industry.”
More damning commentary came from some of the label’s nonjazz musicians, like Peter Stampfel of the Holy Modal Rounders and Ed Sanders of the Fugs, who wrote in his 2011 book, “Fug You (http://www.nytimes.com/2012/01/12/books/fug-you-by-ed-sanders-review.html) ,” about “a strange, shackling contract” whose flat royalty rate of 25 cents per album amounted to “one of the lower percentages in the history of Western civilization.”
Tom Rapp, the singer-songwriter behind Pearls Before Swine — whose 1967 debut album, “One Nation Underground,” was said to have sold roughly 200,000 copies — said in Mr. Weiss’s book that the band had never received any money from the label.
Continue reading the main story
Mr. Stollman told Mr. Weiss, “The records themselves were not ever — for any of the artists — deemed to be a significant source of earnings.” He characterized the albums instead as “a vehicle for promotion.”
He also insisted that the label’s antiwar and iconoclastic output had made it a target of the F.B.I.’s Cointelpro program, which he said worked with the main record-pressing plant of ESP-Disk to bootleg the label’s titles and undermine its profits. Mr. Rapp, familiar with this theory, said it was likelier that Mr. Stollman had been abducted by aliens.
But other ESP-Disk artists defended Mr. Stollman.
Photo
“Spiritual Unity” by Albert Ayler Trio CreditESP-Disk
“Even if they didn’t pay much,” the saxophonist Gato Barbieri said in Mr. Weiss’s book, “ESP made a real effort for musicians to have the chance to play. And I consider that a good thing.”
Mr. Stollman was born on July 19, 1929, in New Brunswick, N.J. His parents, David Stollman and the former Julia Friedman, had both immigrated from Poland in 1920; they met in the balcony of a Yiddish theater on the Lower East Side.
Soon after the birth of Bernard, they moved to Plattsburgh, N.Y., on Lake Champlain, where they established a successful dry-goods store and raised their family. Mr. Stollman is survived by three brothers, Saul, Murray and Steve; and two sisters, Shirley Berman and Sandra Stollman.
His marriage ended in divorce.
Mr. Stollman attended Columbia University and Columbia Law School, and served in the Army during the armistice phase of the Korean War. After his service he began practicing law, stumbling upon work for the estates of Charlie Parker and Billie Holiday, and helping living musicians, like the trumpeter Dizzy Gillespie and the songwriter Otis Blackwell, on publishing.
But Mr. Stollman didn’t consider running a record label until hearing Mr. Ayler in a Harlem club in 1963, a moment he often recalled in terms suggestive of a conversion story. Mr. Stollman had previously released one album, “Ni Kantu en Esperanto,” a byproduct of his involvement in the universal-language movement known as Esperanto; he called the label ESP-Disk, short for Esperanto Disko. The unintended connotation of extrasensory perception perfectly suited the label’s identity, from the moment Mr. Stollman recorded its second release, Mr. Ayler’s “Spiritual Unity.”
In its original incarnation, ESP-Disk lasted just a decade, and for half that time Mr. Stollman kept it going mainly with funds from his inheritance. After its demise, he returned to practicing law and later worked as an assistant attorney general of New York — “one of 600,” he said in a 2013 interview — based in Manhattan.
The second life of ESP-Disk began with a spate of reissues in Europe and Japan, and gathered momentum when Mr. Stollman struck a licensing deal with the German dance-music label ZYX, which began reissuing the label’s catalog on CD in the early 1990s. A new wave of public interest led Mr. Stollman and others to revive the label formally in 2007, with a Brooklyn office and a program of reissues and new releases by artists like the guitarist Joe Morris.
Part of the label’s rehabilitation involved an adjustment to its royalty rates, though Mr. Stollman always characterized its legacy as honorable. “If you look at it as something different — as a commitment, a calling, an obsession — no, I didn’t make mistakes,” he said to Mr. Weiss. “To regard it as a business would have been preposterous.”
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Scott Wenzel and Ricky Riccardi: IJS Roundtable on Louis “Satchmo” Armstrong, 4-29-15 Institute of Jazz Studies
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Please join us on April 29, 2015 at 7:00 PM when the Institute of Jazz Studies presents a Research Roundtable entitled: The Making of The Columbia and RCA Victor Live Recordings of Louis Armstrong and the All Stars by Scott Wenzel and Ricky Riccardi.
Scott Wenzel and Ricky Riccardi will go through the trials and tribulations of getting the licensing, finding original sources, engineering and correcting the many discographical errors involved with this Mosaic project of Armstrong live recordings from 1947 through 1958. Riccardi will begin the talk by recounting his very comical presentation of how he, for 5 years or so, begged Wenzel to release this music on Mosaic. There will be a number of interesting visual and audio examples.
Scott Wenzel is a record producer for the jazz label Mosaic Records which specializes in re-issues on both LP and CD. Born and raised in Rye, NY, Scott began his love of music at an early age and by the time he was 5 he was fascinated with records and began to collect 78s of any genre. As a pre-teen he briefly studied piano and then switched to clarinet and eventually added alto saxophone to his studies. After graduation from college, Wenzel became a DJ with the full time jazz station WYRS (later to become WJAZ) in Stamford, Ct. from 1984-1990. It was while reading a NY Times record review on a Mosaic set of Sidney Bechet’s Blue Note recordings, that Scott called and asked the label’s owners Charlie Lourie and Michael Cuscuna if there were any job positions available and in 1987 he became this mail-order company’s fourth full time employee, eventually becoming one of their reissue producers. Wenzel is also a Grammy Award nominee in the Best Historical Issue category for the
production of three sets. He has also been nominated for a number of Jazz Journalist Association awards and has won in the Best Historical Boxed Set category. He was one of the consultants on the PBS documentary Ken Burns Jazz and has written liner notes for various CDs.
Ricky Riccardi is the archivist at the Louis Armstrong House Museum in Queens and a foremost Louis Armstrong scholar. He is a jazz pianist and the author of What a Wonderful World: The Magic of Louis Armstrong’s Later Years. After graduating from high school in 1999, Riccardi attended Ocean County College for two years. “Just using books, magazines, liner notes and other materials in my own collection, I wrote 125 pages on Armstrong’s later years…I also became editor-in-chief of the OCC weekly newspaper and gave myself a jazz column, winning a few statewide awards for articles about Armstrong.” After graduating from Ocean County College, Riccardi earned a Bachelor’s degree in journalism from Rutgers University and his Master’s degree in jazz history in 2005. His Master’s thesis on Louis Armstrong’s later years became the basis for his book. 2009 turned out to be a pivotal year for Ricky Riccardi. The Louis Armstrong House Museum was looking for an archivist to work on a
two-year grant specifically to preserve, arrange and catalog the monumental Jack Bradley Collection that consisted of mostly Louis Armstrong artifacts. He was hired for the grant and was retained after the grant period was over. Riccardi wrote the liner notes and assisted Scott Wenzel in the production of Mosaic’s The Columbia and RCA Victor Live Recordings of Louis Armstrong and the All Stars.
FREE AND OPEN TO THE PUBLIC
LOCATION: Dana Room of the John Cotton Dana Library, Rutgers University-Newark.
For directions to Rutgers:
—
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Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)
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The Man Who Broke the Music Business – The New Yorker
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http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business?mbid=nl_042115_Daily
** The Man Who Broke the Music Business
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http://www.newyorker.com/wp-content/uploads/2015/04/150427_r26438-866.jpgDell Glover manufactured CDs for a living, but he began to wonder: if the MP3 was just as good, why bother with the CD? Credit Photograph by Jehad Nga
One Saturday in 1994, Bennie Lydell Glover, a temporary employee at the PolyGram compact-disk manufacturing plant in Kings Mountain, North Carolina, went to a party at the house of a co-worker. He was angling for a permanent position, and the party was a chance to network with his managers. Late in the evening, the host put on music to get people dancing. Glover, a fixture at clubs in Charlotte, an hour away, had never heard any of the songs before, even though many of them were by artists whose work he enjoyed.
Later, Glover realized that the host had been d.j.’ing with music that had been smuggled out of the plant. He was surprised. Plant policy required all permanent employees to sign a “No Theft Tolerated” agreement. He knew that the plant managers were concerned about leaking, and he’d heard of employees being arrested for embezzling inventory. But at the party, even in front of the supervisors, it seemed clear that the disks had been getting out. In time, Glover became aware of a far-reaching underground trade in pre-release disks. “We’d run them in the plant in the week, and they’d have them in the flea markets on the weekend,” he said. “It was a real leaky plant.”
The factory sat on a hundred acres of woodland and had more than three hundred thousand square feet of floor space. It ran shifts around the clock, every day of the year. New albums were released in record stores on Tuesdays, but they needed to be pressed, packaged, and shrink-wrapped weeks in advance. On a busy day, the plant produced a quarter of a million CDs. Its lineage was distinguished: PolyGram was a division of the Dutch consumer-electronics giant Philips, the co-inventor of the CD.
One of Glover’s co-workers was Tony Dockery, another temporary hire. The two worked opposite ends of the shrink-wrapping machine, twelve feet apart. Glover was a “dropper”: he fed the packaged disks into the machine. Dockery was a “boxer”: he took the shrink-wrapped jewel cases and stacked them in a cardboard box for shipping. The jobs paid about ten dollars an hour.
Glover and Dockery soon became friends. They lived in the same town, Shelby, and Glover started giving Dockery a ride to work. They liked the same music. They made the same money. Most important, they were both fascinated by computers, an unusual interest for two working-class Carolinians in the early nineties—the average Shelbyite was more likely to own a hunting rifle than a PC. Glover’s father had been a mechanic, and his grandfather, a farmer, had moonlighted as a television repairman. In 1989, when Glover was fifteen, he went to Sears and bought his first computer: a twenty-three-hundred-dollar PC clone with a one-color monitor. His mother co-signed as the guarantor on the layaway plan. Tinkering with the machine, Glover developed an expertise in hardware assembly, and began to earn money fixing the computers of his friends and neighbors.
By the time of the party, he’d begun to experiment with the nascent culture of the Internet, exploring bulletin-board systems and America Online. Soon, Glover also purchased a CD burner, one of the first produced for home consumers. It cost around six hundred dollars. He began to make mixtapes of the music he already owned, and sold them to friends. “There was a lot of people down my way selling shoes, pocketbooks, CDs, movies, and fencing stolen stuff,” he told me. “I didn’t think they’d ever look at me for what I was doing.” But the burner took forty minutes to make a single copy, and business was slow.
Glover began to consider selling leaked CDs from the plant. He knew a couple of employees who were smuggling them out, and a pre-release album from a hot artist, copied to a blank disk, would be valuable. (Indeed, recording executives at the time saw this as a key business risk.) But PolyGram’s offerings just weren’t that good. The company had a dominant position in adult contemporary, but the kind of people who bought knockoff CDs from the trunk of a car didn’t want Bryan Adams and Sheryl Crow. They wanted Jay Z, and the plant didn’t have it.
By 1996, Glover, who went by Dell, had a permanent job at the plant, with higher pay, benefits, and the possibility of more overtime. He began working double shifts, volunteering for every available slot. “We wouldn’t allow him to work more than six consecutive days,” Robert Buchanan, one of his former managers, said. “But he would try.”
The overtime earnings funded new purchases. In the fall of 1996, Hughes Network Systems introduced the country’s first consumer-grade broadband satellite Internet access. Glover and Dockery signed up immediately. The service offered download speeds of up to four hundred kilobits per second, seven times that of even the best dial-up modem.
Glover left AOL behind. He soon found that the real action was in the chat rooms. Internet Relay Chat networks tended to be noncommercial, hosted by universities and private individuals and not answerable to corporate standards of online conduct. You created a username and joined a channel, indicated by a pound sign: #politics, #sex, #computers. Glover and Dockery became chat addicts; sometimes, even after spending the entire day together, they hung out in the same chat channel after work. On IRC, Dockery was St. James, or, sometimes, Jah Jah. And Glover was ADEG, or, less frequently, Darkman. Glover did not have a passport and hardly ever left the South, but IRC gave him the opportunity to interact with strangers from all over the world.
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Also, he could share files. Online, pirated media files were known as “warez,” from “software,” and were distributed through a subculture dating back to at least 1980, which called itself the Warez Scene. The Scene was organized in loosely affiliated digital crews, which raced one another to be the first to put new material on the IRC channel. Software was often available on the same day that it was officially released. Sometimes it was even possible, by hacking company servers, or through an employee, to pirate a piece of software before it was available in stores. The ability to regularly source pre-release leaks earned one the ultimate accolade in digital piracy: to be among the “elite.”
By the mid-nineties, the Scene had moved beyond software piracy into magazines, pornography, pictures, and even fonts. In 1996, a Scene member with the screen name NetFraCk started a new crew, the world’s first MP3 piracy group: Compress ’Da Audio, or CDA, which used the newly available MP3 standard, a format that could shrink music files by more than ninety per cent. On August 10, 1996, CDA released to IRC the Scene’s first “officially” pirated MP3: “Until It Sleeps,” by Metallica. Within weeks, there were numerous rival crews and thousands of pirated songs.
Glover’s first visit to an MP3-trading chat channel came shortly afterward. He wasn’t sure what an MP3 was or who was making the files. He simply downloaded software for an MP3 player, and put in requests for the bots of the channel to serve him files. A few minutes later, he had a small library of songs on his hard drive.
One of the songs was Tupac Shakur’s “California Love,” the hit single that had become inescapable after Tupac’s death, several weeks earlier, in September, 1996. Glover loved Tupac, and when his album “All Eyez on Me” came through the PolyGram plant, in a special distribution deal with Interscope Records, he had even shrink-wrapped some of the disks. Now he played the MP3 of “California Love.” Roger Troutman’s talk-box intro came rattling through his computer speakers, followed by Dr. Dre’s looped reworking of the piano hook from Joe Cocker’s “Woman to Woman.” Then came Tupac’s voice, compressed and digitized from beyond the grave, sounding exactly as it did on the CD.
At work, Glover manufactured CDs for mass consumption. At home, he had spent more than two thousand dollars on burners and other hardware to produce them individually. His livelihood depended on continued demand for the product. But Glover had to wonder: if the MP3 could reproduce Tupac at one-eleventh the bandwidth, and if Tupac could then be distributed, free, on the Internet, what the hell was the point of a compact disk?
In 1998, Seagram Company announced that it was purchasing PolyGram from Philips and merging it with the Universal Music Group. The deal comprised the global pressing and distribution network, including the Kings Mountain plant. The employees were nervous, but management told them not to worry; the plant wasn’t shutting down—it was expanding. The music industry was enjoying a period of unmatched profitability, charging more than fourteen dollars for a CD that cost less than two dollars to manufacture. The executives at Universal thought that this state of affairs was likely to continue. In the prospectus that they filed for the PolyGram acquisition, they did not mention the MP3 among the anticipated threats to the business.
The production lines were upgraded to manufacture half a million CDs a day. There were more shifts, more overtime hours, and more music. Universal, it seemed, had cornered the market on rap. Jay Z, Eminem, Dr. Dre, Cash Money—Glover packaged the albums himself.
Six months after the merger, Shawn Fanning, an eighteen-year-old college dropout from Northeastern University, débuted a public file-sharing platform he had invented called Napster. Fanning had spent his adolescence in the same IRC underground as Glover and Dockery, and was struck by the inefficiency of its distribution methods. Napster replaced IRC bots with a centralized “peer-to-peer” server that allowed people to swap files directly. Within a year, the service had ten million users.
Before Napster, a leaked album had caused only localized damage. Now it was a catastrophe. Universal rolled out its albums with heavy promotion and expensive marketing blitzes: videos, radio spots, television campaigns, and appearances on late-night TV. The availability of pre-release music on the Internet interfered with this schedule, upsetting months of work by publicity teams and leaving the artists feeling betrayed.
Even before Napster’s launch, the plant had begun to implement a new anti-theft regimen. Steve Van Buren, who managed security at the plant, had been pushing for better safeguards since before the Universal merger, and he now instituted a system of randomized searches. Each employee was required to swipe a magnetized identification card upon leaving the plant. Most of the time, a green light appeared and the employee could leave. Occasionally, though, the card triggered a red light, and the employee was made to stand in place as a security guard ran a wand over his body, searching for the thin aluminum coating of a compact disk.
Van Buren succeeded in getting some of the flea-market bootleggers shut down. Plant management had heard of the technician who had been d.j.’ing parties with pre-release music, and Van Buren requested that he take a lie-detector test. The technician failed, and was fired. Even so, Glover’s contacts at the plant could still reliably get leaked albums. One had even sneaked out an entire manufacturing spindle of three hundred disks, and was selling them for five dollars each. But this was an exclusive trade, and only select employees knew who was engaged in it.
By this time, Glover had built a tower of seven CD burners, which stood next to his computer. He could produce about thirty copies an hour, which made bootlegging more profitable, so he scoured the other underground warez networks for material to sell: PlayStation games, PC applications, MP3 files—anything that could be burned to a disk and sold for a few dollars.
He focussed especially on movies, which fetched five dollars each. New compression technology could shrink a feature film to fit on a single CD. The video quality was poor, but business was brisk, and soon he was buying blank CDs in bulk. He bought a label printer to catalogue his product, and a color printer to make mockups of movie posters. He filled a black nylon binder with images of the posters, and used it as a sales catalogue. He kept his inventory in the trunk of his Jeep and sold the movies out of his car.
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Glover still considered it too risky to sell leaked CDs from the plant. Nevertheless, he enjoyed keeping up with current music, and the smugglers welcomed him as a customer. He was a permanent employee with no rap sheet and an interest in technology, but outside the plant he had a reputation as a roughrider. He owned a Japanese street-racing motorcycle, which he took to Black Bike Week, in Myrtle Beach. He had owned several handguns, and on his forearm was a tattoo of the Grim Reaper, walking a pit bull on a chain.
His co-worker Dockery, by contrast, was a clean-cut churchgoer, and too square for the smugglers. But he had started bootlegging, too, and he pestered Glover to supply him with leaked CDs. In addition, Dockery kept finding files online that Glover couldn’t: movies that were still in theatres, PlayStation games that weren’t scheduled to be released for months.
For a while, Glover traded leaked disks for Dockery’s software and movies. But eventually he grew tired of acting as Dockery’s courier, and asked why the disks were so valuable. Dockery invited him to his house one night, where he outlined the basics of the warez underworld. For the past year or so, he’d been uploading the pre-release leaks Glover gave him to a shadowy network of online enthusiasts. This was the Scene, and Dockery, on IRC, had joined one of its most élite groups: Rabid Neurosis, or RNS. (Dockery declined to comment for this story.)
Instead of pirating individual songs, RNS was pirating entire albums, bringing the pre-release mentality from software to music. The goal was to beat the official release date whenever possible, and that meant a campaign of infiltration against the major labels.
The leader of RNS went by the handle Kali. He was a master of surveillance and infiltration, the Karla of music piracy. It seemed that he spent hours each week researching the confusing web of corporate acquisitions and pressing agreements that determined where and when CDs would be manufactured. With this information, he built a network of moles who, in the next eight years, managed to burrow into the supply chains of every major music label. “This stuff had to be his life, because he knew about all the release dates,” Glover said.
Dockery—known to Kali as St. James—was his first big break. According to court documents, Dockery encountered several members of RNS in a chat room, including Kali. Here he learned of the group’s desire for pre-release tracks. He soon joined RNS and became one of its best sources. But, when his family life began to interfere, he proposed that Glover take his place.
Glover hesitated: what was in it for him?
He learned that Kali was a gatekeeper to the secret “topsite” servers that formed the backbone of the Scene. The ultra-fast servers contained the best pirated media of every form. The Scene’s servers were well hidden, and log-ons were permitted only from pre-approved Internet addresses. The Scene controlled its inventory as tightly as Universal did—maybe tighter.
If Glover was willing to upload smuggled CDs from the plant to Kali, he’d be given access to these topsites, and he’d never have to pay for media again. He could hear the new Outkast album weeks before anyone else did. He could play Madden NFL on his PlayStation a month before it became available in stores. And he could get the same movies that had allowed Dockery to beat him as a bootlegger.
Dockery arranged a chat-room session for Glover and Kali, and the two exchanged cell-phone numbers. In their first call, Glover mostly just listened. Kali spoke animatedly, in a patois of geekspeak, California mellow, and slang borrowed from West Coast rap. He loved computers, but he also loved hip-hop, and he knew all the beefs, all the disses, and all the details of the feuds among artists on different labels. He also knew that, in the aftermath of the murders of Tupac and the Notorious B.I.G., those feuds were dying down. Def Jam, Cash Money, and Interscope had all signed distribution deals with Universal. Kali’s research kept taking him back to the Kings Mountain plant.
He and Glover hashed out the details of their partnership. Kali would track the release dates of upcoming albums and tell Glover which material he was interested in. Glover would acquire smuggled CDs from the plant. He would then rip the leaked CDs to the MP3 format and, using encrypted channels, send them to Kali’s home computer. Kali packaged the MP3s according to the Scene’s exacting technical standards and released them to its topsites.
The deal sounded good to Glover, but to fulfill Kali’s requests he’d have to get new albums from the plant much more frequently, three or four times a week. This would be difficult. In addition to the randomized search gantlet, a fence had been erected around the parking lot. Emergency exits set off alarms. Laptop computers were forbidden in the plant, as were stereos, portable players, boom boxes, and anything else that might accept and read a CD.
Every once in a while, a marquee release would come through—“The Eminem Show,” say, or Nelly’s “Country Grammar.” It arrived in a limousine with tinted windows, carried from the production studio in a briefcase by a courier who never let the master tape out of his sight. When one of these albums was pressed, Van Buren ordered wandings for every employee in the plant.
The CD-pressing machines were digitally controlled, and they generated error-proof records of their output. The shrink-wrapped disks were logged with an automated bar-code scanner. The plant’s management generated a report, tracking which CDs had been printed and which had actually shipped, and any discrepancy had to be accounted for. The plant might now press more than half a million copies of a popular album in a day, but the inventory could be tracked at the level of the individual disk.
Employees like Glover, who worked on the packaging line, had the upper hand when it came to smuggling CDs. Farther down the line and the disks would be bar-coded and logged in inventory; farther up and they wouldn’t have access to the final product. By this time, the packaging line was becoming increasingly complex. The chief advantage of the compact disk over the MP3 was the satisfaction of owning a physical object. Universal was really selling packaging. Album art had become ornate. The disks were gold or fluorescent, the jewel cases were opaque blue or purple, and the album sleeves were thick booklets printed on high-quality paper. Dozens, sometimes hundreds, of extra disks were now being printed for every run, to be used as replacements in case any were damaged during packaging.
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At the end of each shift, employees put the overstock disks into scrap bins. These scrap bins were later taken to a plastics grinder, where the disks were destroyed. Over the years, Glover had dumped hundreds of perfectly good disks into the bins, and he knew that the grinder had no memory and generated no records. If there were twenty-four disks and only twenty-three made it into the grinder’s feed slot, no one in accounting would know.
So, on the way from the conveyor belt to the grinder, an employee could take off his surgical glove while holding a disk. He could wrap the glove around the disk and tie it off. He could then hide the disk, leaving everything else to be destroyed. At the end of his shift, he could return and grab the disk.
That still left the security guards. But here, too, there were options. One involved belt buckles. They were the signature fashion accessories of small-town North Carolina. Many people at the plant wore them—big oval medallions with the Stars and Bars on them. Gilt-leaf plates embroidered with fake diamonds that spelled out the word “boss.” Western-themed cowboy buckles with longhorn skulls and gold trim. The buckles always set off the wand, but the guards wouldn’t ask anyone to take them off.
Hide the disk inside the glove; hide the glove inside a machine; retrieve the glove and tuck it into your waistband; cinch your belt so tight it hurts your bladder; position your oversized belt buckle in front of the disk; cross your fingers as you shuffle toward the turnstile; and, if you get flagged, play it very cool when you set off the wand.
From 2001 on, Glover was the world’s leading leaker of pre-release music. He claims that he never smuggled the CDs himself. Instead, he tapped a network of low-paid temporary employees, offering cash or movies for leaked disks. The handoffs took place at gas stations and convenience stores far from the plant. Before long, Glover earned a promotion, which enabled him to schedule the shifts on the packaging line. If a prized release came through the plant, he had the power to ensure that his man was there.
The pattern of label consolidation had led to a stream of hits at Universal’s factory. Weeks before anyone else, Glover had the hottest albums of the year. He ripped the albums on his PC with software that Kali had sent, and then uploaded the files to him. The two made weekly phone calls to schedule the timing of the leaks.
Glover left the distribution to Kali. Unlike many Scene members, he didn’t participate in technical discussions about the relative merits of constant and variable bit rates. He listened to the CDs, but he often grew bored after only one or two plays. When he was done with a disk, he stashed it in a black duffelbag in his bedroom closet.
By 2002, the duffelbag held more than five hundred disks, including nearly every major release to have come through the Kings Mountain plant. Glover leaked Lil Wayne’s “500 Degreez” and Jay Z’s “The Blueprint.” He leaked Queens of the Stone Age’s “Rated R” and 3 Doors Down’s “Away from the Sun.” He leaked Björk. He leaked Ashanti. He leaked Ja Rule. He leaked Nelly. He leaked Blink-182’s “Take Off Your Pants and Jacket.”
Glover didn’t have access to big-tent mom-rock artists like Celine Dion and Cher. But his albums tended to be the most sought after in the demographic that mattered: generation Eminem. The typical Scene participant was a computer-obsessed male, between the ages of fifteen and thirty. Kali—whose favorite artists included Ludacris, Jay Z, and Dr. Dre—was the perfect example. For Glover, the high point of 2002 came in May, when he leaked “The Eminem Show” twenty-five days before its official release. The leak made its way from the Scene’s topsites to public peer-to-peer networks within hours, and, even though the album became the year’s best-seller, Eminem was forced to bump up its release date.
Every Scene release was accompanied by an NFO (from “info”), an ASCII-art text file that served as the releasing group’s signature tag. NFO files were a way for Scene crews to brag about their scores, shout out important associates, and advertise to potential recruits. Rabid Neurosis NFOs were framed by psychedelic smoke trails emanating from a marijuana leaf at the bottom:
Team Rns Presents
Artist: Eminem
Title: The Eminem Show
Label: Aftermath
Ripper: Team RNS
192 kbps-Rap
1hr 17min total-111.6 mb
Release Date: 2002-06-04
Rip Date: 2002-05-10
The most important line was the rip date, which emphasized the timeliness of the leak. Kali drafted many of the release notes himself, in a sarcastic tone, often taunting rival releasing groups. “The Eminem Show” NFO ended with a question: “Who else did you think would get this?”
Who was Kali? Glover wasn’t sure, but as their relationship evolved he picked up some clues. Kali’s 818 area code was from the Los Angeles region. The voice in the background that Glover sometimes heard on the calls sounded as if it might be Kali’s mother. There was also the marijuana leaf that served as RNS’s official emblem: Glover thought he could tell when Kali was high. Most striking was the exaggerated hip-hop swagger that Kali affected. He only ever referred to Glover as “D.” No one else called him that.
“He would try to talk, like, with a slang,” Glover told me. “Kinda cool, kinda hard.” Glover suspected that Kali wasn’t black, though he sensed that he probably wasn’t white, either.
Glover was not permitted to interact with the other members of the group, not even the one who served as the “ripping coördinator.” His online handle was RST, and his name was Simon Tai. A second-generation Chinese immigrant, Tai was brought up in Southern California before arriving at the University of Pennsylvania, in 1997. As a freshman with a T1 Internet connection, he’d been in awe of RNS. After hanging around in the chat channel for nearly a year, he was asked to join.
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He also applied for a slot as a d.j. at the school’s radio station. For two years, Kali cultivated Tai’s interest in rap music and told him to make connections with the promotional people at various labels. In 2000, Tai, now a senior at Penn, was promoted to music director at the station and given a key to the office, where he had access to the station’s promo disks. Every day, he checked the station’s mail; when something good came in, he raced back to his dorm room to upload it. Beating rival Scene crews was sometimes a matter of seconds.
Tai scored two major leaks that year, Ludacris’s “Back for the First Time” and Outkast’s “Stankonia.” With his Scene credentials established, for the next two years Tai managed RNS’s roster of leakers. Along with Kali, he tracked the major labels’ distribution schedules and directed his sources to keep an eye out for certain albums.
To find the albums, RNS had international contacts at every level, who went by anonymous online handles. According to court testimony and interviews with Scene members, there were the radio d.j.s: BiDi, in the South; DJ Rhino, in the Midwest. There was the British music journalist who went by KSD, whose greatest coup was 50 Cent’s “lost” début, “Power of the Dollar,” scheduled for release in 2000 by Columbia, but cancelled after the rapper was shot. There was DaLive1, a house-music aficionado who lived in New York City, and used his connections inside Viacom to source leaks from Black Entertainment Television and MTV. There were two Italian brothers sharing the handle Incuboy, who claimed to run a music-promotion business and had reliable access to releases from Sony and Bertelsmann. In Japan, albums sometimes launched a week or two ahead of the U.S. release date, often with bonus tracks, and Tai relied on kewl21 and x23 to source them. Finally, there were the Tuesday
rippers, like Aflex and Ziggy, who spent their own money to buy music legally the day that it appeared in stores.
The only leaker Tai didn’t manage was Glover—Kali kept his existence a secret, even from the other members of the group. Glover resented the isolation, but being Kali’s private source was worth the trouble. At any given time, global Scene membership amounted to no more than a couple of thousand people. Kali was close to the top. A typical Scene pirate, bribing record-store employees and cracking software, might be granted access to three or four topsites. By 2002, Glover had access to two dozen.
His contacts made him an incomparable movie bootlegger. He built another tower to replace the first, with burners for DVDs instead of CDs. He upgraded his Internet connection from satellite to cable. He downloaded the past few years’ most popular movies from the topsites, then burned a couple of dozen copies of each. Expanding his customer base beyond his co-workers, he started meeting people in the parking lot of a nearby convenience store. Around Cleveland County, Glover became known as “the movie man.” For five dollars, he would sell you a DVD of “Spider-Man” weeks before it was available at Blockbuster, sometimes even while it was still in theatres.
Glover started selling between two hundred and three hundred DVDs a week, frequently making more than a thousand dollars in cash. He built a second PC and another burn tower to keep up with demand. He knew that this was illegal, but he felt certain that he had insulated himself from suspicion. All transactions were hand to hand, no records were kept, and he never deposited his earnings in the bank. He didn’t sell music, DVDs weren’t made at the Universal plant, and he was sure that his customers had never heard of the Scene.
Scene culture drew a distinction between online file-sharing and for-profit bootlegging. The topsites were seen as a morally permissible system of trade. Using them for the physical bootlegging of media, by contrast, was viewed as a serious breach of ethical principles. Worse, it was known to attract the attention of the law. Kali put the word out that anyone suspected of selling material from the topsites would be kicked out of the group. Thus, for most participants membership in RNS was a money-losing proposition. They spent hundreds of dollars a year on compact disks, and thousands on servers and broadband, and got only thrills in return.
Glover was an exception: he knew that he wouldn’t be kicked out of anything. With Universal’s rap acts ascending, Kali needed Glover.
Napster lasted barely two years, in its original incarnation, but at its peak the service claimed more than seventy million registered accounts, with users sharing more than two billion MP3 files a month. Music piracy became to the early two-thousands what drug experimentation had been to the late nineteen-sixties: a generation-wide flouting of both social norms and the existing body of law, with little thought for consequences. In late 1999, the Recording Industry Association of America, the music business’s trade and lobbying group, sued Napster, claiming that the company was facilitating copyright infringement on an unprecedented scale. Napster lost the lawsuit, appealed, and lost again. In July, 2001, facing a court order to stop enabling the trade of copyrighted files, Napster shut down its service.
That legal victory achieved little. Former users of Napster saw Internet file-sharing as an undeniable prerogative, and instead of returning to the record stores they embraced gray-market copycats of Napster, like Kazaa and Limewire. By 2003, global recording-industry revenues had fallen from their millennial peak by more than fifteen per cent. The losing streak continued for the next decade.
The R.I.A.A. tried to reassert the primacy of the industry’s copyrights. But civil suits against the peer-to-peer services took years to move through the appeals courts, and the R.I.A.A.’s policy of suing individual file-sharers was a public-relations disaster. To some at the music labels, Congress seemed disinclined to help. Harvey Geller, Universal’s chief litigator, spent years futilely petitioning legislators for better enforcement of copyright law. “Politicians pander to their constituents,” Geller said. “And there were more constituents stealing music than constituents selling it.”
Leaking was viewed differently. No one was advocating for the smuggler. So album leakers adhered to a rigid code of silence. Scene groups were the source for almost all of the new releases available on the peer-to-peer networks, but most file-sharers didn’t even suspect their existence. Civil litigation against such actors was impossible: unlike Kazaa, RNS did not have a business address to which a subpoena could be sent. Only criminal prosecutions would work.
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In January, 2003, Glover leaked 50 Cent’s official début, “Get Rich or Die Tryin’,” to Kali. It became the bestselling U.S. album of the year. He followed that up with albums from Jay Z, G Unit, Mary J. Blige, Big Tymers, and Ludacris, and then began the following year with Kanye West’s début, “The College Dropout.” After a scare, in which Glover worried that a release might be traced to him, the timing of leaks became more and more a point of focus. Glover’s leaks began to hit the Internet about two weeks before the CDs were due in stores, neither so early that the leak could be traced to the plant nor so late that RNS risked being bested by other pirates.
The group’s ascendancy came during a period of heightened scrutiny by law enforcement. In April, 2004, the F.B.I. and foreign law-enforcement agencies conducted coördinated raids in eleven countries, identifying more than a hundred pirates. The R.I.A.A.’s anti-piracy unit was staffed with investigators, who hung around the chat rooms of the Scene and learned its language. They tried to infiltrate the Scene, and tracked the leaked material and its dissemination throughout the Internet. Their research began to point them to one increasingly powerful crew, RNS, and they shared their findings with the F.B.I.
Journalists poked around the fringes of the Scene, too. A December, 2004, article in Rolling Stone, by Bill Werde, introduced RNS to the general public. A photo caption in the piece read, “In a four-day period, one group leaked CDs by U2, Eminem and Destiny’s Child.” The article quoted a source close to Eminem: “The rapper’s camp believes Encore was leaked when it went to the distributors, who deliver albums from the pressing plants to chain stores such as Wal-Mart.”
The information was wrong. The CD hadn’t come from the distributor; it had come from Glover. Three days later, he leaked the U2 album “How to Dismantle an Atomic Bomb.” (Destiny’s Child’s “Destiny Fulfilled” had come from elsewhere.) Facing increased attention, Kali decided to strip the group’s NFO files of potentially identifying information; from now on, they would consist only of the date that the album was ripped and the date that it was due in stores.
Kali ordered the RNS chat channel moved from the public IRC servers to a private computer in Hawaii. He instructed members to communicate only through this channel, which was encrypted, banning methods like AOL Instant Messenger. And he reasserted the prohibition against physical bootlegging. But Glover refused to follow the Scene’s rules. He used I.M. whenever he felt like it, and kept his duffelbag of leaked CDs in his closet. He wasn’t as interested in music anymore, or in earning Brownie points from some Internet group. All he cared about was topsites. The more he could join, the more leaked movies he could get, and the more DVDs he could sell.
In a good week, Glover on his own might sell three hundred disks, and make fifteen hundred dollars in cash. Now he began to branch out. At the beginning of each week, he dropped off four hundred disks at each of three trusted barbershops in Shelby. At the end of the week, he returned to collect his share of the profits—roughly six hundred dollars a week per shop. His best salesman made more selling bootleg movies than he did cutting hair. Seeing the profits Glover was earning, other bootleggers began moving into his territory. But Glover retained a pronounced edge. “I had access to so much stuff,” he said. “No one on the street could beat me.”
Many of Glover’s best customers worked at the plant, and for those he trusted most he devised an even better deal. Rather than paying five dollars per movie, for twenty dollars a month you could buy an unlimited subscription—and you didn’t even need the disks. Glover had set up his own topsite, and once you’d bought an account you could download anything you wanted. There were current DVDs, plus the latest copies of games, music, software, and more. At the time, video on demand was the technology of the future, but, if you knew Glover, it had already arrived. He was running a private Netflix out of his house.
Glover began to make extravagant purchases. He bought game consoles and presents for his friends and his family. He bought a new off-road quad bike, then a second. He bought a used Lincoln Navigator, and upgraded it with xenon headlights, a hood scoop, and an expensive stereo. For years, rappers had favored rims called “spinners”—metal hubcaps on independent bearings, which continued rotating even when the car had stopped. Looking to switch up the game, Glover bought “floaters”: the weighted rims stood still even when the wheels were moving.
In 2005, RNS leaked four of the five best-selling albums in the U.S. The No. 1 and No. 2 slots were occupied by Mariah Carey’s “The Emancipation of Mimi” and 50 Cent’s “The Massacre,” and Glover had leaked them both. RNS leaks quickly made their way onto public file-sharing networks, and, within forty-eight hours of appearing on the topsites, copies of the smuggled CDs could be found on iPods across the globe.
By the end of 2006, Glover had leaked nearly two thousand CDs. He was no longer afraid of getting caught. Universal had sold its compact-disk-manufacturing holdings, which allowed the company to watch the deterioration of physical media from a comfortable distance. Although still on contract to print music for Universal, the new ownership treated the plant like a wasting asset, and stopped investing in maintenance. The musicians signed to Universal complained constantly of album leaks, but the label’s supply chain was as insecure as ever.
Although RNS was still wildly successful, many of its members were tiring of its activities. When the group started, in 1996, most of the participants were teen-agers. Now they were approaching thirty, and the glamour was fading. They outgrew their jobs at college radio stations or found more lucrative fields than music journalism, and lost their access to advance albums.
Listening to hundreds of new releases a year could lead to a kind of cynicism. The musicians all used Auto-Tune to pitch-correct their voices; the songwriters all copied the last big hit; the same producers worked on every track. Glover didn’t connect with rap in the way that he used to. Tony Dockery had been born again, and listened primarily to gospel. Simon Tai still hung around the chat channel, but he hadn’t leaked an album in years. Even Kali seemed a little bored.
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Glover had been thinking about retiring from the Scene. He started leaking when he was in his mid-twenties. He was now thirty-two. He had worn the same haircut for ten years, and dressed in the same screen-print T-shirts and bluejeans, but his perception of himself was changing. He didn’t remember why he had been so attracted to street bikes, or why he’d felt it necessary to own a handgun. He found his Grim Reaper tattoo impossibly stupid.
Glover’s DVD profits began to decline. Leaks from the Scene were now publicly available within seconds of being posted to the topsites, and even those who were technologically challenged could figure out how to download them. Within a couple of years, Glover’s income from bootlegging dropped to a few hundred dollars a week.
Glover began to make his feelings known to Kali. “We’ve been doing this shit for a long time,” he said in a phone call. “We never got caught. Maybe it’s time to stop.” Surprisingly, Kali agreed. Though the plant’s security was increasingly loose, the risks for leakers were greater. Between foreign law enforcement, the F.B.I., and the R.I.A.A.’s internal anti-piracy squads, there were multiple teams of investigators working to catch them. Kali understood the lengths to which law enforcement was willing to go. Some of the targets of the 2004 raids were his friends, and he had visited them in federal prison.
Then, in January of 2007, one of RNS’s topsites mysteriously vanished. The server, which was hosted in Hungary, began refusing all connections, and the company that owned it didn’t respond. Kali ordered the group shut down. RNS’s final leak, released on January 19, 2007, was Fall Out Boy’s “Infinity on High,” sourced from inside the plant by Glover.
Dozens of former members flooded into the chat channel to pay their respects. Dockery, logging in as St. James, started changing his handle, over and over, in tribute to former members. “Even if we quit now, I’ll think about it always,” Kali wrote. “I don’t know about you guys, but why keep taking a chance.” Soon afterward, the RNS channel was closed forever.
Within months, Glover was once again leaking CDs from the plant, to a guy he knew as RickOne, a leader in a Scene releasing group called OSC. Though this was no longer as profitable for Glover, his desire for free media was undiminished. “To know that I could be playing Madden two months before the stores even had it—to me, that was heaven,” Glover told me.
Kali wasn’t able to give up, either. After RNS was shut down, he had continued sourcing and leaking albums, attributing the leaks to nonsense three-letter acronyms that bewildered even Scene veterans. In the summer of 2007, he contacted Glover and told him that there were two more leaks they had to have: new albums by 50 Cent and Kanye West, both with the same release date. The rappers were competing over whose album would sell more copies, and the feud had made the cover of Rolling Stone. 50 Cent said that if he didn’t win he would retire.
But, as Kali probably knew better than anyone, both artists were distributed and promoted by Universal. What looked like an old-school hip-hop beef was actually a publicity stunt designed to boost sales, and Kali was determined to get involved. RNS had leaked every release the artists had ever put out, and going after 50’s “Curtis” and Kanye’s “Graduation” was a matter of tradition.
The official release date was September 11, 2007, but the albums were first pressed at the plant in mid-August. Glover obtained them through his smuggling network and listened to both. “Graduation” was an ambitious marriage of pop rap and high art, sampling widely from sources as diverse as krautrock and French house music, with cover art by Takashi Murakami. “Curtis” played it safer, favoring hard-thumping club music anchored by hits like “I Get Money” and “Ayo Technology.”
Glover enjoyed both albums, but he was in an unusual position: he had the power to influence the outcome of this feud. If he leaked “Graduation” and held on to “Curtis,” Kanye might sell fewer records. But if he leaked “Curtis” and held on to “Graduation”—well, he might make 50 Cent retire.
Glover decided that he would release one album through Kali and the other through RickOne. He offered RickOne the Kanye West album. On August 30, 2007, “Graduation” hit the topsites of the Scene, with OSC taking credit for the leak. Within hours, an anguished Kali called Glover, who told him that he wasn’t sure how it had happened. He said that he hadn’t seen the album at the plant yet. But, he said, “Curtis” had just arrived. On September 4, 2007, Kali released “Curtis” to the Scene.
Universal officially released the albums on Tuesday, September 11th. Despite the leaks, both sold well. “Curtis” sold almost seven hundred thousand copies in its first week, “Graduation” nearly a million. Kanye won the sales contest, even though Glover had leaked his album first. He’d just run a controlled experiment on the effects of leaking on music sales, an experiment that suggested that, at least in this case, the album that was leaked first actually did better. But Glover was happy with the outcome. “Graduation” had grown on him. He liked Kanye’s album, and felt that he deserved his victory. And 50 didn’t retire after all.
On Wednesday, September 12th, Glover went to work at 7 P.M. He had a double shift lined up, lasting through the night. He finished at 7 A.M. As he was preparing to leave, a co-worker pulled him aside. “There’s someone out there hanging around your truck,” he said.
In the dawn light, Glover saw three men in the parking lot. As he approached his truck, he pulled the key fob out of his pocket. The men stared at him but didn’t move. Then he pressed the remote, the truck chirped, and the men drew their guns and told him to put his hands in the air.
The men were from the Cleveland County sheriff’s office. They informed Glover that the F.B.I. was currently searching his house; they had been sent to retrieve him.
In his front yard, half a dozen F.B.I. agents in bulletproof vests were milling around. Glover’s door had been forced open, and agents were carting away the thousands of dollars’ worth of technology purchases he’d made over the years. He found an F.B.I. special agent named Peter Vu waiting for him inside.
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Vu, a veteran of the bureau’s computer-crimes division, had spent years searching for the source of the leaks that were crippling the music industry. His efforts had finally led him to this unremarkable ranch house in small-town North Carolina. He introduced himself, then began pressing Glover for information. Vu was particularly interested in Kali, and Glover gave him the scattered details he had picked up over the years. But Vu wanted Kali’s real name, and, although Glover had talked on the phone with Kali hundreds of times, he didn’t know it.
The next day, Kali called Glover. His voice was agitated and nervous.
“It’s me,” Kali said. “Listen, I think the Feds might be onto us.”
Vu had anticipated the possibility of such a call and had instructed Glover to act as if nothing had happened. Glover now had a choice to make. He could play dumb, and further the investigation of Kali. Or he could warn him off.
“You’re too late,” Glover said. “They hit me yesterday. Shut it down.”
“O.K., I got you,” Kali said. Then he said, “I appreciate it,” and hung up.
In the next few months, the F.B.I. made numerous raids, picking up RickOne, of OSC, and several members of RNS. They also found the man they believed to be Kali, the man who had cost the music industry tens of millions of dollars and transformed RNS into the most sophisticated piracy operation in history: Adil R. Cassim, a twenty-nine-year-old Indian-American I.T. worker who smoked weed, listened to rap music, and lived at home in the suburbs of Los Angeles with his mother.
On September 9, 2009, Glover arrived at the federal courthouse in Alexandria, Virginia, and was indicted on one count of felony conspiracy to commit copyright infringement. At his indictment, Glover saw Adil Cassim for the first time. Cassim was clean-shaven and wore his hair cropped short. He was stocky, with a noticeable paunch, and was dressed in a black suit.
A month later, Glover pleaded guilty to the charge. The decision to plead was a difficult one, but Glover thought that his chances of acquittal were poor. In exchange for sentencing leniency, he agreed to testify against Cassim. The F.B.I. needed the help; the agency had thoroughly searched Cassim’s residence, and a forensic team had inspected his laptop, but they had found no pre-release music. Cassim did not admit to being a member of RNS, though two pieces of physical evidence suggested a connection to the group. One was a burned compact disk taken from his bedroom, containing a copy of Cassim’s résumé, on which, in the “Properties” tab, Microsoft Word had automatically included the name of the document’s author: Kali. The second was Cassim’s mobile phone, which contained Glover’s cell number. The contact’s name was listed only as “D.”
Cassim’s trial began in March, 2010, and lasted for five days. Glover testified, as did several other confessed members of RNS, along with a number of F.B.I. agents and technical experts. In the previous ten years, the federal government had prosecuted hundreds of Scene participants, and had won nearly every case it had brought. But on March 19, 2010, after a short period of deliberation, a jury found Cassim not guilty.
After the trial, Glover began to regret his decision to testify and to plead guilty. He wondered if, with a better legal defense, he, too, might have been acquitted. He’d never been sure exactly what damage leaking music actually caused the musicians, and at times he seemed to regard it as something less than a crime.
“Look at 50 Cent,” he said. “He’s still living in Mike Tyson’s house. Ain’t nobody in the world that can hurt them.” He continued, “It’s a loss, but it’s also a form of advertising.” He paused. “But they probably lost more than they gained.” In the end, Glover served three months in prison. (Tony Dockery also pleaded guilty to conspiracy to commit copyright infringement, and spent three months in prison. Simon Tai was never charged with any wrongdoing.)
In their sentencing guidelines, the attorneys for the Department of Justice wrote, “RNS was the most pervasive and infamous Internet piracy group in history.” In eleven years, RNS leaked more than twenty thousand albums. For much of this time, the group’s best asset was Glover—there was scarcely a person younger than thirty who couldn’t trace music in his or her collection to him.
On the day that Glover’s home was raided, F.B.I. agents confiscated his computers, his duplicating towers, his hard drives, and his PlayStation. They took a few pictures of the albums he’d collected over the years, but they left the duffelbag full of compact disks behind—even as evidence, they were worthless. ♦
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mailto:?subject=Kirkus%20Reviews:%20ALLEN%20KLEIN&body=You%20might%20be%20interested%20in%20this:%20%0A%0AALLEN%20KLEIN%0Ahttps://www.kirkusreviews.com/book-reviews/fred-goodman/allen-klein/%0A%0AThe%20story%20of%20a manager%20more%20often%20vilified%20than%20any%20other%20in%20the%20history%20of%20rock.At%20his%20peak,%20Allen%20Klein%20(1931-2009)%20managed%20both%20the%20Beatles%20and%20the%20Rolling%20Stones,%20but%20both%20relationships%20led%20to%20legal%20action%20and%20acrimony,%20with%20Klein%20largely%20…
https://www.kirkusreviews.com/book-reviews/fred-goodman/allen-klein/print/
** KIRKUS REVIEW
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The story of a manager more often vilified than any other in the history of rock.
At his peak, Allen Klein (1931-2009) managed both the Beatles and the Rolling Stones, but both relationships led to legal action and acrimony, with Klein largely depicted as unconscionably rapacious even by the dubious ethical standards of the music business. Since former Rolling Stone editor Goodman has previously explored the seamier side of rock’s underbelly (most notably in The Mansion on the Hill, 1997), readers might expect him to pile more dirt on the legacy of his late subject. Instead, he humanizes Klein with a nuanced and multidimensional account of how a boy raised in an orphanage looked for validation by courting artists who had been cheated by their record companies and promising to rectify their financial situations. The author benefits from access to previously unavailable material, provided by Klein’s son without editorial stipulations. “When you hired Klein, you hired a pistolero,” writes Goodman. “He’d run the rustlers and varmints out of Dodge, but then
you’d have to figure out how to live with a mercenary in the sheriff’s office.” The author shows how Klein earned the trust of Sam Cooke and how he came to be seen by both John Lennon and Keith Richards as a kindred spirit while arousing the enmity of Paul McCartney and Mick Jagger. (Goodman also acknowledges that Klein engaged in a conflict of interest in buying the rights to the Stones music while he was managing them and shifting sides on the “My Sweet Lord” copyright suit.) Klein loved a battle, and he would engage in litigation long after it was to his benefit to settle. But Goodman builds a convincing case that Klein fought the good fight for his artists and that depicting a man in his business as greedy is akin to calling a lion a carnivore.
Klein changed the way rock does business. In this balanced, fascinating, and well-written biography, Goodman gives him credit where it’s due.
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Acadiana-Lafayette – Soul singer Percy Sledge dead at 73: KATC.com | Continuous News Coverage |
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http://www.katc.com/story/28797836/soul-singer-percy-sledge-dead-at-73
Photo courtesy: Fans of Percy Sledge Facebook Page
Soul singer Percy Sledge dead at 73
Baton Rouge – Percy Sledge, the soul singer who took “When a Man Loves a Woman” to the top of the charts in 1966, died this morning at his Baton Rouge home. He was 73.
According to East Baton Rouge Parish coroner Dr. William “Beau” Clark, Sledge died of natural causes while under hospice care.
Prior to becoming a recording artist, Sledge worked as a hospital nurse. He caught his big break when he recorded “When a Man Loves a Woman.” Sledge took the track, his debut single, to number-one on both the Billboard Hot 100, where it spent two weeks at the summit, and on the Billboard R&B Chart, where it held the top spot for six weeks. The song also reached the Top 10 in the United Kingdom twice–going to number-four upon its original release and reaching #2 when it was re-released in 1987. The song found new life in the United States in 1991 when Michael Bolton’s cover of “When a Man Loves a Woman” topped the Billboard Hot 100.
Thursday will mark the 49th anniversary of the release of “When a Man Loves a Woman” as a single.
His other hits included “Warm and Tender Love” (Pop #17, R&B #5), “It Tears Me Up” (Pop #20, R&B #7), and “Take Time to Know Her” (Pop #11, R&B #6).
Even after his chart success fizzled, Sledge remained a fixture in the music industry, releasing albums and touring the United States to perform live in concert.
His contributions to the music industry earned him a number of awards, including a Blues Music Award, a Rhythm and Blues Foundation Pioneer Award, and induction into the Delta Music, Louisiana Music, and Rock and Roll Halls of Fame.
“He was a wonderful guy in a terrible business,” said Steve Green with Artists International Management, Inc., the talent agency that represented Sledge. “He was truly a standout.”
Sledge is survived by his wife and children. Funeral arrangements are pending.
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Upper West Side jazz club works to keep the music alive | 7online.com
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http://7online.com/entertainment/upper-west-side-jazz-club-works-to-keep-the-music-alive/656137/
UPPER WEST SIDE JAZZ CLUB WORKS TO KEEP THE MUSIC ALIVE
‘Smoke’ modern day jazz club on the Upper West Side
Sandy Kenyon has more on the club and its music.
EMBED
WABC
By Sandy Kenyon
Monday, April 13, 2015 04:40PM
UPPER WEST SIDE (WABC) — It’s a labor of love for two former bartenders who opened a jazz bar on the Upper West Side with the very important mission of keeping jazz alive in the 21st Century.
It’s a club called Smoke, on Broadway and 106th Street, where you can watch the giants of jazz make magic.
Co-owners Paul Stache and Frank Christopher are the keepers of the flame, true believers in the gospel passed down by the giants of jazz.
And Harold Mabern is one of the messengers.
“Like Duke Ellington said, it don’t mean a thing if it ain’t got that swing,” he said.
Mabern is a living link to a storied past, riding on the shoulders of those who came before him and inspiring those who come after by teaching jazz for decades at William Patterson University in Wayne, New Jersey.
“When people listen to hip-hop and they listen to rock and roll, it comes from the blues and it comes from jazz,” Christopher said.
“I grew up around jazz,” Stache said. “My dad took me to jazz clubs since I was 4 years old.”
And if the idea is to educate, it is also to entertain.
“The music sells itself,” musician Wayne Escoffery said. “We just need to get people to hear it because everybody falls in love with jazz. It’s the essence of all modern music.”
Christopher and Stache scraped enough money together to buy the place 16 years ago, and it has since become an institution.
“It’s a small club, but it’s very intimate,” Mabern said. “And the people that work here and the people who run it are very warm, gracious, beautiful human beings…And they love the music.”
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When McRae Met Clarke-Boland: Doug Ramsey’s Rifftides
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http://www.artsjournal.com/rifftides/2015/04/when-mcrae-met-clarke-boland.html
Following the April 8 Rifftides post about Carol Sloane and Carmen McRae, Bill Kirchner sent http://www.artsjournal.com/rifftides/wp/wp-content/uploads/2015/04/McRae-Clarke-Boland-BB.jpgus a link to a German television program featuring McRae in 1968 with the formidable Clarke-Boland Big Band. Co-led by drummer Kenny Clarke and pianist-arranger-composer Francy Boland, the band was a collection of leading European and American musicians. It thrived for more than a decade in the 1960s and 1970s. It was notable for, among other things, having two drummers.
The members: Benny Bailey, Manfred Schoof, Idrees Sulieman, Jimmy Deuchar, trumpets; Åke Persson, Nat Peck, Eric Van Lier, trombone; Derek Humble, Tony Coe, Johnny Griffin, Ronnie Scott, Sahib Shihab saxophones; Jimmy Woode, bass; Francy Boland piano; Kenny Clare and Kenny Clarke, drums. Carmen is the guest artist, singing three numbers. She is introduced 15 minutes into the program by critic Joachim Berendt. Here is the entire 40-minute show.
https://www.youtube.com/watch?v=6yWZP46Iam8
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Johnnie Johnson documentary update from Art Holliday
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JOHNNIE JOHNSON DOCUMENTARY UPDATE
10TH ANNIVERSARY OF JOHNNIE’S DEATH
April 13, 2015 is the 10th anniversary of Johnnie Johnson’s death. The 2001 Rock and Roll Hall Fame inductee would have been 90 years old.
A gentle man with humble ways
A genius when it’s time to play
We sing the blues your final days
Goodbye Johnnie goodbye
Your fingers touched our heart and soul
Your gift creating rock and roll
We’re all so sad to see you go
Goodbye Johnnie goodbye
Pounding bass notes with the left hand
Sweet melody with the right
Whatever band you’re playing with
Is the best in town that night
Those are some of the lyrics I wrote not long after Johnnie’s death. I sent them to LA musician Dona Oxford, Johnnie’s boogie woogie protege, who did an amazing job on “Goodbye Johnnie, Goodbye”, writing the melody and performing vocals for a song featured in the documentary soundtrack.
Rest in peace, Johnnie.
When a film’s editor and executive producer die in a 15 month span, it takes awhile for the project to recover. I’m pleased to say the last few months have seen new momentum for the feature length music documentary. An 11 year filmmaking endeavor is coming together with a new editor, a new distributor, and Michael McDonald lending his support to fundraising for JOHNNIE BE GOOD. There’s also news about Johnnie and the Kentucky Headhunters.
The positive momentum shift began in November 2014 when my colleague Tony Chambers said he was interested in editing JOHNNIE BE GOOD. Chambers’ participation is fitting because he suggested to me in 2003 that Johnnie Johnson’s life story might make an interesting documentary. How’s that for coming full circle? Not only is Tony a talented videographer/editor, but he’s also a veteran musician in the band Serapis, so he’s uniquely qualified. The current edit should be finished by the beginning of summer.
Hargrove Entertainment will be the distributor for JOHNNIE BE GOOD. Since 1988, Peter Hargrove has served as founder and President of Hargrove Entertainment Inc., an entertainment company focused on the production, co-production and worldwide distribution of independent feature films and television properties. In this time period Mr. Hargrove has marketed over 40,000 hours of product.
Peter Hargrove stated “We are excited to be releasing the definitive feature look at one of the unsung fathers of rock and roll, Johnnie Johnson. We look forward to introducing audiences around the world to the musical genius behind many of the early hit songs we’ve all grown up on.”
MICHAEL MCDONALD STEPS UP FOR JOHNNIE BE GOOD!!!
Music superstar Michael McDonald, who is interviewed in the film, has recorded vocals for a new version of “Johnny B. Goode” that will feature piano tracks recorded years ago from Johnnie Johnson. The song will be sold on iTunes to raise money for the film. Here’s what McDonald had to say about participating in JOHNNIE BE GOOD:
“As a proud St. Louis native son, I will forever argue the case for St. Louis being the birthplace of Rock and Roll thanks to Chuck Berry and those earth-shattering records he made with the participation of St. Louis legend Johnnie Johnson. Those brilliant Chuck Berry songs and their recordings gave our town a prominent place in the annals of American music and cultural arts for the rest of time. Just as Chuck’s music seemed to cement and legitimize a whole musical movement, Johnnie Johnson’s unique style and passion heralded a lineage of blues/rock keyboardists to come. I’m extremely proud to be part of a wonderful documentary by Art Holliday shedding some light on one of St. Louis’ largely unsung heroes…the great and legendary Johnny Johnson!”
– Michael McDonald
I didn’t see this one coming. Drummer Mike Mesey (Chuck Berry, Head East, American Greed) recorded with Johnnie Johnson years ago and still has Johnnie’s piano tracks from that session where one of the songs was “Johnny B. Goode”. Mesey was the catalyst for this amazing opportunity that will pair Michael McDonald with Johnnie’s piano tracks. I’m blown away that McDonald and Mesey are stepping up to fund raise for the film! Thanks to Dan Duncan and Steve Scorfina (REO Speedwagon, Pavlov’s Dog) who are also part of this amazing development. Thanks gentlemen! When details are available about the music download, I’ll have another update.
If you look closely at the photo, Michael McDonald was wearing a JOHNNIE BE GOOD t-shirt during a St. Louis performance a few years back at the Verizon Amphitheater.
NEW ALBUM: JOHNNIE JOHNSON AND THE KENTUCKY HEADHUNTERS
Alligator Records has set a June 2 street date for “Meet Me In Bluesland”, a previously unreleased album by Grammy-winning Southern blues-rockers The Kentucky Headhunters with pianist Johnnie Johnson, a Rock and Roll Hall of Fame inductee. The performances found Johnson — the man Rolling Stone called “the greatest sideman in rock and roll” for his groundbreaking piano work with Chuck Berry — playing some of the deepest and most rocking blues piano of his legendary career. With The Kentucky Headhunters at their down-home best, the record is a country-fried, blues-infused party from start to finish.
With songs and arrangements furiously being created on the spot and everything recorded live as it happened over the course of three days, a magical musical event was underway. Because the whole session was spontaneous, there were no immediate plans to release an album. After Johnnie’s death in 2005, the tapes, while never forgotten, remained unissued.
Richard Young of The Kentucky Headhunters is interviewed in JOHNNIE BE GOOD, and the documentary shows Johnnie performing with the band at the Johnnie Johnson Jazz and Blues Festival in Fairmont WV in 2004.
SOCIAL MEDIA HELP PLEASE!
JOHNNIE BE GOOD needs your support. Please forward this via email, Facebook, Twitter, LinkedIn, ect. to music fans and film enthusiasts. When the new Michael McDonald track is available for sale on iTunes, we’ll need you to help spread the word.
There’s a lot of work to be done and hurdles to overcome, but the finish line is in sight.
Thanks!
Art Holliday
Director/Producer/Writer
Johnnie Be Good
art@johnniebegoodthemovie.com
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Comedian and Voice Actor Stan Freberg Dies at 88 | Variety
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http://variety.com/2015/tv/news/stan-freberg-comedian-satirist-dies-dead-1201467899/
Comedian and Voice Actor Stan Freberg Dies at 88
Satirist Stan Freberg Dead
Satirist Stan Freberg, who influenced generations with his witty comedy albums and cartoon voices and memorable advertising campaigns, died Tuesday in Santa Monica. He was 88 and had been suffering from respiratory problems and pneumonia.
His son Donavan posted the news on his Facebook page, saying, “He was, and will always be, my hero, and I will carry his brilliant legacy forward as best I am able.”
The writer-producer crafted some of the funniest TV commercials of the 1960s and ’70s, including “Today the pits; tomorrow the wrinkles. Sunsweet marches on!,” and Contadina’s “Who put eight great tomatoes in that little bitty can?”
He also scored such novelty-record hits as “John and Marsha,” “Saint George and the Dragonet” and “Green Christmas.” His 1961 comedy album “Stan Freberg Presents the United States of America” remains a classic of the form and an influence for a generation of comedians.
Freberg produced the Emmy-winning kids puppet show “Time for Beany” — Albert Einstein was said to be a fan during his years at CalTech — and he hosted numerous variety series and specials on TV and radio.
Among the many characters he voiced were Junyer Bear in “What’s Brewin’, Bruin” and the voice of Beaky Buzzard. For Disney, he voiced Beaver in “Lady and the Tramp” and Wile E. Coyote’s father Cage in the short “Little Go Beep.” He auditioned to play C-3PO in “Star Wars,” but actor Anthony Daniels ended up doing his own voice.
His live-action acting included roles in “The Monkees,” “The Girl From U.N.C.L.E.,” the role of Mr. Parkin on “Roseanne” and “The Weird Al Show.” His “Stan Freberg Show” on radio was controversial for several reasons, including the fact that he refused to accept tobacco companies as sponsors.
See More: ‘Weird Al’ Yankovic Salutes His Hero, Stan Freberg
Born in Pasadena, Calif., he started voicing Warner Bros. cartoons such as “Roughly Squeaking” and “It’s a Grand Old Nag” as soon as he graduated from high school. He continued working well into his ’80s and released an album, “Songs in the Key of Freberg,” with his wife in 2010.
He is survived by his wife Hunter, son Donavan and daughter Donna Jean.
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Paul Jeffrey, Saxophonist Who Worked With Thelonious Monk, Dies at 81 – NYTimes.com
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http://www.nytimes.com/2015/04/09/arts/music/paul-jeffrey-saxophonist-who-worked-with-thelonious-monk-dies-at-81.html?emc=edit_tnt_20150408
** Paul Jeffrey, Saxophonist Who Worked With Thelonious Monk, Dies at 81
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Photo
Paul Jeffrey was a mainstay of the great pianist and composer Thelonious Monk’s last working group.Credit Duke University Archives
Paul Jeffrey, a saxophonist who was a mainstay of the great pianist and composer Thelonious Monk (http://topics.nytimes.com/top/reference/timestopics/people/m/thelonious_monk/index.html?inline=nyt-per) ’s last working group and later a prominent jazz educator, died on March 20 at his home in Durham, N.C. He was 81.
His death was confirmed by his stepdaughter Bianca Kapteyn, who said he had been in poor health for some time.
Mr. Jeffrey joined Monk’s quartet (https://www.youtube.com/watch?v=Qjeu6RtyAAI) in 1970 and remained until Monk withdrew from public performance in 1976. Reviewing an Avery Fisher Hall performance by the quartet in 1975, John S. Wilson of The New York Times called Mr. Jeffrey “an unusually skillful interpreter of Mr. Monk’s music, playing with more assurance and personal freedom than other saxophonists who have been associated with the pianist.”
Mr. Jeffrey also had a long association with another jazz giant, the bassist and composer Charles Mingus. He was a member of a big band Mingus led in 1972 and worked with him regularly from 1977 until shortly before Mingus’s death in 1979, writing arrangements as well as playing saxophone.
After his stint with Mingus, Mr. Jeffrey focused on teaching. From 1983 until his retirement in 2003, he was the director of jazz studies at Duke University (http://topics.nytimes.com/top/reference/timestopics/organizations/d/duke_university/index.html?inline=nyt-org) . Before that he taught at Hartt College in Hartford and at Rutgers University in Newark. A number of his students went on to high-profile careers in jazz, among them the trumpeter Terence Blanchard and the pianist Jeb Patton.
Paul Henley Jeffrey was born in Manhattan on April 8, 1933, and received a bachelor’s degree in music education from Ithaca College. Early in his career, he worked with B. B. King and other blues and rhythm-and-blues artists. He was later briefly in the bands of Dizzy Gillespie and Count Basie.
Among the albums he recorded as a leader was “Electrifying Sounds of the Paul Jeffrey Quintet” (https://www.youtube.com/watch?v=o9lo6C5NhSU) (1968), one of the first jazz records to feature an electronically amplified saxophone.
In addition to Ms. Kapteyn, he is survived by his wife, Gerardina; another stepdaughter, Catherine Dorsey; a son, Paul; and three stepgrandchildren.
** Next in Music
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** Another ‘Serial’ Chapter, From Group of Lawyers (http://www.nytimes.com/2015/04/08/business/media/another-serial-chapter-from-group-of-lawyers.html)
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Ralph Sharon, Jazz Pianist Who Accompanied Tony Bennett, Dies at 91 – NYTimes.com
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http://www.nytimes.com/2015/04/07/arts/music/ralph-sharon-jazz-pianist-who-accompanied-tony-bennett-dies-at-91.html?_r=1
Ralph Sharon, Jazz Pianist Who Accompanied Tony Bennett, Dies at 91
By MARGALIT FOXAPRIL 7, 2015
Ralph Sharon playing the piano as Tony Bennett performs at the Old State House in 1996 in Little Rock, Ark. Credit Beth A. Keiser/Associated Press
Ralph Sharon, Tony Bennett’s longtime accompanist, who in the early 1960s persuaded Mr. Bennett to sing a song originally written for a Wagnerian contralto — about the fond intersection of a large muscle in the chest with a Northern California city — and in so doing created a Grammy-winning standard, died on March 31 at his home in Boulder, Colo. He was 91.
His son, Bo, confirmed the death.
A highly regarded jazz pianist in his own right, Mr. Sharon joined forces with Mr. Bennett in the late 1950s and remained with him for the better part of the next 45 years. He collaborated with Mr. Bennett on a string of Grammy Award-winning albums, over time serving as his accompanist, arranger and musical director, and is widely credited with nudging Mr. Bennett out of pop and into jazz.
“I’ve been very lucky to have worked with Ralph Sharon,” Mr. Bennett told The Seattle Times in 1993. “In my life I’ve seen only two others like him, Bill Miller with Sinatra and Bobby Tucker with Billie Holiday and Billy Eckstine — very good jazz musicians, but able to sublimate themselves to singers. It’s a real art, and it’s rarely recognized.”
Their most famous recording together, “I Left My Heart in San Francisco,” released in 1962 on the Columbia label, won Mr. Bennett two Grammys, for record of the year and best male solo vocal performance. Its title ballad remains Mr. Bennett’s vocal signature to this day and, in his myriad renditions, has sold millions of copies.
With music by George Cory and lyrics by Douglass Cross, “I Left My Heart in San Francisco” was first published in 1954. It had been composed in the early ’50s for the contralto Claramae Turner, a midcentury mainstay of the Metropolitan Opera whose roles there included Amneris in Verdi’s “Aida” and Erda in Wagner’s “Siegfried.”
Turner sang the ballad as an encore in recitals but never recorded it. Then, in the late ’50s or early ’60s, Mr. Cory and Mr. Cross, acquaintances of Mr. Sharon, gave him the sheet music for Mr. Bennett’s consideration. Mr. Sharon put the music into a bureau drawer and promptly forgot all about it for more than a year.
Ralph Simon Sharon was born on Sept. 17, 1923, in the East End of London. His mother was a pianist for silent movies. By the time he was a teenager, Ralph was playing in the celebrated British big band led by Ted Heath.
In the mid-’50s, Mr. Sharon moved to New York to try to make it in American jazz. After a few years with the clarinetist Tony Scott and other jazzmen, he was asked to audition for Mr. Bennett, of whom he had never heard.
“I was skeptical,” Mr. Sharon told The Daily Camera of Boulder in 2009. “But I met this guy, and he sang a few things and I played a few things. I thought, ‘This guy sounds pretty good.’ ”
The two remained together until Mr. Sharon’s retirement in 2002, with Mr. Bennett backed by Mr. Sharon alone or by the Ralph Sharon Trio, which included a bassist and a drummer. Mr. Sharon left for a period in the 1970s to work with Rosemary Clooney and Robert Goulet but later reunited with Mr. Bennett.
On his own or with his trio, Mr. Sharon recorded dozens of albums, among them “Around the World in Jazz,” “The Magic of Jerome Kern” and “The Magic of George Gershwin.”
Besides his son, Mr. Sharon’s survivors include his wife, the former Linda Noone, and two grandchildren.
Call it providence. In 1961, as he and Mr. Bennett were about to embark on a concert tour, Mr. Sharon opened his bureau drawer, reached for a shirt and noticed the forgotten sheet music. The tour would take them to San Francisco — what would be the harm, he thought, in persuading Mr. Bennett to sing the ballad there?
“We played it there, and the people liked it,” Mr. Sharon told The Denver Post in 2002. “We thought it would be a local hit.”
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Star Tribune music critic Jon Bream parts with his 25,000-piece record collection | Local Current Blog | The Current from Minnesota Public Radio
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http://blog.thecurrent.org/2015/03/star-tribune-music-critic-jon-bream-parts-with-his-25000-piece-record-collection/
** Star Tribune music critic Jon Bream parts with his 25,000-piece record collection
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Photos by Nate Ryan/MPR
When the door at 425 Portland Avenue clicks shut behind longtime Star Tribune music critic Jon Bream today, he’ll not only be saying farewell to the building where he started his professional journalism career 40 years ago. He will also be parting with a monstrous collection of 25,000 vinyl albums and thousands of CDs that he began accumulating when he was still in college.
Known around the office as “Bream’s record vault,” the collection has been moved around the Star Tribune’s sprawling headquarters a few times but has been housed for the longest stretch in a dingy, dusty room in the furthest back corner of the building’s basement, where the steel tracks that once guided giant rolls of newspaper toward the printing press still zigzag across the floor.
“When my wife got pregnant, she said, ‘We don’t have enough room in this house to have a child.’ We had a walk-out basement, and the entire basement was filled with records. This was like a third of our house,” Bream recalls. “So I talked to the editor at the Star Tribune at the time and said, “I have this vinyl collection that I use as a library and reference, any chance we could move it to the Star Tribune? Is there space there?” And he got back to me and he said yeah. So I hired a bunch of people, we moved it here in 1991.”
Bream is seated in a shiny conference room on the building’s first floor which, along with the rest of the headquarters, will soon be turned to rubble to make way for a park to complement the new Vikings stadium. After this week, he will relocate to the Capella Tower complex in downtown Minneapolis with the rest of his newsroom colleagues. But the record collection won’t be coming with him.
Bream began accumulating the records in the early 1970s when he worked as an arts editor and music critic for the Minnesota Daily. In the mid-’70s, he got a job selling used records at the head shop Pasha Poi on Grand Avenue in St. Paul and started picking up freelance work at Minneapolis’s afternoon paper the Star—two gigs that contributed even more albums to his growing collection. By the time he was working full-time at the paper he had amassed a serious collection that spanned rock and pop, country, R&B, disco, and jazz. And due to the nature of his job, he was adding dozens of new albums to his shelf every week.
When he learned about the Star Tribune’s relocation plans last year, Bream knew he’d have to figure out what to do with his collection. Logistically, the idea of moving all of those stacks of records to a storage facility or warehouse sounded like a nightmare. And ethically, Bream knew he couldn’t sell promotional copies of the albums he’d been sent and keep the profits for himself. So what does a journalist do with a lifetime of albums that suddenly don’t have anywhere to go?
“I kind of weighed all these alternatives and thought, what would be the best legacy?,” Bream says. “We’re selling it, and we’re going to set up a scholarship for arts criticism. And I will mentor the recipient every year. I didn’t want to make it just music criticism—if you want to study theater criticism or movie criticism, fine. So that’s the goal. Judging by the bids we got, we’ll have the money to start a decent scholarship fund. I thought that was a good legacy.”
Standing up from the conference room table, Bream seems eager to show off his stash before the dealer who purchased it comes to move it out of the building.
“We didn’t roll out the red carpet for you,” he warns, explaining that the steady stream of collectors and dealers he’s had in to assess the collection have left the room in disarray. But still there is a childlike wonder and a bit of a sparkle in Bream’s eye as he leads us down into the basement and side-steps stacks of abandoned furniture and filing cabinets to unlock his vault’s door.
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Bream flips on the lights and ducks behind a towering shelf of records to pull out some of his favorites for a show-and-tell. With my host out of eyesight, digging, I’m left to stand there and attempt to absorb the magnitude of it all: unending rows of record spines stacked five rows tall on shelves that barely have enough room to walk between them, with pretty much every album I’ve ever heard of and thousands more I didn’t even know existed waiting to be pulled from their spots on the shelf and examined, touched, loved.
Bream’s been getting records sent to him at such high volume for so many years that most of the records have only been played once or twice, if at all. Everything is in mint or like-mint condition, with some albums still sealed in their original shrink wrap, and every single record has a story.
I pull out a New Kids on the Block record and Bream groans, griping about having to cover them several times in one year. A Captain Beefheart record reminds him of working at the old head shop; he can practically remember putting the price tag on it. And a stack of records by the Stooges and Big Star are handled so gingerly and bring such a tender smile to the typically stoic journalist’s face that it’s a wonder how he can bear to part with any of this at all.
“Sure, I’m going to miss a lot of it,” he says. “The weird thing is, a lot of it is visual memory, and not aural memory. Because that’s what vinyl is. And you know, everyone’s fandom or geekdom is over something different. Some people, it’s just like, ‘Oh I gotta have it! I just want to possess it!’ But it’s like, what good does it do you? Share it. If you can recirculate it, at least someone will get it, enjoy it, and like it.”
http://publicradio2.wpengine.netdna-cdn.com/files/2015/03/DSC6084.jpg
After the visit to the vault, Jon takes me upstairs to the cafeteria and leads me to almost the exact spot where he interviewed Morris Day—who showed up to the newspaper headquarters dressed to the nines in a full suit—way back in 1982.
We sit near a window and look out at the enormous cranes that stretch like giraffes’ necks over the top tiers of the new Vikings stadium. The wallpaper behind Jon’s shoulder is peeling and dull, and there’s a pile of dust and debris that no one’s bothered to brush off the windowsill. It doesn’t really matter, anyway. In a few months it will all be gone.
Andrea Swensson: I’m curious how the format has evolved as you’ve been sent music over the years. Are you still sent physical items? Or has that gone away?
Jon Bream: You don’t get as many physical. If they give me a choice, I prefer physical. Sometimes I use the line, “Well, if you send me digital I’ll write it up for our website. If you send me physical, I’ll write it for the paper.” I much prefer CD for just audiophile reasons. I mean, the compression on digital files is such that you really can’t appreciate the sound. And I will tell you this: I don’t do iTunes. I’ve purchased two iTunes songs in my entire life, and the only reason I did that is I was interviewing Taylor Swift and they would not give me an advance copy of her album, but two songs were available on iTunes, so I bought those two. And then I told her in the interview, “They wouldn’t give me an advance copy of your album so I bought these two tunes on iTunes,” and she said, “Thank you for buying them.”
I think for me it’s just easier to keep track of what I have when you can put them in piles on your desk and kind of visualize what’s going on. With digital files I lose things.
Well I’m like you, I keep the piles of CDs. And I have a system, you know. Like if it’s coming to town it goes in a certain pile, if it’s not it goes in another pile. That kind of thing.
When you started, were you the only music critic here?
Well, first of all, the papers were separate when I started. So there was the Star, which was the afternoon paper, and then there was the Tribune, which was the morning paper. Mike Anthony was the music critic of the morning paper, he covered all music. I worked for the Star. We had a classical music critic, I covered the rest. In the early days I did some jazz, too.
Would you try to cover things that Mike Anthony wasn’t writing about?
We were competitors, in the same sense that you would be a competitor with City Pages or the Pioneer Press. And it was real competitive, even though they were down the hall. I mean, I took pride in the fact that my review appeared the afternoon after the concert. His review wouldn’t come out until two days after the concert. So yeah, you’re competing that way. You’re competing for interviews. It would be a coup if I could get an interview and he couldn’t. He had the Sunday circulation—I didn’t. But you would go in there and fight. Those kind of political games, whatever you want to call them, seemed to have more effect back in the day. Whereas now they’ll give an interview to City Pages and not to us, and they don’t care. I mean, the publicists, the artists, they don’t care.
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When you started, was it common to cover local artists in the paper?
It was a part of my job, yes. And it was one of those things where you would get reaction from the artist saying, you know, “My parents finally realize that what I’m doing is legitimate because I got written up in the paper.” I mean, guys in the Suburbs told me that. Suicide Commandos, all those kinds of early bands. So yeah, I covered it as part of my job. It was always part of my job. You know, I remember one of the first more interesting stories I wrote about was when the Commandos did their first trip to New York to do a show in ’76, I think. I covered the album releases. They didn’t necessarily have album release parties, but I’d write about it. And then the local scene became bigger and bigger and bigger, and finally we convinced them that we needed to hire a person to cover local music. So they did, sometime in the ’90s.
Is that when Chris Riemenschneider came on?
No, there was a person before him, Vickie Gilmer. She worked on the music beat, and when she left they hired Chris. So I think he came in 2001. And that’s his primary responsibility, covering the local music. And I still do some local music coverage—especially if it’s artists that I’ve covered for a long time.
Was there a difference in the way you’d approach listening to a local record? Or was it all the same for you?
I would assess a record based on what they were trying to do. So if you were on a major label and you made a major label record, I treated you like I treated any other major label artist. I’m not going to cut you slack because you’re local. If you made a homemade lo-fi record, I’d treat it for what it was. Do you want to hear some stories?
Yes, definitely.
Well–it’s hard to tell the story without naming the person. But I’ll just say that there was one artist who I’d known since junior high. We’d gone to the same junior high school. And he was upset about a negative review I wrote about a major label album that he put out. And I’d been real supportive of his work at first, because it was great and groundbreaking, and all of a sudden it became pretty garden variety, and he felt that I should have cut him some slack because he was local. And so he got mad at me and didn’t speak to me for several years.
Are you able to listen to Prince objectively, having followed him so closely for so many years?
Oh, absolutely. Objectively and subjectively. No question. The thing is, if you follow someone that closely, or if you’re a big fan of someone, you’re a lot harder on them than you are on other people. It’s about context, and perspective. So as someone who’s followed Prince that closely, I’ve got a different context and perspective. And that’s my job, and that’s my responsibility. And I don’t cut him any slack because he’s local or I know him, and he knows that.
_DSC6137 Do you think he respects you because of that?
I think he respects me. I don’t know why. You’d have to ask him why he respects me. [laughs] You know, I think he respects me for a lot of different reasons, but also because I’ve been there and I’ve paid attention. You know, has he gotten upset? Sure. I mean, he banned me from clubs. He burned my review live on TV, on Arsenio Hall. I happened to be in the studio audience that day, which he didn’t know. So is that showing respect? I do know he reads the stuff I write.
I know that too, because he recited it back to me (http://blog.thecurrent.org/2014/06/prince-and-3rdeyegirl-share-new-music-at-late-night-paisley-park-rendezvous/) .
Right. So is that flattering? Maybe. But it’s reality. The thing is, I’m not writing the review for him. I’m writing it for the readers.
Would you say you have a thick skin?
Very thick. You have to in this job.
Did you at the beginning?
I think it’s something you have to learn to develop. But yeah, you definitely have to have a thick skin. And the reality of the situation is, you’re dealing out criticism so you’d better be able to take it.
Right. I think I have a medium-thick skin.
Well, yeah. I mean, it takes a little time sometimes. But don’t take it personally. I would say 95 out of 100 times, if a person calls and I talk to them on the phone, then by the end of the phone conversation they understand where I’m coming from and maybe even agree with me. Because a lot of times the nuances are misunderstood. They read what they want to read. If they read one negative thing, they’re not going to notice the positive things you say because they like the artist. So they don’t read carefully, is what the bottom line is. But I don’t respond to comments online. I’ll respond if it’s a factual thing, but I’ve had my say. It’s fair game for them to have their say. I don’t need to have the last word.
Have you ever had someone get mad at you in an interview?
Miles Davis hung up on me. I’m not sure why. I can tell you the question I ask that prompted him to hang up. He doesn’t like to do interviews, you have to understand, and didn’t do many. And I think he was coming to play, I can’t remember what the gig was, but somehow the promoter got him to do a phone interview with me and it lasted maybe six minutes. And you know, I could tell I wasn’t getting much out of him. I was trying to get Prince stuff out of him, because they had done some stuff together that hadn’t been released. So we talked a little bit about that, and then, to just sort of change the subject, I said, “Which of the young cats are you enjoying today?” And he goes, “Cats? What do you mean, cats?” And he hung up on me. You know, I mean lots of people say jazz cats, don’t they? That was it.
Wow.
I mean, I had one band that you’ve probably never heard of. They were called New England, and they were kind of a ’80s corporate rock, very generic band. And they were opening for Cheap Trick, at the old St. Paul Civic Center, so I wrote a preview blurb about Cheap Trick, and then I said, “Opening is this generic corporate rock band,” or whatever it was. And at the show I went backstage to see the guys in Cheap Trick, because I’d gone on the road with them and knew them a little bit, and I was standing backstage and some guy came up to me. And I didn’t know it at the time, but he was in the band New England. So he said, “Are you Jon Bream?” And I said, “Yeah.” And then he grabbed the pens out of my pocket and broke them in half and said, “That’s what I think of you.” So is that assault? I don’t know.
Assault on your pens.
I mean, he didn’t push me, but it’s a degree of assault, I assume, if you were a legal officer. But you know, I mean Prince has burned my reviews. He’s had me thrown out of his club. So yeah, that kind of goes with the territory.
Do you have the opposite happen, where people give you shout-outs in positive ways?
Well, Sheila E did once at a Dakota show. She said, “We should name this song after Bream.” Lyle Lovett said some nice things about me several times from stage. But you know, I know him better than I know most artists. Who else? There was one from KD Lang, where we had done the interview and she had insisted that I had given her a negative review the time before. And I said, “No I hadn’t. I have the review right in front of me.” And she said, “No, you didn’t like the show, I remember.” And then when she came to town, she said, “I have a message for Jon: You were right. It was the guy in Milwaukee, not you.” And that was all she said. [laughs] So that happened. I mean, I’ve had Prince shout-outs several times, and not always in a negative way. There was the time at the Minnesota Music Awards, and the night before had been the Motown 25th anniversary show, when Michael Jackson introduced the Moonwalk. And Prince had gotten an award, and he was up there performing, and he said,
“Watch this move, Jon Bream.” And of course he didn’t know I was out in the hallway sending in my write-up of who had won the awards. But people told me about it.
** More photos of Jon Bream’s vinyl vault by Nate Ryan:
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This letter fell out of a used Trane LP I purchased while back.
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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)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=65193e5439) | 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=65193e5439&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
From The EyeGo Archive: “beauts”
http://www.jazzpromoservices.com/
This letter fell out of a used Trane LP I purchased while back.
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=65193e5439) | 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=65193e5439&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
From The EyeGo Archive: Ex-guard didn’t miss a beat saving hot jazzman
http://www.jazzpromoservices.com/
Believe this was mid to late 80s
Note misspelling under photo: Art Blake…
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=1a539705c3) | 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=1a539705c3&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
From The EyeGo Archive: Ex-guard didn’t miss a beat saving hot jazzman
http://www.jazzpromoservices.com/
Believe this was mid to late 80s
Note misspelling under photo: Art Blake…
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=1a539705c3) | 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=1a539705c3&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