Author: Bash Daily Group Archive Feed
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…
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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
Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies | Duke Today
http://www.jazzpromoservices.com/
https://today.duke.edu/2015/03/pauljeffrey
** Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies
————————————————————
Durham, NC – Saxophonist and composer Paul Jeffrey, director of Jazz Studies and professor of the practice of music at Duke University, died on Friday following a lengthy illness at age 81.
Jeffrey earned a bachelor of science degree in music education at Ithaca College before moving to New York City, where he began a lifelong friendship with Sonny Rollins. An acclaimed tenor saxophonist, Jeffrey worked closely with Rollins, Thelonious Monk, Charles Mingus and other jazz legends before coming to Duke in 1983, where he served as director of Jazz Studies until his retirement in 2003.
Jeffrey built up the jazz program during his time at Duke, mentoring a number of students who have become notable jazz musicians, including Todd Bashore (T’95, alto sax), Jeb Patton (T’96, piano) and Geoff Burke (T’99, tenor sax).
Jeffrey’s influence as an educator extended far beyond campus. He was artistic director of the Aspen Jazz Festival, as well as for jazz clinics at the Riveria Jazz Festival in Dolo/Venice and Umbria Jazz Festival in Perugia, Italy. In 2000, a school of jazz music was created in his name in Cairo Montenotte near Genoa.
Jeffrey also worked to promote jazz within the local community. In 1985, he was appointed to the North Carolina Arts Council by Gov. Jim Martin. In addition to directing the Duke Jazz Ensemble, Jeffrey donated his time working with local high school jazz bands.
“I first met Paul Jeffrey when I was still in college and I had the privilege of working alongside with him here at Duke for two and a half years before he retired,” said John Brown, director of Jazz Studies at Duke. “He worked tirelessly to ensure that jazz remained alive and well and was very passionate about the music he loved so much. He leaves a legacy of great traditions of presenting jazz at Duke, and for the presence of jazz everywhere.
“When people pass on, we often quip that they will be missed. Thankfully, when we recall the marvelous things that Paul did with his life, we can all celebrate his life and rejoice in how he will be remembered.”
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=ccc0951122) | 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=ccc0951122&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies | Duke Today
http://www.jazzpromoservices.com/
https://today.duke.edu/2015/03/pauljeffrey
** Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies
————————————————————
Durham, NC – Saxophonist and composer Paul Jeffrey, director of Jazz Studies and professor of the practice of music at Duke University, died on Friday following a lengthy illness at age 81.
Jeffrey earned a bachelor of science degree in music education at Ithaca College before moving to New York City, where he began a lifelong friendship with Sonny Rollins. An acclaimed tenor saxophonist, Jeffrey worked closely with Rollins, Thelonious Monk, Charles Mingus and other jazz legends before coming to Duke in 1983, where he served as director of Jazz Studies until his retirement in 2003.
Jeffrey built up the jazz program during his time at Duke, mentoring a number of students who have become notable jazz musicians, including Todd Bashore (T’95, alto sax), Jeb Patton (T’96, piano) and Geoff Burke (T’99, tenor sax).
Jeffrey’s influence as an educator extended far beyond campus. He was artistic director of the Aspen Jazz Festival, as well as for jazz clinics at the Riveria Jazz Festival in Dolo/Venice and Umbria Jazz Festival in Perugia, Italy. In 2000, a school of jazz music was created in his name in Cairo Montenotte near Genoa.
Jeffrey also worked to promote jazz within the local community. In 1985, he was appointed to the North Carolina Arts Council by Gov. Jim Martin. In addition to directing the Duke Jazz Ensemble, Jeffrey donated his time working with local high school jazz bands.
“I first met Paul Jeffrey when I was still in college and I had the privilege of working alongside with him here at Duke for two and a half years before he retired,” said John Brown, director of Jazz Studies at Duke. “He worked tirelessly to ensure that jazz remained alive and well and was very passionate about the music he loved so much. He leaves a legacy of great traditions of presenting jazz at Duke, and for the presence of jazz everywhere.
“When people pass on, we often quip that they will be missed. Thankfully, when we recall the marvelous things that Paul did with his life, we can all celebrate his life and rejoice in how he will be remembered.”
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=ccc0951122) | 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=ccc0951122&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
Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies | Duke Today
http://www.jazzpromoservices.com/
https://today.duke.edu/2015/03/pauljeffrey
** Duke Flags Lowered: Saxophonist, Composer Paul Jeffrey Dies
————————————————————
Durham, NC – Saxophonist and composer Paul Jeffrey, director of Jazz Studies and professor of the practice of music at Duke University, died on Friday following a lengthy illness at age 81.
Jeffrey earned a bachelor of science degree in music education at Ithaca College before moving to New York City, where he began a lifelong friendship with Sonny Rollins. An acclaimed tenor saxophonist, Jeffrey worked closely with Rollins, Thelonious Monk, Charles Mingus and other jazz legends before coming to Duke in 1983, where he served as director of Jazz Studies until his retirement in 2003.
Jeffrey built up the jazz program during his time at Duke, mentoring a number of students who have become notable jazz musicians, including Todd Bashore (T’95, alto sax), Jeb Patton (T’96, piano) and Geoff Burke (T’99, tenor sax).
Jeffrey’s influence as an educator extended far beyond campus. He was artistic director of the Aspen Jazz Festival, as well as for jazz clinics at the Riveria Jazz Festival in Dolo/Venice and Umbria Jazz Festival in Perugia, Italy. In 2000, a school of jazz music was created in his name in Cairo Montenotte near Genoa.
Jeffrey also worked to promote jazz within the local community. In 1985, he was appointed to the North Carolina Arts Council by Gov. Jim Martin. In addition to directing the Duke Jazz Ensemble, Jeffrey donated his time working with local high school jazz bands.
“I first met Paul Jeffrey when I was still in college and I had the privilege of working alongside with him here at Duke for two and a half years before he retired,” said John Brown, director of Jazz Studies at Duke. “He worked tirelessly to ensure that jazz remained alive and well and was very passionate about the music he loved so much. He leaves a legacy of great traditions of presenting jazz at Duke, and for the presence of jazz everywhere.
“When people pass on, we often quip that they will be missed. Thankfully, when we recall the marvelous things that Paul did with his life, we can all celebrate his life and rejoice in how he will be remembered.”
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=ccc0951122) | 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=ccc0951122&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
California’s Amoeba Music turns 25: ‘We’re like an art museum’ | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein
** California’s Amoeba Music turns 25: ‘We’re like an art museum’
————————————————————
Amoeba Music’s LA store.
The joke Marc Weinstein likes to tell when the co-founder of California-based record chain Amoeba Music (http://www.amoeba.com/) is asked about what he does for a living, is that he’s basically worked in and around record shops for most of his life to avoid getting a real job.
That may certainly have been true when he stepped behind a record store counter for the first time as a teenager. But the fact that he’s still doing this in middle age, and that Amoeba is celebrating its 25th anniversary this year, suggests there’s a lot more to this than wanting to steer clear of working for The Man.
After all, Amoeba’s is an industry in which impermanence is probably the only constant, with plenty of business models having come and gone since Amoeba’s first location opened in November 1990 along Berkeley’s famed Telegraph Avenue. Last year, revenue from streaming music sales beat CD revenue for the first time in the US (http://www.theverge.com/2015/3/19/8257193/streaming-music-revenue-beat-cds-2014) , an epic shifting of the ground beneath stalwart record shops like Amoeba, which today has a brick-and-mortar presence in Berkeley, San Francisco and Los Angeles.
Weinstein may have wanted to avoid a career of “real work”, but he ended up building an enterprise that exists in a low-margin world with digitally induced obsolescence always lurking around the corner. And yet Amoeba has hung on long enough to be able to bill itself as the largest independent music retailer in the world.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-2Ben Gibbard of Death Cab For Cutie performs at Amoeba Music. Photograph: Tommaso Boddi/WireImage
All of which is to underscore that running a business like Amoeba, whose bright neon sign beckons music fans to pay a premium for music you hold in your hands, is not the kind of thing that happens by chance.
“In a lot of ways, we’re kind of like an art museum – for music,” says Weinstein, who just got back from a trip to Toledo, Ohio, where he scooped up thousands of records from a music shop that had closed there.
“It’s interesting – a lot of people don’t know how to look at art or talk about art,” he continues. “But people definitely know how to talk about music. Music is something a lot more people are literate to. And people don’t really have anywhere to go, outside of a show, to cultivate that. The closest you can get is to come to a place like Amoeba.”
Back when Weinstein and his colleagues were finalising the details needed to open the shop, the name they chose to go with was a result of wanting something that rolled off the tongue.
“We were looking to alliterate with ‘music’, so we just sort of jammed on the name and serendipitously came up with Amoeba,” Weinstein says. “Which was good, because we were by a university, so we wanted something that sounded smart but was also kind of psychedelic. Also, starting with A put us at the beginning of the phone book.”
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-3Browsing the racks: ‘There’s a generation of people who feel that they missed out on albums.’ Photograph: Sarah Lee for the Guardian
Weinstein credits Amoeba’s survival to a mix of hyper-knowledgeable employees, creative thinking and the adventurousness to try new things.
Consider, for example, Amoeba’s Webby Award-winning online video series, What’s In My Bag? (http://www.amoeba.com/whats-in-my-bag/#/grid/1) It consists of filmed interviews available at the store’s website and on YouTube featuring musicians and celebrities who come through the door, everyone from bands like Best Coast (https://www.youtube.com/watch?v=w1Oa8VGbyQg) and MSMR (https://www.youtube.com/watch?v=nAmsfQXcapg) to Johnny Marr (https://www.youtube.com/watch?v=Gcg1e0NHN3M) , Fred Armisen (https://www.youtube.com/watch?v=hPQcJs7Tbhg) and Bob Odenkirk (https://www.youtube.com/watch?v=9Q1A80lJHOo) . For a few minutes, in front of the camera, they explain – as only a genuine music lover can – why they picked this CD, why this album is in their bag, why this cover art is so cool and what this song means to them.
Weinstein said the store is thinking about possibly opening the series up even more, eventually filming regular customers who come in and putting the “What’s in my bag?” question to them, too.
Bethany Cosentino, singer with Best Coast (http://www.theguardian.com/music/best-coast) , says this is the kind of thing that makes Amoeba special.
“Amoeba is unlike any other record store, not only in the sense that yes, they support musicians, but also it’s got that really huge record store vibe while keeping a very independent, small, hometown record store vibe very much alive,” she says. “They also employ a lot of musicians that were in touring bands and decided to get off the road, so you’re basically always in the presence of people that know what they’re talking about when it comes to music.
“I think it’s important that if you love a band and you want to support them, you go to your local record store and buy a physical copy of their album. You read the thank yous and the album credits, look at the photos in the booklet and you experience the record the way they wanted you to.”
That’s one reason Weinstein thinks vinyl is seeing a resurgence among some music fans, something also helped by the yearly international Record Store Day (http://www.recordstoreday.com/) event, happening in America this year on 18 April.
“I really think there’s a whole generation of people fascinated with a mechanical age that they totally missed out on,” Weinstein says. “When things were made with quality and people used to sit around and listen to a record that’s curated the way the artist intended – it’s a whole different experience. A CD never quite afforded you that feeling. It never had the romance of an LP.”
One reason the selection at Amoeba’s stores seems to change from one visit to the next is because Weinstein is constantly on the road, scouring the country for rare, valuable and interesting finds. He flocks to collectors and especially estate sales, because an estate that includes a large record collection often means, he says, somebody took the time to assemble it with care over a number of years. And those records he brings back are “some of the best stuff that hits our shelves”.
Weinstein also shuffles between the stores every week or two. He stays in touch with staff and goes to employees’ shows. He also serves at the front counter and puts his art degree to use by doing some design-related work for Amoeba, including the façade for the Los Angeles store.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-4Paul McCartney performs in the LA store in 2007. Photograph: Frank Micelotta/Getty Images
Amoeba co-founder Dave Prinz, Weinstein says, “has always got a bunch of folders with yellow pads, leases and legal documents. He does all the stuff I hate doing”.
Other partners own percentages of the stores. Collectively, Amoeba employs about 400 people – about 240 in Los Angeles, 100 in San Francisco and 40 in Berkeley.
“We spent some effort a few years ago trying to build a digital store,” Weinstein adds. “But we discovered we’d never get the licensing from the majors to sell downloads. We have over 1m titles we could sell, but it’s mostly indie stuff. Now, digital downloads have seen sales decline (http://www.billboard.com/biz/articles/news/record-labels/5869521/whats-behind-the-digital-downloads-decline-and-can-streaming) anyway, so it’s kind of too late for us to try that. So we’re focusing on our brick and mortar stores, on keeping on doing what we do well and sticking with that.
“The only thing that really cuts into our ability to do that is the cost of doing business,” he says. “That keeps going up. Our margins don’t. We get more and more pressure, but I’m not that worried about it. I think we’re institutions in each of the communities we’re in. Everyone here has such a shared love and passion for music. How many big box stores do you know that you can walk into and people know the product, love the product, care about the product? Creating a venue where people can share their love of music is all we’re ever going to really be about.”
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=850ac58c1f) | 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=850ac58c1f&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
California’s Amoeba Music turns 25: ‘We’re like an art museum’ | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein
** California’s Amoeba Music turns 25: ‘We’re like an art museum’
————————————————————
Amoeba Music’s LA store.
The joke Marc Weinstein likes to tell when the co-founder of California-based record chain Amoeba Music (http://www.amoeba.com/) is asked about what he does for a living, is that he’s basically worked in and around record shops for most of his life to avoid getting a real job.
That may certainly have been true when he stepped behind a record store counter for the first time as a teenager. But the fact that he’s still doing this in middle age, and that Amoeba is celebrating its 25th anniversary this year, suggests there’s a lot more to this than wanting to steer clear of working for The Man.
After all, Amoeba’s is an industry in which impermanence is probably the only constant, with plenty of business models having come and gone since Amoeba’s first location opened in November 1990 along Berkeley’s famed Telegraph Avenue. Last year, revenue from streaming music sales beat CD revenue for the first time in the US (http://www.theverge.com/2015/3/19/8257193/streaming-music-revenue-beat-cds-2014) , an epic shifting of the ground beneath stalwart record shops like Amoeba, which today has a brick-and-mortar presence in Berkeley, San Francisco and Los Angeles.
Weinstein may have wanted to avoid a career of “real work”, but he ended up building an enterprise that exists in a low-margin world with digitally induced obsolescence always lurking around the corner. And yet Amoeba has hung on long enough to be able to bill itself as the largest independent music retailer in the world.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-2Ben Gibbard of Death Cab For Cutie performs at Amoeba Music. Photograph: Tommaso Boddi/WireImage
All of which is to underscore that running a business like Amoeba, whose bright neon sign beckons music fans to pay a premium for music you hold in your hands, is not the kind of thing that happens by chance.
“In a lot of ways, we’re kind of like an art museum – for music,” says Weinstein, who just got back from a trip to Toledo, Ohio, where he scooped up thousands of records from a music shop that had closed there.
“It’s interesting – a lot of people don’t know how to look at art or talk about art,” he continues. “But people definitely know how to talk about music. Music is something a lot more people are literate to. And people don’t really have anywhere to go, outside of a show, to cultivate that. The closest you can get is to come to a place like Amoeba.”
Back when Weinstein and his colleagues were finalising the details needed to open the shop, the name they chose to go with was a result of wanting something that rolled off the tongue.
“We were looking to alliterate with ‘music’, so we just sort of jammed on the name and serendipitously came up with Amoeba,” Weinstein says. “Which was good, because we were by a university, so we wanted something that sounded smart but was also kind of psychedelic. Also, starting with A put us at the beginning of the phone book.”
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-3Browsing the racks: ‘There’s a generation of people who feel that they missed out on albums.’ Photograph: Sarah Lee for the Guardian
Weinstein credits Amoeba’s survival to a mix of hyper-knowledgeable employees, creative thinking and the adventurousness to try new things.
Consider, for example, Amoeba’s Webby Award-winning online video series, What’s In My Bag? (http://www.amoeba.com/whats-in-my-bag/#/grid/1) It consists of filmed interviews available at the store’s website and on YouTube featuring musicians and celebrities who come through the door, everyone from bands like Best Coast (https://www.youtube.com/watch?v=w1Oa8VGbyQg) and MSMR (https://www.youtube.com/watch?v=nAmsfQXcapg) to Johnny Marr (https://www.youtube.com/watch?v=Gcg1e0NHN3M) , Fred Armisen (https://www.youtube.com/watch?v=hPQcJs7Tbhg) and Bob Odenkirk (https://www.youtube.com/watch?v=9Q1A80lJHOo) . For a few minutes, in front of the camera, they explain – as only a genuine music lover can – why they picked this CD, why this album is in their bag, why this cover art is so cool and what this song means to them.
Weinstein said the store is thinking about possibly opening the series up even more, eventually filming regular customers who come in and putting the “What’s in my bag?” question to them, too.
Bethany Cosentino, singer with Best Coast (http://www.theguardian.com/music/best-coast) , says this is the kind of thing that makes Amoeba special.
“Amoeba is unlike any other record store, not only in the sense that yes, they support musicians, but also it’s got that really huge record store vibe while keeping a very independent, small, hometown record store vibe very much alive,” she says. “They also employ a lot of musicians that were in touring bands and decided to get off the road, so you’re basically always in the presence of people that know what they’re talking about when it comes to music.
“I think it’s important that if you love a band and you want to support them, you go to your local record store and buy a physical copy of their album. You read the thank yous and the album credits, look at the photos in the booklet and you experience the record the way they wanted you to.”
That’s one reason Weinstein thinks vinyl is seeing a resurgence among some music fans, something also helped by the yearly international Record Store Day (http://www.recordstoreday.com/) event, happening in America this year on 18 April.
“I really think there’s a whole generation of people fascinated with a mechanical age that they totally missed out on,” Weinstein says. “When things were made with quality and people used to sit around and listen to a record that’s curated the way the artist intended – it’s a whole different experience. A CD never quite afforded you that feeling. It never had the romance of an LP.”
One reason the selection at Amoeba’s stores seems to change from one visit to the next is because Weinstein is constantly on the road, scouring the country for rare, valuable and interesting finds. He flocks to collectors and especially estate sales, because an estate that includes a large record collection often means, he says, somebody took the time to assemble it with care over a number of years. And those records he brings back are “some of the best stuff that hits our shelves”.
Weinstein also shuffles between the stores every week or two. He stays in touch with staff and goes to employees’ shows. He also serves at the front counter and puts his art degree to use by doing some design-related work for Amoeba, including the façade for the Los Angeles store.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-4Paul McCartney performs in the LA store in 2007. Photograph: Frank Micelotta/Getty Images
Amoeba co-founder Dave Prinz, Weinstein says, “has always got a bunch of folders with yellow pads, leases and legal documents. He does all the stuff I hate doing”.
Other partners own percentages of the stores. Collectively, Amoeba employs about 400 people – about 240 in Los Angeles, 100 in San Francisco and 40 in Berkeley.
“We spent some effort a few years ago trying to build a digital store,” Weinstein adds. “But we discovered we’d never get the licensing from the majors to sell downloads. We have over 1m titles we could sell, but it’s mostly indie stuff. Now, digital downloads have seen sales decline (http://www.billboard.com/biz/articles/news/record-labels/5869521/whats-behind-the-digital-downloads-decline-and-can-streaming) anyway, so it’s kind of too late for us to try that. So we’re focusing on our brick and mortar stores, on keeping on doing what we do well and sticking with that.
“The only thing that really cuts into our ability to do that is the cost of doing business,” he says. “That keeps going up. Our margins don’t. We get more and more pressure, but I’m not that worried about it. I think we’re institutions in each of the communities we’re in. Everyone here has such a shared love and passion for music. How many big box stores do you know that you can walk into and people know the product, love the product, care about the product? Creating a venue where people can share their love of music is all we’re ever going to really be about.”
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California’s Amoeba Music turns 25: ‘We’re like an art museum’ | Music | The Guardian
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http://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein
** California’s Amoeba Music turns 25: ‘We’re like an art museum’
————————————————————
Amoeba Music’s LA store.
The joke Marc Weinstein likes to tell when the co-founder of California-based record chain Amoeba Music (http://www.amoeba.com/) is asked about what he does for a living, is that he’s basically worked in and around record shops for most of his life to avoid getting a real job.
That may certainly have been true when he stepped behind a record store counter for the first time as a teenager. But the fact that he’s still doing this in middle age, and that Amoeba is celebrating its 25th anniversary this year, suggests there’s a lot more to this than wanting to steer clear of working for The Man.
After all, Amoeba’s is an industry in which impermanence is probably the only constant, with plenty of business models having come and gone since Amoeba’s first location opened in November 1990 along Berkeley’s famed Telegraph Avenue. Last year, revenue from streaming music sales beat CD revenue for the first time in the US (http://www.theverge.com/2015/3/19/8257193/streaming-music-revenue-beat-cds-2014) , an epic shifting of the ground beneath stalwart record shops like Amoeba, which today has a brick-and-mortar presence in Berkeley, San Francisco and Los Angeles.
Weinstein may have wanted to avoid a career of “real work”, but he ended up building an enterprise that exists in a low-margin world with digitally induced obsolescence always lurking around the corner. And yet Amoeba has hung on long enough to be able to bill itself as the largest independent music retailer in the world.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-2Ben Gibbard of Death Cab For Cutie performs at Amoeba Music. Photograph: Tommaso Boddi/WireImage
All of which is to underscore that running a business like Amoeba, whose bright neon sign beckons music fans to pay a premium for music you hold in your hands, is not the kind of thing that happens by chance.
“In a lot of ways, we’re kind of like an art museum – for music,” says Weinstein, who just got back from a trip to Toledo, Ohio, where he scooped up thousands of records from a music shop that had closed there.
“It’s interesting – a lot of people don’t know how to look at art or talk about art,” he continues. “But people definitely know how to talk about music. Music is something a lot more people are literate to. And people don’t really have anywhere to go, outside of a show, to cultivate that. The closest you can get is to come to a place like Amoeba.”
Back when Weinstein and his colleagues were finalising the details needed to open the shop, the name they chose to go with was a result of wanting something that rolled off the tongue.
“We were looking to alliterate with ‘music’, so we just sort of jammed on the name and serendipitously came up with Amoeba,” Weinstein says. “Which was good, because we were by a university, so we wanted something that sounded smart but was also kind of psychedelic. Also, starting with A put us at the beginning of the phone book.”
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-3Browsing the racks: ‘There’s a generation of people who feel that they missed out on albums.’ Photograph: Sarah Lee for the Guardian
Weinstein credits Amoeba’s survival to a mix of hyper-knowledgeable employees, creative thinking and the adventurousness to try new things.
Consider, for example, Amoeba’s Webby Award-winning online video series, What’s In My Bag? (http://www.amoeba.com/whats-in-my-bag/#/grid/1) It consists of filmed interviews available at the store’s website and on YouTube featuring musicians and celebrities who come through the door, everyone from bands like Best Coast (https://www.youtube.com/watch?v=w1Oa8VGbyQg) and MSMR (https://www.youtube.com/watch?v=nAmsfQXcapg) to Johnny Marr (https://www.youtube.com/watch?v=Gcg1e0NHN3M) , Fred Armisen (https://www.youtube.com/watch?v=hPQcJs7Tbhg) and Bob Odenkirk (https://www.youtube.com/watch?v=9Q1A80lJHOo) . For a few minutes, in front of the camera, they explain – as only a genuine music lover can – why they picked this CD, why this album is in their bag, why this cover art is so cool and what this song means to them.
Weinstein said the store is thinking about possibly opening the series up even more, eventually filming regular customers who come in and putting the “What’s in my bag?” question to them, too.
Bethany Cosentino, singer with Best Coast (http://www.theguardian.com/music/best-coast) , says this is the kind of thing that makes Amoeba special.
“Amoeba is unlike any other record store, not only in the sense that yes, they support musicians, but also it’s got that really huge record store vibe while keeping a very independent, small, hometown record store vibe very much alive,” she says. “They also employ a lot of musicians that were in touring bands and decided to get off the road, so you’re basically always in the presence of people that know what they’re talking about when it comes to music.
“I think it’s important that if you love a band and you want to support them, you go to your local record store and buy a physical copy of their album. You read the thank yous and the album credits, look at the photos in the booklet and you experience the record the way they wanted you to.”
That’s one reason Weinstein thinks vinyl is seeing a resurgence among some music fans, something also helped by the yearly international Record Store Day (http://www.recordstoreday.com/) event, happening in America this year on 18 April.
“I really think there’s a whole generation of people fascinated with a mechanical age that they totally missed out on,” Weinstein says. “When things were made with quality and people used to sit around and listen to a record that’s curated the way the artist intended – it’s a whole different experience. A CD never quite afforded you that feeling. It never had the romance of an LP.”
One reason the selection at Amoeba’s stores seems to change from one visit to the next is because Weinstein is constantly on the road, scouring the country for rare, valuable and interesting finds. He flocks to collectors and especially estate sales, because an estate that includes a large record collection often means, he says, somebody took the time to assemble it with care over a number of years. And those records he brings back are “some of the best stuff that hits our shelves”.
Weinstein also shuffles between the stores every week or two. He stays in touch with staff and goes to employees’ shows. He also serves at the front counter and puts his art degree to use by doing some design-related work for Amoeba, including the façade for the Los Angeles store.
safari-reader://www.theguardian.com/music/2015/apr/03/amoeba-music-record-store-marc-weinstein#img-4Paul McCartney performs in the LA store in 2007. Photograph: Frank Micelotta/Getty Images
Amoeba co-founder Dave Prinz, Weinstein says, “has always got a bunch of folders with yellow pads, leases and legal documents. He does all the stuff I hate doing”.
Other partners own percentages of the stores. Collectively, Amoeba employs about 400 people – about 240 in Los Angeles, 100 in San Francisco and 40 in Berkeley.
“We spent some effort a few years ago trying to build a digital store,” Weinstein adds. “But we discovered we’d never get the licensing from the majors to sell downloads. We have over 1m titles we could sell, but it’s mostly indie stuff. Now, digital downloads have seen sales decline (http://www.billboard.com/biz/articles/news/record-labels/5869521/whats-behind-the-digital-downloads-decline-and-can-streaming) anyway, so it’s kind of too late for us to try that. So we’re focusing on our brick and mortar stores, on keeping on doing what we do well and sticking with that.
“The only thing that really cuts into our ability to do that is the cost of doing business,” he says. “That keeps going up. Our margins don’t. We get more and more pressure, but I’m not that worried about it. I think we’re institutions in each of the communities we’re in. Everyone here has such a shared love and passion for music. How many big box stores do you know that you can walk into and people know the product, love the product, care about the product? Creating a venue where people can share their love of music is all we’re ever going to really be about.”
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
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For Billie Holiday’s 100th Birthday, Tributes and New Releases – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html?emc=edit_tnt_20150402
** For Billie Holiday’s 100th Birthday, Tributes and New Releases
————————————————————
Photo
Billie Holiday, circa 1952, seven years before her death. Credit Bob Willoughby/Redferns-Getty Images
In Billie Holiday’s “I Cried for You,” (https://www.youtube.com/watch?v=wlS4rEzcr8w) recorded at Clark Monroe’s Uptown House in Harlem in 1941, time feels unimportant. She’s flooding the entire thing, doing a long yell, a game of phrasing and pitch, with words delayed and shaken and skywritten.
She sounds unbothered by the placement of the bar lines but grounded by her relationship with the song’s form and the band’s groove. (The audience knows: It is screaming.) At 26, she sounds as if she has been on this particular stage all her life, playing with the song’s possibilities, and isn’t ready to leave. “ ‘I Cried’ was my damn meat,” she wrote in her memoir, “Lady Sings the Blues.” The song connects backward to Louis Armstrong’s phrasing and silences and Bessie Smith’s volcanic projection; it connects forward to purposeful, idiosyncratic, brash or subtle or sideways vocal phrasers in the jazz and blues aesthetic and beyond: Abbey Lincoln, Betty Carter, Shirley Caesar, James Brown, Bob Dylan, Sly Stone, Erykah Badu. Holiday died in June 1959, at 44, sounding twice that age. This Tuesday she would have turned 100. This is as good a reason as any to think about her essence, and it makes her the focus of concerts and albums over the next several weeks by singers who have
been doing their own thinking, as well as a critical biography by the jazz historian John Szwed, “Billie Holiday: The Musician and the Myth,” published this week.
Cassandra Wilson has a completely different vocal tone from Billie Holiday’s: broad and dark rather than thin and piercing. Her new record, “Coming Forth by Day” (Ojah/Legacy), presents songs that Holiday recorded, but revised beyond recognition, with a band including the guitarist Kevin Breit and the rhythm section of the Bad Seeds, Nick Cave’s band. There’s no attempt at an impersonation of Holiday’s sound, whether with a small swing band or a string orchestra. There’s a reason for this.
Continue reading the main storyCassandra Wilson – You Go to My Head (Audio) Video by CassandraWilsonVEVO
“She was the kind of woman who did things her way,” Ms. Wilson said recently, speaking about Holiday and often slipping into present tense. We were in Woodstock, N.Y., in the barn formerly owned by the drummer Levon Helm, where Ms. Wilson was rehearsing her band for a tour. (She will play the new music in a concert at the Apollo in Harlem next Friday, after a ceremony that will put a Holiday plaque under the marquee.) “And so I think the music has to match that. She was very defiant, very stubborn. But it’s not a rebel-without-a-cause-type stubbornness. I think deep down she feels certain inequalities in her world, she senses the balance of power, and she’s part of that energy that challenges that.”
Photo
Billie Holiday at a Commodore recording session in 1939. The musicians are, from left, Johnny Williams, Frankie Newton, Stan Payne and Kenneth Hollon. Credit Charles Peterson/Hulton Archive-Getty Images
“Coming Forth by Day” is part of the post-tragic phase in the history of the perception of Billie Holiday. It’s not enough to see her as a passive or static entity — a victim, a sufferer, a collection of vocal mannerisms. The closer you look, the less she seems stuck in her time. She sang with Count Basie, Artie Shaw and Benny Goodman in the 1930s, and recorded “Strange Fruit” (https://www.youtube.com/watch?v=urKIzFiXghY) in 1939, a brave and piercing meditation on American racism. But she wasn’t widely known outside jukeboxes and jazz circles, among either black or white audiences, until the mid-’40s. In 1947 she was convicted on drug charges, spent almost a year in jail and lost her cabaret card, preventing her from performing anywhere that sold alcohol. It is generally known that she was targeted by the Federal Bureau of Narcotics, which was looking for a splashy arrest; her conviction started more than a decade of almost constant law-enforcement surveillance.
Continue reading the main storyBillie Holiday / Strange Fruit/ Commodore 526A Video by Taro Cross
Continue reading the main story
“Lady Sings the Blues,” written by Holiday and William Dufty — long tainted by its inaccuracies but a much better book than its reputation suggests — was candid about drug use, which gave it an underworld allure. But Mr. Szwed argues that it was meant to help restore her reputation and get her cabaret card back; she was controlling her own story. It ends on a note of rehabilitation and argues progressively for addiction to be seen as an illness. “The story of her life was made public as part of the first war against drugs,” Mr. Szwed writes. He adds, “Yet she quickly realized that it was possible for her to use some of the same media and methods to defend and redefine herself.”
Socially, Holiday lived with purpose and curiosity, hanging out with musicians, Hollywood stars, professors, female impersonators. But she also sang dark songs about sorrow and loving bad men. For decades after her death, she was understood as a doomed hero, especially through the tragic narrative of the Diana Ross movie version of “Lady Sings the Blues.” The change in that understanding has come slowly ever since, partly thanks to books that go beyond biography and look into her meaning and reception: Mr. Szwed’s, as well as others by Farah Jasmine Griffin and Robert G. O’Meally.
But it’s also partly thanks to musicians who have made records around Holiday and talked about her publicly, including Abbey Lincoln — whose thoughts about Holiday cycled through admiration, skepticism (in a 1962 interview, she called Holiday a masochist) and finally a full, complex respect — and Ms. Wilson.
Holiday was a wicked maker of sound. Many have compared her voice to a horn, but Ms. Wilson compares it to the generalized sound of a jazz ensemble of the 1930s as heard on record, flattened out through mono and single-microphone technology. (She stands by “Strange Fruit” as Holiday’s greatest accomplishment.) The pianist and educator Ran Blake, who has taught courses on Holiday’s music at New England Conservatory for many years, particularly loves her moody recordings for Decca in the mid-’40s, including “No More” and “Deep Song” (https://www.youtube.com/watch?v=rZZhD0J3jfM) ; he praises the rhythmic and harmonic confidence she found through subtlety, without overemoting. “Students who try to notate ‘Deep Song,’ ” he told me in a recent conversation, “find it vastly harder than five or six bars of a Bartok piece.”
Photo
Cassandra Wilson Credit Hiroyuki Ito for The New York Times Continue reading the main storyBillie Holiday – Deep Song (Decca Records 1947) Video by RoundMidnightTV
Cécile McLorin Salvant, who will perform a concert of Billie Holiday’s songs next Friday in the Appel Room at Jazz at Lincoln Center, first heard Holiday through “Lady in Satin,” a divisive album released (https://www.youtube.com/watch?v=rSS96jD5UpI) a year before her death. Her voice is striking but shaky, diminished in range and volume; the arrangements are suffused with strings.
“She sounded like an old witch,” Ms. Salvant said. Later she discovered Holiday’s earlier music, and found in the singer a genius of rhythm and of a kind of acting or storytelling. “The way she says certain words is pretty intense and crazy,” she told me, citing “I Wonder Where Our Love Has Gone,” (https://www.youtube.com/watch?v=Kpm6y-IDFJQ) from 1949. “The sounds she uses goes beyond words,” she explained. “She’s resigned; it’s kind of like a moan. She takes her time.”
Continue reading the main storyBillie Holiday – I Wonder Where Our Love Has Gone (Live) Video by jerrytravers1
Continue reading the main story
The baritone singer José James has also made a record inspired by Holiday, “Yesterday I Had the Blues,” which Blue Note released last week. He says that Holiday’s Verve recordings in the 1950s taught him everything he knows about phrasing and harmony in jazz singing; he singles out “I Don’t Want to Cry Anymore,” (https://www.youtube.com/watch?v=FjiF9SMIr2E) from 1955, for its sudden drop into a tonality that sounds almost Middle Eastern. (He pinpoints the spot: It’s on the line “some careless thing you would do.”)
Continue reading the main storyBillie Holiday – I Don’t Want To Cry Anymore (1955) Video by Okmusix
Like Ms. Wilson, Mr. James felt a strong obligation to make his record original, and the only way to do that was for himself and his band — including the pianist Jason Moran, the bassist John Patitucci and the drummer Eric Harland — to slow down. The record has an after-hours, outside-the-clock feeling, a bit like “I Cried for You.” But he saved some of his strongest praise for “Lady in Satin,” which he compared to late Coltrane in its depth and mystery, and which scared him at first too. “At that point she couldn’t lean on anything except her spirit,” he figured. “To me, that album more than any other proves how committed she was to really expressing the sort of maze of the human heart. She was really a professor. And she was trying to figure it out for herself too. Yeah, she’s super-real. She’s somebody who I need to study with for the rest of my life. Not just as a singer, but as a person.”
Photo
José James Credit Adrian Ruiz De Hierro/European Pressphoto Agency
Lady Day, Celebrated
CASSANDRA WILSON Next Friday at 8 p.m., Apollo Theater, 253 West 125th Street, Harlem; apollotheater.org.
CéCILE MCLORIN SALVANT Next Friday and Saturday at 7 and 9:30 p.m., Appel Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, jazz.org.
ANDY BEY, MOLLY JOHNSON AND SARAH ELIZABETH CHARLES IN ‘CELEBRATING LADY DAY’ Next Friday and Saturday at 8 p.m., Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center; jazz.org.
‘QUEEN ESTHER SINGS BILLIE HOLIDAY: THE RARE SIDES’Tuesdays, April 14, 21 and 28 from 6 to 11 p.m., Minton’s, 206 West 118th Street, Harlem; mintonsharlem.com.
‘WHEN THE MOON TURNS GREEN: THE MYTH AND MUSIC OF BILLIE HOLIDAY’ A discussion with the writers John Szwed, Farah Jasmine Griffin and Robert G. O’Meally on April 28 at 7:30 p.m., Harlem Stage Gatehouse, 150 Convent Avenue, at 135th Street, Hamilton Heights; harlemstage.org.
JOSÉ JAMES May 7 and 8 at 7:30 p.m., Harlem Stage Gatehouse; harlemstage.org.
WKCR’S BILLIE HOLIDAY CENTENNIAL FESTIVAL This radio station’s weeklong programming examines her life, career and sound from Sunday through next Friday.
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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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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
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Warwick, Ny 10990
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For Billie Holiday’s 100th Birthday, Tributes and New Releases – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html?emc=edit_tnt_20150402
** For Billie Holiday’s 100th Birthday, Tributes and New Releases
————————————————————
Photo
Billie Holiday, circa 1952, seven years before her death. Credit Bob Willoughby/Redferns-Getty Images
In Billie Holiday’s “I Cried for You,” (https://www.youtube.com/watch?v=wlS4rEzcr8w) recorded at Clark Monroe’s Uptown House in Harlem in 1941, time feels unimportant. She’s flooding the entire thing, doing a long yell, a game of phrasing and pitch, with words delayed and shaken and skywritten.
She sounds unbothered by the placement of the bar lines but grounded by her relationship with the song’s form and the band’s groove. (The audience knows: It is screaming.) At 26, she sounds as if she has been on this particular stage all her life, playing with the song’s possibilities, and isn’t ready to leave. “ ‘I Cried’ was my damn meat,” she wrote in her memoir, “Lady Sings the Blues.” The song connects backward to Louis Armstrong’s phrasing and silences and Bessie Smith’s volcanic projection; it connects forward to purposeful, idiosyncratic, brash or subtle or sideways vocal phrasers in the jazz and blues aesthetic and beyond: Abbey Lincoln, Betty Carter, Shirley Caesar, James Brown, Bob Dylan, Sly Stone, Erykah Badu. Holiday died in June 1959, at 44, sounding twice that age. This Tuesday she would have turned 100. This is as good a reason as any to think about her essence, and it makes her the focus of concerts and albums over the next several weeks by singers who have
been doing their own thinking, as well as a critical biography by the jazz historian John Szwed, “Billie Holiday: The Musician and the Myth,” published this week.
Cassandra Wilson has a completely different vocal tone from Billie Holiday’s: broad and dark rather than thin and piercing. Her new record, “Coming Forth by Day” (Ojah/Legacy), presents songs that Holiday recorded, but revised beyond recognition, with a band including the guitarist Kevin Breit and the rhythm section of the Bad Seeds, Nick Cave’s band. There’s no attempt at an impersonation of Holiday’s sound, whether with a small swing band or a string orchestra. There’s a reason for this.
Continue reading the main storyCassandra Wilson – You Go to My Head (Audio) Video by CassandraWilsonVEVO
“She was the kind of woman who did things her way,” Ms. Wilson said recently, speaking about Holiday and often slipping into present tense. We were in Woodstock, N.Y., in the barn formerly owned by the drummer Levon Helm, where Ms. Wilson was rehearsing her band for a tour. (She will play the new music in a concert at the Apollo in Harlem next Friday, after a ceremony that will put a Holiday plaque under the marquee.) “And so I think the music has to match that. She was very defiant, very stubborn. But it’s not a rebel-without-a-cause-type stubbornness. I think deep down she feels certain inequalities in her world, she senses the balance of power, and she’s part of that energy that challenges that.”
Photo
Billie Holiday at a Commodore recording session in 1939. The musicians are, from left, Johnny Williams, Frankie Newton, Stan Payne and Kenneth Hollon. Credit Charles Peterson/Hulton Archive-Getty Images
“Coming Forth by Day” is part of the post-tragic phase in the history of the perception of Billie Holiday. It’s not enough to see her as a passive or static entity — a victim, a sufferer, a collection of vocal mannerisms. The closer you look, the less she seems stuck in her time. She sang with Count Basie, Artie Shaw and Benny Goodman in the 1930s, and recorded “Strange Fruit” (https://www.youtube.com/watch?v=urKIzFiXghY) in 1939, a brave and piercing meditation on American racism. But she wasn’t widely known outside jukeboxes and jazz circles, among either black or white audiences, until the mid-’40s. In 1947 she was convicted on drug charges, spent almost a year in jail and lost her cabaret card, preventing her from performing anywhere that sold alcohol. It is generally known that she was targeted by the Federal Bureau of Narcotics, which was looking for a splashy arrest; her conviction started more than a decade of almost constant law-enforcement surveillance.
Continue reading the main storyBillie Holiday / Strange Fruit/ Commodore 526A Video by Taro Cross
Continue reading the main story
“Lady Sings the Blues,” written by Holiday and William Dufty — long tainted by its inaccuracies but a much better book than its reputation suggests — was candid about drug use, which gave it an underworld allure. But Mr. Szwed argues that it was meant to help restore her reputation and get her cabaret card back; she was controlling her own story. It ends on a note of rehabilitation and argues progressively for addiction to be seen as an illness. “The story of her life was made public as part of the first war against drugs,” Mr. Szwed writes. He adds, “Yet she quickly realized that it was possible for her to use some of the same media and methods to defend and redefine herself.”
Socially, Holiday lived with purpose and curiosity, hanging out with musicians, Hollywood stars, professors, female impersonators. But she also sang dark songs about sorrow and loving bad men. For decades after her death, she was understood as a doomed hero, especially through the tragic narrative of the Diana Ross movie version of “Lady Sings the Blues.” The change in that understanding has come slowly ever since, partly thanks to books that go beyond biography and look into her meaning and reception: Mr. Szwed’s, as well as others by Farah Jasmine Griffin and Robert G. O’Meally.
But it’s also partly thanks to musicians who have made records around Holiday and talked about her publicly, including Abbey Lincoln — whose thoughts about Holiday cycled through admiration, skepticism (in a 1962 interview, she called Holiday a masochist) and finally a full, complex respect — and Ms. Wilson.
Holiday was a wicked maker of sound. Many have compared her voice to a horn, but Ms. Wilson compares it to the generalized sound of a jazz ensemble of the 1930s as heard on record, flattened out through mono and single-microphone technology. (She stands by “Strange Fruit” as Holiday’s greatest accomplishment.) The pianist and educator Ran Blake, who has taught courses on Holiday’s music at New England Conservatory for many years, particularly loves her moody recordings for Decca in the mid-’40s, including “No More” and “Deep Song” (https://www.youtube.com/watch?v=rZZhD0J3jfM) ; he praises the rhythmic and harmonic confidence she found through subtlety, without overemoting. “Students who try to notate ‘Deep Song,’ ” he told me in a recent conversation, “find it vastly harder than five or six bars of a Bartok piece.”
Photo
Cassandra Wilson Credit Hiroyuki Ito for The New York Times Continue reading the main storyBillie Holiday – Deep Song (Decca Records 1947) Video by RoundMidnightTV
Cécile McLorin Salvant, who will perform a concert of Billie Holiday’s songs next Friday in the Appel Room at Jazz at Lincoln Center, first heard Holiday through “Lady in Satin,” a divisive album released (https://www.youtube.com/watch?v=rSS96jD5UpI) a year before her death. Her voice is striking but shaky, diminished in range and volume; the arrangements are suffused with strings.
“She sounded like an old witch,” Ms. Salvant said. Later she discovered Holiday’s earlier music, and found in the singer a genius of rhythm and of a kind of acting or storytelling. “The way she says certain words is pretty intense and crazy,” she told me, citing “I Wonder Where Our Love Has Gone,” (https://www.youtube.com/watch?v=Kpm6y-IDFJQ) from 1949. “The sounds she uses goes beyond words,” she explained. “She’s resigned; it’s kind of like a moan. She takes her time.”
Continue reading the main storyBillie Holiday – I Wonder Where Our Love Has Gone (Live) Video by jerrytravers1
Continue reading the main story
The baritone singer José James has also made a record inspired by Holiday, “Yesterday I Had the Blues,” which Blue Note released last week. He says that Holiday’s Verve recordings in the 1950s taught him everything he knows about phrasing and harmony in jazz singing; he singles out “I Don’t Want to Cry Anymore,” (https://www.youtube.com/watch?v=FjiF9SMIr2E) from 1955, for its sudden drop into a tonality that sounds almost Middle Eastern. (He pinpoints the spot: It’s on the line “some careless thing you would do.”)
Continue reading the main storyBillie Holiday – I Don’t Want To Cry Anymore (1955) Video by Okmusix
Like Ms. Wilson, Mr. James felt a strong obligation to make his record original, and the only way to do that was for himself and his band — including the pianist Jason Moran, the bassist John Patitucci and the drummer Eric Harland — to slow down. The record has an after-hours, outside-the-clock feeling, a bit like “I Cried for You.” But he saved some of his strongest praise for “Lady in Satin,” which he compared to late Coltrane in its depth and mystery, and which scared him at first too. “At that point she couldn’t lean on anything except her spirit,” he figured. “To me, that album more than any other proves how committed she was to really expressing the sort of maze of the human heart. She was really a professor. And she was trying to figure it out for herself too. Yeah, she’s super-real. She’s somebody who I need to study with for the rest of my life. Not just as a singer, but as a person.”
Photo
José James Credit Adrian Ruiz De Hierro/European Pressphoto Agency
Lady Day, Celebrated
CASSANDRA WILSON Next Friday at 8 p.m., Apollo Theater, 253 West 125th Street, Harlem; apollotheater.org.
CéCILE MCLORIN SALVANT Next Friday and Saturday at 7 and 9:30 p.m., Appel Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, jazz.org.
ANDY BEY, MOLLY JOHNSON AND SARAH ELIZABETH CHARLES IN ‘CELEBRATING LADY DAY’ Next Friday and Saturday at 8 p.m., Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center; jazz.org.
‘QUEEN ESTHER SINGS BILLIE HOLIDAY: THE RARE SIDES’Tuesdays, April 14, 21 and 28 from 6 to 11 p.m., Minton’s, 206 West 118th Street, Harlem; mintonsharlem.com.
‘WHEN THE MOON TURNS GREEN: THE MYTH AND MUSIC OF BILLIE HOLIDAY’ A discussion with the writers John Szwed, Farah Jasmine Griffin and Robert G. O’Meally on April 28 at 7:30 p.m., Harlem Stage Gatehouse, 150 Convent Avenue, at 135th Street, Hamilton Heights; harlemstage.org.
JOSÉ JAMES May 7 and 8 at 7:30 p.m., Harlem Stage Gatehouse; harlemstage.org.
WKCR’S BILLIE HOLIDAY CENTENNIAL FESTIVAL This radio station’s weeklong programming examines her life, career and sound from Sunday through next Friday.
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For Billie Holiday’s 100th Birthday, Tributes and New Releases – NYTimes.com
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http://www.nytimes.com/2015/04/03/arts/music/for-billie-holidays-100th-birthday-tributes-and-new-releases.html?emc=edit_tnt_20150402
** For Billie Holiday’s 100th Birthday, Tributes and New Releases
————————————————————
Photo
Billie Holiday, circa 1952, seven years before her death. Credit Bob Willoughby/Redferns-Getty Images
In Billie Holiday’s “I Cried for You,” (https://www.youtube.com/watch?v=wlS4rEzcr8w) recorded at Clark Monroe’s Uptown House in Harlem in 1941, time feels unimportant. She’s flooding the entire thing, doing a long yell, a game of phrasing and pitch, with words delayed and shaken and skywritten.
She sounds unbothered by the placement of the bar lines but grounded by her relationship with the song’s form and the band’s groove. (The audience knows: It is screaming.) At 26, she sounds as if she has been on this particular stage all her life, playing with the song’s possibilities, and isn’t ready to leave. “ ‘I Cried’ was my damn meat,” she wrote in her memoir, “Lady Sings the Blues.” The song connects backward to Louis Armstrong’s phrasing and silences and Bessie Smith’s volcanic projection; it connects forward to purposeful, idiosyncratic, brash or subtle or sideways vocal phrasers in the jazz and blues aesthetic and beyond: Abbey Lincoln, Betty Carter, Shirley Caesar, James Brown, Bob Dylan, Sly Stone, Erykah Badu. Holiday died in June 1959, at 44, sounding twice that age. This Tuesday she would have turned 100. This is as good a reason as any to think about her essence, and it makes her the focus of concerts and albums over the next several weeks by singers who have
been doing their own thinking, as well as a critical biography by the jazz historian John Szwed, “Billie Holiday: The Musician and the Myth,” published this week.
Cassandra Wilson has a completely different vocal tone from Billie Holiday’s: broad and dark rather than thin and piercing. Her new record, “Coming Forth by Day” (Ojah/Legacy), presents songs that Holiday recorded, but revised beyond recognition, with a band including the guitarist Kevin Breit and the rhythm section of the Bad Seeds, Nick Cave’s band. There’s no attempt at an impersonation of Holiday’s sound, whether with a small swing band or a string orchestra. There’s a reason for this.
Continue reading the main storyCassandra Wilson – You Go to My Head (Audio) Video by CassandraWilsonVEVO
“She was the kind of woman who did things her way,” Ms. Wilson said recently, speaking about Holiday and often slipping into present tense. We were in Woodstock, N.Y., in the barn formerly owned by the drummer Levon Helm, where Ms. Wilson was rehearsing her band for a tour. (She will play the new music in a concert at the Apollo in Harlem next Friday, after a ceremony that will put a Holiday plaque under the marquee.) “And so I think the music has to match that. She was very defiant, very stubborn. But it’s not a rebel-without-a-cause-type stubbornness. I think deep down she feels certain inequalities in her world, she senses the balance of power, and she’s part of that energy that challenges that.”
Photo
Billie Holiday at a Commodore recording session in 1939. The musicians are, from left, Johnny Williams, Frankie Newton, Stan Payne and Kenneth Hollon. Credit Charles Peterson/Hulton Archive-Getty Images
“Coming Forth by Day” is part of the post-tragic phase in the history of the perception of Billie Holiday. It’s not enough to see her as a passive or static entity — a victim, a sufferer, a collection of vocal mannerisms. The closer you look, the less she seems stuck in her time. She sang with Count Basie, Artie Shaw and Benny Goodman in the 1930s, and recorded “Strange Fruit” (https://www.youtube.com/watch?v=urKIzFiXghY) in 1939, a brave and piercing meditation on American racism. But she wasn’t widely known outside jukeboxes and jazz circles, among either black or white audiences, until the mid-’40s. In 1947 she was convicted on drug charges, spent almost a year in jail and lost her cabaret card, preventing her from performing anywhere that sold alcohol. It is generally known that she was targeted by the Federal Bureau of Narcotics, which was looking for a splashy arrest; her conviction started more than a decade of almost constant law-enforcement surveillance.
Continue reading the main storyBillie Holiday / Strange Fruit/ Commodore 526A Video by Taro Cross
Continue reading the main story
“Lady Sings the Blues,” written by Holiday and William Dufty — long tainted by its inaccuracies but a much better book than its reputation suggests — was candid about drug use, which gave it an underworld allure. But Mr. Szwed argues that it was meant to help restore her reputation and get her cabaret card back; she was controlling her own story. It ends on a note of rehabilitation and argues progressively for addiction to be seen as an illness. “The story of her life was made public as part of the first war against drugs,” Mr. Szwed writes. He adds, “Yet she quickly realized that it was possible for her to use some of the same media and methods to defend and redefine herself.”
Socially, Holiday lived with purpose and curiosity, hanging out with musicians, Hollywood stars, professors, female impersonators. But she also sang dark songs about sorrow and loving bad men. For decades after her death, she was understood as a doomed hero, especially through the tragic narrative of the Diana Ross movie version of “Lady Sings the Blues.” The change in that understanding has come slowly ever since, partly thanks to books that go beyond biography and look into her meaning and reception: Mr. Szwed’s, as well as others by Farah Jasmine Griffin and Robert G. O’Meally.
But it’s also partly thanks to musicians who have made records around Holiday and talked about her publicly, including Abbey Lincoln — whose thoughts about Holiday cycled through admiration, skepticism (in a 1962 interview, she called Holiday a masochist) and finally a full, complex respect — and Ms. Wilson.
Holiday was a wicked maker of sound. Many have compared her voice to a horn, but Ms. Wilson compares it to the generalized sound of a jazz ensemble of the 1930s as heard on record, flattened out through mono and single-microphone technology. (She stands by “Strange Fruit” as Holiday’s greatest accomplishment.) The pianist and educator Ran Blake, who has taught courses on Holiday’s music at New England Conservatory for many years, particularly loves her moody recordings for Decca in the mid-’40s, including “No More” and “Deep Song” (https://www.youtube.com/watch?v=rZZhD0J3jfM) ; he praises the rhythmic and harmonic confidence she found through subtlety, without overemoting. “Students who try to notate ‘Deep Song,’ ” he told me in a recent conversation, “find it vastly harder than five or six bars of a Bartok piece.”
Photo
Cassandra Wilson Credit Hiroyuki Ito for The New York Times Continue reading the main storyBillie Holiday – Deep Song (Decca Records 1947) Video by RoundMidnightTV
Cécile McLorin Salvant, who will perform a concert of Billie Holiday’s songs next Friday in the Appel Room at Jazz at Lincoln Center, first heard Holiday through “Lady in Satin,” a divisive album released (https://www.youtube.com/watch?v=rSS96jD5UpI) a year before her death. Her voice is striking but shaky, diminished in range and volume; the arrangements are suffused with strings.
“She sounded like an old witch,” Ms. Salvant said. Later she discovered Holiday’s earlier music, and found in the singer a genius of rhythm and of a kind of acting or storytelling. “The way she says certain words is pretty intense and crazy,” she told me, citing “I Wonder Where Our Love Has Gone,” (https://www.youtube.com/watch?v=Kpm6y-IDFJQ) from 1949. “The sounds she uses goes beyond words,” she explained. “She’s resigned; it’s kind of like a moan. She takes her time.”
Continue reading the main storyBillie Holiday – I Wonder Where Our Love Has Gone (Live) Video by jerrytravers1
Continue reading the main story
The baritone singer José James has also made a record inspired by Holiday, “Yesterday I Had the Blues,” which Blue Note released last week. He says that Holiday’s Verve recordings in the 1950s taught him everything he knows about phrasing and harmony in jazz singing; he singles out “I Don’t Want to Cry Anymore,” (https://www.youtube.com/watch?v=FjiF9SMIr2E) from 1955, for its sudden drop into a tonality that sounds almost Middle Eastern. (He pinpoints the spot: It’s on the line “some careless thing you would do.”)
Continue reading the main storyBillie Holiday – I Don’t Want To Cry Anymore (1955) Video by Okmusix
Like Ms. Wilson, Mr. James felt a strong obligation to make his record original, and the only way to do that was for himself and his band — including the pianist Jason Moran, the bassist John Patitucci and the drummer Eric Harland — to slow down. The record has an after-hours, outside-the-clock feeling, a bit like “I Cried for You.” But he saved some of his strongest praise for “Lady in Satin,” which he compared to late Coltrane in its depth and mystery, and which scared him at first too. “At that point she couldn’t lean on anything except her spirit,” he figured. “To me, that album more than any other proves how committed she was to really expressing the sort of maze of the human heart. She was really a professor. And she was trying to figure it out for herself too. Yeah, she’s super-real. She’s somebody who I need to study with for the rest of my life. Not just as a singer, but as a person.”
Photo
José James Credit Adrian Ruiz De Hierro/European Pressphoto Agency
Lady Day, Celebrated
CASSANDRA WILSON Next Friday at 8 p.m., Apollo Theater, 253 West 125th Street, Harlem; apollotheater.org.
CéCILE MCLORIN SALVANT Next Friday and Saturday at 7 and 9:30 p.m., Appel Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, jazz.org.
ANDY BEY, MOLLY JOHNSON AND SARAH ELIZABETH CHARLES IN ‘CELEBRATING LADY DAY’ Next Friday and Saturday at 8 p.m., Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center; jazz.org.
‘QUEEN ESTHER SINGS BILLIE HOLIDAY: THE RARE SIDES’Tuesdays, April 14, 21 and 28 from 6 to 11 p.m., Minton’s, 206 West 118th Street, Harlem; mintonsharlem.com.
‘WHEN THE MOON TURNS GREEN: THE MYTH AND MUSIC OF BILLIE HOLIDAY’ A discussion with the writers John Szwed, Farah Jasmine Griffin and Robert G. O’Meally on April 28 at 7:30 p.m., Harlem Stage Gatehouse, 150 Convent Avenue, at 135th Street, Hamilton Heights; harlemstage.org.
JOSÉ JAMES May 7 and 8 at 7:30 p.m., Harlem Stage Gatehouse; harlemstage.org.
WKCR’S BILLIE HOLIDAY CENTENNIAL FESTIVAL This radio station’s weeklong programming examines her life, career and sound from Sunday through next Friday.
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.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
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Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
http://www.jazzpromoservices.com/
http://www.philly.com/philly/entertainment/music/20150403_Jazz_guitarist_Marty_Grosz_85__keeps__hot_music__going.html
** Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
————————————————————
Guitarist Marty Grosz, 85, who will play in Chestnut Hill and Bryn Mawr, says he´s always sought to entertain rather than lull audiences with an intellectual approach to jazz.
A.D. Amorosi, For The Inquirer
Posted: Friday, April 3, 2015, 3:01 AM
http://www.philly.com/inquirer
After a lengthy and hilarious discourse at his South Philadelphia home on all things swing and jazz, hot guitarist Marty Grosz, 85, says, “I hope I don’t sound like a sour curmudgeon, which is probably what I am.”
About to release his latest album, Diga Diga Doo – Marty Grosz Meets the Fat Babies: Hot Music from Chicago, the musician and singer says proudly that his art has always sought to entertain rather than lull audiences into a stupor with what he calls “egghead jazz.”
“I’ve got a feel for ‘hot music’ – because if I call it jazz, people don’t know what I’m talking about. I wouldn’t know what I was talking about. In the ’50s and ’60s, we billed ourselves as ‘jazz,’ but even then it was problematic. Were you playing traditional, bebop, free-form?”
Grosz says jazz all too often “is what they teach in colleges, which gives way to dull, bombastic music with overly long, self-congratulatory solos – which gets you nowhere. It’s guys playing 45-minute versions of ‘All the Things You Are,’ with only their pals and their girlfriends in the audience.”
A virtuoso of the chordal acoustic guitar solo and passionate, driving rhythm, Grosz followed in the path of Benny Goodman, Count Basie, and Fats Waller.
“I like Louis Armstrong,” he says. “I like Red Allen. I stuck with those guys. What they did was dance music, plain and simple.”
The guitarist’s father, German Expressionist icon George Grosz, brought his family from Germany to the United States in 1933. ” ‘Do you what you want to do,’ that was my dad,” he says. “He liked what I did. My mom was more like, ‘You’re going to plinky-plink in a band?’ ”
Grosz says there’s a larger scene for hot-music swing bands and their audiences in Chicago than there is here, which is how he joined forces with that city’s Fat Babies and Delmark Records honcho Bob Koester (“Who I have known since the Great Flood”). There’s also a larger scene in New York (“Though no one’s breaking down the doors there”). He’s played with Vince Giordano, the guy behind HBO’s Boardwalk Empire, and with the Hot Club of Philadelphia.
He’s uncertain where the next generation of hot-music men and women will come from.
“Why would they bother? The stuff I like is dying, practically dead. For all practical purposes, all it needs is a headstone. The music of Jelly Roll Morton, Fletcher Henderson, and Sidney Bechet – where are the new guys? Where does this play? Who are the dance bands getting paid, and how is the tradition being pursued? There’s no money in it. There are a few nutty devotees out there still trying – you’d have to be nuts to want to emulate Jack Teagarden’s trombone sound. What’s the motivation?”
Yet, here is Grosz, plugging away, making new albums and hitting the bars.
“I would like to reach a public,” he says. “In my dotage, I’m beginning to think that what I do is closer to a bluegrass kind of jazz. Barrelhouse stuff. Bluegrass guys at least look like they’re having fun, which is more than I can say for the kids playing jazz. Look, as long as I don’t have to showboat, take myself seriously, and there’s no drum solos or anything like that, I’m OK.”
————————————————————
Marty Grosz plays at 8 p.m. Friday at the Mermaid Inn, 7673 Winston Rd., Chestnut Hill. Tickets: $10. Information: 215-247-9797, www.themermaidinn.net (http://www.themermaidinn.net/) . Also, Grosz plays with trumpeter Peter Ecklund at 8 p.m., April 24, at Garrett Hill Ale House, 157 Garrett Ave., Bryn Mawr. Free. Information: 610-519-0500, www.garretthillalehouse.com (http://www.garretthillalehouse.com/)
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
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Warwick, Ny 10990
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Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
http://www.jazzpromoservices.com/
http://www.philly.com/philly/entertainment/music/20150403_Jazz_guitarist_Marty_Grosz_85__keeps__hot_music__going.html
** Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
————————————————————
Guitarist Marty Grosz, 85, who will play in Chestnut Hill and Bryn Mawr, says he´s always sought to entertain rather than lull audiences with an intellectual approach to jazz.
A.D. Amorosi, For The Inquirer
Posted: Friday, April 3, 2015, 3:01 AM
http://www.philly.com/inquirer
After a lengthy and hilarious discourse at his South Philadelphia home on all things swing and jazz, hot guitarist Marty Grosz, 85, says, “I hope I don’t sound like a sour curmudgeon, which is probably what I am.”
About to release his latest album, Diga Diga Doo – Marty Grosz Meets the Fat Babies: Hot Music from Chicago, the musician and singer says proudly that his art has always sought to entertain rather than lull audiences into a stupor with what he calls “egghead jazz.”
“I’ve got a feel for ‘hot music’ – because if I call it jazz, people don’t know what I’m talking about. I wouldn’t know what I was talking about. In the ’50s and ’60s, we billed ourselves as ‘jazz,’ but even then it was problematic. Were you playing traditional, bebop, free-form?”
Grosz says jazz all too often “is what they teach in colleges, which gives way to dull, bombastic music with overly long, self-congratulatory solos – which gets you nowhere. It’s guys playing 45-minute versions of ‘All the Things You Are,’ with only their pals and their girlfriends in the audience.”
A virtuoso of the chordal acoustic guitar solo and passionate, driving rhythm, Grosz followed in the path of Benny Goodman, Count Basie, and Fats Waller.
“I like Louis Armstrong,” he says. “I like Red Allen. I stuck with those guys. What they did was dance music, plain and simple.”
The guitarist’s father, German Expressionist icon George Grosz, brought his family from Germany to the United States in 1933. ” ‘Do you what you want to do,’ that was my dad,” he says. “He liked what I did. My mom was more like, ‘You’re going to plinky-plink in a band?’ ”
Grosz says there’s a larger scene for hot-music swing bands and their audiences in Chicago than there is here, which is how he joined forces with that city’s Fat Babies and Delmark Records honcho Bob Koester (“Who I have known since the Great Flood”). There’s also a larger scene in New York (“Though no one’s breaking down the doors there”). He’s played with Vince Giordano, the guy behind HBO’s Boardwalk Empire, and with the Hot Club of Philadelphia.
He’s uncertain where the next generation of hot-music men and women will come from.
“Why would they bother? The stuff I like is dying, practically dead. For all practical purposes, all it needs is a headstone. The music of Jelly Roll Morton, Fletcher Henderson, and Sidney Bechet – where are the new guys? Where does this play? Who are the dance bands getting paid, and how is the tradition being pursued? There’s no money in it. There are a few nutty devotees out there still trying – you’d have to be nuts to want to emulate Jack Teagarden’s trombone sound. What’s the motivation?”
Yet, here is Grosz, plugging away, making new albums and hitting the bars.
“I would like to reach a public,” he says. “In my dotage, I’m beginning to think that what I do is closer to a bluegrass kind of jazz. Barrelhouse stuff. Bluegrass guys at least look like they’re having fun, which is more than I can say for the kids playing jazz. Look, as long as I don’t have to showboat, take myself seriously, and there’s no drum solos or anything like that, I’m OK.”
————————————————————
Marty Grosz plays at 8 p.m. Friday at the Mermaid Inn, 7673 Winston Rd., Chestnut Hill. Tickets: $10. Information: 215-247-9797, www.themermaidinn.net (http://www.themermaidinn.net/) . Also, Grosz plays with trumpeter Peter Ecklund at 8 p.m., April 24, at Garrett Hill Ale House, 157 Garrett Ave., Bryn Mawr. Free. Information: 610-519-0500, www.garretthillalehouse.com (http://www.garretthillalehouse.com/)
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Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
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http://www.philly.com/philly/entertainment/music/20150403_Jazz_guitarist_Marty_Grosz_85__keeps__hot_music__going.html
** Jazz guitarist Marty Grosz 85, keeps ‘hot music’ going
————————————————————
Guitarist Marty Grosz, 85, who will play in Chestnut Hill and Bryn Mawr, says he´s always sought to entertain rather than lull audiences with an intellectual approach to jazz.
A.D. Amorosi, For The Inquirer
Posted: Friday, April 3, 2015, 3:01 AM
http://www.philly.com/inquirer
After a lengthy and hilarious discourse at his South Philadelphia home on all things swing and jazz, hot guitarist Marty Grosz, 85, says, “I hope I don’t sound like a sour curmudgeon, which is probably what I am.”
About to release his latest album, Diga Diga Doo – Marty Grosz Meets the Fat Babies: Hot Music from Chicago, the musician and singer says proudly that his art has always sought to entertain rather than lull audiences into a stupor with what he calls “egghead jazz.”
“I’ve got a feel for ‘hot music’ – because if I call it jazz, people don’t know what I’m talking about. I wouldn’t know what I was talking about. In the ’50s and ’60s, we billed ourselves as ‘jazz,’ but even then it was problematic. Were you playing traditional, bebop, free-form?”
Grosz says jazz all too often “is what they teach in colleges, which gives way to dull, bombastic music with overly long, self-congratulatory solos – which gets you nowhere. It’s guys playing 45-minute versions of ‘All the Things You Are,’ with only their pals and their girlfriends in the audience.”
A virtuoso of the chordal acoustic guitar solo and passionate, driving rhythm, Grosz followed in the path of Benny Goodman, Count Basie, and Fats Waller.
“I like Louis Armstrong,” he says. “I like Red Allen. I stuck with those guys. What they did was dance music, plain and simple.”
The guitarist’s father, German Expressionist icon George Grosz, brought his family from Germany to the United States in 1933. ” ‘Do you what you want to do,’ that was my dad,” he says. “He liked what I did. My mom was more like, ‘You’re going to plinky-plink in a band?’ ”
Grosz says there’s a larger scene for hot-music swing bands and their audiences in Chicago than there is here, which is how he joined forces with that city’s Fat Babies and Delmark Records honcho Bob Koester (“Who I have known since the Great Flood”). There’s also a larger scene in New York (“Though no one’s breaking down the doors there”). He’s played with Vince Giordano, the guy behind HBO’s Boardwalk Empire, and with the Hot Club of Philadelphia.
He’s uncertain where the next generation of hot-music men and women will come from.
“Why would they bother? The stuff I like is dying, practically dead. For all practical purposes, all it needs is a headstone. The music of Jelly Roll Morton, Fletcher Henderson, and Sidney Bechet – where are the new guys? Where does this play? Who are the dance bands getting paid, and how is the tradition being pursued? There’s no money in it. There are a few nutty devotees out there still trying – you’d have to be nuts to want to emulate Jack Teagarden’s trombone sound. What’s the motivation?”
Yet, here is Grosz, plugging away, making new albums and hitting the bars.
“I would like to reach a public,” he says. “In my dotage, I’m beginning to think that what I do is closer to a bluegrass kind of jazz. Barrelhouse stuff. Bluegrass guys at least look like they’re having fun, which is more than I can say for the kids playing jazz. Look, as long as I don’t have to showboat, take myself seriously, and there’s no drum solos or anything like that, I’m OK.”
————————————————————
Marty Grosz plays at 8 p.m. Friday at the Mermaid Inn, 7673 Winston Rd., Chestnut Hill. Tickets: $10. Information: 215-247-9797, www.themermaidinn.net (http://www.themermaidinn.net/) . Also, Grosz plays with trumpeter Peter Ecklund at 8 p.m., April 24, at Garrett Hill Ale House, 157 Garrett Ave., Bryn Mawr. Free. Information: 610-519-0500, www.garretthillalehouse.com (http://www.garretthillalehouse.com/)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats | At the Smithsonian | Smithsonian
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http://www.smithsonianmag.com/smithsonian-institution/jazz-appreciation-month-dream-band-and-25-million-keep-music-alive-180954811/?no-ist
** LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats
————————————————————
Depicted in Big Band are: Billie Holiday, Louis Armstrong, Ella Fitzgerald, Lionel Hampton, Duke Ellington, Benny Goodman, Jerry Mulligan, Charlie Parker, John Coltrane, Lester Young, Glen Miller, Charles Mingus, JJ Johnson, Miles Davis, Dizzy Gillespie, Wynton Marsalis and Gene Krupa. (Big Band by LeRoy Neiman, courtesy of the LeRoy Neiman Foundation)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
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LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/jazz-appreciation-month-dream-band-and-25-million-keep-music-alive-180954811/?no-ist
** LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats
————————————————————
Depicted in Big Band are: Billie Holiday, Louis Armstrong, Ella Fitzgerald, Lionel Hampton, Duke Ellington, Benny Goodman, Jerry Mulligan, Charlie Parker, John Coltrane, Lester Young, Glen Miller, Charles Mingus, JJ Johnson, Miles Davis, Dizzy Gillespie, Wynton Marsalis and Gene Krupa. (Big Band by LeRoy Neiman, courtesy of the LeRoy Neiman Foundation)
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
LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/jazz-appreciation-month-dream-band-and-25-million-keep-music-alive-180954811/?no-ist
** LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats
————————————————————
Depicted in Big Band are: Billie Holiday, Louis Armstrong, Ella Fitzgerald, Lionel Hampton, Duke Ellington, Benny Goodman, Jerry Mulligan, Charlie Parker, John Coltrane, Lester Young, Glen Miller, Charles Mingus, JJ Johnson, Miles Davis, Dizzy Gillespie, Wynton Marsalis and Gene Krupa. (Big Band by LeRoy Neiman, courtesy of the LeRoy Neiman Foundation)
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
LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/jazz-appreciation-month-dream-band-and-25-million-keep-music-alive-180954811/?no-ist
** LeRoy Nieman Pulled Together a Dream Band for His Epic Portrait of Jazz Greats
————————————————————
Depicted in Big Band are: Billie Holiday, Louis Armstrong, Ella Fitzgerald, Lionel Hampton, Duke Ellington, Benny Goodman, Jerry Mulligan, Charlie Parker, John Coltrane, Lester Young, Glen Miller, Charles Mingus, JJ Johnson, Miles Davis, Dizzy Gillespie, Wynton Marsalis and Gene Krupa. (Big Band by LeRoy Neiman, courtesy of the LeRoy Neiman Foundation)
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
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Warwick, Ny 10990
USA
3D printing and Blue Note LPs| LondonJazzCollector
http://www.jazzpromoservices.com/
https://londonjazzcollector.wordpress.com/2015/04/01/at-last-its-possible-real-home-download-vinyl/
** At last, it’s possible! Real home-download vinyl!
————————————————————
Thanks to ground-breaking technology of Additive Manufacturing, the new process of making three dimensional solid objects from a digital file, in conjuction the LJC exclusive hybrid Analogue Conversion Vinyl Pump™, real home-downloadable vinyl is just a few clicks away. Just connect the LJC vinyl pump to a standard 3D printer and an internet connection, and start downloading your very own genuine vintage vinyl collection – at home! Good bye Ebay, goodbye The Evil Silver Disc™, now everyone can afford authentic original-sounding vinyl.
Introducing the Blue Note Home Download Vinyl Collection™.
https://londonjazzcollector.files.wordpress.com/2015/03/the-blue-note-collection.jpg
In conjunction with WordPress, I-Tunes and Music Matters Jazz, all 350 original Blue Note titles are yours to download at home on real vinyl. Get started today with your free* introductory title, with the exclusive LJC Home Vinyl Download App™ (*Today only, offer ends noon Wednesday 1st April. Will be $1,999 annual subscription thereafter)
Download your first real Blue Note for free!
STEP 1: Select Etchings
First choose your Blue Note run-out groove etchings: Don’t forget to check the Plastylite Ear Option to get the best possible pressing. And of course the signature master engineer stamp of authenticity.
https://londonjazzcollector.files.wordpress.com/2015/03/etching-selector.jpg
(Note: authentic 9M etching option requires Pro Deluxe Edition)
STEP 2: Select Label
Now select your preferred Blue Note label detail: label options are fully customisable. Don’t forget, to hear that authentic Blue Note sound, you need to choose the correct options! If in doubt, consult the LJC Guide to 1st Pressings (https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/ljc-guide-to-1st-pressings/) .
https://londonjazzcollector.files.wordpress.com/2015/03/blue-note-label-generator.jpg
(Note: New York 23 option available only with Pro DJ Deluxe Edition)
STEP 3: Select audio format and speed
Select preferred audio format for your vinyl, monaural, stereo or for total immersion 5.1 surround sound. For even higher quality you can opt for standard 33rpm, audiophile 45 rm, or super high-definition 78 rpm.
https://londonjazzcollector.files.wordpress.com/2015/03/mono-strereo-5-1.jpghttps://londonjazzcollector.files.wordpress.com/2015/03/vinyl-speed-selector.jpg
(Note: 5.1 Surround Option and 78 rpm available only in Pro DJ Deluxe Edition)
STEP 4: Select vinyl weight
Next, choose you vinyl weight. LJC Home Vinyl Download™ is fully customisable, from a thrifty 140 grams through to no expense spared ultra-audiophile 220 grams Depending on connection speed and vinyl weight selected, downloading the full vinyl LP may take from just a few minutes to several hours. For best quality, choose 180 grams or higher.
https://londonjazzcollector.files.wordpress.com/2015/03/vinyl-weightr-selection.jpg
(Note: 220 gram available only in Pro DJ Deluxe Edition)
Now you are ready to down load your first Authentic Blue Note.
FINAL STEP: Down load vinyl!
https://londonjazzcollector.files.wordpress.com/2015/03/wordpress-vinyl-download-button.jpg
Alternative download connection (recommended in the event of bandwidth congestion, which can occur when many DJ heavy users are online)
Guide to your Free Trial Blue Note Title:
Blue Note BLP 1537 Lou Donaldson Quartet Quintet Sextet
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-cover-1800-ljc.jpg
Selection 1: Roccus (1952, Quartet)
Artists: Lou Donaldson (alto saxophone) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) recorded WOR Studios, NYC, June 20, 1952
Selection 2: The Stroller (1954, Sextet)
A
rtists: Kenny Dorham (trumpet) Matthew Gee (trombone) Lou Donaldson (alto saxophone) Elmo Hope (piano) Percy Heath (bass) Art Blakey (drums) recorded Rudy Van Gelder Studio, Hackensack, NJ, August 22, 1954
Music:
The Quartet tracks recorded 1952 introduce Donaldson at age 26, as fleet an alto as you will hear in the Parker/ Stitt mould, but infectiously more bluesy. This is mainstream bop of the early ’50s, no dark corners, atonal dissonance or further out directions, that was all to come. The ’54 Hackensack recordings betray their finer engineering provenance, brighter and richer, Rudy at the mixing desk, mom Van Gelder bringing in the lemonade and beers.
Donaldson dips into the blues heritage, just varying the pace, and picking up on the increasingly popular Latin flavours of the day. Boys returning as men from the War in the Pacific didn’t really want to go soul-searching. Rather happy they survived, they wanted happy music and familiar home territory. Later, a decade out, safe and secure, they would find an appetite for outer space.
Vinyl: BLP 1537 Capitol Records (1989)
Horror of horrors! What have I done? I’ve broken every rule in the LJC book of collecting Blue Note vinyl originals! It’s a reissue, not an original, it’s late ’80s Capitol Records (EMI) Finest in Jazz Since 1939 label, avoid avoid!, it’s a digital transfer, it’s mastered by the improbably-named Ron McMaster (Bless me Rudy, for I have sinned) , it’s got a bar code for God’s sake, and it even claims to be “Stereo” for a recording that was only ever recorded in mono, and the catalogue number is “81537” (stereo). What’s worse – it sounds …great!
The great smart-arse LJC, I’ve made a complete fool of myself. Good day for it.
How to explain it? As with all rules, there are exceptions. This may be one of few, or even only Capitol late ’80s that sounds like this, I’m not buying them all to find out. It’s hard to fault McMaster’s work here, digital or not. Perhaps it’s as Cuscuna once said of a Van Gelder recording reissue: “all you have to do is keep your hands behind your back and not fuck it up“. The end result is the only test, a satisfying listen.
I have to cut Capitol some slack. Despite claiming it is Stereo (a marketing department requirement) and the stereo 8-series catalogue number, they have left the mono tapes faithfully untouched, no fake-stereo electronic reprocessing for stereo, just fake marketing, pokes tongue out at the boys from Marketing, note on the cover “This is a mono recording“. Bravo.
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capitol-labels-1800-ljcl.jpg
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capito-rearcover-1800-ljcl.jpg
Collector’s Corner
For a record which contains all the avoid signals, I went ahead and bought this last week, because it’s one Donaldson album I don’t have in any reissue edition of, not even Japanese, and I’ve little chance of securing a sensibly priced original. Not that Lou’s records are in the premier price division, but I was intrigued by the Van Gelder/Hackensack provenance of some of the tracks, and some top drop bop players. Always love Kenny Dorham and Blue Mitchel on horns, the tragic Elmo Hope or swingingest Horace Silver on piano.
Mounting it on the turntable was a most pleasant surprise. It sounded unexpectedly sweet and open, clean and dynamic for 1952 recordings not all Van Gelder. A lot of late ’40s early ’50s pre-date the microphone advances of a few years later, and the Van Gelder 1954 Hackensack tracks sound better than the 1952 WOR ones, but all in all a nice album, and priced at small change compared with more blue-blood issues.
What lesson can be learned from this?
Take no-ones word for anything, not of 97%, and especially not of yourself. You can follow well-founded rules, it generally improved outcomes, but always, once in a while, choose to test those rules and observe what you find, not what you expect to find. Whatever happens, you get to find something out, positive, negative, or inconclusive.
The search for knowledge never sleeps, the worst that can happen is you make a fool of yourself. And at the beginning of the month of April, how bad is that?
Previous special April 1 Editions:
April 1, 2014 the Blue Note missing over fifty years (https://londonjazzcollector.wordpress.com/2014/04/01/blue-note-missing-over-fifty-years-discovered/)
April 1, 2013 Bargain on Ebay, look (https://londonjazzcollector.wordpress.com/2013/04/01/bargain-on-ebay-look/)
LJC also recommends: Travellers Guide To San Seriffe (http://wikitravel.org/en/San_Serriffe)
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=2d4489ee65) | 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=2d4489ee65&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
3D printing and Blue Note LPs| LondonJazzCollector
http://www.jazzpromoservices.com/
https://londonjazzcollector.wordpress.com/2015/04/01/at-last-its-possible-real-home-download-vinyl/
** At last, it’s possible! Real home-download vinyl!
————————————————————
Thanks to ground-breaking technology of Additive Manufacturing, the new process of making three dimensional solid objects from a digital file, in conjuction the LJC exclusive hybrid Analogue Conversion Vinyl Pump™, real home-downloadable vinyl is just a few clicks away. Just connect the LJC vinyl pump to a standard 3D printer and an internet connection, and start downloading your very own genuine vintage vinyl collection – at home! Good bye Ebay, goodbye The Evil Silver Disc™, now everyone can afford authentic original-sounding vinyl.
Introducing the Blue Note Home Download Vinyl Collection™.
https://londonjazzcollector.files.wordpress.com/2015/03/the-blue-note-collection.jpg
In conjunction with WordPress, I-Tunes and Music Matters Jazz, all 350 original Blue Note titles are yours to download at home on real vinyl. Get started today with your free* introductory title, with the exclusive LJC Home Vinyl Download App™ (*Today only, offer ends noon Wednesday 1st April. Will be $1,999 annual subscription thereafter)
Download your first real Blue Note for free!
STEP 1: Select Etchings
First choose your Blue Note run-out groove etchings: Don’t forget to check the Plastylite Ear Option to get the best possible pressing. And of course the signature master engineer stamp of authenticity.
https://londonjazzcollector.files.wordpress.com/2015/03/etching-selector.jpg
(Note: authentic 9M etching option requires Pro Deluxe Edition)
STEP 2: Select Label
Now select your preferred Blue Note label detail: label options are fully customisable. Don’t forget, to hear that authentic Blue Note sound, you need to choose the correct options! If in doubt, consult the LJC Guide to 1st Pressings (https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/ljc-guide-to-1st-pressings/) .
https://londonjazzcollector.files.wordpress.com/2015/03/blue-note-label-generator.jpg
(Note: New York 23 option available only with Pro DJ Deluxe Edition)
STEP 3: Select audio format and speed
Select preferred audio format for your vinyl, monaural, stereo or for total immersion 5.1 surround sound. For even higher quality you can opt for standard 33rpm, audiophile 45 rm, or super high-definition 78 rpm.
https://londonjazzcollector.files.wordpress.com/2015/03/mono-strereo-5-1.jpghttps://londonjazzcollector.files.wordpress.com/2015/03/vinyl-speed-selector.jpg
(Note: 5.1 Surround Option and 78 rpm available only in Pro DJ Deluxe Edition)
STEP 4: Select vinyl weight
Next, choose you vinyl weight. LJC Home Vinyl Download™ is fully customisable, from a thrifty 140 grams through to no expense spared ultra-audiophile 220 grams Depending on connection speed and vinyl weight selected, downloading the full vinyl LP may take from just a few minutes to several hours. For best quality, choose 180 grams or higher.
https://londonjazzcollector.files.wordpress.com/2015/03/vinyl-weightr-selection.jpg
(Note: 220 gram available only in Pro DJ Deluxe Edition)
Now you are ready to down load your first Authentic Blue Note.
FINAL STEP: Down load vinyl!
https://londonjazzcollector.files.wordpress.com/2015/03/wordpress-vinyl-download-button.jpg
Alternative download connection (recommended in the event of bandwidth congestion, which can occur when many DJ heavy users are online)
Guide to your Free Trial Blue Note Title:
Blue Note BLP 1537 Lou Donaldson Quartet Quintet Sextet
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-cover-1800-ljc.jpg
Selection 1: Roccus (1952, Quartet)
Artists: Lou Donaldson (alto saxophone) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) recorded WOR Studios, NYC, June 20, 1952
Selection 2: The Stroller (1954, Sextet)
A
rtists: Kenny Dorham (trumpet) Matthew Gee (trombone) Lou Donaldson (alto saxophone) Elmo Hope (piano) Percy Heath (bass) Art Blakey (drums) recorded Rudy Van Gelder Studio, Hackensack, NJ, August 22, 1954
Music:
The Quartet tracks recorded 1952 introduce Donaldson at age 26, as fleet an alto as you will hear in the Parker/ Stitt mould, but infectiously more bluesy. This is mainstream bop of the early ’50s, no dark corners, atonal dissonance or further out directions, that was all to come. The ’54 Hackensack recordings betray their finer engineering provenance, brighter and richer, Rudy at the mixing desk, mom Van Gelder bringing in the lemonade and beers.
Donaldson dips into the blues heritage, just varying the pace, and picking up on the increasingly popular Latin flavours of the day. Boys returning as men from the War in the Pacific didn’t really want to go soul-searching. Rather happy they survived, they wanted happy music and familiar home territory. Later, a decade out, safe and secure, they would find an appetite for outer space.
Vinyl: BLP 1537 Capitol Records (1989)
Horror of horrors! What have I done? I’ve broken every rule in the LJC book of collecting Blue Note vinyl originals! It’s a reissue, not an original, it’s late ’80s Capitol Records (EMI) Finest in Jazz Since 1939 label, avoid avoid!, it’s a digital transfer, it’s mastered by the improbably-named Ron McMaster (Bless me Rudy, for I have sinned) , it’s got a bar code for God’s sake, and it even claims to be “Stereo” for a recording that was only ever recorded in mono, and the catalogue number is “81537” (stereo). What’s worse – it sounds …great!
The great smart-arse LJC, I’ve made a complete fool of myself. Good day for it.
How to explain it? As with all rules, there are exceptions. This may be one of few, or even only Capitol late ’80s that sounds like this, I’m not buying them all to find out. It’s hard to fault McMaster’s work here, digital or not. Perhaps it’s as Cuscuna once said of a Van Gelder recording reissue: “all you have to do is keep your hands behind your back and not fuck it up“. The end result is the only test, a satisfying listen.
I have to cut Capitol some slack. Despite claiming it is Stereo (a marketing department requirement) and the stereo 8-series catalogue number, they have left the mono tapes faithfully untouched, no fake-stereo electronic reprocessing for stereo, just fake marketing, pokes tongue out at the boys from Marketing, note on the cover “This is a mono recording“. Bravo.
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capitol-labels-1800-ljcl.jpg
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capito-rearcover-1800-ljcl.jpg
Collector’s Corner
For a record which contains all the avoid signals, I went ahead and bought this last week, because it’s one Donaldson album I don’t have in any reissue edition of, not even Japanese, and I’ve little chance of securing a sensibly priced original. Not that Lou’s records are in the premier price division, but I was intrigued by the Van Gelder/Hackensack provenance of some of the tracks, and some top drop bop players. Always love Kenny Dorham and Blue Mitchel on horns, the tragic Elmo Hope or swingingest Horace Silver on piano.
Mounting it on the turntable was a most pleasant surprise. It sounded unexpectedly sweet and open, clean and dynamic for 1952 recordings not all Van Gelder. A lot of late ’40s early ’50s pre-date the microphone advances of a few years later, and the Van Gelder 1954 Hackensack tracks sound better than the 1952 WOR ones, but all in all a nice album, and priced at small change compared with more blue-blood issues.
What lesson can be learned from this?
Take no-ones word for anything, not of 97%, and especially not of yourself. You can follow well-founded rules, it generally improved outcomes, but always, once in a while, choose to test those rules and observe what you find, not what you expect to find. Whatever happens, you get to find something out, positive, negative, or inconclusive.
The search for knowledge never sleeps, the worst that can happen is you make a fool of yourself. And at the beginning of the month of April, how bad is that?
Previous special April 1 Editions:
April 1, 2014 the Blue Note missing over fifty years (https://londonjazzcollector.wordpress.com/2014/04/01/blue-note-missing-over-fifty-years-discovered/)
April 1, 2013 Bargain on Ebay, look (https://londonjazzcollector.wordpress.com/2013/04/01/bargain-on-ebay-look/)
LJC also recommends: Travellers Guide To San Seriffe (http://wikitravel.org/en/San_Serriffe)
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=2d4489ee65) | 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=2d4489ee65&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
3D printing and Blue Note LPs| LondonJazzCollector
http://www.jazzpromoservices.com/
https://londonjazzcollector.wordpress.com/2015/04/01/at-last-its-possible-real-home-download-vinyl/
** At last, it’s possible! Real home-download vinyl!
————————————————————
Thanks to ground-breaking technology of Additive Manufacturing, the new process of making three dimensional solid objects from a digital file, in conjuction the LJC exclusive hybrid Analogue Conversion Vinyl Pump™, real home-downloadable vinyl is just a few clicks away. Just connect the LJC vinyl pump to a standard 3D printer and an internet connection, and start downloading your very own genuine vintage vinyl collection – at home! Good bye Ebay, goodbye The Evil Silver Disc™, now everyone can afford authentic original-sounding vinyl.
Introducing the Blue Note Home Download Vinyl Collection™.
https://londonjazzcollector.files.wordpress.com/2015/03/the-blue-note-collection.jpg
In conjunction with WordPress, I-Tunes and Music Matters Jazz, all 350 original Blue Note titles are yours to download at home on real vinyl. Get started today with your free* introductory title, with the exclusive LJC Home Vinyl Download App™ (*Today only, offer ends noon Wednesday 1st April. Will be $1,999 annual subscription thereafter)
Download your first real Blue Note for free!
STEP 1: Select Etchings
First choose your Blue Note run-out groove etchings: Don’t forget to check the Plastylite Ear Option to get the best possible pressing. And of course the signature master engineer stamp of authenticity.
https://londonjazzcollector.files.wordpress.com/2015/03/etching-selector.jpg
(Note: authentic 9M etching option requires Pro Deluxe Edition)
STEP 2: Select Label
Now select your preferred Blue Note label detail: label options are fully customisable. Don’t forget, to hear that authentic Blue Note sound, you need to choose the correct options! If in doubt, consult the LJC Guide to 1st Pressings (https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/ljc-guide-to-1st-pressings/) .
https://londonjazzcollector.files.wordpress.com/2015/03/blue-note-label-generator.jpg
(Note: New York 23 option available only with Pro DJ Deluxe Edition)
STEP 3: Select audio format and speed
Select preferred audio format for your vinyl, monaural, stereo or for total immersion 5.1 surround sound. For even higher quality you can opt for standard 33rpm, audiophile 45 rm, or super high-definition 78 rpm.
https://londonjazzcollector.files.wordpress.com/2015/03/mono-strereo-5-1.jpghttps://londonjazzcollector.files.wordpress.com/2015/03/vinyl-speed-selector.jpg
(Note: 5.1 Surround Option and 78 rpm available only in Pro DJ Deluxe Edition)
STEP 4: Select vinyl weight
Next, choose you vinyl weight. LJC Home Vinyl Download™ is fully customisable, from a thrifty 140 grams through to no expense spared ultra-audiophile 220 grams Depending on connection speed and vinyl weight selected, downloading the full vinyl LP may take from just a few minutes to several hours. For best quality, choose 180 grams or higher.
https://londonjazzcollector.files.wordpress.com/2015/03/vinyl-weightr-selection.jpg
(Note: 220 gram available only in Pro DJ Deluxe Edition)
Now you are ready to down load your first Authentic Blue Note.
FINAL STEP: Down load vinyl!
https://londonjazzcollector.files.wordpress.com/2015/03/wordpress-vinyl-download-button.jpg
Alternative download connection (recommended in the event of bandwidth congestion, which can occur when many DJ heavy users are online)
Guide to your Free Trial Blue Note Title:
Blue Note BLP 1537 Lou Donaldson Quartet Quintet Sextet
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-cover-1800-ljc.jpg
Selection 1: Roccus (1952, Quartet)
Artists: Lou Donaldson (alto saxophone) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) recorded WOR Studios, NYC, June 20, 1952
Selection 2: The Stroller (1954, Sextet)
A
rtists: Kenny Dorham (trumpet) Matthew Gee (trombone) Lou Donaldson (alto saxophone) Elmo Hope (piano) Percy Heath (bass) Art Blakey (drums) recorded Rudy Van Gelder Studio, Hackensack, NJ, August 22, 1954
Music:
The Quartet tracks recorded 1952 introduce Donaldson at age 26, as fleet an alto as you will hear in the Parker/ Stitt mould, but infectiously more bluesy. This is mainstream bop of the early ’50s, no dark corners, atonal dissonance or further out directions, that was all to come. The ’54 Hackensack recordings betray their finer engineering provenance, brighter and richer, Rudy at the mixing desk, mom Van Gelder bringing in the lemonade and beers.
Donaldson dips into the blues heritage, just varying the pace, and picking up on the increasingly popular Latin flavours of the day. Boys returning as men from the War in the Pacific didn’t really want to go soul-searching. Rather happy they survived, they wanted happy music and familiar home territory. Later, a decade out, safe and secure, they would find an appetite for outer space.
Vinyl: BLP 1537 Capitol Records (1989)
Horror of horrors! What have I done? I’ve broken every rule in the LJC book of collecting Blue Note vinyl originals! It’s a reissue, not an original, it’s late ’80s Capitol Records (EMI) Finest in Jazz Since 1939 label, avoid avoid!, it’s a digital transfer, it’s mastered by the improbably-named Ron McMaster (Bless me Rudy, for I have sinned) , it’s got a bar code for God’s sake, and it even claims to be “Stereo” for a recording that was only ever recorded in mono, and the catalogue number is “81537” (stereo). What’s worse – it sounds …great!
The great smart-arse LJC, I’ve made a complete fool of myself. Good day for it.
How to explain it? As with all rules, there are exceptions. This may be one of few, or even only Capitol late ’80s that sounds like this, I’m not buying them all to find out. It’s hard to fault McMaster’s work here, digital or not. Perhaps it’s as Cuscuna once said of a Van Gelder recording reissue: “all you have to do is keep your hands behind your back and not fuck it up“. The end result is the only test, a satisfying listen.
I have to cut Capitol some slack. Despite claiming it is Stereo (a marketing department requirement) and the stereo 8-series catalogue number, they have left the mono tapes faithfully untouched, no fake-stereo electronic reprocessing for stereo, just fake marketing, pokes tongue out at the boys from Marketing, note on the cover “This is a mono recording“. Bravo.
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capitol-labels-1800-ljcl.jpg
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capito-rearcover-1800-ljcl.jpg
Collector’s Corner
For a record which contains all the avoid signals, I went ahead and bought this last week, because it’s one Donaldson album I don’t have in any reissue edition of, not even Japanese, and I’ve little chance of securing a sensibly priced original. Not that Lou’s records are in the premier price division, but I was intrigued by the Van Gelder/Hackensack provenance of some of the tracks, and some top drop bop players. Always love Kenny Dorham and Blue Mitchel on horns, the tragic Elmo Hope or swingingest Horace Silver on piano.
Mounting it on the turntable was a most pleasant surprise. It sounded unexpectedly sweet and open, clean and dynamic for 1952 recordings not all Van Gelder. A lot of late ’40s early ’50s pre-date the microphone advances of a few years later, and the Van Gelder 1954 Hackensack tracks sound better than the 1952 WOR ones, but all in all a nice album, and priced at small change compared with more blue-blood issues.
What lesson can be learned from this?
Take no-ones word for anything, not of 97%, and especially not of yourself. You can follow well-founded rules, it generally improved outcomes, but always, once in a while, choose to test those rules and observe what you find, not what you expect to find. Whatever happens, you get to find something out, positive, negative, or inconclusive.
The search for knowledge never sleeps, the worst that can happen is you make a fool of yourself. And at the beginning of the month of April, how bad is that?
Previous special April 1 Editions:
April 1, 2014 the Blue Note missing over fifty years (https://londonjazzcollector.wordpress.com/2014/04/01/blue-note-missing-over-fifty-years-discovered/)
April 1, 2013 Bargain on Ebay, look (https://londonjazzcollector.wordpress.com/2013/04/01/bargain-on-ebay-look/)
LJC also recommends: Travellers Guide To San Seriffe (http://wikitravel.org/en/San_Serriffe)
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=2d4489ee65) | 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=2d4489ee65&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
3D printing and Blue Note LPs| LondonJazzCollector
http://www.jazzpromoservices.com/
https://londonjazzcollector.wordpress.com/2015/04/01/at-last-its-possible-real-home-download-vinyl/
** At last, it’s possible! Real home-download vinyl!
————————————————————
Thanks to ground-breaking technology of Additive Manufacturing, the new process of making three dimensional solid objects from a digital file, in conjuction the LJC exclusive hybrid Analogue Conversion Vinyl Pump™, real home-downloadable vinyl is just a few clicks away. Just connect the LJC vinyl pump to a standard 3D printer and an internet connection, and start downloading your very own genuine vintage vinyl collection – at home! Good bye Ebay, goodbye The Evil Silver Disc™, now everyone can afford authentic original-sounding vinyl.
Introducing the Blue Note Home Download Vinyl Collection™.
https://londonjazzcollector.files.wordpress.com/2015/03/the-blue-note-collection.jpg
In conjunction with WordPress, I-Tunes and Music Matters Jazz, all 350 original Blue Note titles are yours to download at home on real vinyl. Get started today with your free* introductory title, with the exclusive LJC Home Vinyl Download App™ (*Today only, offer ends noon Wednesday 1st April. Will be $1,999 annual subscription thereafter)
Download your first real Blue Note for free!
STEP 1: Select Etchings
First choose your Blue Note run-out groove etchings: Don’t forget to check the Plastylite Ear Option to get the best possible pressing. And of course the signature master engineer stamp of authenticity.
https://londonjazzcollector.files.wordpress.com/2015/03/etching-selector.jpg
(Note: authentic 9M etching option requires Pro Deluxe Edition)
STEP 2: Select Label
Now select your preferred Blue Note label detail: label options are fully customisable. Don’t forget, to hear that authentic Blue Note sound, you need to choose the correct options! If in doubt, consult the LJC Guide to 1st Pressings (https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/ljc-guide-to-1st-pressings/) .
https://londonjazzcollector.files.wordpress.com/2015/03/blue-note-label-generator.jpg
(Note: New York 23 option available only with Pro DJ Deluxe Edition)
STEP 3: Select audio format and speed
Select preferred audio format for your vinyl, monaural, stereo or for total immersion 5.1 surround sound. For even higher quality you can opt for standard 33rpm, audiophile 45 rm, or super high-definition 78 rpm.
https://londonjazzcollector.files.wordpress.com/2015/03/mono-strereo-5-1.jpghttps://londonjazzcollector.files.wordpress.com/2015/03/vinyl-speed-selector.jpg
(Note: 5.1 Surround Option and 78 rpm available only in Pro DJ Deluxe Edition)
STEP 4: Select vinyl weight
Next, choose you vinyl weight. LJC Home Vinyl Download™ is fully customisable, from a thrifty 140 grams through to no expense spared ultra-audiophile 220 grams Depending on connection speed and vinyl weight selected, downloading the full vinyl LP may take from just a few minutes to several hours. For best quality, choose 180 grams or higher.
https://londonjazzcollector.files.wordpress.com/2015/03/vinyl-weightr-selection.jpg
(Note: 220 gram available only in Pro DJ Deluxe Edition)
Now you are ready to down load your first Authentic Blue Note.
FINAL STEP: Down load vinyl!
https://londonjazzcollector.files.wordpress.com/2015/03/wordpress-vinyl-download-button.jpg
Alternative download connection (recommended in the event of bandwidth congestion, which can occur when many DJ heavy users are online)
Guide to your Free Trial Blue Note Title:
Blue Note BLP 1537 Lou Donaldson Quartet Quintet Sextet
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-cover-1800-ljc.jpg
Selection 1: Roccus (1952, Quartet)
Artists: Lou Donaldson (alto saxophone) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) recorded WOR Studios, NYC, June 20, 1952
Selection 2: The Stroller (1954, Sextet)
A
rtists: Kenny Dorham (trumpet) Matthew Gee (trombone) Lou Donaldson (alto saxophone) Elmo Hope (piano) Percy Heath (bass) Art Blakey (drums) recorded Rudy Van Gelder Studio, Hackensack, NJ, August 22, 1954
Music:
The Quartet tracks recorded 1952 introduce Donaldson at age 26, as fleet an alto as you will hear in the Parker/ Stitt mould, but infectiously more bluesy. This is mainstream bop of the early ’50s, no dark corners, atonal dissonance or further out directions, that was all to come. The ’54 Hackensack recordings betray their finer engineering provenance, brighter and richer, Rudy at the mixing desk, mom Van Gelder bringing in the lemonade and beers.
Donaldson dips into the blues heritage, just varying the pace, and picking up on the increasingly popular Latin flavours of the day. Boys returning as men from the War in the Pacific didn’t really want to go soul-searching. Rather happy they survived, they wanted happy music and familiar home territory. Later, a decade out, safe and secure, they would find an appetite for outer space.
Vinyl: BLP 1537 Capitol Records (1989)
Horror of horrors! What have I done? I’ve broken every rule in the LJC book of collecting Blue Note vinyl originals! It’s a reissue, not an original, it’s late ’80s Capitol Records (EMI) Finest in Jazz Since 1939 label, avoid avoid!, it’s a digital transfer, it’s mastered by the improbably-named Ron McMaster (Bless me Rudy, for I have sinned) , it’s got a bar code for God’s sake, and it even claims to be “Stereo” for a recording that was only ever recorded in mono, and the catalogue number is “81537” (stereo). What’s worse – it sounds …great!
The great smart-arse LJC, I’ve made a complete fool of myself. Good day for it.
How to explain it? As with all rules, there are exceptions. This may be one of few, or even only Capitol late ’80s that sounds like this, I’m not buying them all to find out. It’s hard to fault McMaster’s work here, digital or not. Perhaps it’s as Cuscuna once said of a Van Gelder recording reissue: “all you have to do is keep your hands behind your back and not fuck it up“. The end result is the only test, a satisfying listen.
I have to cut Capitol some slack. Despite claiming it is Stereo (a marketing department requirement) and the stereo 8-series catalogue number, they have left the mono tapes faithfully untouched, no fake-stereo electronic reprocessing for stereo, just fake marketing, pokes tongue out at the boys from Marketing, note on the cover “This is a mono recording“. Bravo.
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capitol-labels-1800-ljcl.jpg
https://londonjazzcollector.files.wordpress.com/2015/03/lou-donaldson-quartet-quintet-sextet-blp-1537-capito-rearcover-1800-ljcl.jpg
Collector’s Corner
For a record which contains all the avoid signals, I went ahead and bought this last week, because it’s one Donaldson album I don’t have in any reissue edition of, not even Japanese, and I’ve little chance of securing a sensibly priced original. Not that Lou’s records are in the premier price division, but I was intrigued by the Van Gelder/Hackensack provenance of some of the tracks, and some top drop bop players. Always love Kenny Dorham and Blue Mitchel on horns, the tragic Elmo Hope or swingingest Horace Silver on piano.
Mounting it on the turntable was a most pleasant surprise. It sounded unexpectedly sweet and open, clean and dynamic for 1952 recordings not all Van Gelder. A lot of late ’40s early ’50s pre-date the microphone advances of a few years later, and the Van Gelder 1954 Hackensack tracks sound better than the 1952 WOR ones, but all in all a nice album, and priced at small change compared with more blue-blood issues.
What lesson can be learned from this?
Take no-ones word for anything, not of 97%, and especially not of yourself. You can follow well-founded rules, it generally improved outcomes, but always, once in a while, choose to test those rules and observe what you find, not what you expect to find. Whatever happens, you get to find something out, positive, negative, or inconclusive.
The search for knowledge never sleeps, the worst that can happen is you make a fool of yourself. And at the beginning of the month of April, how bad is that?
Previous special April 1 Editions:
April 1, 2014 the Blue Note missing over fifty years (https://londonjazzcollector.wordpress.com/2014/04/01/blue-note-missing-over-fifty-years-discovered/)
April 1, 2013 Bargain on Ebay, look (https://londonjazzcollector.wordpress.com/2013/04/01/bargain-on-ebay-look/)
LJC also recommends: Travellers Guide To San Seriffe (http://wikitravel.org/en/San_Serriffe)
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=2d4489ee65) | 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=2d4489ee65&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
Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/31/business/miriam-bienstock-co-founder-of-atlantic-records-dies-at-92.html?emc=eta1
** Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92
————————————————————
Photo
Miriam Bienstock, then Miriam Abramson, a co-founder of Atlantic Records, with Nesuhi Ertegun in an undated photo. The company was started in part with $2,500 from her and her husband at the time. Credit Atlantic Records Archive
Miriam Bienstock, a co-founder of Atlantic Records who ran the business side of the company in its formative years, helping to lay the groundwork for what became a colossus of the recording industry, died on March 21 at her home in Manhattan. She was 92.
Her death was confirmed by her children, Caroline and Robert Bienstock.
The history of Atlantic Records, now part of the Warner Music Group, is populated by a small country’s worth of megastars from across the spectrum of jazz, pop and rock — including Ray Charles, John Coltrane, Aretha Franklin, Roberta Flack, Charles Mingus, Wilson Pickett, Yes, Led Zeppelin, Cream, Abba and Crosby, Stills, Nash & Young. Its current roster includes leading acts like Coldplay, the hip-hop artists Flo Rida and Ty Dolla Sign, and the English folk trio the Staves.
The label was born in 1947 of the shared interest of its three founders — Ms. Bienstock, her husband at the time, Herb Abramson, and their friend Ahmet Ertegun — in the music that came to be called rhythm and blues. The company was started with $2,500 from the Abramsons and a $10,000 investment from Mr. Ertegun’s dentist.
Though the company’s initial years, before white America became enamored of black music, were difficult ones, Atlantic was kept afloat and eventually spurred by a handful of hits, including “Drinkin’ Wine Spo-Dee-O-Dee” (https://www.youtube.com/watch?v=37avLRywxGQ) by Stick McGhee, “Teardrops From My Eyes” and “(Mama) He Treats Your Daughter Mean” by Ruth Brown, and, after the producer Jerry Wexler joined the company, Ray Charles’s first signature tune, “I Got a Woman.” (https://www.youtube.com/watch?v=Mrd14PxaUco) (Mr. Ertegun’s brother, Nesuhi, also joined the company early in its existence.)
Mr. Ertegun, a son of Turkey’s ambassador to the United States, was the chief talent scout. Mr. Abramson did the recording, and Ms. Bienstock handled just about everything else — not only keeping the books, collecting payments and paying the artists but also moving the office chairs out of the way to make room for the artists and recording equipment in the company’s first office; arranging for the designing and printing of the record jackets; receiving the finished records and carrying them upstairs, and repacking the records for shipment to distributors and record stores.
“I must tell you, Miriam was an important person in keeping discipline at Atlantic Records, and keeping everything on the up-and-up,” Mr. Ertegun, who died in 2006 (http://www.nytimes.com/2006/12/15/arts/music/15ertegun.html) , said in an interview with Billboard magazine in 1997. “She ran the office, and none of us was inclined to run the office. She is unheralded, unrecognized, but if we hadn’t had her in those developing years, the company would have folded. She also had very good taste in music.”
One of very few women in the record business at the time, Ms. Bienstock earned a reputation not only for toughness — her son, Robert, said in a eulogy for his mother that many of the businessmen she dealt with called her “Dragon Lady” — but also for efficiency and for the kind of shrewd rule-skirting that the record business of the day required.
Continue reading the main story
Payola — the illegal practice of bribing radio stations and disc jockeys to play particular records on the air — was part of the way business was conducted, and as Ms. Bienstock later acknowledged, Atlantic was a participant. When Congress began investigating the practice in the late 1950s and questioned the Atlantic staff, Ms. Bienstock recalled in “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers” (2009) by John Broven, “we said to the federal government, ‘We didn’t do it … but we’ll never do it again.’ ”
She was born Miriam Kahan on Jan. 4, 1923, in Brooklyn, where she graduated from Erasmus Hall High School and Brooklyn College. Her parents, Abraham Kahan, who worked in the garment industry, and the former Sylvia Brahinsky, were Jewish immigrants from Ukraine. She married Herb Abramson, a fellow Brooklynite and jazz fan who had worked for the National Records label, and they helped start two short-lived record companies before joining forces with their friend Mr. Ertegun.
Mr. Abramson, who died in 1999, was drafted in 1953, and he and his wife divorced shortly after he returned. He subsequently left the company and she acquired his shares. She also took over the company’s music publishing arm. She sold her interest in the company in 1964, a few years before Warner Bros. acquired Atlantic.
In 1957, she married Freddy Bienstock, who had worked for Elvis Presley finding songs for him to record and who later became a music publishing executive. His company, now known as Carlin America, was named for their daughter, Caroline, now its president and chief executive. Mr. Bienstock died in 2009.
In addition to her son and daughter, Ms. Bienstock’s survivors include eight grandchildren. In recent years she was a theater producer and investor.
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Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/31/business/miriam-bienstock-co-founder-of-atlantic-records-dies-at-92.html?emc=eta1
** Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92
————————————————————
Photo
Miriam Bienstock, then Miriam Abramson, a co-founder of Atlantic Records, with Nesuhi Ertegun in an undated photo. The company was started in part with $2,500 from her and her husband at the time. Credit Atlantic Records Archive
Miriam Bienstock, a co-founder of Atlantic Records who ran the business side of the company in its formative years, helping to lay the groundwork for what became a colossus of the recording industry, died on March 21 at her home in Manhattan. She was 92.
Her death was confirmed by her children, Caroline and Robert Bienstock.
The history of Atlantic Records, now part of the Warner Music Group, is populated by a small country’s worth of megastars from across the spectrum of jazz, pop and rock — including Ray Charles, John Coltrane, Aretha Franklin, Roberta Flack, Charles Mingus, Wilson Pickett, Yes, Led Zeppelin, Cream, Abba and Crosby, Stills, Nash & Young. Its current roster includes leading acts like Coldplay, the hip-hop artists Flo Rida and Ty Dolla Sign, and the English folk trio the Staves.
The label was born in 1947 of the shared interest of its three founders — Ms. Bienstock, her husband at the time, Herb Abramson, and their friend Ahmet Ertegun — in the music that came to be called rhythm and blues. The company was started with $2,500 from the Abramsons and a $10,000 investment from Mr. Ertegun’s dentist.
Though the company’s initial years, before white America became enamored of black music, were difficult ones, Atlantic was kept afloat and eventually spurred by a handful of hits, including “Drinkin’ Wine Spo-Dee-O-Dee” (https://www.youtube.com/watch?v=37avLRywxGQ) by Stick McGhee, “Teardrops From My Eyes” and “(Mama) He Treats Your Daughter Mean” by Ruth Brown, and, after the producer Jerry Wexler joined the company, Ray Charles’s first signature tune, “I Got a Woman.” (https://www.youtube.com/watch?v=Mrd14PxaUco) (Mr. Ertegun’s brother, Nesuhi, also joined the company early in its existence.)
Mr. Ertegun, a son of Turkey’s ambassador to the United States, was the chief talent scout. Mr. Abramson did the recording, and Ms. Bienstock handled just about everything else — not only keeping the books, collecting payments and paying the artists but also moving the office chairs out of the way to make room for the artists and recording equipment in the company’s first office; arranging for the designing and printing of the record jackets; receiving the finished records and carrying them upstairs, and repacking the records for shipment to distributors and record stores.
“I must tell you, Miriam was an important person in keeping discipline at Atlantic Records, and keeping everything on the up-and-up,” Mr. Ertegun, who died in 2006 (http://www.nytimes.com/2006/12/15/arts/music/15ertegun.html) , said in an interview with Billboard magazine in 1997. “She ran the office, and none of us was inclined to run the office. She is unheralded, unrecognized, but if we hadn’t had her in those developing years, the company would have folded. She also had very good taste in music.”
One of very few women in the record business at the time, Ms. Bienstock earned a reputation not only for toughness — her son, Robert, said in a eulogy for his mother that many of the businessmen she dealt with called her “Dragon Lady” — but also for efficiency and for the kind of shrewd rule-skirting that the record business of the day required.
Continue reading the main story
Payola — the illegal practice of bribing radio stations and disc jockeys to play particular records on the air — was part of the way business was conducted, and as Ms. Bienstock later acknowledged, Atlantic was a participant. When Congress began investigating the practice in the late 1950s and questioned the Atlantic staff, Ms. Bienstock recalled in “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers” (2009) by John Broven, “we said to the federal government, ‘We didn’t do it … but we’ll never do it again.’ ”
She was born Miriam Kahan on Jan. 4, 1923, in Brooklyn, where she graduated from Erasmus Hall High School and Brooklyn College. Her parents, Abraham Kahan, who worked in the garment industry, and the former Sylvia Brahinsky, were Jewish immigrants from Ukraine. She married Herb Abramson, a fellow Brooklynite and jazz fan who had worked for the National Records label, and they helped start two short-lived record companies before joining forces with their friend Mr. Ertegun.
Mr. Abramson, who died in 1999, was drafted in 1953, and he and his wife divorced shortly after he returned. He subsequently left the company and she acquired his shares. She also took over the company’s music publishing arm. She sold her interest in the company in 1964, a few years before Warner Bros. acquired Atlantic.
In 1957, she married Freddy Bienstock, who had worked for Elvis Presley finding songs for him to record and who later became a music publishing executive. His company, now known as Carlin America, was named for their daughter, Caroline, now its president and chief executive. Mr. Bienstock died in 2009.
In addition to her son and daughter, Ms. Bienstock’s survivors include eight grandchildren. In recent years she was a theater producer and investor.
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
Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92 – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/31/business/miriam-bienstock-co-founder-of-atlantic-records-dies-at-92.html?emc=eta1
** Miriam Bienstock, Co-Founder of Atlantic Records, Dies at 92
————————————————————
Photo
Miriam Bienstock, then Miriam Abramson, a co-founder of Atlantic Records, with Nesuhi Ertegun in an undated photo. The company was started in part with $2,500 from her and her husband at the time. Credit Atlantic Records Archive
Miriam Bienstock, a co-founder of Atlantic Records who ran the business side of the company in its formative years, helping to lay the groundwork for what became a colossus of the recording industry, died on March 21 at her home in Manhattan. She was 92.
Her death was confirmed by her children, Caroline and Robert Bienstock.
The history of Atlantic Records, now part of the Warner Music Group, is populated by a small country’s worth of megastars from across the spectrum of jazz, pop and rock — including Ray Charles, John Coltrane, Aretha Franklin, Roberta Flack, Charles Mingus, Wilson Pickett, Yes, Led Zeppelin, Cream, Abba and Crosby, Stills, Nash & Young. Its current roster includes leading acts like Coldplay, the hip-hop artists Flo Rida and Ty Dolla Sign, and the English folk trio the Staves.
The label was born in 1947 of the shared interest of its three founders — Ms. Bienstock, her husband at the time, Herb Abramson, and their friend Ahmet Ertegun — in the music that came to be called rhythm and blues. The company was started with $2,500 from the Abramsons and a $10,000 investment from Mr. Ertegun’s dentist.
Though the company’s initial years, before white America became enamored of black music, were difficult ones, Atlantic was kept afloat and eventually spurred by a handful of hits, including “Drinkin’ Wine Spo-Dee-O-Dee” (https://www.youtube.com/watch?v=37avLRywxGQ) by Stick McGhee, “Teardrops From My Eyes” and “(Mama) He Treats Your Daughter Mean” by Ruth Brown, and, after the producer Jerry Wexler joined the company, Ray Charles’s first signature tune, “I Got a Woman.” (https://www.youtube.com/watch?v=Mrd14PxaUco) (Mr. Ertegun’s brother, Nesuhi, also joined the company early in its existence.)
Mr. Ertegun, a son of Turkey’s ambassador to the United States, was the chief talent scout. Mr. Abramson did the recording, and Ms. Bienstock handled just about everything else — not only keeping the books, collecting payments and paying the artists but also moving the office chairs out of the way to make room for the artists and recording equipment in the company’s first office; arranging for the designing and printing of the record jackets; receiving the finished records and carrying them upstairs, and repacking the records for shipment to distributors and record stores.
“I must tell you, Miriam was an important person in keeping discipline at Atlantic Records, and keeping everything on the up-and-up,” Mr. Ertegun, who died in 2006 (http://www.nytimes.com/2006/12/15/arts/music/15ertegun.html) , said in an interview with Billboard magazine in 1997. “She ran the office, and none of us was inclined to run the office. She is unheralded, unrecognized, but if we hadn’t had her in those developing years, the company would have folded. She also had very good taste in music.”
One of very few women in the record business at the time, Ms. Bienstock earned a reputation not only for toughness — her son, Robert, said in a eulogy for his mother that many of the businessmen she dealt with called her “Dragon Lady” — but also for efficiency and for the kind of shrewd rule-skirting that the record business of the day required.
Continue reading the main story
Payola — the illegal practice of bribing radio stations and disc jockeys to play particular records on the air — was part of the way business was conducted, and as Ms. Bienstock later acknowledged, Atlantic was a participant. When Congress began investigating the practice in the late 1950s and questioned the Atlantic staff, Ms. Bienstock recalled in “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers” (2009) by John Broven, “we said to the federal government, ‘We didn’t do it … but we’ll never do it again.’ ”
She was born Miriam Kahan on Jan. 4, 1923, in Brooklyn, where she graduated from Erasmus Hall High School and Brooklyn College. Her parents, Abraham Kahan, who worked in the garment industry, and the former Sylvia Brahinsky, were Jewish immigrants from Ukraine. She married Herb Abramson, a fellow Brooklynite and jazz fan who had worked for the National Records label, and they helped start two short-lived record companies before joining forces with their friend Mr. Ertegun.
Mr. Abramson, who died in 1999, was drafted in 1953, and he and his wife divorced shortly after he returned. He subsequently left the company and she acquired his shares. She also took over the company’s music publishing arm. She sold her interest in the company in 1964, a few years before Warner Bros. acquired Atlantic.
In 1957, she married Freddy Bienstock, who had worked for Elvis Presley finding songs for him to record and who later became a music publishing executive. His company, now known as Carlin America, was named for their daughter, Caroline, now its president and chief executive. Mr. Bienstock died in 2009.
In addition to her son and daughter, Ms. Bienstock’s survivors include eight grandchildren. In recent years she was a theater producer and investor.
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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Warwick, Ny 10990
USA
Ai & Zoot Signed
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You can barely make out the bass and drummer.
Anyone know who they are?
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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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Six seconds that shaped 1,500 songs – BBC News
http://www.jazzpromoservices.com/
http://www.bbc.com/news/magazine-32087287
** Six seconds that shaped 1,500 songs
————————————————————
The Winstons in the recording studio, 1969
Amen, Brother was a little-known B-side released in 1969. Barely noticed at the time, its drum solo has been hugely influential, appearing in different forms in more than 1,500 other songs – but the band behind it never made any money from it.
“It felt like plagiarism and I felt ripped off and raped,” says Richard L Spencer, lead singer of The Winstons – the band that recorded the original track.
“I come from an era where you didn’t steal people’s ideas.”
Over the past three decades bands on both sides of the Atlantic have used the drum solo from Amen, Brother for inspiration.
Spencer remembers the day they recorded it in Atlanta, Georgia in the spring of 1969.
The Winstons were stuck in the studio in need of a B-side to go with their new song Color Him Father. Eventually, they decided to record an instrumental, loosely based on an old gospel song called Amen, Brother.
Elements of it came from a guitar riff the legendary R&B musician Curtis Mayfield had once played to Spencer. But they didn’t have enough music for a whole track, so he decided to stretch it by adding a drum solo.
“The band didn’t really want to rehearse the song. We weren’t there to do ‘original’, we were a bar band. The guys were a little testy, they wanted leisure time, so I was kind of rushing it,” says Spencer.
Halfway through the track, the other instruments fall silent as drummer GC Coleman pounds away on his own for four bars. “In about 20 minutes, we had a playable song,” he says.
Exactly who created the drum break isn’t clear. Spencer says he directed it, while Phil Tolotta, the only other surviving member of the band, disagrees – he says the solo was “pure GC”.
The Winstons, 1969 The Winstons: GC Coleman (back centre) Richard L Spencer (back right) Phil Tolotta (front right)
While the A-side of the record, Color Him Father, became a 1969 top 10 R&B hit in the US and won a Grammy award the following year, Amen, Brother went largely unnoticed at the time.
Despite their initial chart success, The Winstons struggled to get bookings as a mixed-race group playing in the southern states of the US and split up in 1970.
Many years later however, the drum solo from Amen, Brother influenced a new generation of musicians.
In the mid-80s, sampling began to make its way on to the hip hop scene and the Amen break, as Coleman’s solo became known, was rediscovered.
Amen, Brother
“One of the first things that sampling allowed for was the re-use of older recorded material,” says Nate Harrison, a Brooklyn-based artist and academic who made a documentary about the drum solo.
“In the case of the Amen break, you could sample the drums and then replay them as if they were your own,” he says.
It can be heard, in a slightly slowed-down version, on the song I Desire, from the 1986 debut album of New York rap group Salt-N-Pepa.
A few years later it appeared on Wordz of Wisdom by another New York duo known as 3rd Bass. It also popped up on NWA’s Straight Outta Compton from 1989.
In the early 1990s, British music producers on the dance music scene looked to the US for inspiration. Old breakbeats were dug out and the Amen break featured heavily in jungle music.
Later, the break went mainstream – in 1997, Oasis used it in the song D’You Know What I Mean. The same year, it also appeared at the beginning of David Bowie’s hit song Little Wonder from the album Earthling.
David Bowie performing in 1997 David Bowie performing in 1997
Over the years, it has become one of the most sampled (http://www.whosampled.com/The-Winstons/Amen,-Brother/sampled/?ob=0&cp=2) drum beats of all time.
So why did these six seconds from 1969 become so popular?
“There’s something about the groove of that break and especially the way people chop it up of course,” says Harrison. “For me, it’s this perfect blend between something very organic-sounding and very robotic-sounding at the same time.
“The rhythm itself is syncopated so there’s lots of variations on the drums you can derive from sampling the original break. It’s really conducive to chopping and rearranging. It also sonically has this punch to it that makes it unique,” he says.
“It’s the backbone of so much music. Both hip hop and drum and bass [musicians] have made a lot of money from it.”
But nobody in the Winstons ever saw any royalties. In the 1980s sampling was still a legal grey area – today musicians have to get permission from the original artist or the copyright holder.
Salt-N-Pepa A slowed-down version of the Amen break was featured on a Salt-N-Pepa song
Coleman developed a drug addiction and died homeless and destitute on the streets of Atlanta in 2006. Spencer thinks it is unlikely that he was aware of the impact of his drum solo recorded decades earlier.
Now, an internet campaign (http://www.gofundme.com/amenbrother) is raising money for Spencer who owns the copyright for Amen, Brother. Set up by British DJs Martyn Webster and Steve Theobald, the campaign has snowballed far beyond their expectations through support from music fans and even some of the big name artists who have used the distinctive sound to help build their careers.
So far it’s gathered more than £18,000 ($26,000).
“It’s about giving something back to a 72-year-old man with heart problems who has never seen really seen a penny other than his royalties from the original release,” says Theobald.
Spencer retired from music more than 40 years ago and is now a novelist living in North Carolina. Although he was angry when he first heard the Amen break was being sampled, he now feels more at peace with it.
“It’s not the worst thing that can happen to you. I’m a black man in America and the fact that someone wants to use something I created – that’s flattering,” he says.
He is also touched by the fundraising campaign.
“They didn’t have to do that – I didn’t even know them. Fifty years on, some young white boys that I’ve never met, halfway across the world said, ‘We’re going to give you a gift.’ It’s probably one of the sweetest things that’s happened to me in a long time.”
Nate Harrison and Steve Theobald spoke to Weekend (http://www.bbc.co.uk/programmes/p00wf2qw) on the BBC World Service (http://www.bbc.co.uk/worldserviceradio) .
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