Author: Bash Daily Group Archive Feed
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) .
Subscribe to the BBC News Magazine’s email newsletter (http://www.bbc.co.uk/news/magazine-26567792) to get articles sent to your inbox.
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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.
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269 State Route 94 South
Warwick, Ny 10990
USA
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) .
Subscribe to the BBC News Magazine’s email newsletter (http://www.bbc.co.uk/news/magazine-26567792) to get articles sent to your inbox.
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=4b7d6c30a4) | 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=4b7d6c30a4&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
What Starbucks Is Ditching Along With CDs – NYTimes.com
http://www.jazzpromoservices.com/
http://mobile.nytimes.com/2015/03/29/opinion/sunday/what-starbucks-is-ditching-along-with-cds.html?_r=0
** What Starbucks Is Ditching Along With CDs
————————————————————
I CURRENTLY possess around six large moving boxes of compact discs tossed beneath a tarp in the dank cellar of my apartment building. Since 1999, I have been receiving promotional copies of CDs, an occupational hazard of my job as a professional music critic.
I generally stopped purchasing CDs 11 years ago, on the occasion of my first, pink iPod, a first-generation Mini that revolutionized my ability to work virtually anywhere without the extra baggage of jewel cases and an unwieldy Discman.
Now, when record labels send physical copies of CDs rather than email digital files, it seems like an imposition — I know, a real first-world problem, but I live in Brooklyn. Who has space for all of this? A friend of mine, also a critic, used to live among towers of CDs, to the point they threatened to take over his entire apartment. I imagined the Fire Department one day having to break in and rescue him from a toppled pile, pinned under stacks of Maroon 5 promos, the worst way to die.
The CD, never a much-loved object, is inching toward critical endangerment. At the end of this month, Starbucks (http://topics.nytimes.com/top/news/business/companies/starbucks_corporation/index.html?inline=nyt-org) plans to stop selling CDs (http://www.billboard.com/articles/6479986/starbucks-stop-selling-music) from those comforting cardboard counter-display cases, where they were as convenient an impulse buy as mints and biscotti. The company’s decision does not come as a shock; what’s most surprising is that Starbucks continued to hawk CDs for this long.
According to Nielsen (http://www.nielsen.com/content/dam/corporate/us/en/public%20factsheets/Soundscan/nielsen-2014-year-end-music-report-us.pdf) , sales of albums on CD decreased by 14.9 percent in 2014, compared with an overall increase in streaming. Even with an uptick in vinyl sales among purists (Nielsen tracked a vinyl sales increase of 51.8 percent), our music collections as tangible, tactile objects are well on their way out.
I’ve dragged my own CD boxes from apartment to apartment for more than a decade, certain that one day I will hire someone to convert them all to MP3, a task so banal and time-consuming the thought of it makes me want to bury myself under the stacks with my friend. I can tick off most of the music I have down there, some of which would probably do well as eBay loot — if I ever bothered to sell them. When I moonlight as a D.J., I no longer rely on crates of vinyl and CDs. I use my MP3 collection and an app on my iPad. Still, I can’t quite unclutter the CDs rotting in boxes in my basement. They’re more memories than objects, impossible to trash.
Starbucks has been selling CDs since the mid-1990s, but began a heavier push toward mass distribution a few years later, about the same time that I began swearing off them — a savvy business decision for the coffee company as well as the musicians it stocked. But the fact that its endeavor began around the rise of the iPod only sealed the CDs’ fate: Starbucks was simply prolonging the inevitable end, a caffeinated march to the whimpering finale for the medium.
Still, there’s a sense of nostalgia to it. I miss the old Virgin Megastore in Union Square, which shut down in 2009, and the visceral experience of flipping through the stacks, discovering new albums through means so simple as their interesting cover art or, even better, via new-release listening stations equipped with a skip-track button and germy headphones. If the label sent you the record, spending the time opening all that packaging — ugh, the impossible-to-open sticky tape on jewel cases — was still an investment, like reading a book in the library.
Now I discover most new music on Soundcloud and Tumblr, and while it’s infinitely more convenient insofar as it does not require me to physically part myself from my laptop, it doesn’t feel quite as adventuresome.
The CDs stacked on the display cases at Starbucks didn’t just signify that Starbucks was hip, but that the coffee chain was set on asserting itself as a player in the music industry. Coffeehouse rock as a genre was suddenly quite literal, and associated with such easy, chill, adult contemporary acts like Norah Jones, whose “Come Away With Me” at one point seemed impossible to avoid at a Starbucks. The category was folk, it was smooth jazz, it was even certain types of really cool music like salsa from the famed New York label Fania or a compilation album from Sonic Youth. In critics’ circles, “Starbucks music” became derisive shorthand for music with no edge, music to buy on a whim.
It seems likely that as CDs disappear from big-box stores and coffee megachains, they will be definitively gone. We’ll trade the clinical sound of a CD track for its compressed MP3 counterpart. And though to my ear the difference is negligible, music will sound ever so slightly worse.
For serious music fans, of course, there is no shortage of other tactile ways to show off a collection — and by doing so, send a message to the world not just of your taste but of what kind of person you are. Not only is vinyl on the upswing, but we’re even in the midst of a mini-renaissance of a formerly archaic music-storage medium: the cassette tape, which is newly in vogue among young underground punk purists and D.I.Y. record labels.
In the ’90s, I had three or four plastic milk crates of cassettes that I lugged around from apartment to apartment, long after I lost my tape player. I still have a few I can’t part with. Even with the notion of entirely digitizing our music libraries, having something we can hold in our hands is, simply, a more complete visceral experience. It transforms the music into a material good, not simply an abstraction.
Technology isn’t taking our physical music collections away from us entirely, though. Last year, Sony announced that it had invented a cassette tape that has the potential to hold 185 terabytes of data (http://www.latimes.com/business/technology/la-fi-tn-sony-185-tb-cassette-tape-storage-record-20140505-story.html) . Though it’s not currently aimed at individual consumers, it’s likely that one day music fans could get a version of it, and wonder why we wasted all our time on such useless gadgets as iPods and hard drives.
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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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
What Starbucks Is Ditching Along With CDs – NYTimes.com
http://www.jazzpromoservices.com/
http://mobile.nytimes.com/2015/03/29/opinion/sunday/what-starbucks-is-ditching-along-with-cds.html?_r=0
** What Starbucks Is Ditching Along With CDs
————————————————————
I CURRENTLY possess around six large moving boxes of compact discs tossed beneath a tarp in the dank cellar of my apartment building. Since 1999, I have been receiving promotional copies of CDs, an occupational hazard of my job as a professional music critic.
I generally stopped purchasing CDs 11 years ago, on the occasion of my first, pink iPod, a first-generation Mini that revolutionized my ability to work virtually anywhere without the extra baggage of jewel cases and an unwieldy Discman.
Now, when record labels send physical copies of CDs rather than email digital files, it seems like an imposition — I know, a real first-world problem, but I live in Brooklyn. Who has space for all of this? A friend of mine, also a critic, used to live among towers of CDs, to the point they threatened to take over his entire apartment. I imagined the Fire Department one day having to break in and rescue him from a toppled pile, pinned under stacks of Maroon 5 promos, the worst way to die.
The CD, never a much-loved object, is inching toward critical endangerment. At the end of this month, Starbucks (http://topics.nytimes.com/top/news/business/companies/starbucks_corporation/index.html?inline=nyt-org) plans to stop selling CDs (http://www.billboard.com/articles/6479986/starbucks-stop-selling-music) from those comforting cardboard counter-display cases, where they were as convenient an impulse buy as mints and biscotti. The company’s decision does not come as a shock; what’s most surprising is that Starbucks continued to hawk CDs for this long.
According to Nielsen (http://www.nielsen.com/content/dam/corporate/us/en/public%20factsheets/Soundscan/nielsen-2014-year-end-music-report-us.pdf) , sales of albums on CD decreased by 14.9 percent in 2014, compared with an overall increase in streaming. Even with an uptick in vinyl sales among purists (Nielsen tracked a vinyl sales increase of 51.8 percent), our music collections as tangible, tactile objects are well on their way out.
I’ve dragged my own CD boxes from apartment to apartment for more than a decade, certain that one day I will hire someone to convert them all to MP3, a task so banal and time-consuming the thought of it makes me want to bury myself under the stacks with my friend. I can tick off most of the music I have down there, some of which would probably do well as eBay loot — if I ever bothered to sell them. When I moonlight as a D.J., I no longer rely on crates of vinyl and CDs. I use my MP3 collection and an app on my iPad. Still, I can’t quite unclutter the CDs rotting in boxes in my basement. They’re more memories than objects, impossible to trash.
Starbucks has been selling CDs since the mid-1990s, but began a heavier push toward mass distribution a few years later, about the same time that I began swearing off them — a savvy business decision for the coffee company as well as the musicians it stocked. But the fact that its endeavor began around the rise of the iPod only sealed the CDs’ fate: Starbucks was simply prolonging the inevitable end, a caffeinated march to the whimpering finale for the medium.
Still, there’s a sense of nostalgia to it. I miss the old Virgin Megastore in Union Square, which shut down in 2009, and the visceral experience of flipping through the stacks, discovering new albums through means so simple as their interesting cover art or, even better, via new-release listening stations equipped with a skip-track button and germy headphones. If the label sent you the record, spending the time opening all that packaging — ugh, the impossible-to-open sticky tape on jewel cases — was still an investment, like reading a book in the library.
Now I discover most new music on Soundcloud and Tumblr, and while it’s infinitely more convenient insofar as it does not require me to physically part myself from my laptop, it doesn’t feel quite as adventuresome.
The CDs stacked on the display cases at Starbucks didn’t just signify that Starbucks was hip, but that the coffee chain was set on asserting itself as a player in the music industry. Coffeehouse rock as a genre was suddenly quite literal, and associated with such easy, chill, adult contemporary acts like Norah Jones, whose “Come Away With Me” at one point seemed impossible to avoid at a Starbucks. The category was folk, it was smooth jazz, it was even certain types of really cool music like salsa from the famed New York label Fania or a compilation album from Sonic Youth. In critics’ circles, “Starbucks music” became derisive shorthand for music with no edge, music to buy on a whim.
It seems likely that as CDs disappear from big-box stores and coffee megachains, they will be definitively gone. We’ll trade the clinical sound of a CD track for its compressed MP3 counterpart. And though to my ear the difference is negligible, music will sound ever so slightly worse.
For serious music fans, of course, there is no shortage of other tactile ways to show off a collection — and by doing so, send a message to the world not just of your taste but of what kind of person you are. Not only is vinyl on the upswing, but we’re even in the midst of a mini-renaissance of a formerly archaic music-storage medium: the cassette tape, which is newly in vogue among young underground punk purists and D.I.Y. record labels.
In the ’90s, I had three or four plastic milk crates of cassettes that I lugged around from apartment to apartment, long after I lost my tape player. I still have a few I can’t part with. Even with the notion of entirely digitizing our music libraries, having something we can hold in our hands is, simply, a more complete visceral experience. It transforms the music into a material good, not simply an abstraction.
Technology isn’t taking our physical music collections away from us entirely, though. Last year, Sony announced that it had invented a cassette tape that has the potential to hold 185 terabytes of data (http://www.latimes.com/business/technology/la-fi-tn-sony-185-tb-cassette-tape-storage-record-20140505-story.html) . Though it’s not currently aimed at individual consumers, it’s likely that one day music fans could get a version of it, and wonder why we wasted all our time on such useless gadgets as iPods and hard drives.
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.
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What Starbucks Is Ditching Along With CDs – NYTimes.com
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http://mobile.nytimes.com/2015/03/29/opinion/sunday/what-starbucks-is-ditching-along-with-cds.html?_r=0
** What Starbucks Is Ditching Along With CDs
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I CURRENTLY possess around six large moving boxes of compact discs tossed beneath a tarp in the dank cellar of my apartment building. Since 1999, I have been receiving promotional copies of CDs, an occupational hazard of my job as a professional music critic.
I generally stopped purchasing CDs 11 years ago, on the occasion of my first, pink iPod, a first-generation Mini that revolutionized my ability to work virtually anywhere without the extra baggage of jewel cases and an unwieldy Discman.
Now, when record labels send physical copies of CDs rather than email digital files, it seems like an imposition — I know, a real first-world problem, but I live in Brooklyn. Who has space for all of this? A friend of mine, also a critic, used to live among towers of CDs, to the point they threatened to take over his entire apartment. I imagined the Fire Department one day having to break in and rescue him from a toppled pile, pinned under stacks of Maroon 5 promos, the worst way to die.
The CD, never a much-loved object, is inching toward critical endangerment. At the end of this month, Starbucks (http://topics.nytimes.com/top/news/business/companies/starbucks_corporation/index.html?inline=nyt-org) plans to stop selling CDs (http://www.billboard.com/articles/6479986/starbucks-stop-selling-music) from those comforting cardboard counter-display cases, where they were as convenient an impulse buy as mints and biscotti. The company’s decision does not come as a shock; what’s most surprising is that Starbucks continued to hawk CDs for this long.
According to Nielsen (http://www.nielsen.com/content/dam/corporate/us/en/public%20factsheets/Soundscan/nielsen-2014-year-end-music-report-us.pdf) , sales of albums on CD decreased by 14.9 percent in 2014, compared with an overall increase in streaming. Even with an uptick in vinyl sales among purists (Nielsen tracked a vinyl sales increase of 51.8 percent), our music collections as tangible, tactile objects are well on their way out.
I’ve dragged my own CD boxes from apartment to apartment for more than a decade, certain that one day I will hire someone to convert them all to MP3, a task so banal and time-consuming the thought of it makes me want to bury myself under the stacks with my friend. I can tick off most of the music I have down there, some of which would probably do well as eBay loot — if I ever bothered to sell them. When I moonlight as a D.J., I no longer rely on crates of vinyl and CDs. I use my MP3 collection and an app on my iPad. Still, I can’t quite unclutter the CDs rotting in boxes in my basement. They’re more memories than objects, impossible to trash.
Starbucks has been selling CDs since the mid-1990s, but began a heavier push toward mass distribution a few years later, about the same time that I began swearing off them — a savvy business decision for the coffee company as well as the musicians it stocked. But the fact that its endeavor began around the rise of the iPod only sealed the CDs’ fate: Starbucks was simply prolonging the inevitable end, a caffeinated march to the whimpering finale for the medium.
Still, there’s a sense of nostalgia to it. I miss the old Virgin Megastore in Union Square, which shut down in 2009, and the visceral experience of flipping through the stacks, discovering new albums through means so simple as their interesting cover art or, even better, via new-release listening stations equipped with a skip-track button and germy headphones. If the label sent you the record, spending the time opening all that packaging — ugh, the impossible-to-open sticky tape on jewel cases — was still an investment, like reading a book in the library.
Now I discover most new music on Soundcloud and Tumblr, and while it’s infinitely more convenient insofar as it does not require me to physically part myself from my laptop, it doesn’t feel quite as adventuresome.
The CDs stacked on the display cases at Starbucks didn’t just signify that Starbucks was hip, but that the coffee chain was set on asserting itself as a player in the music industry. Coffeehouse rock as a genre was suddenly quite literal, and associated with such easy, chill, adult contemporary acts like Norah Jones, whose “Come Away With Me” at one point seemed impossible to avoid at a Starbucks. The category was folk, it was smooth jazz, it was even certain types of really cool music like salsa from the famed New York label Fania or a compilation album from Sonic Youth. In critics’ circles, “Starbucks music” became derisive shorthand for music with no edge, music to buy on a whim.
It seems likely that as CDs disappear from big-box stores and coffee megachains, they will be definitively gone. We’ll trade the clinical sound of a CD track for its compressed MP3 counterpart. And though to my ear the difference is negligible, music will sound ever so slightly worse.
For serious music fans, of course, there is no shortage of other tactile ways to show off a collection — and by doing so, send a message to the world not just of your taste but of what kind of person you are. Not only is vinyl on the upswing, but we’re even in the midst of a mini-renaissance of a formerly archaic music-storage medium: the cassette tape, which is newly in vogue among young underground punk purists and D.I.Y. record labels.
In the ’90s, I had three or four plastic milk crates of cassettes that I lugged around from apartment to apartment, long after I lost my tape player. I still have a few I can’t part with. Even with the notion of entirely digitizing our music libraries, having something we can hold in our hands is, simply, a more complete visceral experience. It transforms the music into a material good, not simply an abstraction.
Technology isn’t taking our physical music collections away from us entirely, though. Last year, Sony announced that it had invented a cassette tape that has the potential to hold 185 terabytes of data (http://www.latimes.com/business/technology/la-fi-tn-sony-185-tb-cassette-tape-storage-record-20140505-story.html) . Though it’s not currently aimed at individual consumers, it’s likely that one day music fans could get a version of it, and wonder why we wasted all our time on such useless gadgets as iPods and hard drives.
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Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz – NYTimes.com
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http://artsbeat.blogs.nytimes.com/2015/03/29/sullivan-fortner-wins-2015-cole-porter-fellowship-in-jazz/?emc=edit_tnt_20150329
** Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz
————————————————————
By NATE CHINEN (http://artsbeat.blogs.nytimes.com/author/nate-chinen/)
MARCH 29, 2015 2:10 PM March 29, 2015 2:10 pm Comment
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Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.Credit Mark Sheldon
Sullivan Fortner (http://www.sullivanfortnermusic.com/) has won the 2015 Cole Porter Fellowship in Jazz, presented by the American Pianists Association (http://www.americanpianists.org/) . The honor was awarded on Saturday night at the Hilbert Circle Theater in Indianapolis, after a final round of performances by the five finalists in competition. As the winner, Mr. Fortner will receive $50,000, the opportunity to record for Mack Avenue Records, and two years of professional career services and development.
The American Pianists Association focuses on both jazz and classical music; its Cole Porter Fellowship Awards are held every four years. Finalists are selected through a process of blind submissions. Each pianist later spends a week in Indianapolis, performing concerts and leading workshops at high schools. The competition semifinals, held on Friday night at the Jazz Kitchen, featured solo and trio sets by all five pianists.
Mr. Fortner, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music. Though he hasn’t yet released an album, he’s known to jazz audiences for his work with the Roy Hargrove Quintet, the Christian Scott Quintet and Stefon Harris & Blackout.
This year’s other finalists — Kris Bowers, Emmet Cohen, Zach Lapidus and Christian Sands — represent a similarly accomplished peer group. Mr. Bowers won the 2011 Thelonious Monk International Jazz Piano Competition, and has a thriving major-label solo career. Mr. Sands works prominently in bands led by the bassist Christian McBride, who served as one of the hosts of Saturday’s gala concert.
The concert was structured to feature each pianist in two settings: as an accompanist to the singer Dianne Reeves, and with the Buselli Wallarab Jazz Orchestra, a big band. For his first piece, Mr. Fortner chose a Cole Porter song, “Just One of those Things,” backing Ms. Reeves with alertness and rhythmic brio, and fashioning a solo of breezy assurance. With the big band, he played an arrangement of Thelonious Monk’s “I Mean You” shot through with a driving, staccato attack, calling Monk himself to mind.
The competition was judged by a panel including the distinguished jazz pianists Bill Charlap, Billy Childs, Amina Figarova and Edward Simon. Also on the panel was Al Pryor, an executive with Mack Avenue Records.
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Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz – NYTimes.com
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/03/29/sullivan-fortner-wins-2015-cole-porter-fellowship-in-jazz/?emc=edit_tnt_20150329
** Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz
————————————————————
By NATE CHINEN (http://artsbeat.blogs.nytimes.com/author/nate-chinen/)
MARCH 29, 2015 2:10 PM March 29, 2015 2:10 pm Comment
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Photo
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.Credit Mark Sheldon
Sullivan Fortner (http://www.sullivanfortnermusic.com/) has won the 2015 Cole Porter Fellowship in Jazz, presented by the American Pianists Association (http://www.americanpianists.org/) . The honor was awarded on Saturday night at the Hilbert Circle Theater in Indianapolis, after a final round of performances by the five finalists in competition. As the winner, Mr. Fortner will receive $50,000, the opportunity to record for Mack Avenue Records, and two years of professional career services and development.
The American Pianists Association focuses on both jazz and classical music; its Cole Porter Fellowship Awards are held every four years. Finalists are selected through a process of blind submissions. Each pianist later spends a week in Indianapolis, performing concerts and leading workshops at high schools. The competition semifinals, held on Friday night at the Jazz Kitchen, featured solo and trio sets by all five pianists.
Mr. Fortner, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music. Though he hasn’t yet released an album, he’s known to jazz audiences for his work with the Roy Hargrove Quintet, the Christian Scott Quintet and Stefon Harris & Blackout.
This year’s other finalists — Kris Bowers, Emmet Cohen, Zach Lapidus and Christian Sands — represent a similarly accomplished peer group. Mr. Bowers won the 2011 Thelonious Monk International Jazz Piano Competition, and has a thriving major-label solo career. Mr. Sands works prominently in bands led by the bassist Christian McBride, who served as one of the hosts of Saturday’s gala concert.
The concert was structured to feature each pianist in two settings: as an accompanist to the singer Dianne Reeves, and with the Buselli Wallarab Jazz Orchestra, a big band. For his first piece, Mr. Fortner chose a Cole Porter song, “Just One of those Things,” backing Ms. Reeves with alertness and rhythmic brio, and fashioning a solo of breezy assurance. With the big band, he played an arrangement of Thelonious Monk’s “I Mean You” shot through with a driving, staccato attack, calling Monk himself to mind.
The competition was judged by a panel including the distinguished jazz pianists Bill Charlap, Billy Childs, Amina Figarova and Edward Simon. Also on the panel was Al Pryor, an executive with Mack Avenue Records.
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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
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USA
Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz – NYTimes.com
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/03/29/sullivan-fortner-wins-2015-cole-porter-fellowship-in-jazz/?emc=edit_tnt_20150329
** Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz
————————————————————
By NATE CHINEN (http://artsbeat.blogs.nytimes.com/author/nate-chinen/)
MARCH 29, 2015 2:10 PM March 29, 2015 2:10 pm Comment
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Photo
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.Credit Mark Sheldon
Sullivan Fortner (http://www.sullivanfortnermusic.com/) has won the 2015 Cole Porter Fellowship in Jazz, presented by the American Pianists Association (http://www.americanpianists.org/) . The honor was awarded on Saturday night at the Hilbert Circle Theater in Indianapolis, after a final round of performances by the five finalists in competition. As the winner, Mr. Fortner will receive $50,000, the opportunity to record for Mack Avenue Records, and two years of professional career services and development.
The American Pianists Association focuses on both jazz and classical music; its Cole Porter Fellowship Awards are held every four years. Finalists are selected through a process of blind submissions. Each pianist later spends a week in Indianapolis, performing concerts and leading workshops at high schools. The competition semifinals, held on Friday night at the Jazz Kitchen, featured solo and trio sets by all five pianists.
Mr. Fortner, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music. Though he hasn’t yet released an album, he’s known to jazz audiences for his work with the Roy Hargrove Quintet, the Christian Scott Quintet and Stefon Harris & Blackout.
This year’s other finalists — Kris Bowers, Emmet Cohen, Zach Lapidus and Christian Sands — represent a similarly accomplished peer group. Mr. Bowers won the 2011 Thelonious Monk International Jazz Piano Competition, and has a thriving major-label solo career. Mr. Sands works prominently in bands led by the bassist Christian McBride, who served as one of the hosts of Saturday’s gala concert.
The concert was structured to feature each pianist in two settings: as an accompanist to the singer Dianne Reeves, and with the Buselli Wallarab Jazz Orchestra, a big band. For his first piece, Mr. Fortner chose a Cole Porter song, “Just One of those Things,” backing Ms. Reeves with alertness and rhythmic brio, and fashioning a solo of breezy assurance. With the big band, he played an arrangement of Thelonious Monk’s “I Mean You” shot through with a driving, staccato attack, calling Monk himself to mind.
The competition was judged by a panel including the distinguished jazz pianists Bill Charlap, Billy Childs, Amina Figarova and Edward Simon. Also on the panel was Al Pryor, an executive with Mack Avenue Records.
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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269 State Route 94 South
Warwick, Ny 10990
USA
Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz – NYTimes.com
http://www.jazzpromoservices.com/
http://artsbeat.blogs.nytimes.com/2015/03/29/sullivan-fortner-wins-2015-cole-porter-fellowship-in-jazz/?emc=edit_tnt_20150329
** Sullivan Fortner Wins 2015 Cole Porter Fellowship in Jazz
————————————————————
By NATE CHINEN (http://artsbeat.blogs.nytimes.com/author/nate-chinen/)
MARCH 29, 2015 2:10 PM March 29, 2015 2:10 pm Comment
*
*
*
*
*
Photo
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.
Sullivan Fortner, center, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music.Credit Mark Sheldon
Sullivan Fortner (http://www.sullivanfortnermusic.com/) has won the 2015 Cole Porter Fellowship in Jazz, presented by the American Pianists Association (http://www.americanpianists.org/) . The honor was awarded on Saturday night at the Hilbert Circle Theater in Indianapolis, after a final round of performances by the five finalists in competition. As the winner, Mr. Fortner will receive $50,000, the opportunity to record for Mack Avenue Records, and two years of professional career services and development.
The American Pianists Association focuses on both jazz and classical music; its Cole Porter Fellowship Awards are held every four years. Finalists are selected through a process of blind submissions. Each pianist later spends a week in Indianapolis, performing concerts and leading workshops at high schools. The competition semifinals, held on Friday night at the Jazz Kitchen, featured solo and trio sets by all five pianists.
Mr. Fortner, 28, hails from New Orleans, and studied at the Oberlin Conservatory of Music and the Manhattan School of Music. Though he hasn’t yet released an album, he’s known to jazz audiences for his work with the Roy Hargrove Quintet, the Christian Scott Quintet and Stefon Harris & Blackout.
This year’s other finalists — Kris Bowers, Emmet Cohen, Zach Lapidus and Christian Sands — represent a similarly accomplished peer group. Mr. Bowers won the 2011 Thelonious Monk International Jazz Piano Competition, and has a thriving major-label solo career. Mr. Sands works prominently in bands led by the bassist Christian McBride, who served as one of the hosts of Saturday’s gala concert.
The concert was structured to feature each pianist in two settings: as an accompanist to the singer Dianne Reeves, and with the Buselli Wallarab Jazz Orchestra, a big band. For his first piece, Mr. Fortner chose a Cole Porter song, “Just One of those Things,” backing Ms. Reeves with alertness and rhythmic brio, and fashioning a solo of breezy assurance. With the big band, he played an arrangement of Thelonious Monk’s “I Mean You” shot through with a driving, staccato attack, calling Monk himself to mind.
The competition was judged by a panel including the distinguished jazz pianists Bill Charlap, Billy Childs, Amina Figarova and Edward Simon. Also on the panel was Al Pryor, an executive with Mack Avenue Records.
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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Remembering Billie Holiday John Timpane, Inquirer Staff Writer
http://www.jazzpromoservices.com/
** Remembering Billie Holiday
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Billie Holiday singing at the Downbeat in New York, circa February 1947. (WILLIAM P. GOTTLIEB / Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress)
John Timpane, Inquirer Staff Writer
Posted: Sunday, March 29, 2015, 3:01 AM
http://www.philly.com/inquirer
One hundred years ago, on April 7, 1915, one of the 20th century’s greatest singers was born in Philadelphia.
The name on the birth certificate was Elinore Harris, born in Philadelphia General Hospital on Curie Boulevard in West Philadelphia, a tax-supported municipal hospital that ministered mostly to indigent patients.
She became known to the world as Billie Holiday, a transcendent singer with a tragic American life. Fans of jazz – of music, period – will observe her centenary worldwide.
Lady Day’s story often is told in terms of Baltimore (where she endured a young womanhood of physical and sexual abuse) and New York (where she was discovered and rose to world stardom). But for her, Philadelphia was a town of beginnings, betrayals, and second chances.
“Interestingly enough, she had good things to say about Philly, better than other cities,” says her Philadelphia-born biographer John Szwed, whose Billie Holiday: The Musician and the Myth comes out Tuesday. “She played frequently at the Earle Theatre and the Showboat, and when she lost her cabaret card after her drug conviction in 1947, and couldn’t get gigs in New York, performing in Philly became important to her livelihood.”
A historical marker stands at the site of the Showboat, which was in the basement of the old Douglass Hotel at Broad and Lombard Streets. That’s where Holiday often played – and, as the sign puts it, “often lived.”
Faye Anderson, proprietor of All That Philly Jazz (phillyjazz.us), is building a virtual collaborative history of this city’s jazz heritage, inviting people to share photos, drawings, and stories. She says she passed by that historical marker “hundreds of times” until she got curious and asked locals about it, “but nobody could tell me anything.” Finally, in a Sherlockian piece of detective work, she got in to see the sacred space, now an employee’s area.
“I have renewed respect for Billie Holiday and for all the musicians of her era,” Anderson says. “They created music that has stood the test of time, performing often in venues where they couldn’t sit, near hotels where they couldn’t stay. I am amazed at what they achieved in spite of all that.”
The year 1947 was a year of betrayal for Holiday. She was at the peak of her career, earning upward of $60,000 a year, but hooked on heroin and opium. After a show at the Earle, her room at the Attucks Hotel was raided, and she was arrested on charges of narcotics possession. Her manager advised her not to ask for counsel, which was horrendous advice. “She clearly was hoping for leniency, and rehab, in pleading guilty,” Szwed says, “but that isn’t what she got.”
After being convicted, Holiday was sent for a year and a day to the Federal Reformatory for Women at Alderson, W.Va. Given no treatment, she had to suffer cold-turkey detox.
Her career never fully recovered. Police hounded her. “There’s no doubt that back then, this could shadow your career,” Szwed says. “Police departments were looking to bust high-profile celebrities.”
During those hard days, Holiday often performed at the Showboat and the Earle. Second chances can be harsh. Composer and longtime music educator Leon Mitchell was standing in the wings just before a Holiday show in late-1940s Philadelphia.
“I was talking to a friend,” Mitchell says, “and Billie overheard me complaining of the pressures of a jazz musician’s life, saying, ‘I don’t know if I want to go through that,’ and she came up to me, spun me around, called me a bad name, and told me I was too young, I didn’t know what pressure was. She said, ‘When I go on that stage tonight, you watch and see what happens, and you’ll see what pressure is.’
“She walked out on the stage, and a big portion of the audience walked out. They bought their tickets just so they could walk out, and they wanted her to see them walk out. To them, she was just a junkie who could sing well. But they should have stayed, because by the end, every eye was wet.”
Growing since her death, her influence is at its greatest today, with singers of all ages and genders looking to her as an inspiration.
Philadelphia jazz singer Ella Gahnt, spouse of Mitchell, says, “Every note she sang had an emotion in it. That’s what affects us most. As I talk to other singers, she’s had an effect on just about all of us. She wasn’t the greatest technician, but that wasn’t important – it was just her raw emotion. I hardly sing a note without a thought of her.”
Local singer Gretchen Elise Walker uses the phrase raw emotion, too – “the way she sang her songs was completely compelling, and continues to be so” among singers such as Erykah Badu and Philly’s Jill Scott. Walker marvels at Holiday’s phrasing, and how she fused blues and jazz.
As for Scott, she noted that “Billie Holiday is the truest example of grit; of pure unabashed honesty in song. Every hope, every tear shed is held in her voice. That’s the kind of magic I’ll continue to aspire to.”
Singer Madeleine Peyroux, a WXPN favorite whose lovely voice is often compared to Holiday’s, says, “I don’t think any sound can stop you in your tracks like hers. When she did it to me, I was a teenage runaway aspiring to be a singer – or just to be somebody, to form an identity. . . . My whole career would be an homage to Billie Holiday. By career, I mean identity, sisterhood, family, strength, and ethics. . . . Pioneer, martyr, poet, artist, woman, singer: Happy Birthday Billie!”
Bob Perkins, longtime jazz impresario on WRTI-FM (90.1) at Temple, says he remembers that he first heard Holiday on the radio when he was a boy of 12 or 13, and that he often imagined her singing in a smoke-filled club, passionately crooning the lyrics.
“A lot of singers approximated her sound,” he says, singers such as Anita O’Day, who practiced the Holiday knack of singing “behind the beat.”
“She had a lot of unique qualities,” he says.
Holiday’s centenary brings a range of celebrations here and all over the country. On Saturday night, fabulous jazz stylist Cassandra Wilson was scheduled to perform a Holiday tribute show at World Café Live in Wilmington, ahead of the release of her tribute album, Coming Forth By Day, which comes forth, as it should, on April 7. Wilson will help induct Holiday into the famed Apollo Theater Walk of Fame in New York City on April 6.
The best celebration? Put on her music and listen. And relisten. Columbia is releasing Billie Holiday: The Centennial Collection, a 20-track retrospective of her milestone recordings for that label.
How short a life she had: only 44 years. Packed with so much, so many turning points, many of them on the streets of this town.
There is, however, no star for her in these streets.
Faye Anderson asks: “Why is there no star for Billie on the Philadelphia Music Walk of Fame?” Why, indeed?
————————————————————
** A desert-island Billie Holiday list
————————————————————
“What a Little Moonlight Can Do” (1935): A 20-year-old Billie Holiday shows how a great singer can elevate a so-so tune.
“The Man I Love” (1939): A musical lovemaking session, accompanied by sax master Lester Young.
“Strange Fruit” (1939): Showstopper of all showstoppers. Written by Abel Meeropol, its depiction of a lynching makes it one of the first hit “protest songs.” Still jaw-dropping.
“All of Me” (1941): A singer’s clinic on how to make sexual suggestiveness elegant.
“God Bless the Child” (1941): A heartbreaking, true song from her life, sung with world-weary resignation and knowingness by its coauthor.
” ‘Taint Nobody’s Business If I Do” (1949): Holiday recorded this after she got out of prison for narcotics possession. She renovates an old blues song into a defiant autobiographical statement, for anyone listening.
“Them There Eyes” (1949): A reminder that Holiday could swing, and make you fall in love while swinging. Also recorded in 1939, this is the better version.
– John Timpane
————————————————————
jt@phillynews.com (mailto:jt@phillynews.com)
215-854-4406 @jtimpane
Staff writer Sofiya Ballin contributed to this article.
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Remembering Billie Holiday John Timpane, Inquirer Staff Writer
http://www.jazzpromoservices.com/
** Remembering Billie Holiday
————————————————————
Billie Holiday singing at the Downbeat in New York, circa February 1947. (WILLIAM P. GOTTLIEB / Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress)
John Timpane, Inquirer Staff Writer
Posted: Sunday, March 29, 2015, 3:01 AM
http://www.philly.com/inquirer
One hundred years ago, on April 7, 1915, one of the 20th century’s greatest singers was born in Philadelphia.
The name on the birth certificate was Elinore Harris, born in Philadelphia General Hospital on Curie Boulevard in West Philadelphia, a tax-supported municipal hospital that ministered mostly to indigent patients.
She became known to the world as Billie Holiday, a transcendent singer with a tragic American life. Fans of jazz – of music, period – will observe her centenary worldwide.
Lady Day’s story often is told in terms of Baltimore (where she endured a young womanhood of physical and sexual abuse) and New York (where she was discovered and rose to world stardom). But for her, Philadelphia was a town of beginnings, betrayals, and second chances.
“Interestingly enough, she had good things to say about Philly, better than other cities,” says her Philadelphia-born biographer John Szwed, whose Billie Holiday: The Musician and the Myth comes out Tuesday. “She played frequently at the Earle Theatre and the Showboat, and when she lost her cabaret card after her drug conviction in 1947, and couldn’t get gigs in New York, performing in Philly became important to her livelihood.”
A historical marker stands at the site of the Showboat, which was in the basement of the old Douglass Hotel at Broad and Lombard Streets. That’s where Holiday often played – and, as the sign puts it, “often lived.”
Faye Anderson, proprietor of All That Philly Jazz (phillyjazz.us), is building a virtual collaborative history of this city’s jazz heritage, inviting people to share photos, drawings, and stories. She says she passed by that historical marker “hundreds of times” until she got curious and asked locals about it, “but nobody could tell me anything.” Finally, in a Sherlockian piece of detective work, she got in to see the sacred space, now an employee’s area.
“I have renewed respect for Billie Holiday and for all the musicians of her era,” Anderson says. “They created music that has stood the test of time, performing often in venues where they couldn’t sit, near hotels where they couldn’t stay. I am amazed at what they achieved in spite of all that.”
The year 1947 was a year of betrayal for Holiday. She was at the peak of her career, earning upward of $60,000 a year, but hooked on heroin and opium. After a show at the Earle, her room at the Attucks Hotel was raided, and she was arrested on charges of narcotics possession. Her manager advised her not to ask for counsel, which was horrendous advice. “She clearly was hoping for leniency, and rehab, in pleading guilty,” Szwed says, “but that isn’t what she got.”
After being convicted, Holiday was sent for a year and a day to the Federal Reformatory for Women at Alderson, W.Va. Given no treatment, she had to suffer cold-turkey detox.
Her career never fully recovered. Police hounded her. “There’s no doubt that back then, this could shadow your career,” Szwed says. “Police departments were looking to bust high-profile celebrities.”
During those hard days, Holiday often performed at the Showboat and the Earle. Second chances can be harsh. Composer and longtime music educator Leon Mitchell was standing in the wings just before a Holiday show in late-1940s Philadelphia.
“I was talking to a friend,” Mitchell says, “and Billie overheard me complaining of the pressures of a jazz musician’s life, saying, ‘I don’t know if I want to go through that,’ and she came up to me, spun me around, called me a bad name, and told me I was too young, I didn’t know what pressure was. She said, ‘When I go on that stage tonight, you watch and see what happens, and you’ll see what pressure is.’
“She walked out on the stage, and a big portion of the audience walked out. They bought their tickets just so they could walk out, and they wanted her to see them walk out. To them, she was just a junkie who could sing well. But they should have stayed, because by the end, every eye was wet.”
Growing since her death, her influence is at its greatest today, with singers of all ages and genders looking to her as an inspiration.
Philadelphia jazz singer Ella Gahnt, spouse of Mitchell, says, “Every note she sang had an emotion in it. That’s what affects us most. As I talk to other singers, she’s had an effect on just about all of us. She wasn’t the greatest technician, but that wasn’t important – it was just her raw emotion. I hardly sing a note without a thought of her.”
Local singer Gretchen Elise Walker uses the phrase raw emotion, too – “the way she sang her songs was completely compelling, and continues to be so” among singers such as Erykah Badu and Philly’s Jill Scott. Walker marvels at Holiday’s phrasing, and how she fused blues and jazz.
As for Scott, she noted that “Billie Holiday is the truest example of grit; of pure unabashed honesty in song. Every hope, every tear shed is held in her voice. That’s the kind of magic I’ll continue to aspire to.”
Singer Madeleine Peyroux, a WXPN favorite whose lovely voice is often compared to Holiday’s, says, “I don’t think any sound can stop you in your tracks like hers. When she did it to me, I was a teenage runaway aspiring to be a singer – or just to be somebody, to form an identity. . . . My whole career would be an homage to Billie Holiday. By career, I mean identity, sisterhood, family, strength, and ethics. . . . Pioneer, martyr, poet, artist, woman, singer: Happy Birthday Billie!”
Bob Perkins, longtime jazz impresario on WRTI-FM (90.1) at Temple, says he remembers that he first heard Holiday on the radio when he was a boy of 12 or 13, and that he often imagined her singing in a smoke-filled club, passionately crooning the lyrics.
“A lot of singers approximated her sound,” he says, singers such as Anita O’Day, who practiced the Holiday knack of singing “behind the beat.”
“She had a lot of unique qualities,” he says.
Holiday’s centenary brings a range of celebrations here and all over the country. On Saturday night, fabulous jazz stylist Cassandra Wilson was scheduled to perform a Holiday tribute show at World Café Live in Wilmington, ahead of the release of her tribute album, Coming Forth By Day, which comes forth, as it should, on April 7. Wilson will help induct Holiday into the famed Apollo Theater Walk of Fame in New York City on April 6.
The best celebration? Put on her music and listen. And relisten. Columbia is releasing Billie Holiday: The Centennial Collection, a 20-track retrospective of her milestone recordings for that label.
How short a life she had: only 44 years. Packed with so much, so many turning points, many of them on the streets of this town.
There is, however, no star for her in these streets.
Faye Anderson asks: “Why is there no star for Billie on the Philadelphia Music Walk of Fame?” Why, indeed?
————————————————————
** A desert-island Billie Holiday list
————————————————————
“What a Little Moonlight Can Do” (1935): A 20-year-old Billie Holiday shows how a great singer can elevate a so-so tune.
“The Man I Love” (1939): A musical lovemaking session, accompanied by sax master Lester Young.
“Strange Fruit” (1939): Showstopper of all showstoppers. Written by Abel Meeropol, its depiction of a lynching makes it one of the first hit “protest songs.” Still jaw-dropping.
“All of Me” (1941): A singer’s clinic on how to make sexual suggestiveness elegant.
“God Bless the Child” (1941): A heartbreaking, true song from her life, sung with world-weary resignation and knowingness by its coauthor.
” ‘Taint Nobody’s Business If I Do” (1949): Holiday recorded this after she got out of prison for narcotics possession. She renovates an old blues song into a defiant autobiographical statement, for anyone listening.
“Them There Eyes” (1949): A reminder that Holiday could swing, and make you fall in love while swinging. Also recorded in 1939, this is the better version.
– John Timpane
————————————————————
jt@phillynews.com (mailto:jt@phillynews.com)
215-854-4406 @jtimpane
Staff writer Sofiya Ballin contributed to this article.
This E Mail Is Being Sent by:
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http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Remembering Billie Holiday John Timpane, Inquirer Staff Writer
http://www.jazzpromoservices.com/
** Remembering Billie Holiday
————————————————————
Billie Holiday singing at the Downbeat in New York, circa February 1947. (WILLIAM P. GOTTLIEB / Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress)
John Timpane, Inquirer Staff Writer
Posted: Sunday, March 29, 2015, 3:01 AM
http://www.philly.com/inquirer
One hundred years ago, on April 7, 1915, one of the 20th century’s greatest singers was born in Philadelphia.
The name on the birth certificate was Elinore Harris, born in Philadelphia General Hospital on Curie Boulevard in West Philadelphia, a tax-supported municipal hospital that ministered mostly to indigent patients.
She became known to the world as Billie Holiday, a transcendent singer with a tragic American life. Fans of jazz – of music, period – will observe her centenary worldwide.
Lady Day’s story often is told in terms of Baltimore (where she endured a young womanhood of physical and sexual abuse) and New York (where she was discovered and rose to world stardom). But for her, Philadelphia was a town of beginnings, betrayals, and second chances.
“Interestingly enough, she had good things to say about Philly, better than other cities,” says her Philadelphia-born biographer John Szwed, whose Billie Holiday: The Musician and the Myth comes out Tuesday. “She played frequently at the Earle Theatre and the Showboat, and when she lost her cabaret card after her drug conviction in 1947, and couldn’t get gigs in New York, performing in Philly became important to her livelihood.”
A historical marker stands at the site of the Showboat, which was in the basement of the old Douglass Hotel at Broad and Lombard Streets. That’s where Holiday often played – and, as the sign puts it, “often lived.”
Faye Anderson, proprietor of All That Philly Jazz (phillyjazz.us), is building a virtual collaborative history of this city’s jazz heritage, inviting people to share photos, drawings, and stories. She says she passed by that historical marker “hundreds of times” until she got curious and asked locals about it, “but nobody could tell me anything.” Finally, in a Sherlockian piece of detective work, she got in to see the sacred space, now an employee’s area.
“I have renewed respect for Billie Holiday and for all the musicians of her era,” Anderson says. “They created music that has stood the test of time, performing often in venues where they couldn’t sit, near hotels where they couldn’t stay. I am amazed at what they achieved in spite of all that.”
The year 1947 was a year of betrayal for Holiday. She was at the peak of her career, earning upward of $60,000 a year, but hooked on heroin and opium. After a show at the Earle, her room at the Attucks Hotel was raided, and she was arrested on charges of narcotics possession. Her manager advised her not to ask for counsel, which was horrendous advice. “She clearly was hoping for leniency, and rehab, in pleading guilty,” Szwed says, “but that isn’t what she got.”
After being convicted, Holiday was sent for a year and a day to the Federal Reformatory for Women at Alderson, W.Va. Given no treatment, she had to suffer cold-turkey detox.
Her career never fully recovered. Police hounded her. “There’s no doubt that back then, this could shadow your career,” Szwed says. “Police departments were looking to bust high-profile celebrities.”
During those hard days, Holiday often performed at the Showboat and the Earle. Second chances can be harsh. Composer and longtime music educator Leon Mitchell was standing in the wings just before a Holiday show in late-1940s Philadelphia.
“I was talking to a friend,” Mitchell says, “and Billie overheard me complaining of the pressures of a jazz musician’s life, saying, ‘I don’t know if I want to go through that,’ and she came up to me, spun me around, called me a bad name, and told me I was too young, I didn’t know what pressure was. She said, ‘When I go on that stage tonight, you watch and see what happens, and you’ll see what pressure is.’
“She walked out on the stage, and a big portion of the audience walked out. They bought their tickets just so they could walk out, and they wanted her to see them walk out. To them, she was just a junkie who could sing well. But they should have stayed, because by the end, every eye was wet.”
Growing since her death, her influence is at its greatest today, with singers of all ages and genders looking to her as an inspiration.
Philadelphia jazz singer Ella Gahnt, spouse of Mitchell, says, “Every note she sang had an emotion in it. That’s what affects us most. As I talk to other singers, she’s had an effect on just about all of us. She wasn’t the greatest technician, but that wasn’t important – it was just her raw emotion. I hardly sing a note without a thought of her.”
Local singer Gretchen Elise Walker uses the phrase raw emotion, too – “the way she sang her songs was completely compelling, and continues to be so” among singers such as Erykah Badu and Philly’s Jill Scott. Walker marvels at Holiday’s phrasing, and how she fused blues and jazz.
As for Scott, she noted that “Billie Holiday is the truest example of grit; of pure unabashed honesty in song. Every hope, every tear shed is held in her voice. That’s the kind of magic I’ll continue to aspire to.”
Singer Madeleine Peyroux, a WXPN favorite whose lovely voice is often compared to Holiday’s, says, “I don’t think any sound can stop you in your tracks like hers. When she did it to me, I was a teenage runaway aspiring to be a singer – or just to be somebody, to form an identity. . . . My whole career would be an homage to Billie Holiday. By career, I mean identity, sisterhood, family, strength, and ethics. . . . Pioneer, martyr, poet, artist, woman, singer: Happy Birthday Billie!”
Bob Perkins, longtime jazz impresario on WRTI-FM (90.1) at Temple, says he remembers that he first heard Holiday on the radio when he was a boy of 12 or 13, and that he often imagined her singing in a smoke-filled club, passionately crooning the lyrics.
“A lot of singers approximated her sound,” he says, singers such as Anita O’Day, who practiced the Holiday knack of singing “behind the beat.”
“She had a lot of unique qualities,” he says.
Holiday’s centenary brings a range of celebrations here and all over the country. On Saturday night, fabulous jazz stylist Cassandra Wilson was scheduled to perform a Holiday tribute show at World Café Live in Wilmington, ahead of the release of her tribute album, Coming Forth By Day, which comes forth, as it should, on April 7. Wilson will help induct Holiday into the famed Apollo Theater Walk of Fame in New York City on April 6.
The best celebration? Put on her music and listen. And relisten. Columbia is releasing Billie Holiday: The Centennial Collection, a 20-track retrospective of her milestone recordings for that label.
How short a life she had: only 44 years. Packed with so much, so many turning points, many of them on the streets of this town.
There is, however, no star for her in these streets.
Faye Anderson asks: “Why is there no star for Billie on the Philadelphia Music Walk of Fame?” Why, indeed?
————————————————————
** A desert-island Billie Holiday list
————————————————————
“What a Little Moonlight Can Do” (1935): A 20-year-old Billie Holiday shows how a great singer can elevate a so-so tune.
“The Man I Love” (1939): A musical lovemaking session, accompanied by sax master Lester Young.
“Strange Fruit” (1939): Showstopper of all showstoppers. Written by Abel Meeropol, its depiction of a lynching makes it one of the first hit “protest songs.” Still jaw-dropping.
“All of Me” (1941): A singer’s clinic on how to make sexual suggestiveness elegant.
“God Bless the Child” (1941): A heartbreaking, true song from her life, sung with world-weary resignation and knowingness by its coauthor.
” ‘Taint Nobody’s Business If I Do” (1949): Holiday recorded this after she got out of prison for narcotics possession. She renovates an old blues song into a defiant autobiographical statement, for anyone listening.
“Them There Eyes” (1949): A reminder that Holiday could swing, and make you fall in love while swinging. Also recorded in 1939, this is the better version.
– John Timpane
————————————————————
jt@phillynews.com (mailto:jt@phillynews.com)
215-854-4406 @jtimpane
Staff writer Sofiya Ballin contributed to this article.
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/03/bj_crosby_has_died.html
** B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died
————————————————————
B.J. Crosby, a Tony Award-nominated vocalist and actress who deployed her stratospheric upper register on theatrical stages and in jazz clubs around the world, died Friday (March 27) at Tulane Medical Center of complications from a stroke and diabetes. She was 62.
Born Joanne Crayton in New Orleans, she was known professionally as B.J. Crosby or Lady BJ. Her stage credits included “Smokey Joe’s Café: The Songs of Leiber and Stoller” — her five-year run with the Broadway production earned her a Tony nomination — “One Mo’ Time,” “Harlemsong” and “Dreamgirls.” A 1984 TV special, “Lady BJ Sings Lady Day: A Tribute to Billie Holiday,” won her a cable ACE award. She also appeared on TV shows ranging from “Law & Order: SVU” to “Ally McBeal” to “Gimme a Break.”
“She was very talented,” said retired Orleans Parish criminal court judge Charles Elloie, a longtime friend and the father of Ms. Crosby’s adult son, Joseph. “She had a work ethic that was out of sight when it was time for her to learn something. She put her heart and soul into it., and she had a tremendous ear. She’s going to be sorely missed. She was a beautiful person.”
Ms. Crosby came of age in the New Orleans church and theatrical communities of the late 1970s and early 1980s. She was a regular at Lu and Charlie’s, the fabled New Orleans modern jazz club. In the late 1970s she fronted an R&B and jazz band called Spectrum that often performed at the Old Absinthe Bar on Bourbon Street.
“We had one of the first racially integrated — or as we called it, ‘salt and pepper’ — bands in New Orleans,” Spectrum drummer Ricky Sebastian, who worked with Ms. Crosby intermittently for more than 30 years, recalled in a Facebook posting. “It was a great group.”
In the mid-’80s, she teamed up with pianist Ellis Marsalis and vocalist Germaine Bazzle for an album called “The New Orleans Music,” released via Rounder Records. Looking to expand her professional horizons, she left for Los Angeles in 1987, where she supported herself in part by singing “demo” versions of professional songwriters’ songs.
She moved to New York in 1995, where she enjoyed a successful run in several Broadway productions. She contributed to various recordings, including the Grammy-winning cast album of “Smokey Joe’s Cafe.”
In 2007, Judge Elloie served as executive producer for her “Best of Your Heart” CD, Ms. Crosby’s first-ever collection of solo material. The program included original material and songs from the catalogs of Betty Carter, Joe Sample, Antonio Carlos Jobim, Stevie Wonder and Tony Bennett.
At the time, she was splitting her time between New Orleans, New York and the rest of the world. She lived for a time in Paris. She spent January 2007 as the featured vocalist at a new jazz club in Istanbul, Turkey. She appeared in a Dillard University production of “A Raisin in the Sun.”
“I’m not 25 any more,” she said in 2007. “In the theatrical, movie and TV worlds, they look for youth. You have to hearten your emotions, pull your shoulders back, stand up tall and straight, and step forward and take your place.”
On the morning of June 15, 2008, she awoke in New Orleans feeling ill; her equilibrium was off, and she was dizzy. She nonetheless fulfilled a commitment to sing that night at a Father’s Day concert at a local club called Sydney’s. Two days later, doctors discovered she had suffered a stroke. She had difficulty moving the right side of her body, and could not sing.
“I’m not mad that this happened to me,” she said the month after the stroke. “But it’s difficult to get through. I’m taking it one day at a time. I’m going to recover. It’s just going to take a little time.”
However, she never fully recovered, and never regained her full voice. She occasionally sat in with friends at Snug Harbor, and sang at church, but could not relaunch her career. “She never really came back from that” stroke, Elloie said. “That weighed on her heavily.”
As recently as early 2012, she remained optimistic. “I’ve missed the stage so much,” she said at the time. “I’m not used to being home and doing nothing. I’m like an ant in a bag of food — I can’t keep still. I don’t know which way to turn.”
In recent months, her health declined quickly; her son served as her primary caregiver. She entered the hospital three days before she died.
She is survived by her son, Joseph Elloie, and three grandchildren.
Friends have set up a Go Fund Me account online (http://www.gofundme.com/q4af6s) to raise money to help with her funeral and medical expenses. Funeral arrangements are incomplete.
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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Jazz Promo Services
269 State Route 94 South
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USA
B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/03/bj_crosby_has_died.html
** B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died
————————————————————
B.J. Crosby, a Tony Award-nominated vocalist and actress who deployed her stratospheric upper register on theatrical stages and in jazz clubs around the world, died Friday (March 27) at Tulane Medical Center of complications from a stroke and diabetes. She was 62.
Born Joanne Crayton in New Orleans, she was known professionally as B.J. Crosby or Lady BJ. Her stage credits included “Smokey Joe’s Café: The Songs of Leiber and Stoller” — her five-year run with the Broadway production earned her a Tony nomination — “One Mo’ Time,” “Harlemsong” and “Dreamgirls.” A 1984 TV special, “Lady BJ Sings Lady Day: A Tribute to Billie Holiday,” won her a cable ACE award. She also appeared on TV shows ranging from “Law & Order: SVU” to “Ally McBeal” to “Gimme a Break.”
“She was very talented,” said retired Orleans Parish criminal court judge Charles Elloie, a longtime friend and the father of Ms. Crosby’s adult son, Joseph. “She had a work ethic that was out of sight when it was time for her to learn something. She put her heart and soul into it., and she had a tremendous ear. She’s going to be sorely missed. She was a beautiful person.”
Ms. Crosby came of age in the New Orleans church and theatrical communities of the late 1970s and early 1980s. She was a regular at Lu and Charlie’s, the fabled New Orleans modern jazz club. In the late 1970s she fronted an R&B and jazz band called Spectrum that often performed at the Old Absinthe Bar on Bourbon Street.
“We had one of the first racially integrated — or as we called it, ‘salt and pepper’ — bands in New Orleans,” Spectrum drummer Ricky Sebastian, who worked with Ms. Crosby intermittently for more than 30 years, recalled in a Facebook posting. “It was a great group.”
In the mid-’80s, she teamed up with pianist Ellis Marsalis and vocalist Germaine Bazzle for an album called “The New Orleans Music,” released via Rounder Records. Looking to expand her professional horizons, she left for Los Angeles in 1987, where she supported herself in part by singing “demo” versions of professional songwriters’ songs.
She moved to New York in 1995, where she enjoyed a successful run in several Broadway productions. She contributed to various recordings, including the Grammy-winning cast album of “Smokey Joe’s Cafe.”
In 2007, Judge Elloie served as executive producer for her “Best of Your Heart” CD, Ms. Crosby’s first-ever collection of solo material. The program included original material and songs from the catalogs of Betty Carter, Joe Sample, Antonio Carlos Jobim, Stevie Wonder and Tony Bennett.
At the time, she was splitting her time between New Orleans, New York and the rest of the world. She lived for a time in Paris. She spent January 2007 as the featured vocalist at a new jazz club in Istanbul, Turkey. She appeared in a Dillard University production of “A Raisin in the Sun.”
“I’m not 25 any more,” she said in 2007. “In the theatrical, movie and TV worlds, they look for youth. You have to hearten your emotions, pull your shoulders back, stand up tall and straight, and step forward and take your place.”
On the morning of June 15, 2008, she awoke in New Orleans feeling ill; her equilibrium was off, and she was dizzy. She nonetheless fulfilled a commitment to sing that night at a Father’s Day concert at a local club called Sydney’s. Two days later, doctors discovered she had suffered a stroke. She had difficulty moving the right side of her body, and could not sing.
“I’m not mad that this happened to me,” she said the month after the stroke. “But it’s difficult to get through. I’m taking it one day at a time. I’m going to recover. It’s just going to take a little time.”
However, she never fully recovered, and never regained her full voice. She occasionally sat in with friends at Snug Harbor, and sang at church, but could not relaunch her career. “She never really came back from that” stroke, Elloie said. “That weighed on her heavily.”
As recently as early 2012, she remained optimistic. “I’ve missed the stage so much,” she said at the time. “I’m not used to being home and doing nothing. I’m like an ant in a bag of food — I can’t keep still. I don’t know which way to turn.”
In recent months, her health declined quickly; her son served as her primary caregiver. She entered the hospital three days before she died.
She is survived by her son, Joseph Elloie, and three grandchildren.
Friends have set up a Go Fund Me account online (http://www.gofundme.com/q4af6s) to raise money to help with her funeral and medical expenses. Funeral arrangements are incomplete.
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/03/bj_crosby_has_died.html
** B.J. Crosby, New Orleans-born Broadway and jazz vocalist, has died
————————————————————
B.J. Crosby, a Tony Award-nominated vocalist and actress who deployed her stratospheric upper register on theatrical stages and in jazz clubs around the world, died Friday (March 27) at Tulane Medical Center of complications from a stroke and diabetes. She was 62.
Born Joanne Crayton in New Orleans, she was known professionally as B.J. Crosby or Lady BJ. Her stage credits included “Smokey Joe’s Café: The Songs of Leiber and Stoller” — her five-year run with the Broadway production earned her a Tony nomination — “One Mo’ Time,” “Harlemsong” and “Dreamgirls.” A 1984 TV special, “Lady BJ Sings Lady Day: A Tribute to Billie Holiday,” won her a cable ACE award. She also appeared on TV shows ranging from “Law & Order: SVU” to “Ally McBeal” to “Gimme a Break.”
“She was very talented,” said retired Orleans Parish criminal court judge Charles Elloie, a longtime friend and the father of Ms. Crosby’s adult son, Joseph. “She had a work ethic that was out of sight when it was time for her to learn something. She put her heart and soul into it., and she had a tremendous ear. She’s going to be sorely missed. She was a beautiful person.”
Ms. Crosby came of age in the New Orleans church and theatrical communities of the late 1970s and early 1980s. She was a regular at Lu and Charlie’s, the fabled New Orleans modern jazz club. In the late 1970s she fronted an R&B and jazz band called Spectrum that often performed at the Old Absinthe Bar on Bourbon Street.
“We had one of the first racially integrated — or as we called it, ‘salt and pepper’ — bands in New Orleans,” Spectrum drummer Ricky Sebastian, who worked with Ms. Crosby intermittently for more than 30 years, recalled in a Facebook posting. “It was a great group.”
In the mid-’80s, she teamed up with pianist Ellis Marsalis and vocalist Germaine Bazzle for an album called “The New Orleans Music,” released via Rounder Records. Looking to expand her professional horizons, she left for Los Angeles in 1987, where she supported herself in part by singing “demo” versions of professional songwriters’ songs.
She moved to New York in 1995, where she enjoyed a successful run in several Broadway productions. She contributed to various recordings, including the Grammy-winning cast album of “Smokey Joe’s Cafe.”
In 2007, Judge Elloie served as executive producer for her “Best of Your Heart” CD, Ms. Crosby’s first-ever collection of solo material. The program included original material and songs from the catalogs of Betty Carter, Joe Sample, Antonio Carlos Jobim, Stevie Wonder and Tony Bennett.
At the time, she was splitting her time between New Orleans, New York and the rest of the world. She lived for a time in Paris. She spent January 2007 as the featured vocalist at a new jazz club in Istanbul, Turkey. She appeared in a Dillard University production of “A Raisin in the Sun.”
“I’m not 25 any more,” she said in 2007. “In the theatrical, movie and TV worlds, they look for youth. You have to hearten your emotions, pull your shoulders back, stand up tall and straight, and step forward and take your place.”
On the morning of June 15, 2008, she awoke in New Orleans feeling ill; her equilibrium was off, and she was dizzy. She nonetheless fulfilled a commitment to sing that night at a Father’s Day concert at a local club called Sydney’s. Two days later, doctors discovered she had suffered a stroke. She had difficulty moving the right side of her body, and could not sing.
“I’m not mad that this happened to me,” she said the month after the stroke. “But it’s difficult to get through. I’m taking it one day at a time. I’m going to recover. It’s just going to take a little time.”
However, she never fully recovered, and never regained her full voice. She occasionally sat in with friends at Snug Harbor, and sang at church, but could not relaunch her career. “She never really came back from that” stroke, Elloie said. “That weighed on her heavily.”
As recently as early 2012, she remained optimistic. “I’ve missed the stage so much,” she said at the time. “I’m not used to being home and doing nothing. I’m like an ant in a bag of food — I can’t keep still. I don’t know which way to turn.”
In recent months, her health declined quickly; her son served as her primary caregiver. She entered the hospital three days before she died.
She is survived by her son, Joseph Elloie, and three grandchildren.
Friends have set up a Go Fund Me account online (http://www.gofundme.com/q4af6s) to raise money to help with her funeral and medical expenses. Funeral arrangements are incomplete.
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=13a838c1af) | 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=13a838c1af&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Let’s be totally Frank: Sinatra doc a swingin’ affair | New York Post
http://www.jazzpromoservices.com/
http://nypost.com/2015/03/25/lets-be-totally-frank-sinatra-doc-a-swingin-affair/
** Let’s be totally Frank: Sinatra doc a swingin’ affair
————————————————————
Let’s be totally Frank: Sinatra doc a swingin’ affair
For a good part of the 20th century, Frank Sinatra dominated American pop culture, first as an artist and then as an icon of what is now a bygone idea of masculinity.
As seen in the worshipful HBO documentary, “Sinatra: All or Nothing at All,” (http://www.hbo.com/documentaries/sinatra-all-or-nothing-at-all#/) his fame was so unexpected and so instantaneous that it startled him, a young band singer with a wife and two children, but he was a fast learner, whether it was how to tap dance for his first film (“Anchors Aweigh”), seduce starlets or insinuate himself into the coterie of campaign aides to John F. Kennedy when he ran for president.
For the only child of Italian immigrants who settled in Hoboken, NJ, such a trajectory would have been unimaginable in 1915, the year Sinatra was born.
The film, which was directed by Alex Gibney (“Mr. Dynamite: The Rise of James Brown”), stresses the most evolved parts of the singer’s personality — using his celebrity to stamp out bigotry in Hollywood, for example — while giving him a pass when his trademark volatility left collateral damage. As Lauren Bacall, whose engagement to Sinatra was abruptly terminated when the press learned of it, tells a television interviewer, “I haven’t spoken to Frank since 1959 and that was a very long time ago.”
Modal Trigger (https://thenypost.files.wordpress.com/2015/03/tv_sinatra_paljoey1a.jpg)
Frank Sinatra in a promotional photo from the 1957 film “Pal Joey.”Photo: Everett Collection
Using Sinatra’s 1971 “retirement” concert at LA’s Ahmanson Theatre as organizing principle, Gibney intersperses footage of the performance with interviews by journalists (Walter Cronkite) and commentary by his first wife, Nancy, his children, Nancy Jr., Frank Jr. and Tina, as well as co-stars (Gene Kelly), musicologists (Terry Teachout) and those who traveled in his latter-day Vegas orbit (such as Sammy Davis Jr. and Angie Dickinson).
The star-studded night at the Ahmanson is a snapshot of golden-age Hollywood. It was produced by Gregory Peck, directed by Vincente Minnelli, and Sinatra is introduced to the adoring crowd by Rosalind Russell.
Effortlessly polishing off songs such as the classic “Try a Little Tenderness” and lesser-known numbers like “Angel Eyes,” Sinatra is in very good voice, and as the film goes back in time, we hear that voice mature, from its youthful, choirboy top notes to the signature sound he found when he signed with Capitol Records and found his best arranger, Nelson Riddle.
Although some considered him imperious in the recording studios, Sinatra’s experience singing with big band leaders Harry James and Tommy Dorsey taught him enough about music to know the exact touch a song needed, such as the “long crescendo” on “I’ve Got You Under My Skin.”
His status as America’s first pop teen idol should have prepared him for how to deal with women, but Sinatra met his match in haughty Hollywood sexpots such as Ava Gardner. The singer embarrassed himself and his family by openly carrying on an affair with the North Carolina maneater, ultimately abandoning his long-term marriage to Nancy for a disastrous union.
Gardner’s comments on Sinatra’s true “gifts” are priceless: “He was good in the feathers. You don’t really listen to what people tell you when a guy’s good in the feathers.”
Gibney shows more than once that when Sinatra got burned by broads or film studios or music labels, he had a way of biding his time and bouncing back, better than ever, whether it was to win an Oscar for “From Here to Eternity” or start his own record label, Reprise.
The most painful slap in the face, though, did not come from Hollywood, but from Washington, DC. After persuading mobster Sam Giancana, at the behest of Joe Kennedy, to help JFK win the union vote in Illinois and West Virgina in the 1960 election, Sinatra was iced by the newly elected president, when his brother, Bobby, the newly appointed attorney general, took all deals to get the FBI off Giancana’s back off the table.
“Sinatra: All or Nothing at All” is a fascinating look at a man who wielded a lot power — obviously too much — but whose artistic legacy thankfully will prevail over his baser interests.
As Nancy Jr. says, he was the most powerful entertainer in the world. It would be hard to find someone of his stature today.
This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3a483811a0) | 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=3a483811a0&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
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Let’s be totally Frank: Sinatra doc a swingin’ affair | New York Post
http://www.jazzpromoservices.com/
http://nypost.com/2015/03/25/lets-be-totally-frank-sinatra-doc-a-swingin-affair/
** Let’s be totally Frank: Sinatra doc a swingin’ affair
————————————————————
Let’s be totally Frank: Sinatra doc a swingin’ affair
For a good part of the 20th century, Frank Sinatra dominated American pop culture, first as an artist and then as an icon of what is now a bygone idea of masculinity.
As seen in the worshipful HBO documentary, “Sinatra: All or Nothing at All,” (http://www.hbo.com/documentaries/sinatra-all-or-nothing-at-all#/) his fame was so unexpected and so instantaneous that it startled him, a young band singer with a wife and two children, but he was a fast learner, whether it was how to tap dance for his first film (“Anchors Aweigh”), seduce starlets or insinuate himself into the coterie of campaign aides to John F. Kennedy when he ran for president.
For the only child of Italian immigrants who settled in Hoboken, NJ, such a trajectory would have been unimaginable in 1915, the year Sinatra was born.
The film, which was directed by Alex Gibney (“Mr. Dynamite: The Rise of James Brown”), stresses the most evolved parts of the singer’s personality — using his celebrity to stamp out bigotry in Hollywood, for example — while giving him a pass when his trademark volatility left collateral damage. As Lauren Bacall, whose engagement to Sinatra was abruptly terminated when the press learned of it, tells a television interviewer, “I haven’t spoken to Frank since 1959 and that was a very long time ago.”
Modal Trigger (https://thenypost.files.wordpress.com/2015/03/tv_sinatra_paljoey1a.jpg)
Frank Sinatra in a promotional photo from the 1957 film “Pal Joey.”Photo: Everett Collection
Using Sinatra’s 1971 “retirement” concert at LA’s Ahmanson Theatre as organizing principle, Gibney intersperses footage of the performance with interviews by journalists (Walter Cronkite) and commentary by his first wife, Nancy, his children, Nancy Jr., Frank Jr. and Tina, as well as co-stars (Gene Kelly), musicologists (Terry Teachout) and those who traveled in his latter-day Vegas orbit (such as Sammy Davis Jr. and Angie Dickinson).
The star-studded night at the Ahmanson is a snapshot of golden-age Hollywood. It was produced by Gregory Peck, directed by Vincente Minnelli, and Sinatra is introduced to the adoring crowd by Rosalind Russell.
Effortlessly polishing off songs such as the classic “Try a Little Tenderness” and lesser-known numbers like “Angel Eyes,” Sinatra is in very good voice, and as the film goes back in time, we hear that voice mature, from its youthful, choirboy top notes to the signature sound he found when he signed with Capitol Records and found his best arranger, Nelson Riddle.
Although some considered him imperious in the recording studios, Sinatra’s experience singing with big band leaders Harry James and Tommy Dorsey taught him enough about music to know the exact touch a song needed, such as the “long crescendo” on “I’ve Got You Under My Skin.”
His status as America’s first pop teen idol should have prepared him for how to deal with women, but Sinatra met his match in haughty Hollywood sexpots such as Ava Gardner. The singer embarrassed himself and his family by openly carrying on an affair with the North Carolina maneater, ultimately abandoning his long-term marriage to Nancy for a disastrous union.
Gardner’s comments on Sinatra’s true “gifts” are priceless: “He was good in the feathers. You don’t really listen to what people tell you when a guy’s good in the feathers.”
Gibney shows more than once that when Sinatra got burned by broads or film studios or music labels, he had a way of biding his time and bouncing back, better than ever, whether it was to win an Oscar for “From Here to Eternity” or start his own record label, Reprise.
The most painful slap in the face, though, did not come from Hollywood, but from Washington, DC. After persuading mobster Sam Giancana, at the behest of Joe Kennedy, to help JFK win the union vote in Illinois and West Virgina in the 1960 election, Sinatra was iced by the newly elected president, when his brother, Bobby, the newly appointed attorney general, took all deals to get the FBI off Giancana’s back off the table.
“Sinatra: All or Nothing at All” is a fascinating look at a man who wielded a lot power — obviously too much — but whose artistic legacy thankfully will prevail over his baser interests.
As Nancy Jr. says, he was the most powerful entertainer in the world. It would be hard to find someone of his stature today.
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=3a483811a0) | 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=3a483811a0&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Let’s be totally Frank: Sinatra doc a swingin’ affair | New York Post
http://www.jazzpromoservices.com/
http://nypost.com/2015/03/25/lets-be-totally-frank-sinatra-doc-a-swingin-affair/
** Let’s be totally Frank: Sinatra doc a swingin’ affair
————————————————————
Let’s be totally Frank: Sinatra doc a swingin’ affair
For a good part of the 20th century, Frank Sinatra dominated American pop culture, first as an artist and then as an icon of what is now a bygone idea of masculinity.
As seen in the worshipful HBO documentary, “Sinatra: All or Nothing at All,” (http://www.hbo.com/documentaries/sinatra-all-or-nothing-at-all#/) his fame was so unexpected and so instantaneous that it startled him, a young band singer with a wife and two children, but he was a fast learner, whether it was how to tap dance for his first film (“Anchors Aweigh”), seduce starlets or insinuate himself into the coterie of campaign aides to John F. Kennedy when he ran for president.
For the only child of Italian immigrants who settled in Hoboken, NJ, such a trajectory would have been unimaginable in 1915, the year Sinatra was born.
The film, which was directed by Alex Gibney (“Mr. Dynamite: The Rise of James Brown”), stresses the most evolved parts of the singer’s personality — using his celebrity to stamp out bigotry in Hollywood, for example — while giving him a pass when his trademark volatility left collateral damage. As Lauren Bacall, whose engagement to Sinatra was abruptly terminated when the press learned of it, tells a television interviewer, “I haven’t spoken to Frank since 1959 and that was a very long time ago.”
Modal Trigger (https://thenypost.files.wordpress.com/2015/03/tv_sinatra_paljoey1a.jpg)
Frank Sinatra in a promotional photo from the 1957 film “Pal Joey.”Photo: Everett Collection
Using Sinatra’s 1971 “retirement” concert at LA’s Ahmanson Theatre as organizing principle, Gibney intersperses footage of the performance with interviews by journalists (Walter Cronkite) and commentary by his first wife, Nancy, his children, Nancy Jr., Frank Jr. and Tina, as well as co-stars (Gene Kelly), musicologists (Terry Teachout) and those who traveled in his latter-day Vegas orbit (such as Sammy Davis Jr. and Angie Dickinson).
The star-studded night at the Ahmanson is a snapshot of golden-age Hollywood. It was produced by Gregory Peck, directed by Vincente Minnelli, and Sinatra is introduced to the adoring crowd by Rosalind Russell.
Effortlessly polishing off songs such as the classic “Try a Little Tenderness” and lesser-known numbers like “Angel Eyes,” Sinatra is in very good voice, and as the film goes back in time, we hear that voice mature, from its youthful, choirboy top notes to the signature sound he found when he signed with Capitol Records and found his best arranger, Nelson Riddle.
Although some considered him imperious in the recording studios, Sinatra’s experience singing with big band leaders Harry James and Tommy Dorsey taught him enough about music to know the exact touch a song needed, such as the “long crescendo” on “I’ve Got You Under My Skin.”
His status as America’s first pop teen idol should have prepared him for how to deal with women, but Sinatra met his match in haughty Hollywood sexpots such as Ava Gardner. The singer embarrassed himself and his family by openly carrying on an affair with the North Carolina maneater, ultimately abandoning his long-term marriage to Nancy for a disastrous union.
Gardner’s comments on Sinatra’s true “gifts” are priceless: “He was good in the feathers. You don’t really listen to what people tell you when a guy’s good in the feathers.”
Gibney shows more than once that when Sinatra got burned by broads or film studios or music labels, he had a way of biding his time and bouncing back, better than ever, whether it was to win an Oscar for “From Here to Eternity” or start his own record label, Reprise.
The most painful slap in the face, though, did not come from Hollywood, but from Washington, DC. After persuading mobster Sam Giancana, at the behest of Joe Kennedy, to help JFK win the union vote in Illinois and West Virgina in the 1960 election, Sinatra was iced by the newly elected president, when his brother, Bobby, the newly appointed attorney general, took all deals to get the FBI off Giancana’s back off the table.
“Sinatra: All or Nothing at All” is a fascinating look at a man who wielded a lot power — obviously too much — but whose artistic legacy thankfully will prevail over his baser interests.
As Nancy Jr. says, he was the most powerful entertainer in the world. It would be hard to find someone of his stature today.
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Vinyl’s comeback powered by second-hand records | Toronto Star
http://www.jazzpromoservices.com/
http://www.thestar.com/entertainment/music/2015/03/27/vinyls-comeback-powered-by-second-hand-records.html
** Vinyl’s comeback powered by second-hand records
————————————————————
** “Buy only what you love,” advises Record Guy Aaron Keele ahead of the Toronto Record Show on March 29
————————————————————
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Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
COLIN MCCONNELL / TORONTO STAR FILE PHOTO
Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
By: John Sakamoto (http://www.thestar.com/authors.sakamoto_john.html) Staff Reporter, Published on Fri Mar 27 2015
For all the noise over the past five years about the unlikely revival of vinyl, the focus of that trend tends to be on the high-profile segment of the market that is most easily quantifiable: new records.
We’ve all seen the numbers: Jack White selling 40,000 records in a week, year-over-year growth in the double digits and so on. But the market for new vinyl in this country is the very definition of niche. According to a Nielsen report, a little over 400,000 records were sold here last year.
Couple that with the fact that Toronto is blessed with dozens of neighbourhood record stores — a helpful guide posted this week by blogTO has no trouble picking the 20 best (http://www.blogto.com/music/2015/03/the_top_20_record_stores_in_toronto_by_neighbourhood/) — and it’s clear that a sizable, if elusive, chunk of vinyl’s comeback is being powered by second-hand records.
“The used-vinyl market is absolutely the driving force behind the revival,” says Aaron Keele who, with Akim Boldireff, a.k.a. The Record Guys (http://www.therecordguys.com/) , is putting on the latest edition of the Toronto Record Show (https://www.facebook.com/events/1380705298916105) this Sunday (10 a.m. to 4 p.m., Estonian House, 958 Broadview Ave., about three-quarters of a kilometre north of the Danforth).
“It’s what fuelled the beginning of the comeback, as not many classic albums were available on new pressings even five years ago,” Keele says via email. “Even now that they are becoming available again, many new reissues of classic albums are quite costly or simply still haven’t even been reissued yet, so used vinyl fills the need.”
Despite being overshadowed by new records, used records also neatly sidestep the trap of what Neil Young sneeringly calls vinyl as “fashion statement.”
A lot of record buyers today, he said recently in an interview (http://www.scpr.org/programs/the-frame/2015/01/14/41111/neil-young-is-on-a-mission-to-restore-the-history/) on Southern California Public Radio, “don’t realize that they’re listening to CD masters on vinyl and that’s because the record companies have figured out that people want vinyl. And they’re only making CD masters in digital, so all the new products that come out on vinyl are actually CDs on vinyl, which is really nothing but a fashion statement.”
An increasingly expensive fashion statement, at that. Given the shortage (http://www.thestar.com/entertainment/music/2015/01/24/vinyls-pressing-problem.html) of pressing plants and, in this country, the added pain of the U.S. exchange rate, is there a danger the vinyl revival could price itself out of the market?
“I see that as totally possible if the manufacturers don’t recognize this,” Keele says.
“There will have to be a price adjustment at some point, as the markup that new stores are adding is incredibly low, less than 20 per cent. Retail is where the profits are smallest and if retailers are driven out, then the marketplace ceases to exist.”
If that scenario does unfold, wouldn’t it help used vinyl?
“It will hinder the used market,” says Keele. “Both new and used exist in the same field and support each other by being sold together. Vinyl buyers want both new and used to be available in the same shop. It makes for a greater amount of stock and selection, and therefore excitement of the possibility of what is available feels limitless. That excitement is one of the key forces driving the business.”
Keele says vinyl lovers in this city are especially fortunate.
“Something Torontonians don’t realize is that we have very reasonably priced records when compared to the rest of the world. Want to buy that same album in New York, London or Amsterdam? Be prepared to pay a whole lot more than you would here.”
These days, one of the priciest Canadian records is an original copy of the first Rush album, released in 1974 on the band’s own Moon Records (and reissued on vinyl last year in an exquisitely appointed box).
What other Canadian records are fetching really high prices these days?
“The very first pressing of the Rush album is definitely valued at about $1,000,” says Keele. “If someone can find a copy of the first album by Christmas, the Plastic Cloud, the Haunted or especially Bent Wind, they’ll have $1,500 to $2,000 to spend when they sell it.”
Are there albums that are guaranteed to keep appreciating in value, like certain paintings?
“There is no such thing as a guaranteed blue-chip stock in vinyl. Many people will disagree with me, but I’ve been around the used-vinyl business my entire life and this has remained a fact for me. Have albums that were once worth $10 now appreciated in value to sell for $100? Absolutely. Lots of them, in fact. Are there albums that were once worth $100 that now won’t sell for $10? Oh yes. There’s even more of those than the ones that have appreciated. It’s a market based solely on the tastes of the current buyer and that market changes frequently.”
Keele cites a stark example. “In the beginning of the 1980s, people were paying $30 to $50 for early original pressed Ricky Nelson albums. Now, I have absolutely no customers for them, even at $5.”
So, what advice would he give to someone who a) is just starting to buy records for the first time and b) used to buy records and is getting back into them?
“The exact same advice,” he says. “Buy only what you love. Records are only the vehicle that gets you to music. Music is why we all go down this road. Forget what critics say, what Pitchfork band is hot or even what your friends might say.
“Buy what jumps out at you. Albums have great charm,” Keele adds, “and sometimes can choose you instead of the other way around.”
jsakamoto@thestar.ca (mailto:jsakamoto@thestar.ca)
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com/
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Vinyl’s comeback powered by second-hand records | Toronto Star
http://www.jazzpromoservices.com/
http://www.thestar.com/entertainment/music/2015/03/27/vinyls-comeback-powered-by-second-hand-records.html
** Vinyl’s comeback powered by second-hand records
————————————————————
** “Buy only what you love,” advises Record Guy Aaron Keele ahead of the Toronto Record Show on March 29
————————————————————
* Share on Facebook
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Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
COLIN MCCONNELL / TORONTO STAR FILE PHOTO
Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
By: John Sakamoto (http://www.thestar.com/authors.sakamoto_john.html) Staff Reporter, Published on Fri Mar 27 2015
For all the noise over the past five years about the unlikely revival of vinyl, the focus of that trend tends to be on the high-profile segment of the market that is most easily quantifiable: new records.
We’ve all seen the numbers: Jack White selling 40,000 records in a week, year-over-year growth in the double digits and so on. But the market for new vinyl in this country is the very definition of niche. According to a Nielsen report, a little over 400,000 records were sold here last year.
Couple that with the fact that Toronto is blessed with dozens of neighbourhood record stores — a helpful guide posted this week by blogTO has no trouble picking the 20 best (http://www.blogto.com/music/2015/03/the_top_20_record_stores_in_toronto_by_neighbourhood/) — and it’s clear that a sizable, if elusive, chunk of vinyl’s comeback is being powered by second-hand records.
“The used-vinyl market is absolutely the driving force behind the revival,” says Aaron Keele who, with Akim Boldireff, a.k.a. The Record Guys (http://www.therecordguys.com/) , is putting on the latest edition of the Toronto Record Show (https://www.facebook.com/events/1380705298916105) this Sunday (10 a.m. to 4 p.m., Estonian House, 958 Broadview Ave., about three-quarters of a kilometre north of the Danforth).
“It’s what fuelled the beginning of the comeback, as not many classic albums were available on new pressings even five years ago,” Keele says via email. “Even now that they are becoming available again, many new reissues of classic albums are quite costly or simply still haven’t even been reissued yet, so used vinyl fills the need.”
Despite being overshadowed by new records, used records also neatly sidestep the trap of what Neil Young sneeringly calls vinyl as “fashion statement.”
A lot of record buyers today, he said recently in an interview (http://www.scpr.org/programs/the-frame/2015/01/14/41111/neil-young-is-on-a-mission-to-restore-the-history/) on Southern California Public Radio, “don’t realize that they’re listening to CD masters on vinyl and that’s because the record companies have figured out that people want vinyl. And they’re only making CD masters in digital, so all the new products that come out on vinyl are actually CDs on vinyl, which is really nothing but a fashion statement.”
An increasingly expensive fashion statement, at that. Given the shortage (http://www.thestar.com/entertainment/music/2015/01/24/vinyls-pressing-problem.html) of pressing plants and, in this country, the added pain of the U.S. exchange rate, is there a danger the vinyl revival could price itself out of the market?
“I see that as totally possible if the manufacturers don’t recognize this,” Keele says.
“There will have to be a price adjustment at some point, as the markup that new stores are adding is incredibly low, less than 20 per cent. Retail is where the profits are smallest and if retailers are driven out, then the marketplace ceases to exist.”
If that scenario does unfold, wouldn’t it help used vinyl?
“It will hinder the used market,” says Keele. “Both new and used exist in the same field and support each other by being sold together. Vinyl buyers want both new and used to be available in the same shop. It makes for a greater amount of stock and selection, and therefore excitement of the possibility of what is available feels limitless. That excitement is one of the key forces driving the business.”
Keele says vinyl lovers in this city are especially fortunate.
“Something Torontonians don’t realize is that we have very reasonably priced records when compared to the rest of the world. Want to buy that same album in New York, London or Amsterdam? Be prepared to pay a whole lot more than you would here.”
These days, one of the priciest Canadian records is an original copy of the first Rush album, released in 1974 on the band’s own Moon Records (and reissued on vinyl last year in an exquisitely appointed box).
What other Canadian records are fetching really high prices these days?
“The very first pressing of the Rush album is definitely valued at about $1,000,” says Keele. “If someone can find a copy of the first album by Christmas, the Plastic Cloud, the Haunted or especially Bent Wind, they’ll have $1,500 to $2,000 to spend when they sell it.”
Are there albums that are guaranteed to keep appreciating in value, like certain paintings?
“There is no such thing as a guaranteed blue-chip stock in vinyl. Many people will disagree with me, but I’ve been around the used-vinyl business my entire life and this has remained a fact for me. Have albums that were once worth $10 now appreciated in value to sell for $100? Absolutely. Lots of them, in fact. Are there albums that were once worth $100 that now won’t sell for $10? Oh yes. There’s even more of those than the ones that have appreciated. It’s a market based solely on the tastes of the current buyer and that market changes frequently.”
Keele cites a stark example. “In the beginning of the 1980s, people were paying $30 to $50 for early original pressed Ricky Nelson albums. Now, I have absolutely no customers for them, even at $5.”
So, what advice would he give to someone who a) is just starting to buy records for the first time and b) used to buy records and is getting back into them?
“The exact same advice,” he says. “Buy only what you love. Records are only the vehicle that gets you to music. Music is why we all go down this road. Forget what critics say, what Pitchfork band is hot or even what your friends might say.
“Buy what jumps out at you. Albums have great charm,” Keele adds, “and sometimes can choose you instead of the other way around.”
jsakamoto@thestar.ca (mailto:jsakamoto@thestar.ca)
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=f7766352c1) | 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=f7766352c1&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Vinyl’s comeback powered by second-hand records | Toronto Star
http://www.jazzpromoservices.com/
http://www.thestar.com/entertainment/music/2015/03/27/vinyls-comeback-powered-by-second-hand-records.html
** Vinyl’s comeback powered by second-hand records
————————————————————
** “Buy only what you love,” advises Record Guy Aaron Keele ahead of the Toronto Record Show on March 29
————————————————————
* Share on Facebook
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Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
COLIN MCCONNELL / TORONTO STAR FILE PHOTO
Aaron Keele, right, one of the Record Guys along with Akim Boldireff, says new and used vinyl records “exist in the same field and support each other by being sold together.”
By: John Sakamoto (http://www.thestar.com/authors.sakamoto_john.html) Staff Reporter, Published on Fri Mar 27 2015
For all the noise over the past five years about the unlikely revival of vinyl, the focus of that trend tends to be on the high-profile segment of the market that is most easily quantifiable: new records.
We’ve all seen the numbers: Jack White selling 40,000 records in a week, year-over-year growth in the double digits and so on. But the market for new vinyl in this country is the very definition of niche. According to a Nielsen report, a little over 400,000 records were sold here last year.
Couple that with the fact that Toronto is blessed with dozens of neighbourhood record stores — a helpful guide posted this week by blogTO has no trouble picking the 20 best (http://www.blogto.com/music/2015/03/the_top_20_record_stores_in_toronto_by_neighbourhood/) — and it’s clear that a sizable, if elusive, chunk of vinyl’s comeback is being powered by second-hand records.
“The used-vinyl market is absolutely the driving force behind the revival,” says Aaron Keele who, with Akim Boldireff, a.k.a. The Record Guys (http://www.therecordguys.com/) , is putting on the latest edition of the Toronto Record Show (https://www.facebook.com/events/1380705298916105) this Sunday (10 a.m. to 4 p.m., Estonian House, 958 Broadview Ave., about three-quarters of a kilometre north of the Danforth).
“It’s what fuelled the beginning of the comeback, as not many classic albums were available on new pressings even five years ago,” Keele says via email. “Even now that they are becoming available again, many new reissues of classic albums are quite costly or simply still haven’t even been reissued yet, so used vinyl fills the need.”
Despite being overshadowed by new records, used records also neatly sidestep the trap of what Neil Young sneeringly calls vinyl as “fashion statement.”
A lot of record buyers today, he said recently in an interview (http://www.scpr.org/programs/the-frame/2015/01/14/41111/neil-young-is-on-a-mission-to-restore-the-history/) on Southern California Public Radio, “don’t realize that they’re listening to CD masters on vinyl and that’s because the record companies have figured out that people want vinyl. And they’re only making CD masters in digital, so all the new products that come out on vinyl are actually CDs on vinyl, which is really nothing but a fashion statement.”
An increasingly expensive fashion statement, at that. Given the shortage (http://www.thestar.com/entertainment/music/2015/01/24/vinyls-pressing-problem.html) of pressing plants and, in this country, the added pain of the U.S. exchange rate, is there a danger the vinyl revival could price itself out of the market?
“I see that as totally possible if the manufacturers don’t recognize this,” Keele says.
“There will have to be a price adjustment at some point, as the markup that new stores are adding is incredibly low, less than 20 per cent. Retail is where the profits are smallest and if retailers are driven out, then the marketplace ceases to exist.”
If that scenario does unfold, wouldn’t it help used vinyl?
“It will hinder the used market,” says Keele. “Both new and used exist in the same field and support each other by being sold together. Vinyl buyers want both new and used to be available in the same shop. It makes for a greater amount of stock and selection, and therefore excitement of the possibility of what is available feels limitless. That excitement is one of the key forces driving the business.”
Keele says vinyl lovers in this city are especially fortunate.
“Something Torontonians don’t realize is that we have very reasonably priced records when compared to the rest of the world. Want to buy that same album in New York, London or Amsterdam? Be prepared to pay a whole lot more than you would here.”
These days, one of the priciest Canadian records is an original copy of the first Rush album, released in 1974 on the band’s own Moon Records (and reissued on vinyl last year in an exquisitely appointed box).
What other Canadian records are fetching really high prices these days?
“The very first pressing of the Rush album is definitely valued at about $1,000,” says Keele. “If someone can find a copy of the first album by Christmas, the Plastic Cloud, the Haunted or especially Bent Wind, they’ll have $1,500 to $2,000 to spend when they sell it.”
Are there albums that are guaranteed to keep appreciating in value, like certain paintings?
“There is no such thing as a guaranteed blue-chip stock in vinyl. Many people will disagree with me, but I’ve been around the used-vinyl business my entire life and this has remained a fact for me. Have albums that were once worth $10 now appreciated in value to sell for $100? Absolutely. Lots of them, in fact. Are there albums that were once worth $100 that now won’t sell for $10? Oh yes. There’s even more of those than the ones that have appreciated. It’s a market based solely on the tastes of the current buyer and that market changes frequently.”
Keele cites a stark example. “In the beginning of the 1980s, people were paying $30 to $50 for early original pressed Ricky Nelson albums. Now, I have absolutely no customers for them, even at $5.”
So, what advice would he give to someone who a) is just starting to buy records for the first time and b) used to buy records and is getting back into them?
“The exact same advice,” he says. “Buy only what you love. Records are only the vehicle that gets you to music. Music is why we all go down this road. Forget what critics say, what Pitchfork band is hot or even what your friends might say.
“Buy what jumps out at you. Albums have great charm,” Keele adds, “and sometimes can choose you instead of the other way around.”
jsakamoto@thestar.ca (mailto:jsakamoto@thestar.ca)
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=f7766352c1) | 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=f7766352c1&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
Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring | Showbiz411
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http://www.showbiz411.com/2015/03/26/hyatt-hotel-heirs-100-million-never-seen-unfinished-jazz-movie-re-shooting-again-this-spring
** Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring
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Home (http://www.showbiz411.com/) business (http://www.showbiz411.com/category/business) Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again…
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You wouldn’t think this is possible. But Dan Pritzker’s $100 million jazz movie “Bolden (http://showbiz411.com/?s=bolden) !” is re-shooting again. Pritzker is from the Hyatt Hotels family and has money to burn. In the mission of making his epic masterpiece, a “Citizen Kane” of jazz, he’s spent well over $100 million to make a movie about obscure jazz legend Buddy Bolden.
Originally, Anthony Mackie starred as Bolden. He shot an entire movie with Pritzer. But then Pritzker took so long to put the movie together– and then didn’t like it–that Mackie was too old to come back for re-shoots. So Pritzker started all over again, this time with Gary Carr, the actor who played the jazz musician in “Downton Abbey.”
Now Pritzker is looking for an actor to play the older Buddy Bolden. Instead of getting a great makeup artist, Pritzker is looking for someone who resembles Carr at age 65. If they find the actor, he’ll play a scene in which Buddy Bolden is an insane asylum. Sounds like fun!
The “Bolden!” adventure began in 2007, when George W. Bush was president of the United States and “Empire” was just a diner on the West Side. In June 2014, I told you that Pritzker–whose cousin Gigi Pritzker has made 15 movies since then ranging from good (Rabbit Hole, Way Way Back) to the awful (Mortdecai) to the well intended (Rosewater)– was looking for actresses who had a “fearless acceptance of full nudity” “simulated sex acts.”
I guess to be admired is Dan Pritzker’s persistence. Maybe this is how the pyramids were built.
Author
Roger Friedman (http://www.showbiz411.com/author/roger)
Roger Friedman began his Showbiz411 column in April 2009 after 10 years with Fox News. He writes for Parade magazine and has written for Details, Vogue, the New York Times, Post, and Daily News and many other publications. He is the writer and co-producer of “Only the Strong Survive,” a selection of the Cannes, Sundance, and Telluride Film festivals.
More articles from author (http://www.showbiz411.com/author/roger)
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Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring | Showbiz411
http://www.jazzpromoservices.com/
http://www.showbiz411.com/2015/03/26/hyatt-hotel-heirs-100-million-never-seen-unfinished-jazz-movie-re-shooting-again-this-spring
** Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring
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Home (http://www.showbiz411.com/) business (http://www.showbiz411.com/category/business) Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again…
http://www.showbiz411.com/wp-content/uploads/2014/06/gary-carr-on-downton-abbey.jpg
You wouldn’t think this is possible. But Dan Pritzker’s $100 million jazz movie “Bolden (http://showbiz411.com/?s=bolden) !” is re-shooting again. Pritzker is from the Hyatt Hotels family and has money to burn. In the mission of making his epic masterpiece, a “Citizen Kane” of jazz, he’s spent well over $100 million to make a movie about obscure jazz legend Buddy Bolden.
Originally, Anthony Mackie starred as Bolden. He shot an entire movie with Pritzer. But then Pritzker took so long to put the movie together– and then didn’t like it–that Mackie was too old to come back for re-shoots. So Pritzker started all over again, this time with Gary Carr, the actor who played the jazz musician in “Downton Abbey.”
Now Pritzker is looking for an actor to play the older Buddy Bolden. Instead of getting a great makeup artist, Pritzker is looking for someone who resembles Carr at age 65. If they find the actor, he’ll play a scene in which Buddy Bolden is an insane asylum. Sounds like fun!
The “Bolden!” adventure began in 2007, when George W. Bush was president of the United States and “Empire” was just a diner on the West Side. In June 2014, I told you that Pritzker–whose cousin Gigi Pritzker has made 15 movies since then ranging from good (Rabbit Hole, Way Way Back) to the awful (Mortdecai) to the well intended (Rosewater)– was looking for actresses who had a “fearless acceptance of full nudity” “simulated sex acts.”
I guess to be admired is Dan Pritzker’s persistence. Maybe this is how the pyramids were built.
Author
Roger Friedman (http://www.showbiz411.com/author/roger)
Roger Friedman began his Showbiz411 column in April 2009 after 10 years with Fox News. He writes for Parade magazine and has written for Details, Vogue, the New York Times, Post, and Daily News and many other publications. He is the writer and co-producer of “Only the Strong Survive,” a selection of the Cannes, Sundance, and Telluride Film festivals.
More articles from author (http://www.showbiz411.com/author/roger)
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Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring | Showbiz411
http://www.jazzpromoservices.com/
http://www.showbiz411.com/2015/03/26/hyatt-hotel-heirs-100-million-never-seen-unfinished-jazz-movie-re-shooting-again-this-spring
** Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again This Spring
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Home (http://www.showbiz411.com/) business (http://www.showbiz411.com/category/business) Hyatt Hotel Heir’s $100 Million Never Seen, Unfinished Jazz Movie Re-shooting Again…
http://www.showbiz411.com/wp-content/uploads/2014/06/gary-carr-on-downton-abbey.jpg
You wouldn’t think this is possible. But Dan Pritzker’s $100 million jazz movie “Bolden (http://showbiz411.com/?s=bolden) !” is re-shooting again. Pritzker is from the Hyatt Hotels family and has money to burn. In the mission of making his epic masterpiece, a “Citizen Kane” of jazz, he’s spent well over $100 million to make a movie about obscure jazz legend Buddy Bolden.
Originally, Anthony Mackie starred as Bolden. He shot an entire movie with Pritzer. But then Pritzker took so long to put the movie together– and then didn’t like it–that Mackie was too old to come back for re-shoots. So Pritzker started all over again, this time with Gary Carr, the actor who played the jazz musician in “Downton Abbey.”
Now Pritzker is looking for an actor to play the older Buddy Bolden. Instead of getting a great makeup artist, Pritzker is looking for someone who resembles Carr at age 65. If they find the actor, he’ll play a scene in which Buddy Bolden is an insane asylum. Sounds like fun!
The “Bolden!” adventure began in 2007, when George W. Bush was president of the United States and “Empire” was just a diner on the West Side. In June 2014, I told you that Pritzker–whose cousin Gigi Pritzker has made 15 movies since then ranging from good (Rabbit Hole, Way Way Back) to the awful (Mortdecai) to the well intended (Rosewater)– was looking for actresses who had a “fearless acceptance of full nudity” “simulated sex acts.”
I guess to be admired is Dan Pritzker’s persistence. Maybe this is how the pyramids were built.
Author
Roger Friedman (http://www.showbiz411.com/author/roger)
Roger Friedman began his Showbiz411 column in April 2009 after 10 years with Fox News. He writes for Parade magazine and has written for Details, Vogue, the New York Times, Post, and Daily News and many other publications. He is the writer and co-producer of “Only the Strong Survive,” a selection of the Cannes, Sundance, and Telluride Film festivals.
More articles from author (http://www.showbiz411.com/author/roger)
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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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Baker-Mulligan’s “Valentine” added to National Recording Registry – Oakland Jazz music | Examiner.com
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http://www.examiner.com/article/baker-mulligan-s-valentine-added-to-national-recording-registry?CID=examiner_alerts_article
** Baker-Mulligan’s “Valentine” added to National Recording Registry
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Next: More names announced for the 2015 Monterey Jazz Festival (http://www.examiner.com/article/more-names-announced-for-the-2015-monterey-jazz-festival)
March 25, 2015 9:25 AM MST
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“My Funny Valentine”
“My Funny Valentine”
fontana
Essential jazz (http://www.examiner.com/topic/jazz) and blues – alongside such pop-rock staples as The Doors (http://www.examiner.com/topic/doors) ’ debut album, Sly and the Family Stone’s “Stand!,” Radiohead’s “OK Computer” and Steve Martin (http://www.examiner.com/topic/steve-martin) ’s “A Wild and Crazy Guy” – are among the recordings selected today for induction into the Library of Congress National Recording Registry. The registry recognizes recordings for their cultural, artistic and/or historical significance to American society and the nation’s audio legacy. Here is the background.
“Black Snake Moan”/ “Match Box Blues” (single)—Blind Lemon Jefferson (1928)
By the time of this recording in 1928, Blind Lemon Jefferson – an African-American street singer from a small country town outside of Dallas, Texas – had already reshaped and expanded the blues genre on record. Powerfully voiced singers such as Bessie Smith, who sang over a band accompaniment, had previously dominated recorded blues. However, with only his guitar for accompaniment and a high wailing tenor of a voice, Jefferson recorded a series of highly individualistic performances on record from 1925-29, the year of his death. He was not the first downhome blues singer to record, but his success was unprecedented and reached beyond the South to urban centers. His audience was primarily African-American, but a significant number of whites also bought his records. Though he used what were already traditional frameworks for many of his songs, Jefferson personalized them with the interplay between his voice and guitar, extending vocal phrases with long intricate lines of notes
and adding or omitting measures in the song as it suited him. Jefferson did most of his recording for the Paramount label, which often had poor sound quality. This 1928 coupling, issued by the Okeh label, was of a higher quality and holds two of Jefferson’s best performances on two of his signature songs – “Matchbox Blues,” later recorded by Carl Perkins, the Beatles (http://www.examiner.com/topic/beatles) and many others, and the eerie, lascivious “Black Snake Moan.”
“My Funny Valentine” (single)—The Gerry Mulligan Quartet featuring Chet Baker (1953)
The Gerry Mulligan Quartet’s studio recording of “My Funny Valentine” had been a hit for the pianoless group in the autumn of 1952, so it was an established part of the quartet’s repertoire when producer Dick Bock recorded this live performance on May 20, 1953 at The Haig jazz club in Hollywood, California. At over five minutes, nearly twice as long as the single, trumpeter Chet Baker and baritone saxophonist Mulligan had room to stretch out. The result is a darker, more expressive version of “My Funny Valentine,” propelled by a Carson Smith bass line that is simple, but insistent and almost ominous. After a short roll by drummer Larry Bunker, Baker’s solo is melancholy and direct, followed by Mulligan’s more playful chorus. When Baker rejoins Mulligan, the playing intensifies, punctuated by Baker’s plaintive wail. No occasional clinking of glasses on the live recording can diminish the power of this West Coast cool jazz classic. The popularity of the 1952 studio version may
have helped to keep this performance in the vault until the 1960s. For many, however, this extended version has become the definitive Mulligan and Baker collaboration.
“New Orleans’ Sweet Emma Barrett and her Preservation Hall Jazz Band” (album)—Sweet Emma and her Preservation Hall Jazz Band (1964)
This 1964 offering by seven veterans of New Orleans jazz, before a live Minneapolis audience, well illustrates the credo of music spoken simply—play the melody from the heart and elaborate with care. Pianist Sweet Emma Barrett, the Humphrey Brothers (clarinetist Willie and trumpeter Percy), trombonist “Big Jim” Robinson, bassist Alcide “Slow Drag” Pavageau, banjoist Emanuel Sayles and drummer Josie “Cie” Frazier perform in a manner that has become known as “New Orleans Revival Jazz” because of its association with a revived interest in New Orleans jazz, a style that emerged during the 1940s. The band’s style, which some might say is one of the rawest forms of early jazz, was inspired largely by the band led by trumpeter Willie “Bunk” Johnson. Johnson was supported by clarinetist George Lewis and trombonist “Big Jim” Robinson, all of whom were at the helm of the revival. The band’s music is simple, direct and majestic. The front-line (trumpet, clarinet and trombone) contains
all the necessary elements of melody, harmony and rhythmic punctuation to provide the ear with a satisfying melodic, harmonic and rhythmic picture. The support of the rhythm section provides the solid four-beats-to-the-measure that pushes forward and holds back at the same time. This is the magical essence of New Orleans jazz.
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Baker-Mulligan’s “Valentine” added to National Recording Registry – Oakland Jazz music | Examiner.com
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http://www.examiner.com/article/baker-mulligan-s-valentine-added-to-national-recording-registry?CID=examiner_alerts_article
** Baker-Mulligan’s “Valentine” added to National Recording Registry
————————————————————
Use your key for the next article
Next: More names announced for the 2015 Monterey Jazz Festival (http://www.examiner.com/article/more-names-announced-for-the-2015-monterey-jazz-festival)
March 25, 2015 9:25 AM MST
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“My Funny Valentine”
“My Funny Valentine”
fontana
Essential jazz (http://www.examiner.com/topic/jazz) and blues – alongside such pop-rock staples as The Doors (http://www.examiner.com/topic/doors) ’ debut album, Sly and the Family Stone’s “Stand!,” Radiohead’s “OK Computer” and Steve Martin (http://www.examiner.com/topic/steve-martin) ’s “A Wild and Crazy Guy” – are among the recordings selected today for induction into the Library of Congress National Recording Registry. The registry recognizes recordings for their cultural, artistic and/or historical significance to American society and the nation’s audio legacy. Here is the background.
“Black Snake Moan”/ “Match Box Blues” (single)—Blind Lemon Jefferson (1928)
By the time of this recording in 1928, Blind Lemon Jefferson – an African-American street singer from a small country town outside of Dallas, Texas – had already reshaped and expanded the blues genre on record. Powerfully voiced singers such as Bessie Smith, who sang over a band accompaniment, had previously dominated recorded blues. However, with only his guitar for accompaniment and a high wailing tenor of a voice, Jefferson recorded a series of highly individualistic performances on record from 1925-29, the year of his death. He was not the first downhome blues singer to record, but his success was unprecedented and reached beyond the South to urban centers. His audience was primarily African-American, but a significant number of whites also bought his records. Though he used what were already traditional frameworks for many of his songs, Jefferson personalized them with the interplay between his voice and guitar, extending vocal phrases with long intricate lines of notes
and adding or omitting measures in the song as it suited him. Jefferson did most of his recording for the Paramount label, which often had poor sound quality. This 1928 coupling, issued by the Okeh label, was of a higher quality and holds two of Jefferson’s best performances on two of his signature songs – “Matchbox Blues,” later recorded by Carl Perkins, the Beatles (http://www.examiner.com/topic/beatles) and many others, and the eerie, lascivious “Black Snake Moan.”
“My Funny Valentine” (single)—The Gerry Mulligan Quartet featuring Chet Baker (1953)
The Gerry Mulligan Quartet’s studio recording of “My Funny Valentine” had been a hit for the pianoless group in the autumn of 1952, so it was an established part of the quartet’s repertoire when producer Dick Bock recorded this live performance on May 20, 1953 at The Haig jazz club in Hollywood, California. At over five minutes, nearly twice as long as the single, trumpeter Chet Baker and baritone saxophonist Mulligan had room to stretch out. The result is a darker, more expressive version of “My Funny Valentine,” propelled by a Carson Smith bass line that is simple, but insistent and almost ominous. After a short roll by drummer Larry Bunker, Baker’s solo is melancholy and direct, followed by Mulligan’s more playful chorus. When Baker rejoins Mulligan, the playing intensifies, punctuated by Baker’s plaintive wail. No occasional clinking of glasses on the live recording can diminish the power of this West Coast cool jazz classic. The popularity of the 1952 studio version may
have helped to keep this performance in the vault until the 1960s. For many, however, this extended version has become the definitive Mulligan and Baker collaboration.
“New Orleans’ Sweet Emma Barrett and her Preservation Hall Jazz Band” (album)—Sweet Emma and her Preservation Hall Jazz Band (1964)
This 1964 offering by seven veterans of New Orleans jazz, before a live Minneapolis audience, well illustrates the credo of music spoken simply—play the melody from the heart and elaborate with care. Pianist Sweet Emma Barrett, the Humphrey Brothers (clarinetist Willie and trumpeter Percy), trombonist “Big Jim” Robinson, bassist Alcide “Slow Drag” Pavageau, banjoist Emanuel Sayles and drummer Josie “Cie” Frazier perform in a manner that has become known as “New Orleans Revival Jazz” because of its association with a revived interest in New Orleans jazz, a style that emerged during the 1940s. The band’s style, which some might say is one of the rawest forms of early jazz, was inspired largely by the band led by trumpeter Willie “Bunk” Johnson. Johnson was supported by clarinetist George Lewis and trombonist “Big Jim” Robinson, all of whom were at the helm of the revival. The band’s music is simple, direct and majestic. The front-line (trumpet, clarinet and trombone) contains
all the necessary elements of melody, harmony and rhythmic punctuation to provide the ear with a satisfying melodic, harmonic and rhythmic picture. The support of the rhythm section provides the solid four-beats-to-the-measure that pushes forward and holds back at the same time. This is the magical essence of New Orleans jazz.
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Baker-Mulligan’s “Valentine” added to National Recording Registry – Oakland Jazz music | Examiner.com
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http://www.examiner.com/article/baker-mulligan-s-valentine-added-to-national-recording-registry?CID=examiner_alerts_article
** Baker-Mulligan’s “Valentine” added to National Recording Registry
————————————————————
Use your key for the next article
Next: More names announced for the 2015 Monterey Jazz Festival (http://www.examiner.com/article/more-names-announced-for-the-2015-monterey-jazz-festival)
March 25, 2015 9:25 AM MST
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“My Funny Valentine”
“My Funny Valentine”
fontana
Essential jazz (http://www.examiner.com/topic/jazz) and blues – alongside such pop-rock staples as The Doors (http://www.examiner.com/topic/doors) ’ debut album, Sly and the Family Stone’s “Stand!,” Radiohead’s “OK Computer” and Steve Martin (http://www.examiner.com/topic/steve-martin) ’s “A Wild and Crazy Guy” – are among the recordings selected today for induction into the Library of Congress National Recording Registry. The registry recognizes recordings for their cultural, artistic and/or historical significance to American society and the nation’s audio legacy. Here is the background.
“Black Snake Moan”/ “Match Box Blues” (single)—Blind Lemon Jefferson (1928)
By the time of this recording in 1928, Blind Lemon Jefferson – an African-American street singer from a small country town outside of Dallas, Texas – had already reshaped and expanded the blues genre on record. Powerfully voiced singers such as Bessie Smith, who sang over a band accompaniment, had previously dominated recorded blues. However, with only his guitar for accompaniment and a high wailing tenor of a voice, Jefferson recorded a series of highly individualistic performances on record from 1925-29, the year of his death. He was not the first downhome blues singer to record, but his success was unprecedented and reached beyond the South to urban centers. His audience was primarily African-American, but a significant number of whites also bought his records. Though he used what were already traditional frameworks for many of his songs, Jefferson personalized them with the interplay between his voice and guitar, extending vocal phrases with long intricate lines of notes
and adding or omitting measures in the song as it suited him. Jefferson did most of his recording for the Paramount label, which often had poor sound quality. This 1928 coupling, issued by the Okeh label, was of a higher quality and holds two of Jefferson’s best performances on two of his signature songs – “Matchbox Blues,” later recorded by Carl Perkins, the Beatles (http://www.examiner.com/topic/beatles) and many others, and the eerie, lascivious “Black Snake Moan.”
“My Funny Valentine” (single)—The Gerry Mulligan Quartet featuring Chet Baker (1953)
The Gerry Mulligan Quartet’s studio recording of “My Funny Valentine” had been a hit for the pianoless group in the autumn of 1952, so it was an established part of the quartet’s repertoire when producer Dick Bock recorded this live performance on May 20, 1953 at The Haig jazz club in Hollywood, California. At over five minutes, nearly twice as long as the single, trumpeter Chet Baker and baritone saxophonist Mulligan had room to stretch out. The result is a darker, more expressive version of “My Funny Valentine,” propelled by a Carson Smith bass line that is simple, but insistent and almost ominous. After a short roll by drummer Larry Bunker, Baker’s solo is melancholy and direct, followed by Mulligan’s more playful chorus. When Baker rejoins Mulligan, the playing intensifies, punctuated by Baker’s plaintive wail. No occasional clinking of glasses on the live recording can diminish the power of this West Coast cool jazz classic. The popularity of the 1952 studio version may
have helped to keep this performance in the vault until the 1960s. For many, however, this extended version has become the definitive Mulligan and Baker collaboration.
“New Orleans’ Sweet Emma Barrett and her Preservation Hall Jazz Band” (album)—Sweet Emma and her Preservation Hall Jazz Band (1964)
This 1964 offering by seven veterans of New Orleans jazz, before a live Minneapolis audience, well illustrates the credo of music spoken simply—play the melody from the heart and elaborate with care. Pianist Sweet Emma Barrett, the Humphrey Brothers (clarinetist Willie and trumpeter Percy), trombonist “Big Jim” Robinson, bassist Alcide “Slow Drag” Pavageau, banjoist Emanuel Sayles and drummer Josie “Cie” Frazier perform in a manner that has become known as “New Orleans Revival Jazz” because of its association with a revived interest in New Orleans jazz, a style that emerged during the 1940s. The band’s style, which some might say is one of the rawest forms of early jazz, was inspired largely by the band led by trumpeter Willie “Bunk” Johnson. Johnson was supported by clarinetist George Lewis and trombonist “Big Jim” Robinson, all of whom were at the helm of the revival. The band’s music is simple, direct and majestic. The front-line (trumpet, clarinet and trombone) contains
all the necessary elements of melody, harmony and rhythmic punctuation to provide the ear with a satisfying melodic, harmonic and rhythmic picture. The support of the rhythm section provides the solid four-beats-to-the-measure that pushes forward and holds back at the same time. This is the magical essence of New Orleans jazz.
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Boston Justice, and All That Jazz – NYTimes.com
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http://www.nytimes.com/times-insider/2015/03/24/boston-justice-and-all-that-jazz/?emc=edit_tnt_20150324
** Boston Justice, and All That Jazz
————————————————————
Photo
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.Credit Andrew Burton/Getty Images
No one would mistake Courtroom Nine in the federal courthouse, where the Boston Marathon bomber trial is underway, for a piano bar.
Those in the witness box, testifying how the bombs blew off their limbs or drained life from their loved ones, have moved many in the courtroom to tears.
But a moment comes every so often when the relentlessly grim proceedings are halted and the atmosphere is suddenly and improbably transformed into that of a cocktail lounge.
When Judge George A. O’Toole Jr., who is presiding over the trial, calls the lawyers for a sidebar, he wants to prevent the jury and reporters from overhearing their discussions. So an attendant flips on the sound system.
Suddenly Courtroom Nine fills with the arabesques of Art Tatum, the great jazz pianist. His fingers fly up and down the keyboard. One day he might be playing “Body and Soul,” the next, “Love For Sale.” Lately, “Have You Met Ms. Jones?” has become part of the repertoire.
Initially the music was jarring. But it is wonderfully soulful, so graceful and light that it has a way of diverting the mind and even lifting the spirits.
Judge O’Toole selects the music himself, said a courthouse denizen, who wished to remain anonymous. The judge, a laconic and no-nonsense jurist, is a jazz fan, it turns out. And he plays the trumpet. He was appointed to the bench 20 years ago by a saxophone-playing president, Bill Clinton.
Mr. Tatum, who was nearly blind and largely self-taught, died in 1956 at age 47. He is one of Judge O’Toole’s personal favorites. But that is not the only reason he airs Tatum tunes in the courtroom.
“He felt jazz was the appropriate music, as an original American music style, to be played in an American courtroom,” the court denizen said.
Courtroom Nine is one of five, out of 27, in the John Joseph Moakley United States Courthouse that has the technology to play music; the other 22 still can play only white noise. But that is changing. As the systems are upgraded, the others will be gradually able to play music, too, raising the possibility that someday one may hear a cacophony of sounds and styles as each judge spins his own favorite discs.
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Boston Justice, and All That Jazz – NYTimes.com
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http://www.nytimes.com/times-insider/2015/03/24/boston-justice-and-all-that-jazz/?emc=edit_tnt_20150324
** Boston Justice, and All That Jazz
————————————————————
Photo
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.Credit Andrew Burton/Getty Images
No one would mistake Courtroom Nine in the federal courthouse, where the Boston Marathon bomber trial is underway, for a piano bar.
Those in the witness box, testifying how the bombs blew off their limbs or drained life from their loved ones, have moved many in the courtroom to tears.
But a moment comes every so often when the relentlessly grim proceedings are halted and the atmosphere is suddenly and improbably transformed into that of a cocktail lounge.
When Judge George A. O’Toole Jr., who is presiding over the trial, calls the lawyers for a sidebar, he wants to prevent the jury and reporters from overhearing their discussions. So an attendant flips on the sound system.
Suddenly Courtroom Nine fills with the arabesques of Art Tatum, the great jazz pianist. His fingers fly up and down the keyboard. One day he might be playing “Body and Soul,” the next, “Love For Sale.” Lately, “Have You Met Ms. Jones?” has become part of the repertoire.
Initially the music was jarring. But it is wonderfully soulful, so graceful and light that it has a way of diverting the mind and even lifting the spirits.
Judge O’Toole selects the music himself, said a courthouse denizen, who wished to remain anonymous. The judge, a laconic and no-nonsense jurist, is a jazz fan, it turns out. And he plays the trumpet. He was appointed to the bench 20 years ago by a saxophone-playing president, Bill Clinton.
Mr. Tatum, who was nearly blind and largely self-taught, died in 1956 at age 47. He is one of Judge O’Toole’s personal favorites. But that is not the only reason he airs Tatum tunes in the courtroom.
“He felt jazz was the appropriate music, as an original American music style, to be played in an American courtroom,” the court denizen said.
Courtroom Nine is one of five, out of 27, in the John Joseph Moakley United States Courthouse that has the technology to play music; the other 22 still can play only white noise. But that is changing. As the systems are upgraded, the others will be gradually able to play music, too, raising the possibility that someday one may hear a cacophony of sounds and styles as each judge spins his own favorite discs.
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.
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Boston Justice, and All That Jazz – NYTimes.com
http://www.jazzpromoservices.com/
http://www.nytimes.com/times-insider/2015/03/24/boston-justice-and-all-that-jazz/?emc=edit_tnt_20150324
** Boston Justice, and All That Jazz
————————————————————
Photo
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.
A flag flies outside the John Joseph Moakley United States Courthouse in Boston.Credit Andrew Burton/Getty Images
No one would mistake Courtroom Nine in the federal courthouse, where the Boston Marathon bomber trial is underway, for a piano bar.
Those in the witness box, testifying how the bombs blew off their limbs or drained life from their loved ones, have moved many in the courtroom to tears.
But a moment comes every so often when the relentlessly grim proceedings are halted and the atmosphere is suddenly and improbably transformed into that of a cocktail lounge.
When Judge George A. O’Toole Jr., who is presiding over the trial, calls the lawyers for a sidebar, he wants to prevent the jury and reporters from overhearing their discussions. So an attendant flips on the sound system.
Suddenly Courtroom Nine fills with the arabesques of Art Tatum, the great jazz pianist. His fingers fly up and down the keyboard. One day he might be playing “Body and Soul,” the next, “Love For Sale.” Lately, “Have You Met Ms. Jones?” has become part of the repertoire.
Initially the music was jarring. But it is wonderfully soulful, so graceful and light that it has a way of diverting the mind and even lifting the spirits.
Judge O’Toole selects the music himself, said a courthouse denizen, who wished to remain anonymous. The judge, a laconic and no-nonsense jurist, is a jazz fan, it turns out. And he plays the trumpet. He was appointed to the bench 20 years ago by a saxophone-playing president, Bill Clinton.
Mr. Tatum, who was nearly blind and largely self-taught, died in 1956 at age 47. He is one of Judge O’Toole’s personal favorites. But that is not the only reason he airs Tatum tunes in the courtroom.
“He felt jazz was the appropriate music, as an original American music style, to be played in an American courtroom,” the court denizen said.
Courtroom Nine is one of five, out of 27, in the John Joseph Moakley United States Courthouse that has the technology to play music; the other 22 still can play only white noise. But that is changing. As the systems are upgraded, the others will be gradually able to play music, too, raising the possibility that someday one may hear a cacophony of sounds and styles as each judge spins his own favorite discs.
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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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
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USA
Some Guys Just Swear By Vinyl
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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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Some Guys Just Swear By Vinyl
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Jørgen Ingmann RIP: Keep (it) Swinging
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Jørgen Ingmann (1925 – 2015) – A Popular Danish Guitarist (http://feedproxy.google.com/~r/KeepitSwinging/~3/EPUxkxxtpwM/jrgen-ingmann-1925-2015-popular-danish.html?utm_source=feedburner&utm_medium=email)
Posted: 22 Mar 2015 10:34 AM PDT
http://1.bp.blogspot.com/-MrLWhXCeWf4/VQ7cWQkAX6I/AAAAAAAADIM/HULUWVoI7EU/s1600/Jrgen%2BIngmann%2BIngmann.jpg
Jørgen Ingmann (1925-2015)
This morning the news in Danish media told the sad fact that the popular Danish guitarist Jørgen Ingmann passed away yesterday, nearly 90 years of age. Jørgen Ingmann was born April 26, 1925 in Copenhagen and started his career as a member of Svend Asmussen’s orchestra and was well-known as a jazz artist in the 1940s and 1950s. As a guitarist Ingmann was highly influenced by the American guitarist Les Paul. Jørgen Ingmann implemented Paul’s techniques and began exploring the possibilities of multi-track recording by setting up a home studio. He overdubed himself into a one-man band and recorded multiple layers of guitar at his home studio. Ingmann’s recording also included his own percussion and bass playing. Late 1950s, Ingmann transformed his stage name to “Jørgen Ingmann and His Guitar” and in 1961 he recorded the instrumental ‘Apache’, which became a hit in the U.S.A.. With his wife he formed a duo as “Grethe og Jørgen Ingmann’ and the duo was elected winner of the
Eurovision Song Contest with the song “Dansevise” in 1963. The duo dissolved, when the marriage ended in 1975, and Jørgen Ingmann gradually left the public scene as a stage artist, but he was still active as a musician and record producer and kept releasing new instrumental recordings that were well received by a still loyal fan base. Ingmann withdrew definitely from the public in 1984 and enjoyed his retirement in his home until yesterday March 21, 2015, when he passed away peacefully according the media news.
http://4.bp.blogspot.com/-bSZ_P1mXgyo/VQ7dpPscizI/AAAAAAAADIY/ZoDk1k_oSZI/s1600/Joergen-Ingmann_colour.jpg
Jørgen Ingmann and his guitar
Below is inserted some uploaded highlights from Jørgen Ingmann’s career focusing on his guitar playing to honor a great artist. An online discography is available here (http://www.swinging-flensburg.de/09.pdf) and a Sound Cloud page has several tracks in streaming audio from Ingmann’s easy listening recordings, here (http://soundcloud.xyz/?%20%20name=J%C3%B8rgen_Ingmann)
Here’s first an example of Ingmann’s multi-track recording – ‘Muskrat Ramble’
Next another multi-track recording, ‘Amorada’ – also known as ‘Brasileirinho’
The 1961 instrumental hit, ‘Apache’ is included here
Finally, to end this small remembrance of Jørgen Ingmann as a guitarist, here is his recording of ‘Jeepers Creepers’
Jørgen Ingmann (1925 – 2015) – R.I.P.
—
Jo
keepitswinging.domain@gmail.com (mailto:keepitswinging.domain@gmail.com)
http://www.bxbluesband.nl/media/eyeflash.gifRetrospectKeep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jørgen Ingmann RIP: Keep (it) Swinging
http://www.jazzpromoservices.com/
** Keep (it) Swinging (http://keepitswinging.blogspot.com/)
————————————————————
————————————————————
Jørgen Ingmann (1925 – 2015) – A Popular Danish Guitarist (http://feedproxy.google.com/~r/KeepitSwinging/~3/EPUxkxxtpwM/jrgen-ingmann-1925-2015-popular-danish.html?utm_source=feedburner&utm_medium=email)
Posted: 22 Mar 2015 10:34 AM PDT
http://1.bp.blogspot.com/-MrLWhXCeWf4/VQ7cWQkAX6I/AAAAAAAADIM/HULUWVoI7EU/s1600/Jrgen%2BIngmann%2BIngmann.jpg
Jørgen Ingmann (1925-2015)
This morning the news in Danish media told the sad fact that the popular Danish guitarist Jørgen Ingmann passed away yesterday, nearly 90 years of age. Jørgen Ingmann was born April 26, 1925 in Copenhagen and started his career as a member of Svend Asmussen’s orchestra and was well-known as a jazz artist in the 1940s and 1950s. As a guitarist Ingmann was highly influenced by the American guitarist Les Paul. Jørgen Ingmann implemented Paul’s techniques and began exploring the possibilities of multi-track recording by setting up a home studio. He overdubed himself into a one-man band and recorded multiple layers of guitar at his home studio. Ingmann’s recording also included his own percussion and bass playing. Late 1950s, Ingmann transformed his stage name to “Jørgen Ingmann and His Guitar” and in 1961 he recorded the instrumental ‘Apache’, which became a hit in the U.S.A.. With his wife he formed a duo as “Grethe og Jørgen Ingmann’ and the duo was elected winner of the
Eurovision Song Contest with the song “Dansevise” in 1963. The duo dissolved, when the marriage ended in 1975, and Jørgen Ingmann gradually left the public scene as a stage artist, but he was still active as a musician and record producer and kept releasing new instrumental recordings that were well received by a still loyal fan base. Ingmann withdrew definitely from the public in 1984 and enjoyed his retirement in his home until yesterday March 21, 2015, when he passed away peacefully according the media news.
http://4.bp.blogspot.com/-bSZ_P1mXgyo/VQ7dpPscizI/AAAAAAAADIY/ZoDk1k_oSZI/s1600/Joergen-Ingmann_colour.jpg
Jørgen Ingmann and his guitar
Below is inserted some uploaded highlights from Jørgen Ingmann’s career focusing on his guitar playing to honor a great artist. An online discography is available here (http://www.swinging-flensburg.de/09.pdf) and a Sound Cloud page has several tracks in streaming audio from Ingmann’s easy listening recordings, here (http://soundcloud.xyz/?%20%20name=J%C3%B8rgen_Ingmann)
Here’s first an example of Ingmann’s multi-track recording – ‘Muskrat Ramble’
Next another multi-track recording, ‘Amorada’ – also known as ‘Brasileirinho’
The 1961 instrumental hit, ‘Apache’ is included here
Finally, to end this small remembrance of Jørgen Ingmann as a guitarist, here is his recording of ‘Jeepers Creepers’
Jørgen Ingmann (1925 – 2015) – R.I.P.
—
Jo
keepitswinging.domain@gmail.com (mailto:keepitswinging.domain@gmail.com)
http://www.bxbluesband.nl/media/eyeflash.gifRetrospectKeep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jørgen Ingmann RIP: Keep (it) Swinging
http://www.jazzpromoservices.com/
** Keep (it) Swinging (http://keepitswinging.blogspot.com/)
————————————————————
————————————————————
Jørgen Ingmann (1925 – 2015) – A Popular Danish Guitarist (http://feedproxy.google.com/~r/KeepitSwinging/~3/EPUxkxxtpwM/jrgen-ingmann-1925-2015-popular-danish.html?utm_source=feedburner&utm_medium=email)
Posted: 22 Mar 2015 10:34 AM PDT
http://1.bp.blogspot.com/-MrLWhXCeWf4/VQ7cWQkAX6I/AAAAAAAADIM/HULUWVoI7EU/s1600/Jrgen%2BIngmann%2BIngmann.jpg
Jørgen Ingmann (1925-2015)
This morning the news in Danish media told the sad fact that the popular Danish guitarist Jørgen Ingmann passed away yesterday, nearly 90 years of age. Jørgen Ingmann was born April 26, 1925 in Copenhagen and started his career as a member of Svend Asmussen’s orchestra and was well-known as a jazz artist in the 1940s and 1950s. As a guitarist Ingmann was highly influenced by the American guitarist Les Paul. Jørgen Ingmann implemented Paul’s techniques and began exploring the possibilities of multi-track recording by setting up a home studio. He overdubed himself into a one-man band and recorded multiple layers of guitar at his home studio. Ingmann’s recording also included his own percussion and bass playing. Late 1950s, Ingmann transformed his stage name to “Jørgen Ingmann and His Guitar” and in 1961 he recorded the instrumental ‘Apache’, which became a hit in the U.S.A.. With his wife he formed a duo as “Grethe og Jørgen Ingmann’ and the duo was elected winner of the
Eurovision Song Contest with the song “Dansevise” in 1963. The duo dissolved, when the marriage ended in 1975, and Jørgen Ingmann gradually left the public scene as a stage artist, but he was still active as a musician and record producer and kept releasing new instrumental recordings that were well received by a still loyal fan base. Ingmann withdrew definitely from the public in 1984 and enjoyed his retirement in his home until yesterday March 21, 2015, when he passed away peacefully according the media news.
http://4.bp.blogspot.com/-bSZ_P1mXgyo/VQ7dpPscizI/AAAAAAAADIY/ZoDk1k_oSZI/s1600/Joergen-Ingmann_colour.jpg
Jørgen Ingmann and his guitar
Below is inserted some uploaded highlights from Jørgen Ingmann’s career focusing on his guitar playing to honor a great artist. An online discography is available here (http://www.swinging-flensburg.de/09.pdf) and a Sound Cloud page has several tracks in streaming audio from Ingmann’s easy listening recordings, here (http://soundcloud.xyz/?%20%20name=J%C3%B8rgen_Ingmann)
Here’s first an example of Ingmann’s multi-track recording – ‘Muskrat Ramble’
Next another multi-track recording, ‘Amorada’ – also known as ‘Brasileirinho’
The 1961 instrumental hit, ‘Apache’ is included here
Finally, to end this small remembrance of Jørgen Ingmann as a guitarist, here is his recording of ‘Jeepers Creepers’
Jørgen Ingmann (1925 – 2015) – R.I.P.
—
Jo
keepitswinging.domain@gmail.com (mailto:keepitswinging.domain@gmail.com)
http://www.bxbluesband.nl/media/eyeflash.gifRetrospectKeep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
You are subscribed to email updates from Keep (it) Swinging (http://keepitswinging.blogspot.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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USA
Michael Bryan Georgie Auld Doc Severinsen in 1962 pt1 – YouTube
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Copyright (C) 2015 All rights reserved.
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Warwick, Ny 10990
USA
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https://www.youtube.com/watch?v=76vS-8tZDXs
Michael (Mike) Bryan- Electric Guitar
Georgie Auld -Tenor
Doc Severinsen- Trumpet
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Derek Smith- Piano
Jack Lesberg- bass
Mousie Alexander- Drums
Benny’s Bugle
Blues in G
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Copyright (C) 2015 All rights reserved.
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USA
Michael Bryan Georgie Auld Doc Severinsen in 1962 pt1 – YouTube
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Michael (Mike) Bryan- Electric Guitar
Georgie Auld -Tenor
Doc Severinsen- Trumpet
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Derek Smith- Piano
Jack Lesberg- bass
Mousie Alexander- Drums
Benny’s Bugle
Blues in G
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Samuel Charters, Foundational Scholar of the Blues, Dies at 85 – NYTimes.com
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http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318
By LARRY ROHTER (http://topics.nytimes.com/top/reference/timestopics/people/r/larry_rohter/index.html) MARCH 18, 2015
Photo
Sam Charters, shown in 1963, was a jug player at the Vanguard. CreditAnn Charters
Continue reading the main story (http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Continue reading the main story (http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318&nlid=16833052&tntemail0=y#story-continues-1)
Samuel Charters, whose books and field research helped detonate the blues and folk music revival of the 1960s and 1970s, died on Wednesday at his home in Arsta, Sweden. He was 85.
The cause was myelodysplastic syndrome, a type of bone marrow cancer, his daughter Mallay Occhiogrosso said.
When Mr. Charters’s first book, “The Country Blues,” was published at the tail end of the 1950s, the rural Southern blues of the pre-World War II period was a largely ignored genre. His book immediately caused a sensation among college students and aspiring folk performers, like Bob Dylan, who would later become pop stars — a small but ultimately influential group. The book, which remains in print to this day, created a tradition of blues scholarship to which Mr. Charters would continue to contribute with books like “The Roots of the Blues” and “The Legacy of the Blues.”
“In retrospect, we can mark the publication of ‘The Country Blues’ in the fall of 1959 as a signal event in the history of the music,” the music historian Ted Gioia wrote in his book “The Delta Blues” (2008). As “the first extended history of traditional blues music,” Mr. Gioia said, it was “a moment of recognition and legitimation, but even more of proselytization, introducing a whole generation to the neglected riches of an art form.”
Released in tandem with “The Country Blues” was an album of the same name containing 14 songs, little known and almost impossible to find at the time, recorded in the 1920s and 1930s by artists like Robert Johnson, Sleepy John Estes, Blind Willie McTell and Bukka White. Mr. Dylan’s first album, recorded in 1961, included a version of Mr. White’s “Fixin’ to Die (https://www.youtube.com/watch?v=szGRsuK8MbM) ,” and within a decade other songs by the singers and guitarists Mr. Charters had highlighted were staples in the repertoires of blues and rock bands like the Allman Brothers, Canned Heat, Cream and the Rolling Stones.
Equally important, the aura of mystery Mr. Charters created around his subjects — where had they disappeared to? were they even alive? — encouraged readers to go out into the field themselves. Over the next five years, John Fahey, Alan Wilson, Henry Vestine, Dick Waterman and other disciples tracked down vanished names like Mr. White, Mr. Estes, Skip James and Son House, whose careers were thus revived and whose song catalogs were injected into folk and pop music.
“I always had the feeling that there were so few of us, and the work so vast,” Mr. Charters told Matthew Ismail, the author of the 2011 book “Blues Discovery.” “That’s why I wrote the books as I did, to romanticize the glamour of looking for old blues singers. I was saying, ‘Help! This job is really big, and I really need lots of help!’ I really exaggerated this, but it worked. My God, I came back from a year in Europe and I found kids doing research in the South.”
Photo
“The Country Blues,” edited by Samuel B. Charters.CreditRFF Records
Mr. Charters had himself earlier succumbed to the lure of field work, and he would continue to travel on four continents in pursuit of overlooked music and artists for the next 50 years. In 1958, he had gone to the Bahamas to record the guitarist Joseph Spence (https://www.youtube.com/watch?v=hugq2HWRt8o) (who would influence the Grateful Dead, Taj Mahal and others), and a year later he helped revive the career of the Texas guitarist Lightnin’ Hopkins (https://www.youtube.com/watch?v=lK5zYI86wIw) .
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Throughout the 1960s, as the audience for the blues expanded exponentially, Mr. Charters continued to write about the music and to produce blues-based records for Folkways, Prestige, Vanguard and other labels. “The Poetry of the Blues,” with evocative photographs by his wife, Ann Charters, was published in 1963, and “The Bluesmen” appeared in 1967; during that same period he also wrote two books about jazz, “Jazz New Orleans” and, with Leonard Kunstadt, “Jazz: A History of the New York Scene.”
By the mid-1960s, Mr. Charters had broadened his focus to include contemporary electric blues, producing an influential three-record anthology of new recordings called “Chicago: The Blues Today!” Songs from that collection, as well as from albums Mr. Charters produced for Junior Wells, Buddy Guy, James Cotton and Charlie Musselwhite, were soon covered by rock groups like Led Zeppelin and Steppenwolf and remained rock standards through the decades that followed.
Samuel Barclay Charters IV was born into comfortable circumstances in Pittsburgh on Aug. 1, 1929, and grew up there and in Sacramento, Calif. In autobiographical writings and interviews, he would recall a childhood immersed in jazz and classical music. He dated his interest in the blues to first hearing Bessie Smith’s recording of “Nobody Knows You When You’re Down and Out (https://www.youtube.com/watch?v=6MzU8xM99Uo) ” when he was about 8 years old.
After serving in the Army during the Korean War, he spent time in New Orleans, where he played clarinet, banjo and washboard in bands and studied with the jazz clarinetist George Lewis while also researching that city’s rich musical history. He then went back to California, where he earned a degree in economics from the University of California, Berkeley, before returning to the field.
After the initial impact of “The Country Blues,” which would be inducted into the Blues Hall of Fame in 1991, Mr. Charters resumed performing music, more for the sheer fun of it than as a livelihood. He played with Dave Van Ronk in the Ragtime Jug Stompers and then formed a duo called the New Strangers with the guitarist Danny Kalb, later of the Blues Project.
By the mid-1960s, Mr. Charters had also been drawn to the psychedelic music emerging in the San Francisco area. He produced the first four albums by Country Joe & the Fish, including the satirical “I-Feel-Like-I’m-Fixin’-to-Die Rag,” one of the best-known protest songs of the Vietnam War era.
Mr. Charters had long been involved in the civil rights movement and left-wing causes, and the Vietnam War infuriated him. He moved to Sweden with his family in 1970 and later acquired Swedish citizenship, eventually settling into a pattern of shuttling between Stockholm and Storrs, where his wife, now retired, taught American literature for many years at the University of Connecticut.
After leaving the United States, Mr. Charters published several collections of poetry, including “Things to Do Around Piccadilly” and “What Paths, What Journeys,” and wrote novels, among them “Louisiana Black” and “Elvis Presley Calls His Mother After the Ed Sullivan Show.” He also translated works from Swedish by authors including the poet Tomas Transtromer, who in 2011 won the Nobel Prize in Literature, and wrote a book in Swedish, “Spelmannen,” about Swedish fiddlers.
Continue reading the main story (http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318&nlid=16833052&tntemail0=y#story-continues-6) Continue reading the main story (http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318&nlid=16833052&tntemail0=y#story-continues-6)
Continue reading the main story (http://www.nytimes.com/2015/03/19/arts/music/samuel-charters-foundational-scholar-of-the-blues-dies-at-85.html?emc=edit_tnt_20150318&nlid=16833052&tntemail0=y#story-continues-6)
In addition, Mr. Charters wrote two books with his wife, an expert on the literature of the Beat Generation as well as a pianist and photographer: a biography of the Russian poet Vladimir Mayakovsky and “Brother Souls: John Clellon Holmes, Jack Kerouac and the Beat Generation.”
He also continued to write extensively about jazz and blues until the end of his life. His book “A Language of Song: Journeys in the Musical World of the African Diaspora,” a series of essays on the evolution of music in places like the Caribbean, Brazil and the Georgia Sea Islands, was published in 2009. Two other books, “Songs of Sorrow,” a biography of Lucy McKim Garrison, who in the mid-19th century compiled the first book of American slave songs, and “The Harry Bright Dances,” a novel about roots music set in Oklahoma, are scheduled for publication next month.
Besides his wife and his daughter, a psychiatrist, Mr. Charters is survived by a son from an earlier marriage, Samuel, a naval architect, and another daughter, Nora Charters, a photographer. Beginning in 2000, Mr. and Mrs. Charters donated much of their vast collection of recordings, sheet music, books, photographs and other documents to the University of Connecticut.
“For me, the writing about black music was my way of fighting racism,” Mr. Charters said in his interview with Mr. Ismail. “That’s why my work is not academic, that is why it is absolutely nothing but popularization: I wanted people to hear black music.”
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