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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
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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) .
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-3)

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.”

** NEXT IN MUSIC
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Samuel Charters, Foundational Scholar of the Blues, Dies at 85 – NYTimes.com

http://www.jazzpromoservices.com/
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) .
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-3)

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.”

** NEXT IN MUSIC
————————————————————

This E Mail Is Being Sent by:
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Samuel Charters, Foundational Scholar of the Blues, Dies at 85 – NYTimes.com

http://www.jazzpromoservices.com/
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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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) .
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-3)

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.”

** NEXT IN MUSIC
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Okki Nokki Record Cleaning Machine Black White RCM

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http://www.okkinokkiusa.com/collections/okki-nokki-collection/products/okki-nokki-record-cleaning-machine

Only $ 649.00

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OKKI NOKKI RECORD CLEANING MACHINE

The King of Clean Vinyl
* Fully automatic European-designed Record Cleaning Machine
* Cool running turntable allows for hours of use
* Quiet motor leaves sanity intact
* Forward and reverse motor for deep cleaning
* Vacuum tubes for 7″ and 10″ records available
* Comes with proprietary record cleaning fluid and goat-hair brush

The Okki Nokki Record Cleaning Machine is an exceptionally well-designed machine designed for the thorough and careful cleaning of all vinyl records. The Award Winning Okki Nokki is a quality product designed in the Netherlands and consists of a heavy-duty motor/turntable and vacuum system encased in a compact aluminum chassis.

When used with the supplied goat hair cleaning brush, the forward/reverse turntable motion allows for extremely effective groove scrubbing. Once cleaned, the record can be vacuumed using the suction arm. The residual dirt and fluid is then removed by suction and transferred into the internal liquid reservoir, which has a sensor that will shut off the machine when it’s full. Okki Nokki has dedicated suction arms for 7” and 10 “ records, available as options.

This cleaning machine and process is not recommended for shellac or acetate recordings.

There is a 6-month manufacturer’s warranty for parts and labor.

Included In the Box:
* Okki Nokki Record Cleaning Machine
* 1 12″ Vacuum Arm
* 1 Goat Hair Cleaning Brush
* 1 Aluminum Record Clamp
* 50 mL Bottle of Record Cleaning Cleaning Fluid, Concentrated
* Grounded, Detachable, AC Power Cord designed for use in the USA

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Okki Nokki Record Cleaning Machine Black White RCM

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http://www.okkinokkiusa.com/collections/okki-nokki-collection/products/okki-nokki-record-cleaning-machine

Only $ 649.00

For $ 649.00 I’ll come to your house personally and clean your records.

OKKI NOKKI RECORD CLEANING MACHINE

The King of Clean Vinyl
* Fully automatic European-designed Record Cleaning Machine
* Cool running turntable allows for hours of use
* Quiet motor leaves sanity intact
* Forward and reverse motor for deep cleaning
* Vacuum tubes for 7″ and 10″ records available
* Comes with proprietary record cleaning fluid and goat-hair brush

The Okki Nokki Record Cleaning Machine is an exceptionally well-designed machine designed for the thorough and careful cleaning of all vinyl records. The Award Winning Okki Nokki is a quality product designed in the Netherlands and consists of a heavy-duty motor/turntable and vacuum system encased in a compact aluminum chassis.

When used with the supplied goat hair cleaning brush, the forward/reverse turntable motion allows for extremely effective groove scrubbing. Once cleaned, the record can be vacuumed using the suction arm. The residual dirt and fluid is then removed by suction and transferred into the internal liquid reservoir, which has a sensor that will shut off the machine when it’s full. Okki Nokki has dedicated suction arms for 7” and 10 “ records, available as options.

This cleaning machine and process is not recommended for shellac or acetate recordings.

There is a 6-month manufacturer’s warranty for parts and labor.

Included In the Box:
* Okki Nokki Record Cleaning Machine
* 1 12″ Vacuum Arm
* 1 Goat Hair Cleaning Brush
* 1 Aluminum Record Clamp
* 50 mL Bottle of Record Cleaning Cleaning Fluid, Concentrated
* Grounded, Detachable, AC Power Cord designed for use in the USA

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
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Warwick, Ny 10990
USA

Okki Nokki Record Cleaning Machine Black White RCM

http://www.jazzpromoservices.com/
http://www.okkinokkiusa.com/collections/okki-nokki-collection/products/okki-nokki-record-cleaning-machine

Only $ 649.00

For $ 649.00 I’ll come to your house personally and clean your records.

OKKI NOKKI RECORD CLEANING MACHINE

The King of Clean Vinyl
* Fully automatic European-designed Record Cleaning Machine
* Cool running turntable allows for hours of use
* Quiet motor leaves sanity intact
* Forward and reverse motor for deep cleaning
* Vacuum tubes for 7″ and 10″ records available
* Comes with proprietary record cleaning fluid and goat-hair brush

The Okki Nokki Record Cleaning Machine is an exceptionally well-designed machine designed for the thorough and careful cleaning of all vinyl records. The Award Winning Okki Nokki is a quality product designed in the Netherlands and consists of a heavy-duty motor/turntable and vacuum system encased in a compact aluminum chassis.

When used with the supplied goat hair cleaning brush, the forward/reverse turntable motion allows for extremely effective groove scrubbing. Once cleaned, the record can be vacuumed using the suction arm. The residual dirt and fluid is then removed by suction and transferred into the internal liquid reservoir, which has a sensor that will shut off the machine when it’s full. Okki Nokki has dedicated suction arms for 7” and 10 “ records, available as options.

This cleaning machine and process is not recommended for shellac or acetate recordings.

There is a 6-month manufacturer’s warranty for parts and labor.

Included In the Box:
* Okki Nokki Record Cleaning Machine
* 1 12″ Vacuum Arm
* 1 Goat Hair Cleaning Brush
* 1 Aluminum Record Clamp
* 50 mL Bottle of Record Cleaning Cleaning Fluid, Concentrated
* Grounded, Detachable, AC Power Cord designed for use in the USA

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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How Verve Records Got Gutted by Ted Gioia – The Daily Beast

http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2015/03/14/how-verve-records-got-gutted.html

** How Verve Records Got Gutted
————————————————————

By Ted Gioia (http://www.thedailybeast.com/contributors/ted-gioia.html)
The record label of Billie Holiday and Ella Fitzgerald just got swallowed by a hip-hop business… and no one even noticed!

The announcement could hardly have been hidden any better. Slipping the news into the second paragraph of a press release about a management change, Universal Music disclosed last week that most of the day-to-day responsibility for the once great Verve label has been absorbed by its hip-hop and pop operations. Interscope Geffen A&M, the home of Eminem and Lady Gaga, “is now responsible for Verve’s sales, marketing and film and TV licensing.”

What a strange turn of events! Interscope, founded in 1989 by Jimmy Iovine, first made its mark in the music world as the in-your-face label of gangsta rappers—although later corporate moves have broadened its catalog to include a range of pop and rock acts. Verve, in contrast, started out as a posh home for jazz stars who played the classic songs of George Gershwin, Irving Berlin, Cole Porter, and other craftsman tunesmiths of the Golden Age of America popular music. Even the most optimistic jazz fan must cringe at the prospects of a shotgun marriage between these different organizations with their contrasting traditions.

My sources tell me that the organizational shake-up took place quietly some weeks back. David Foster, head of Verve, is still in place, and can rely on newly-appointed general manager Mike Rittberg to help him maintain some independence for the label. But the rank and file of the Verve team have been dismissed. The sales and marketing push behind whatever remains of Verve’s jazz mission—if anything—will be handled by the same folks who are pushing Maroon 5 and Imagine Dragons. Anyone want to guess how much they care about jazz?

Oh, yes, in the fourth paragraph of the press release (http://www.prnewswire.com/news-releases/verve-music-group-promotes-mike-rittberg-to-general-manager-300045577.html) , we learn that Verve will “redevelop its brand in the coming year.” I think this is corporate speak for “we don’t quite know what we are doing.”

Frankly, I am not surprised at this turn of events. Norman Granz, who founded Verve Records in 1956, would be horrified by the recent history of his iconic label. Granz worked with most of the major jazz artists of the middle decades of the 20th century. At one time or another, Granz recorded Duke Ellington, Louis Armstrong, Charlie Parker, Dizzy Gillespie, Art Tatum, Stan Getz, Ella Fitzgerald, Billie Holiday, Count Basie, Oscar Peterson and dozens of other now legendary jazz figures.

What would Granz think of Verve’s Donny Osmond album “tracing the high and low points of both his professional and personal life”? Or the recent Barry Manilow album on Verve, which finds the pop crooner collaborating with a host of dead musicians? It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

Granz was a tenacious businessman, but he also knew that some things were more important than money. He fought against racial discrimination at every juncture, and refused to compromise in situations where others would have folded. He once confronted an armed policeman trying to plant drugs in Ella Fitzgerald’s dressing room. “I ought to kill you,” threatened the cop, who pointed a gun at the producer’s stomach. Granz responded, “Well, if you’re going to shoot me, I mean, shoot me.” Granz showed similar courage when insisting that a taxi driver operating a “whites only” vehicle give a ride to Fitzgerald, or tearing down the signs for white and black patrons at a jazz concert. Nat Hentoff has called Granz the ‘”the most stubborn and brusque man I have never known”—but only someone with such fierce determination could have overcome the obstacles facing a music impresario committed to civil rights in the ’40s and ’50s.

Verve would benefit today from someone with Granz’s vision and stubbornness. As I look back at Verve’s output in recent years, the most striking aspect is the lack of any consistent guiding principles. Some albums are better than others, but too many decisions seem driven by marketing concepts rather than a commitment to artistry. Even Diana Krall, one of the few high caliber jazz artists still affiliated with Verve, is presented in the crassest way. Her 2012 release, Glad Rag Doll,looked more like an excuse for a lingerie photo shoot than a jazz album. Her latest recording, Wallflower, has a few inspired musical moments, but the focus on tired top 40 pop material from a second-rate oldies playlist—“Alone Again (Naturally),” “Desperado,” “I’m Not in Love”—is cheesy in the extreme. Krall succeeds here despite the song choices; a lesser artist might have lost all credibility in jazz circles with an album of this sort.

How could Universal fix Verve? Perhaps they should look back to the steps Norman Granz took to revitalize Ella Fitzgerald’s career in the ’50s—the greatest success story in the history of the Verve label. While under contract to Decca (ironically, now part of the Universal Music empire that controls Verve), she was prodded into recording embarrassing songs such as “Santa Claus Got Stuck in My Chimney” and “Little Man in a Flying Saucer.” But when Granz brought her on board the new Verve label, he packaged and promoted her as the leading jazz interpreter of classic American songs. The resulting “Songbook” albums—featuring the music of George Gershwin, Cole Porter, Duke Ellington and others composers of the highest caliber—still serve as the foundation of Verve’s catalog and reputation.

That kind of commitment to quality is still the best recipe for long-term success in the jazz field. Throw out the gimmicks. Forget about clever press releases. Instead, back the finest talent and give them a platform to make the best music possible. If Universal Music wants to see how this is done, they should check out the jazz offerings from ECM, Nonesuch, and other labels that have flourished, even during tough times, with a commitment to artistry that starts at the top of the organization.

Or, if that is too much to ask from the new team at Interscope, perhaps the best thing for all parties would be to find a new owner for this historic label. Maybe with a different boss, Verve could once again live up to promise embodied by its name.

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How Verve Records Got Gutted by Ted Gioia – The Daily Beast

http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2015/03/14/how-verve-records-got-gutted.html

** How Verve Records Got Gutted
————————————————————

By Ted Gioia (http://www.thedailybeast.com/contributors/ted-gioia.html)
The record label of Billie Holiday and Ella Fitzgerald just got swallowed by a hip-hop business… and no one even noticed!

The announcement could hardly have been hidden any better. Slipping the news into the second paragraph of a press release about a management change, Universal Music disclosed last week that most of the day-to-day responsibility for the once great Verve label has been absorbed by its hip-hop and pop operations. Interscope Geffen A&M, the home of Eminem and Lady Gaga, “is now responsible for Verve’s sales, marketing and film and TV licensing.”

What a strange turn of events! Interscope, founded in 1989 by Jimmy Iovine, first made its mark in the music world as the in-your-face label of gangsta rappers—although later corporate moves have broadened its catalog to include a range of pop and rock acts. Verve, in contrast, started out as a posh home for jazz stars who played the classic songs of George Gershwin, Irving Berlin, Cole Porter, and other craftsman tunesmiths of the Golden Age of America popular music. Even the most optimistic jazz fan must cringe at the prospects of a shotgun marriage between these different organizations with their contrasting traditions.

My sources tell me that the organizational shake-up took place quietly some weeks back. David Foster, head of Verve, is still in place, and can rely on newly-appointed general manager Mike Rittberg to help him maintain some independence for the label. But the rank and file of the Verve team have been dismissed. The sales and marketing push behind whatever remains of Verve’s jazz mission—if anything—will be handled by the same folks who are pushing Maroon 5 and Imagine Dragons. Anyone want to guess how much they care about jazz?

Oh, yes, in the fourth paragraph of the press release (http://www.prnewswire.com/news-releases/verve-music-group-promotes-mike-rittberg-to-general-manager-300045577.html) , we learn that Verve will “redevelop its brand in the coming year.” I think this is corporate speak for “we don’t quite know what we are doing.”

Frankly, I am not surprised at this turn of events. Norman Granz, who founded Verve Records in 1956, would be horrified by the recent history of his iconic label. Granz worked with most of the major jazz artists of the middle decades of the 20th century. At one time or another, Granz recorded Duke Ellington, Louis Armstrong, Charlie Parker, Dizzy Gillespie, Art Tatum, Stan Getz, Ella Fitzgerald, Billie Holiday, Count Basie, Oscar Peterson and dozens of other now legendary jazz figures.

What would Granz think of Verve’s Donny Osmond album “tracing the high and low points of both his professional and personal life”? Or the recent Barry Manilow album on Verve, which finds the pop crooner collaborating with a host of dead musicians? It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

Granz was a tenacious businessman, but he also knew that some things were more important than money. He fought against racial discrimination at every juncture, and refused to compromise in situations where others would have folded. He once confronted an armed policeman trying to plant drugs in Ella Fitzgerald’s dressing room. “I ought to kill you,” threatened the cop, who pointed a gun at the producer’s stomach. Granz responded, “Well, if you’re going to shoot me, I mean, shoot me.” Granz showed similar courage when insisting that a taxi driver operating a “whites only” vehicle give a ride to Fitzgerald, or tearing down the signs for white and black patrons at a jazz concert. Nat Hentoff has called Granz the ‘”the most stubborn and brusque man I have never known”—but only someone with such fierce determination could have overcome the obstacles facing a music impresario committed to civil rights in the ’40s and ’50s.

Verve would benefit today from someone with Granz’s vision and stubbornness. As I look back at Verve’s output in recent years, the most striking aspect is the lack of any consistent guiding principles. Some albums are better than others, but too many decisions seem driven by marketing concepts rather than a commitment to artistry. Even Diana Krall, one of the few high caliber jazz artists still affiliated with Verve, is presented in the crassest way. Her 2012 release, Glad Rag Doll,looked more like an excuse for a lingerie photo shoot than a jazz album. Her latest recording, Wallflower, has a few inspired musical moments, but the focus on tired top 40 pop material from a second-rate oldies playlist—“Alone Again (Naturally),” “Desperado,” “I’m Not in Love”—is cheesy in the extreme. Krall succeeds here despite the song choices; a lesser artist might have lost all credibility in jazz circles with an album of this sort.

How could Universal fix Verve? Perhaps they should look back to the steps Norman Granz took to revitalize Ella Fitzgerald’s career in the ’50s—the greatest success story in the history of the Verve label. While under contract to Decca (ironically, now part of the Universal Music empire that controls Verve), she was prodded into recording embarrassing songs such as “Santa Claus Got Stuck in My Chimney” and “Little Man in a Flying Saucer.” But when Granz brought her on board the new Verve label, he packaged and promoted her as the leading jazz interpreter of classic American songs. The resulting “Songbook” albums—featuring the music of George Gershwin, Cole Porter, Duke Ellington and others composers of the highest caliber—still serve as the foundation of Verve’s catalog and reputation.

That kind of commitment to quality is still the best recipe for long-term success in the jazz field. Throw out the gimmicks. Forget about clever press releases. Instead, back the finest talent and give them a platform to make the best music possible. If Universal Music wants to see how this is done, they should check out the jazz offerings from ECM, Nonesuch, and other labels that have flourished, even during tough times, with a commitment to artistry that starts at the top of the organization.

Or, if that is too much to ask from the new team at Interscope, perhaps the best thing for all parties would be to find a new owner for this historic label. Maybe with a different boss, Verve could once again live up to promise embodied by its name.

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How Verve Records Got Gutted by Ted Gioia – The Daily Beast

http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2015/03/14/how-verve-records-got-gutted.html

** How Verve Records Got Gutted
————————————————————

By Ted Gioia (http://www.thedailybeast.com/contributors/ted-gioia.html)
The record label of Billie Holiday and Ella Fitzgerald just got swallowed by a hip-hop business… and no one even noticed!

The announcement could hardly have been hidden any better. Slipping the news into the second paragraph of a press release about a management change, Universal Music disclosed last week that most of the day-to-day responsibility for the once great Verve label has been absorbed by its hip-hop and pop operations. Interscope Geffen A&M, the home of Eminem and Lady Gaga, “is now responsible for Verve’s sales, marketing and film and TV licensing.”

What a strange turn of events! Interscope, founded in 1989 by Jimmy Iovine, first made its mark in the music world as the in-your-face label of gangsta rappers—although later corporate moves have broadened its catalog to include a range of pop and rock acts. Verve, in contrast, started out as a posh home for jazz stars who played the classic songs of George Gershwin, Irving Berlin, Cole Porter, and other craftsman tunesmiths of the Golden Age of America popular music. Even the most optimistic jazz fan must cringe at the prospects of a shotgun marriage between these different organizations with their contrasting traditions.

My sources tell me that the organizational shake-up took place quietly some weeks back. David Foster, head of Verve, is still in place, and can rely on newly-appointed general manager Mike Rittberg to help him maintain some independence for the label. But the rank and file of the Verve team have been dismissed. The sales and marketing push behind whatever remains of Verve’s jazz mission—if anything—will be handled by the same folks who are pushing Maroon 5 and Imagine Dragons. Anyone want to guess how much they care about jazz?

Oh, yes, in the fourth paragraph of the press release (http://www.prnewswire.com/news-releases/verve-music-group-promotes-mike-rittberg-to-general-manager-300045577.html) , we learn that Verve will “redevelop its brand in the coming year.” I think this is corporate speak for “we don’t quite know what we are doing.”

Frankly, I am not surprised at this turn of events. Norman Granz, who founded Verve Records in 1956, would be horrified by the recent history of his iconic label. Granz worked with most of the major jazz artists of the middle decades of the 20th century. At one time or another, Granz recorded Duke Ellington, Louis Armstrong, Charlie Parker, Dizzy Gillespie, Art Tatum, Stan Getz, Ella Fitzgerald, Billie Holiday, Count Basie, Oscar Peterson and dozens of other now legendary jazz figures.

What would Granz think of Verve’s Donny Osmond album “tracing the high and low points of both his professional and personal life”? Or the recent Barry Manilow album on Verve, which finds the pop crooner collaborating with a host of dead musicians? It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward.

Granz was a tenacious businessman, but he also knew that some things were more important than money. He fought against racial discrimination at every juncture, and refused to compromise in situations where others would have folded. He once confronted an armed policeman trying to plant drugs in Ella Fitzgerald’s dressing room. “I ought to kill you,” threatened the cop, who pointed a gun at the producer’s stomach. Granz responded, “Well, if you’re going to shoot me, I mean, shoot me.” Granz showed similar courage when insisting that a taxi driver operating a “whites only” vehicle give a ride to Fitzgerald, or tearing down the signs for white and black patrons at a jazz concert. Nat Hentoff has called Granz the ‘”the most stubborn and brusque man I have never known”—but only someone with such fierce determination could have overcome the obstacles facing a music impresario committed to civil rights in the ’40s and ’50s.

Verve would benefit today from someone with Granz’s vision and stubbornness. As I look back at Verve’s output in recent years, the most striking aspect is the lack of any consistent guiding principles. Some albums are better than others, but too many decisions seem driven by marketing concepts rather than a commitment to artistry. Even Diana Krall, one of the few high caliber jazz artists still affiliated with Verve, is presented in the crassest way. Her 2012 release, Glad Rag Doll,looked more like an excuse for a lingerie photo shoot than a jazz album. Her latest recording, Wallflower, has a few inspired musical moments, but the focus on tired top 40 pop material from a second-rate oldies playlist—“Alone Again (Naturally),” “Desperado,” “I’m Not in Love”—is cheesy in the extreme. Krall succeeds here despite the song choices; a lesser artist might have lost all credibility in jazz circles with an album of this sort.

How could Universal fix Verve? Perhaps they should look back to the steps Norman Granz took to revitalize Ella Fitzgerald’s career in the ’50s—the greatest success story in the history of the Verve label. While under contract to Decca (ironically, now part of the Universal Music empire that controls Verve), she was prodded into recording embarrassing songs such as “Santa Claus Got Stuck in My Chimney” and “Little Man in a Flying Saucer.” But when Granz brought her on board the new Verve label, he packaged and promoted her as the leading jazz interpreter of classic American songs. The resulting “Songbook” albums—featuring the music of George Gershwin, Cole Porter, Duke Ellington and others composers of the highest caliber—still serve as the foundation of Verve’s catalog and reputation.

That kind of commitment to quality is still the best recipe for long-term success in the jazz field. Throw out the gimmicks. Forget about clever press releases. Instead, back the finest talent and give them a platform to make the best music possible. If Universal Music wants to see how this is done, they should check out the jazz offerings from ECM, Nonesuch, and other labels that have flourished, even during tough times, with a commitment to artistry that starts at the top of the organization.

Or, if that is too much to ask from the new team at Interscope, perhaps the best thing for all parties would be to find a new owner for this historic label. Maybe with a different boss, Verve could once again live up to promise embodied by its name.

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop | Showbiz411

http://www.jazzpromoservices.com/
http://www.showbiz411.com/2015/03/12/review-the-wrecking-crew-in-theaters-at-last-the-whole-story-of-60s-and-70s-pop

** Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop
————————————————————
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Where do I begin with my love for Denny Tedesco’s “The Wrecking Crew”? It opens Friday somewhere, and probably goes to DVD and pay TV soon. You must see it if you love the music of the 60s and the 70s. These musicians played on all the biggest hits. Sometimes they stood in for the groups that were promoted to the public– like The Association and The Monkees.

They played on all of Phil Spector’s hits and created the Wall of Sound. The big names that came out of the Wrecking Crew were Glenn Campbell and Leon Russell, and Sonny and Cher. But you’ve got Hal Blaine, Bones Howe, and Tommy Tedesco, Denny’s dad, who were unsung heroes and legends among musicians.

“The Wrecking Crew” (http://www.thewreckingcrew.com/) is a long time in the making– like 20 years. For a long time Denny couldn’t get clearance for all the music he included. Somehow it’s worked out. He covers almost everything and everyone, with the notable exception of the Fifth Dimension. All their records were made by the Crew, with their gorgeous voices soaring above Blaine and crew.

But everyone else is here. Fans of Cher will see just how smart and funny she is, and how well she looked when she did these interviews. (Seems like right after Sonny’s death in 1998.)

If you’re looking for relevance, and topicality, this jumped out at me because of the current Robin Thicke-Marvin Gaye lawsuit. Tedesco and friends (bass player Carole Kaye, a legend and the only woman) discuss how the sheet music meant little. It’s what they did with it that made the hits memorable.

My favorite pieces– an interview with Nancy Sinatra about recording “Something Stupid” with her dad; the whole discussion of surf music; Plas Johnson and Earl Palmer; and everything about Hal Blaine. also, I love the fact that Phil Spector is a small part of the story. Get this film.

PS Some people will say “Be My Baby” is the zenith of the Wrecking Crew. Some may say “You’ve Lost that Lovin’ Feeling” or “Wichita Lineman.” Or “Good Vibrations.” So many to choose from. Here’s one of my favorites:

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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Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop | Showbiz411

http://www.jazzpromoservices.com/
http://www.showbiz411.com/2015/03/12/review-the-wrecking-crew-in-theaters-at-last-the-whole-story-of-60s-and-70s-pop

** Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop
————————————————————
Home (http://www.showbiz411.com/) Movies (http://www.showbiz411.com/category/movie) Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of…
http://www.showbiz411.com/wp-content/uploads/2015/03/wrecking-crew.jpg

Where do I begin with my love for Denny Tedesco’s “The Wrecking Crew”? It opens Friday somewhere, and probably goes to DVD and pay TV soon. You must see it if you love the music of the 60s and the 70s. These musicians played on all the biggest hits. Sometimes they stood in for the groups that were promoted to the public– like The Association and The Monkees.

They played on all of Phil Spector’s hits and created the Wall of Sound. The big names that came out of the Wrecking Crew were Glenn Campbell and Leon Russell, and Sonny and Cher. But you’ve got Hal Blaine, Bones Howe, and Tommy Tedesco, Denny’s dad, who were unsung heroes and legends among musicians.

“The Wrecking Crew” (http://www.thewreckingcrew.com/) is a long time in the making– like 20 years. For a long time Denny couldn’t get clearance for all the music he included. Somehow it’s worked out. He covers almost everything and everyone, with the notable exception of the Fifth Dimension. All their records were made by the Crew, with their gorgeous voices soaring above Blaine and crew.

But everyone else is here. Fans of Cher will see just how smart and funny she is, and how well she looked when she did these interviews. (Seems like right after Sonny’s death in 1998.)

If you’re looking for relevance, and topicality, this jumped out at me because of the current Robin Thicke-Marvin Gaye lawsuit. Tedesco and friends (bass player Carole Kaye, a legend and the only woman) discuss how the sheet music meant little. It’s what they did with it that made the hits memorable.

My favorite pieces– an interview with Nancy Sinatra about recording “Something Stupid” with her dad; the whole discussion of surf music; Plas Johnson and Earl Palmer; and everything about Hal Blaine. also, I love the fact that Phil Spector is a small part of the story. Get this film.

PS Some people will say “Be My Baby” is the zenith of the Wrecking Crew. Some may say “You’ve Lost that Lovin’ Feeling” or “Wichita Lineman.” Or “Good Vibrations.” So many to choose from. Here’s one of my favorites:

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)

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.

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Warwick, Ny 10990
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Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop | Showbiz411

http://www.jazzpromoservices.com/
http://www.showbiz411.com/2015/03/12/review-the-wrecking-crew-in-theaters-at-last-the-whole-story-of-60s-and-70s-pop

** Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of 60s and 70s Pop
————————————————————
Home (http://www.showbiz411.com/) Movies (http://www.showbiz411.com/category/movie) Review: “The Wrecking Crew” In Theaters At Last, The Whole Story of…
http://www.showbiz411.com/wp-content/uploads/2015/03/wrecking-crew.jpg

Where do I begin with my love for Denny Tedesco’s “The Wrecking Crew”? It opens Friday somewhere, and probably goes to DVD and pay TV soon. You must see it if you love the music of the 60s and the 70s. These musicians played on all the biggest hits. Sometimes they stood in for the groups that were promoted to the public– like The Association and The Monkees.

They played on all of Phil Spector’s hits and created the Wall of Sound. The big names that came out of the Wrecking Crew were Glenn Campbell and Leon Russell, and Sonny and Cher. But you’ve got Hal Blaine, Bones Howe, and Tommy Tedesco, Denny’s dad, who were unsung heroes and legends among musicians.

“The Wrecking Crew” (http://www.thewreckingcrew.com/) is a long time in the making– like 20 years. For a long time Denny couldn’t get clearance for all the music he included. Somehow it’s worked out. He covers almost everything and everyone, with the notable exception of the Fifth Dimension. All their records were made by the Crew, with their gorgeous voices soaring above Blaine and crew.

But everyone else is here. Fans of Cher will see just how smart and funny she is, and how well she looked when she did these interviews. (Seems like right after Sonny’s death in 1998.)

If you’re looking for relevance, and topicality, this jumped out at me because of the current Robin Thicke-Marvin Gaye lawsuit. Tedesco and friends (bass player Carole Kaye, a legend and the only woman) discuss how the sheet music meant little. It’s what they did with it that made the hits memorable.

My favorite pieces– an interview with Nancy Sinatra about recording “Something Stupid” with her dad; the whole discussion of surf music; Plas Johnson and Earl Palmer; and everything about Hal Blaine. also, I love the fact that Phil Spector is a small part of the story. Get this film.

PS Some people will say “Be My Baby” is the zenith of the Wrecking Crew. Some may say “You’ve Lost that Lovin’ Feeling” or “Wichita Lineman.” Or “Good Vibrations.” So many to choose from. Here’s one of my favorites:

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)

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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Bill Evans Trio @ Molde – 25.09.1980 Norwegian State Broadcasting

http://www.jazzpromoservices.com/
http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980

Video: Bill Evans in Molde (http://feedproxy.google.com/~r/Jazzwax/~3/4zr0NFMgSxE/video-bill-evans-in-molde.html?utm_source=feedburner&utm_medium=email)

Posted: 11 Mar 2015 09:05 PM PDT

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08030b5f970d-popup
The clip of Bill Evans performing in in Molde, Norway, just weeks before his death in 1980 was pulled from YouTube a short time ago. No worries. The Norwegian State Broadcasting Agency, which originally filmed Evans there, posted the performance in its entirety on its website. Special thanks to reader Morten Winther. Go here (http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980) .

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Bill Evans Trio @ Molde – 25.09.1980 Norwegian State Broadcasting

http://www.jazzpromoservices.com/
http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980

Video: Bill Evans in Molde (http://feedproxy.google.com/~r/Jazzwax/~3/4zr0NFMgSxE/video-bill-evans-in-molde.html?utm_source=feedburner&utm_medium=email)

Posted: 11 Mar 2015 09:05 PM PDT

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08030b5f970d-popup
The clip of Bill Evans performing in in Molde, Norway, just weeks before his death in 1980 was pulled from YouTube a short time ago. No worries. The Norwegian State Broadcasting Agency, which originally filmed Evans there, posted the performance in its entirety on its website. Special thanks to reader Morten Winther. Go here (http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980) .

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Bill Evans Trio @ Molde – 25.09.1980 Norwegian State Broadcasting

http://www.jazzpromoservices.com/
http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980

Video: Bill Evans in Molde (http://feedproxy.google.com/~r/Jazzwax/~3/4zr0NFMgSxE/video-bill-evans-in-molde.html?utm_source=feedburner&utm_medium=email)

Posted: 11 Mar 2015 09:05 PM PDT

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08030b5f970d-popup
The clip of Bill Evans performing in in Molde, Norway, just weeks before his death in 1980 was pulled from YouTube a short time ago. No worries. The Norwegian State Broadcasting Agency, which originally filmed Evans there, posted the performance in its entirety on its website. Special thanks to reader Morten Winther. Go here (http://tv.nrk.no/serie/flimra/FBUA07002480/25-09-1980) .

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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“Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli: IJS Roundtable at a Special Time, 3-18-15

http://www.jazzpromoservices.com/

**
————————————————————
Please join us on Wednesday, March 18, 2015 at a SPECIAL START TIME of 4:00 PM when the Institute of Jazz Studies will present a two-hour Jazz Research Roundtable entitled: “Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli.

In 2000, Wayne Shorter formed a new acoustic quartet featuring Brian Blade on drums, Danilo Perez on piano, and John Patitucci on bass. The group explores a wide range of Shorter’s compositions from the 1950s through the present day. Yet, the group’s interpretations of this familiar material often deviate highly from expectations, reflecting a de-emphasis of formal and harmonic components that typically constitute elements that anchor and dictate the performances and interpretations by jazz musicians. Instead, Mr. Petrucelli proposes that motivic and rhythmic elements are used as gestures that allow the musicians to spontaneously generate a musical narrative while retaining a dialectical type of group cohesion. During the course of his presentation he will frame the discussion through the prism of individual song analysis. He will demonstrate “canonical” interpretations of songs such as “Masqualero,” “Footprints,” “Sanctuary,” and “Orbits” tracing their contextual changes
through repeated performances and linking this back to an impulse toward free jazz as articulated by Shorter’s stylistic growth in other recordings of his career.

The concept of motivic improvising can be re-contextualized as gesture with the ability to relate and change expressive content. In other words, the same gesture can be performed in several ways and reflect multiple meanings that can trigger new spontaneous formal elements within a single performance; this represents a supplanting of the previous chiasmus within form. Finally and most importantly is the observation that the perception of gesture is multi-modal: it can include and encompass the viewpoint and artistic intent of the performers who use them as well as be conceived as a multi-modal stimulus by spectators.

Critic Bill Milkowski describes saxophonist John Petrucelli’s work as “flowing and intense…Petrucelli weds astounding technique to harmonic and rhythmic invention and a forceful sense of swing.” 2015 sees Petrucelli surging onto the jazz scene with his compelling debut album The Way, which was released on February 3, 2015, featuring emerging jazz artists Peter Park (guitar), Alexanfer Claffy (bass), and Gusten Rudolph (drums) alongside legendary drummer Victor Lewis.

It runs from 4 to 6 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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

“Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli: IJS Roundtable at a Special Time, 3-18-15

http://www.jazzpromoservices.com/

**
————————————————————
Please join us on Wednesday, March 18, 2015 at a SPECIAL START TIME of 4:00 PM when the Institute of Jazz Studies will present a two-hour Jazz Research Roundtable entitled: “Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli.

In 2000, Wayne Shorter formed a new acoustic quartet featuring Brian Blade on drums, Danilo Perez on piano, and John Patitucci on bass. The group explores a wide range of Shorter’s compositions from the 1950s through the present day. Yet, the group’s interpretations of this familiar material often deviate highly from expectations, reflecting a de-emphasis of formal and harmonic components that typically constitute elements that anchor and dictate the performances and interpretations by jazz musicians. Instead, Mr. Petrucelli proposes that motivic and rhythmic elements are used as gestures that allow the musicians to spontaneously generate a musical narrative while retaining a dialectical type of group cohesion. During the course of his presentation he will frame the discussion through the prism of individual song analysis. He will demonstrate “canonical” interpretations of songs such as “Masqualero,” “Footprints,” “Sanctuary,” and “Orbits” tracing their contextual changes
through repeated performances and linking this back to an impulse toward free jazz as articulated by Shorter’s stylistic growth in other recordings of his career.

The concept of motivic improvising can be re-contextualized as gesture with the ability to relate and change expressive content. In other words, the same gesture can be performed in several ways and reflect multiple meanings that can trigger new spontaneous formal elements within a single performance; this represents a supplanting of the previous chiasmus within form. Finally and most importantly is the observation that the perception of gesture is multi-modal: it can include and encompass the viewpoint and artistic intent of the performers who use them as well as be conceived as a multi-modal stimulus by spectators.

Critic Bill Milkowski describes saxophonist John Petrucelli’s work as “flowing and intense…Petrucelli weds astounding technique to harmonic and rhythmic invention and a forceful sense of swing.” 2015 sees Petrucelli surging onto the jazz scene with his compelling debut album The Way, which was released on February 3, 2015, featuring emerging jazz artists Peter Park (guitar), Alexanfer Claffy (bass), and Gusten Rudolph (drums) alongside legendary drummer Victor Lewis.

It runs from 4 to 6 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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=3176017c50) | 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=3176017c50&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

“Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli: IJS Roundtable at a Special Time, 3-18-15

http://www.jazzpromoservices.com/

**
————————————————————
Please join us on Wednesday, March 18, 2015 at a SPECIAL START TIME of 4:00 PM when the Institute of Jazz Studies will present a two-hour Jazz Research Roundtable entitled: “Gesture and Interpretation in Wayne Shorter’s Quartet” by John Petrucelli.

In 2000, Wayne Shorter formed a new acoustic quartet featuring Brian Blade on drums, Danilo Perez on piano, and John Patitucci on bass. The group explores a wide range of Shorter’s compositions from the 1950s through the present day. Yet, the group’s interpretations of this familiar material often deviate highly from expectations, reflecting a de-emphasis of formal and harmonic components that typically constitute elements that anchor and dictate the performances and interpretations by jazz musicians. Instead, Mr. Petrucelli proposes that motivic and rhythmic elements are used as gestures that allow the musicians to spontaneously generate a musical narrative while retaining a dialectical type of group cohesion. During the course of his presentation he will frame the discussion through the prism of individual song analysis. He will demonstrate “canonical” interpretations of songs such as “Masqualero,” “Footprints,” “Sanctuary,” and “Orbits” tracing their contextual changes
through repeated performances and linking this back to an impulse toward free jazz as articulated by Shorter’s stylistic growth in other recordings of his career.

The concept of motivic improvising can be re-contextualized as gesture with the ability to relate and change expressive content. In other words, the same gesture can be performed in several ways and reflect multiple meanings that can trigger new spontaneous formal elements within a single performance; this represents a supplanting of the previous chiasmus within form. Finally and most importantly is the observation that the perception of gesture is multi-modal: it can include and encompass the viewpoint and artistic intent of the performers who use them as well as be conceived as a multi-modal stimulus by spectators.

Critic Bill Milkowski describes saxophonist John Petrucelli’s work as “flowing and intense…Petrucelli weds astounding technique to harmonic and rhythmic invention and a forceful sense of swing.” 2015 sees Petrucelli surging onto the jazz scene with his compelling debut album The Way, which was released on February 3, 2015, featuring emerging jazz artists Peter Park (guitar), Alexanfer Claffy (bass), and Gusten Rudolph (drums) alongside legendary drummer Victor Lewis.

It runs from 4 to 6 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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

Hepster Dictionary of Jive Terms

http://www.jazzpromoservices.com/

** Hepster Dictionary of Jive (http://www.apassion4jazz.net/jive-terms.html)
————————————————————

Jive: the jargon of hipsters

Ain’t coming on that tab (phrase): won’t accept the proposition. Usually abbr. to “I ain’t coming.”

Alligator (n): jitterbug.

Apple (n): the big town, the main stem, Harlem.

Armstrongs (n): musical notes in the upper register, high trumpet notes.

Barbecue (n): the girl friend, a beauty

Barrelhouse (adj): free and easy.

Battle (n): a very homely girl, a crone.

Beat (adj): (1) tired, exhausted. Example, “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).

Beat it out (v): play it hot, emphasize the rhythm.

Beat up (adj): sad, uncomplimentary, tired.

Beat up the chops (or the gums) (v): to talk, converse, be loquacious.

Beef (v): to say, to state. Example, “He beefed to me that, etc.”

Belly-Fiddle (n): guitar.

Bible (n): the gospel truth. Example, “It’s the bible!”

Black (n): night.

Black and tan (n): dark and light colored folks. Not colored and white folks as erroneously assumed.

Blew their wigs (adj): excited with enthusiasm, gone crazy.

Blip (n): something very good. Example, “That’s a blip”; “She’s a blip.”

Blow the top (v): to be overcome with emotion (delight). Example, “You’ll blow your top when you hear this one.”

Boogie-woogie (n): harmony with accented bass.

Boot (v): to give. Example, “Boot me that glove.”

Break it up (v): to win applause, to stop the show.

Bree (n): girl.

Bright (n): day.

Brightnin’ (n): daybreak.

Bring down ((1) n (2) v): (1) something depressing. Example, “That’s a bring down.” (2) Example, “That brings me down.”

Buddy ghee (n): fellow.

Bust your conk (v): apply yourself diligently, break your neck.

Canary (n): girl vocalist.

Capped (v): outdone, surpassed.

Cat (n): musician in swing band.

Chick (n): girl.

Chime (n): hour. Example, “I got in at six chimes.”

Clambake (n): ad lib session, every man for himself, a jam session not in the groove.

Chirp (n): female singer.

Cogs (n): sun glasses.

Collar (v): to get, to obtain, to comprehend. Example, “I gotta collar me some food”; “Do you collar this jive?”

Come again (v): try it over, do better than you are doing, I don’t understand you.

Comes on like gangbusters (or like test pilot) (v): plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”

Cop (v): to get, to obtain (see collar; knock).

Corny (adj): old-fashioned, stale.

Creeps out like the shadow (v): “comes on,” but in smooth, suave, sophisticated manner.

Crumb crushers (n): teeth.

Cubby (n): room, flat, home.

Cups (n): sleep. Example, “I gotta catch some cups.”

Cut out (v): to leave, to depart. Example, “It’s time to cut out”; “I cut out from the joint in early bright.”

Cut rate (n): a low, cheap person. Example, “Don’t play me cut rate, Jack!”

Dicty (adj): high-class, nifty, smart.

Dig (v): (1) meet. Example, “I’ll plant you now and dig you later.” (2) look, see. Example, “Dig the chick on your left duke.” (3) comprehend, understand. Example, “Do you dig this jive?”

Dim (n): evening.

Dime note (n): ten-dollar bill.

Doghouse (n): bass fiddle.

Domi (n): ordinary place to live in. Example, “I live in a righteous dome.”

Doss (n): sleep. Example, “I’m a little beat for my doss.”

Down with it (adj): through with it.

Drape (n): suit of clothes, dress, costume.

Dreamers (n): bed covers, blankets.

Dry-goods (n): same as drape.

Duke (n): hand, mitt.

Dutchess (n): girl.

Early black (n): evening

Early bright (n): morning.

Evil (adj): in ill humor, in a nasty temper.

Fall out (v): to be overcome with emotion. Example, “The cats fell out when he took that solo.”

Fews and two (n): money or cash in small quantity.

Final (v): to leave, to go home. Example, “I finaled to my pad” (went to bed); “We copped a final” (went home).

Fine dinner (n): a good-looking girl.

Focus (v): to look, to see.

Foxy (v): shrewd.

Frame (n): the body.

Fraughty issue (n): a very sad message, a deplorable state of affairs.

Freeby (n): no charge, gratis. Example, “The meal was a freeby.”

Frisking the whiskers (v): what the cats do when they are warming up for a swing session.

Frolic pad (n): place of entertainment, theater, nightclub.

Frompy (adj): a frompy queen is a battle or faust.

Front (n): a suit of clothes.

Fruiting (v): fickle, fooling around with no particular object.

Fry (v): to go to get hair straightened.

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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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

Hepster Dictionary of Jive Terms

http://www.jazzpromoservices.com/

** Hepster Dictionary of Jive (http://www.apassion4jazz.net/jive-terms.html)
————————————————————

Jive: the jargon of hipsters

Ain’t coming on that tab (phrase): won’t accept the proposition. Usually abbr. to “I ain’t coming.”

Alligator (n): jitterbug.

Apple (n): the big town, the main stem, Harlem.

Armstrongs (n): musical notes in the upper register, high trumpet notes.

Barbecue (n): the girl friend, a beauty

Barrelhouse (adj): free and easy.

Battle (n): a very homely girl, a crone.

Beat (adj): (1) tired, exhausted. Example, “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).

Beat it out (v): play it hot, emphasize the rhythm.

Beat up (adj): sad, uncomplimentary, tired.

Beat up the chops (or the gums) (v): to talk, converse, be loquacious.

Beef (v): to say, to state. Example, “He beefed to me that, etc.”

Belly-Fiddle (n): guitar.

Bible (n): the gospel truth. Example, “It’s the bible!”

Black (n): night.

Black and tan (n): dark and light colored folks. Not colored and white folks as erroneously assumed.

Blew their wigs (adj): excited with enthusiasm, gone crazy.

Blip (n): something very good. Example, “That’s a blip”; “She’s a blip.”

Blow the top (v): to be overcome with emotion (delight). Example, “You’ll blow your top when you hear this one.”

Boogie-woogie (n): harmony with accented bass.

Boot (v): to give. Example, “Boot me that glove.”

Break it up (v): to win applause, to stop the show.

Bree (n): girl.

Bright (n): day.

Brightnin’ (n): daybreak.

Bring down ((1) n (2) v): (1) something depressing. Example, “That’s a bring down.” (2) Example, “That brings me down.”

Buddy ghee (n): fellow.

Bust your conk (v): apply yourself diligently, break your neck.

Canary (n): girl vocalist.

Capped (v): outdone, surpassed.

Cat (n): musician in swing band.

Chick (n): girl.

Chime (n): hour. Example, “I got in at six chimes.”

Clambake (n): ad lib session, every man for himself, a jam session not in the groove.

Chirp (n): female singer.

Cogs (n): sun glasses.

Collar (v): to get, to obtain, to comprehend. Example, “I gotta collar me some food”; “Do you collar this jive?”

Come again (v): try it over, do better than you are doing, I don’t understand you.

Comes on like gangbusters (or like test pilot) (v): plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”

Cop (v): to get, to obtain (see collar; knock).

Corny (adj): old-fashioned, stale.

Creeps out like the shadow (v): “comes on,” but in smooth, suave, sophisticated manner.

Crumb crushers (n): teeth.

Cubby (n): room, flat, home.

Cups (n): sleep. Example, “I gotta catch some cups.”

Cut out (v): to leave, to depart. Example, “It’s time to cut out”; “I cut out from the joint in early bright.”

Cut rate (n): a low, cheap person. Example, “Don’t play me cut rate, Jack!”

Dicty (adj): high-class, nifty, smart.

Dig (v): (1) meet. Example, “I’ll plant you now and dig you later.” (2) look, see. Example, “Dig the chick on your left duke.” (3) comprehend, understand. Example, “Do you dig this jive?”

Dim (n): evening.

Dime note (n): ten-dollar bill.

Doghouse (n): bass fiddle.

Domi (n): ordinary place to live in. Example, “I live in a righteous dome.”

Doss (n): sleep. Example, “I’m a little beat for my doss.”

Down with it (adj): through with it.

Drape (n): suit of clothes, dress, costume.

Dreamers (n): bed covers, blankets.

Dry-goods (n): same as drape.

Duke (n): hand, mitt.

Dutchess (n): girl.

Early black (n): evening

Early bright (n): morning.

Evil (adj): in ill humor, in a nasty temper.

Fall out (v): to be overcome with emotion. Example, “The cats fell out when he took that solo.”

Fews and two (n): money or cash in small quantity.

Final (v): to leave, to go home. Example, “I finaled to my pad” (went to bed); “We copped a final” (went home).

Fine dinner (n): a good-looking girl.

Focus (v): to look, to see.

Foxy (v): shrewd.

Frame (n): the body.

Fraughty issue (n): a very sad message, a deplorable state of affairs.

Freeby (n): no charge, gratis. Example, “The meal was a freeby.”

Frisking the whiskers (v): what the cats do when they are warming up for a swing session.

Frolic pad (n): place of entertainment, theater, nightclub.

Frompy (adj): a frompy queen is a battle or faust.

Front (n): a suit of clothes.

Fruiting (v): fickle, fooling around with no particular object.

Fry (v): to go to get hair straightened.

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Hepster Dictionary of Jive Terms

http://www.jazzpromoservices.com/

** Hepster Dictionary of Jive (http://www.apassion4jazz.net/jive-terms.html)
————————————————————

Jive: the jargon of hipsters

Ain’t coming on that tab (phrase): won’t accept the proposition. Usually abbr. to “I ain’t coming.”

Alligator (n): jitterbug.

Apple (n): the big town, the main stem, Harlem.

Armstrongs (n): musical notes in the upper register, high trumpet notes.

Barbecue (n): the girl friend, a beauty

Barrelhouse (adj): free and easy.

Battle (n): a very homely girl, a crone.

Beat (adj): (1) tired, exhausted. Example, “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).

Beat it out (v): play it hot, emphasize the rhythm.

Beat up (adj): sad, uncomplimentary, tired.

Beat up the chops (or the gums) (v): to talk, converse, be loquacious.

Beef (v): to say, to state. Example, “He beefed to me that, etc.”

Belly-Fiddle (n): guitar.

Bible (n): the gospel truth. Example, “It’s the bible!”

Black (n): night.

Black and tan (n): dark and light colored folks. Not colored and white folks as erroneously assumed.

Blew their wigs (adj): excited with enthusiasm, gone crazy.

Blip (n): something very good. Example, “That’s a blip”; “She’s a blip.”

Blow the top (v): to be overcome with emotion (delight). Example, “You’ll blow your top when you hear this one.”

Boogie-woogie (n): harmony with accented bass.

Boot (v): to give. Example, “Boot me that glove.”

Break it up (v): to win applause, to stop the show.

Bree (n): girl.

Bright (n): day.

Brightnin’ (n): daybreak.

Bring down ((1) n (2) v): (1) something depressing. Example, “That’s a bring down.” (2) Example, “That brings me down.”

Buddy ghee (n): fellow.

Bust your conk (v): apply yourself diligently, break your neck.

Canary (n): girl vocalist.

Capped (v): outdone, surpassed.

Cat (n): musician in swing band.

Chick (n): girl.

Chime (n): hour. Example, “I got in at six chimes.”

Clambake (n): ad lib session, every man for himself, a jam session not in the groove.

Chirp (n): female singer.

Cogs (n): sun glasses.

Collar (v): to get, to obtain, to comprehend. Example, “I gotta collar me some food”; “Do you collar this jive?”

Come again (v): try it over, do better than you are doing, I don’t understand you.

Comes on like gangbusters (or like test pilot) (v): plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”

Cop (v): to get, to obtain (see collar; knock).

Corny (adj): old-fashioned, stale.

Creeps out like the shadow (v): “comes on,” but in smooth, suave, sophisticated manner.

Crumb crushers (n): teeth.

Cubby (n): room, flat, home.

Cups (n): sleep. Example, “I gotta catch some cups.”

Cut out (v): to leave, to depart. Example, “It’s time to cut out”; “I cut out from the joint in early bright.”

Cut rate (n): a low, cheap person. Example, “Don’t play me cut rate, Jack!”

Dicty (adj): high-class, nifty, smart.

Dig (v): (1) meet. Example, “I’ll plant you now and dig you later.” (2) look, see. Example, “Dig the chick on your left duke.” (3) comprehend, understand. Example, “Do you dig this jive?”

Dim (n): evening.

Dime note (n): ten-dollar bill.

Doghouse (n): bass fiddle.

Domi (n): ordinary place to live in. Example, “I live in a righteous dome.”

Doss (n): sleep. Example, “I’m a little beat for my doss.”

Down with it (adj): through with it.

Drape (n): suit of clothes, dress, costume.

Dreamers (n): bed covers, blankets.

Dry-goods (n): same as drape.

Duke (n): hand, mitt.

Dutchess (n): girl.

Early black (n): evening

Early bright (n): morning.

Evil (adj): in ill humor, in a nasty temper.

Fall out (v): to be overcome with emotion. Example, “The cats fell out when he took that solo.”

Fews and two (n): money or cash in small quantity.

Final (v): to leave, to go home. Example, “I finaled to my pad” (went to bed); “We copped a final” (went home).

Fine dinner (n): a good-looking girl.

Focus (v): to look, to see.

Foxy (v): shrewd.

Frame (n): the body.

Fraughty issue (n): a very sad message, a deplorable state of affairs.

Freeby (n): no charge, gratis. Example, “The meal was a freeby.”

Frisking the whiskers (v): what the cats do when they are warming up for a swing session.

Frolic pad (n): place of entertainment, theater, nightclub.

Frompy (adj): a frompy queen is a battle or faust.

Front (n): a suit of clothes.

Fruiting (v): fickle, fooling around with no particular object.

Fry (v): to go to get hair straightened.

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=ed6a2da564) | 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=ed6a2da564&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

Cincinnati acquires Jazz Hall of Fame | WVXU

http://www.jazzpromoservices.com/
http://wvxu.org/post/cincinnati-acquires-jazz-hall-fame

** Cincinnati acquires Jazz Hall of Fame
————————————————————

For those who appreciate music, recognizing the great artists who work so hard to create it is quite important. Musicians devote their lives to composing passion into impacting melodies that serve to move the soul. To recognize the artist for their work is to let them know we appreciate their gift, and thank them for sharing it. There are many award organizations that exist for this reason, such as the Grammys and Hard Rock, but those only begin to touch on the number of musicians who deserve our gratitude.

Exceptional music also exists at a local level, which is why cities establish a music hall of fame. Such organizations support the prosperity of music in the area by encouraging those in the industry. To commemorate the greats of local jazz music, and promote jazz in the city, Kay Casey, and a ten-member Board, are founding the Cincinnati Jazz Hall of Fame (CJHoF). Casey, a retired human resources director, has long appreciated jazz music and its specific community in Cincinnati. Casey got the idea for the CJHoF from widely-known drummer, John Von Ohlen, who played with Stan Kenton.

“John came to me and said ‘I just had the most wonderful experience being inducted into Indianapolis’ Jazz Hall of Fame, wouldn’t it be great to start one in Cincinnati?” said Casey. With this in mind, she contacted Gene Markiewicz of the Indianapolis Jazz Hall of Fame for guidance in establishing the organization.

Casey found there were hundreds of steps to establishing a Hall of Fame, such as designating a place to hold inductions, meetings and ceremonies; establishing a credible board; and obtaining a 501C3. Step by step Casey fulfilled the requirements and has put together a board consisting of nine members and seven advisors.

The board members are as follows:

Kay Casey representing Jazz Friends;

John Von Ohlen accredited jazz drummer;

Judie Wittlin founding member of the Cincinnati Classical Music Hall of Fame;

Phil DeGreg accredited jazz pianist and professor at the University of Cincinnati College-Conservatory of Music (CCM);

Mike Harmon formerly with Xavier Jazz Series;

Brian W. Hogg a Jazz Director at Northern Kentucky University (NKU);

George Zahn representing WMKV radio;

Joe Gaudio representing the Musicians’ Union Board;

and Laura Gentry the President of Jazz Alive.

Those acting as advisors to the board are as follows:

Gene Markiewicz;

John Kiesewetter a former reporter for the Cincinnati Enquirer;

Paul Frankenfeld, President of the Cincinnati Musicians Union;

Rodd Barr who was formerly with Xavier Jazz Series;

Scott Belck a Jazz Director at CCM;

Vanessa Keeton a webmaster;

and Lee Hay representing WVXU.

Through months of planning and preparation, the Board has finally begun to get the organization up and running, and had its introductory meeting on February 12th. The next step is to raise the money needed to present inductees with awards, reach out and put its mark on the jazz community, and pay the fees that come with operating such an organization.

Casey has great plans for the CJHoF, such as providing scholarships for aspiring musicians, and creating outlets for musical talents to grow. But, all of this requires money. By collaborating with her sources, she believes that the most effective way to support the group is to sell memberships. The plan, which has yet to be finalized, is to sell multiple annual memberships ranging in price.

Even though there are still many logistics to be figured out, the first induction ceremony into the CJHoF has already been set. Northern Kentucky University, which had already planned a concert for May 8th featuring a performance by Cincinnati-born jazz pianist Fred Hersch, invited the CJHoF to host the inductions during the event. Casey then contacted Nick Clooney, who accepted the offer to act as emcee. Tickets to the event are free to the public.

The criteria for determining the list of CJHoF inductees has not yet been decided. Casey said it will consist of jazz artists, venues, and other contributors and supporters of jazz.

Casey has been a great influence in the jazz community for years now. She has cultivated relationships with many jazz artists, venues and organizations around the city, which has led her to create an e-mail list to which she sends out news of jazz events.

“I want to make sure it is known that jazz is very much alive in Cincinnati,” said Casey. To sign up for jazz event e-mails, contact Casey at kaycaseycinti@aol.com.

Editor’s Note: Full-time jazz programming can be heard on Cincinnati Public Radio’s WGUC HD 2 radio channel (http://www.wguc.org/jazz/index.asp) .

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=04e7912e7a) | 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=04e7912e7a&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

Cincinnati acquires Jazz Hall of Fame | WVXU

http://www.jazzpromoservices.com/
http://wvxu.org/post/cincinnati-acquires-jazz-hall-fame

** Cincinnati acquires Jazz Hall of Fame
————————————————————

For those who appreciate music, recognizing the great artists who work so hard to create it is quite important. Musicians devote their lives to composing passion into impacting melodies that serve to move the soul. To recognize the artist for their work is to let them know we appreciate their gift, and thank them for sharing it. There are many award organizations that exist for this reason, such as the Grammys and Hard Rock, but those only begin to touch on the number of musicians who deserve our gratitude.

Exceptional music also exists at a local level, which is why cities establish a music hall of fame. Such organizations support the prosperity of music in the area by encouraging those in the industry. To commemorate the greats of local jazz music, and promote jazz in the city, Kay Casey, and a ten-member Board, are founding the Cincinnati Jazz Hall of Fame (CJHoF). Casey, a retired human resources director, has long appreciated jazz music and its specific community in Cincinnati. Casey got the idea for the CJHoF from widely-known drummer, John Von Ohlen, who played with Stan Kenton.

“John came to me and said ‘I just had the most wonderful experience being inducted into Indianapolis’ Jazz Hall of Fame, wouldn’t it be great to start one in Cincinnati?” said Casey. With this in mind, she contacted Gene Markiewicz of the Indianapolis Jazz Hall of Fame for guidance in establishing the organization.

Casey found there were hundreds of steps to establishing a Hall of Fame, such as designating a place to hold inductions, meetings and ceremonies; establishing a credible board; and obtaining a 501C3. Step by step Casey fulfilled the requirements and has put together a board consisting of nine members and seven advisors.

The board members are as follows:

Kay Casey representing Jazz Friends;

John Von Ohlen accredited jazz drummer;

Judie Wittlin founding member of the Cincinnati Classical Music Hall of Fame;

Phil DeGreg accredited jazz pianist and professor at the University of Cincinnati College-Conservatory of Music (CCM);

Mike Harmon formerly with Xavier Jazz Series;

Brian W. Hogg a Jazz Director at Northern Kentucky University (NKU);

George Zahn representing WMKV radio;

Joe Gaudio representing the Musicians’ Union Board;

and Laura Gentry the President of Jazz Alive.

Those acting as advisors to the board are as follows:

Gene Markiewicz;

John Kiesewetter a former reporter for the Cincinnati Enquirer;

Paul Frankenfeld, President of the Cincinnati Musicians Union;

Rodd Barr who was formerly with Xavier Jazz Series;

Scott Belck a Jazz Director at CCM;

Vanessa Keeton a webmaster;

and Lee Hay representing WVXU.

Through months of planning and preparation, the Board has finally begun to get the organization up and running, and had its introductory meeting on February 12th. The next step is to raise the money needed to present inductees with awards, reach out and put its mark on the jazz community, and pay the fees that come with operating such an organization.

Casey has great plans for the CJHoF, such as providing scholarships for aspiring musicians, and creating outlets for musical talents to grow. But, all of this requires money. By collaborating with her sources, she believes that the most effective way to support the group is to sell memberships. The plan, which has yet to be finalized, is to sell multiple annual memberships ranging in price.

Even though there are still many logistics to be figured out, the first induction ceremony into the CJHoF has already been set. Northern Kentucky University, which had already planned a concert for May 8th featuring a performance by Cincinnati-born jazz pianist Fred Hersch, invited the CJHoF to host the inductions during the event. Casey then contacted Nick Clooney, who accepted the offer to act as emcee. Tickets to the event are free to the public.

The criteria for determining the list of CJHoF inductees has not yet been decided. Casey said it will consist of jazz artists, venues, and other contributors and supporters of jazz.

Casey has been a great influence in the jazz community for years now. She has cultivated relationships with many jazz artists, venues and organizations around the city, which has led her to create an e-mail list to which she sends out news of jazz events.

“I want to make sure it is known that jazz is very much alive in Cincinnati,” said Casey. To sign up for jazz event e-mails, contact Casey at kaycaseycinti@aol.com.

Editor’s Note: Full-time jazz programming can be heard on Cincinnati Public Radio’s WGUC HD 2 radio channel (http://www.wguc.org/jazz/index.asp) .

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=04e7912e7a) | 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=04e7912e7a&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

Cincinnati acquires Jazz Hall of Fame | WVXU

http://www.jazzpromoservices.com/
http://wvxu.org/post/cincinnati-acquires-jazz-hall-fame

** Cincinnati acquires Jazz Hall of Fame
————————————————————

For those who appreciate music, recognizing the great artists who work so hard to create it is quite important. Musicians devote their lives to composing passion into impacting melodies that serve to move the soul. To recognize the artist for their work is to let them know we appreciate their gift, and thank them for sharing it. There are many award organizations that exist for this reason, such as the Grammys and Hard Rock, but those only begin to touch on the number of musicians who deserve our gratitude.

Exceptional music also exists at a local level, which is why cities establish a music hall of fame. Such organizations support the prosperity of music in the area by encouraging those in the industry. To commemorate the greats of local jazz music, and promote jazz in the city, Kay Casey, and a ten-member Board, are founding the Cincinnati Jazz Hall of Fame (CJHoF). Casey, a retired human resources director, has long appreciated jazz music and its specific community in Cincinnati. Casey got the idea for the CJHoF from widely-known drummer, John Von Ohlen, who played with Stan Kenton.

“John came to me and said ‘I just had the most wonderful experience being inducted into Indianapolis’ Jazz Hall of Fame, wouldn’t it be great to start one in Cincinnati?” said Casey. With this in mind, she contacted Gene Markiewicz of the Indianapolis Jazz Hall of Fame for guidance in establishing the organization.

Casey found there were hundreds of steps to establishing a Hall of Fame, such as designating a place to hold inductions, meetings and ceremonies; establishing a credible board; and obtaining a 501C3. Step by step Casey fulfilled the requirements and has put together a board consisting of nine members and seven advisors.

The board members are as follows:

Kay Casey representing Jazz Friends;

John Von Ohlen accredited jazz drummer;

Judie Wittlin founding member of the Cincinnati Classical Music Hall of Fame;

Phil DeGreg accredited jazz pianist and professor at the University of Cincinnati College-Conservatory of Music (CCM);

Mike Harmon formerly with Xavier Jazz Series;

Brian W. Hogg a Jazz Director at Northern Kentucky University (NKU);

George Zahn representing WMKV radio;

Joe Gaudio representing the Musicians’ Union Board;

and Laura Gentry the President of Jazz Alive.

Those acting as advisors to the board are as follows:

Gene Markiewicz;

John Kiesewetter a former reporter for the Cincinnati Enquirer;

Paul Frankenfeld, President of the Cincinnati Musicians Union;

Rodd Barr who was formerly with Xavier Jazz Series;

Scott Belck a Jazz Director at CCM;

Vanessa Keeton a webmaster;

and Lee Hay representing WVXU.

Through months of planning and preparation, the Board has finally begun to get the organization up and running, and had its introductory meeting on February 12th. The next step is to raise the money needed to present inductees with awards, reach out and put its mark on the jazz community, and pay the fees that come with operating such an organization.

Casey has great plans for the CJHoF, such as providing scholarships for aspiring musicians, and creating outlets for musical talents to grow. But, all of this requires money. By collaborating with her sources, she believes that the most effective way to support the group is to sell memberships. The plan, which has yet to be finalized, is to sell multiple annual memberships ranging in price.

Even though there are still many logistics to be figured out, the first induction ceremony into the CJHoF has already been set. Northern Kentucky University, which had already planned a concert for May 8th featuring a performance by Cincinnati-born jazz pianist Fred Hersch, invited the CJHoF to host the inductions during the event. Casey then contacted Nick Clooney, who accepted the offer to act as emcee. Tickets to the event are free to the public.

The criteria for determining the list of CJHoF inductees has not yet been decided. Casey said it will consist of jazz artists, venues, and other contributors and supporters of jazz.

Casey has been a great influence in the jazz community for years now. She has cultivated relationships with many jazz artists, venues and organizations around the city, which has led her to create an e-mail list to which she sends out news of jazz events.

“I want to make sure it is known that jazz is very much alive in Cincinnati,” said Casey. To sign up for jazz event e-mails, contact Casey at kaycaseycinti@aol.com.

Editor’s Note: Full-time jazz programming can be heard on Cincinnati Public Radio’s WGUC HD 2 radio channel (http://www.wguc.org/jazz/index.asp) .

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=04e7912e7a) | 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=04e7912e7a&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

Free Concert at Rutgers featuring Tomoko Ohno and Scott Robinson, 3-17-15

http://www.jazzpromoservices.com/
The Institute of Jazz Studies is presenting our third concert in our 2014-15 concert series called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:

Tuesday, March 17, 2015, 2-4 pm

Tomoko Ohno

Tomoko Ohno was born in Tokyo and began piano studies at the age of 4. She is a graduate of the Jazz Studies program at William Paterson University. She has performed with the Diva Jazz Orchestra, as well as with Slide Hampton, Benny Golson, Claudio Roditi, and others. Ms. Ohno also leads her own group, and has released three CDs on the Japan-based Tokuma label. Ms. Ohno will be joined by saxophonist Scott Robinson in this concert, which is the third of four in the Institute of Jazz Studies’s concert series: Jazz Piano: Contemporary Currents.
For directions to Rutgers:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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Free Concert at Rutgers featuring Tomoko Ohno and Scott Robinson, 3-17-15

http://www.jazzpromoservices.com/
The Institute of Jazz Studies is presenting our third concert in our 2014-15 concert series called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:

Tuesday, March 17, 2015, 2-4 pm

Tomoko Ohno

Tomoko Ohno was born in Tokyo and began piano studies at the age of 4. She is a graduate of the Jazz Studies program at William Paterson University. She has performed with the Diva Jazz Orchestra, as well as with Slide Hampton, Benny Golson, Claudio Roditi, and others. Ms. Ohno also leads her own group, and has released three CDs on the Japan-based Tokuma label. Ms. Ohno will be joined by saxophonist Scott Robinson in this concert, which is the third of four in the Institute of Jazz Studies’s concert series: Jazz Piano: Contemporary Currents.
For directions to Rutgers:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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=a11ab1073c) | 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=a11ab1073c&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Free Concert at Rutgers featuring Tomoko Ohno and Scott Robinson, 3-17-15

http://www.jazzpromoservices.com/
The Institute of Jazz Studies is presenting our third concert in our 2014-15 concert series called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:

Tuesday, March 17, 2015, 2-4 pm

Tomoko Ohno

Tomoko Ohno was born in Tokyo and began piano studies at the age of 4. She is a graduate of the Jazz Studies program at William Paterson University. She has performed with the Diva Jazz Orchestra, as well as with Slide Hampton, Benny Golson, Claudio Roditi, and others. Ms. Ohno also leads her own group, and has released three CDs on the Japan-based Tokuma label. Ms. Ohno will be joined by saxophonist Scott Robinson in this concert, which is the third of four in the Institute of Jazz Studies’s concert series: Jazz Piano: Contemporary Currents.
For directions to Rutgers:

—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)

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=a11ab1073c) | 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=a11ab1073c&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309

** Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71
————————————————————

By DANIEL E. SLOTNIKMARCH 9, 2015
Photo

Lew Soloff CreditJohn Abbott
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)

Lew Soloff (http://www.lewsoloff.com/home.html) , a jazz trumpeter who reached a broader audience with the jazz-rock band Blood, Sweat and Tears, especially with a memorable solo (https://www.youtube.com/watch?v=_lOdiRuL-SQ) on the original version of the 1969 hit “Spinning Wheel (https://www.youtube.com/watch?v=Cb5EBAP6zPY) ,” died on Sunday in Brooklyn. He was 71.

The cause was a heart attack, his manager Nancy Meyer said.

Mr. Soloff had little use for genre limitations. He was a session musician for Barbra Streisand, Frank Sinatra and Lou Reed; he was the lead trumpeter of both the Carnegie Hall Jazz Band and the Lincoln Center Jazz Orchestra; he tackled Bach as a member of the quintet Manhattan Brass.

“For lack of a better word I call it jazz, but I consider any music that’s improvised to be in that genre,” he told The Jerusalem Post in 2002. “The key to what I like to do is to improvise.”

He did not do much improvising while he recorded and toured with Blood, Sweat and Tears after replacing Randy Brecker in 1968, but his playing was essential to the success of the band, whose self-titled second album, released in 1969, won the Grammy for album of the year and included three singles that went gold and reached No. 2 on the Billboard Hot 100: soulful covers of “You’ve Made Me So Very Happy (https://www.youtube.com/watch?v=VKuqaZ0DQtk) ,” originally recorded by Brenda Holloway; Laura Nyro’s “And When I Die (https://www.youtube.com/watch?v=8gxwutvlTw8) ”; and “Spinning Wheel,” an original composition by the band’s lead singer, David Clayton Thomas.

The album version of “Spinning Wheel” featured a bebop-inflected upper-register solo by Mr. Soloff that captivated ears more familiar with rock ’n’ roll. The solo was removed from the 45 r.p.m. version to shorten the song for radio, but many musicians say it was transformational.

“There was no jazz-rock before Blood, Sweat and Tears,” the keyboardist Paul Shaffer, the leader of the “Late Show With David Letterman” band, said in a telephone interview on Monday.

“You changed the idiom,” Mr. Shaffer said, speaking of Mr. Soloff, a close friend, in the second person. “After you, rock ’n’ roll was no longer limited to triads and three chords.”

Mr. Soloff toured the world with Blood, Sweat and Tears. In 1970 the band played before 14,500 fans at Madison Square Garden; their opening act was a sextet led by Miles Davis. But Mr. Soloff left the band in 1973, seeking new musical challenges.

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he said in 2002. “At one point it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom.”

Lewis Michael Soloff was born on Feb. 20, 1944, in Brooklyn. He grew up in Lakewood, N.J., and took up the trumpet at 10.

After graduating from the Eastman School of Music in 1961 and briefly studying at Juilliard, he began playing in New York with Maynard Ferguson, Tito Puente and Machito.

He released eight albums as a leader and performed or recorded with Gil Evans, Paul Simon, Dizzy Gillespie and many others.

Mr. Soloff lived in Brooklyn. His marriage to the classical harpist Emily Mitchell ended in divorce. He is survived by two daughters, Laura Solomon and Lena Soloff, and two grandchildren.
Correction: March 9, 2015

An earlier version of this obituary, using information from Mr. Soloff’s manager, misstated the location of his death. He died in Brooklyn, not Manhattan.

** NEXT IN MUSIC
————————————————————

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309

** Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71
————————————————————

By DANIEL E. SLOTNIKMARCH 9, 2015
Photo

Lew Soloff CreditJohn Abbott
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)

Lew Soloff (http://www.lewsoloff.com/home.html) , a jazz trumpeter who reached a broader audience with the jazz-rock band Blood, Sweat and Tears, especially with a memorable solo (https://www.youtube.com/watch?v=_lOdiRuL-SQ) on the original version of the 1969 hit “Spinning Wheel (https://www.youtube.com/watch?v=Cb5EBAP6zPY) ,” died on Sunday in Brooklyn. He was 71.

The cause was a heart attack, his manager Nancy Meyer said.

Mr. Soloff had little use for genre limitations. He was a session musician for Barbra Streisand, Frank Sinatra and Lou Reed; he was the lead trumpeter of both the Carnegie Hall Jazz Band and the Lincoln Center Jazz Orchestra; he tackled Bach as a member of the quintet Manhattan Brass.

“For lack of a better word I call it jazz, but I consider any music that’s improvised to be in that genre,” he told The Jerusalem Post in 2002. “The key to what I like to do is to improvise.”

He did not do much improvising while he recorded and toured with Blood, Sweat and Tears after replacing Randy Brecker in 1968, but his playing was essential to the success of the band, whose self-titled second album, released in 1969, won the Grammy for album of the year and included three singles that went gold and reached No. 2 on the Billboard Hot 100: soulful covers of “You’ve Made Me So Very Happy (https://www.youtube.com/watch?v=VKuqaZ0DQtk) ,” originally recorded by Brenda Holloway; Laura Nyro’s “And When I Die (https://www.youtube.com/watch?v=8gxwutvlTw8) ”; and “Spinning Wheel,” an original composition by the band’s lead singer, David Clayton Thomas.

The album version of “Spinning Wheel” featured a bebop-inflected upper-register solo by Mr. Soloff that captivated ears more familiar with rock ’n’ roll. The solo was removed from the 45 r.p.m. version to shorten the song for radio, but many musicians say it was transformational.

“There was no jazz-rock before Blood, Sweat and Tears,” the keyboardist Paul Shaffer, the leader of the “Late Show With David Letterman” band, said in a telephone interview on Monday.

“You changed the idiom,” Mr. Shaffer said, speaking of Mr. Soloff, a close friend, in the second person. “After you, rock ’n’ roll was no longer limited to triads and three chords.”

Mr. Soloff toured the world with Blood, Sweat and Tears. In 1970 the band played before 14,500 fans at Madison Square Garden; their opening act was a sextet led by Miles Davis. But Mr. Soloff left the band in 1973, seeking new musical challenges.

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he said in 2002. “At one point it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom.”

Lewis Michael Soloff was born on Feb. 20, 1944, in Brooklyn. He grew up in Lakewood, N.J., and took up the trumpet at 10.

After graduating from the Eastman School of Music in 1961 and briefly studying at Juilliard, he began playing in New York with Maynard Ferguson, Tito Puente and Machito.

He released eight albums as a leader and performed or recorded with Gil Evans, Paul Simon, Dizzy Gillespie and many others.

Mr. Soloff lived in Brooklyn. His marriage to the classical harpist Emily Mitchell ended in divorce. He is survived by two daughters, Laura Solomon and Lena Soloff, and two grandchildren.
Correction: March 9, 2015

An earlier version of this obituary, using information from Mr. Soloff’s manager, misstated the location of his death. He died in Brooklyn, not Manhattan.

** NEXT IN MUSIC
————————————————————

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

Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309

** Lew Soloff, Trumpeter for Blood, Sweat and Tears, Dies at 71
————————————————————

By DANIEL E. SLOTNIKMARCH 9, 2015
Photo

Lew Soloff CreditJohn Abbott
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)
Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1) Share This Page
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Continue reading the main story (http://www.nytimes.com/2015/03/10/arts/music/lew-soloff-trumpeter-for-blood-sweat-and-tears-dies-at-71.html?emc=edit_tnt_20150309&nlid=16833052&tntemail0=y&_r=0#story-continues-1)

Lew Soloff (http://www.lewsoloff.com/home.html) , a jazz trumpeter who reached a broader audience with the jazz-rock band Blood, Sweat and Tears, especially with a memorable solo (https://www.youtube.com/watch?v=_lOdiRuL-SQ) on the original version of the 1969 hit “Spinning Wheel (https://www.youtube.com/watch?v=Cb5EBAP6zPY) ,” died on Sunday in Brooklyn. He was 71.

The cause was a heart attack, his manager Nancy Meyer said.

Mr. Soloff had little use for genre limitations. He was a session musician for Barbra Streisand, Frank Sinatra and Lou Reed; he was the lead trumpeter of both the Carnegie Hall Jazz Band and the Lincoln Center Jazz Orchestra; he tackled Bach as a member of the quintet Manhattan Brass.

“For lack of a better word I call it jazz, but I consider any music that’s improvised to be in that genre,” he told The Jerusalem Post in 2002. “The key to what I like to do is to improvise.”

He did not do much improvising while he recorded and toured with Blood, Sweat and Tears after replacing Randy Brecker in 1968, but his playing was essential to the success of the band, whose self-titled second album, released in 1969, won the Grammy for album of the year and included three singles that went gold and reached No. 2 on the Billboard Hot 100: soulful covers of “You’ve Made Me So Very Happy (https://www.youtube.com/watch?v=VKuqaZ0DQtk) ,” originally recorded by Brenda Holloway; Laura Nyro’s “And When I Die (https://www.youtube.com/watch?v=8gxwutvlTw8) ”; and “Spinning Wheel,” an original composition by the band’s lead singer, David Clayton Thomas.

The album version of “Spinning Wheel” featured a bebop-inflected upper-register solo by Mr. Soloff that captivated ears more familiar with rock ’n’ roll. The solo was removed from the 45 r.p.m. version to shorten the song for radio, but many musicians say it was transformational.

“There was no jazz-rock before Blood, Sweat and Tears,” the keyboardist Paul Shaffer, the leader of the “Late Show With David Letterman” band, said in a telephone interview on Monday.

“You changed the idiom,” Mr. Shaffer said, speaking of Mr. Soloff, a close friend, in the second person. “After you, rock ’n’ roll was no longer limited to triads and three chords.”

Mr. Soloff toured the world with Blood, Sweat and Tears. In 1970 the band played before 14,500 fans at Madison Square Garden; their opening act was a sextet led by Miles Davis. But Mr. Soloff left the band in 1973, seeking new musical challenges.

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he said in 2002. “At one point it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom.”

Lewis Michael Soloff was born on Feb. 20, 1944, in Brooklyn. He grew up in Lakewood, N.J., and took up the trumpet at 10.

After graduating from the Eastman School of Music in 1961 and briefly studying at Juilliard, he began playing in New York with Maynard Ferguson, Tito Puente and Machito.

He released eight albums as a leader and performed or recorded with Gil Evans, Paul Simon, Dizzy Gillespie and many others.

Mr. Soloff lived in Brooklyn. His marriage to the classical harpist Emily Mitchell ended in divorce. He is survived by two daughters, Laura Solomon and Lena Soloff, and two grandchildren.
Correction: March 9, 2015

An earlier version of this obituary, using information from Mr. Soloff’s manager, misstated the location of his death. He died in Brooklyn, not Manhattan.

** NEXT IN MUSIC
————————————————————

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=e2f3529210) | 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=e2f3529210&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Lew Soloff dies at 71; trumpet player for Blood, Sweat and Tears – LA Times

http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-lew-soloff-20150309-story.html

Lew Soloff, a trumpet player who was an early member of Blood, Sweat and Tears (http://www.bloodsweatandtears.com/) and whose jazz career included performances with his own ensembles and with Gil Evans, Ornette Coleman, Chuck Mangione, Maynard Ferguson and other giants of the genre, has died. He was 71.

Soloff suffered an apparent heart attack as he walked down a New York City street Saturday night with his daughter Laura Solomon, her husband, and their children. He died early Sunday, Solomon said.

Soloff joined Blood, Sweat and Tears in 1968, about a year after the mega-group formed. He performed on their hit “Spinning Wheel” shortly after signing on with them. He played trumpet and flugelhorn on numerous Blood, Sweat and Tears recordings and was featured on the group’s eponymous album that in 1970 won a best-album Grammy.

Soloff traveled the world with Blood, Sweat and Tears until he parted with the jazz/rock band in 1973, grateful for the exposure he had gained but yearning for the kind of free-form musical invention that he felt more accurately defined him.
cComments
3

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he told the Jerusalem Post in 2002. “At one point, it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom in the band for me to consider that as one of my jazz gigs (http://www.lewsoloff.com/) .”

Lewis Michael Soloff was born in Brooklyn, N.Y. on Feb. 20, 1944, and grew up in Lakewood, N.J. He studied piano before taking up the trumpet when he was 10. He once recalled listening to a recording of Louis Armstrong’s “I Hope Gabriel Likes My Music,” awestruck at a high scale played “with such quiet finesse and beauty.”

“I wanted to play like that,” Soloff said.

Soloff played with bands at Catskills resorts during summer vacations. In 1961, he entered the Eastman School of Music in Rochester, N.Y., and later did graduate work at the Juilliard School in New York City. By the mid-1960s, he was playing with Afro-Cuban bandleader Machito, whose fiery rhythms inspired Soloff’s own Afro-Cuban ensemble decades later.

Soloff played in the studio and on stage with Tony Bennett, Elvis Costello, Marianne Faithfull, Aretha Franklin, Lou Reed, Frank Sinatra, Paul Simon and Barbra Streisand.

He helped found the Manhattan Jazz Quintet, played Bach with the Manhattan Brass, appeared with Clark Terry’s big band, performed on numerous movie scores, and accompanied such renowned jazz artists as George Benson, Benny Carter, Lionel Hampton, Herbie Mann, Carmen McRae and Stanley Turrentine.

He described jazz pianist Gil Evans (https://www.youtube.com/watch%3Fv=AcEy1njhpy0) as “my musical godfather,” and performed with his group from 1966 until Evans’ death in 1988.

Critics noted Soloff’s virtuosity in a wide variety of forms. In a 2002 cabaret review, the New York Times said Soloff’s “big, meaty sound owes much to Louis Armstrong.”

His survivors include daughters Laura Solomon and Lena Soloff, as well as his grandchildren.

steve.chawkins@latimes.com (mailto:steve.chawkins@latimes.com)

Twitter: @schawkins
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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Lew Soloff dies at 71; trumpet player for Blood, Sweat and Tears – LA Times

http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-lew-soloff-20150309-story.html

Lew Soloff, a trumpet player who was an early member of Blood, Sweat and Tears (http://www.bloodsweatandtears.com/) and whose jazz career included performances with his own ensembles and with Gil Evans, Ornette Coleman, Chuck Mangione, Maynard Ferguson and other giants of the genre, has died. He was 71.

Soloff suffered an apparent heart attack as he walked down a New York City street Saturday night with his daughter Laura Solomon, her husband, and their children. He died early Sunday, Solomon said.

Soloff joined Blood, Sweat and Tears in 1968, about a year after the mega-group formed. He performed on their hit “Spinning Wheel” shortly after signing on with them. He played trumpet and flugelhorn on numerous Blood, Sweat and Tears recordings and was featured on the group’s eponymous album that in 1970 won a best-album Grammy.

Soloff traveled the world with Blood, Sweat and Tears until he parted with the jazz/rock band in 1973, grateful for the exposure he had gained but yearning for the kind of free-form musical invention that he felt more accurately defined him.
cComments
3

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he told the Jerusalem Post in 2002. “At one point, it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom in the band for me to consider that as one of my jazz gigs (http://www.lewsoloff.com/) .”

Lewis Michael Soloff was born in Brooklyn, N.Y. on Feb. 20, 1944, and grew up in Lakewood, N.J. He studied piano before taking up the trumpet when he was 10. He once recalled listening to a recording of Louis Armstrong’s “I Hope Gabriel Likes My Music,” awestruck at a high scale played “with such quiet finesse and beauty.”

“I wanted to play like that,” Soloff said.

Soloff played with bands at Catskills resorts during summer vacations. In 1961, he entered the Eastman School of Music in Rochester, N.Y., and later did graduate work at the Juilliard School in New York City. By the mid-1960s, he was playing with Afro-Cuban bandleader Machito, whose fiery rhythms inspired Soloff’s own Afro-Cuban ensemble decades later.

Soloff played in the studio and on stage with Tony Bennett, Elvis Costello, Marianne Faithfull, Aretha Franklin, Lou Reed, Frank Sinatra, Paul Simon and Barbra Streisand.

He helped found the Manhattan Jazz Quintet, played Bach with the Manhattan Brass, appeared with Clark Terry’s big band, performed on numerous movie scores, and accompanied such renowned jazz artists as George Benson, Benny Carter, Lionel Hampton, Herbie Mann, Carmen McRae and Stanley Turrentine.

He described jazz pianist Gil Evans (https://www.youtube.com/watch%3Fv=AcEy1njhpy0) as “my musical godfather,” and performed with his group from 1966 until Evans’ death in 1988.

Critics noted Soloff’s virtuosity in a wide variety of forms. In a 2002 cabaret review, the New York Times said Soloff’s “big, meaty sound owes much to Louis Armstrong.”

His survivors include daughters Laura Solomon and Lena Soloff, as well as his grandchildren.

steve.chawkins@latimes.com (mailto:steve.chawkins@latimes.com)

Twitter: @schawkins
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Lew Soloff dies at 71; trumpet player for Blood, Sweat and Tears – LA Times

http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-lew-soloff-20150309-story.html

Lew Soloff, a trumpet player who was an early member of Blood, Sweat and Tears (http://www.bloodsweatandtears.com/) and whose jazz career included performances with his own ensembles and with Gil Evans, Ornette Coleman, Chuck Mangione, Maynard Ferguson and other giants of the genre, has died. He was 71.

Soloff suffered an apparent heart attack as he walked down a New York City street Saturday night with his daughter Laura Solomon, her husband, and their children. He died early Sunday, Solomon said.

Soloff joined Blood, Sweat and Tears in 1968, about a year after the mega-group formed. He performed on their hit “Spinning Wheel” shortly after signing on with them. He played trumpet and flugelhorn on numerous Blood, Sweat and Tears recordings and was featured on the group’s eponymous album that in 1970 won a best-album Grammy.

Soloff traveled the world with Blood, Sweat and Tears until he parted with the jazz/rock band in 1973, grateful for the exposure he had gained but yearning for the kind of free-form musical invention that he felt more accurately defined him.
cComments
3

“It gave me the life experience of once having been a sort of rock star — not individually but certainly as a member of the band,” he told the Jerusalem Post in 2002. “At one point, it was the second biggest band in the world. I’m thankful for that, but there was never enough improvisational freedom in the band for me to consider that as one of my jazz gigs (http://www.lewsoloff.com/) .”

Lewis Michael Soloff was born in Brooklyn, N.Y. on Feb. 20, 1944, and grew up in Lakewood, N.J. He studied piano before taking up the trumpet when he was 10. He once recalled listening to a recording of Louis Armstrong’s “I Hope Gabriel Likes My Music,” awestruck at a high scale played “with such quiet finesse and beauty.”

“I wanted to play like that,” Soloff said.

Soloff played with bands at Catskills resorts during summer vacations. In 1961, he entered the Eastman School of Music in Rochester, N.Y., and later did graduate work at the Juilliard School in New York City. By the mid-1960s, he was playing with Afro-Cuban bandleader Machito, whose fiery rhythms inspired Soloff’s own Afro-Cuban ensemble decades later.

Soloff played in the studio and on stage with Tony Bennett, Elvis Costello, Marianne Faithfull, Aretha Franklin, Lou Reed, Frank Sinatra, Paul Simon and Barbra Streisand.

He helped found the Manhattan Jazz Quintet, played Bach with the Manhattan Brass, appeared with Clark Terry’s big band, performed on numerous movie scores, and accompanied such renowned jazz artists as George Benson, Benny Carter, Lionel Hampton, Herbie Mann, Carmen McRae and Stanley Turrentine.

He described jazz pianist Gil Evans (https://www.youtube.com/watch%3Fv=AcEy1njhpy0) as “my musical godfather,” and performed with his group from 1966 until Evans’ death in 1988.

Critics noted Soloff’s virtuosity in a wide variety of forms. In a 2002 cabaret review, the New York Times said Soloff’s “big, meaty sound owes much to Louis Armstrong.”

His survivors include daughters Laura Solomon and Lena Soloff, as well as his grandchildren.

steve.chawkins@latimes.com (mailto:steve.chawkins@latimes.com)

Twitter: @schawkins
Copyright © 2015, Los Angeles Times (http://www.latimes.com/)

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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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

Lew Soloff RIP

http://www.jazzpromoservices.com/
This is from his daughter’s facebook page:
“Tonight I lost my dad. We flew to New York to spend the week with him and my sister, enjoyed the day together, had dinner at our favorite grub spot. On the way home, he suffered a massive heart attack and collapsed into my arms on the sidewalk in front of my husband and children. I performed CPR with the help of a passerby and continued to assist after EMTs arrived. He died at the scene, was resuscitated, made it through an angioplasty but couldn’t stabilize afterward and passed away just before 1:00 AM.
My dad was amazing. He could drive me f***ing crazy, but that didn’t make him any less essential to my life. He loved his grandkids. He loved my sister and me. He was one of the greatest trumpet players in the world and I’m so proud to be his daughter. I’m so happy to carry on a fraction of his musicality in the now rare moments that I pick up my violin.
Dad had more friends than anyone I know. He was always on the phone. Always. Even when it was totally inappropriate. He was so loved by so many. His life overflowed with people who cared for him. I am so thankful for you all.
I am devastated. I can’t picture my life or my kids’ lives without him in it. It doesn’t seem real. It’s definitely not fair. But I am so grateful to have spent my dad’s last day on Earth together in New York City.
Please keep my family in your thoughts and respect our privacy during this awful time. We’re hurting badly.
We will release details about a Memorial as we’re able to piece things together.”

https://www.facebook.com/lew.soloff?fref=nf

** Fans, friends and colleagues have been paying tribute online to trumpeter Lew Soloff who has died at the age of 71. Born in Brooklyn on 20 February 1944, Soloff was brought up in Lakewood, New Jersey and began on piano as a young boy taking up trumpet when he was 10 studying at Juilliard Preparatory and later the Eastman School of Music. After graduating he played in practice bands with fellow students such as Chuck Mangione, and continued in graduate school at Juilliard before embarking on a full blown musical career playing latin-jazz with Machito, and jamming with the likes of Philly Joe Jones, Paul Chambers, and Elvin Jones. Performing with Maynard Ferguson and the Joe Henderson / Kenny Dorham Big Band he joined the Gil Evans Group and his other credits in the 60s included Clark Terry, Tito Puente, and Eddie Palmieri. With Blood, Sweat And Tears from 1968 to 1973, he racked up nine Gold records and a Grammy for Record of the Year in 1969.
————————————————————

** Lew Soloff – Solea (https://www.youtube.com/watch?v=c4el2jVscBs)
————————————————————

Lew Soloff (tp)
Steve Richman (cond) Harmonie Ensemble New York

**
————————————————————

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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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

Lew Soloff RIP

http://www.jazzpromoservices.com/
This is from his daughter’s facebook page:
“Tonight I lost my dad. We flew to New York to spend the week with him and my sister, enjoyed the day together, had dinner at our favorite grub spot. On the way home, he suffered a massive heart attack and collapsed into my arms on the sidewalk in front of my husband and children. I performed CPR with the help of a passerby and continued to assist after EMTs arrived. He died at the scene, was resuscitated, made it through an angioplasty but couldn’t stabilize afterward and passed away just before 1:00 AM.
My dad was amazing. He could drive me f***ing crazy, but that didn’t make him any less essential to my life. He loved his grandkids. He loved my sister and me. He was one of the greatest trumpet players in the world and I’m so proud to be his daughter. I’m so happy to carry on a fraction of his musicality in the now rare moments that I pick up my violin.
Dad had more friends than anyone I know. He was always on the phone. Always. Even when it was totally inappropriate. He was so loved by so many. His life overflowed with people who cared for him. I am so thankful for you all.
I am devastated. I can’t picture my life or my kids’ lives without him in it. It doesn’t seem real. It’s definitely not fair. But I am so grateful to have spent my dad’s last day on Earth together in New York City.
Please keep my family in your thoughts and respect our privacy during this awful time. We’re hurting badly.
We will release details about a Memorial as we’re able to piece things together.”

https://www.facebook.com/lew.soloff?fref=nf

** Fans, friends and colleagues have been paying tribute online to trumpeter Lew Soloff who has died at the age of 71. Born in Brooklyn on 20 February 1944, Soloff was brought up in Lakewood, New Jersey and began on piano as a young boy taking up trumpet when he was 10 studying at Juilliard Preparatory and later the Eastman School of Music. After graduating he played in practice bands with fellow students such as Chuck Mangione, and continued in graduate school at Juilliard before embarking on a full blown musical career playing latin-jazz with Machito, and jamming with the likes of Philly Joe Jones, Paul Chambers, and Elvin Jones. Performing with Maynard Ferguson and the Joe Henderson / Kenny Dorham Big Band he joined the Gil Evans Group and his other credits in the 60s included Clark Terry, Tito Puente, and Eddie Palmieri. With Blood, Sweat And Tears from 1968 to 1973, he racked up nine Gold records and a Grammy for Record of the Year in 1969.
————————————————————

** Lew Soloff – Solea (https://www.youtube.com/watch?v=c4el2jVscBs)
————————————————————

Lew Soloff (tp)
Steve Richman (cond) Harmonie Ensemble New York

**
————————————————————

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=e1b7d665e6) | 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=e1b7d665e6&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Lew Soloff RIP

http://www.jazzpromoservices.com/
This is from his daughter’s facebook page:
“Tonight I lost my dad. We flew to New York to spend the week with him and my sister, enjoyed the day together, had dinner at our favorite grub spot. On the way home, he suffered a massive heart attack and collapsed into my arms on the sidewalk in front of my husband and children. I performed CPR with the help of a passerby and continued to assist after EMTs arrived. He died at the scene, was resuscitated, made it through an angioplasty but couldn’t stabilize afterward and passed away just before 1:00 AM.
My dad was amazing. He could drive me f***ing crazy, but that didn’t make him any less essential to my life. He loved his grandkids. He loved my sister and me. He was one of the greatest trumpet players in the world and I’m so proud to be his daughter. I’m so happy to carry on a fraction of his musicality in the now rare moments that I pick up my violin.
Dad had more friends than anyone I know. He was always on the phone. Always. Even when it was totally inappropriate. He was so loved by so many. His life overflowed with people who cared for him. I am so thankful for you all.
I am devastated. I can’t picture my life or my kids’ lives without him in it. It doesn’t seem real. It’s definitely not fair. But I am so grateful to have spent my dad’s last day on Earth together in New York City.
Please keep my family in your thoughts and respect our privacy during this awful time. We’re hurting badly.
We will release details about a Memorial as we’re able to piece things together.”

https://www.facebook.com/lew.soloff?fref=nf

** Fans, friends and colleagues have been paying tribute online to trumpeter Lew Soloff who has died at the age of 71. Born in Brooklyn on 20 February 1944, Soloff was brought up in Lakewood, New Jersey and began on piano as a young boy taking up trumpet when he was 10 studying at Juilliard Preparatory and later the Eastman School of Music. After graduating he played in practice bands with fellow students such as Chuck Mangione, and continued in graduate school at Juilliard before embarking on a full blown musical career playing latin-jazz with Machito, and jamming with the likes of Philly Joe Jones, Paul Chambers, and Elvin Jones. Performing with Maynard Ferguson and the Joe Henderson / Kenny Dorham Big Band he joined the Gil Evans Group and his other credits in the 60s included Clark Terry, Tito Puente, and Eddie Palmieri. With Blood, Sweat And Tears from 1968 to 1973, he racked up nine Gold records and a Grammy for Record of the Year in 1969.
————————————————————

** Lew Soloff – Solea (https://www.youtube.com/watch?v=c4el2jVscBs)
————————————————————

Lew Soloff (tp)
Steve Richman (cond) Harmonie Ensemble New York

**
————————————————————

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=e1b7d665e6) | 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=e1b7d665e6&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Studio Musicians Who Played on Two Decades of Hits Finally Get Their Due – Los Angeles | Los Angeles News and Events | LA Weekly

http://www.jazzpromoservices.com/
http://www.laweekly.com/music/studio-musicians-who-played-on-two-decades-of-hits-finally-get-their-due-5414177

** STUDIO MUSICIANS WHO PLAYED ON TWO DECADES OF HITS FINALLY GET THEIR DUE
————————————————————
Members of the Wrecking Crew in a recording session with producer Phil Spector EXPAND (http://images.laweekly.com/imager/b/original/5414185/2297/wreckingcrew.spectorherodate.jpg)

Members of the Wrecking Crew in a recording session with producer Phil Spector

Courtesy of The Wrecking Crew

If you think — and want to continue to think — that Brian Wilson played that signature roller-rink organ on “California Girls,” read no further. If you’ve labored under the illusion that Karen Carpenter tapped out that delicate drum part on “Close to You,” or that Papa John Phillips strummed the sweeping intro to “California Dreamin’,” prepare for a rude awakening.

On hundreds of hits from the late 1950s through the mid-’70s by acts such as The Byrds, The Mamas and the Papas, Elvis Presley, Harry Nilsson, The Beach Boys, Sam Cooke, The Carpenters, The Ronettes, Simon and Garfunkel, Frank and Nancy Sinatra and many, many more, the backing band was a group of faceless studio musicians.

The jazz-trained instrumentalists were L.A.’s first-call players for pop, TV and movie work. They were the consummate pros, the fixers, the one-takers, the guys (and gal) behind the guys.

They were the Wrecking Crew.

Back when L.A.’s recording scene was a hit-minting machine that ruled the airwaves, they worked up to four three-hour sessions a day. Some say they slept in the studio. Huge money was made. Family lives suffered. Marriages crumbled.

Yet they clocked in and out, somehow always sounding inspired for the big names and pretty faces on the record covers, creating what has become the soundtrack to two decades of American life.

But who were these deft, anonymous masters?

Director Denny Tedesco tackles that question with The Wrecking Crew, a heartfelt, engrossing documentary 19 years in the making, which finally sees theatrical release in New York and Los Angeles on March 13. It joins the formidable ranks of behind-the-scenes music docs including Muscle Shoals, Standing in the Shadows of Motown and 20 Feet From Stardom, and it’s a story Tedesco is singularly qualified to helm.

His late father, guitarist Tommy Tedesco, was one of the core members of that integral session group, and a man whose sense of humor was as big as his six-string talent. The guitar intros to TV’s The Twilight Zone, Green Acres, Bonanza, M*A*S*H and Batman? That’s Tommy.

Tommy Tedesco, originally from Niagara Falls, N.Y., succumbed to cancer in 1997 after a decades-long, three-pack-a-day smoking habit. His illness was the catalyst for the documentary.

“When they said he had a year to live, my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Denny, who had worked in Hollywood as a grip and set decorator but, in terms of directing, “had no idea” what he was doing. “It wasn’t going to be just about my dad; it was going to be about the group of them.”

“Them” is a bit tough to define. It was not “a set group of musicians,” Tedesco explains. Depending on who you talk to, it’s “15, 20, 35 players,” but the core group included the bassist extraordinaire Carol Kaye, drummers Hal Blaine and Earl Palmer, guitarists Al Casey, Tommy Tedesco and Glen Campbell (later of “Rhinestone Cowboy” fame), keyboardists Don Randi and Leon Russell and sax player Plas Johnson.

Tedesco began shooting in 1996, embarking on a job that would see him interview 76 musicians, producers, writers, arrangers and engineers; 29 made the final cut. He shot “on 16mm film, 8mm, 3/4[-inch] tape and Beta tape,” he says. “Everything but IMAX.”

He went into debt. His wife, Susie, footed the family bills. Friends donated. He used Kickstarter. His biggest financial hurdle was licensing 110 songs, including some of the biggest hits known to man.

“We had a $750,000 bill before we could even release this film theatrically,” Tedesco explains, “so no one was touching us. We still had this thing around our neck. Documentaries don’t sell, and music docs are the worst.”

Interviews and images were available but archival film, not so much. There’s likely more footage of Bigfoot sashaying through the woods than there is of the Crew actually playing sessions. In fact, film of the group would be nonexistent were it not for Hal Blaine.
Tommy Tedesco and Hal Blaine

Tommy Tedesco and Hal Blaine

Courtesy of The Wrecking Crew

Blaine, now 86, started drumming behind strippers in mob-run Chicago clubs in the late 1940s. In the studios of L.A., he played on 40 No. 1 singles and 150 Top 10 cuts. He supplied the beat behind eight Record of the Year Grammys and was the rock in Phil Spector’s Wall of Sound.

Think of the Ronettes’ “Be My Baby.” Boom. Boom-Boom. Crack. Boom. Boom-Boom. Crack. That’s Hal Blaine.

He retired to Palm Desert years ago, to a nice pad in a gated community. You approach the house and hear a dog growling and barking. You see pictures of a Doberman taped in the window by the front door. It opens, and there’s Hal. No Doberman, however.

“That’s Otto,” Blaine says, pointing to a speaker in the entry hall. He shuts it off and chuckles.

As to that rare Crew footage…

“Somehow I got hold of an 8mm silent pornographic film,” explains the most prolific studio drummer in history. “It was a nasty, filthy thing. Probably was done some time in the ’20s or ’30s.

“I had a camera, and I took it to work and I became a director of sorts. And I’d tell people like Tommy, ‘Hey, Tom, do me a favor. I’m gonna take a film of you. Just come walking into the studio, and all of a sudden pretend you’ve walked into a great big orgy going on here. There’s all these naked women and guys.’ And we’re laughing about it. I did that with Glen Campbell, all the guys. They were happy to do it. I stayed up all night and edited it together. When Denny needed some film footage, I thought of this ridiculous thing.”

Unlike their strictly-business predecessors of the ’40s and ’50s, the Wrecking Crew were cooler, hipper, downright casual.

“They looked down on us and this filthy new rock & roll. We were in Levis and T-shirts. These older guys in their ties and blue blazers, carrying around their little ashtrays, said, ‘These kids are going to wreck the business,'” recalls Blaine, who takes credit for coining the moniker Wrecking Crew.

Carol Kaye reportedly disputes the name, insisting that, back in the day, they were called the Clique.

Don Randi has a slightly different take as well. “We were [called] the Wall of Sound. We started with Spector,” says the affable keyboard titan. You may recall the holy keyboard pulse on a little Beach Boys number called “God Only Knows.” That’s Don Randi.

“The Wrecking Crew came later on. It’s an iconic phrase and people love it. But people would call us the Wrecking Crew because we could wreck a [session]. If you were a stupid producer, we could take you on a ride that you’ll never forget,” Randi says.

Whatever you want to call them, the group’s musical contributions are indelible, and Tedesco’s film is a long-overdue homage that puts these familiar strangers into perspective.

“It’s important,” Randi says. “It’s almost a piece of history. It’s a time that won’t be repeated again because the technology has taken all of that away, that liveness that we had. Although now some of the bands are starting to come back to it again. You know, let’s all get in a room and kill one another.”

“You’re only as good as your last hit,” Blaine says, “and no one had more hits than we did.”

For more information on where you can see The Wrecking Crew, visit www.wreckingcrewfilm.com (http://www.wreckingcrewfilm.com/) .
————————————————————

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Studio Musicians Who Played on Two Decades of Hits Finally Get Their Due – Los Angeles | Los Angeles News and Events | LA Weekly

http://www.jazzpromoservices.com/
http://www.laweekly.com/music/studio-musicians-who-played-on-two-decades-of-hits-finally-get-their-due-5414177

** STUDIO MUSICIANS WHO PLAYED ON TWO DECADES OF HITS FINALLY GET THEIR DUE
————————————————————
Members of the Wrecking Crew in a recording session with producer Phil Spector EXPAND (http://images.laweekly.com/imager/b/original/5414185/2297/wreckingcrew.spectorherodate.jpg)

Members of the Wrecking Crew in a recording session with producer Phil Spector

Courtesy of The Wrecking Crew

If you think — and want to continue to think — that Brian Wilson played that signature roller-rink organ on “California Girls,” read no further. If you’ve labored under the illusion that Karen Carpenter tapped out that delicate drum part on “Close to You,” or that Papa John Phillips strummed the sweeping intro to “California Dreamin’,” prepare for a rude awakening.

On hundreds of hits from the late 1950s through the mid-’70s by acts such as The Byrds, The Mamas and the Papas, Elvis Presley, Harry Nilsson, The Beach Boys, Sam Cooke, The Carpenters, The Ronettes, Simon and Garfunkel, Frank and Nancy Sinatra and many, many more, the backing band was a group of faceless studio musicians.

The jazz-trained instrumentalists were L.A.’s first-call players for pop, TV and movie work. They were the consummate pros, the fixers, the one-takers, the guys (and gal) behind the guys.

They were the Wrecking Crew.

Back when L.A.’s recording scene was a hit-minting machine that ruled the airwaves, they worked up to four three-hour sessions a day. Some say they slept in the studio. Huge money was made. Family lives suffered. Marriages crumbled.

Yet they clocked in and out, somehow always sounding inspired for the big names and pretty faces on the record covers, creating what has become the soundtrack to two decades of American life.

But who were these deft, anonymous masters?

Director Denny Tedesco tackles that question with The Wrecking Crew, a heartfelt, engrossing documentary 19 years in the making, which finally sees theatrical release in New York and Los Angeles on March 13. It joins the formidable ranks of behind-the-scenes music docs including Muscle Shoals, Standing in the Shadows of Motown and 20 Feet From Stardom, and it’s a story Tedesco is singularly qualified to helm.

His late father, guitarist Tommy Tedesco, was one of the core members of that integral session group, and a man whose sense of humor was as big as his six-string talent. The guitar intros to TV’s The Twilight Zone, Green Acres, Bonanza, M*A*S*H and Batman? That’s Tommy.

Tommy Tedesco, originally from Niagara Falls, N.Y., succumbed to cancer in 1997 after a decades-long, three-pack-a-day smoking habit. His illness was the catalyst for the documentary.

“When they said he had a year to live, my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Denny, who had worked in Hollywood as a grip and set decorator but, in terms of directing, “had no idea” what he was doing. “It wasn’t going to be just about my dad; it was going to be about the group of them.”

“Them” is a bit tough to define. It was not “a set group of musicians,” Tedesco explains. Depending on who you talk to, it’s “15, 20, 35 players,” but the core group included the bassist extraordinaire Carol Kaye, drummers Hal Blaine and Earl Palmer, guitarists Al Casey, Tommy Tedesco and Glen Campbell (later of “Rhinestone Cowboy” fame), keyboardists Don Randi and Leon Russell and sax player Plas Johnson.

Tedesco began shooting in 1996, embarking on a job that would see him interview 76 musicians, producers, writers, arrangers and engineers; 29 made the final cut. He shot “on 16mm film, 8mm, 3/4[-inch] tape and Beta tape,” he says. “Everything but IMAX.”

He went into debt. His wife, Susie, footed the family bills. Friends donated. He used Kickstarter. His biggest financial hurdle was licensing 110 songs, including some of the biggest hits known to man.

“We had a $750,000 bill before we could even release this film theatrically,” Tedesco explains, “so no one was touching us. We still had this thing around our neck. Documentaries don’t sell, and music docs are the worst.”

Interviews and images were available but archival film, not so much. There’s likely more footage of Bigfoot sashaying through the woods than there is of the Crew actually playing sessions. In fact, film of the group would be nonexistent were it not for Hal Blaine.
Tommy Tedesco and Hal Blaine

Tommy Tedesco and Hal Blaine

Courtesy of The Wrecking Crew

Blaine, now 86, started drumming behind strippers in mob-run Chicago clubs in the late 1940s. In the studios of L.A., he played on 40 No. 1 singles and 150 Top 10 cuts. He supplied the beat behind eight Record of the Year Grammys and was the rock in Phil Spector’s Wall of Sound.

Think of the Ronettes’ “Be My Baby.” Boom. Boom-Boom. Crack. Boom. Boom-Boom. Crack. That’s Hal Blaine.

He retired to Palm Desert years ago, to a nice pad in a gated community. You approach the house and hear a dog growling and barking. You see pictures of a Doberman taped in the window by the front door. It opens, and there’s Hal. No Doberman, however.

“That’s Otto,” Blaine says, pointing to a speaker in the entry hall. He shuts it off and chuckles.

As to that rare Crew footage…

“Somehow I got hold of an 8mm silent pornographic film,” explains the most prolific studio drummer in history. “It was a nasty, filthy thing. Probably was done some time in the ’20s or ’30s.

“I had a camera, and I took it to work and I became a director of sorts. And I’d tell people like Tommy, ‘Hey, Tom, do me a favor. I’m gonna take a film of you. Just come walking into the studio, and all of a sudden pretend you’ve walked into a great big orgy going on here. There’s all these naked women and guys.’ And we’re laughing about it. I did that with Glen Campbell, all the guys. They were happy to do it. I stayed up all night and edited it together. When Denny needed some film footage, I thought of this ridiculous thing.”

Unlike their strictly-business predecessors of the ’40s and ’50s, the Wrecking Crew were cooler, hipper, downright casual.

“They looked down on us and this filthy new rock & roll. We were in Levis and T-shirts. These older guys in their ties and blue blazers, carrying around their little ashtrays, said, ‘These kids are going to wreck the business,'” recalls Blaine, who takes credit for coining the moniker Wrecking Crew.

Carol Kaye reportedly disputes the name, insisting that, back in the day, they were called the Clique.

Don Randi has a slightly different take as well. “We were [called] the Wall of Sound. We started with Spector,” says the affable keyboard titan. You may recall the holy keyboard pulse on a little Beach Boys number called “God Only Knows.” That’s Don Randi.

“The Wrecking Crew came later on. It’s an iconic phrase and people love it. But people would call us the Wrecking Crew because we could wreck a [session]. If you were a stupid producer, we could take you on a ride that you’ll never forget,” Randi says.

Whatever you want to call them, the group’s musical contributions are indelible, and Tedesco’s film is a long-overdue homage that puts these familiar strangers into perspective.

“It’s important,” Randi says. “It’s almost a piece of history. It’s a time that won’t be repeated again because the technology has taken all of that away, that liveness that we had. Although now some of the bands are starting to come back to it again. You know, let’s all get in a room and kill one another.”

“You’re only as good as your last hit,” Blaine says, “and no one had more hits than we did.”

For more information on where you can see The Wrecking Crew, visit www.wreckingcrewfilm.com (http://www.wreckingcrewfilm.com/) .
————————————————————

Like us on Facebook at LAWeeklyMusic (http://www.facebook.com/LAWeeklyMusic)

West Coast Sound’s Greatest Hits!
Top 20 Worst Bands of All Time (http://www.laweekly.com/music/top-20-worst-bands-of-all-time-the-complete-list-2403868)
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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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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

Studio Musicians Who Played on Two Decades of Hits Finally Get Their Due – Los Angeles | Los Angeles News and Events | LA Weekly

http://www.jazzpromoservices.com/
http://www.laweekly.com/music/studio-musicians-who-played-on-two-decades-of-hits-finally-get-their-due-5414177

** STUDIO MUSICIANS WHO PLAYED ON TWO DECADES OF HITS FINALLY GET THEIR DUE
————————————————————
Members of the Wrecking Crew in a recording session with producer Phil Spector EXPAND (http://images.laweekly.com/imager/b/original/5414185/2297/wreckingcrew.spectorherodate.jpg)

Members of the Wrecking Crew in a recording session with producer Phil Spector

Courtesy of The Wrecking Crew

If you think — and want to continue to think — that Brian Wilson played that signature roller-rink organ on “California Girls,” read no further. If you’ve labored under the illusion that Karen Carpenter tapped out that delicate drum part on “Close to You,” or that Papa John Phillips strummed the sweeping intro to “California Dreamin’,” prepare for a rude awakening.

On hundreds of hits from the late 1950s through the mid-’70s by acts such as The Byrds, The Mamas and the Papas, Elvis Presley, Harry Nilsson, The Beach Boys, Sam Cooke, The Carpenters, The Ronettes, Simon and Garfunkel, Frank and Nancy Sinatra and many, many more, the backing band was a group of faceless studio musicians.

The jazz-trained instrumentalists were L.A.’s first-call players for pop, TV and movie work. They were the consummate pros, the fixers, the one-takers, the guys (and gal) behind the guys.

They were the Wrecking Crew.

Back when L.A.’s recording scene was a hit-minting machine that ruled the airwaves, they worked up to four three-hour sessions a day. Some say they slept in the studio. Huge money was made. Family lives suffered. Marriages crumbled.

Yet they clocked in and out, somehow always sounding inspired for the big names and pretty faces on the record covers, creating what has become the soundtrack to two decades of American life.

But who were these deft, anonymous masters?

Director Denny Tedesco tackles that question with The Wrecking Crew, a heartfelt, engrossing documentary 19 years in the making, which finally sees theatrical release in New York and Los Angeles on March 13. It joins the formidable ranks of behind-the-scenes music docs including Muscle Shoals, Standing in the Shadows of Motown and 20 Feet From Stardom, and it’s a story Tedesco is singularly qualified to helm.

His late father, guitarist Tommy Tedesco, was one of the core members of that integral session group, and a man whose sense of humor was as big as his six-string talent. The guitar intros to TV’s The Twilight Zone, Green Acres, Bonanza, M*A*S*H and Batman? That’s Tommy.

Tommy Tedesco, originally from Niagara Falls, N.Y., succumbed to cancer in 1997 after a decades-long, three-pack-a-day smoking habit. His illness was the catalyst for the documentary.

“When they said he had a year to live, my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Denny, who had worked in Hollywood as a grip and set decorator but, in terms of directing, “had no idea” what he was doing. “It wasn’t going to be just about my dad; it was going to be about the group of them.”

“Them” is a bit tough to define. It was not “a set group of musicians,” Tedesco explains. Depending on who you talk to, it’s “15, 20, 35 players,” but the core group included the bassist extraordinaire Carol Kaye, drummers Hal Blaine and Earl Palmer, guitarists Al Casey, Tommy Tedesco and Glen Campbell (later of “Rhinestone Cowboy” fame), keyboardists Don Randi and Leon Russell and sax player Plas Johnson.

Tedesco began shooting in 1996, embarking on a job that would see him interview 76 musicians, producers, writers, arrangers and engineers; 29 made the final cut. He shot “on 16mm film, 8mm, 3/4[-inch] tape and Beta tape,” he says. “Everything but IMAX.”

He went into debt. His wife, Susie, footed the family bills. Friends donated. He used Kickstarter. His biggest financial hurdle was licensing 110 songs, including some of the biggest hits known to man.

“We had a $750,000 bill before we could even release this film theatrically,” Tedesco explains, “so no one was touching us. We still had this thing around our neck. Documentaries don’t sell, and music docs are the worst.”

Interviews and images were available but archival film, not so much. There’s likely more footage of Bigfoot sashaying through the woods than there is of the Crew actually playing sessions. In fact, film of the group would be nonexistent were it not for Hal Blaine.
Tommy Tedesco and Hal Blaine

Tommy Tedesco and Hal Blaine

Courtesy of The Wrecking Crew

Blaine, now 86, started drumming behind strippers in mob-run Chicago clubs in the late 1940s. In the studios of L.A., he played on 40 No. 1 singles and 150 Top 10 cuts. He supplied the beat behind eight Record of the Year Grammys and was the rock in Phil Spector’s Wall of Sound.

Think of the Ronettes’ “Be My Baby.” Boom. Boom-Boom. Crack. Boom. Boom-Boom. Crack. That’s Hal Blaine.

He retired to Palm Desert years ago, to a nice pad in a gated community. You approach the house and hear a dog growling and barking. You see pictures of a Doberman taped in the window by the front door. It opens, and there’s Hal. No Doberman, however.

“That’s Otto,” Blaine says, pointing to a speaker in the entry hall. He shuts it off and chuckles.

As to that rare Crew footage…

“Somehow I got hold of an 8mm silent pornographic film,” explains the most prolific studio drummer in history. “It was a nasty, filthy thing. Probably was done some time in the ’20s or ’30s.

“I had a camera, and I took it to work and I became a director of sorts. And I’d tell people like Tommy, ‘Hey, Tom, do me a favor. I’m gonna take a film of you. Just come walking into the studio, and all of a sudden pretend you’ve walked into a great big orgy going on here. There’s all these naked women and guys.’ And we’re laughing about it. I did that with Glen Campbell, all the guys. They were happy to do it. I stayed up all night and edited it together. When Denny needed some film footage, I thought of this ridiculous thing.”

Unlike their strictly-business predecessors of the ’40s and ’50s, the Wrecking Crew were cooler, hipper, downright casual.

“They looked down on us and this filthy new rock & roll. We were in Levis and T-shirts. These older guys in their ties and blue blazers, carrying around their little ashtrays, said, ‘These kids are going to wreck the business,'” recalls Blaine, who takes credit for coining the moniker Wrecking Crew.

Carol Kaye reportedly disputes the name, insisting that, back in the day, they were called the Clique.

Don Randi has a slightly different take as well. “We were [called] the Wall of Sound. We started with Spector,” says the affable keyboard titan. You may recall the holy keyboard pulse on a little Beach Boys number called “God Only Knows.” That’s Don Randi.

“The Wrecking Crew came later on. It’s an iconic phrase and people love it. But people would call us the Wrecking Crew because we could wreck a [session]. If you were a stupid producer, we could take you on a ride that you’ll never forget,” Randi says.

Whatever you want to call them, the group’s musical contributions are indelible, and Tedesco’s film is a long-overdue homage that puts these familiar strangers into perspective.

“It’s important,” Randi says. “It’s almost a piece of history. It’s a time that won’t be repeated again because the technology has taken all of that away, that liveness that we had. Although now some of the bands are starting to come back to it again. You know, let’s all get in a room and kill one another.”

“You’re only as good as your last hit,” Blaine says, “and no one had more hits than we did.”

For more information on where you can see The Wrecking Crew, visit www.wreckingcrewfilm.com (http://www.wreckingcrewfilm.com/) .
————————————————————

Like us on Facebook at LAWeeklyMusic (http://www.facebook.com/LAWeeklyMusic)

West Coast Sound’s Greatest Hits!
Top 20 Worst Bands of All Time (http://www.laweekly.com/music/top-20-worst-bands-of-all-time-the-complete-list-2403868)
Why CDs May Actually Sound Better Than Vinyl (http://www.laweekly.com/music/why-cds-may-actually-sound-better-than-vinyl-5352162)
The 20 Sexiest Songs of All Time (http://www.laweekly.com/music/the-20-sexiest-songs-of-all-time-5376264)

This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA