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The True Roots of Doo-Wop Top Pop: Doo-Wop’s New Stop – WSJ by Jim Fusilli

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.wsj.com/articles/top-pop-doo-wops-new-stop-1425423191?KEYWORDS=jim+fusilli

** Top Pop: Doo-Wop’s New Stop
————————————————————
By
Jim Fusilli
March 3, 2015 5:53 p.m. ET

A musical form that’s been relegated to a distant backburner for most of the past five decades, doo-wop echoes in several contemporary hit recordings. Is it a sign of a revival? It may depend on how you define doo-wop.
The Mills Brothers. ENLARGE
The Mills Brothers. Photo: Getty Images

Beyoncé included a doo-wop-influenced tune, “Superpower, ” on her 2013 self-titled world-wide hit album. Meghan Trainor concluded the deluxe edition of her No. 1 2015 album, “Title,” with “My Selfish Heart” and “Credit,” two songs that draw on doo-wop. Bruno Mars and Mark Ronson opened their 2015 hit single “Uptown Funk” with a dash of doo-wop vocalizing, as did Pharrell Williams on “Lost Queen” on his 2014 album, “Girl.”

But with the exception of Ms. Trainor, a 21-year-old who finds candy-coated charm in early ’60s pop, these contemporary artists see doo-wop as a branch of R&B that extends from earlier forms of African-American music—and they are right. Doo-wop’s origins can be traced back through some of the greatest vocal groups of the 1930s and ’40s to the late-19th-century gospel choirs and barbershop harmony groups.

Today, doo-wop might be defined as a popular form of street-corner vocal music of the mid ’50s to early ’60s featuring close harmonies, minimal instrumentation and a simple yet sturdy chord structure as the song’s spine, and whose greatest proponents were urban African-American and Italian-American groups. As recognizable as that definition is, it creates artificial barriers that wall off doo-wop from the continuum of popular music. There were great vocal groups well before the term doo-wop found purchase in the late ’60s, just as there was extraordinary music by vocal groups prior to the arrival of the Clovers and the Turbans, who were among the first to use the two-syllable phrase in “One Mint Julep” and “When You Dance,” released in 1953 and 1955, respectively.

The best popular vocal music of the ’50s and early ’60s can be linked directly to the Mills Brothers, the dominant vocal group of the ’30s whose members learned barbershop-harmony techniques from their father. They incorporated the techniques, as well as those they absorbed in church choirs, into their jazz and pop recordings, which are said to have sold in excess of 50 million copies. Building on the Mills Brothers’ model, the Ink Spots were then followed by a flood of mid- to late-’40s vocal groups. These included such influencers as the Ravens, the Orioles and the Dominoes, all of whom continued into the ’50s and whose recordings, as it was with the Mills Brothers and the Ink Spots, also appealed to white listeners. In their prime, none of these artists were identified by the term doo-wop.

To a degree, doo-wop has never gone away, perhaps because it seemed to become a nostalgia craze within minutes of its decline. Richard Nader began promoting oldies shows featuring doo-wop artists in 1969. That same year, at Woodstock, Sha Na Na, preceding Jimi Hendrix, performed an all-doo-wop set that fell somewhere between tribute and takeoff. The play “Grease” arrived in 1971; the film “American Graffiti,” two years later. As John Michael Runowicz details in his book “Forever Doo-Wop,” the oldies circuit thrives, giving some aging artists a second shot at remuneration denied the first time around. All-star oldies shows have been a staple of PBS’s pledge drives since 1999. Groups like Scott Bradlee & Postmodern Jukebox and the Doo Wop Shop at the University of Massachusetts, Amherst, perform contemporary hits in a doo-wop style. Last year on “The Tonight Show,” Jimmy Fallon (http://topics.wsj.com/person/F/Jimmy-Fallon/5796) sang doo-wop tunes with Billy Joel
(http://topics.wsj.com/person/J/Billy-Joel/6287) and Robert Plant, using a “Loopy” app to overdub the harmony vocals. For the most part, vocal music of the mid-20th century is represented as it was redefined, not as a continuation of an American tradition that’s well over 100 years old.

But when Beyoncé, Bruno Mars, Justin Timberlake and Pharrell Williams—among today’s most popular and successful R&B and pop artists—cite doo-wop in an R&B context, they are tapping into its proper history, even if they come to it primarily through Michael Jackson (http://topics.wsj.com/person/J/Michael-Jackson/1659) and Prince rather than ’50s R&B hit-makers like the Five Keys and the Moonglows. By steering away from doo-wop staples like the Marcels’ “Blue Moon,” the ’61 hit that dinosaur-stomped the Rodgers-Hart standard; the Diamonds’ “Little Darlin’,” which parodied the Gladiolas’ version released only a month earlier; or the Crew-Cuts’ whitewashed version of the Chords’ “Sh-Boom,” they are providing a service to fans and fellow musicians who may be interested in the great sounds of a bygone era. If a revival is under way, may it continue to avoid nostalgia and the distortions of rebranding in order to restore the history and reputation of the best R&B vocal-group music
.

Mr. Fusilli is the Journal’s rock and pop music critic. Email him at jfusilli@wsj.com and follow him on Twitter @wsjrock.

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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The True Roots of Doo-Wop Top Pop: Doo-Wop’s New Stop – WSJ by Jim Fusilli

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.wsj.com/articles/top-pop-doo-wops-new-stop-1425423191?KEYWORDS=jim+fusilli

** Top Pop: Doo-Wop’s New Stop
————————————————————
By
Jim Fusilli
March 3, 2015 5:53 p.m. ET

A musical form that’s been relegated to a distant backburner for most of the past five decades, doo-wop echoes in several contemporary hit recordings. Is it a sign of a revival? It may depend on how you define doo-wop.
The Mills Brothers. ENLARGE
The Mills Brothers. Photo: Getty Images

Beyoncé included a doo-wop-influenced tune, “Superpower, ” on her 2013 self-titled world-wide hit album. Meghan Trainor concluded the deluxe edition of her No. 1 2015 album, “Title,” with “My Selfish Heart” and “Credit,” two songs that draw on doo-wop. Bruno Mars and Mark Ronson opened their 2015 hit single “Uptown Funk” with a dash of doo-wop vocalizing, as did Pharrell Williams on “Lost Queen” on his 2014 album, “Girl.”

But with the exception of Ms. Trainor, a 21-year-old who finds candy-coated charm in early ’60s pop, these contemporary artists see doo-wop as a branch of R&B that extends from earlier forms of African-American music—and they are right. Doo-wop’s origins can be traced back through some of the greatest vocal groups of the 1930s and ’40s to the late-19th-century gospel choirs and barbershop harmony groups.

Today, doo-wop might be defined as a popular form of street-corner vocal music of the mid ’50s to early ’60s featuring close harmonies, minimal instrumentation and a simple yet sturdy chord structure as the song’s spine, and whose greatest proponents were urban African-American and Italian-American groups. As recognizable as that definition is, it creates artificial barriers that wall off doo-wop from the continuum of popular music. There were great vocal groups well before the term doo-wop found purchase in the late ’60s, just as there was extraordinary music by vocal groups prior to the arrival of the Clovers and the Turbans, who were among the first to use the two-syllable phrase in “One Mint Julep” and “When You Dance,” released in 1953 and 1955, respectively.

The best popular vocal music of the ’50s and early ’60s can be linked directly to the Mills Brothers, the dominant vocal group of the ’30s whose members learned barbershop-harmony techniques from their father. They incorporated the techniques, as well as those they absorbed in church choirs, into their jazz and pop recordings, which are said to have sold in excess of 50 million copies. Building on the Mills Brothers’ model, the Ink Spots were then followed by a flood of mid- to late-’40s vocal groups. These included such influencers as the Ravens, the Orioles and the Dominoes, all of whom continued into the ’50s and whose recordings, as it was with the Mills Brothers and the Ink Spots, also appealed to white listeners. In their prime, none of these artists were identified by the term doo-wop.

To a degree, doo-wop has never gone away, perhaps because it seemed to become a nostalgia craze within minutes of its decline. Richard Nader began promoting oldies shows featuring doo-wop artists in 1969. That same year, at Woodstock, Sha Na Na, preceding Jimi Hendrix, performed an all-doo-wop set that fell somewhere between tribute and takeoff. The play “Grease” arrived in 1971; the film “American Graffiti,” two years later. As John Michael Runowicz details in his book “Forever Doo-Wop,” the oldies circuit thrives, giving some aging artists a second shot at remuneration denied the first time around. All-star oldies shows have been a staple of PBS’s pledge drives since 1999. Groups like Scott Bradlee & Postmodern Jukebox and the Doo Wop Shop at the University of Massachusetts, Amherst, perform contemporary hits in a doo-wop style. Last year on “The Tonight Show,” Jimmy Fallon (http://topics.wsj.com/person/F/Jimmy-Fallon/5796) sang doo-wop tunes with Billy Joel
(http://topics.wsj.com/person/J/Billy-Joel/6287) and Robert Plant, using a “Loopy” app to overdub the harmony vocals. For the most part, vocal music of the mid-20th century is represented as it was redefined, not as a continuation of an American tradition that’s well over 100 years old.

But when Beyoncé, Bruno Mars, Justin Timberlake and Pharrell Williams—among today’s most popular and successful R&B and pop artists—cite doo-wop in an R&B context, they are tapping into its proper history, even if they come to it primarily through Michael Jackson (http://topics.wsj.com/person/J/Michael-Jackson/1659) and Prince rather than ’50s R&B hit-makers like the Five Keys and the Moonglows. By steering away from doo-wop staples like the Marcels’ “Blue Moon,” the ’61 hit that dinosaur-stomped the Rodgers-Hart standard; the Diamonds’ “Little Darlin’,” which parodied the Gladiolas’ version released only a month earlier; or the Crew-Cuts’ whitewashed version of the Chords’ “Sh-Boom,” they are providing a service to fans and fellow musicians who may be interested in the great sounds of a bygone era. If a revival is under way, may it continue to avoid nostalgia and the distortions of rebranding in order to restore the history and reputation of the best R&B vocal-group music
.

Mr. Fusilli is the Journal’s rock and pop music critic. Email him at jfusilli@wsj.com and follow him on Twitter @wsjrock.

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=88842d7a24) | 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=88842d7a24&e=[UNIQID])

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2015 All rights reserved.

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

The True Roots of Doo-Wop Top Pop: Doo-Wop’s New Stop – WSJ by Jim Fusilli

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.wsj.com/articles/top-pop-doo-wops-new-stop-1425423191?KEYWORDS=jim+fusilli

** Top Pop: Doo-Wop’s New Stop
————————————————————
By
Jim Fusilli
March 3, 2015 5:53 p.m. ET

A musical form that’s been relegated to a distant backburner for most of the past five decades, doo-wop echoes in several contemporary hit recordings. Is it a sign of a revival? It may depend on how you define doo-wop.
The Mills Brothers. ENLARGE
The Mills Brothers. Photo: Getty Images

Beyoncé included a doo-wop-influenced tune, “Superpower, ” on her 2013 self-titled world-wide hit album. Meghan Trainor concluded the deluxe edition of her No. 1 2015 album, “Title,” with “My Selfish Heart” and “Credit,” two songs that draw on doo-wop. Bruno Mars and Mark Ronson opened their 2015 hit single “Uptown Funk” with a dash of doo-wop vocalizing, as did Pharrell Williams on “Lost Queen” on his 2014 album, “Girl.”

But with the exception of Ms. Trainor, a 21-year-old who finds candy-coated charm in early ’60s pop, these contemporary artists see doo-wop as a branch of R&B that extends from earlier forms of African-American music—and they are right. Doo-wop’s origins can be traced back through some of the greatest vocal groups of the 1930s and ’40s to the late-19th-century gospel choirs and barbershop harmony groups.

Today, doo-wop might be defined as a popular form of street-corner vocal music of the mid ’50s to early ’60s featuring close harmonies, minimal instrumentation and a simple yet sturdy chord structure as the song’s spine, and whose greatest proponents were urban African-American and Italian-American groups. As recognizable as that definition is, it creates artificial barriers that wall off doo-wop from the continuum of popular music. There were great vocal groups well before the term doo-wop found purchase in the late ’60s, just as there was extraordinary music by vocal groups prior to the arrival of the Clovers and the Turbans, who were among the first to use the two-syllable phrase in “One Mint Julep” and “When You Dance,” released in 1953 and 1955, respectively.

The best popular vocal music of the ’50s and early ’60s can be linked directly to the Mills Brothers, the dominant vocal group of the ’30s whose members learned barbershop-harmony techniques from their father. They incorporated the techniques, as well as those they absorbed in church choirs, into their jazz and pop recordings, which are said to have sold in excess of 50 million copies. Building on the Mills Brothers’ model, the Ink Spots were then followed by a flood of mid- to late-’40s vocal groups. These included such influencers as the Ravens, the Orioles and the Dominoes, all of whom continued into the ’50s and whose recordings, as it was with the Mills Brothers and the Ink Spots, also appealed to white listeners. In their prime, none of these artists were identified by the term doo-wop.

To a degree, doo-wop has never gone away, perhaps because it seemed to become a nostalgia craze within minutes of its decline. Richard Nader began promoting oldies shows featuring doo-wop artists in 1969. That same year, at Woodstock, Sha Na Na, preceding Jimi Hendrix, performed an all-doo-wop set that fell somewhere between tribute and takeoff. The play “Grease” arrived in 1971; the film “American Graffiti,” two years later. As John Michael Runowicz details in his book “Forever Doo-Wop,” the oldies circuit thrives, giving some aging artists a second shot at remuneration denied the first time around. All-star oldies shows have been a staple of PBS’s pledge drives since 1999. Groups like Scott Bradlee & Postmodern Jukebox and the Doo Wop Shop at the University of Massachusetts, Amherst, perform contemporary hits in a doo-wop style. Last year on “The Tonight Show,” Jimmy Fallon (http://topics.wsj.com/person/F/Jimmy-Fallon/5796) sang doo-wop tunes with Billy Joel
(http://topics.wsj.com/person/J/Billy-Joel/6287) and Robert Plant, using a “Loopy” app to overdub the harmony vocals. For the most part, vocal music of the mid-20th century is represented as it was redefined, not as a continuation of an American tradition that’s well over 100 years old.

But when Beyoncé, Bruno Mars, Justin Timberlake and Pharrell Williams—among today’s most popular and successful R&B and pop artists—cite doo-wop in an R&B context, they are tapping into its proper history, even if they come to it primarily through Michael Jackson (http://topics.wsj.com/person/J/Michael-Jackson/1659) and Prince rather than ’50s R&B hit-makers like the Five Keys and the Moonglows. By steering away from doo-wop staples like the Marcels’ “Blue Moon,” the ’61 hit that dinosaur-stomped the Rodgers-Hart standard; the Diamonds’ “Little Darlin’,” which parodied the Gladiolas’ version released only a month earlier; or the Crew-Cuts’ whitewashed version of the Chords’ “Sh-Boom,” they are providing a service to fans and fellow musicians who may be interested in the great sounds of a bygone era. If a revival is under way, may it continue to avoid nostalgia and the distortions of rebranding in order to restore the history and reputation of the best R&B vocal-group music
.

Mr. Fusilli is the Journal’s rock and pop music critic. Email him at jfusilli@wsj.com and follow him on Twitter @wsjrock.

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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Jazz Promo Services
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Warwick, Ny 10990
USA

Fostering U.S.-Iranian ties through jazz – CNN Video

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March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
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http://www.cnn.com/videos/world/2015/03/03/pkg-amanpour-iran-jazz.cnn

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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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

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269 State Route 94 South
Warwick, Ny 10990
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Fostering U.S.-Iranian ties through jazz – CNN Video

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )

http://www.cnn.com/videos/world/2015/03/03/pkg-amanpour-iran-jazz.cnn

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

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

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

Fostering U.S.-Iranian ties through jazz – CNN Video

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )

http://www.cnn.com/videos/world/2015/03/03/pkg-amanpour-iran-jazz.cnn

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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Joe Murányi: An All-Star Tribute Monday, March 9th 7:30 PM to 10:30 PM @ JCC Manhattan FREE

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
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Joe Murányi: An All-Star Tribute Monday, March 9th 7:30 PM to 10:30 PM @ JCC Manhattan FREE

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
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www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
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Joe Murányi: An All-Star Tribute Monday, March 9th 7:30 PM to 10:30 PM @ JCC Manhattan FREE

http://www.jazzpromoservices.com/
March 2, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
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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.

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William Thomas McKinley, Jazz-Loving Composer, Dies at 76 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/arts/music/william-thomas-mckinley-jazz-loving-composer-dies-at-76.html?_r=0

** William Thomas McKinley, Jazz-Loving Composer, Dies at 76
————————————————————
Photo
William Thomas McKinley before the New York premiere of one of his clarinet concertos in 1985 at Alice Tully Hall.

William Thomas McKinley, a prolific American composer whose music was infused with the jazz he had performed since childhood, died on Feb. 3 at his home in Reading, Mass. He was 76.

He died in his sleep, his son Elliott said.

Writing in a style he called neo-tonal, Mr. McKinley produced hundreds of orchestral, chamber and vocal works that were known for their lyricism, rhythmic propulsion and accessibility. His music, which could recall not only jazz and blues but also Bach, Debussy, Ravel and Vaughan Williams, was performed on major stages, including those of Carnegie and Alice Tully Halls in New York.

Among the well-known musicians who played Mr. McKinley’s work are the clarinetist Richard Stoltzman, with whom he had a long association; the pianist Peter Serkin; the violist Walter Trampler; the cellist Colin Carr; and the conductor Gerard Schwarz, who performed his compositions — including one of his best known, the 1982 tone poem “The Mountain (https://www.youtube.com/watch?v=dT8I8TW7vfo&feature=youtu.be) ” — with the Seattle Symphony.

A hallmark of Mr. McKinley’s music was his acute sensitivity to the tonal possibilities of each instrument: the come-hither voice of the clarinet, as in his many collaborations with Mr. Stoltzman (https://www.youtube.com/watch?v=jqSuqIQ41IA) ; the tumbling rumble of the marimba, for which he wrote a number of pieces, including a concerto (http://www.bmop.org/audio-recordings/william-thomas-mckinley-rap) ; and the lush, songlike sonorities of a string ensemble, as in his haunting “Elegy for Strings (https://www.youtube.com/watch?v=tjVEsPo0W1w&feature=youtu.be) ,” from 2006.

So attuned was Mr. McKinley to an instrument’s range of colors that his scores often contained admonitions to the performer like “Play with a vivid red tone” or “with silver intensity.” (One piece also included the somewhat more nebulous directive to play “as if dangling in space.”)

As a jazz pianist, Mr. McKinley performed or recorded with eminences including the saxophonists Dexter Gordon and Stan Getz.

A distant cousin of the doomed (http://www.whitehouse.gov/1600/presidents/williammckinley) 25th president of the United States, William Thomas McKinley, known as Tom, was born in New Kensington, Pa., near Pittsburgh, on Dec. 9, 1938. He began playing the piano by ear as a boy, and before he was out of short pants he was performing in local jazz clubs. He joined the American Federation of Musicians at 12, becoming, in all likelihood, the union’s youngest card-carrying member.

After being accepted into the music program of the Carnegie Institute of Technology — now Carnegie Mellon University — Mr. McKinley received a bachelor’s degree in composition there in 1960. (Auditioning for the program, he had performed a spontaneous composition of his own on the piano, telling the admissions jury that he was playing a piece by Ravel.)

He went on to earn master of music and master of fine arts degrees from Yale. At Tanglewood, Mr. McKinley worked with Aaron Copland, Lukas Foss and Gunther Schuller, who became a lifelong champion.

The winner of a Naumburg Foundation award (http://www.naumburg.org/previous-winners.php) for chamber music, Mr. McKinley was also the recipient of a Guggenheim fellowship. A longtime faculty member of the New England Conservatory, he had previously taught at the University of Chicago.

In the early 1990s, Mr. McKinley founded a record label, MMC (for Master Musicians Collective), which recorded primarily the work of modern American composers.

His other compositions include a tango for violin and orchestra, the orchestral work “Flyin’ Home” and vocal settings of poems by Pablo Neruda.

Besides his son Elliott, who is also a composer, Mr. McKinley’s survivors include his wife, the former Marlene Mildner; a sister, Karen Lee Ranson; four other sons, Joseph, Derrick, Jory and Gregory; and 12 grandchildren.

In a sideline not traditionally associated with composers of concert music, Mr. McKinley was a knuckleball pitcher of no little skill. In 1975, by invitation, he gave what was almost certainly the most unusual public performance of his career, pitching batting practice for a Boston Red Sox home game.

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

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

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Jazz Promo Services
269 State Route 94 South
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William Thomas McKinley, Jazz-Loving Composer, Dies at 76 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/arts/music/william-thomas-mckinley-jazz-loving-composer-dies-at-76.html?_r=0

** William Thomas McKinley, Jazz-Loving Composer, Dies at 76
————————————————————
Photo
William Thomas McKinley before the New York premiere of one of his clarinet concertos in 1985 at Alice Tully Hall.

William Thomas McKinley, a prolific American composer whose music was infused with the jazz he had performed since childhood, died on Feb. 3 at his home in Reading, Mass. He was 76.

He died in his sleep, his son Elliott said.

Writing in a style he called neo-tonal, Mr. McKinley produced hundreds of orchestral, chamber and vocal works that were known for their lyricism, rhythmic propulsion and accessibility. His music, which could recall not only jazz and blues but also Bach, Debussy, Ravel and Vaughan Williams, was performed on major stages, including those of Carnegie and Alice Tully Halls in New York.

Among the well-known musicians who played Mr. McKinley’s work are the clarinetist Richard Stoltzman, with whom he had a long association; the pianist Peter Serkin; the violist Walter Trampler; the cellist Colin Carr; and the conductor Gerard Schwarz, who performed his compositions — including one of his best known, the 1982 tone poem “The Mountain (https://www.youtube.com/watch?v=dT8I8TW7vfo&feature=youtu.be) ” — with the Seattle Symphony.

A hallmark of Mr. McKinley’s music was his acute sensitivity to the tonal possibilities of each instrument: the come-hither voice of the clarinet, as in his many collaborations with Mr. Stoltzman (https://www.youtube.com/watch?v=jqSuqIQ41IA) ; the tumbling rumble of the marimba, for which he wrote a number of pieces, including a concerto (http://www.bmop.org/audio-recordings/william-thomas-mckinley-rap) ; and the lush, songlike sonorities of a string ensemble, as in his haunting “Elegy for Strings (https://www.youtube.com/watch?v=tjVEsPo0W1w&feature=youtu.be) ,” from 2006.

So attuned was Mr. McKinley to an instrument’s range of colors that his scores often contained admonitions to the performer like “Play with a vivid red tone” or “with silver intensity.” (One piece also included the somewhat more nebulous directive to play “as if dangling in space.”)

As a jazz pianist, Mr. McKinley performed or recorded with eminences including the saxophonists Dexter Gordon and Stan Getz.

A distant cousin of the doomed (http://www.whitehouse.gov/1600/presidents/williammckinley) 25th president of the United States, William Thomas McKinley, known as Tom, was born in New Kensington, Pa., near Pittsburgh, on Dec. 9, 1938. He began playing the piano by ear as a boy, and before he was out of short pants he was performing in local jazz clubs. He joined the American Federation of Musicians at 12, becoming, in all likelihood, the union’s youngest card-carrying member.

After being accepted into the music program of the Carnegie Institute of Technology — now Carnegie Mellon University — Mr. McKinley received a bachelor’s degree in composition there in 1960. (Auditioning for the program, he had performed a spontaneous composition of his own on the piano, telling the admissions jury that he was playing a piece by Ravel.)

He went on to earn master of music and master of fine arts degrees from Yale. At Tanglewood, Mr. McKinley worked with Aaron Copland, Lukas Foss and Gunther Schuller, who became a lifelong champion.

The winner of a Naumburg Foundation award (http://www.naumburg.org/previous-winners.php) for chamber music, Mr. McKinley was also the recipient of a Guggenheim fellowship. A longtime faculty member of the New England Conservatory, he had previously taught at the University of Chicago.

In the early 1990s, Mr. McKinley founded a record label, MMC (for Master Musicians Collective), which recorded primarily the work of modern American composers.

His other compositions include a tango for violin and orchestra, the orchestral work “Flyin’ Home” and vocal settings of poems by Pablo Neruda.

Besides his son Elliott, who is also a composer, Mr. McKinley’s survivors include his wife, the former Marlene Mildner; a sister, Karen Lee Ranson; four other sons, Joseph, Derrick, Jory and Gregory; and 12 grandchildren.

In a sideline not traditionally associated with composers of concert music, Mr. McKinley was a knuckleball pitcher of no little skill. In 1975, by invitation, he gave what was almost certainly the most unusual public performance of his career, pitching batting practice for a Boston Red Sox home game.

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=7886f4d63a) | 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=7886f4d63a&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

William Thomas McKinley, Jazz-Loving Composer, Dies at 76 – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/arts/music/william-thomas-mckinley-jazz-loving-composer-dies-at-76.html?_r=0

** William Thomas McKinley, Jazz-Loving Composer, Dies at 76
————————————————————
Photo
William Thomas McKinley before the New York premiere of one of his clarinet concertos in 1985 at Alice Tully Hall.

William Thomas McKinley, a prolific American composer whose music was infused with the jazz he had performed since childhood, died on Feb. 3 at his home in Reading, Mass. He was 76.

He died in his sleep, his son Elliott said.

Writing in a style he called neo-tonal, Mr. McKinley produced hundreds of orchestral, chamber and vocal works that were known for their lyricism, rhythmic propulsion and accessibility. His music, which could recall not only jazz and blues but also Bach, Debussy, Ravel and Vaughan Williams, was performed on major stages, including those of Carnegie and Alice Tully Halls in New York.

Among the well-known musicians who played Mr. McKinley’s work are the clarinetist Richard Stoltzman, with whom he had a long association; the pianist Peter Serkin; the violist Walter Trampler; the cellist Colin Carr; and the conductor Gerard Schwarz, who performed his compositions — including one of his best known, the 1982 tone poem “The Mountain (https://www.youtube.com/watch?v=dT8I8TW7vfo&feature=youtu.be) ” — with the Seattle Symphony.

A hallmark of Mr. McKinley’s music was his acute sensitivity to the tonal possibilities of each instrument: the come-hither voice of the clarinet, as in his many collaborations with Mr. Stoltzman (https://www.youtube.com/watch?v=jqSuqIQ41IA) ; the tumbling rumble of the marimba, for which he wrote a number of pieces, including a concerto (http://www.bmop.org/audio-recordings/william-thomas-mckinley-rap) ; and the lush, songlike sonorities of a string ensemble, as in his haunting “Elegy for Strings (https://www.youtube.com/watch?v=tjVEsPo0W1w&feature=youtu.be) ,” from 2006.

So attuned was Mr. McKinley to an instrument’s range of colors that his scores often contained admonitions to the performer like “Play with a vivid red tone” or “with silver intensity.” (One piece also included the somewhat more nebulous directive to play “as if dangling in space.”)

As a jazz pianist, Mr. McKinley performed or recorded with eminences including the saxophonists Dexter Gordon and Stan Getz.

A distant cousin of the doomed (http://www.whitehouse.gov/1600/presidents/williammckinley) 25th president of the United States, William Thomas McKinley, known as Tom, was born in New Kensington, Pa., near Pittsburgh, on Dec. 9, 1938. He began playing the piano by ear as a boy, and before he was out of short pants he was performing in local jazz clubs. He joined the American Federation of Musicians at 12, becoming, in all likelihood, the union’s youngest card-carrying member.

After being accepted into the music program of the Carnegie Institute of Technology — now Carnegie Mellon University — Mr. McKinley received a bachelor’s degree in composition there in 1960. (Auditioning for the program, he had performed a spontaneous composition of his own on the piano, telling the admissions jury that he was playing a piece by Ravel.)

He went on to earn master of music and master of fine arts degrees from Yale. At Tanglewood, Mr. McKinley worked with Aaron Copland, Lukas Foss and Gunther Schuller, who became a lifelong champion.

The winner of a Naumburg Foundation award (http://www.naumburg.org/previous-winners.php) for chamber music, Mr. McKinley was also the recipient of a Guggenheim fellowship. A longtime faculty member of the New England Conservatory, he had previously taught at the University of Chicago.

In the early 1990s, Mr. McKinley founded a record label, MMC (for Master Musicians Collective), which recorded primarily the work of modern American composers.

His other compositions include a tango for violin and orchestra, the orchestral work “Flyin’ Home” and vocal settings of poems by Pablo Neruda.

Besides his son Elliott, who is also a composer, Mr. McKinley’s survivors include his wife, the former Marlene Mildner; a sister, Karen Lee Ranson; four other sons, Joseph, Derrick, Jory and Gregory; and 12 grandchildren.

In a sideline not traditionally associated with composers of concert music, Mr. McKinley was a knuckleball pitcher of no little skill. In 1975, by invitation, he gave what was almost certainly the most unusual public performance of his career, pitching batting practice for a Boston Red Sox home game.

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=7886f4d63a) | 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=7886f4d63a&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
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Jazz That Spans Generations – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/nyregion/jazz-that-spans-generations.html?emc=edit_tnt_20150228

** Jazz That Spans Generations
————————————————————

** By PHILLIP LUTZ
————————————————————
Willie Ruff, founding director of the Duke Ellington Fellowship at Yale. CreditChristopher Capozziello for The New York Times
Continue reading the main story

Willie Ruff (http://www.willieruff.com/) , the French horn player and double bassist, enjoyed a celebrated musical partnership (https://www.youtube.com/watch?v=0mcdSmIigTw) with the pianist Dwike Mitchell (http://www.nytimes.com/2013/04/19/arts/music/dwike-mitchell-pianist-with-missionary-zeal-dies-at-83.html) that, over more than half a century, took him to stages around the world, from the segregated South to Communist China (https://www.youtube.com/watch?v=ZEuO1Eris0E) to Town Hall in Manhattan. It was a long and winding road that ended with Mr. Mitchell’s death in April 2013.

Since then, Mr. Ruff, 83, said, he has been on a hiatus from playing in public. Aside from that, however, he has not slowed down much.

Sitting in his small studio at the Yale School of Music (http://music.yale.edu/) , where as a faculty member he has been a kind of emissary from the jazz world for four decades, Mr. Ruff spoke recently about projects he is pursuing and loose ends he wants to tie up.

On March 6, he hosts the pianist Aaron Diehl (http://www.aarondiehl.com/) at Yale’s Morse Recital Hall (http://music.yale.edu/concerts/venues/morse/) as part of the Ellington Jazz Series (http://music.yale.edu/concerts/series/ellington/) , which has its roots in a notable gathering of jazz masters organized by Mr. Ruff in 1972. Booking Mr. Diehl for it will, in addition to bringing a new star to the Yale campus, pay homage of sorts to one of Mr. Ruff’s old Army buddies, who happens to be Mr. Diehl’s grandfather.
Photo

A 1972 convocation of jazz masters at Yale featured, from left, Charles Mingus, Duke Ellington and Mr. Ruff. Credit Christopher Capozziello for The New York Times

For Mr. Ruff, nearly all roads lead back to the Army, where, as a post-World War II recruit from Sheffield, Ala., he picked up the French horn, which he learned well enough to be admitted to Yale. After graduating in 1955, he went to California, found work as a musician and developed a jazz history course at U.C.L.A. That course provided something of a model when, in 1971, he presented the idea for the convocation to Yale officials.

“It’s time Yale acknowledged the contribution of African-American music,” he recalled telling the officials, who agreed. What they did not agree to, however, was providing money for the event, which he eventually found in the form of a grant from the grandson of the financier Paul Mellon.

As large photos on the walls of Mr. Ruff’s studio attest, the convocation attracted about 40 leading lights of jazz, among them Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?8qa) , Dizzy Gillespie (http://www.dizzygillespie.com/) and the bassists Charles Mingus (http://mingusmingusmingus.com/) and Slam Stewart (https://www.youtube.com/watch?v=7cbkJjxBlcE) , whose weathered bass leaned against a wall of the studio near the photos.

With its deeply researched presentations and personal encounters complementing the musical offerings, the convocation “set a formulation for an exchange of information and probing discussion about issues that relate to the music,” Robert Blocker (http://music.yale.edu/faculty/robert-blocker/) , dean of the Yale School of Music, said in February.

Ultimately, the event gave rise to the Ellington series, which remains the major jazz offering in the school’s roster of regular concert series. “It established the instrumentality that has allowed me to keep the series going for 42 years,” Mr. Ruff said.

Over the years, Mr. Ruff has known many of the artists he has booked. But the scheduling of Mr. Diehl will lend the proceedings another kind of personal dimension. Mr. Diehl is the grandson of Arthur Baskerville, a trombonist of some renown in Columbus, Ohio, whom Mr. Ruff grew close to as a teenage soldier at Lockbourne Air Force Base (now Rickenbacker Air National Guard Base (http://www.militarybases.us/air-force/rickenbacker-air-national-guard-base/) ) near Columbus.
Continue reading the main story
Continue reading the main story

Rising from the chair in his studio, Mr. Ruff became animated as he pointed to a computer screen on which he had loaded a photo of himself, Mr. Baskerville, Mr. Mitchell and the future drumming giant, Elvin Jones, all standing amid hundreds of African-Americans stationed at Lockbourne.
Photo

A photo taken in 1948 at Lockbourne Air Force Base in Ohio included Mr. Ruff, Arthur Baskerville and Dwike Mitchell. The future drumming giant Elvin Jones was also there. Credit Christopher Capozziello for The New York Times

Long after they had been discharged, Mr. Ruff said, Mr. Baskerville kept him apprised of Mr. Diehl’s musical exploits, which took the budding pianist from his native Columbus to New York, where he attended the Juilliard School and forged ties with musicians like Wynton Marsalis (http://topics.nytimes.com/top/reference/timestopics/people/m/wynton_marsalis/index.html?8qa) . Mr. Baskerville, now in his 90s and still living in Ohio, will be able to see the March 6 performance as it is streamed online.

Mr. Diehl, 29, acknowledged in February that he had long demurred when his grandfather encouraged him to contact Mr. Ruff.

“It’s not until recent years that I’ve been able to appreciate the value of reaching out to older generations,” he said. “It’s important for me to be proactive and reach out to these people even if it’s somewhat daunting.”

Mr. Diehl said he might show his appreciation on March 6 by playing originals from his new album, “Space, Time, Continuum,” which has generational connections as a theme. He might cover tunes by composers from Columbus, like the trumpeter Harry “Sweets” Edison (https://www.youtube.com/watch?v=14C7A7V6q8k) and the multi-reedist Rahsaan Roland Kirk (https://www.youtube.com/watch?v=ZIqLJmlQQNM) , or fashion an arrangement of “St. Louis Blues (https://www.youtube.com/watch?v=Gpp75gQ-T6Y) ,” by W. C. Handy, who was raised a mile from Mr. Ruff’s childhood home.

In keeping with the evening’s atmosphere of military reminiscences, Mr. Ruff said he planned to include the march version (https://www.youtube.com/watch?v=dmbflslh-js) of “St. Louis Blues” in a 10-minute presentation he will make before Mr. Diehl takes the stage.

The performance is scheduled to feature Mr. Diehl with the other members of his trio, Paul Sikivie (http://www.mattwilsonjazz.com/music/cats/paul-sikivie/) on bass and Lawrence Leathers (https://www.youtube.com/watch?v=EDx4uQCXu0o) on drums. Mr. Diehl, however, said he was hoping to collaborate with Mr. Ruff, even briefly.

For his part, Mr. Ruff, recalling emails in which Mr. Baskerville had likened the urbane Mr. Diehl to “another Mitchell,” appeared to leave the door open, a little at least, to a joint performance. The issue, perhaps, was one of timing.

“Once you’ve had what I had with old Mitchell, I think I’ve pretty much covered the piano,” he said. But, he added, “If I were looking for another collaborator, I would certainly conspire to do some work with Aaron. We might at some point.”
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Jazz That Spans Generations – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/nyregion/jazz-that-spans-generations.html?emc=edit_tnt_20150228

** Jazz That Spans Generations
————————————————————

** By PHILLIP LUTZ
————————————————————
Willie Ruff, founding director of the Duke Ellington Fellowship at Yale. CreditChristopher Capozziello for The New York Times
Continue reading the main story

Willie Ruff (http://www.willieruff.com/) , the French horn player and double bassist, enjoyed a celebrated musical partnership (https://www.youtube.com/watch?v=0mcdSmIigTw) with the pianist Dwike Mitchell (http://www.nytimes.com/2013/04/19/arts/music/dwike-mitchell-pianist-with-missionary-zeal-dies-at-83.html) that, over more than half a century, took him to stages around the world, from the segregated South to Communist China (https://www.youtube.com/watch?v=ZEuO1Eris0E) to Town Hall in Manhattan. It was a long and winding road that ended with Mr. Mitchell’s death in April 2013.

Since then, Mr. Ruff, 83, said, he has been on a hiatus from playing in public. Aside from that, however, he has not slowed down much.

Sitting in his small studio at the Yale School of Music (http://music.yale.edu/) , where as a faculty member he has been a kind of emissary from the jazz world for four decades, Mr. Ruff spoke recently about projects he is pursuing and loose ends he wants to tie up.

On March 6, he hosts the pianist Aaron Diehl (http://www.aarondiehl.com/) at Yale’s Morse Recital Hall (http://music.yale.edu/concerts/venues/morse/) as part of the Ellington Jazz Series (http://music.yale.edu/concerts/series/ellington/) , which has its roots in a notable gathering of jazz masters organized by Mr. Ruff in 1972. Booking Mr. Diehl for it will, in addition to bringing a new star to the Yale campus, pay homage of sorts to one of Mr. Ruff’s old Army buddies, who happens to be Mr. Diehl’s grandfather.
Photo

A 1972 convocation of jazz masters at Yale featured, from left, Charles Mingus, Duke Ellington and Mr. Ruff. Credit Christopher Capozziello for The New York Times

For Mr. Ruff, nearly all roads lead back to the Army, where, as a post-World War II recruit from Sheffield, Ala., he picked up the French horn, which he learned well enough to be admitted to Yale. After graduating in 1955, he went to California, found work as a musician and developed a jazz history course at U.C.L.A. That course provided something of a model when, in 1971, he presented the idea for the convocation to Yale officials.

“It’s time Yale acknowledged the contribution of African-American music,” he recalled telling the officials, who agreed. What they did not agree to, however, was providing money for the event, which he eventually found in the form of a grant from the grandson of the financier Paul Mellon.

As large photos on the walls of Mr. Ruff’s studio attest, the convocation attracted about 40 leading lights of jazz, among them Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?8qa) , Dizzy Gillespie (http://www.dizzygillespie.com/) and the bassists Charles Mingus (http://mingusmingusmingus.com/) and Slam Stewart (https://www.youtube.com/watch?v=7cbkJjxBlcE) , whose weathered bass leaned against a wall of the studio near the photos.

With its deeply researched presentations and personal encounters complementing the musical offerings, the convocation “set a formulation for an exchange of information and probing discussion about issues that relate to the music,” Robert Blocker (http://music.yale.edu/faculty/robert-blocker/) , dean of the Yale School of Music, said in February.

Ultimately, the event gave rise to the Ellington series, which remains the major jazz offering in the school’s roster of regular concert series. “It established the instrumentality that has allowed me to keep the series going for 42 years,” Mr. Ruff said.

Over the years, Mr. Ruff has known many of the artists he has booked. But the scheduling of Mr. Diehl will lend the proceedings another kind of personal dimension. Mr. Diehl is the grandson of Arthur Baskerville, a trombonist of some renown in Columbus, Ohio, whom Mr. Ruff grew close to as a teenage soldier at Lockbourne Air Force Base (now Rickenbacker Air National Guard Base (http://www.militarybases.us/air-force/rickenbacker-air-national-guard-base/) ) near Columbus.
Continue reading the main story
Continue reading the main story

Rising from the chair in his studio, Mr. Ruff became animated as he pointed to a computer screen on which he had loaded a photo of himself, Mr. Baskerville, Mr. Mitchell and the future drumming giant, Elvin Jones, all standing amid hundreds of African-Americans stationed at Lockbourne.
Photo

A photo taken in 1948 at Lockbourne Air Force Base in Ohio included Mr. Ruff, Arthur Baskerville and Dwike Mitchell. The future drumming giant Elvin Jones was also there. Credit Christopher Capozziello for The New York Times

Long after they had been discharged, Mr. Ruff said, Mr. Baskerville kept him apprised of Mr. Diehl’s musical exploits, which took the budding pianist from his native Columbus to New York, where he attended the Juilliard School and forged ties with musicians like Wynton Marsalis (http://topics.nytimes.com/top/reference/timestopics/people/m/wynton_marsalis/index.html?8qa) . Mr. Baskerville, now in his 90s and still living in Ohio, will be able to see the March 6 performance as it is streamed online.

Mr. Diehl, 29, acknowledged in February that he had long demurred when his grandfather encouraged him to contact Mr. Ruff.

“It’s not until recent years that I’ve been able to appreciate the value of reaching out to older generations,” he said. “It’s important for me to be proactive and reach out to these people even if it’s somewhat daunting.”

Mr. Diehl said he might show his appreciation on March 6 by playing originals from his new album, “Space, Time, Continuum,” which has generational connections as a theme. He might cover tunes by composers from Columbus, like the trumpeter Harry “Sweets” Edison (https://www.youtube.com/watch?v=14C7A7V6q8k) and the multi-reedist Rahsaan Roland Kirk (https://www.youtube.com/watch?v=ZIqLJmlQQNM) , or fashion an arrangement of “St. Louis Blues (https://www.youtube.com/watch?v=Gpp75gQ-T6Y) ,” by W. C. Handy, who was raised a mile from Mr. Ruff’s childhood home.

In keeping with the evening’s atmosphere of military reminiscences, Mr. Ruff said he planned to include the march version (https://www.youtube.com/watch?v=dmbflslh-js) of “St. Louis Blues” in a 10-minute presentation he will make before Mr. Diehl takes the stage.

The performance is scheduled to feature Mr. Diehl with the other members of his trio, Paul Sikivie (http://www.mattwilsonjazz.com/music/cats/paul-sikivie/) on bass and Lawrence Leathers (https://www.youtube.com/watch?v=EDx4uQCXu0o) on drums. Mr. Diehl, however, said he was hoping to collaborate with Mr. Ruff, even briefly.

For his part, Mr. Ruff, recalling emails in which Mr. Baskerville had likened the urbane Mr. Diehl to “another Mitchell,” appeared to leave the door open, a little at least, to a joint performance. The issue, perhaps, was one of timing.

“Once you’ve had what I had with old Mitchell, I think I’ve pretty much covered the piano,” he said. But, he added, “If I were looking for another collaborator, I would certainly conspire to do some work with Aaron. We might at some point.”
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
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Jazz That Spans Generations – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/nyregion/jazz-that-spans-generations.html?emc=edit_tnt_20150228

** Jazz That Spans Generations
————————————————————

** By PHILLIP LUTZ
————————————————————
Willie Ruff, founding director of the Duke Ellington Fellowship at Yale. CreditChristopher Capozziello for The New York Times
Continue reading the main story

Willie Ruff (http://www.willieruff.com/) , the French horn player and double bassist, enjoyed a celebrated musical partnership (https://www.youtube.com/watch?v=0mcdSmIigTw) with the pianist Dwike Mitchell (http://www.nytimes.com/2013/04/19/arts/music/dwike-mitchell-pianist-with-missionary-zeal-dies-at-83.html) that, over more than half a century, took him to stages around the world, from the segregated South to Communist China (https://www.youtube.com/watch?v=ZEuO1Eris0E) to Town Hall in Manhattan. It was a long and winding road that ended with Mr. Mitchell’s death in April 2013.

Since then, Mr. Ruff, 83, said, he has been on a hiatus from playing in public. Aside from that, however, he has not slowed down much.

Sitting in his small studio at the Yale School of Music (http://music.yale.edu/) , where as a faculty member he has been a kind of emissary from the jazz world for four decades, Mr. Ruff spoke recently about projects he is pursuing and loose ends he wants to tie up.

On March 6, he hosts the pianist Aaron Diehl (http://www.aarondiehl.com/) at Yale’s Morse Recital Hall (http://music.yale.edu/concerts/venues/morse/) as part of the Ellington Jazz Series (http://music.yale.edu/concerts/series/ellington/) , which has its roots in a notable gathering of jazz masters organized by Mr. Ruff in 1972. Booking Mr. Diehl for it will, in addition to bringing a new star to the Yale campus, pay homage of sorts to one of Mr. Ruff’s old Army buddies, who happens to be Mr. Diehl’s grandfather.
Photo

A 1972 convocation of jazz masters at Yale featured, from left, Charles Mingus, Duke Ellington and Mr. Ruff. Credit Christopher Capozziello for The New York Times

For Mr. Ruff, nearly all roads lead back to the Army, where, as a post-World War II recruit from Sheffield, Ala., he picked up the French horn, which he learned well enough to be admitted to Yale. After graduating in 1955, he went to California, found work as a musician and developed a jazz history course at U.C.L.A. That course provided something of a model when, in 1971, he presented the idea for the convocation to Yale officials.

“It’s time Yale acknowledged the contribution of African-American music,” he recalled telling the officials, who agreed. What they did not agree to, however, was providing money for the event, which he eventually found in the form of a grant from the grandson of the financier Paul Mellon.

As large photos on the walls of Mr. Ruff’s studio attest, the convocation attracted about 40 leading lights of jazz, among them Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?8qa) , Dizzy Gillespie (http://www.dizzygillespie.com/) and the bassists Charles Mingus (http://mingusmingusmingus.com/) and Slam Stewart (https://www.youtube.com/watch?v=7cbkJjxBlcE) , whose weathered bass leaned against a wall of the studio near the photos.

With its deeply researched presentations and personal encounters complementing the musical offerings, the convocation “set a formulation for an exchange of information and probing discussion about issues that relate to the music,” Robert Blocker (http://music.yale.edu/faculty/robert-blocker/) , dean of the Yale School of Music, said in February.

Ultimately, the event gave rise to the Ellington series, which remains the major jazz offering in the school’s roster of regular concert series. “It established the instrumentality that has allowed me to keep the series going for 42 years,” Mr. Ruff said.

Over the years, Mr. Ruff has known many of the artists he has booked. But the scheduling of Mr. Diehl will lend the proceedings another kind of personal dimension. Mr. Diehl is the grandson of Arthur Baskerville, a trombonist of some renown in Columbus, Ohio, whom Mr. Ruff grew close to as a teenage soldier at Lockbourne Air Force Base (now Rickenbacker Air National Guard Base (http://www.militarybases.us/air-force/rickenbacker-air-national-guard-base/) ) near Columbus.
Continue reading the main story
Continue reading the main story

Rising from the chair in his studio, Mr. Ruff became animated as he pointed to a computer screen on which he had loaded a photo of himself, Mr. Baskerville, Mr. Mitchell and the future drumming giant, Elvin Jones, all standing amid hundreds of African-Americans stationed at Lockbourne.
Photo

A photo taken in 1948 at Lockbourne Air Force Base in Ohio included Mr. Ruff, Arthur Baskerville and Dwike Mitchell. The future drumming giant Elvin Jones was also there. Credit Christopher Capozziello for The New York Times

Long after they had been discharged, Mr. Ruff said, Mr. Baskerville kept him apprised of Mr. Diehl’s musical exploits, which took the budding pianist from his native Columbus to New York, where he attended the Juilliard School and forged ties with musicians like Wynton Marsalis (http://topics.nytimes.com/top/reference/timestopics/people/m/wynton_marsalis/index.html?8qa) . Mr. Baskerville, now in his 90s and still living in Ohio, will be able to see the March 6 performance as it is streamed online.

Mr. Diehl, 29, acknowledged in February that he had long demurred when his grandfather encouraged him to contact Mr. Ruff.

“It’s not until recent years that I’ve been able to appreciate the value of reaching out to older generations,” he said. “It’s important for me to be proactive and reach out to these people even if it’s somewhat daunting.”

Mr. Diehl said he might show his appreciation on March 6 by playing originals from his new album, “Space, Time, Continuum,” which has generational connections as a theme. He might cover tunes by composers from Columbus, like the trumpeter Harry “Sweets” Edison (https://www.youtube.com/watch?v=14C7A7V6q8k) and the multi-reedist Rahsaan Roland Kirk (https://www.youtube.com/watch?v=ZIqLJmlQQNM) , or fashion an arrangement of “St. Louis Blues (https://www.youtube.com/watch?v=Gpp75gQ-T6Y) ,” by W. C. Handy, who was raised a mile from Mr. Ruff’s childhood home.

In keeping with the evening’s atmosphere of military reminiscences, Mr. Ruff said he planned to include the march version (https://www.youtube.com/watch?v=dmbflslh-js) of “St. Louis Blues” in a 10-minute presentation he will make before Mr. Diehl takes the stage.

The performance is scheduled to feature Mr. Diehl with the other members of his trio, Paul Sikivie (http://www.mattwilsonjazz.com/music/cats/paul-sikivie/) on bass and Lawrence Leathers (https://www.youtube.com/watch?v=EDx4uQCXu0o) on drums. Mr. Diehl, however, said he was hoping to collaborate with Mr. Ruff, even briefly.

For his part, Mr. Ruff, recalling emails in which Mr. Baskerville had likened the urbane Mr. Diehl to “another Mitchell,” appeared to leave the door open, a little at least, to a joint performance. The issue, perhaps, was one of timing.

“Once you’ve had what I had with old Mitchell, I think I’ve pretty much covered the piano,” he said. But, he added, “If I were looking for another collaborator, I would certainly conspire to do some work with Aaron. We might at some point.”
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3af2eb3553) | 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=3af2eb3553&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
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Jazz That Spans Generations – NYTimes.com

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/03/01/nyregion/jazz-that-spans-generations.html?emc=edit_tnt_20150228

** Jazz That Spans Generations
————————————————————

** By PHILLIP LUTZ
————————————————————
Willie Ruff, founding director of the Duke Ellington Fellowship at Yale. CreditChristopher Capozziello for The New York Times
Continue reading the main story

Willie Ruff (http://www.willieruff.com/) , the French horn player and double bassist, enjoyed a celebrated musical partnership (https://www.youtube.com/watch?v=0mcdSmIigTw) with the pianist Dwike Mitchell (http://www.nytimes.com/2013/04/19/arts/music/dwike-mitchell-pianist-with-missionary-zeal-dies-at-83.html) that, over more than half a century, took him to stages around the world, from the segregated South to Communist China (https://www.youtube.com/watch?v=ZEuO1Eris0E) to Town Hall in Manhattan. It was a long and winding road that ended with Mr. Mitchell’s death in April 2013.

Since then, Mr. Ruff, 83, said, he has been on a hiatus from playing in public. Aside from that, however, he has not slowed down much.

Sitting in his small studio at the Yale School of Music (http://music.yale.edu/) , where as a faculty member he has been a kind of emissary from the jazz world for four decades, Mr. Ruff spoke recently about projects he is pursuing and loose ends he wants to tie up.

On March 6, he hosts the pianist Aaron Diehl (http://www.aarondiehl.com/) at Yale’s Morse Recital Hall (http://music.yale.edu/concerts/venues/morse/) as part of the Ellington Jazz Series (http://music.yale.edu/concerts/series/ellington/) , which has its roots in a notable gathering of jazz masters organized by Mr. Ruff in 1972. Booking Mr. Diehl for it will, in addition to bringing a new star to the Yale campus, pay homage of sorts to one of Mr. Ruff’s old Army buddies, who happens to be Mr. Diehl’s grandfather.
Photo

A 1972 convocation of jazz masters at Yale featured, from left, Charles Mingus, Duke Ellington and Mr. Ruff. Credit Christopher Capozziello for The New York Times

For Mr. Ruff, nearly all roads lead back to the Army, where, as a post-World War II recruit from Sheffield, Ala., he picked up the French horn, which he learned well enough to be admitted to Yale. After graduating in 1955, he went to California, found work as a musician and developed a jazz history course at U.C.L.A. That course provided something of a model when, in 1971, he presented the idea for the convocation to Yale officials.

“It’s time Yale acknowledged the contribution of African-American music,” he recalled telling the officials, who agreed. What they did not agree to, however, was providing money for the event, which he eventually found in the form of a grant from the grandson of the financier Paul Mellon.

As large photos on the walls of Mr. Ruff’s studio attest, the convocation attracted about 40 leading lights of jazz, among them Duke Ellington (http://topics.nytimes.com/top/reference/timestopics/people/e/duke_ellington/index.html?8qa) , Dizzy Gillespie (http://www.dizzygillespie.com/) and the bassists Charles Mingus (http://mingusmingusmingus.com/) and Slam Stewart (https://www.youtube.com/watch?v=7cbkJjxBlcE) , whose weathered bass leaned against a wall of the studio near the photos.

With its deeply researched presentations and personal encounters complementing the musical offerings, the convocation “set a formulation for an exchange of information and probing discussion about issues that relate to the music,” Robert Blocker (http://music.yale.edu/faculty/robert-blocker/) , dean of the Yale School of Music, said in February.

Ultimately, the event gave rise to the Ellington series, which remains the major jazz offering in the school’s roster of regular concert series. “It established the instrumentality that has allowed me to keep the series going for 42 years,” Mr. Ruff said.

Over the years, Mr. Ruff has known many of the artists he has booked. But the scheduling of Mr. Diehl will lend the proceedings another kind of personal dimension. Mr. Diehl is the grandson of Arthur Baskerville, a trombonist of some renown in Columbus, Ohio, whom Mr. Ruff grew close to as a teenage soldier at Lockbourne Air Force Base (now Rickenbacker Air National Guard Base (http://www.militarybases.us/air-force/rickenbacker-air-national-guard-base/) ) near Columbus.
Continue reading the main story
Continue reading the main story

Rising from the chair in his studio, Mr. Ruff became animated as he pointed to a computer screen on which he had loaded a photo of himself, Mr. Baskerville, Mr. Mitchell and the future drumming giant, Elvin Jones, all standing amid hundreds of African-Americans stationed at Lockbourne.
Photo

A photo taken in 1948 at Lockbourne Air Force Base in Ohio included Mr. Ruff, Arthur Baskerville and Dwike Mitchell. The future drumming giant Elvin Jones was also there. Credit Christopher Capozziello for The New York Times

Long after they had been discharged, Mr. Ruff said, Mr. Baskerville kept him apprised of Mr. Diehl’s musical exploits, which took the budding pianist from his native Columbus to New York, where he attended the Juilliard School and forged ties with musicians like Wynton Marsalis (http://topics.nytimes.com/top/reference/timestopics/people/m/wynton_marsalis/index.html?8qa) . Mr. Baskerville, now in his 90s and still living in Ohio, will be able to see the March 6 performance as it is streamed online.

Mr. Diehl, 29, acknowledged in February that he had long demurred when his grandfather encouraged him to contact Mr. Ruff.

“It’s not until recent years that I’ve been able to appreciate the value of reaching out to older generations,” he said. “It’s important for me to be proactive and reach out to these people even if it’s somewhat daunting.”

Mr. Diehl said he might show his appreciation on March 6 by playing originals from his new album, “Space, Time, Continuum,” which has generational connections as a theme. He might cover tunes by composers from Columbus, like the trumpeter Harry “Sweets” Edison (https://www.youtube.com/watch?v=14C7A7V6q8k) and the multi-reedist Rahsaan Roland Kirk (https://www.youtube.com/watch?v=ZIqLJmlQQNM) , or fashion an arrangement of “St. Louis Blues (https://www.youtube.com/watch?v=Gpp75gQ-T6Y) ,” by W. C. Handy, who was raised a mile from Mr. Ruff’s childhood home.

In keeping with the evening’s atmosphere of military reminiscences, Mr. Ruff said he planned to include the march version (https://www.youtube.com/watch?v=dmbflslh-js) of “St. Louis Blues” in a 10-minute presentation he will make before Mr. Diehl takes the stage.

The performance is scheduled to feature Mr. Diehl with the other members of his trio, Paul Sikivie (http://www.mattwilsonjazz.com/music/cats/paul-sikivie/) on bass and Lawrence Leathers (https://www.youtube.com/watch?v=EDx4uQCXu0o) on drums. Mr. Diehl, however, said he was hoping to collaborate with Mr. Ruff, even briefly.

For his part, Mr. Ruff, recalling emails in which Mr. Baskerville had likened the urbane Mr. Diehl to “another Mitchell,” appeared to leave the door open, a little at least, to a joint performance. The issue, perhaps, was one of timing.

“Once you’ve had what I had with old Mitchell, I think I’ve pretty much covered the piano,” he said. But, he added, “If I were looking for another collaborator, I would certainly conspire to do some work with Aaron. We might at some point.”
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History’s Dumpster: The Ohio Art Mighty Tiny Record Player

http://www.jazzpromoservices.com/
http://historysdumpster.blogspot.com/2014/03/the-ohio-art-mighty-tiny-record-player.html

** The Ohio Art Mighty Tiny Record Player
————————————————————
http://2.bp.blogspot.com/-whwDYDXcC-k/UyqpPdjXy4I/AAAAAAAAKHA/4741_Xmaj5o/s1600/mtbox.jpg
Is it just me or does the girl on the box of the Ohio Art Mighty Tiny Record Player bear an eerie resemblance to comic strip character Nancy?
http://3.bp.blogspot.com/-8TiAm_MBMpY/UyqsMyGZGjI/AAAAAAAAKHM/G3TakNGaBhg/s1600/527916_428617663847415_909988627_n.jpg
In 1970, Ohio Art (famous for the Etch-A-Sketch) invented a new toy phonograph, named the Mighty Tiny Record Player, hailed as the “World’s Smallest Record Player”.

http://2.bp.blogspot.com/-OaKBbWb_oT0/UyqvFngWyxI/AAAAAAAAKHY/jHhIJVmS1EE/s1600/tiny4.jpg
The Mighty Tiny used tiny 2″ inch records custom recorded and manufactured for the Ohio Art Company specifically for the Mighty Tiny. The records had a playing time of a few seconds each.

http://1.bp.blogspot.com/-GawL6bjX-sE/UyrAhQgDdyI/AAAAAAAAKHo/KaFFPyMQCWc/s1600/mtrec.jpg
The records were so small, there was no room for printed or etched information on the discs. There was only a number on them and you had to match them to a corresponding number on the disc’s sleeve.
The playing system was essentially a steel needle attached to a thin steel bar, which vibrated against a thin inverted plastic dome, which acted as the diaphragm/speaker. There was no volume control. Power was activated when the record placed on the turntable and the lid was closed. Playing acoustically with no electronic amplification, there was no earphone jack.

http://2.bp.blogspot.com/-fMqIRRPEo7A/UyrZtK2YVFI/AAAAAAAAKJI/4bK0R6qXEW0/s1600/mighty-tiny-360.jpg
The unit came with three randomly selected records.

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

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USA

History’s Dumpster: The Ohio Art Mighty Tiny Record Player

http://www.jazzpromoservices.com/
http://historysdumpster.blogspot.com/2014/03/the-ohio-art-mighty-tiny-record-player.html

** The Ohio Art Mighty Tiny Record Player
————————————————————
http://2.bp.blogspot.com/-whwDYDXcC-k/UyqpPdjXy4I/AAAAAAAAKHA/4741_Xmaj5o/s1600/mtbox.jpg
Is it just me or does the girl on the box of the Ohio Art Mighty Tiny Record Player bear an eerie resemblance to comic strip character Nancy?
http://3.bp.blogspot.com/-8TiAm_MBMpY/UyqsMyGZGjI/AAAAAAAAKHM/G3TakNGaBhg/s1600/527916_428617663847415_909988627_n.jpg
In 1970, Ohio Art (famous for the Etch-A-Sketch) invented a new toy phonograph, named the Mighty Tiny Record Player, hailed as the “World’s Smallest Record Player”.

http://2.bp.blogspot.com/-OaKBbWb_oT0/UyqvFngWyxI/AAAAAAAAKHY/jHhIJVmS1EE/s1600/tiny4.jpg
The Mighty Tiny used tiny 2″ inch records custom recorded and manufactured for the Ohio Art Company specifically for the Mighty Tiny. The records had a playing time of a few seconds each.

http://1.bp.blogspot.com/-GawL6bjX-sE/UyrAhQgDdyI/AAAAAAAAKHo/KaFFPyMQCWc/s1600/mtrec.jpg
The records were so small, there was no room for printed or etched information on the discs. There was only a number on them and you had to match them to a corresponding number on the disc’s sleeve.
The playing system was essentially a steel needle attached to a thin steel bar, which vibrated against a thin inverted plastic dome, which acted as the diaphragm/speaker. There was no volume control. Power was activated when the record placed on the turntable and the lid was closed. Playing acoustically with no electronic amplification, there was no earphone jack.

http://2.bp.blogspot.com/-fMqIRRPEo7A/UyrZtK2YVFI/AAAAAAAAKJI/4bK0R6qXEW0/s1600/mighty-tiny-360.jpg
The unit came with three randomly selected records.

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

History’s Dumpster: The Ohio Art Mighty Tiny Record Player

http://www.jazzpromoservices.com/
http://historysdumpster.blogspot.com/2014/03/the-ohio-art-mighty-tiny-record-player.html

** The Ohio Art Mighty Tiny Record Player
————————————————————
http://2.bp.blogspot.com/-whwDYDXcC-k/UyqpPdjXy4I/AAAAAAAAKHA/4741_Xmaj5o/s1600/mtbox.jpg
Is it just me or does the girl on the box of the Ohio Art Mighty Tiny Record Player bear an eerie resemblance to comic strip character Nancy?
http://3.bp.blogspot.com/-8TiAm_MBMpY/UyqsMyGZGjI/AAAAAAAAKHM/G3TakNGaBhg/s1600/527916_428617663847415_909988627_n.jpg
In 1970, Ohio Art (famous for the Etch-A-Sketch) invented a new toy phonograph, named the Mighty Tiny Record Player, hailed as the “World’s Smallest Record Player”.

http://2.bp.blogspot.com/-OaKBbWb_oT0/UyqvFngWyxI/AAAAAAAAKHY/jHhIJVmS1EE/s1600/tiny4.jpg
The Mighty Tiny used tiny 2″ inch records custom recorded and manufactured for the Ohio Art Company specifically for the Mighty Tiny. The records had a playing time of a few seconds each.

http://1.bp.blogspot.com/-GawL6bjX-sE/UyrAhQgDdyI/AAAAAAAAKHo/KaFFPyMQCWc/s1600/mtrec.jpg
The records were so small, there was no room for printed or etched information on the discs. There was only a number on them and you had to match them to a corresponding number on the disc’s sleeve.
The playing system was essentially a steel needle attached to a thin steel bar, which vibrated against a thin inverted plastic dome, which acted as the diaphragm/speaker. There was no volume control. Power was activated when the record placed on the turntable and the lid was closed. Playing acoustically with no electronic amplification, there was no earphone jack.

http://2.bp.blogspot.com/-fMqIRRPEo7A/UyrZtK2YVFI/AAAAAAAAKJI/4bK0R6qXEW0/s1600/mighty-tiny-360.jpg
The unit came with three randomly selected records.

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

Friday is the New Official Release Day for Albums :: Music :: News :: Paste

http://www.jazzpromoservices.com/
http://www.pastemagazine.com/articles/2015/02/friday-is-the-new-official-release-day-for-albums.html?utm_source=PMNL

** Friday is the New Official Release Day for Albums
————————————————————

Music fans likely have plenty of memories of eagerly-awaiting a particular Tuesday. For many years, this was the day of the week that all albums would become available in the United States. This gave occasional meaning to a day that could often be mundane otherwise. After much debate, however, the global recording industry has decided to officially make Friday the default day for album releases.

According to Billboard (http://www.billboard.com/articles/business/6487289/friday-global-record-release-day-ifpi) , the International Federation of the Phonographic Industry (IFPI) released a statement claiming that a study concluded that the majority of consumers who actually care which day new music is released prefer to hear it on Fridays and Saturdays. Frances Moore, IFPI stated that music fans “want music when it’s available on the Internet—not when it’s ready to be released in their country.”

The move has proved to be polarizing in the U.S. already with various industry names speaking out. Some are concerned that the move favors the already successful mainstream market, as Beggars Group chairman Martin Mills said in a recent mainfesto (https://www.billboard.com/articles/business/6480560/martin-mills-brian-message-manifesto-plan-music-retail-growth) , “I fear this move will also lead to a market in which the mainstream dominates, and the niche, which can be tomorrow’s mainstream, is further marginalized. I fear it will further cement the dominance of the few —and that is exactly what it is intended to do.”

A globally-accepted release day has been favored by many in the industry for a while, but a strong portion of supporters of independent music pushed for Tuesday to be that day. An affiliation of independent record stores in the U.S. and Canada known as The Department of Record Stores felt that the transition would be easier for the U.S. and the U.K.—which are the world’s top two music markets—because the U.K.’s release day is Monday. This would likely save costs for smaller operators in the business. Regardless, the move to Friday is now official.
This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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

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Copyright (C) 2015 All rights reserved.

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USA

Friday is the New Official Release Day for Albums :: Music :: News :: Paste

http://www.jazzpromoservices.com/
http://www.pastemagazine.com/articles/2015/02/friday-is-the-new-official-release-day-for-albums.html?utm_source=PMNL

** Friday is the New Official Release Day for Albums
————————————————————

Music fans likely have plenty of memories of eagerly-awaiting a particular Tuesday. For many years, this was the day of the week that all albums would become available in the United States. This gave occasional meaning to a day that could often be mundane otherwise. After much debate, however, the global recording industry has decided to officially make Friday the default day for album releases.

According to Billboard (http://www.billboard.com/articles/business/6487289/friday-global-record-release-day-ifpi) , the International Federation of the Phonographic Industry (IFPI) released a statement claiming that a study concluded that the majority of consumers who actually care which day new music is released prefer to hear it on Fridays and Saturdays. Frances Moore, IFPI stated that music fans “want music when it’s available on the Internet—not when it’s ready to be released in their country.”

The move has proved to be polarizing in the U.S. already with various industry names speaking out. Some are concerned that the move favors the already successful mainstream market, as Beggars Group chairman Martin Mills said in a recent mainfesto (https://www.billboard.com/articles/business/6480560/martin-mills-brian-message-manifesto-plan-music-retail-growth) , “I fear this move will also lead to a market in which the mainstream dominates, and the niche, which can be tomorrow’s mainstream, is further marginalized. I fear it will further cement the dominance of the few —and that is exactly what it is intended to do.”

A globally-accepted release day has been favored by many in the industry for a while, but a strong portion of supporters of independent music pushed for Tuesday to be that day. An affiliation of independent record stores in the U.S. and Canada known as The Department of Record Stores felt that the transition would be easier for the U.S. and the U.K.—which are the world’s top two music markets—because the U.K.’s release day is Monday. This would likely save costs for smaller operators in the business. Regardless, the move to Friday is now official.
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

Friday is the New Official Release Day for Albums :: Music :: News :: Paste

http://www.jazzpromoservices.com/
http://www.pastemagazine.com/articles/2015/02/friday-is-the-new-official-release-day-for-albums.html?utm_source=PMNL

** Friday is the New Official Release Day for Albums
————————————————————

Music fans likely have plenty of memories of eagerly-awaiting a particular Tuesday. For many years, this was the day of the week that all albums would become available in the United States. This gave occasional meaning to a day that could often be mundane otherwise. After much debate, however, the global recording industry has decided to officially make Friday the default day for album releases.

According to Billboard (http://www.billboard.com/articles/business/6487289/friday-global-record-release-day-ifpi) , the International Federation of the Phonographic Industry (IFPI) released a statement claiming that a study concluded that the majority of consumers who actually care which day new music is released prefer to hear it on Fridays and Saturdays. Frances Moore, IFPI stated that music fans “want music when it’s available on the Internet—not when it’s ready to be released in their country.”

The move has proved to be polarizing in the U.S. already with various industry names speaking out. Some are concerned that the move favors the already successful mainstream market, as Beggars Group chairman Martin Mills said in a recent mainfesto (https://www.billboard.com/articles/business/6480560/martin-mills-brian-message-manifesto-plan-music-retail-growth) , “I fear this move will also lead to a market in which the mainstream dominates, and the niche, which can be tomorrow’s mainstream, is further marginalized. I fear it will further cement the dominance of the few —and that is exactly what it is intended to do.”

A globally-accepted release day has been favored by many in the industry for a while, but a strong portion of supporters of independent music pushed for Tuesday to be that day. An affiliation of independent record stores in the U.S. and Canada known as The Department of Record Stores felt that the transition would be easier for the U.S. and the U.K.—which are the world’s top two music markets—because the U.K.’s release day is Monday. This would likely save costs for smaller operators in the business. Regardless, the move to Friday is now official.
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

William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History – NYTimes.com

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.nytimes.com/2015/03/01/movies/homevideo/william-dieterles-syncopation-on-dvd-bending-notes-and-jazz-history.html?emc=edit_tnt_20150227

** William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History
————————————————————
Photo
Jackie Cooper, left, and Todd Duncan in William Dieterle’s “Syncopation” (1942), which sought to integrate jazz into the American mainstream. Credit Cohen Film Collection

Motion pictures and jazz were both born around the dawn of the 20th century. But did Hollywood ever get the music right? Take “Syncopation” (1942), a snappily titled, wildly ambitious jazz chronicle that might be the last thing you’d expect from Warner Bros.’ German-born workhorse, William Dieterle (1893-1972).

Best remembered for plodding prestige pictures like “The Life of Emile Zola” (1937), movies James Agee characterized in The Nation as a “high-minded, high-polished mélange of heavy ‘touches’ and ‘intelligent’ performances,” Dieterle has been typecast as a snobbish martinet. Still, he has a few surprises in his lengthy résumé, and “Syncopation,” (https://www.youtube.com/watch?v=CzGqjd3-Bsw) out on Blu-ray and DVD in a beautiful digital restoration from Cohen Media, is one.

Filmed during Dieterle’s brief period as an independent producer at RKO (when his anti-fascist politics and friendship with German refugees made him a person of interest for the F.B.I.), “Syncopation” belongs to a cycle of movies — begun just before the United States entered World War II (http://topics.nytimes.com/top/reference/timestopics/subjects/w/world_war_ii_/index.html?inline=nyt-classifier) — that sought to integrate jazz into mainstream American culture. What sets “Syncopation” apart from “Blues in the Night” and “Birth of the Blues” (both 1941) is its emphasis on jazz as an intrinsically African-American art form and what Sidney Finkelstein, who wrote on jazz for Daily Worker, would call “a people’s music.”
Photo

Jim Anderson in “The Connection” (1961), the first feature from the director Shirley Clarke, now on DVD and Blu-ray. Credit Milestone

Thus, “Syncopation” begins with a vivid montage that segues from a West African village to 1906 New Orleans by way of the slave trade, the Middle Passage and the cotton fields. Well-meaning, if condescending, the movie establishes a particular lineage. The music’s founding father is modeled on King Oliver and played by an uncredited Rex Stewart (a cornetist with the Duke Ellington orchestra); his hot solos inspire a young boy (who grows into Todd Duncan, Porgy in the original Broadway production of “Porgy and Bess”) and, through him, the inevitable white protagonists, Jackie Cooper and Bonita Granville.

Jazz is America singing. Granville’s character, who establishes her intellectual bona fides, as well as Dieterle’s, by her oft-cited appreciation for Walt Whitman, is busted for playing boogie-woogie piano at a Chicago rent party. In the movie’s nuttiest scene, she’s put on trial and, managing to have her piano introduced as evidence, soon has the court doing the time step. Although “Syncopation” tries to inoculate itself by mocking a society orchestra modeled on Paul Whiteman’s, it abruptly abandons its black musicians before jazz reaches New York’s 52nd Street and mutates into swing or what, writing on jazz in Partisan Review, Agee would term “pseudo-folk.” The final sequence features the singer Connie Boswell and winds up with a frantic cameo by a combo of white all-stars (Benny Goodman, Harry James and Gene Krupa among them).

The finale is doubly depressing in that Dieterle hoped to justify his title with a genuinely offbeat (and it would seem far longer) movie. Philip Yordan, who worked on the screenplay, remembered Dieterle’s seeking to twin “the rise of modern architecture and the rise of jazz.” The writer found the idea nonsensical, although it was commonplace in the 1920s. (John Alden Carpenter’s 1927 jazz ballet “Skyscrapers” is only one example.) Even so, a few heroic montages aside, no such thinking remains in the movie. Two months before “Syncopation” was released, Dieterle screened it for his friend Bertolt Brecht, then in Hollywood. According to Brecht’s journal, Dieterle bemoaned the power of his financial backers, “forcing him to cut out as many negroes [sic] as possible” in favor of more “boy meets girl.”
Continue reading the main story

Although “Syncopation” eventually de-emphasizes the African-American centrality of jazz, the disc redresses the situation somewhat with nine vintage shorts, three starring Ellington. Treated with relative dignity, Ellington plays himself as a working composer. “A Bundle of Blues” (1933) and “Symphony in Black: A Rhapsody of Negro Life” (1935), both made by Paramount, include performances by Ivie Anderson and Billie Holiday. The independently produced “Black and Tan Fantasy” (1929) is a mini-melodrama featuring Fredi Washington as a doomed nightclub dancer. Artier than the Paramount shorts, it was directed by Dudley Murphy, who several years earlier collaborated on “Ballet Mécanique” with the French painter Fernand Léger, and also directed the majestic Bessie Smith in “St. Louis Blues” (1929) — an essential artifact despite the unpleasant spectacle of her being forced to dramatize her own humiliation.

No less offensive but also more astonishing, Paramount’s “Rhapsody in Black and Blue” (1932) is a showcase for the young Louis Armstrong, bare-chested and cloaked in leopard skin on a Deco set representing the Kingdom of Jazzmania. Through sheer force of personality and musical genius, he triumphs over the degrading premise and dubious quality of his material — one way to characterize the power of jazz.

‘The Connection’

Another artifact, reveling in a later form of jazz exoticism, “The Connection” — Shirley Clarke’s 1962 adaptation of Jack Gelber’s Off Broadway blockbuster (http://www.nytimes.com/theater/venues/broadway.html?inline=nyt-classifier) — has been released by Milestone on Blu-ray and DVD. Clarke’s notably self-assured and elaborately self-conscious first feature made a splash at the Cannes Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/c/cannes_international_film_festival/index.html?inline=nyt-classifier) and became a cause célèbre back home, banned for using an obscenity, here as a term for heroin.

As originally staged by the Living Theater, “The Connection” was a hip “Waiting for Godot” in which a group of histrionic heroin addicts and a rehearsing jazz combo hang around a cold-water loft anticipating the arrival of their daily fix. Ms. Clarke framed her movie as a fictional documentary of the scene, complete with clueless filmmaker; it’s notable both for documenting the original production and the quartet assembled by the pianist-composer Freddie Redd. Interviewed at length for one of the disc’s bonus supplements, Mr. Redd gives a pithy account of the movie’s making and his own life as a jazz artist.

NEWLY RELEASED

EXPOSED Combining backstage interviews with onstage performances, the downtown director Beth B documents the New Burlesque as a liberating form of performance art. “There is also a great deal of joy, and while these lubricious entertainers are making political points by pulling American flags from unlikely locations, or dancing a beautiful dark ballet with a severed hand, they’re mostly just interested in showing us a really good time,” Jeannette Catsoulis wrote in The New York Times in March 2014 (http://www.nytimes.com/movies/movie/472314/Exposed/trailers) . Available on DVD. (Zeitgeist)

ROPE OF SAND One of William Dieterle’s last Hollywood movies (and possibly the craziest) is a violent film noir (https://www.youtube.com/watch?v=zdNDekeUA1w) from 1949 set in the Kalahari desert. Burt Lancaster heads a cast that includes three veterans of “Casablanca”: Peter Lorre, Claude Rains and Paul Henreid, outstanding as the movie’s crypto-fascist villain. On Blu-ray, DVD and Amazon Instant Video. (Olive)
Continue reading the main story
Continue reading the main story

TRAITORS Sean Gullette’s first feature (https://www.youtube.com/watch?v=f-cBWPnn4MU) , shown at film festivals but never released here, concerns the leader of an all-female punk-rock band who finances her recording session by bringing a shipment of drugs from the Rif mountains to Tangier. On DVD and Amazon Instant Video. (Film Movement)

THROUGH A LENS DARKLY Thomas Allen Harris’s history of African-American photography is both a chronicle of and testament to the power of self-representation. “Mr. Harris’s film (http://throughalensdarkly.wordpress.com/) is a family memoir, a tribute to unsung artists and a lyrical, at times heartbroken, meditation on imagery and identity,” A. O. Scott wrote in The Times in August (http://www.nytimes.com/movies/movie/477293/Through-a-Lens-Darkly-Black-Photographers-and-the-Emergence-of-a-People/trailers) . On DVD, iTunes and Netflix. (First Run Features)

WHIPLASH The title of the writer-director Damien Chazelle’s dynamic second feature might describe J. K. Simmons’s Oscar-winning performance as the scariest instructor in a Juilliard-like music conservatory. “The long, intricate final scene transcends psychological drama with a surge of pure musical inspiration, pushing the audience’s response from curiosity to empathy to awe,” Mr. Scott wrote in The Times in October (http://www.nytimes.com/movies/movie/472767/Whiplash/trailers) . On Blu-ray, DVD and Amazon Instant Video. (Sony Pictures Classics)
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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Warwick, Ny 10990
USA

William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History – NYTimes.com

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.nytimes.com/2015/03/01/movies/homevideo/william-dieterles-syncopation-on-dvd-bending-notes-and-jazz-history.html?emc=edit_tnt_20150227

** William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History
————————————————————
Photo
Jackie Cooper, left, and Todd Duncan in William Dieterle’s “Syncopation” (1942), which sought to integrate jazz into the American mainstream. Credit Cohen Film Collection

Motion pictures and jazz were both born around the dawn of the 20th century. But did Hollywood ever get the music right? Take “Syncopation” (1942), a snappily titled, wildly ambitious jazz chronicle that might be the last thing you’d expect from Warner Bros.’ German-born workhorse, William Dieterle (1893-1972).

Best remembered for plodding prestige pictures like “The Life of Emile Zola” (1937), movies James Agee characterized in The Nation as a “high-minded, high-polished mélange of heavy ‘touches’ and ‘intelligent’ performances,” Dieterle has been typecast as a snobbish martinet. Still, he has a few surprises in his lengthy résumé, and “Syncopation,” (https://www.youtube.com/watch?v=CzGqjd3-Bsw) out on Blu-ray and DVD in a beautiful digital restoration from Cohen Media, is one.

Filmed during Dieterle’s brief period as an independent producer at RKO (when his anti-fascist politics and friendship with German refugees made him a person of interest for the F.B.I.), “Syncopation” belongs to a cycle of movies — begun just before the United States entered World War II (http://topics.nytimes.com/top/reference/timestopics/subjects/w/world_war_ii_/index.html?inline=nyt-classifier) — that sought to integrate jazz into mainstream American culture. What sets “Syncopation” apart from “Blues in the Night” and “Birth of the Blues” (both 1941) is its emphasis on jazz as an intrinsically African-American art form and what Sidney Finkelstein, who wrote on jazz for Daily Worker, would call “a people’s music.”
Photo

Jim Anderson in “The Connection” (1961), the first feature from the director Shirley Clarke, now on DVD and Blu-ray. Credit Milestone

Thus, “Syncopation” begins with a vivid montage that segues from a West African village to 1906 New Orleans by way of the slave trade, the Middle Passage and the cotton fields. Well-meaning, if condescending, the movie establishes a particular lineage. The music’s founding father is modeled on King Oliver and played by an uncredited Rex Stewart (a cornetist with the Duke Ellington orchestra); his hot solos inspire a young boy (who grows into Todd Duncan, Porgy in the original Broadway production of “Porgy and Bess”) and, through him, the inevitable white protagonists, Jackie Cooper and Bonita Granville.

Jazz is America singing. Granville’s character, who establishes her intellectual bona fides, as well as Dieterle’s, by her oft-cited appreciation for Walt Whitman, is busted for playing boogie-woogie piano at a Chicago rent party. In the movie’s nuttiest scene, she’s put on trial and, managing to have her piano introduced as evidence, soon has the court doing the time step. Although “Syncopation” tries to inoculate itself by mocking a society orchestra modeled on Paul Whiteman’s, it abruptly abandons its black musicians before jazz reaches New York’s 52nd Street and mutates into swing or what, writing on jazz in Partisan Review, Agee would term “pseudo-folk.” The final sequence features the singer Connie Boswell and winds up with a frantic cameo by a combo of white all-stars (Benny Goodman, Harry James and Gene Krupa among them).

The finale is doubly depressing in that Dieterle hoped to justify his title with a genuinely offbeat (and it would seem far longer) movie. Philip Yordan, who worked on the screenplay, remembered Dieterle’s seeking to twin “the rise of modern architecture and the rise of jazz.” The writer found the idea nonsensical, although it was commonplace in the 1920s. (John Alden Carpenter’s 1927 jazz ballet “Skyscrapers” is only one example.) Even so, a few heroic montages aside, no such thinking remains in the movie. Two months before “Syncopation” was released, Dieterle screened it for his friend Bertolt Brecht, then in Hollywood. According to Brecht’s journal, Dieterle bemoaned the power of his financial backers, “forcing him to cut out as many negroes [sic] as possible” in favor of more “boy meets girl.”
Continue reading the main story

Although “Syncopation” eventually de-emphasizes the African-American centrality of jazz, the disc redresses the situation somewhat with nine vintage shorts, three starring Ellington. Treated with relative dignity, Ellington plays himself as a working composer. “A Bundle of Blues” (1933) and “Symphony in Black: A Rhapsody of Negro Life” (1935), both made by Paramount, include performances by Ivie Anderson and Billie Holiday. The independently produced “Black and Tan Fantasy” (1929) is a mini-melodrama featuring Fredi Washington as a doomed nightclub dancer. Artier than the Paramount shorts, it was directed by Dudley Murphy, who several years earlier collaborated on “Ballet Mécanique” with the French painter Fernand Léger, and also directed the majestic Bessie Smith in “St. Louis Blues” (1929) — an essential artifact despite the unpleasant spectacle of her being forced to dramatize her own humiliation.

No less offensive but also more astonishing, Paramount’s “Rhapsody in Black and Blue” (1932) is a showcase for the young Louis Armstrong, bare-chested and cloaked in leopard skin on a Deco set representing the Kingdom of Jazzmania. Through sheer force of personality and musical genius, he triumphs over the degrading premise and dubious quality of his material — one way to characterize the power of jazz.

‘The Connection’

Another artifact, reveling in a later form of jazz exoticism, “The Connection” — Shirley Clarke’s 1962 adaptation of Jack Gelber’s Off Broadway blockbuster (http://www.nytimes.com/theater/venues/broadway.html?inline=nyt-classifier) — has been released by Milestone on Blu-ray and DVD. Clarke’s notably self-assured and elaborately self-conscious first feature made a splash at the Cannes Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/c/cannes_international_film_festival/index.html?inline=nyt-classifier) and became a cause célèbre back home, banned for using an obscenity, here as a term for heroin.

As originally staged by the Living Theater, “The Connection” was a hip “Waiting for Godot” in which a group of histrionic heroin addicts and a rehearsing jazz combo hang around a cold-water loft anticipating the arrival of their daily fix. Ms. Clarke framed her movie as a fictional documentary of the scene, complete with clueless filmmaker; it’s notable both for documenting the original production and the quartet assembled by the pianist-composer Freddie Redd. Interviewed at length for one of the disc’s bonus supplements, Mr. Redd gives a pithy account of the movie’s making and his own life as a jazz artist.

NEWLY RELEASED

EXPOSED Combining backstage interviews with onstage performances, the downtown director Beth B documents the New Burlesque as a liberating form of performance art. “There is also a great deal of joy, and while these lubricious entertainers are making political points by pulling American flags from unlikely locations, or dancing a beautiful dark ballet with a severed hand, they’re mostly just interested in showing us a really good time,” Jeannette Catsoulis wrote in The New York Times in March 2014 (http://www.nytimes.com/movies/movie/472314/Exposed/trailers) . Available on DVD. (Zeitgeist)

ROPE OF SAND One of William Dieterle’s last Hollywood movies (and possibly the craziest) is a violent film noir (https://www.youtube.com/watch?v=zdNDekeUA1w) from 1949 set in the Kalahari desert. Burt Lancaster heads a cast that includes three veterans of “Casablanca”: Peter Lorre, Claude Rains and Paul Henreid, outstanding as the movie’s crypto-fascist villain. On Blu-ray, DVD and Amazon Instant Video. (Olive)
Continue reading the main story
Continue reading the main story

TRAITORS Sean Gullette’s first feature (https://www.youtube.com/watch?v=f-cBWPnn4MU) , shown at film festivals but never released here, concerns the leader of an all-female punk-rock band who finances her recording session by bringing a shipment of drugs from the Rif mountains to Tangier. On DVD and Amazon Instant Video. (Film Movement)

THROUGH A LENS DARKLY Thomas Allen Harris’s history of African-American photography is both a chronicle of and testament to the power of self-representation. “Mr. Harris’s film (http://throughalensdarkly.wordpress.com/) is a family memoir, a tribute to unsung artists and a lyrical, at times heartbroken, meditation on imagery and identity,” A. O. Scott wrote in The Times in August (http://www.nytimes.com/movies/movie/477293/Through-a-Lens-Darkly-Black-Photographers-and-the-Emergence-of-a-People/trailers) . On DVD, iTunes and Netflix. (First Run Features)

WHIPLASH The title of the writer-director Damien Chazelle’s dynamic second feature might describe J. K. Simmons’s Oscar-winning performance as the scariest instructor in a Juilliard-like music conservatory. “The long, intricate final scene transcends psychological drama with a surge of pure musical inspiration, pushing the audience’s response from curiosity to empathy to awe,” Mr. Scott wrote in The Times in October (http://www.nytimes.com/movies/movie/472767/Whiplash/trailers) . On Blu-ray, DVD and Amazon Instant Video. (Sony Pictures Classics)
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=ffa588d326) | 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=ffa588d326&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

William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History – NYTimes.com

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://www.nytimes.com/2015/03/01/movies/homevideo/william-dieterles-syncopation-on-dvd-bending-notes-and-jazz-history.html?emc=edit_tnt_20150227

** William Dieterle’s ‘Syncopation’ on DVD: Bending Notes and Jazz History
————————————————————
Photo
Jackie Cooper, left, and Todd Duncan in William Dieterle’s “Syncopation” (1942), which sought to integrate jazz into the American mainstream. Credit Cohen Film Collection

Motion pictures and jazz were both born around the dawn of the 20th century. But did Hollywood ever get the music right? Take “Syncopation” (1942), a snappily titled, wildly ambitious jazz chronicle that might be the last thing you’d expect from Warner Bros.’ German-born workhorse, William Dieterle (1893-1972).

Best remembered for plodding prestige pictures like “The Life of Emile Zola” (1937), movies James Agee characterized in The Nation as a “high-minded, high-polished mélange of heavy ‘touches’ and ‘intelligent’ performances,” Dieterle has been typecast as a snobbish martinet. Still, he has a few surprises in his lengthy résumé, and “Syncopation,” (https://www.youtube.com/watch?v=CzGqjd3-Bsw) out on Blu-ray and DVD in a beautiful digital restoration from Cohen Media, is one.

Filmed during Dieterle’s brief period as an independent producer at RKO (when his anti-fascist politics and friendship with German refugees made him a person of interest for the F.B.I.), “Syncopation” belongs to a cycle of movies — begun just before the United States entered World War II (http://topics.nytimes.com/top/reference/timestopics/subjects/w/world_war_ii_/index.html?inline=nyt-classifier) — that sought to integrate jazz into mainstream American culture. What sets “Syncopation” apart from “Blues in the Night” and “Birth of the Blues” (both 1941) is its emphasis on jazz as an intrinsically African-American art form and what Sidney Finkelstein, who wrote on jazz for Daily Worker, would call “a people’s music.”
Photo

Jim Anderson in “The Connection” (1961), the first feature from the director Shirley Clarke, now on DVD and Blu-ray. Credit Milestone

Thus, “Syncopation” begins with a vivid montage that segues from a West African village to 1906 New Orleans by way of the slave trade, the Middle Passage and the cotton fields. Well-meaning, if condescending, the movie establishes a particular lineage. The music’s founding father is modeled on King Oliver and played by an uncredited Rex Stewart (a cornetist with the Duke Ellington orchestra); his hot solos inspire a young boy (who grows into Todd Duncan, Porgy in the original Broadway production of “Porgy and Bess”) and, through him, the inevitable white protagonists, Jackie Cooper and Bonita Granville.

Jazz is America singing. Granville’s character, who establishes her intellectual bona fides, as well as Dieterle’s, by her oft-cited appreciation for Walt Whitman, is busted for playing boogie-woogie piano at a Chicago rent party. In the movie’s nuttiest scene, she’s put on trial and, managing to have her piano introduced as evidence, soon has the court doing the time step. Although “Syncopation” tries to inoculate itself by mocking a society orchestra modeled on Paul Whiteman’s, it abruptly abandons its black musicians before jazz reaches New York’s 52nd Street and mutates into swing or what, writing on jazz in Partisan Review, Agee would term “pseudo-folk.” The final sequence features the singer Connie Boswell and winds up with a frantic cameo by a combo of white all-stars (Benny Goodman, Harry James and Gene Krupa among them).

The finale is doubly depressing in that Dieterle hoped to justify his title with a genuinely offbeat (and it would seem far longer) movie. Philip Yordan, who worked on the screenplay, remembered Dieterle’s seeking to twin “the rise of modern architecture and the rise of jazz.” The writer found the idea nonsensical, although it was commonplace in the 1920s. (John Alden Carpenter’s 1927 jazz ballet “Skyscrapers” is only one example.) Even so, a few heroic montages aside, no such thinking remains in the movie. Two months before “Syncopation” was released, Dieterle screened it for his friend Bertolt Brecht, then in Hollywood. According to Brecht’s journal, Dieterle bemoaned the power of his financial backers, “forcing him to cut out as many negroes [sic] as possible” in favor of more “boy meets girl.”
Continue reading the main story

Although “Syncopation” eventually de-emphasizes the African-American centrality of jazz, the disc redresses the situation somewhat with nine vintage shorts, three starring Ellington. Treated with relative dignity, Ellington plays himself as a working composer. “A Bundle of Blues” (1933) and “Symphony in Black: A Rhapsody of Negro Life” (1935), both made by Paramount, include performances by Ivie Anderson and Billie Holiday. The independently produced “Black and Tan Fantasy” (1929) is a mini-melodrama featuring Fredi Washington as a doomed nightclub dancer. Artier than the Paramount shorts, it was directed by Dudley Murphy, who several years earlier collaborated on “Ballet Mécanique” with the French painter Fernand Léger, and also directed the majestic Bessie Smith in “St. Louis Blues” (1929) — an essential artifact despite the unpleasant spectacle of her being forced to dramatize her own humiliation.

No less offensive but also more astonishing, Paramount’s “Rhapsody in Black and Blue” (1932) is a showcase for the young Louis Armstrong, bare-chested and cloaked in leopard skin on a Deco set representing the Kingdom of Jazzmania. Through sheer force of personality and musical genius, he triumphs over the degrading premise and dubious quality of his material — one way to characterize the power of jazz.

‘The Connection’

Another artifact, reveling in a later form of jazz exoticism, “The Connection” — Shirley Clarke’s 1962 adaptation of Jack Gelber’s Off Broadway blockbuster (http://www.nytimes.com/theater/venues/broadway.html?inline=nyt-classifier) — has been released by Milestone on Blu-ray and DVD. Clarke’s notably self-assured and elaborately self-conscious first feature made a splash at the Cannes Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/c/cannes_international_film_festival/index.html?inline=nyt-classifier) and became a cause célèbre back home, banned for using an obscenity, here as a term for heroin.

As originally staged by the Living Theater, “The Connection” was a hip “Waiting for Godot” in which a group of histrionic heroin addicts and a rehearsing jazz combo hang around a cold-water loft anticipating the arrival of their daily fix. Ms. Clarke framed her movie as a fictional documentary of the scene, complete with clueless filmmaker; it’s notable both for documenting the original production and the quartet assembled by the pianist-composer Freddie Redd. Interviewed at length for one of the disc’s bonus supplements, Mr. Redd gives a pithy account of the movie’s making and his own life as a jazz artist.

NEWLY RELEASED

EXPOSED Combining backstage interviews with onstage performances, the downtown director Beth B documents the New Burlesque as a liberating form of performance art. “There is also a great deal of joy, and while these lubricious entertainers are making political points by pulling American flags from unlikely locations, or dancing a beautiful dark ballet with a severed hand, they’re mostly just interested in showing us a really good time,” Jeannette Catsoulis wrote in The New York Times in March 2014 (http://www.nytimes.com/movies/movie/472314/Exposed/trailers) . Available on DVD. (Zeitgeist)

ROPE OF SAND One of William Dieterle’s last Hollywood movies (and possibly the craziest) is a violent film noir (https://www.youtube.com/watch?v=zdNDekeUA1w) from 1949 set in the Kalahari desert. Burt Lancaster heads a cast that includes three veterans of “Casablanca”: Peter Lorre, Claude Rains and Paul Henreid, outstanding as the movie’s crypto-fascist villain. On Blu-ray, DVD and Amazon Instant Video. (Olive)
Continue reading the main story
Continue reading the main story

TRAITORS Sean Gullette’s first feature (https://www.youtube.com/watch?v=f-cBWPnn4MU) , shown at film festivals but never released here, concerns the leader of an all-female punk-rock band who finances her recording session by bringing a shipment of drugs from the Rif mountains to Tangier. On DVD and Amazon Instant Video. (Film Movement)

THROUGH A LENS DARKLY Thomas Allen Harris’s history of African-American photography is both a chronicle of and testament to the power of self-representation. “Mr. Harris’s film (http://throughalensdarkly.wordpress.com/) is a family memoir, a tribute to unsung artists and a lyrical, at times heartbroken, meditation on imagery and identity,” A. O. Scott wrote in The Times in August (http://www.nytimes.com/movies/movie/477293/Through-a-Lens-Darkly-Black-Photographers-and-the-Emergence-of-a-People/trailers) . On DVD, iTunes and Netflix. (First Run Features)

WHIPLASH The title of the writer-director Damien Chazelle’s dynamic second feature might describe J. K. Simmons’s Oscar-winning performance as the scariest instructor in a Juilliard-like music conservatory. “The long, intricate final scene transcends psychological drama with a surge of pure musical inspiration, pushing the audience’s response from curiosity to empathy to awe,” Mr. Scott wrote in The Times in October (http://www.nytimes.com/movies/movie/472767/Whiplash/trailers) . On Blu-ray, DVD and Amazon Instant Video. (Sony Pictures Classics)
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FUNERAL FOR JAZZ LEGEND CLARK TERRY To be held at the Harlem historic Abyssinian Baptist Church

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
FUNERAL FOR JAZZ LEGEND
CLARK TERRY
To be held at the Harlem historic
Abyssinian Baptist Church

WHERE: The Abyssinian Baptist Church
Officiated by Reverend Dr. Calvin O. Butts, III
132 Odell Clark Place
(West 138^th Street between Lenox Ave.
& Adam Clayton Powell Blvd.)
New York, New York 10030

WHEN: Saturday, February 28, 2015
10:00 a.m.
Media Crews should arrive by 9:30 AM for set-up

CONTACT: Naomi Graham, Administrative/Media Officer
The Abyssinian Baptist Church
(212) 862-7474 x255

The services will take place on Saturday to send home our beloved Clark Terry. Clark peacefully went home to God on Saturday, February 21st in Pine Bluff, Arkansas, surrounded by his family, students and friends. He was known internationally for his signature musicianship and gratitude for his love from many. For nearly half a century, Clark’s greatest passion was helping to make young musicians’ dreams come true. He was a tremendous source of inspiration, of love, of respect, of decency, and of human rights. He was one of the first recruits of the United States Navy when black musicians were given the Rating of Musician in 1942. From being one of the few musicians who played as a featured soloist in both the Count Basie and the Duke Ellington Orchestras, to being the first black staff musician at NBC, Clark had multiple bands including big bands, youth bands and other ensembles. He was one of the most recorded jazz musicians in history on more than 900 albums.

Clark’s devotion towards mentoring young musicians influenced the lives of worldwide master talents such as Quincy Jones, Miles Davis, Wynton Marsalis and Dianne Reeves amongst countless others. Clark inspired everyone by example. As he was quoted in the documentary about his life and love for mentoring students, Keep on Keepin’ On, “Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I’ve learned. I call it getting on the plateau of positivity.”

Clark will be laid to rest at the Woodlawn Cemetery following the service. Funeral services entrusted to P.K. Miller Mortuary, Pine Bluff, Arkansas and George H. Weldon Funeral Home, New York City.

In lieu of flowers, the family is asking that donations (http://jazzfoundation.org/memory_honor) be made to the Jazz Foundation of America (http://jazzfoundation.org/memory_honor) which has helped over the years to make sure that Clark’s needs were met. Please note on donations that they be made “In Honor of Clark Terry” to help them continue this work.
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

FUNERAL FOR JAZZ LEGEND CLARK TERRY To be held at the Harlem historic Abyssinian Baptist Church

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
FUNERAL FOR JAZZ LEGEND
CLARK TERRY
To be held at the Harlem historic
Abyssinian Baptist Church

WHERE: The Abyssinian Baptist Church
Officiated by Reverend Dr. Calvin O. Butts, III
132 Odell Clark Place
(West 138^th Street between Lenox Ave.
& Adam Clayton Powell Blvd.)
New York, New York 10030

WHEN: Saturday, February 28, 2015
10:00 a.m.
Media Crews should arrive by 9:30 AM for set-up

CONTACT: Naomi Graham, Administrative/Media Officer
The Abyssinian Baptist Church
(212) 862-7474 x255

The services will take place on Saturday to send home our beloved Clark Terry. Clark peacefully went home to God on Saturday, February 21st in Pine Bluff, Arkansas, surrounded by his family, students and friends. He was known internationally for his signature musicianship and gratitude for his love from many. For nearly half a century, Clark’s greatest passion was helping to make young musicians’ dreams come true. He was a tremendous source of inspiration, of love, of respect, of decency, and of human rights. He was one of the first recruits of the United States Navy when black musicians were given the Rating of Musician in 1942. From being one of the few musicians who played as a featured soloist in both the Count Basie and the Duke Ellington Orchestras, to being the first black staff musician at NBC, Clark had multiple bands including big bands, youth bands and other ensembles. He was one of the most recorded jazz musicians in history on more than 900 albums.

Clark’s devotion towards mentoring young musicians influenced the lives of worldwide master talents such as Quincy Jones, Miles Davis, Wynton Marsalis and Dianne Reeves amongst countless others. Clark inspired everyone by example. As he was quoted in the documentary about his life and love for mentoring students, Keep on Keepin’ On, “Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I’ve learned. I call it getting on the plateau of positivity.”

Clark will be laid to rest at the Woodlawn Cemetery following the service. Funeral services entrusted to P.K. Miller Mortuary, Pine Bluff, Arkansas and George H. Weldon Funeral Home, New York City.

In lieu of flowers, the family is asking that donations (http://jazzfoundation.org/memory_honor) be made to the Jazz Foundation of America (http://jazzfoundation.org/memory_honor) which has helped over the years to make sure that Clark’s needs were met. Please note on donations that they be made “In Honor of Clark Terry” to help them continue this work.
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

FUNERAL FOR JAZZ LEGEND CLARK TERRY To be held at the Harlem historic Abyssinian Baptist Church

http://www.jazzpromoservices.com/
February 25, 2015

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
FUNERAL FOR JAZZ LEGEND
CLARK TERRY
To be held at the Harlem historic
Abyssinian Baptist Church

WHERE: The Abyssinian Baptist Church
Officiated by Reverend Dr. Calvin O. Butts, III
132 Odell Clark Place
(West 138^th Street between Lenox Ave.
& Adam Clayton Powell Blvd.)
New York, New York 10030

WHEN: Saturday, February 28, 2015
10:00 a.m.
Media Crews should arrive by 9:30 AM for set-up

CONTACT: Naomi Graham, Administrative/Media Officer
The Abyssinian Baptist Church
(212) 862-7474 x255

The services will take place on Saturday to send home our beloved Clark Terry. Clark peacefully went home to God on Saturday, February 21st in Pine Bluff, Arkansas, surrounded by his family, students and friends. He was known internationally for his signature musicianship and gratitude for his love from many. For nearly half a century, Clark’s greatest passion was helping to make young musicians’ dreams come true. He was a tremendous source of inspiration, of love, of respect, of decency, and of human rights. He was one of the first recruits of the United States Navy when black musicians were given the Rating of Musician in 1942. From being one of the few musicians who played as a featured soloist in both the Count Basie and the Duke Ellington Orchestras, to being the first black staff musician at NBC, Clark had multiple bands including big bands, youth bands and other ensembles. He was one of the most recorded jazz musicians in history on more than 900 albums.

Clark’s devotion towards mentoring young musicians influenced the lives of worldwide master talents such as Quincy Jones, Miles Davis, Wynton Marsalis and Dianne Reeves amongst countless others. Clark inspired everyone by example. As he was quoted in the documentary about his life and love for mentoring students, Keep on Keepin’ On, “Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I’ve learned. I call it getting on the plateau of positivity.”

Clark will be laid to rest at the Woodlawn Cemetery following the service. Funeral services entrusted to P.K. Miller Mortuary, Pine Bluff, Arkansas and George H. Weldon Funeral Home, New York City.

In lieu of flowers, the family is asking that donations (http://jazzfoundation.org/memory_honor) be made to the Jazz Foundation of America (http://jazzfoundation.org/memory_honor) which has helped over the years to make sure that Clark’s needs were met. Please note on donations that they be made “In Honor of Clark Terry” to help them continue this work.
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=0f9ec74f60) | 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=0f9ec74f60&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

Jazz Was Not Meant for the Dinner Table | T.S. Monk Huffington Post essay

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.huffingtonpost.com/ts-monk/jazz-was-not-meant-for-the-dinner-table_b_6751282.html

** Jazz Was Not Meant for the Dinner Table
————————————————————

A funny thing happened on the way to “school,” and “dinnertime” got really strange. Let me explain. When I was born in 1949, America’s musical academia was paying little attention to jazz as an intellectual endeavor. In fact, there was an open hostility from classical music departments across the board towards the genre. Only recently has America begun to take any true African-American intellect seriously. The likes of Dr. Michael Eric Dyson, Henry Louis Gates and Maya Angelou; playwrights like August Wilson; of course, President Barack Obama; and many others from disciplines including science, business, technology and the arts, have all raised the ante for most in America. African American intellect and innovation can no longer be ignored.

But I want to talk jazz for a moment, because early on, jazz was recognized as an enormous intellectual endeavor by many classical giants upon its very inception nearly 100 years ago. That certainly was a good thing. But once pulled into the world of academia, minus its black creators, there was a general attempt to distill it down to essentially a series of Eurocentric musical formulas, e.g., the “blues” is simply a particular scale. Things like that were disastrous in terms of jazz education, and led to a generation of miserably mediocre jazz musicians.

That’s what happened when we went to America’s “music schools” starting in the ’50s. It was a crushing blow that has only recently begun to change. However, in my opinion, that was nothing compared to what we got at “dinnertime.” When white restaurateurs finally decided to bring jazz out of Harlem, in a misguided, albeit successful, attempt to get the big tourist money downtown, things really changed. See, jazz was not meant for the dinner table, or in many ways, not even the concert stage. It was meant for dance. Black folk danced to jazz — all kinds of jazz. As a result we were all over the radio, and all over the movies. But that came to a halt with the advent of television. Television is all presentation. I don’t think anyone realized it at the time, but closing the dance floors was the kiss of death for jazz in terms of its big-time entertainment value.

The first victims were black folks themselves. They said if I can’t dance, I’m going somewhere else. They ran to Rock and Roll and R&B — never to return.

Duke Ellington, The Dorsey Brothers, Louis Armstrong, Cab Calloway, Benny Goodman, Ella Fitzgerald — all were entertainers. They had a look. They put a face on their music. It was entertainment, and intellectually stimulating at the same time. Once we went to school, and became part of the restaurant crowd, we got real boring. We were no longer entertaining. Oh yeah, there are a few people who find intellectual virtuosity and gymnastics entertaining, but not most people. Not when they have time off, let their hair down, and want to be entertained.

I’m not talking about us being clowns, or minstrels. We just stopped having individual styles. We stopped looking fabulous; stopped projecting our true personalities beyond the notes coming out of instruments. We allowed our presentation to become so humble, so meager, that people stopped paying attention.

Every other genre has its own bells and whistles to excite people for sure. But there are some tools that all entertainers have in common — lighting, staging, great audio, and most of all, personalities. We’ve come a long way with substance, but we jazz musicians have got to get back on track.

If we just add some ingredients from the rest of the entertainment world, people will view jazz as fun once again, and they will come back. If millions didn’t love the music today, there wouldn’t be what we call a catalog, and my father, Thelonious Sphere Monk, Louis Armstrong, Ella Fitzgerald, Miles Davis, Dave Brubeck, John Coltrane, Buddy Rich and so many more, would have disappeared. We wouldn’t have had an International Jazz Day concert streamed to 1.2 billion people in 2013, and 2.5 billion people in 2014. None of that would be possible if there wasn’t an inherent love of this music, ironically by Americans. We often love ourselves, and don’t know it.

So I say to all my friends in jazz — musicians, promoters, club owners, listeners, and everybody — let’s bring back the fun. Let’s go big. That will bring the attention, and the money will follow.

____________

Thelonious Sphere Monk, III (T.S. Monk) is an internationally acclaimed jazz drummer, composer, bandleader, vocalist and arts educator. The son and musical heir to his father, the legendary jazz composer and pianist Thelonious Monk, he is the co-founder and the Chairman of the Board of Trustees of the Thelonious Monk Institute of Jazz.

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Copyright (C) 2015 All rights reserved.

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

Jazz Was Not Meant for the Dinner Table | T.S. Monk Huffington Post essay

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.huffingtonpost.com/ts-monk/jazz-was-not-meant-for-the-dinner-table_b_6751282.html

** Jazz Was Not Meant for the Dinner Table
————————————————————

A funny thing happened on the way to “school,” and “dinnertime” got really strange. Let me explain. When I was born in 1949, America’s musical academia was paying little attention to jazz as an intellectual endeavor. In fact, there was an open hostility from classical music departments across the board towards the genre. Only recently has America begun to take any true African-American intellect seriously. The likes of Dr. Michael Eric Dyson, Henry Louis Gates and Maya Angelou; playwrights like August Wilson; of course, President Barack Obama; and many others from disciplines including science, business, technology and the arts, have all raised the ante for most in America. African American intellect and innovation can no longer be ignored.

But I want to talk jazz for a moment, because early on, jazz was recognized as an enormous intellectual endeavor by many classical giants upon its very inception nearly 100 years ago. That certainly was a good thing. But once pulled into the world of academia, minus its black creators, there was a general attempt to distill it down to essentially a series of Eurocentric musical formulas, e.g., the “blues” is simply a particular scale. Things like that were disastrous in terms of jazz education, and led to a generation of miserably mediocre jazz musicians.

That’s what happened when we went to America’s “music schools” starting in the ’50s. It was a crushing blow that has only recently begun to change. However, in my opinion, that was nothing compared to what we got at “dinnertime.” When white restaurateurs finally decided to bring jazz out of Harlem, in a misguided, albeit successful, attempt to get the big tourist money downtown, things really changed. See, jazz was not meant for the dinner table, or in many ways, not even the concert stage. It was meant for dance. Black folk danced to jazz — all kinds of jazz. As a result we were all over the radio, and all over the movies. But that came to a halt with the advent of television. Television is all presentation. I don’t think anyone realized it at the time, but closing the dance floors was the kiss of death for jazz in terms of its big-time entertainment value.

The first victims were black folks themselves. They said if I can’t dance, I’m going somewhere else. They ran to Rock and Roll and R&B — never to return.

Duke Ellington, The Dorsey Brothers, Louis Armstrong, Cab Calloway, Benny Goodman, Ella Fitzgerald — all were entertainers. They had a look. They put a face on their music. It was entertainment, and intellectually stimulating at the same time. Once we went to school, and became part of the restaurant crowd, we got real boring. We were no longer entertaining. Oh yeah, there are a few people who find intellectual virtuosity and gymnastics entertaining, but not most people. Not when they have time off, let their hair down, and want to be entertained.

I’m not talking about us being clowns, or minstrels. We just stopped having individual styles. We stopped looking fabulous; stopped projecting our true personalities beyond the notes coming out of instruments. We allowed our presentation to become so humble, so meager, that people stopped paying attention.

Every other genre has its own bells and whistles to excite people for sure. But there are some tools that all entertainers have in common — lighting, staging, great audio, and most of all, personalities. We’ve come a long way with substance, but we jazz musicians have got to get back on track.

If we just add some ingredients from the rest of the entertainment world, people will view jazz as fun once again, and they will come back. If millions didn’t love the music today, there wouldn’t be what we call a catalog, and my father, Thelonious Sphere Monk, Louis Armstrong, Ella Fitzgerald, Miles Davis, Dave Brubeck, John Coltrane, Buddy Rich and so many more, would have disappeared. We wouldn’t have had an International Jazz Day concert streamed to 1.2 billion people in 2013, and 2.5 billion people in 2014. None of that would be possible if there wasn’t an inherent love of this music, ironically by Americans. We often love ourselves, and don’t know it.

So I say to all my friends in jazz — musicians, promoters, club owners, listeners, and everybody — let’s bring back the fun. Let’s go big. That will bring the attention, and the money will follow.

____________

Thelonious Sphere Monk, III (T.S. Monk) is an internationally acclaimed jazz drummer, composer, bandleader, vocalist and arts educator. The son and musical heir to his father, the legendary jazz composer and pianist Thelonious Monk, he is the co-founder and the Chairman of the Board of Trustees of the Thelonious Monk Institute of Jazz.

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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

Jazz Was Not Meant for the Dinner Table | T.S. Monk Huffington Post essay

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.huffingtonpost.com/ts-monk/jazz-was-not-meant-for-the-dinner-table_b_6751282.html

** Jazz Was Not Meant for the Dinner Table
————————————————————

A funny thing happened on the way to “school,” and “dinnertime” got really strange. Let me explain. When I was born in 1949, America’s musical academia was paying little attention to jazz as an intellectual endeavor. In fact, there was an open hostility from classical music departments across the board towards the genre. Only recently has America begun to take any true African-American intellect seriously. The likes of Dr. Michael Eric Dyson, Henry Louis Gates and Maya Angelou; playwrights like August Wilson; of course, President Barack Obama; and many others from disciplines including science, business, technology and the arts, have all raised the ante for most in America. African American intellect and innovation can no longer be ignored.

But I want to talk jazz for a moment, because early on, jazz was recognized as an enormous intellectual endeavor by many classical giants upon its very inception nearly 100 years ago. That certainly was a good thing. But once pulled into the world of academia, minus its black creators, there was a general attempt to distill it down to essentially a series of Eurocentric musical formulas, e.g., the “blues” is simply a particular scale. Things like that were disastrous in terms of jazz education, and led to a generation of miserably mediocre jazz musicians.

That’s what happened when we went to America’s “music schools” starting in the ’50s. It was a crushing blow that has only recently begun to change. However, in my opinion, that was nothing compared to what we got at “dinnertime.” When white restaurateurs finally decided to bring jazz out of Harlem, in a misguided, albeit successful, attempt to get the big tourist money downtown, things really changed. See, jazz was not meant for the dinner table, or in many ways, not even the concert stage. It was meant for dance. Black folk danced to jazz — all kinds of jazz. As a result we were all over the radio, and all over the movies. But that came to a halt with the advent of television. Television is all presentation. I don’t think anyone realized it at the time, but closing the dance floors was the kiss of death for jazz in terms of its big-time entertainment value.

The first victims were black folks themselves. They said if I can’t dance, I’m going somewhere else. They ran to Rock and Roll and R&B — never to return.

Duke Ellington, The Dorsey Brothers, Louis Armstrong, Cab Calloway, Benny Goodman, Ella Fitzgerald — all were entertainers. They had a look. They put a face on their music. It was entertainment, and intellectually stimulating at the same time. Once we went to school, and became part of the restaurant crowd, we got real boring. We were no longer entertaining. Oh yeah, there are a few people who find intellectual virtuosity and gymnastics entertaining, but not most people. Not when they have time off, let their hair down, and want to be entertained.

I’m not talking about us being clowns, or minstrels. We just stopped having individual styles. We stopped looking fabulous; stopped projecting our true personalities beyond the notes coming out of instruments. We allowed our presentation to become so humble, so meager, that people stopped paying attention.

Every other genre has its own bells and whistles to excite people for sure. But there are some tools that all entertainers have in common — lighting, staging, great audio, and most of all, personalities. We’ve come a long way with substance, but we jazz musicians have got to get back on track.

If we just add some ingredients from the rest of the entertainment world, people will view jazz as fun once again, and they will come back. If millions didn’t love the music today, there wouldn’t be what we call a catalog, and my father, Thelonious Sphere Monk, Louis Armstrong, Ella Fitzgerald, Miles Davis, Dave Brubeck, John Coltrane, Buddy Rich and so many more, would have disappeared. We wouldn’t have had an International Jazz Day concert streamed to 1.2 billion people in 2013, and 2.5 billion people in 2014. None of that would be possible if there wasn’t an inherent love of this music, ironically by Americans. We often love ourselves, and don’t know it.

So I say to all my friends in jazz — musicians, promoters, club owners, listeners, and everybody — let’s bring back the fun. Let’s go big. That will bring the attention, and the money will follow.

____________

Thelonious Sphere Monk, III (T.S. Monk) is an internationally acclaimed jazz drummer, composer, bandleader, vocalist and arts educator. The son and musical heir to his father, the legendary jazz composer and pianist Thelonious Monk, he is the co-founder and the Chairman of the Board of Trustees of the Thelonious Monk Institute of Jazz.

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Jazz On Track: Clark Terry At His Best | Leonard Maltin

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** Jazz On Track: Clark Terry At His Best
————————————————————

Leonard Maltin By Leonard Maltin | Leonard Maltin February 23, 2015 at 8:28PM

Keep on Keepin’ On

Photo Courtesy of RADiUS-TW

One of my favorite documentaries of 2014 didn’t make it to the Oscars, but that doesn’t dim its luster in my eyes: Keep On Keepin’ On is a beautiful film and its soundtrack is being released today by Varèse Sarabande (http://www.varesesarabande.com/release/keep-on-keepin-on-various/) . That happy occasion is made bittersweet by the news that the movie’s subject, jazz trumpet great Clark Terry, passed away on Saturday at the age of 94. The documentary candidly chronicles his declining health over the past few years, but Terry never lost his zest for life or his drive to encourage young musicians.

The movie focuses on the extraordinary friendship between Terry and a brilliant young pianist named Justin Kauflin, who is blind. They met when Justin was a teenager attending William Paterson University in New Jersey, where Terry (then in his late 80s) was holding master classes. The veteran and the novice formed an unshakable bond, and that’s what makes the film so moving.
Clark Terry Jazz

When she joined the project, producer Paula DuPré Pesmen encouraged first-time filmmaker Alan Hicks not to make this a “jazz documentary” but to focus on the relationship between these two gifted people, and how they fueled each other’s spirits through good times and bad. As a result, while there are many great film and video clips of Terry and Kauflin in performance, they are tantalizingly brief. That’s why I’m so glad there is now a soundtrack, where we can hear the entirety of Clark’s breathtaking rendition of “Stardust,” his participation in Duke Ellington’s “Harlem Air Shaft,” and three unforgettable tracks with the Oscar Peterson Trio, including my all-time favorite, “Brotherhood of Man,” along with Clark’s signature “Mumbles” routine.
Album cover-Keep on Keepin’ On

The album includes some poignant pieces of dialogue with the trumpeter and his protégé and several examples of the fine young pianist at work. Pianist-composer-arranger Dave Grusin appears on several cuts. He was brought on by the film’s executive producer, Clark Terry’s onetime student and lifelong friend Quincy Jones.

Producer Pesmen’s advice to her tyro director was sound. Even people who don’t especially care for jazz—including my wife and my students at USC—have responded strongly to the film. Several of my students told me they were going to seek out Clark Terry’s music after being exposed to it in this context. Now they can easily do just that…and so can you.

Incidentally, you can now rent or purchase the film online HERE (http://goo.gl/yrTAeQ) , as well as the soundtrack.

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Jazz On Track: Clark Terry At His Best | Leonard Maltin

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** Jazz On Track: Clark Terry At His Best
————————————————————

Leonard Maltin By Leonard Maltin | Leonard Maltin February 23, 2015 at 8:28PM

Keep on Keepin’ On

Photo Courtesy of RADiUS-TW

One of my favorite documentaries of 2014 didn’t make it to the Oscars, but that doesn’t dim its luster in my eyes: Keep On Keepin’ On is a beautiful film and its soundtrack is being released today by Varèse Sarabande (http://www.varesesarabande.com/release/keep-on-keepin-on-various/) . That happy occasion is made bittersweet by the news that the movie’s subject, jazz trumpet great Clark Terry, passed away on Saturday at the age of 94. The documentary candidly chronicles his declining health over the past few years, but Terry never lost his zest for life or his drive to encourage young musicians.

The movie focuses on the extraordinary friendship between Terry and a brilliant young pianist named Justin Kauflin, who is blind. They met when Justin was a teenager attending William Paterson University in New Jersey, where Terry (then in his late 80s) was holding master classes. The veteran and the novice formed an unshakable bond, and that’s what makes the film so moving.
Clark Terry Jazz

When she joined the project, producer Paula DuPré Pesmen encouraged first-time filmmaker Alan Hicks not to make this a “jazz documentary” but to focus on the relationship between these two gifted people, and how they fueled each other’s spirits through good times and bad. As a result, while there are many great film and video clips of Terry and Kauflin in performance, they are tantalizingly brief. That’s why I’m so glad there is now a soundtrack, where we can hear the entirety of Clark’s breathtaking rendition of “Stardust,” his participation in Duke Ellington’s “Harlem Air Shaft,” and three unforgettable tracks with the Oscar Peterson Trio, including my all-time favorite, “Brotherhood of Man,” along with Clark’s signature “Mumbles” routine.
Album cover-Keep on Keepin’ On

The album includes some poignant pieces of dialogue with the trumpeter and his protégé and several examples of the fine young pianist at work. Pianist-composer-arranger Dave Grusin appears on several cuts. He was brought on by the film’s executive producer, Clark Terry’s onetime student and lifelong friend Quincy Jones.

Producer Pesmen’s advice to her tyro director was sound. Even people who don’t especially care for jazz—including my wife and my students at USC—have responded strongly to the film. Several of my students told me they were going to seek out Clark Terry’s music after being exposed to it in this context. Now they can easily do just that…and so can you.

Incidentally, you can now rent or purchase the film online HERE (http://goo.gl/yrTAeQ) , as well as the soundtrack.

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USA

Jazz On Track: Clark Terry At His Best | Leonard Maltin

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
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** Jazz On Track: Clark Terry At His Best
————————————————————

Leonard Maltin By Leonard Maltin | Leonard Maltin February 23, 2015 at 8:28PM

Keep on Keepin’ On

Photo Courtesy of RADiUS-TW

One of my favorite documentaries of 2014 didn’t make it to the Oscars, but that doesn’t dim its luster in my eyes: Keep On Keepin’ On is a beautiful film and its soundtrack is being released today by Varèse Sarabande (http://www.varesesarabande.com/release/keep-on-keepin-on-various/) . That happy occasion is made bittersweet by the news that the movie’s subject, jazz trumpet great Clark Terry, passed away on Saturday at the age of 94. The documentary candidly chronicles his declining health over the past few years, but Terry never lost his zest for life or his drive to encourage young musicians.

The movie focuses on the extraordinary friendship between Terry and a brilliant young pianist named Justin Kauflin, who is blind. They met when Justin was a teenager attending William Paterson University in New Jersey, where Terry (then in his late 80s) was holding master classes. The veteran and the novice formed an unshakable bond, and that’s what makes the film so moving.
Clark Terry Jazz

When she joined the project, producer Paula DuPré Pesmen encouraged first-time filmmaker Alan Hicks not to make this a “jazz documentary” but to focus on the relationship between these two gifted people, and how they fueled each other’s spirits through good times and bad. As a result, while there are many great film and video clips of Terry and Kauflin in performance, they are tantalizingly brief. That’s why I’m so glad there is now a soundtrack, where we can hear the entirety of Clark’s breathtaking rendition of “Stardust,” his participation in Duke Ellington’s “Harlem Air Shaft,” and three unforgettable tracks with the Oscar Peterson Trio, including my all-time favorite, “Brotherhood of Man,” along with Clark’s signature “Mumbles” routine.
Album cover-Keep on Keepin’ On

The album includes some poignant pieces of dialogue with the trumpeter and his protégé and several examples of the fine young pianist at work. Pianist-composer-arranger Dave Grusin appears on several cuts. He was brought on by the film’s executive producer, Clark Terry’s onetime student and lifelong friend Quincy Jones.

Producer Pesmen’s advice to her tyro director was sound. Even people who don’t especially care for jazz—including my wife and my students at USC—have responded strongly to the film. Several of my students told me they were going to seek out Clark Terry’s music after being exposed to it in this context. Now they can easily do just that…and so can you.

Incidentally, you can now rent or purchase the film online HERE (http://goo.gl/yrTAeQ) , as well as the soundtrack.

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Larry David, Brooklyn Boy – The New Yorker

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Larry David & Jim Eigo both graduated from Sheepshead Bay HS in 1965

http://www.newyorker.com/magazine/2015/02/23/brooklyn-boy

** Brooklyn Boy
————————————————————
http://www.newyorker.com/wp-content/uploads/2015/02/150223_r26190rgb-1200-900-12183849.jpg

Larry David, back in New York to headline his first play, recently visited his childhood apartment, in Sheepshead Bay, to see whence his “no hugging, no learning” viewpoint had sprung. Standing in a cement courtyard just off the Belt Parkway, the co-creator of “Seinfeld” and the creator and star of “Curb Your Enthusiasm” said, “This was my little world.” Four identical red brick buildings framed the winter sky. “When you wanted your friends to come out, you’d just scream at the windows.”

Wearing a charcoal scarf and striding backward, tour-guide style, David noted, “We used to play skelly here, and I had a fistfight there.” He laughed so joyously, recalling the ancient triumph, that his bat wings of hair bounced. Unlike his crabbed screen persona, David is lithe and friendly, with perfect teeth. But he’s not sentimental. “I’m not really flooded with memories here,” he said, winding up the nostalgia tour in four minutes. “And I’m hungry.”

As his hired S.U.V. sped off, he said that arriving onstage at the age of sixty-seven wasn’t the culmination of a lifelong dream: “I never gave Broadway a thought, growing up—I didn’t really have ambitions. My parents wanted me to be a mailman.” He pondered that missed opportunity. “They did get out of work early, and there was also a rumor—a rumor!—that there were sexual encounters.” He took so many odd jobs after college, he went on, that “my mom sent me to a psychiatrist.” The default to kvetch was set. “In terms of writing, family is the gift that keeps on giving.”

David’s play, “Fish in the Dark,” is a farce about a contentious Jewish family whose secrets erupt in the hospital room of a dying patriarch. “I didn’t want to be in it,” he explained. “Unfortunately, the older-brother character sounded way too much like me. I can’t stop it.”

At the Kouros Bay Diner, David hefted his bound volume of a menu: “This is one of these Greek menus that are extensive. This is crazy! This is the biggest menu I’ve ever seen in my life!”

The waitress came by. “Do you have fresh grapefruit juice?” David inquired. She shook her head. “O.K., I’ll have a Pellegrino.” Her pencil didn’t move. “A sparkling water?”

“Seltzer,” she said.
Cartoon “I just want to apologize beforehand if you miss.”Buy the print ? (http://www.condenaststore.com/-st/New-Yorker-Current-Issue-Prints_c148582_.htm)

“Seltzer! There you go,” he said. “I’ve been away too long.”

A heavily made-up woman passing by cried, “Larry David!,” and plopped her shopping bag on the table. “You’re Larry David! Do you come here often?”

“About once every forty years.”

“Can I take a photo?”

“Um . . . O.K.” She began fussing with her phone, muttering, “I hope I can figure this thing out.” Two minutes later, oblivious of David’s consternation, she began snapping, pausing to delete and reframe. “O.K. All right,” David said. “Got it? O.K.? All right? O.K., great, goodbye, thanks!”

He asked what his companion was having. “I can’t order unless I know what everybody else is getting,” he said. “I don’t want to lose lunch.” Then, the necessary rigmarole concluded, he declared that writing for the stage had proved challenging. “I thought, I can write in as many sets as I want. They told me otherwise. And apparently I have too many scenes and too many characters—eighteen!” The acting was different, too: “I learned I can’t turn and face the person I’m talking to, and that I can’t look at the audience. I said to the director, ‘Suppose a character is acting like a jerk. Can’t I turn and’ ”— He rolled his eyes and tilted his head: This guy! “She said, ‘No! You cannot!’ There’s a fourth wall.”

Still, David said, he was enjoying it all much more than he expected. In fact, he really couldn’t complain. “But I’m done with new fields of endeavor,” he added hastily. “This is it. I never had a bucket list, and, if I had, this wouldn’t have been on it.”

What does he make of setting a Broadway record for advance ticket sales—$13.5 million? David broke into a huge grin: “Maybe I’m popular!” He ate some turkey club. “But in a way it’s not so great. Because it could have been a win-win situation. If the play was really good, it would have sold anyway, and, if it stank, it would close in a week and then you go home. Now if the play stinks it’s win-lose: it keeps going, but . . .” But everyone hates you for making them shell out to see it? “Exactly!” he cried. “It could be the worst outcome possible!” ?

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Copyright (C) 2015 All rights reserved.

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