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Wanted: Jazz Champion Who Just Can’t Keep A Secret — NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ —
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** Wanted: Jazz Champion Who Just Can’t Keep A Secret
————————————————————
Rutgers University-Newark
Rutgers University-Newark
NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ — Quick: where is the largest, most comprehensive jazz archive and research center in the world? New Orleans? St. Louis? Kansas City? Try another river city farther east. Would you believe Newark, New Jersey? It’s true. On a hill above the prosaic Passaic River, where it has been housed at Rutgers University – Newark (RU-N) for nearly 50 years, the Institute of Jazz Studies (IJS) is revered among scholars all over the world and other members of the jazz cognoscenti, like Ken Burns, who mined the archives when he was making his landmark documentary series, Jazz. Despite such bona fides and holdings including more than 150,000 precious recordings, the IJS remains one of the best kept secrets in jazz. That is about to change.
The university, along with its neighbor and frequent collaborator in Newark’s vibrant cultural scene, the New Jersey Performing Arts Center (NJPAC), is engaged in a concerted effort to give the IJS a bigger stage while connecting new audiences to jazz. The university has restructured the institute’s leadership to include a new executive director whose charge will be to partner with musicians, impresarios, and other centers of jazz studies to make the institute the jazz mecca and magnet it deserves to be. The search for that special soul is now under way.
John Schreiber, NJPAC’s CEO and a well-credentialed jazz impresario himself, is co-chairing the search and is bullish on jazz, on Newark, and on their intersection. “Jazz is part of the lifeblood of Newark — the birthplace of Sarah Vaughan, the longtime home of saxophonist James Moody, the headquarters of America’s leading jazz radio station, WBGO, and the site of NJPAC’s annual TD James Moody Democracy of Jazz Festival and the Sarah Vaughan International Vocal Jazz Competition,” he says. “The IJS is a remarkable jewel in this crown of jazz history and jazz activity, and the Arts Center looks forward to partnering with Rutgers-Newark to ensure that its amazing assets are more widely recognized and utilized by scholars and fans both locally and around the world.”
The new IJS leader will be embedded not only in a leading archive of jazz music and memorabilia, but in a university committed to investing in the arts. Schreiber’s appointment as co-chair of the IJS executive director search by RU-N Chancellor Nancy Cantor reflects a thrust of the university’s new strategic plan, which calls for forging cross-sector partnerships promoting and leveraging the arts and culture to advance innovative scholarship and spur community vibrancy and economic development. “The cultural disciplines are a critical medium of intra-cultural affirmation and intercultural dialogue—both high priorities in our richly diverse metropolitan areas, such as Greater Newark,” she says. “Art, art-making, and the public humanities are also critical catalysts for economic development in thriving cultural districts around the country, and Newark’s downtown district embraces this tradition.”
To that end, a high priority for the new executive director will be to create a signature presence for the IJS in Express Newark, a bold project to leverage the expressive and transformative power of the arts and humanities. Soon to be located on several floors of the former Hahne & Company department store, an iconic building in downtown Newark that is undergoing a complete renovation, Express Newark promises to be a vibrant maker-space. In addition to stimulating a surge of creativity across Newark’s arts scene, participants in the university-community partnerships housed there in the visual and performing arts and communications aspire for the project to strengthen Newark, drawing together expertise from across disciplines—beyond the arts and humanities to the social sciences, sciences, and business—across artistic media, and across for-profit and nonprofit business models to build out Newark’s infrastructure for cultivating and sustaining working artists, cultural
professionals, and the creative economy.
Cantor and Schreiber expect the executive director to expand programming into Express Newark that builds upon the IJS’ assets, which include close to 500 archival collections, a comprehensive library of 6,000-plus monographs, nearly 600 periodical titles from the U.S. and abroad that stand apart from any other in the world, extensive clipping and photograph collections covering the entirety of jazz history, an exceptional range of historic artifacts from jazz luminaries such as Miles Davis, Curly Russell, Billie Holiday, Ben Webster, Ella Fitzgerald, Lester Young, and Louis Armstrong, as well as the papers of Mary Lou Williams, James P. Johnson, Abbey Lincoln, Benny Carter, Annie Ross, and Howard McGhee, among others.
Among the IJS’ many assets that lend themselves to inspiring the imagination of new generations of jazz lovers is the Jazz Oral History Project (JOHP), the most comprehensive and widely consulted body of jazz oral histories in the United States. The JOHP was initiated in 1972 by the Jazz Advisory Panel of the Music Program of the National Endowment for the Arts and involved 120 leading jazz artists who literally “told their stories,” not in music but in words. Over the past two decades, this collection has been used by countless media productions both in the US and abroad—from Ken Burns’ Jazz to National Public Radio’s Jazz Profiles, Public Radio International’s Riverwalk Jazz, BBC radio and television, and Japanese television. Musicians 60 years and older (as well as several younger artists in poor health) were interviewed in depth about their lives and careers, including such luminaries as Roy Eldridge, Teddy Wilson, Count Basie, Mary Lou Williams and Charles Mingus, but
also many significant if lesser-known figures who shed light on important aspects of jazz history and American culture. The stories and voices of many of these artists, who offer unique insights into the music and careers of Louis Armstrong, Duke Ellington and other key jazz creators, are undocumented anywhere else.
The sheer gravity of such collections has enabled the IJS to develop enduring relationships with students at all levels, scholars and writers from around the world, musicians, arts institutions, record labels, and the media. IJS also maintains an active outreach program furthering jazz education and supports public access and education through lectures, roundtable discussions that attract a cross section of jazz aficionados, the publication of the Journal of Jazz Studies, a leading English-language scholarly jazz journal, and the Studies in Jazz monograph series.
The executive director also will be a faculty member in RU-N’s Department of Arts, Culture, and Media that offers the highly regarded Masters of Arts Program in Jazz History and Research, which is directly supported by IJS collections and personnel. The M.A. program is the only degree program in the United States to focus on the history and research of jazz. As such, the unique curriculum ranges in courses from “Big Bands” to “Jazz and Race.” In January 2007, Jazz Perspectives, one of the world’s most prominent peer-reviewed journals entirely devoted to jazz scholarship, was co-founded by the program’s director, Lewis Porter, a leading jazz pianist and historian. The executive director will have the opportunity to teach and work with faculty in the M.A. program like Porter as well as Professor Henry Martin, a world-class composer, pianist, and music theorist.
Sterling Bland, a professor of African American Studies and English at RU-N who is co-chairing the search with Schreiber, sees multi-faceted benefits to this academic connection. “Our M.A. program in jazz history and research is widely considered one of the best of its kind,” notes Bland. “The IJS executive director will have the opportunity to serve as a member of a vigorous, intellectually dynamic faculty of vibrant emerging and established scholars doing groundbreaking research at RU-N. This opens up the possibility of developing important creative and intellectual relationships with students and fellow faculty members and presents a unique opportunity to help shape the direction of jazz studies at the university and beyond.”
Schreiber thinks that taking the IJS to a new level calls for someone who knows the jazz terrain, but also knows how to improvise. “We’re looking for an executive director who is as excited about the future of jazz as we are. The IJS is a great archive for historians, but going forward it will be a collaborator on jazz education initiatives with NJPAC and others, a co-presenter of concerts and conferences, a curator of touring exhibitions, and the indispensable online resource for students and aficionados wishing to explore the music’s rich history,” he says. “Our new executive director needs to be part impresario and part scholar, someone who will immediately be seen as a major collaborator, advocate and cheerleader for jazz’s bright future.”
The search for the IJS executive director is open and applications are invited. Complete information position and the IJS are available at http://www.higheredjobs.com/details.cfm?JobCode=176013952.
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SOURCE Rutgers University — Newark
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Wanted: Jazz Champion Who Just Can’t Keep A Secret — NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ —
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** Wanted: Jazz Champion Who Just Can’t Keep A Secret
————————————————————
Rutgers University-Newark
Rutgers University-Newark
NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ — Quick: where is the largest, most comprehensive jazz archive and research center in the world? New Orleans? St. Louis? Kansas City? Try another river city farther east. Would you believe Newark, New Jersey? It’s true. On a hill above the prosaic Passaic River, where it has been housed at Rutgers University – Newark (RU-N) for nearly 50 years, the Institute of Jazz Studies (IJS) is revered among scholars all over the world and other members of the jazz cognoscenti, like Ken Burns, who mined the archives when he was making his landmark documentary series, Jazz. Despite such bona fides and holdings including more than 150,000 precious recordings, the IJS remains one of the best kept secrets in jazz. That is about to change.
The university, along with its neighbor and frequent collaborator in Newark’s vibrant cultural scene, the New Jersey Performing Arts Center (NJPAC), is engaged in a concerted effort to give the IJS a bigger stage while connecting new audiences to jazz. The university has restructured the institute’s leadership to include a new executive director whose charge will be to partner with musicians, impresarios, and other centers of jazz studies to make the institute the jazz mecca and magnet it deserves to be. The search for that special soul is now under way.
John Schreiber, NJPAC’s CEO and a well-credentialed jazz impresario himself, is co-chairing the search and is bullish on jazz, on Newark, and on their intersection. “Jazz is part of the lifeblood of Newark — the birthplace of Sarah Vaughan, the longtime home of saxophonist James Moody, the headquarters of America’s leading jazz radio station, WBGO, and the site of NJPAC’s annual TD James Moody Democracy of Jazz Festival and the Sarah Vaughan International Vocal Jazz Competition,” he says. “The IJS is a remarkable jewel in this crown of jazz history and jazz activity, and the Arts Center looks forward to partnering with Rutgers-Newark to ensure that its amazing assets are more widely recognized and utilized by scholars and fans both locally and around the world.”
The new IJS leader will be embedded not only in a leading archive of jazz music and memorabilia, but in a university committed to investing in the arts. Schreiber’s appointment as co-chair of the IJS executive director search by RU-N Chancellor Nancy Cantor reflects a thrust of the university’s new strategic plan, which calls for forging cross-sector partnerships promoting and leveraging the arts and culture to advance innovative scholarship and spur community vibrancy and economic development. “The cultural disciplines are a critical medium of intra-cultural affirmation and intercultural dialogue—both high priorities in our richly diverse metropolitan areas, such as Greater Newark,” she says. “Art, art-making, and the public humanities are also critical catalysts for economic development in thriving cultural districts around the country, and Newark’s downtown district embraces this tradition.”
To that end, a high priority for the new executive director will be to create a signature presence for the IJS in Express Newark, a bold project to leverage the expressive and transformative power of the arts and humanities. Soon to be located on several floors of the former Hahne & Company department store, an iconic building in downtown Newark that is undergoing a complete renovation, Express Newark promises to be a vibrant maker-space. In addition to stimulating a surge of creativity across Newark’s arts scene, participants in the university-community partnerships housed there in the visual and performing arts and communications aspire for the project to strengthen Newark, drawing together expertise from across disciplines—beyond the arts and humanities to the social sciences, sciences, and business—across artistic media, and across for-profit and nonprofit business models to build out Newark’s infrastructure for cultivating and sustaining working artists, cultural
professionals, and the creative economy.
Cantor and Schreiber expect the executive director to expand programming into Express Newark that builds upon the IJS’ assets, which include close to 500 archival collections, a comprehensive library of 6,000-plus monographs, nearly 600 periodical titles from the U.S. and abroad that stand apart from any other in the world, extensive clipping and photograph collections covering the entirety of jazz history, an exceptional range of historic artifacts from jazz luminaries such as Miles Davis, Curly Russell, Billie Holiday, Ben Webster, Ella Fitzgerald, Lester Young, and Louis Armstrong, as well as the papers of Mary Lou Williams, James P. Johnson, Abbey Lincoln, Benny Carter, Annie Ross, and Howard McGhee, among others.
Among the IJS’ many assets that lend themselves to inspiring the imagination of new generations of jazz lovers is the Jazz Oral History Project (JOHP), the most comprehensive and widely consulted body of jazz oral histories in the United States. The JOHP was initiated in 1972 by the Jazz Advisory Panel of the Music Program of the National Endowment for the Arts and involved 120 leading jazz artists who literally “told their stories,” not in music but in words. Over the past two decades, this collection has been used by countless media productions both in the US and abroad—from Ken Burns’ Jazz to National Public Radio’s Jazz Profiles, Public Radio International’s Riverwalk Jazz, BBC radio and television, and Japanese television. Musicians 60 years and older (as well as several younger artists in poor health) were interviewed in depth about their lives and careers, including such luminaries as Roy Eldridge, Teddy Wilson, Count Basie, Mary Lou Williams and Charles Mingus, but
also many significant if lesser-known figures who shed light on important aspects of jazz history and American culture. The stories and voices of many of these artists, who offer unique insights into the music and careers of Louis Armstrong, Duke Ellington and other key jazz creators, are undocumented anywhere else.
The sheer gravity of such collections has enabled the IJS to develop enduring relationships with students at all levels, scholars and writers from around the world, musicians, arts institutions, record labels, and the media. IJS also maintains an active outreach program furthering jazz education and supports public access and education through lectures, roundtable discussions that attract a cross section of jazz aficionados, the publication of the Journal of Jazz Studies, a leading English-language scholarly jazz journal, and the Studies in Jazz monograph series.
The executive director also will be a faculty member in RU-N’s Department of Arts, Culture, and Media that offers the highly regarded Masters of Arts Program in Jazz History and Research, which is directly supported by IJS collections and personnel. The M.A. program is the only degree program in the United States to focus on the history and research of jazz. As such, the unique curriculum ranges in courses from “Big Bands” to “Jazz and Race.” In January 2007, Jazz Perspectives, one of the world’s most prominent peer-reviewed journals entirely devoted to jazz scholarship, was co-founded by the program’s director, Lewis Porter, a leading jazz pianist and historian. The executive director will have the opportunity to teach and work with faculty in the M.A. program like Porter as well as Professor Henry Martin, a world-class composer, pianist, and music theorist.
Sterling Bland, a professor of African American Studies and English at RU-N who is co-chairing the search with Schreiber, sees multi-faceted benefits to this academic connection. “Our M.A. program in jazz history and research is widely considered one of the best of its kind,” notes Bland. “The IJS executive director will have the opportunity to serve as a member of a vigorous, intellectually dynamic faculty of vibrant emerging and established scholars doing groundbreaking research at RU-N. This opens up the possibility of developing important creative and intellectual relationships with students and fellow faculty members and presents a unique opportunity to help shape the direction of jazz studies at the university and beyond.”
Schreiber thinks that taking the IJS to a new level calls for someone who knows the jazz terrain, but also knows how to improvise. “We’re looking for an executive director who is as excited about the future of jazz as we are. The IJS is a great archive for historians, but going forward it will be a collaborator on jazz education initiatives with NJPAC and others, a co-presenter of concerts and conferences, a curator of touring exhibitions, and the indispensable online resource for students and aficionados wishing to explore the music’s rich history,” he says. “Our new executive director needs to be part impresario and part scholar, someone who will immediately be seen as a major collaborator, advocate and cheerleader for jazz’s bright future.”
The search for the IJS executive director is open and applications are invited. Complete information position and the IJS are available at http://www.higheredjobs.com/details.cfm?JobCode=176013952.
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SOURCE Rutgers University — Newark
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Wanted: Jazz Champion Who Just Can’t Keep A Secret — NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ —
http://www.jazzpromoservices.com/
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** Wanted: Jazz Champion Who Just Can’t Keep A Secret
————————————————————
Rutgers University-Newark
Rutgers University-Newark
NEWARK, N.J., Jan. 30, 2015 /PRNewswire/ — Quick: where is the largest, most comprehensive jazz archive and research center in the world? New Orleans? St. Louis? Kansas City? Try another river city farther east. Would you believe Newark, New Jersey? It’s true. On a hill above the prosaic Passaic River, where it has been housed at Rutgers University – Newark (RU-N) for nearly 50 years, the Institute of Jazz Studies (IJS) is revered among scholars all over the world and other members of the jazz cognoscenti, like Ken Burns, who mined the archives when he was making his landmark documentary series, Jazz. Despite such bona fides and holdings including more than 150,000 precious recordings, the IJS remains one of the best kept secrets in jazz. That is about to change.
The university, along with its neighbor and frequent collaborator in Newark’s vibrant cultural scene, the New Jersey Performing Arts Center (NJPAC), is engaged in a concerted effort to give the IJS a bigger stage while connecting new audiences to jazz. The university has restructured the institute’s leadership to include a new executive director whose charge will be to partner with musicians, impresarios, and other centers of jazz studies to make the institute the jazz mecca and magnet it deserves to be. The search for that special soul is now under way.
John Schreiber, NJPAC’s CEO and a well-credentialed jazz impresario himself, is co-chairing the search and is bullish on jazz, on Newark, and on their intersection. “Jazz is part of the lifeblood of Newark — the birthplace of Sarah Vaughan, the longtime home of saxophonist James Moody, the headquarters of America’s leading jazz radio station, WBGO, and the site of NJPAC’s annual TD James Moody Democracy of Jazz Festival and the Sarah Vaughan International Vocal Jazz Competition,” he says. “The IJS is a remarkable jewel in this crown of jazz history and jazz activity, and the Arts Center looks forward to partnering with Rutgers-Newark to ensure that its amazing assets are more widely recognized and utilized by scholars and fans both locally and around the world.”
The new IJS leader will be embedded not only in a leading archive of jazz music and memorabilia, but in a university committed to investing in the arts. Schreiber’s appointment as co-chair of the IJS executive director search by RU-N Chancellor Nancy Cantor reflects a thrust of the university’s new strategic plan, which calls for forging cross-sector partnerships promoting and leveraging the arts and culture to advance innovative scholarship and spur community vibrancy and economic development. “The cultural disciplines are a critical medium of intra-cultural affirmation and intercultural dialogue—both high priorities in our richly diverse metropolitan areas, such as Greater Newark,” she says. “Art, art-making, and the public humanities are also critical catalysts for economic development in thriving cultural districts around the country, and Newark’s downtown district embraces this tradition.”
To that end, a high priority for the new executive director will be to create a signature presence for the IJS in Express Newark, a bold project to leverage the expressive and transformative power of the arts and humanities. Soon to be located on several floors of the former Hahne & Company department store, an iconic building in downtown Newark that is undergoing a complete renovation, Express Newark promises to be a vibrant maker-space. In addition to stimulating a surge of creativity across Newark’s arts scene, participants in the university-community partnerships housed there in the visual and performing arts and communications aspire for the project to strengthen Newark, drawing together expertise from across disciplines—beyond the arts and humanities to the social sciences, sciences, and business—across artistic media, and across for-profit and nonprofit business models to build out Newark’s infrastructure for cultivating and sustaining working artists, cultural
professionals, and the creative economy.
Cantor and Schreiber expect the executive director to expand programming into Express Newark that builds upon the IJS’ assets, which include close to 500 archival collections, a comprehensive library of 6,000-plus monographs, nearly 600 periodical titles from the U.S. and abroad that stand apart from any other in the world, extensive clipping and photograph collections covering the entirety of jazz history, an exceptional range of historic artifacts from jazz luminaries such as Miles Davis, Curly Russell, Billie Holiday, Ben Webster, Ella Fitzgerald, Lester Young, and Louis Armstrong, as well as the papers of Mary Lou Williams, James P. Johnson, Abbey Lincoln, Benny Carter, Annie Ross, and Howard McGhee, among others.
Among the IJS’ many assets that lend themselves to inspiring the imagination of new generations of jazz lovers is the Jazz Oral History Project (JOHP), the most comprehensive and widely consulted body of jazz oral histories in the United States. The JOHP was initiated in 1972 by the Jazz Advisory Panel of the Music Program of the National Endowment for the Arts and involved 120 leading jazz artists who literally “told their stories,” not in music but in words. Over the past two decades, this collection has been used by countless media productions both in the US and abroad—from Ken Burns’ Jazz to National Public Radio’s Jazz Profiles, Public Radio International’s Riverwalk Jazz, BBC radio and television, and Japanese television. Musicians 60 years and older (as well as several younger artists in poor health) were interviewed in depth about their lives and careers, including such luminaries as Roy Eldridge, Teddy Wilson, Count Basie, Mary Lou Williams and Charles Mingus, but
also many significant if lesser-known figures who shed light on important aspects of jazz history and American culture. The stories and voices of many of these artists, who offer unique insights into the music and careers of Louis Armstrong, Duke Ellington and other key jazz creators, are undocumented anywhere else.
The sheer gravity of such collections has enabled the IJS to develop enduring relationships with students at all levels, scholars and writers from around the world, musicians, arts institutions, record labels, and the media. IJS also maintains an active outreach program furthering jazz education and supports public access and education through lectures, roundtable discussions that attract a cross section of jazz aficionados, the publication of the Journal of Jazz Studies, a leading English-language scholarly jazz journal, and the Studies in Jazz monograph series.
The executive director also will be a faculty member in RU-N’s Department of Arts, Culture, and Media that offers the highly regarded Masters of Arts Program in Jazz History and Research, which is directly supported by IJS collections and personnel. The M.A. program is the only degree program in the United States to focus on the history and research of jazz. As such, the unique curriculum ranges in courses from “Big Bands” to “Jazz and Race.” In January 2007, Jazz Perspectives, one of the world’s most prominent peer-reviewed journals entirely devoted to jazz scholarship, was co-founded by the program’s director, Lewis Porter, a leading jazz pianist and historian. The executive director will have the opportunity to teach and work with faculty in the M.A. program like Porter as well as Professor Henry Martin, a world-class composer, pianist, and music theorist.
Sterling Bland, a professor of African American Studies and English at RU-N who is co-chairing the search with Schreiber, sees multi-faceted benefits to this academic connection. “Our M.A. program in jazz history and research is widely considered one of the best of its kind,” notes Bland. “The IJS executive director will have the opportunity to serve as a member of a vigorous, intellectually dynamic faculty of vibrant emerging and established scholars doing groundbreaking research at RU-N. This opens up the possibility of developing important creative and intellectual relationships with students and fellow faculty members and presents a unique opportunity to help shape the direction of jazz studies at the university and beyond.”
Schreiber thinks that taking the IJS to a new level calls for someone who knows the jazz terrain, but also knows how to improvise. “We’re looking for an executive director who is as excited about the future of jazz as we are. The IJS is a great archive for historians, but going forward it will be a collaborator on jazz education initiatives with NJPAC and others, a co-presenter of concerts and conferences, a curator of touring exhibitions, and the indispensable online resource for students and aficionados wishing to explore the music’s rich history,” he says. “Our new executive director needs to be part impresario and part scholar, someone who will immediately be seen as a major collaborator, advocate and cheerleader for jazz’s bright future.”
The search for the IJS executive director is open and applications are invited. Complete information position and the IJS are available at http://www.higheredjobs.com/details.cfm?JobCode=176013952.
Logo – http://photos.prnewswire.com/prnh/20150130/172638LOGO
SOURCE Rutgers University — Newark
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Savage Solweig – The Tubby Hayes Archive
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Copyright (C) 2015 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Savage Solweig – The Tubby Hayes Archive
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Passings: Rod McKuen, Poet and Songwriter (1933 – 2015) ~ VVN Music
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** Passings: Rod McKuen, Poet and Songwriter (1933 – 2015)
————————————————————
http://1.bp.blogspot.com/-DyAwk3wuSR0/VMrJYaL3_eI/AAAAAAAA6ws/AZ18SQaYhAc/s1600/McKuen.jpgRod McKuen, the poet and songwriters whose credits include Jean, If You Go Away, Seasons in the Sun and Love’s Been Good to Me, died on Thursday in Beverly Hills, CA from pneumonia. He was 81.
McKuen went out on his own at the age of 11, running from an abusive father, and worked in a number of jobs from railroad worker to stuntman. Throughout the time, he kept a journal where he would write his innermost thoughts often in the form of poems.
During the early-50’s, McKuen worked in the news industry along with writing propaganda scripts during the Korean War. On the side, he would read his poetry at clubs in the San Francisco area alongside other greats of the beat generation.
Soon, he started setting some of his poetry to music and started performing the songs in area clubs like the Purple Onion. He signed to Decca Records and released a number of albums before the start of the 60’s. McKuen also supported himself as an actor, singing with Lionel Hampton and composing and conducting music for television.
In the early 60’s, McKuen moved to France and got to know another songwriter, Jacques Brel, who had found great popularity in his homeland. Rod began translating Brel’s music to English, leading to such major hits as If You Go Away (originally Ne me quitte pas) and Seasons in the Sun (Le Moribond).
By the late-60’s, Rod started publishing his poetry leading to a number of best sellers and recorded the best from the books on a series of albums including Lonesome Cities (1968) which won the Grammy for Best Spoken Word Album.
Throughout, McKuen continued to write, record and perform live, earning him an NBC special in 1969. His songs were hits for the likes of Oliver (Jean from The Prime of Miss Jean Brodie for which he received an Academy Award nomination), Seasons in the Sun (Terry Jacks), I Think of You (Perry Como), The World I Used to Know (Jimmie Rodgers) and Love’s Been Good to Me (Frank Sinatra).
McKuen retired from live performing in 1981 and battled clinical depression throughout the decade. He published the poetry book A Safe Place to Land in 2001 and was Executive President of the American Guild of Variety Artists for many years.
Over his career, McKuen released over 50 vocal albums, ten spoken word albums, fourteen albums of classical compositions, twelve live recordings, fifteen hits compilations and sixteen albums in collaboration with Anita Kerr and the San Sebastian Strings.
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Copyright (C) 2015 All rights reserved.
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Warwick, Ny 10990
USA
Passings: Rod McKuen, Poet and Songwriter (1933 – 2015) ~ VVN Music
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** Passings: Rod McKuen, Poet and Songwriter (1933 – 2015)
————————————————————
http://1.bp.blogspot.com/-DyAwk3wuSR0/VMrJYaL3_eI/AAAAAAAA6ws/AZ18SQaYhAc/s1600/McKuen.jpgRod McKuen, the poet and songwriters whose credits include Jean, If You Go Away, Seasons in the Sun and Love’s Been Good to Me, died on Thursday in Beverly Hills, CA from pneumonia. He was 81.
McKuen went out on his own at the age of 11, running from an abusive father, and worked in a number of jobs from railroad worker to stuntman. Throughout the time, he kept a journal where he would write his innermost thoughts often in the form of poems.
During the early-50’s, McKuen worked in the news industry along with writing propaganda scripts during the Korean War. On the side, he would read his poetry at clubs in the San Francisco area alongside other greats of the beat generation.
Soon, he started setting some of his poetry to music and started performing the songs in area clubs like the Purple Onion. He signed to Decca Records and released a number of albums before the start of the 60’s. McKuen also supported himself as an actor, singing with Lionel Hampton and composing and conducting music for television.
In the early 60’s, McKuen moved to France and got to know another songwriter, Jacques Brel, who had found great popularity in his homeland. Rod began translating Brel’s music to English, leading to such major hits as If You Go Away (originally Ne me quitte pas) and Seasons in the Sun (Le Moribond).
By the late-60’s, Rod started publishing his poetry leading to a number of best sellers and recorded the best from the books on a series of albums including Lonesome Cities (1968) which won the Grammy for Best Spoken Word Album.
Throughout, McKuen continued to write, record and perform live, earning him an NBC special in 1969. His songs were hits for the likes of Oliver (Jean from The Prime of Miss Jean Brodie for which he received an Academy Award nomination), Seasons in the Sun (Terry Jacks), I Think of You (Perry Como), The World I Used to Know (Jimmie Rodgers) and Love’s Been Good to Me (Frank Sinatra).
McKuen retired from live performing in 1981 and battled clinical depression throughout the decade. He published the poetry book A Safe Place to Land in 2001 and was Executive President of the American Guild of Variety Artists for many years.
Over his career, McKuen released over 50 vocal albums, ten spoken word albums, fourteen albums of classical compositions, twelve live recordings, fifteen hits compilations and sixteen albums in collaboration with Anita Kerr and the San Sebastian Strings.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Passings: Rod McKuen, Poet and Songwriter (1933 – 2015) ~ VVN Music
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** Passings: Rod McKuen, Poet and Songwriter (1933 – 2015)
————————————————————
http://1.bp.blogspot.com/-DyAwk3wuSR0/VMrJYaL3_eI/AAAAAAAA6ws/AZ18SQaYhAc/s1600/McKuen.jpgRod McKuen, the poet and songwriters whose credits include Jean, If You Go Away, Seasons in the Sun and Love’s Been Good to Me, died on Thursday in Beverly Hills, CA from pneumonia. He was 81.
McKuen went out on his own at the age of 11, running from an abusive father, and worked in a number of jobs from railroad worker to stuntman. Throughout the time, he kept a journal where he would write his innermost thoughts often in the form of poems.
During the early-50’s, McKuen worked in the news industry along with writing propaganda scripts during the Korean War. On the side, he would read his poetry at clubs in the San Francisco area alongside other greats of the beat generation.
Soon, he started setting some of his poetry to music and started performing the songs in area clubs like the Purple Onion. He signed to Decca Records and released a number of albums before the start of the 60’s. McKuen also supported himself as an actor, singing with Lionel Hampton and composing and conducting music for television.
In the early 60’s, McKuen moved to France and got to know another songwriter, Jacques Brel, who had found great popularity in his homeland. Rod began translating Brel’s music to English, leading to such major hits as If You Go Away (originally Ne me quitte pas) and Seasons in the Sun (Le Moribond).
By the late-60’s, Rod started publishing his poetry leading to a number of best sellers and recorded the best from the books on a series of albums including Lonesome Cities (1968) which won the Grammy for Best Spoken Word Album.
Throughout, McKuen continued to write, record and perform live, earning him an NBC special in 1969. His songs were hits for the likes of Oliver (Jean from The Prime of Miss Jean Brodie for which he received an Academy Award nomination), Seasons in the Sun (Terry Jacks), I Think of You (Perry Como), The World I Used to Know (Jimmie Rodgers) and Love’s Been Good to Me (Frank Sinatra).
McKuen retired from live performing in 1981 and battled clinical depression throughout the decade. He published the poetry book A Safe Place to Land in 2001 and was Executive President of the American Guild of Variety Artists for many years.
Over his career, McKuen released over 50 vocal albums, ten spoken word albums, fourteen albums of classical compositions, twelve live recordings, fifteen hits compilations and sixteen albums in collaboration with Anita Kerr and the San Sebastian Strings.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=50cfee318f) | 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=50cfee318f&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Musician James Galloway was a foundational figure in Canadian jazz – The Globe and Mail
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** Musician James Galloway was a foundational figure in Canadian jazz
————————————————————
As a boy, Jim Galloway would lie in bed captivated as he listened to strains of jazz music on the radio. American Armed Forces Radio, BBC, the Voice of America, sounds from France and Belgium and other random signals would drift into his room in a small, coastal Scottish town near the North Atlantic in the middle of the night. He could pick up broadcasts from astonishing distances – even some from the United States.
Those faraway sounds heard in his youth eventually beckoned Mr. Galloway to cross the ocean and move to Canada, where he became a foundational figure in this country’s jazz scene. Not only did he go on to develop an international reputation as a performer, he also worked as a music journalist and distinguished himself as an impresario, becoming the founding director of du Maurier Downtown Jazz (now known as the TD Toronto Jazz Festival), and booking artists at the city’s top clubs.
Ever the Scotsman, Mr. Galloway savoured single-malt whisky, but he was not a heavy drinker. So although he died of cirrhosis at home in Toronto on Dec. 30 at the age of 78, his illness was attributed to other causes. “He did not abuse drink,” his widow, Anne Page Galloway, said. “He was not a tortured artist.”
James Braidie Galloway was born on July 28, 1936, in the town of Kilwinning, North Ayrshire, Scotland, about 35 kilometres south of Glasgow. At the time, Kilwinning had a population of less than 10,000.
In his teenage years, Mr. Galloway moved to Glasgow, where he studied at the prestigious Glasgow School of Art, famously designed by architect Charles Rennie Mackintosh. Mr. Galloway specialized in graphic design and worked in the field briefly, but ultimately chose to become a professional jazz musician instead. He wanted to be close to the jazz centres of New York and Chicago, but figured he would get along better in a more British city, so he immigrated to Toronto in 1964.
Mr. Galloway worked as a graphic artist and teacher while he waited for his all-important music union card and began playing in the local scene. In 1966, he joined the popular Metro Stompers, soon taking over as band leader. He also accompanied many visiting musicians, including the great Kansas City jazz pianist, vocalist and bandleader Jay McShann.
Mr. Galloway got his breakthrough as an international jazz man in the mid-1970s, when he performed for five weeks in Europe with American saxophonist and clarinetist Buddy Tate. The tour included a stop at the famous Montreux Jazz Festival, in Switzerland.
As a musician, Mr. Galloway resided very much in the swing tradition. He was an accomplished player specializing in enduring, mainstream forms such as swing, bluesy New Orleans jazz and big band. His personal musical heroes included saxophonists Sidney Bechet and Leon “Chu” Berry and the clarinet player Pee Wee Russell. He also greatly admired Louis Armstrong and the big bands of Duke Ellington and Count Basie.
In the late 1970s, his affection for big band jazz led him to establish his own jazz orchestra, which he slyly named the Wee Big Band. As a player, Mr. Galloway mastered the clarinet and saxophone – he was best known for his signature playing of the curved soprano saxophone. Ross Porter, president and CEO of Toronto’s Jazz FM said of the curved soprano sax, “It looks kind of like a toy, but it was anything but in his hands.”
Occasionally, Mr. Galloway also displayed his fine vocal talent, as in his 2004 release Echoes of Swing. “Jim actually loved to sing,” Ms. Page Galloway recalled.
Jazz journalist Ted O’Reilly said his friend Mr. Galloway loved to perform live more than anything, “If there was no club to play in, he would start one.” In a Jazz FM radio documentary, Mr. Galloway said that his principal mission was to play live music and “leave people happier than when they arrived.”
Richard Underhill, a member of the Shuffle Demons, a jazz fusion band, said, “Jim understood that jazz wasn’t just an exclusive music where players turned their backs on people. He understood that it was also a face-the-audience music, a party music.”
In addition to performing frequently, Mr. Galloway became a ubiquitous and respected impresario. As a booking agent, he left his mark on clubs such as Café des Copains, Bourbon Street and The Montreal Bistro, applying his skills as a musician and as a well-connected, astute programmer. Most critically, in 1986 he became founding artistic director of du Maurier Downtown Jazz. Mr. Galloway used his international contacts to book some of the biggest names in jazz and often accompanied impromptu all-star bands at the event. In 2000, the festival premiered Dance to the Music of Time, a suite performed by the Wee Big Band and composed with his frequent collaborator Rosemary Galloway, a bassist to whom he was married from 1978 to 1994.
Toronto musician and online publisher Whitney Smith saw Mr. Galloway perform on several occasions and also attended a seminar he gave about various styles of saxophone playing. After the seminar, Mr. Smith recalled, he walked his instructor to his car and was impressed when he saw that Mr. Galloway drove a Mercedes. He noted that Mr. Galloway drew on his business acumen to thrive in the music scene.
“[Mr. Galloway] looked around and thought, ‘Okay, this and this can be done here.’ He sensed possibilities and he was very good at executing them,” Mr. Smith said.
Those skills served Mr. Galloway well not only at the jazz festival, but also in his links to jazz venues and as a journalist and broadcaster about jazz, he said. Mr. Galloway hosted Toronto radio shows and contributed regularly to music magazines, including the WholeNote, which received its final dispatch from Mr. Galloway a month before his death.
While his own playing was decidedly in the traditional vein, Mr. Galloway had very big ears. “Jim loved Sun Ra,” Mr. O’Reilly said. “You couldn’t imagine two jazz musicians farther apart, in some respects, but Jim knew that Sun Ra had started in traditional jazz and then his music progressed into outer space. Jim loved it all.”
Mr. Galloway’s wide-ranging tastes served him well as a programmer. Mr. Underhill, who was 25 years younger, was also struck by his open-mindedness. “He was prepared to program some of the adventurous stuff we were doing,” he said. Mr. Underhill, a fellow sax player, admired Mr. Galloway’s “lyrical, bluesy, effortless” style. The two once jammed at a Toronto club and also participated in an attempt to break the Shuffle Demons’ own world record of the most saxophones playing together at one time, with a 2009 Toronto Jazz Festival community rendition of O Canada.
In recent years, Mr. Galloway had been saddened by the diminishing number of live venues in Toronto, his wife noted. He also grew frustrated with what he regarded as a more commercial emphasis in programming at the TD Toronto Jazz Festival, and resigned in 2009.
By all accounts, Mr. Galloway was a warm, funny, terribly charismatic and considerate man. Mr. O’Reilly recounted that women always found him charming. One of the most charmed was Ms. Page Galloway, who met him in the mid-1990s, when her first husband, Toronto jazz supporter Ken Page, was still alive.
After Mr. Page’s death, she and Mr. Galloway began an 18-year romance. In 2013, they were married in Vienna with a reception at Jazzland, one of their favourite European jazz clubs. Mr. O’Reilly, the best man, recalled that Jazzland was beautifully decorated for the event, “with white table linen and, of course, Jim played,” accompanied by Viennese musicians.
Mr. Galloway, who was very cosmopolitan and spoke French fluently, always remained proud of his Scottish heritage. That extended to music. Mr. O’Reilly said that Mr. Galloway would refute the widely held notion that European music never swings, by extolling the work of drummers in Scottish pipe bands.
In 2002, the French government named him a chevalier of the Ordre des Arts et des Lettres.
Mr. Galloway leaves his wife, Anne Page Galloway, and his brother, Fred.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Musician James Galloway was a foundational figure in Canadian jazz – The Globe and Mail
http://www.jazzpromoservices.com/
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http://www.theglobeandmail.com/arts/music/musician-james-galloway-was-a-foundational-figure-in-canadian-jazz/article22692409/
** Musician James Galloway was a foundational figure in Canadian jazz
————————————————————
As a boy, Jim Galloway would lie in bed captivated as he listened to strains of jazz music on the radio. American Armed Forces Radio, BBC, the Voice of America, sounds from France and Belgium and other random signals would drift into his room in a small, coastal Scottish town near the North Atlantic in the middle of the night. He could pick up broadcasts from astonishing distances – even some from the United States.
Those faraway sounds heard in his youth eventually beckoned Mr. Galloway to cross the ocean and move to Canada, where he became a foundational figure in this country’s jazz scene. Not only did he go on to develop an international reputation as a performer, he also worked as a music journalist and distinguished himself as an impresario, becoming the founding director of du Maurier Downtown Jazz (now known as the TD Toronto Jazz Festival), and booking artists at the city’s top clubs.
Ever the Scotsman, Mr. Galloway savoured single-malt whisky, but he was not a heavy drinker. So although he died of cirrhosis at home in Toronto on Dec. 30 at the age of 78, his illness was attributed to other causes. “He did not abuse drink,” his widow, Anne Page Galloway, said. “He was not a tortured artist.”
James Braidie Galloway was born on July 28, 1936, in the town of Kilwinning, North Ayrshire, Scotland, about 35 kilometres south of Glasgow. At the time, Kilwinning had a population of less than 10,000.
In his teenage years, Mr. Galloway moved to Glasgow, where he studied at the prestigious Glasgow School of Art, famously designed by architect Charles Rennie Mackintosh. Mr. Galloway specialized in graphic design and worked in the field briefly, but ultimately chose to become a professional jazz musician instead. He wanted to be close to the jazz centres of New York and Chicago, but figured he would get along better in a more British city, so he immigrated to Toronto in 1964.
Mr. Galloway worked as a graphic artist and teacher while he waited for his all-important music union card and began playing in the local scene. In 1966, he joined the popular Metro Stompers, soon taking over as band leader. He also accompanied many visiting musicians, including the great Kansas City jazz pianist, vocalist and bandleader Jay McShann.
Mr. Galloway got his breakthrough as an international jazz man in the mid-1970s, when he performed for five weeks in Europe with American saxophonist and clarinetist Buddy Tate. The tour included a stop at the famous Montreux Jazz Festival, in Switzerland.
As a musician, Mr. Galloway resided very much in the swing tradition. He was an accomplished player specializing in enduring, mainstream forms such as swing, bluesy New Orleans jazz and big band. His personal musical heroes included saxophonists Sidney Bechet and Leon “Chu” Berry and the clarinet player Pee Wee Russell. He also greatly admired Louis Armstrong and the big bands of Duke Ellington and Count Basie.
In the late 1970s, his affection for big band jazz led him to establish his own jazz orchestra, which he slyly named the Wee Big Band. As a player, Mr. Galloway mastered the clarinet and saxophone – he was best known for his signature playing of the curved soprano saxophone. Ross Porter, president and CEO of Toronto’s Jazz FM said of the curved soprano sax, “It looks kind of like a toy, but it was anything but in his hands.”
Occasionally, Mr. Galloway also displayed his fine vocal talent, as in his 2004 release Echoes of Swing. “Jim actually loved to sing,” Ms. Page Galloway recalled.
Jazz journalist Ted O’Reilly said his friend Mr. Galloway loved to perform live more than anything, “If there was no club to play in, he would start one.” In a Jazz FM radio documentary, Mr. Galloway said that his principal mission was to play live music and “leave people happier than when they arrived.”
Richard Underhill, a member of the Shuffle Demons, a jazz fusion band, said, “Jim understood that jazz wasn’t just an exclusive music where players turned their backs on people. He understood that it was also a face-the-audience music, a party music.”
In addition to performing frequently, Mr. Galloway became a ubiquitous and respected impresario. As a booking agent, he left his mark on clubs such as Café des Copains, Bourbon Street and The Montreal Bistro, applying his skills as a musician and as a well-connected, astute programmer. Most critically, in 1986 he became founding artistic director of du Maurier Downtown Jazz. Mr. Galloway used his international contacts to book some of the biggest names in jazz and often accompanied impromptu all-star bands at the event. In 2000, the festival premiered Dance to the Music of Time, a suite performed by the Wee Big Band and composed with his frequent collaborator Rosemary Galloway, a bassist to whom he was married from 1978 to 1994.
Toronto musician and online publisher Whitney Smith saw Mr. Galloway perform on several occasions and also attended a seminar he gave about various styles of saxophone playing. After the seminar, Mr. Smith recalled, he walked his instructor to his car and was impressed when he saw that Mr. Galloway drove a Mercedes. He noted that Mr. Galloway drew on his business acumen to thrive in the music scene.
“[Mr. Galloway] looked around and thought, ‘Okay, this and this can be done here.’ He sensed possibilities and he was very good at executing them,” Mr. Smith said.
Those skills served Mr. Galloway well not only at the jazz festival, but also in his links to jazz venues and as a journalist and broadcaster about jazz, he said. Mr. Galloway hosted Toronto radio shows and contributed regularly to music magazines, including the WholeNote, which received its final dispatch from Mr. Galloway a month before his death.
While his own playing was decidedly in the traditional vein, Mr. Galloway had very big ears. “Jim loved Sun Ra,” Mr. O’Reilly said. “You couldn’t imagine two jazz musicians farther apart, in some respects, but Jim knew that Sun Ra had started in traditional jazz and then his music progressed into outer space. Jim loved it all.”
Mr. Galloway’s wide-ranging tastes served him well as a programmer. Mr. Underhill, who was 25 years younger, was also struck by his open-mindedness. “He was prepared to program some of the adventurous stuff we were doing,” he said. Mr. Underhill, a fellow sax player, admired Mr. Galloway’s “lyrical, bluesy, effortless” style. The two once jammed at a Toronto club and also participated in an attempt to break the Shuffle Demons’ own world record of the most saxophones playing together at one time, with a 2009 Toronto Jazz Festival community rendition of O Canada.
In recent years, Mr. Galloway had been saddened by the diminishing number of live venues in Toronto, his wife noted. He also grew frustrated with what he regarded as a more commercial emphasis in programming at the TD Toronto Jazz Festival, and resigned in 2009.
By all accounts, Mr. Galloway was a warm, funny, terribly charismatic and considerate man. Mr. O’Reilly recounted that women always found him charming. One of the most charmed was Ms. Page Galloway, who met him in the mid-1990s, when her first husband, Toronto jazz supporter Ken Page, was still alive.
After Mr. Page’s death, she and Mr. Galloway began an 18-year romance. In 2013, they were married in Vienna with a reception at Jazzland, one of their favourite European jazz clubs. Mr. O’Reilly, the best man, recalled that Jazzland was beautifully decorated for the event, “with white table linen and, of course, Jim played,” accompanied by Viennese musicians.
Mr. Galloway, who was very cosmopolitan and spoke French fluently, always remained proud of his Scottish heritage. That extended to music. Mr. O’Reilly said that Mr. Galloway would refute the widely held notion that European music never swings, by extolling the work of drummers in Scottish pipe bands.
In 2002, the French government named him a chevalier of the Ordre des Arts et des Lettres.
Mr. Galloway leaves his wife, Anne Page Galloway, and his brother, Fred.
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Musician James Galloway was a foundational figure in Canadian jazz – The Globe and Mail
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http://www.theglobeandmail.com/arts/music/musician-james-galloway-was-a-foundational-figure-in-canadian-jazz/article22692409/
** Musician James Galloway was a foundational figure in Canadian jazz
————————————————————
As a boy, Jim Galloway would lie in bed captivated as he listened to strains of jazz music on the radio. American Armed Forces Radio, BBC, the Voice of America, sounds from France and Belgium and other random signals would drift into his room in a small, coastal Scottish town near the North Atlantic in the middle of the night. He could pick up broadcasts from astonishing distances – even some from the United States.
Those faraway sounds heard in his youth eventually beckoned Mr. Galloway to cross the ocean and move to Canada, where he became a foundational figure in this country’s jazz scene. Not only did he go on to develop an international reputation as a performer, he also worked as a music journalist and distinguished himself as an impresario, becoming the founding director of du Maurier Downtown Jazz (now known as the TD Toronto Jazz Festival), and booking artists at the city’s top clubs.
Ever the Scotsman, Mr. Galloway savoured single-malt whisky, but he was not a heavy drinker. So although he died of cirrhosis at home in Toronto on Dec. 30 at the age of 78, his illness was attributed to other causes. “He did not abuse drink,” his widow, Anne Page Galloway, said. “He was not a tortured artist.”
James Braidie Galloway was born on July 28, 1936, in the town of Kilwinning, North Ayrshire, Scotland, about 35 kilometres south of Glasgow. At the time, Kilwinning had a population of less than 10,000.
In his teenage years, Mr. Galloway moved to Glasgow, where he studied at the prestigious Glasgow School of Art, famously designed by architect Charles Rennie Mackintosh. Mr. Galloway specialized in graphic design and worked in the field briefly, but ultimately chose to become a professional jazz musician instead. He wanted to be close to the jazz centres of New York and Chicago, but figured he would get along better in a more British city, so he immigrated to Toronto in 1964.
Mr. Galloway worked as a graphic artist and teacher while he waited for his all-important music union card and began playing in the local scene. In 1966, he joined the popular Metro Stompers, soon taking over as band leader. He also accompanied many visiting musicians, including the great Kansas City jazz pianist, vocalist and bandleader Jay McShann.
Mr. Galloway got his breakthrough as an international jazz man in the mid-1970s, when he performed for five weeks in Europe with American saxophonist and clarinetist Buddy Tate. The tour included a stop at the famous Montreux Jazz Festival, in Switzerland.
As a musician, Mr. Galloway resided very much in the swing tradition. He was an accomplished player specializing in enduring, mainstream forms such as swing, bluesy New Orleans jazz and big band. His personal musical heroes included saxophonists Sidney Bechet and Leon “Chu” Berry and the clarinet player Pee Wee Russell. He also greatly admired Louis Armstrong and the big bands of Duke Ellington and Count Basie.
In the late 1970s, his affection for big band jazz led him to establish his own jazz orchestra, which he slyly named the Wee Big Band. As a player, Mr. Galloway mastered the clarinet and saxophone – he was best known for his signature playing of the curved soprano saxophone. Ross Porter, president and CEO of Toronto’s Jazz FM said of the curved soprano sax, “It looks kind of like a toy, but it was anything but in his hands.”
Occasionally, Mr. Galloway also displayed his fine vocal talent, as in his 2004 release Echoes of Swing. “Jim actually loved to sing,” Ms. Page Galloway recalled.
Jazz journalist Ted O’Reilly said his friend Mr. Galloway loved to perform live more than anything, “If there was no club to play in, he would start one.” In a Jazz FM radio documentary, Mr. Galloway said that his principal mission was to play live music and “leave people happier than when they arrived.”
Richard Underhill, a member of the Shuffle Demons, a jazz fusion band, said, “Jim understood that jazz wasn’t just an exclusive music where players turned their backs on people. He understood that it was also a face-the-audience music, a party music.”
In addition to performing frequently, Mr. Galloway became a ubiquitous and respected impresario. As a booking agent, he left his mark on clubs such as Café des Copains, Bourbon Street and The Montreal Bistro, applying his skills as a musician and as a well-connected, astute programmer. Most critically, in 1986 he became founding artistic director of du Maurier Downtown Jazz. Mr. Galloway used his international contacts to book some of the biggest names in jazz and often accompanied impromptu all-star bands at the event. In 2000, the festival premiered Dance to the Music of Time, a suite performed by the Wee Big Band and composed with his frequent collaborator Rosemary Galloway, a bassist to whom he was married from 1978 to 1994.
Toronto musician and online publisher Whitney Smith saw Mr. Galloway perform on several occasions and also attended a seminar he gave about various styles of saxophone playing. After the seminar, Mr. Smith recalled, he walked his instructor to his car and was impressed when he saw that Mr. Galloway drove a Mercedes. He noted that Mr. Galloway drew on his business acumen to thrive in the music scene.
“[Mr. Galloway] looked around and thought, ‘Okay, this and this can be done here.’ He sensed possibilities and he was very good at executing them,” Mr. Smith said.
Those skills served Mr. Galloway well not only at the jazz festival, but also in his links to jazz venues and as a journalist and broadcaster about jazz, he said. Mr. Galloway hosted Toronto radio shows and contributed regularly to music magazines, including the WholeNote, which received its final dispatch from Mr. Galloway a month before his death.
While his own playing was decidedly in the traditional vein, Mr. Galloway had very big ears. “Jim loved Sun Ra,” Mr. O’Reilly said. “You couldn’t imagine two jazz musicians farther apart, in some respects, but Jim knew that Sun Ra had started in traditional jazz and then his music progressed into outer space. Jim loved it all.”
Mr. Galloway’s wide-ranging tastes served him well as a programmer. Mr. Underhill, who was 25 years younger, was also struck by his open-mindedness. “He was prepared to program some of the adventurous stuff we were doing,” he said. Mr. Underhill, a fellow sax player, admired Mr. Galloway’s “lyrical, bluesy, effortless” style. The two once jammed at a Toronto club and also participated in an attempt to break the Shuffle Demons’ own world record of the most saxophones playing together at one time, with a 2009 Toronto Jazz Festival community rendition of O Canada.
In recent years, Mr. Galloway had been saddened by the diminishing number of live venues in Toronto, his wife noted. He also grew frustrated with what he regarded as a more commercial emphasis in programming at the TD Toronto Jazz Festival, and resigned in 2009.
By all accounts, Mr. Galloway was a warm, funny, terribly charismatic and considerate man. Mr. O’Reilly recounted that women always found him charming. One of the most charmed was Ms. Page Galloway, who met him in the mid-1990s, when her first husband, Toronto jazz supporter Ken Page, was still alive.
After Mr. Page’s death, she and Mr. Galloway began an 18-year romance. In 2013, they were married in Vienna with a reception at Jazzland, one of their favourite European jazz clubs. Mr. O’Reilly, the best man, recalled that Jazzland was beautifully decorated for the event, “with white table linen and, of course, Jim played,” accompanied by Viennese musicians.
Mr. Galloway, who was very cosmopolitan and spoke French fluently, always remained proud of his Scottish heritage. That extended to music. Mr. O’Reilly said that Mr. Galloway would refute the widely held notion that European music never swings, by extolling the work of drummers in Scottish pipe bands.
In 2002, the French government named him a chevalier of the Ordre des Arts et des Lettres.
Mr. Galloway leaves his wife, Anne Page Galloway, and his brother, Fred.
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Copyright (C) 2015 All rights reserved.
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Interview: Ben Yagoda, Author Of ‘The B Side’ : NPR
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.npr.org/2015/01/23/379086600/when-pop-broke-up-with-jazz
** When Pop Broke Up With Jazz
————————————————————
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
William “PoPsie” Randolph/Courtesy of Riverhead
Writer Ben Yagoda has set out to explain a shift in American popular culture, one that happened in the early 1950s. Before then, songwriters like Irving Berlin (http://www.npr.org/artists/15744000/irving-berlin) , George (http://www.npr.org/artists/15597620/george-gershwin) and Ira Gershwin (http://www.npr.org/artists/15597623/ira-gershwin) and Jerome Kern wrote popular songs that achieved a notable artistry, both in lyrics and music. That body of work, at least the best of it, came to be known as the American Songbook.
safari-reader://www.npr.org/books/titles/377285698/the-b-side-the-death-of-tin-pan-alley-and-the-rebirth-of-the-great-american-song
By the early 1950s the popular hit song had evolved into a work of less artistic ambition. Novelty and simplicity ruled — and sold. What happened? That’s the question that Ben Yagoda addresses in his new book, The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song. He spoke about it with NPR’s Robert Siegel.
Robert Siegel: The way you tell it, the kind of song that gifted songwriters might write, or try to write, wasn’t what the big record companies wanted in the early ’50s. Why?
Ben Yagoda: There was a change in popular taste. The soldiers who had come back from World War II didn’t seem to be as interested in the more complex, challenging kind of popular song, the more jazz-based song. Sentimental ballads and, yes, novelty numbers, suddenly was much more appealing.
You cite an interview that Patti Page, the singer, gave toMetronome in 1948. She said, “You’ve got to please the people who get up at 8 o’clock in the morning” — which I guess at the time seemed a measure of getting up early. What you’re describing, in part, is the separation of jazz music from popular music in America.
Absolutely. And for that period that you were talking about, the Great American Songbook period, there was this amazing unity of great jazz and popular songwriting. The songwriters — Berlin, Porter (http://www.npr.org/artists/103165585/cole-porter) , Gershwin — understood jazz. And the great improvisers — Lester Young, Benny Carter and so forth — understood those songs and did great improvisations with them. That broke down after the war.
There’s someone whom you write about a great deal in the book, who was the most important decision-maker at Columbia Records about which songs would be made into records. His name was Mitch Miller, and 10 years later, he was known by everyone in America because he had a TV show with a male chorus called Sing Along with Mitch.
Mitch Miller, if you’re under 50, means nothing. If you’re between 50 and 60 or 65 or so, it’s this smiling figure with a goatee, leading singalongs on television. But if you’ve studied or are aware of music history, his importance was far more than that. He was, simply put, the most powerful man in American popular music throughout the 1950s.
There’s a great scene that you describe of how the songwriters would line up outside Miller’s office to try to pitch a song to him.
Ben Yagoda teaches journalism at the University of Delaware. i
Ben Yagoda teaches journalism at the University of Delaware.
Maria Yagoda/Courtesy of Riverhead
Every Tuesday he would have open doors, and the song pluggers — and sometimes the composers themselves — would line up. And he had great ears — he would say, “There’s already been a novelty number about cattle, so we can’t do that this week.” He had his finger on the ear of American listeners, for good or ill, in that period.
Something interesting about Mitch Miller: I don’t think that his face ever appeared on television in my household without my father remarking, “You know, he’s a great classical oboist.” Yet he seemed to prefer the cheap, overdubbed, childish novelty song to something more sophisticated.
Well, yes and no. People like Frank Sinatra (http://www.npr.org/artists/15396980/frank-sinatra) and Tony Bennett (http://www.npr.org/artists/15200004/tony-bennett) have subsequently cast him as the villain, in much the same terms that you just used. And I think it’s definitely true that he did not see popular music as an art form, but a commercial entity; I think, to him, classical music was the only kind of artistic music.
But, that said, he really invented the modern role of “record producer.” All Tony Bennett’s hits of the ’50s, and “Come On-a My House” by Rosemary Clooney (http://www.npr.org/artists/97743054/rosemary-clooney) , he produced in every sense of the word — with sound effects and overdubbing and really, in its production if not the music, quite sophisticated effects.
The subtitle of your book is The Death of Tin Pan Alley and the Rebirth of the Great American Song. Talk about rebirth a bit: Yes, the popular song is in decline by the early ’50s, but it’s hardly the end of the story.
** Related NPR Stories
————————————————————
Not at all — in fact, in my view there’s two rebirths of the Great American Song. One is in that period of the mid-to-late ’50s and into the early ’60s. Of course, 1955 was kind of ground zero of rock ‘n’ roll — Elvis (http://www.npr.org/artists/15624007/elvis-presley) came, “Rock Around the Clock,” followed by Chuck Berry (http://www.npr.org/artists/15131582/chuck-berry) , Little Richard, etc. — and all of a sudden that attracted a great amount of attention, especially from younger listeners. But in the sort of shadow of that, this notion of the Great American Songbook emerged. Frank Sinatra, Mabel Mercer, Tony Bennett, Mel Tormé (http://www.npr.org/artists/15402223/mel-torme) — great interpreters started really concentrating on that earlier work, the 1925-to-1945 period, and that continues to this day.
The other rebirth is before The Beatles (http://www.npr.org/artists/15229570/the-beatles) . That early ’60s period turns out to be a sort of ground zero for another kind of great song. So you have Brian Wilson (http://www.npr.org/artists/14999155/brian-wilson) in California writing “Caroline, No,” Willie Nelson (http://www.npr.org/artists/15396875/willie-nelson) in Nashville with “Crazy,” all those great writers in Detroit. And these songs were not so much jazz-based as the early ones were — they came out of R&B, folk and country. But they have turned out to be just as memorable and just as long-standing.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7b1ac6208) | 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=e7b1ac6208&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
Interview: Ben Yagoda, Author Of ‘The B Side’ : NPR
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.npr.org/2015/01/23/379086600/when-pop-broke-up-with-jazz
** When Pop Broke Up With Jazz
————————————————————
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
William “PoPsie” Randolph/Courtesy of Riverhead
Writer Ben Yagoda has set out to explain a shift in American popular culture, one that happened in the early 1950s. Before then, songwriters like Irving Berlin (http://www.npr.org/artists/15744000/irving-berlin) , George (http://www.npr.org/artists/15597620/george-gershwin) and Ira Gershwin (http://www.npr.org/artists/15597623/ira-gershwin) and Jerome Kern wrote popular songs that achieved a notable artistry, both in lyrics and music. That body of work, at least the best of it, came to be known as the American Songbook.
safari-reader://www.npr.org/books/titles/377285698/the-b-side-the-death-of-tin-pan-alley-and-the-rebirth-of-the-great-american-song
By the early 1950s the popular hit song had evolved into a work of less artistic ambition. Novelty and simplicity ruled — and sold. What happened? That’s the question that Ben Yagoda addresses in his new book, The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song. He spoke about it with NPR’s Robert Siegel.
Robert Siegel: The way you tell it, the kind of song that gifted songwriters might write, or try to write, wasn’t what the big record companies wanted in the early ’50s. Why?
Ben Yagoda: There was a change in popular taste. The soldiers who had come back from World War II didn’t seem to be as interested in the more complex, challenging kind of popular song, the more jazz-based song. Sentimental ballads and, yes, novelty numbers, suddenly was much more appealing.
You cite an interview that Patti Page, the singer, gave toMetronome in 1948. She said, “You’ve got to please the people who get up at 8 o’clock in the morning” — which I guess at the time seemed a measure of getting up early. What you’re describing, in part, is the separation of jazz music from popular music in America.
Absolutely. And for that period that you were talking about, the Great American Songbook period, there was this amazing unity of great jazz and popular songwriting. The songwriters — Berlin, Porter (http://www.npr.org/artists/103165585/cole-porter) , Gershwin — understood jazz. And the great improvisers — Lester Young, Benny Carter and so forth — understood those songs and did great improvisations with them. That broke down after the war.
There’s someone whom you write about a great deal in the book, who was the most important decision-maker at Columbia Records about which songs would be made into records. His name was Mitch Miller, and 10 years later, he was known by everyone in America because he had a TV show with a male chorus called Sing Along with Mitch.
Mitch Miller, if you’re under 50, means nothing. If you’re between 50 and 60 or 65 or so, it’s this smiling figure with a goatee, leading singalongs on television. But if you’ve studied or are aware of music history, his importance was far more than that. He was, simply put, the most powerful man in American popular music throughout the 1950s.
There’s a great scene that you describe of how the songwriters would line up outside Miller’s office to try to pitch a song to him.
Ben Yagoda teaches journalism at the University of Delaware. i
Ben Yagoda teaches journalism at the University of Delaware.
Maria Yagoda/Courtesy of Riverhead
Every Tuesday he would have open doors, and the song pluggers — and sometimes the composers themselves — would line up. And he had great ears — he would say, “There’s already been a novelty number about cattle, so we can’t do that this week.” He had his finger on the ear of American listeners, for good or ill, in that period.
Something interesting about Mitch Miller: I don’t think that his face ever appeared on television in my household without my father remarking, “You know, he’s a great classical oboist.” Yet he seemed to prefer the cheap, overdubbed, childish novelty song to something more sophisticated.
Well, yes and no. People like Frank Sinatra (http://www.npr.org/artists/15396980/frank-sinatra) and Tony Bennett (http://www.npr.org/artists/15200004/tony-bennett) have subsequently cast him as the villain, in much the same terms that you just used. And I think it’s definitely true that he did not see popular music as an art form, but a commercial entity; I think, to him, classical music was the only kind of artistic music.
But, that said, he really invented the modern role of “record producer.” All Tony Bennett’s hits of the ’50s, and “Come On-a My House” by Rosemary Clooney (http://www.npr.org/artists/97743054/rosemary-clooney) , he produced in every sense of the word — with sound effects and overdubbing and really, in its production if not the music, quite sophisticated effects.
The subtitle of your book is The Death of Tin Pan Alley and the Rebirth of the Great American Song. Talk about rebirth a bit: Yes, the popular song is in decline by the early ’50s, but it’s hardly the end of the story.
** Related NPR Stories
————————————————————
Not at all — in fact, in my view there’s two rebirths of the Great American Song. One is in that period of the mid-to-late ’50s and into the early ’60s. Of course, 1955 was kind of ground zero of rock ‘n’ roll — Elvis (http://www.npr.org/artists/15624007/elvis-presley) came, “Rock Around the Clock,” followed by Chuck Berry (http://www.npr.org/artists/15131582/chuck-berry) , Little Richard, etc. — and all of a sudden that attracted a great amount of attention, especially from younger listeners. But in the sort of shadow of that, this notion of the Great American Songbook emerged. Frank Sinatra, Mabel Mercer, Tony Bennett, Mel Tormé (http://www.npr.org/artists/15402223/mel-torme) — great interpreters started really concentrating on that earlier work, the 1925-to-1945 period, and that continues to this day.
The other rebirth is before The Beatles (http://www.npr.org/artists/15229570/the-beatles) . That early ’60s period turns out to be a sort of ground zero for another kind of great song. So you have Brian Wilson (http://www.npr.org/artists/14999155/brian-wilson) in California writing “Caroline, No,” Willie Nelson (http://www.npr.org/artists/15396875/willie-nelson) in Nashville with “Crazy,” all those great writers in Detroit. And these songs were not so much jazz-based as the early ones were — they came out of R&B, folk and country. But they have turned out to be just as memorable and just as long-standing.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7b1ac6208) | 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=e7b1ac6208&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
Interview: Ben Yagoda, Author Of ‘The B Side’ : NPR
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.npr.org/2015/01/23/379086600/when-pop-broke-up-with-jazz
** When Pop Broke Up With Jazz
————————————————————
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
William “PoPsie” Randolph/Courtesy of Riverhead
Writer Ben Yagoda has set out to explain a shift in American popular culture, one that happened in the early 1950s. Before then, songwriters like Irving Berlin (http://www.npr.org/artists/15744000/irving-berlin) , George (http://www.npr.org/artists/15597620/george-gershwin) and Ira Gershwin (http://www.npr.org/artists/15597623/ira-gershwin) and Jerome Kern wrote popular songs that achieved a notable artistry, both in lyrics and music. That body of work, at least the best of it, came to be known as the American Songbook.
safari-reader://www.npr.org/books/titles/377285698/the-b-side-the-death-of-tin-pan-alley-and-the-rebirth-of-the-great-american-song
By the early 1950s the popular hit song had evolved into a work of less artistic ambition. Novelty and simplicity ruled — and sold. What happened? That’s the question that Ben Yagoda addresses in his new book, The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song. He spoke about it with NPR’s Robert Siegel.
Robert Siegel: The way you tell it, the kind of song that gifted songwriters might write, or try to write, wasn’t what the big record companies wanted in the early ’50s. Why?
Ben Yagoda: There was a change in popular taste. The soldiers who had come back from World War II didn’t seem to be as interested in the more complex, challenging kind of popular song, the more jazz-based song. Sentimental ballads and, yes, novelty numbers, suddenly was much more appealing.
You cite an interview that Patti Page, the singer, gave toMetronome in 1948. She said, “You’ve got to please the people who get up at 8 o’clock in the morning” — which I guess at the time seemed a measure of getting up early. What you’re describing, in part, is the separation of jazz music from popular music in America.
Absolutely. And for that period that you were talking about, the Great American Songbook period, there was this amazing unity of great jazz and popular songwriting. The songwriters — Berlin, Porter (http://www.npr.org/artists/103165585/cole-porter) , Gershwin — understood jazz. And the great improvisers — Lester Young, Benny Carter and so forth — understood those songs and did great improvisations with them. That broke down after the war.
There’s someone whom you write about a great deal in the book, who was the most important decision-maker at Columbia Records about which songs would be made into records. His name was Mitch Miller, and 10 years later, he was known by everyone in America because he had a TV show with a male chorus called Sing Along with Mitch.
Mitch Miller, if you’re under 50, means nothing. If you’re between 50 and 60 or 65 or so, it’s this smiling figure with a goatee, leading singalongs on television. But if you’ve studied or are aware of music history, his importance was far more than that. He was, simply put, the most powerful man in American popular music throughout the 1950s.
There’s a great scene that you describe of how the songwriters would line up outside Miller’s office to try to pitch a song to him.
Ben Yagoda teaches journalism at the University of Delaware. i
Ben Yagoda teaches journalism at the University of Delaware.
Maria Yagoda/Courtesy of Riverhead
Every Tuesday he would have open doors, and the song pluggers — and sometimes the composers themselves — would line up. And he had great ears — he would say, “There’s already been a novelty number about cattle, so we can’t do that this week.” He had his finger on the ear of American listeners, for good or ill, in that period.
Something interesting about Mitch Miller: I don’t think that his face ever appeared on television in my household without my father remarking, “You know, he’s a great classical oboist.” Yet he seemed to prefer the cheap, overdubbed, childish novelty song to something more sophisticated.
Well, yes and no. People like Frank Sinatra (http://www.npr.org/artists/15396980/frank-sinatra) and Tony Bennett (http://www.npr.org/artists/15200004/tony-bennett) have subsequently cast him as the villain, in much the same terms that you just used. And I think it’s definitely true that he did not see popular music as an art form, but a commercial entity; I think, to him, classical music was the only kind of artistic music.
But, that said, he really invented the modern role of “record producer.” All Tony Bennett’s hits of the ’50s, and “Come On-a My House” by Rosemary Clooney (http://www.npr.org/artists/97743054/rosemary-clooney) , he produced in every sense of the word — with sound effects and overdubbing and really, in its production if not the music, quite sophisticated effects.
The subtitle of your book is The Death of Tin Pan Alley and the Rebirth of the Great American Song. Talk about rebirth a bit: Yes, the popular song is in decline by the early ’50s, but it’s hardly the end of the story.
** Related NPR Stories
————————————————————
Not at all — in fact, in my view there’s two rebirths of the Great American Song. One is in that period of the mid-to-late ’50s and into the early ’60s. Of course, 1955 was kind of ground zero of rock ‘n’ roll — Elvis (http://www.npr.org/artists/15624007/elvis-presley) came, “Rock Around the Clock,” followed by Chuck Berry (http://www.npr.org/artists/15131582/chuck-berry) , Little Richard, etc. — and all of a sudden that attracted a great amount of attention, especially from younger listeners. But in the sort of shadow of that, this notion of the Great American Songbook emerged. Frank Sinatra, Mabel Mercer, Tony Bennett, Mel Tormé (http://www.npr.org/artists/15402223/mel-torme) — great interpreters started really concentrating on that earlier work, the 1925-to-1945 period, and that continues to this day.
The other rebirth is before The Beatles (http://www.npr.org/artists/15229570/the-beatles) . That early ’60s period turns out to be a sort of ground zero for another kind of great song. So you have Brian Wilson (http://www.npr.org/artists/14999155/brian-wilson) in California writing “Caroline, No,” Willie Nelson (http://www.npr.org/artists/15396875/willie-nelson) in Nashville with “Crazy,” all those great writers in Detroit. And these songs were not so much jazz-based as the early ones were — they came out of R&B, folk and country. But they have turned out to be just as memorable and just as long-standing.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7b1ac6208) | 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=e7b1ac6208&e=[UNIQID])
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Interview: Ben Yagoda, Author Of ‘The B Side’ : NPR
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http://www.npr.org/2015/01/23/379086600/when-pop-broke-up-with-jazz
** When Pop Broke Up With Jazz
————————————————————
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
Frank Sinatra captured by photographer William “PoPsie” Randolph during a 1943 concert. Author Ben Yagoda points to Sinatra as one of the interpreters who helped revive the Great American Songbook.
William “PoPsie” Randolph/Courtesy of Riverhead
Writer Ben Yagoda has set out to explain a shift in American popular culture, one that happened in the early 1950s. Before then, songwriters like Irving Berlin (http://www.npr.org/artists/15744000/irving-berlin) , George (http://www.npr.org/artists/15597620/george-gershwin) and Ira Gershwin (http://www.npr.org/artists/15597623/ira-gershwin) and Jerome Kern wrote popular songs that achieved a notable artistry, both in lyrics and music. That body of work, at least the best of it, came to be known as the American Songbook.
safari-reader://www.npr.org/books/titles/377285698/the-b-side-the-death-of-tin-pan-alley-and-the-rebirth-of-the-great-american-song
By the early 1950s the popular hit song had evolved into a work of less artistic ambition. Novelty and simplicity ruled — and sold. What happened? That’s the question that Ben Yagoda addresses in his new book, The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song. He spoke about it with NPR’s Robert Siegel.
Robert Siegel: The way you tell it, the kind of song that gifted songwriters might write, or try to write, wasn’t what the big record companies wanted in the early ’50s. Why?
Ben Yagoda: There was a change in popular taste. The soldiers who had come back from World War II didn’t seem to be as interested in the more complex, challenging kind of popular song, the more jazz-based song. Sentimental ballads and, yes, novelty numbers, suddenly was much more appealing.
You cite an interview that Patti Page, the singer, gave toMetronome in 1948. She said, “You’ve got to please the people who get up at 8 o’clock in the morning” — which I guess at the time seemed a measure of getting up early. What you’re describing, in part, is the separation of jazz music from popular music in America.
Absolutely. And for that period that you were talking about, the Great American Songbook period, there was this amazing unity of great jazz and popular songwriting. The songwriters — Berlin, Porter (http://www.npr.org/artists/103165585/cole-porter) , Gershwin — understood jazz. And the great improvisers — Lester Young, Benny Carter and so forth — understood those songs and did great improvisations with them. That broke down after the war.
There’s someone whom you write about a great deal in the book, who was the most important decision-maker at Columbia Records about which songs would be made into records. His name was Mitch Miller, and 10 years later, he was known by everyone in America because he had a TV show with a male chorus called Sing Along with Mitch.
Mitch Miller, if you’re under 50, means nothing. If you’re between 50 and 60 or 65 or so, it’s this smiling figure with a goatee, leading singalongs on television. But if you’ve studied or are aware of music history, his importance was far more than that. He was, simply put, the most powerful man in American popular music throughout the 1950s.
There’s a great scene that you describe of how the songwriters would line up outside Miller’s office to try to pitch a song to him.
Ben Yagoda teaches journalism at the University of Delaware. i
Ben Yagoda teaches journalism at the University of Delaware.
Maria Yagoda/Courtesy of Riverhead
Every Tuesday he would have open doors, and the song pluggers — and sometimes the composers themselves — would line up. And he had great ears — he would say, “There’s already been a novelty number about cattle, so we can’t do that this week.” He had his finger on the ear of American listeners, for good or ill, in that period.
Something interesting about Mitch Miller: I don’t think that his face ever appeared on television in my household without my father remarking, “You know, he’s a great classical oboist.” Yet he seemed to prefer the cheap, overdubbed, childish novelty song to something more sophisticated.
Well, yes and no. People like Frank Sinatra (http://www.npr.org/artists/15396980/frank-sinatra) and Tony Bennett (http://www.npr.org/artists/15200004/tony-bennett) have subsequently cast him as the villain, in much the same terms that you just used. And I think it’s definitely true that he did not see popular music as an art form, but a commercial entity; I think, to him, classical music was the only kind of artistic music.
But, that said, he really invented the modern role of “record producer.” All Tony Bennett’s hits of the ’50s, and “Come On-a My House” by Rosemary Clooney (http://www.npr.org/artists/97743054/rosemary-clooney) , he produced in every sense of the word — with sound effects and overdubbing and really, in its production if not the music, quite sophisticated effects.
The subtitle of your book is The Death of Tin Pan Alley and the Rebirth of the Great American Song. Talk about rebirth a bit: Yes, the popular song is in decline by the early ’50s, but it’s hardly the end of the story.
** Related NPR Stories
————————————————————
Not at all — in fact, in my view there’s two rebirths of the Great American Song. One is in that period of the mid-to-late ’50s and into the early ’60s. Of course, 1955 was kind of ground zero of rock ‘n’ roll — Elvis (http://www.npr.org/artists/15624007/elvis-presley) came, “Rock Around the Clock,” followed by Chuck Berry (http://www.npr.org/artists/15131582/chuck-berry) , Little Richard, etc. — and all of a sudden that attracted a great amount of attention, especially from younger listeners. But in the sort of shadow of that, this notion of the Great American Songbook emerged. Frank Sinatra, Mabel Mercer, Tony Bennett, Mel Tormé (http://www.npr.org/artists/15402223/mel-torme) — great interpreters started really concentrating on that earlier work, the 1925-to-1945 period, and that continues to this day.
The other rebirth is before The Beatles (http://www.npr.org/artists/15229570/the-beatles) . That early ’60s period turns out to be a sort of ground zero for another kind of great song. So you have Brian Wilson (http://www.npr.org/artists/14999155/brian-wilson) in California writing “Caroline, No,” Willie Nelson (http://www.npr.org/artists/15396875/willie-nelson) in Nashville with “Crazy,” all those great writers in Detroit. And these songs were not so much jazz-based as the early ones were — they came out of R&B, folk and country. But they have turned out to be just as memorable and just as long-standing.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7b1ac6208) | 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=e7b1ac6208&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
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At 85, a D.C. jazzman is still boppin’ – The Washington Post
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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/lifestyle/style/at-85-a-dc-jazzman-is-still-boppin/2015/01/21/9f1d17c0-9f86-11e4-903f-9f2faf7cd9fe_story.html
** At 85, a D.C. jazzman is still boppin’
————————————————————
Blue notes may no longer pour out of the clubs onto U Street, but on Sunday nights, you can find them spilling, inexplicably, from an old Irish inn (http://www.irishinnglenecho.com/) steps from the C&O Canal.
This is where, on a recent misty evening, Ted Efantis has come to blow.
Efantis, a tenor saxophonist, is one of Washington’s well-known living jazzmen, mostly because he has been a fixture in its clubs and at its jam sessions for the better part of 70 years. With his penchant for suit jackets and his still impossibly thick mane of ash-white hair (slicked back just enough to reveal the hearing aids he wears), Efantis is a walking throwback to another Washington era — the heyday of jazz.
“Ted’s part of a generation of musicians that really made Washington a jazz center for the generation coming up in the ’40s and ’50s,” says Rusty Hassan, who has hosted jazz radio programs in Washington since the 1960s. “They come out of a real rich tradition.”
This is why, on this night, drummer Brooks Tegler, another local stalwart who has held this regular gig at the Irish Inn for years, will make room for Efantis’s drop-in appearance and oblige the snaking, joyful noise that for a half-hour will rise above every note and shuffling drumbeat that his trio will muster.
A poster announcing an appearance by Efantis at the old Brickskeller in Washington. By 16, Efantis was playing with jazz groups all around town. (Courtesy of Ted Efantis)
What Efantis lacks in size — he’s lost an inch of his already compact 5-foot-6-inch frame over the years, he will confess — he seems to supplement with personality. At 85, with horn in hand, Efantis is young again. An unabashed flirt. A hepcat.
This is Ted’s charm, says Scott Bullock, a jazz fan who has become one of Efantis’s closest friends and champions. “He’s one of these guys, when he comes into a place, you know the place is going to start swinging.”
Efantis is not one of Washington’s most legendary players (that title goes to the likes of Duke Ellington and singer Shirley Horn). Nor is he the most enduring: There’s a bug that seems to bite plenty of jazzmen that won’t let them resign themselves to day jobs and coaching Little League games.
Rather, Efantis and others like him are the embodiment of a truth: that jazz never stopped kicking in this town, that its memory is still boppin’ around in the heads of a handful of elder statesmen.
That’s reason enough to celebrate him, explains Bullock, who on Thursday night will belatedly mark Efantis’s 85th birthday — it was on Christmas Eve — with a come-as-you-are jam session at Bohemian Caverns (http://www.bohemiancaverns.com/) on U Street NW. It’s the same club where, more than 60 years ago, in 1951, Efantis observed his 21st birthday the way only a jazz musician would: with a gig. (His parents and sister managed to crash the show, however, for birthday cake and photos.)
In the years since, Efantis, a native Washingtonian, has seen jazz and the city transform around him.
Efantis caught the jazz bug at 15, when he received his first saxophone; by 16, he says, he was playing in jazz groups, trading know-how with young hipsters from rival high schools. His first gig at Bohemian Caverns, also known for a time as Crystal Caverns, was in 1951, by which point the young man with the dark hair and Greek features had his own dapper quintet.
Efantis, center, and members of his Ted Efantis Quintet at the Bohemian Caverns in 1951. (Courtesy of Ted Efantis)
Back then, he recalls, jazz players learned by listening to the masters. “If you wanted to learn jazz, you [had to] have some heroes,” he recalls. “And then you find out where you’re coming from, what your sound wants to be. ”
He wanted to be a star, and by the mid-1950s, he’d left Washington to pursue his dream. He went to Los Angeles for a time with a singer girlfriend, Jane Fielding, a beauty with whom he would record the album “Embers Glow.” (http://www.amazon.com/gp/product/B0098XEEFW?ie=UTF8&camp=1789&creativeASIN=B0098XEEFW&linkCode=xm2&tag=thewaspos09-20) Fielding, he says, asked for an engagement ring. He bought her a hi-fi stereo. And that was that.
“I always felt that what I needed was a good jazz singer who was a Catholic,” Efantis says with a laugh. “Well, I met one, but we weren’t in love.”
It was when he went on a trip to his father’s native Greece some years later that he met Angela, a Greek girl who wasn’t much into music. Nevertheless, a month before he was due to leave, he married her.
This is where his story begins to differ from those of so many jazz musicians who spent their lives on the road. When he returned with his wife, they set about having a family; they had their first child in 1961, and then had four more.
Meanwhile, jazz had been replaced on the airwaves by a hip-shaking, sneering pretty boy from Tennessee and then a mop-top foursome from Liverpool. At weddings, where a quartet might find an honest day’s work, setting the mood became a DJ’s duty. “Oh boy, jazz took a back seat,” Efantis recalls. For the first time, he says, “There was not enough work to depend on the music. I was a musician and singer, and suddenly I didn’t have a gig.”
So he sold aluminum siding door-to-door. He was a manager at a hardware store. Then, with his brood still growing, he applied for a job selling advertising for The Washington Post. He got it and stayed for two decades, the excellent retirement plan — he retired in 1987 — being the biggest selling point for the family-minded musician.
The story of the slow death of D.C. jazz has been told and retold, usually as some combination of cautionary tale and call to arms. But players within the local jazz scene will tell you: Rumors of its demise have been greatly exaggerated.
At the Irish Inn, that message blares as plainly as Efantis’s sax.
Even as the clubs and the gigs have dried up around him, Efantis — and scores of others — will still find a place to blow. “I’ve been a professional musician since I was 16 years old,” he says. “I never intended to stop playing, and I don’t intend now.”
When his time is up, he mops his brow and flits off to greet friends who have come out to see him. He enjoys this limelight, enough, perhaps, to get in a little more tonight.
“I’m thinking of swinging over to Columbia Station (http://www.columbiastationdc.com/) ,” he says, referring to the Adams Morgan tavern where he’s known to turn up late at night to play a few songs with his pals.
And why not? The night is still young.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6beabea585) | 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=6beabea585&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
At 85, a D.C. jazzman is still boppin’ – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/lifestyle/style/at-85-a-dc-jazzman-is-still-boppin/2015/01/21/9f1d17c0-9f86-11e4-903f-9f2faf7cd9fe_story.html
** At 85, a D.C. jazzman is still boppin’
————————————————————
Blue notes may no longer pour out of the clubs onto U Street, but on Sunday nights, you can find them spilling, inexplicably, from an old Irish inn (http://www.irishinnglenecho.com/) steps from the C&O Canal.
This is where, on a recent misty evening, Ted Efantis has come to blow.
Efantis, a tenor saxophonist, is one of Washington’s well-known living jazzmen, mostly because he has been a fixture in its clubs and at its jam sessions for the better part of 70 years. With his penchant for suit jackets and his still impossibly thick mane of ash-white hair (slicked back just enough to reveal the hearing aids he wears), Efantis is a walking throwback to another Washington era — the heyday of jazz.
“Ted’s part of a generation of musicians that really made Washington a jazz center for the generation coming up in the ’40s and ’50s,” says Rusty Hassan, who has hosted jazz radio programs in Washington since the 1960s. “They come out of a real rich tradition.”
This is why, on this night, drummer Brooks Tegler, another local stalwart who has held this regular gig at the Irish Inn for years, will make room for Efantis’s drop-in appearance and oblige the snaking, joyful noise that for a half-hour will rise above every note and shuffling drumbeat that his trio will muster.
A poster announcing an appearance by Efantis at the old Brickskeller in Washington. By 16, Efantis was playing with jazz groups all around town. (Courtesy of Ted Efantis)
What Efantis lacks in size — he’s lost an inch of his already compact 5-foot-6-inch frame over the years, he will confess — he seems to supplement with personality. At 85, with horn in hand, Efantis is young again. An unabashed flirt. A hepcat.
This is Ted’s charm, says Scott Bullock, a jazz fan who has become one of Efantis’s closest friends and champions. “He’s one of these guys, when he comes into a place, you know the place is going to start swinging.”
Efantis is not one of Washington’s most legendary players (that title goes to the likes of Duke Ellington and singer Shirley Horn). Nor is he the most enduring: There’s a bug that seems to bite plenty of jazzmen that won’t let them resign themselves to day jobs and coaching Little League games.
Rather, Efantis and others like him are the embodiment of a truth: that jazz never stopped kicking in this town, that its memory is still boppin’ around in the heads of a handful of elder statesmen.
That’s reason enough to celebrate him, explains Bullock, who on Thursday night will belatedly mark Efantis’s 85th birthday — it was on Christmas Eve — with a come-as-you-are jam session at Bohemian Caverns (http://www.bohemiancaverns.com/) on U Street NW. It’s the same club where, more than 60 years ago, in 1951, Efantis observed his 21st birthday the way only a jazz musician would: with a gig. (His parents and sister managed to crash the show, however, for birthday cake and photos.)
In the years since, Efantis, a native Washingtonian, has seen jazz and the city transform around him.
Efantis caught the jazz bug at 15, when he received his first saxophone; by 16, he says, he was playing in jazz groups, trading know-how with young hipsters from rival high schools. His first gig at Bohemian Caverns, also known for a time as Crystal Caverns, was in 1951, by which point the young man with the dark hair and Greek features had his own dapper quintet.
Efantis, center, and members of his Ted Efantis Quintet at the Bohemian Caverns in 1951. (Courtesy of Ted Efantis)
Back then, he recalls, jazz players learned by listening to the masters. “If you wanted to learn jazz, you [had to] have some heroes,” he recalls. “And then you find out where you’re coming from, what your sound wants to be. ”
He wanted to be a star, and by the mid-1950s, he’d left Washington to pursue his dream. He went to Los Angeles for a time with a singer girlfriend, Jane Fielding, a beauty with whom he would record the album “Embers Glow.” (http://www.amazon.com/gp/product/B0098XEEFW?ie=UTF8&camp=1789&creativeASIN=B0098XEEFW&linkCode=xm2&tag=thewaspos09-20) Fielding, he says, asked for an engagement ring. He bought her a hi-fi stereo. And that was that.
“I always felt that what I needed was a good jazz singer who was a Catholic,” Efantis says with a laugh. “Well, I met one, but we weren’t in love.”
It was when he went on a trip to his father’s native Greece some years later that he met Angela, a Greek girl who wasn’t much into music. Nevertheless, a month before he was due to leave, he married her.
This is where his story begins to differ from those of so many jazz musicians who spent their lives on the road. When he returned with his wife, they set about having a family; they had their first child in 1961, and then had four more.
Meanwhile, jazz had been replaced on the airwaves by a hip-shaking, sneering pretty boy from Tennessee and then a mop-top foursome from Liverpool. At weddings, where a quartet might find an honest day’s work, setting the mood became a DJ’s duty. “Oh boy, jazz took a back seat,” Efantis recalls. For the first time, he says, “There was not enough work to depend on the music. I was a musician and singer, and suddenly I didn’t have a gig.”
So he sold aluminum siding door-to-door. He was a manager at a hardware store. Then, with his brood still growing, he applied for a job selling advertising for The Washington Post. He got it and stayed for two decades, the excellent retirement plan — he retired in 1987 — being the biggest selling point for the family-minded musician.
The story of the slow death of D.C. jazz has been told and retold, usually as some combination of cautionary tale and call to arms. But players within the local jazz scene will tell you: Rumors of its demise have been greatly exaggerated.
At the Irish Inn, that message blares as plainly as Efantis’s sax.
Even as the clubs and the gigs have dried up around him, Efantis — and scores of others — will still find a place to blow. “I’ve been a professional musician since I was 16 years old,” he says. “I never intended to stop playing, and I don’t intend now.”
When his time is up, he mops his brow and flits off to greet friends who have come out to see him. He enjoys this limelight, enough, perhaps, to get in a little more tonight.
“I’m thinking of swinging over to Columbia Station (http://www.columbiastationdc.com/) ,” he says, referring to the Adams Morgan tavern where he’s known to turn up late at night to play a few songs with his pals.
And why not? The night is still young.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6beabea585) | 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=6beabea585&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
At 85, a D.C. jazzman is still boppin’ – The Washington Post
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** At 85, a D.C. jazzman is still boppin’
————————————————————
Blue notes may no longer pour out of the clubs onto U Street, but on Sunday nights, you can find them spilling, inexplicably, from an old Irish inn (http://www.irishinnglenecho.com/) steps from the C&O Canal.
This is where, on a recent misty evening, Ted Efantis has come to blow.
Efantis, a tenor saxophonist, is one of Washington’s well-known living jazzmen, mostly because he has been a fixture in its clubs and at its jam sessions for the better part of 70 years. With his penchant for suit jackets and his still impossibly thick mane of ash-white hair (slicked back just enough to reveal the hearing aids he wears), Efantis is a walking throwback to another Washington era — the heyday of jazz.
“Ted’s part of a generation of musicians that really made Washington a jazz center for the generation coming up in the ’40s and ’50s,” says Rusty Hassan, who has hosted jazz radio programs in Washington since the 1960s. “They come out of a real rich tradition.”
This is why, on this night, drummer Brooks Tegler, another local stalwart who has held this regular gig at the Irish Inn for years, will make room for Efantis’s drop-in appearance and oblige the snaking, joyful noise that for a half-hour will rise above every note and shuffling drumbeat that his trio will muster.
A poster announcing an appearance by Efantis at the old Brickskeller in Washington. By 16, Efantis was playing with jazz groups all around town. (Courtesy of Ted Efantis)
What Efantis lacks in size — he’s lost an inch of his already compact 5-foot-6-inch frame over the years, he will confess — he seems to supplement with personality. At 85, with horn in hand, Efantis is young again. An unabashed flirt. A hepcat.
This is Ted’s charm, says Scott Bullock, a jazz fan who has become one of Efantis’s closest friends and champions. “He’s one of these guys, when he comes into a place, you know the place is going to start swinging.”
Efantis is not one of Washington’s most legendary players (that title goes to the likes of Duke Ellington and singer Shirley Horn). Nor is he the most enduring: There’s a bug that seems to bite plenty of jazzmen that won’t let them resign themselves to day jobs and coaching Little League games.
Rather, Efantis and others like him are the embodiment of a truth: that jazz never stopped kicking in this town, that its memory is still boppin’ around in the heads of a handful of elder statesmen.
That’s reason enough to celebrate him, explains Bullock, who on Thursday night will belatedly mark Efantis’s 85th birthday — it was on Christmas Eve — with a come-as-you-are jam session at Bohemian Caverns (http://www.bohemiancaverns.com/) on U Street NW. It’s the same club where, more than 60 years ago, in 1951, Efantis observed his 21st birthday the way only a jazz musician would: with a gig. (His parents and sister managed to crash the show, however, for birthday cake and photos.)
In the years since, Efantis, a native Washingtonian, has seen jazz and the city transform around him.
Efantis caught the jazz bug at 15, when he received his first saxophone; by 16, he says, he was playing in jazz groups, trading know-how with young hipsters from rival high schools. His first gig at Bohemian Caverns, also known for a time as Crystal Caverns, was in 1951, by which point the young man with the dark hair and Greek features had his own dapper quintet.
Efantis, center, and members of his Ted Efantis Quintet at the Bohemian Caverns in 1951. (Courtesy of Ted Efantis)
Back then, he recalls, jazz players learned by listening to the masters. “If you wanted to learn jazz, you [had to] have some heroes,” he recalls. “And then you find out where you’re coming from, what your sound wants to be. ”
He wanted to be a star, and by the mid-1950s, he’d left Washington to pursue his dream. He went to Los Angeles for a time with a singer girlfriend, Jane Fielding, a beauty with whom he would record the album “Embers Glow.” (http://www.amazon.com/gp/product/B0098XEEFW?ie=UTF8&camp=1789&creativeASIN=B0098XEEFW&linkCode=xm2&tag=thewaspos09-20) Fielding, he says, asked for an engagement ring. He bought her a hi-fi stereo. And that was that.
“I always felt that what I needed was a good jazz singer who was a Catholic,” Efantis says with a laugh. “Well, I met one, but we weren’t in love.”
It was when he went on a trip to his father’s native Greece some years later that he met Angela, a Greek girl who wasn’t much into music. Nevertheless, a month before he was due to leave, he married her.
This is where his story begins to differ from those of so many jazz musicians who spent their lives on the road. When he returned with his wife, they set about having a family; they had their first child in 1961, and then had four more.
Meanwhile, jazz had been replaced on the airwaves by a hip-shaking, sneering pretty boy from Tennessee and then a mop-top foursome from Liverpool. At weddings, where a quartet might find an honest day’s work, setting the mood became a DJ’s duty. “Oh boy, jazz took a back seat,” Efantis recalls. For the first time, he says, “There was not enough work to depend on the music. I was a musician and singer, and suddenly I didn’t have a gig.”
So he sold aluminum siding door-to-door. He was a manager at a hardware store. Then, with his brood still growing, he applied for a job selling advertising for The Washington Post. He got it and stayed for two decades, the excellent retirement plan — he retired in 1987 — being the biggest selling point for the family-minded musician.
The story of the slow death of D.C. jazz has been told and retold, usually as some combination of cautionary tale and call to arms. But players within the local jazz scene will tell you: Rumors of its demise have been greatly exaggerated.
At the Irish Inn, that message blares as plainly as Efantis’s sax.
Even as the clubs and the gigs have dried up around him, Efantis — and scores of others — will still find a place to blow. “I’ve been a professional musician since I was 16 years old,” he says. “I never intended to stop playing, and I don’t intend now.”
When his time is up, he mops his brow and flits off to greet friends who have come out to see him. He enjoys this limelight, enough, perhaps, to get in a little more tonight.
“I’m thinking of swinging over to Columbia Station (http://www.columbiastationdc.com/) ,” he says, referring to the Adams Morgan tavern where he’s known to turn up late at night to play a few songs with his pals.
And why not? The night is still young.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6beabea585) | 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=6beabea585&e=[UNIQID])
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269 State Route 94 South
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At 85, a D.C. jazzman is still boppin’ – The Washington Post
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http://www.washingtonpost.com/lifestyle/style/at-85-a-dc-jazzman-is-still-boppin/2015/01/21/9f1d17c0-9f86-11e4-903f-9f2faf7cd9fe_story.html
** At 85, a D.C. jazzman is still boppin’
————————————————————
Blue notes may no longer pour out of the clubs onto U Street, but on Sunday nights, you can find them spilling, inexplicably, from an old Irish inn (http://www.irishinnglenecho.com/) steps from the C&O Canal.
This is where, on a recent misty evening, Ted Efantis has come to blow.
Efantis, a tenor saxophonist, is one of Washington’s well-known living jazzmen, mostly because he has been a fixture in its clubs and at its jam sessions for the better part of 70 years. With his penchant for suit jackets and his still impossibly thick mane of ash-white hair (slicked back just enough to reveal the hearing aids he wears), Efantis is a walking throwback to another Washington era — the heyday of jazz.
“Ted’s part of a generation of musicians that really made Washington a jazz center for the generation coming up in the ’40s and ’50s,” says Rusty Hassan, who has hosted jazz radio programs in Washington since the 1960s. “They come out of a real rich tradition.”
This is why, on this night, drummer Brooks Tegler, another local stalwart who has held this regular gig at the Irish Inn for years, will make room for Efantis’s drop-in appearance and oblige the snaking, joyful noise that for a half-hour will rise above every note and shuffling drumbeat that his trio will muster.
A poster announcing an appearance by Efantis at the old Brickskeller in Washington. By 16, Efantis was playing with jazz groups all around town. (Courtesy of Ted Efantis)
What Efantis lacks in size — he’s lost an inch of his already compact 5-foot-6-inch frame over the years, he will confess — he seems to supplement with personality. At 85, with horn in hand, Efantis is young again. An unabashed flirt. A hepcat.
This is Ted’s charm, says Scott Bullock, a jazz fan who has become one of Efantis’s closest friends and champions. “He’s one of these guys, when he comes into a place, you know the place is going to start swinging.”
Efantis is not one of Washington’s most legendary players (that title goes to the likes of Duke Ellington and singer Shirley Horn). Nor is he the most enduring: There’s a bug that seems to bite plenty of jazzmen that won’t let them resign themselves to day jobs and coaching Little League games.
Rather, Efantis and others like him are the embodiment of a truth: that jazz never stopped kicking in this town, that its memory is still boppin’ around in the heads of a handful of elder statesmen.
That’s reason enough to celebrate him, explains Bullock, who on Thursday night will belatedly mark Efantis’s 85th birthday — it was on Christmas Eve — with a come-as-you-are jam session at Bohemian Caverns (http://www.bohemiancaverns.com/) on U Street NW. It’s the same club where, more than 60 years ago, in 1951, Efantis observed his 21st birthday the way only a jazz musician would: with a gig. (His parents and sister managed to crash the show, however, for birthday cake and photos.)
In the years since, Efantis, a native Washingtonian, has seen jazz and the city transform around him.
Efantis caught the jazz bug at 15, when he received his first saxophone; by 16, he says, he was playing in jazz groups, trading know-how with young hipsters from rival high schools. His first gig at Bohemian Caverns, also known for a time as Crystal Caverns, was in 1951, by which point the young man with the dark hair and Greek features had his own dapper quintet.
Efantis, center, and members of his Ted Efantis Quintet at the Bohemian Caverns in 1951. (Courtesy of Ted Efantis)
Back then, he recalls, jazz players learned by listening to the masters. “If you wanted to learn jazz, you [had to] have some heroes,” he recalls. “And then you find out where you’re coming from, what your sound wants to be. ”
He wanted to be a star, and by the mid-1950s, he’d left Washington to pursue his dream. He went to Los Angeles for a time with a singer girlfriend, Jane Fielding, a beauty with whom he would record the album “Embers Glow.” (http://www.amazon.com/gp/product/B0098XEEFW?ie=UTF8&camp=1789&creativeASIN=B0098XEEFW&linkCode=xm2&tag=thewaspos09-20) Fielding, he says, asked for an engagement ring. He bought her a hi-fi stereo. And that was that.
“I always felt that what I needed was a good jazz singer who was a Catholic,” Efantis says with a laugh. “Well, I met one, but we weren’t in love.”
It was when he went on a trip to his father’s native Greece some years later that he met Angela, a Greek girl who wasn’t much into music. Nevertheless, a month before he was due to leave, he married her.
This is where his story begins to differ from those of so many jazz musicians who spent their lives on the road. When he returned with his wife, they set about having a family; they had their first child in 1961, and then had four more.
Meanwhile, jazz had been replaced on the airwaves by a hip-shaking, sneering pretty boy from Tennessee and then a mop-top foursome from Liverpool. At weddings, where a quartet might find an honest day’s work, setting the mood became a DJ’s duty. “Oh boy, jazz took a back seat,” Efantis recalls. For the first time, he says, “There was not enough work to depend on the music. I was a musician and singer, and suddenly I didn’t have a gig.”
So he sold aluminum siding door-to-door. He was a manager at a hardware store. Then, with his brood still growing, he applied for a job selling advertising for The Washington Post. He got it and stayed for two decades, the excellent retirement plan — he retired in 1987 — being the biggest selling point for the family-minded musician.
The story of the slow death of D.C. jazz has been told and retold, usually as some combination of cautionary tale and call to arms. But players within the local jazz scene will tell you: Rumors of its demise have been greatly exaggerated.
At the Irish Inn, that message blares as plainly as Efantis’s sax.
Even as the clubs and the gigs have dried up around him, Efantis — and scores of others — will still find a place to blow. “I’ve been a professional musician since I was 16 years old,” he says. “I never intended to stop playing, and I don’t intend now.”
When his time is up, he mops his brow and flits off to greet friends who have come out to see him. He enjoys this limelight, enough, perhaps, to get in a little more tonight.
“I’m thinking of swinging over to Columbia Station (http://www.columbiastationdc.com/) ,” he says, referring to the Adams Morgan tavern where he’s known to turn up late at night to play a few songs with his pals.
And why not? The night is still young.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6beabea585) | 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=6beabea585&e=[UNIQID])
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Warwick, Ny 10990
USA
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Warwick, Ny 10990
USA
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Warwick, Ny 10990
USA
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Warwick, Ny 10990
USA
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This company bills itself as the Netflix of vinyl records | Consequence of Sound
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** This company bills itself as the Netflix of vinyl records
————————————————————
Vinyl Records
Consumers flock to Netflix for a number of reasons, but perhaps the most prevalent is that the service eliminates pesky things like interacting with other people and having to go outside. If you’re an equally busy or socially inept music fan, there’s now VNYL (http://vnyl.org/) , a service marketing itself as the “Netflix of vinyl records.” Between this and GrubHub, I guess I won’t need to leave my Chicago apartment all winter long.
Similar to its movie-based counterpart, VNYL is a fairly straightforward concept. First, subscribers choose between several categories, called #vibes, which include #cooking, #betweenthesheets, #rainyday, and #work. From there, the service sends a custom pack of LPs based on the #vibes selection. Users can keep any of the LPs for $12 each or return any record for another #vibes selection at the end of the month. If you’re a Gen Xer or Millennial, it’s almost the equivalent of the Columbia House Record Club (http://thephoenix.com/boston/music/129722-rise-and-fall-of-the-columbia-house-record-clu/) .
“Right now I feel penalized for not being able to share what I’m listening to and get decent recommendations on vinyl that I may be into,” VNYL founder Nick Alt told Mic (http://mic.com/articles/107634/there-s-now-a-netflix-for-people-who-listen-to-music-the-old-fashioned-way) recently. “[The inspiration for VNYL] was taking some of the best parts of Beats, Spotify and SoundCloud and translating them into a tangible experience.”
It’s a shrewd business move given the current make-up of the music buying landscape. In 2014, consumers purchased some 9.2 million vinyl records (http://www.vox.com/2015/1/5/7494461/vinyl-record-sales-2014) , the most since Nielsen started tracking sales back in 1991.
VNYL is not without its competitors, however: Another service called Vinyl Me, Please (http://vinylmeplease.com/) sends subscribers a new limited-edition record each month for $23, while Wax & Stamp (http://waxandstamp.com/) and Klekt (http://www.klekt.eu/) will launch later this year across Europe.
While it seems like a natural progression for vinyl consumption, wax heads do have their concerns. Several commenters (http://gizmodo.com/theres-a-netflix-for-vinyl-records-now-1677855586) have questioned whether the quality of the vinyl will hold up after repeat use-and-return cycles, in addition to what effect playing potentially scratched LPs could have on their stereo equipment. Plus, as vinyl users have a clear interest in a more tangible musical experience, it might be difficult to pull them away from their beloved brick-and-mortar shops.
Below, enjoy the next bext thing: listening to music while watching a vinyl record spin.
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Copyright (C) 2015 All rights reserved.
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USA
This company bills itself as the Netflix of vinyl records | Consequence of Sound
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://consequenceofsound.net/2015/01/this-company-bills-itself-as-the-netflix-of-vinyl-records/
** This company bills itself as the Netflix of vinyl records
————————————————————
Vinyl Records
Consumers flock to Netflix for a number of reasons, but perhaps the most prevalent is that the service eliminates pesky things like interacting with other people and having to go outside. If you’re an equally busy or socially inept music fan, there’s now VNYL (http://vnyl.org/) , a service marketing itself as the “Netflix of vinyl records.” Between this and GrubHub, I guess I won’t need to leave my Chicago apartment all winter long.
Similar to its movie-based counterpart, VNYL is a fairly straightforward concept. First, subscribers choose between several categories, called #vibes, which include #cooking, #betweenthesheets, #rainyday, and #work. From there, the service sends a custom pack of LPs based on the #vibes selection. Users can keep any of the LPs for $12 each or return any record for another #vibes selection at the end of the month. If you’re a Gen Xer or Millennial, it’s almost the equivalent of the Columbia House Record Club (http://thephoenix.com/boston/music/129722-rise-and-fall-of-the-columbia-house-record-clu/) .
“Right now I feel penalized for not being able to share what I’m listening to and get decent recommendations on vinyl that I may be into,” VNYL founder Nick Alt told Mic (http://mic.com/articles/107634/there-s-now-a-netflix-for-people-who-listen-to-music-the-old-fashioned-way) recently. “[The inspiration for VNYL] was taking some of the best parts of Beats, Spotify and SoundCloud and translating them into a tangible experience.”
It’s a shrewd business move given the current make-up of the music buying landscape. In 2014, consumers purchased some 9.2 million vinyl records (http://www.vox.com/2015/1/5/7494461/vinyl-record-sales-2014) , the most since Nielsen started tracking sales back in 1991.
VNYL is not without its competitors, however: Another service called Vinyl Me, Please (http://vinylmeplease.com/) sends subscribers a new limited-edition record each month for $23, while Wax & Stamp (http://waxandstamp.com/) and Klekt (http://www.klekt.eu/) will launch later this year across Europe.
While it seems like a natural progression for vinyl consumption, wax heads do have their concerns. Several commenters (http://gizmodo.com/theres-a-netflix-for-vinyl-records-now-1677855586) have questioned whether the quality of the vinyl will hold up after repeat use-and-return cycles, in addition to what effect playing potentially scratched LPs could have on their stereo equipment. Plus, as vinyl users have a clear interest in a more tangible musical experience, it might be difficult to pull them away from their beloved brick-and-mortar shops.
Below, enjoy the next bext thing: listening to music while watching a vinyl record spin.
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Jazz Promo Services
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This company bills itself as the Netflix of vinyl records | Consequence of Sound
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://consequenceofsound.net/2015/01/this-company-bills-itself-as-the-netflix-of-vinyl-records/
** This company bills itself as the Netflix of vinyl records
————————————————————
Vinyl Records
Consumers flock to Netflix for a number of reasons, but perhaps the most prevalent is that the service eliminates pesky things like interacting with other people and having to go outside. If you’re an equally busy or socially inept music fan, there’s now VNYL (http://vnyl.org/) , a service marketing itself as the “Netflix of vinyl records.” Between this and GrubHub, I guess I won’t need to leave my Chicago apartment all winter long.
Similar to its movie-based counterpart, VNYL is a fairly straightforward concept. First, subscribers choose between several categories, called #vibes, which include #cooking, #betweenthesheets, #rainyday, and #work. From there, the service sends a custom pack of LPs based on the #vibes selection. Users can keep any of the LPs for $12 each or return any record for another #vibes selection at the end of the month. If you’re a Gen Xer or Millennial, it’s almost the equivalent of the Columbia House Record Club (http://thephoenix.com/boston/music/129722-rise-and-fall-of-the-columbia-house-record-clu/) .
“Right now I feel penalized for not being able to share what I’m listening to and get decent recommendations on vinyl that I may be into,” VNYL founder Nick Alt told Mic (http://mic.com/articles/107634/there-s-now-a-netflix-for-people-who-listen-to-music-the-old-fashioned-way) recently. “[The inspiration for VNYL] was taking some of the best parts of Beats, Spotify and SoundCloud and translating them into a tangible experience.”
It’s a shrewd business move given the current make-up of the music buying landscape. In 2014, consumers purchased some 9.2 million vinyl records (http://www.vox.com/2015/1/5/7494461/vinyl-record-sales-2014) , the most since Nielsen started tracking sales back in 1991.
VNYL is not without its competitors, however: Another service called Vinyl Me, Please (http://vinylmeplease.com/) sends subscribers a new limited-edition record each month for $23, while Wax & Stamp (http://waxandstamp.com/) and Klekt (http://www.klekt.eu/) will launch later this year across Europe.
While it seems like a natural progression for vinyl consumption, wax heads do have their concerns. Several commenters (http://gizmodo.com/theres-a-netflix-for-vinyl-records-now-1677855586) have questioned whether the quality of the vinyl will hold up after repeat use-and-return cycles, in addition to what effect playing potentially scratched LPs could have on their stereo equipment. Plus, as vinyl users have a clear interest in a more tangible musical experience, it might be difficult to pull them away from their beloved brick-and-mortar shops.
Below, enjoy the next bext thing: listening to music while watching a vinyl record spin.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=9e2f9df379) | 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=9e2f9df379&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
This company bills itself as the Netflix of vinyl records | Consequence of Sound
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://consequenceofsound.net/2015/01/this-company-bills-itself-as-the-netflix-of-vinyl-records/
** This company bills itself as the Netflix of vinyl records
————————————————————
Vinyl Records
Consumers flock to Netflix for a number of reasons, but perhaps the most prevalent is that the service eliminates pesky things like interacting with other people and having to go outside. If you’re an equally busy or socially inept music fan, there’s now VNYL (http://vnyl.org/) , a service marketing itself as the “Netflix of vinyl records.” Between this and GrubHub, I guess I won’t need to leave my Chicago apartment all winter long.
Similar to its movie-based counterpart, VNYL is a fairly straightforward concept. First, subscribers choose between several categories, called #vibes, which include #cooking, #betweenthesheets, #rainyday, and #work. From there, the service sends a custom pack of LPs based on the #vibes selection. Users can keep any of the LPs for $12 each or return any record for another #vibes selection at the end of the month. If you’re a Gen Xer or Millennial, it’s almost the equivalent of the Columbia House Record Club (http://thephoenix.com/boston/music/129722-rise-and-fall-of-the-columbia-house-record-clu/) .
“Right now I feel penalized for not being able to share what I’m listening to and get decent recommendations on vinyl that I may be into,” VNYL founder Nick Alt told Mic (http://mic.com/articles/107634/there-s-now-a-netflix-for-people-who-listen-to-music-the-old-fashioned-way) recently. “[The inspiration for VNYL] was taking some of the best parts of Beats, Spotify and SoundCloud and translating them into a tangible experience.”
It’s a shrewd business move given the current make-up of the music buying landscape. In 2014, consumers purchased some 9.2 million vinyl records (http://www.vox.com/2015/1/5/7494461/vinyl-record-sales-2014) , the most since Nielsen started tracking sales back in 1991.
VNYL is not without its competitors, however: Another service called Vinyl Me, Please (http://vinylmeplease.com/) sends subscribers a new limited-edition record each month for $23, while Wax & Stamp (http://waxandstamp.com/) and Klekt (http://www.klekt.eu/) will launch later this year across Europe.
While it seems like a natural progression for vinyl consumption, wax heads do have their concerns. Several commenters (http://gizmodo.com/theres-a-netflix-for-vinyl-records-now-1677855586) have questioned whether the quality of the vinyl will hold up after repeat use-and-return cycles, in addition to what effect playing potentially scratched LPs could have on their stereo equipment. Plus, as vinyl users have a clear interest in a more tangible musical experience, it might be difficult to pull them away from their beloved brick-and-mortar shops.
Below, enjoy the next bext thing: listening to music while watching a vinyl record spin.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=9e2f9df379) | 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=9e2f9df379&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The secret Sinatra past of Bob Dylan’s new album – LA Times
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http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#page=1
** The secret Sinatra past of Bob Dylan’s new album
————————————————————
la-et-sinatra
A rare Los Angeles Times photo of Frank Sinatra in 1947, leaving a Beverly Hills courthouse after charges against him for allegedly slugging columnist Lee Mortimer were dismissed. (Dick Oliver / Los Angeles Times)
By GUSTAVO TURNER
* Jazz (Music Genre) (http://www.latimes.com/topic/entertainment/music/jazz-%28music-genre%29/01011003-topic.html)
*
* Bob Dylan (http://www.latimes.com/topic/entertainment/music/bob-dylan-PECLB001512-topic.html)
* Broadway Theater (http://www.latimes.com/topic/entertainment/theater/broadway-theater/01017002-topic.html)
*
* Movies (http://www.latimes.com/topic/entertainment/movies/01005000-topic.html)
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* Poetry (http://www.latimes.com/topic/arts-culture/literature/poetry/01010002-topic.html)
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* Reprise (movie) (http://www.latimes.com/topic/entertainment/movies/reprise-%28movie%29-ENMV000093-topic.html)
* Gordon Jenkins (http://www.latimes.com/topic/entertainment/gordon-jenkins-PECLB00000010647-topic.html)
The secret Sinatra past of Bob Dylan’s new album
Bob Dylan has a new album coming out Feb. 3, “Shadows in the Night,” a collection of pop songs about romance, heartbreak and other existential themes written by other songwriters.
But whatever you call this labor-of-love project, there’s one thing Bob Dylan does not want you to call it: his “Sinatra covers album.”
These are old songs, written between the early 1920s and the early 1960s, some of which have become bona fide jazz standards (“Autumn Leaves”), others of which were minor hits when they were first recorded (“Full Moon and Empty Arms”), and there’s even the odd gem (“Stay With Me”) that has been overlooked by audiences since its first appearance on an obscure single.
All these songs have one thing in common: They were recorded by Frank Sinatra at some point (in some cases, several points) in his career.
http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html
Surprisingly candid Bob Dylan, AARP magazine cover boy (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html)
“I don’t see myself as covering these songs in any way,” Dylan said in a statement last December. “They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
In a way, Dylan is treating the massive Sinatra catalog as an open bazaar from where he has decided to rearrange and reinterpret specific areas to create a new, wholly Dylanesque work. It’s the same process he applied to the folk standard canon in his first album in 1961 and the kind of artistic practice he has continued in his forays into fine art, where he works in the same appropriation and resignification field as artists like Richard Prince.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
SEE ALL RELATED (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
8 (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
“In folk and jazz, quotation is a rich and enriching tradition,” he told Rolling Stone magazine in 2012, speaking about his use of lines from Civil War poet Henry Timrod and others in some of his recent songs. “As far as […] Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? Who’s been making you read him?”
The same could be said of the following Sinatra-related songs, which will surely be given new life into the 21st century by Dylan’s selection process:
Frank Sinatra at L.A. airport in 1953
Frank Sinatra waits curbside for his ride at the Los Angeles airport on Nov. 24, 1953. (Associated Press)
“I’m a Fool to Want You” (Sinatra, Wolf, Herron): First recorded by Sinatra in 1951, with an arrangement by Axel Stordahl, in New York for Columbia Records. It was B-side to novelty single “Mama Will Bark” (with Dagmar, a busty chorus girl and early TV starlet). It’s a rare songwriting credit for Sinatra, who’s much better known as an interpreter of others’ material. “Frank changed part of the lyric, and made it say what he felt when he was doing it,” explained cowriter Joel Herron in the book “Frank Sinatra: An American Legend.” “We said, ‘He’s gotta be on this song!’ and we invited him as cowriter.” At the time the singer had left his first wife Nancy to be together with Ava Gardner, whom he was hoping to marry after his divorce had been finalized. He recorded a second version in 1957 in Hollywood at the legendary Capitol Tower, this time arranged by Gordon Jenkins. It was released on “Where Are You?,” his 1957 album of “suicide songs” (Sinatra’s term for his concept
albums about masculine loneliness) released by Capitol. In fact, four out of 10 songs on Dylan’s “Shadows in the Night,” also recorded in Hollywood’s Capitol Tower, were songs Sinatra recorded for “Where Are You?” After Sinatra’s recording, “I’m a Fool to Want You” became a popular song with other interpreters, and it was also recorded by Billie Holiday (for 1958’s “Lady in Satin,” a Sinatra favorite), Dinah Washington, Billy Eckstine, Chet Baker, Peggy Lee, Tom Jones, Elvis Costello and many others.
cComments (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
ADD A COMMENT (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) SEE ALL COMMENTS (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
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“The Night We Called It a Day” (Dennis, Adair): Originally published in 1941, Sinatra also recorded this in 1957 at the Capitol Tower for “Where Are You?,” arranged by Gordon Jenkins. There are other notable pop versions by Chet Baker, June Christy and Doris Day, and a great jazz arrangement by Milt Jackson and John Coltrane. Trivia fact: The song gives its original title to a bizarre 2003 Australian movie (also know as “All the Way”) with Dennis Hopper playing Frank Sinatra and Melanie Griffith playing the singer’s fourth (and final) wife, Barbara.
http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html
Major Frank Sinatra exhibition planned for 2015 centennial year (http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html)
“Stay With Me” (Moross, Jerome): Originally known as “Stay With Me (Main Theme from ‘The Cardinal’)” and featured in the soundtrack of a 1963 social melodrama directed by Otto Preminger, this is the real obscure piece in the set. It came out on Sinatra’s own label, Reprise, in 1964 as a single, but only stayed three weeks on the Billboard charts, peaking at an unimpressive No. 81. (It also turned up a year later on an odds-and-ends Reprise album, “Sinatra ’65”). It was recorded in December 1963 at United Western Recorders in Hollywood, with Don Costa arranging and conducting. The week “Stay With Me” peaked at 81 (Feb. 1, 1964) was right in the heart of Beatlemania and “I Want to Hold Your Hand” ruled the airwaves. At the time, Dylan was between “The Times They Are-a-Changing” (which had just been released) and “Another Side of Bob Dylan.” The passionate, epic “Stay With Me” wouldn’t have made a strong impression on him at the time: Dylan had just embarked on a legendary,
pot-fueled cross-country trip with his buddies, where he would write youth-culture classics like “Chimes of Freedom.”
“Autumn Leaves” (Mercer, Kosma, Prevert): Yet another song recorded by Sinatra for “Where Are You?” in 1957 at Capitol with arrangements by Gordon Jenkins, in the same session as “The Night We Called It a Day.” “Autumn Leaves,” a jazz standard, was originally written in 1945 in France by Hungarian composer Joseph Kosma and poet Jacques Prevert as “Les Feuilles Mortes” (“Dead Leaves”). Sublime lyricist Johnny Mercer wrote English words for it in 1947. There are many, many versions of this song, so we’ll just note a few: Jo Stafford’s big pop hit, an unusual version in Japanese by Nat King Cole, bilingual versions in French and English by Edith Piaf (1950), and Iggy Pop’s 2009 cover for his strange Francophile project “Préliminaires.” Jerry Lee Lewis, strangely enough given his manic persona, has had a moving version of “Autumn Leaves” as part of his extensive repertoire for decades (there’s a YouTube video (https://www.youtube.com/watch?v=byARqJrR75U) of Lewis performing the
song in 1971).
“Why Try to Change Me Now” (Coleman, McCarthy): Sinatra recorded this twice. The first version, from 1952 (arranged by Percy Faith), was his last recording for Columbia Records and many interpreted the lyrics as a kiss-off to the company. The second recording is from 1959’s “No One Cares,” another Jenkins-arranged album of “suicide songs” and a thematic sequel of sorts to Dylan favorite “Where Are You?” The song was cowritten by Broadway legend Cy Coleman, of “Sweet Charity” fame. An outstanding modern version was recorded by Fiona Apple for “The Best Is Yet to Come” a 2009 multi-artist tribute to Coleman. Check out the live version at L.A.’s Largo (https://www.youtube.com/watch?v=dUG2nS_J8cM) .
http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html
Throwbacks: Reissues from Led Zeppelin, Flesh Eaters and more (http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html)
“Some Enchanted Evening” (Rodgers and Hammerstein): One of the showstoppers from 1949’s hit musical “South Pacific,” of course, Sinatra recorded it three times, first when the song was fresh, for a 1949 Columbia single arranged by Axel Stordahl, which didn’t sell as well as contemporary versions by Perry Como and Bing Crosby. Sinatra rerecorded it in 1963 with Nelson Riddle as part of the “Reprised Musical Repertory Theater” series of albums based on Broadway musicals that he recorded with showbiz friends. He revived it in the autumn of his years for the H.B. Barnum-led 1967 sessions for “The World We Knew.” Other versions? Take your pick, as it’s been done by everyone from Art Garfunkel to Harry Connick Jr. to any number of sentimental karaoke drunks around the world.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
SEE ALL RELATED (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
8 (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
“Full Moon and Empty Arms” (Rachmaninoff, Kaye and Mossman): Yes, Rachmaninoff as in the famous Russian composer, from whose Piano Concerto No. 2 Kaye and Mossman adapted the melody in 1945. Sinatra had a minor hit on Columbia with it, and it was later done by Eddie Fisher and Sarah Vaughan. It was the track chosen by Dylan to give a sneak peek into the project back in May 2014.
“Where Are You?” (Adamson, McHugh): The title song from 1957 heartbreak concept album “Where Are You?” (and by this point, it should be clear, one of the inspirations of Dylan’s “Shadows in the Night”). By the time Sinatra got around to recording it the song was 20 years old, originating in the 1937 film “Top of the Town.” The early hit version was by Mildred Bailey in the 1930s, but Sinatra made it his. There are many other good versions, including those by Shirley Bassey, Dinah Washington and this writer’s favorite songstress, Julie London. Aretha Franklin recorded a moving rendition in 1963 during her unfairly maligned stint at Columbia Records as a jazz and pop singer.
cComments (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
ADD A COMMENT (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) SEE ALL COMMENTS (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
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“What’ll I Do” (Berlin): The oldest song on the set, written by Irving Berlin in the early 1920s for a Broadway revue. Jazzman Paul Whiteman had a hit with it in 1924. Sinatra recorded it twice: in 1947 for Columbia with Axel Stordahl and in 1962 for Reprise with Gordon Jenkins. The 1962 version was released on “All Alone,” Sinatra’s update for his own label, Reprise, of his famous “suicide songs” concept albums for Capitol in the 1950s. The song remained a popular standard for decades and there are good versions by Chet Baker (Dylan and Baker seem to share an affinity for the same torch songs), Lena Horne, Julie London, Sarah Vaughan, Cher and Harry Nilsson. “What’ll I Do” was also used by Nelson Riddle as the theme for his score for the 1974 version of “The Great Gatsby” (the one with Robert Redford and Mia Farrow).
“That Lucky Old Sun” (Smith, Gillespie): “Shadows in the Night” closes with the most soulful of the songs Dylan selected. Composed in 1949 as a kind of late-era spiritual/work song, it was recorded by Louis Armstrong, but Frankie Laine had the hit. Sinatra did his version when the song was new, but Laine’s became the definitive rendition of 1949 (and a palpable influence on singers who were coming of age at the time like Elvis Presley and Johnny Cash). Jerry Lee Lewis revved it up as a Sun recording, and it was later adopted as a proto-soul standard by Sam Cooke, Ray Charles and Aretha Franklin (also during the Columbia years). More recently, Willie Nelson recorded a crystalline version for 1976’s “The Sound in Your Mind” (included now as a bonus track to Willie’s “Stardust,” which Dylan told AARP was a direct influence on “Shadows in the Night”) and in 2007 became the centerpiece of a song cycle about California by none other than Brian Wilson.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The secret Sinatra past of Bob Dylan’s new album – LA Times
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http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#page=1
** The secret Sinatra past of Bob Dylan’s new album
————————————————————
la-et-sinatra
A rare Los Angeles Times photo of Frank Sinatra in 1947, leaving a Beverly Hills courthouse after charges against him for allegedly slugging columnist Lee Mortimer were dismissed. (Dick Oliver / Los Angeles Times)
By GUSTAVO TURNER
* Jazz (Music Genre) (http://www.latimes.com/topic/entertainment/music/jazz-%28music-genre%29/01011003-topic.html)
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* Bob Dylan (http://www.latimes.com/topic/entertainment/music/bob-dylan-PECLB001512-topic.html)
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* Gordon Jenkins (http://www.latimes.com/topic/entertainment/gordon-jenkins-PECLB00000010647-topic.html)
The secret Sinatra past of Bob Dylan’s new album
Bob Dylan has a new album coming out Feb. 3, “Shadows in the Night,” a collection of pop songs about romance, heartbreak and other existential themes written by other songwriters.
But whatever you call this labor-of-love project, there’s one thing Bob Dylan does not want you to call it: his “Sinatra covers album.”
These are old songs, written between the early 1920s and the early 1960s, some of which have become bona fide jazz standards (“Autumn Leaves”), others of which were minor hits when they were first recorded (“Full Moon and Empty Arms”), and there’s even the odd gem (“Stay With Me”) that has been overlooked by audiences since its first appearance on an obscure single.
All these songs have one thing in common: They were recorded by Frank Sinatra at some point (in some cases, several points) in his career.
http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html
Surprisingly candid Bob Dylan, AARP magazine cover boy (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html)
“I don’t see myself as covering these songs in any way,” Dylan said in a statement last December. “They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
In a way, Dylan is treating the massive Sinatra catalog as an open bazaar from where he has decided to rearrange and reinterpret specific areas to create a new, wholly Dylanesque work. It’s the same process he applied to the folk standard canon in his first album in 1961 and the kind of artistic practice he has continued in his forays into fine art, where he works in the same appropriation and resignification field as artists like Richard Prince.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
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“In folk and jazz, quotation is a rich and enriching tradition,” he told Rolling Stone magazine in 2012, speaking about his use of lines from Civil War poet Henry Timrod and others in some of his recent songs. “As far as […] Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? Who’s been making you read him?”
The same could be said of the following Sinatra-related songs, which will surely be given new life into the 21st century by Dylan’s selection process:
Frank Sinatra at L.A. airport in 1953
Frank Sinatra waits curbside for his ride at the Los Angeles airport on Nov. 24, 1953. (Associated Press)
“I’m a Fool to Want You” (Sinatra, Wolf, Herron): First recorded by Sinatra in 1951, with an arrangement by Axel Stordahl, in New York for Columbia Records. It was B-side to novelty single “Mama Will Bark” (with Dagmar, a busty chorus girl and early TV starlet). It’s a rare songwriting credit for Sinatra, who’s much better known as an interpreter of others’ material. “Frank changed part of the lyric, and made it say what he felt when he was doing it,” explained cowriter Joel Herron in the book “Frank Sinatra: An American Legend.” “We said, ‘He’s gotta be on this song!’ and we invited him as cowriter.” At the time the singer had left his first wife Nancy to be together with Ava Gardner, whom he was hoping to marry after his divorce had been finalized. He recorded a second version in 1957 in Hollywood at the legendary Capitol Tower, this time arranged by Gordon Jenkins. It was released on “Where Are You?,” his 1957 album of “suicide songs” (Sinatra’s term for his concept
albums about masculine loneliness) released by Capitol. In fact, four out of 10 songs on Dylan’s “Shadows in the Night,” also recorded in Hollywood’s Capitol Tower, were songs Sinatra recorded for “Where Are You?” After Sinatra’s recording, “I’m a Fool to Want You” became a popular song with other interpreters, and it was also recorded by Billie Holiday (for 1958’s “Lady in Satin,” a Sinatra favorite), Dinah Washington, Billy Eckstine, Chet Baker, Peggy Lee, Tom Jones, Elvis Costello and many others.
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* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“The Night We Called It a Day” (Dennis, Adair): Originally published in 1941, Sinatra also recorded this in 1957 at the Capitol Tower for “Where Are You?,” arranged by Gordon Jenkins. There are other notable pop versions by Chet Baker, June Christy and Doris Day, and a great jazz arrangement by Milt Jackson and John Coltrane. Trivia fact: The song gives its original title to a bizarre 2003 Australian movie (also know as “All the Way”) with Dennis Hopper playing Frank Sinatra and Melanie Griffith playing the singer’s fourth (and final) wife, Barbara.
http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html
Major Frank Sinatra exhibition planned for 2015 centennial year (http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html)
“Stay With Me” (Moross, Jerome): Originally known as “Stay With Me (Main Theme from ‘The Cardinal’)” and featured in the soundtrack of a 1963 social melodrama directed by Otto Preminger, this is the real obscure piece in the set. It came out on Sinatra’s own label, Reprise, in 1964 as a single, but only stayed three weeks on the Billboard charts, peaking at an unimpressive No. 81. (It also turned up a year later on an odds-and-ends Reprise album, “Sinatra ’65”). It was recorded in December 1963 at United Western Recorders in Hollywood, with Don Costa arranging and conducting. The week “Stay With Me” peaked at 81 (Feb. 1, 1964) was right in the heart of Beatlemania and “I Want to Hold Your Hand” ruled the airwaves. At the time, Dylan was between “The Times They Are-a-Changing” (which had just been released) and “Another Side of Bob Dylan.” The passionate, epic “Stay With Me” wouldn’t have made a strong impression on him at the time: Dylan had just embarked on a legendary,
pot-fueled cross-country trip with his buddies, where he would write youth-culture classics like “Chimes of Freedom.”
“Autumn Leaves” (Mercer, Kosma, Prevert): Yet another song recorded by Sinatra for “Where Are You?” in 1957 at Capitol with arrangements by Gordon Jenkins, in the same session as “The Night We Called It a Day.” “Autumn Leaves,” a jazz standard, was originally written in 1945 in France by Hungarian composer Joseph Kosma and poet Jacques Prevert as “Les Feuilles Mortes” (“Dead Leaves”). Sublime lyricist Johnny Mercer wrote English words for it in 1947. There are many, many versions of this song, so we’ll just note a few: Jo Stafford’s big pop hit, an unusual version in Japanese by Nat King Cole, bilingual versions in French and English by Edith Piaf (1950), and Iggy Pop’s 2009 cover for his strange Francophile project “Préliminaires.” Jerry Lee Lewis, strangely enough given his manic persona, has had a moving version of “Autumn Leaves” as part of his extensive repertoire for decades (there’s a YouTube video (https://www.youtube.com/watch?v=byARqJrR75U) of Lewis performing the
song in 1971).
“Why Try to Change Me Now” (Coleman, McCarthy): Sinatra recorded this twice. The first version, from 1952 (arranged by Percy Faith), was his last recording for Columbia Records and many interpreted the lyrics as a kiss-off to the company. The second recording is from 1959’s “No One Cares,” another Jenkins-arranged album of “suicide songs” and a thematic sequel of sorts to Dylan favorite “Where Are You?” The song was cowritten by Broadway legend Cy Coleman, of “Sweet Charity” fame. An outstanding modern version was recorded by Fiona Apple for “The Best Is Yet to Come” a 2009 multi-artist tribute to Coleman. Check out the live version at L.A.’s Largo (https://www.youtube.com/watch?v=dUG2nS_J8cM) .
http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html
Throwbacks: Reissues from Led Zeppelin, Flesh Eaters and more (http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html)
“Some Enchanted Evening” (Rodgers and Hammerstein): One of the showstoppers from 1949’s hit musical “South Pacific,” of course, Sinatra recorded it three times, first when the song was fresh, for a 1949 Columbia single arranged by Axel Stordahl, which didn’t sell as well as contemporary versions by Perry Como and Bing Crosby. Sinatra rerecorded it in 1963 with Nelson Riddle as part of the “Reprised Musical Repertory Theater” series of albums based on Broadway musicals that he recorded with showbiz friends. He revived it in the autumn of his years for the H.B. Barnum-led 1967 sessions for “The World We Knew.” Other versions? Take your pick, as it’s been done by everyone from Art Garfunkel to Harry Connick Jr. to any number of sentimental karaoke drunks around the world.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
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“Full Moon and Empty Arms” (Rachmaninoff, Kaye and Mossman): Yes, Rachmaninoff as in the famous Russian composer, from whose Piano Concerto No. 2 Kaye and Mossman adapted the melody in 1945. Sinatra had a minor hit on Columbia with it, and it was later done by Eddie Fisher and Sarah Vaughan. It was the track chosen by Dylan to give a sneak peek into the project back in May 2014.
“Where Are You?” (Adamson, McHugh): The title song from 1957 heartbreak concept album “Where Are You?” (and by this point, it should be clear, one of the inspirations of Dylan’s “Shadows in the Night”). By the time Sinatra got around to recording it the song was 20 years old, originating in the 1937 film “Top of the Town.” The early hit version was by Mildred Bailey in the 1930s, but Sinatra made it his. There are many other good versions, including those by Shirley Bassey, Dinah Washington and this writer’s favorite songstress, Julie London. Aretha Franklin recorded a moving rendition in 1963 during her unfairly maligned stint at Columbia Records as a jazz and pop singer.
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* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“What’ll I Do” (Berlin): The oldest song on the set, written by Irving Berlin in the early 1920s for a Broadway revue. Jazzman Paul Whiteman had a hit with it in 1924. Sinatra recorded it twice: in 1947 for Columbia with Axel Stordahl and in 1962 for Reprise with Gordon Jenkins. The 1962 version was released on “All Alone,” Sinatra’s update for his own label, Reprise, of his famous “suicide songs” concept albums for Capitol in the 1950s. The song remained a popular standard for decades and there are good versions by Chet Baker (Dylan and Baker seem to share an affinity for the same torch songs), Lena Horne, Julie London, Sarah Vaughan, Cher and Harry Nilsson. “What’ll I Do” was also used by Nelson Riddle as the theme for his score for the 1974 version of “The Great Gatsby” (the one with Robert Redford and Mia Farrow).
“That Lucky Old Sun” (Smith, Gillespie): “Shadows in the Night” closes with the most soulful of the songs Dylan selected. Composed in 1949 as a kind of late-era spiritual/work song, it was recorded by Louis Armstrong, but Frankie Laine had the hit. Sinatra did his version when the song was new, but Laine’s became the definitive rendition of 1949 (and a palpable influence on singers who were coming of age at the time like Elvis Presley and Johnny Cash). Jerry Lee Lewis revved it up as a Sun recording, and it was later adopted as a proto-soul standard by Sam Cooke, Ray Charles and Aretha Franklin (also during the Columbia years). More recently, Willie Nelson recorded a crystalline version for 1976’s “The Sound in Your Mind” (included now as a bonus track to Willie’s “Stardust,” which Dylan told AARP was a direct influence on “Shadows in the Night”) and in 2007 became the centerpiece of a song cycle about California by none other than Brian Wilson.
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** The secret Sinatra past of Bob Dylan’s new album
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la-et-sinatra
A rare Los Angeles Times photo of Frank Sinatra in 1947, leaving a Beverly Hills courthouse after charges against him for allegedly slugging columnist Lee Mortimer were dismissed. (Dick Oliver / Los Angeles Times)
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The secret Sinatra past of Bob Dylan’s new album
Bob Dylan has a new album coming out Feb. 3, “Shadows in the Night,” a collection of pop songs about romance, heartbreak and other existential themes written by other songwriters.
But whatever you call this labor-of-love project, there’s one thing Bob Dylan does not want you to call it: his “Sinatra covers album.”
These are old songs, written between the early 1920s and the early 1960s, some of which have become bona fide jazz standards (“Autumn Leaves”), others of which were minor hits when they were first recorded (“Full Moon and Empty Arms”), and there’s even the odd gem (“Stay With Me”) that has been overlooked by audiences since its first appearance on an obscure single.
All these songs have one thing in common: They were recorded by Frank Sinatra at some point (in some cases, several points) in his career.
http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html
Surprisingly candid Bob Dylan, AARP magazine cover boy (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html)
“I don’t see myself as covering these songs in any way,” Dylan said in a statement last December. “They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
In a way, Dylan is treating the massive Sinatra catalog as an open bazaar from where he has decided to rearrange and reinterpret specific areas to create a new, wholly Dylanesque work. It’s the same process he applied to the folk standard canon in his first album in 1961 and the kind of artistic practice he has continued in his forays into fine art, where he works in the same appropriation and resignification field as artists like Richard Prince.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
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8 (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
“In folk and jazz, quotation is a rich and enriching tradition,” he told Rolling Stone magazine in 2012, speaking about his use of lines from Civil War poet Henry Timrod and others in some of his recent songs. “As far as […] Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? Who’s been making you read him?”
The same could be said of the following Sinatra-related songs, which will surely be given new life into the 21st century by Dylan’s selection process:
Frank Sinatra at L.A. airport in 1953
Frank Sinatra waits curbside for his ride at the Los Angeles airport on Nov. 24, 1953. (Associated Press)
“I’m a Fool to Want You” (Sinatra, Wolf, Herron): First recorded by Sinatra in 1951, with an arrangement by Axel Stordahl, in New York for Columbia Records. It was B-side to novelty single “Mama Will Bark” (with Dagmar, a busty chorus girl and early TV starlet). It’s a rare songwriting credit for Sinatra, who’s much better known as an interpreter of others’ material. “Frank changed part of the lyric, and made it say what he felt when he was doing it,” explained cowriter Joel Herron in the book “Frank Sinatra: An American Legend.” “We said, ‘He’s gotta be on this song!’ and we invited him as cowriter.” At the time the singer had left his first wife Nancy to be together with Ava Gardner, whom he was hoping to marry after his divorce had been finalized. He recorded a second version in 1957 in Hollywood at the legendary Capitol Tower, this time arranged by Gordon Jenkins. It was released on “Where Are You?,” his 1957 album of “suicide songs” (Sinatra’s term for his concept
albums about masculine loneliness) released by Capitol. In fact, four out of 10 songs on Dylan’s “Shadows in the Night,” also recorded in Hollywood’s Capitol Tower, were songs Sinatra recorded for “Where Are You?” After Sinatra’s recording, “I’m a Fool to Want You” became a popular song with other interpreters, and it was also recorded by Billie Holiday (for 1958’s “Lady in Satin,” a Sinatra favorite), Dinah Washington, Billy Eckstine, Chet Baker, Peggy Lee, Tom Jones, Elvis Costello and many others.
cComments (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“The Night We Called It a Day” (Dennis, Adair): Originally published in 1941, Sinatra also recorded this in 1957 at the Capitol Tower for “Where Are You?,” arranged by Gordon Jenkins. There are other notable pop versions by Chet Baker, June Christy and Doris Day, and a great jazz arrangement by Milt Jackson and John Coltrane. Trivia fact: The song gives its original title to a bizarre 2003 Australian movie (also know as “All the Way”) with Dennis Hopper playing Frank Sinatra and Melanie Griffith playing the singer’s fourth (and final) wife, Barbara.
http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html
Major Frank Sinatra exhibition planned for 2015 centennial year (http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html)
“Stay With Me” (Moross, Jerome): Originally known as “Stay With Me (Main Theme from ‘The Cardinal’)” and featured in the soundtrack of a 1963 social melodrama directed by Otto Preminger, this is the real obscure piece in the set. It came out on Sinatra’s own label, Reprise, in 1964 as a single, but only stayed three weeks on the Billboard charts, peaking at an unimpressive No. 81. (It also turned up a year later on an odds-and-ends Reprise album, “Sinatra ’65”). It was recorded in December 1963 at United Western Recorders in Hollywood, with Don Costa arranging and conducting. The week “Stay With Me” peaked at 81 (Feb. 1, 1964) was right in the heart of Beatlemania and “I Want to Hold Your Hand” ruled the airwaves. At the time, Dylan was between “The Times They Are-a-Changing” (which had just been released) and “Another Side of Bob Dylan.” The passionate, epic “Stay With Me” wouldn’t have made a strong impression on him at the time: Dylan had just embarked on a legendary,
pot-fueled cross-country trip with his buddies, where he would write youth-culture classics like “Chimes of Freedom.”
“Autumn Leaves” (Mercer, Kosma, Prevert): Yet another song recorded by Sinatra for “Where Are You?” in 1957 at Capitol with arrangements by Gordon Jenkins, in the same session as “The Night We Called It a Day.” “Autumn Leaves,” a jazz standard, was originally written in 1945 in France by Hungarian composer Joseph Kosma and poet Jacques Prevert as “Les Feuilles Mortes” (“Dead Leaves”). Sublime lyricist Johnny Mercer wrote English words for it in 1947. There are many, many versions of this song, so we’ll just note a few: Jo Stafford’s big pop hit, an unusual version in Japanese by Nat King Cole, bilingual versions in French and English by Edith Piaf (1950), and Iggy Pop’s 2009 cover for his strange Francophile project “Préliminaires.” Jerry Lee Lewis, strangely enough given his manic persona, has had a moving version of “Autumn Leaves” as part of his extensive repertoire for decades (there’s a YouTube video (https://www.youtube.com/watch?v=byARqJrR75U) of Lewis performing the
song in 1971).
“Why Try to Change Me Now” (Coleman, McCarthy): Sinatra recorded this twice. The first version, from 1952 (arranged by Percy Faith), was his last recording for Columbia Records and many interpreted the lyrics as a kiss-off to the company. The second recording is from 1959’s “No One Cares,” another Jenkins-arranged album of “suicide songs” and a thematic sequel of sorts to Dylan favorite “Where Are You?” The song was cowritten by Broadway legend Cy Coleman, of “Sweet Charity” fame. An outstanding modern version was recorded by Fiona Apple for “The Best Is Yet to Come” a 2009 multi-artist tribute to Coleman. Check out the live version at L.A.’s Largo (https://www.youtube.com/watch?v=dUG2nS_J8cM) .
http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html
Throwbacks: Reissues from Led Zeppelin, Flesh Eaters and more (http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html)
“Some Enchanted Evening” (Rodgers and Hammerstein): One of the showstoppers from 1949’s hit musical “South Pacific,” of course, Sinatra recorded it three times, first when the song was fresh, for a 1949 Columbia single arranged by Axel Stordahl, which didn’t sell as well as contemporary versions by Perry Como and Bing Crosby. Sinatra rerecorded it in 1963 with Nelson Riddle as part of the “Reprised Musical Repertory Theater” series of albums based on Broadway musicals that he recorded with showbiz friends. He revived it in the autumn of his years for the H.B. Barnum-led 1967 sessions for “The World We Knew.” Other versions? Take your pick, as it’s been done by everyone from Art Garfunkel to Harry Connick Jr. to any number of sentimental karaoke drunks around the world.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
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8 (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
“Full Moon and Empty Arms” (Rachmaninoff, Kaye and Mossman): Yes, Rachmaninoff as in the famous Russian composer, from whose Piano Concerto No. 2 Kaye and Mossman adapted the melody in 1945. Sinatra had a minor hit on Columbia with it, and it was later done by Eddie Fisher and Sarah Vaughan. It was the track chosen by Dylan to give a sneak peek into the project back in May 2014.
“Where Are You?” (Adamson, McHugh): The title song from 1957 heartbreak concept album “Where Are You?” (and by this point, it should be clear, one of the inspirations of Dylan’s “Shadows in the Night”). By the time Sinatra got around to recording it the song was 20 years old, originating in the 1937 film “Top of the Town.” The early hit version was by Mildred Bailey in the 1930s, but Sinatra made it his. There are many other good versions, including those by Shirley Bassey, Dinah Washington and this writer’s favorite songstress, Julie London. Aretha Franklin recorded a moving rendition in 1963 during her unfairly maligned stint at Columbia Records as a jazz and pop singer.
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* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“What’ll I Do” (Berlin): The oldest song on the set, written by Irving Berlin in the early 1920s for a Broadway revue. Jazzman Paul Whiteman had a hit with it in 1924. Sinatra recorded it twice: in 1947 for Columbia with Axel Stordahl and in 1962 for Reprise with Gordon Jenkins. The 1962 version was released on “All Alone,” Sinatra’s update for his own label, Reprise, of his famous “suicide songs” concept albums for Capitol in the 1950s. The song remained a popular standard for decades and there are good versions by Chet Baker (Dylan and Baker seem to share an affinity for the same torch songs), Lena Horne, Julie London, Sarah Vaughan, Cher and Harry Nilsson. “What’ll I Do” was also used by Nelson Riddle as the theme for his score for the 1974 version of “The Great Gatsby” (the one with Robert Redford and Mia Farrow).
“That Lucky Old Sun” (Smith, Gillespie): “Shadows in the Night” closes with the most soulful of the songs Dylan selected. Composed in 1949 as a kind of late-era spiritual/work song, it was recorded by Louis Armstrong, but Frankie Laine had the hit. Sinatra did his version when the song was new, but Laine’s became the definitive rendition of 1949 (and a palpable influence on singers who were coming of age at the time like Elvis Presley and Johnny Cash). Jerry Lee Lewis revved it up as a Sun recording, and it was later adopted as a proto-soul standard by Sam Cooke, Ray Charles and Aretha Franklin (also during the Columbia years). More recently, Willie Nelson recorded a crystalline version for 1976’s “The Sound in Your Mind” (included now as a bonus track to Willie’s “Stardust,” which Dylan told AARP was a direct influence on “Shadows in the Night”) and in 2007 became the centerpiece of a song cycle about California by none other than Brian Wilson.
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The secret Sinatra past of Bob Dylan’s new album – LA Times
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** The secret Sinatra past of Bob Dylan’s new album
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la-et-sinatra
A rare Los Angeles Times photo of Frank Sinatra in 1947, leaving a Beverly Hills courthouse after charges against him for allegedly slugging columnist Lee Mortimer were dismissed. (Dick Oliver / Los Angeles Times)
By GUSTAVO TURNER
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The secret Sinatra past of Bob Dylan’s new album
Bob Dylan has a new album coming out Feb. 3, “Shadows in the Night,” a collection of pop songs about romance, heartbreak and other existential themes written by other songwriters.
But whatever you call this labor-of-love project, there’s one thing Bob Dylan does not want you to call it: his “Sinatra covers album.”
These are old songs, written between the early 1920s and the early 1960s, some of which have become bona fide jazz standards (“Autumn Leaves”), others of which were minor hits when they were first recorded (“Full Moon and Empty Arms”), and there’s even the odd gem (“Stay With Me”) that has been overlooked by audiences since its first appearance on an obscure single.
All these songs have one thing in common: They were recorded by Frank Sinatra at some point (in some cases, several points) in his career.
http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html
Surprisingly candid Bob Dylan, AARP magazine cover boy (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-cover-aarp-magazine-20150122-story.html)
“I don’t see myself as covering these songs in any way,” Dylan said in a statement last December. “They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
In a way, Dylan is treating the massive Sinatra catalog as an open bazaar from where he has decided to rearrange and reinterpret specific areas to create a new, wholly Dylanesque work. It’s the same process he applied to the folk standard canon in his first album in 1961 and the kind of artistic practice he has continued in his forays into fine art, where he works in the same appropriation and resignification field as artists like Richard Prince.
lRelated (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#) http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html
POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
SEE ALL RELATED (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
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“In folk and jazz, quotation is a rich and enriching tradition,” he told Rolling Stone magazine in 2012, speaking about his use of lines from Civil War poet Henry Timrod and others in some of his recent songs. “As far as […] Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? Who’s been making you read him?”
The same could be said of the following Sinatra-related songs, which will surely be given new life into the 21st century by Dylan’s selection process:
Frank Sinatra at L.A. airport in 1953
Frank Sinatra waits curbside for his ride at the Los Angeles airport on Nov. 24, 1953. (Associated Press)
“I’m a Fool to Want You” (Sinatra, Wolf, Herron): First recorded by Sinatra in 1951, with an arrangement by Axel Stordahl, in New York for Columbia Records. It was B-side to novelty single “Mama Will Bark” (with Dagmar, a busty chorus girl and early TV starlet). It’s a rare songwriting credit for Sinatra, who’s much better known as an interpreter of others’ material. “Frank changed part of the lyric, and made it say what he felt when he was doing it,” explained cowriter Joel Herron in the book “Frank Sinatra: An American Legend.” “We said, ‘He’s gotta be on this song!’ and we invited him as cowriter.” At the time the singer had left his first wife Nancy to be together with Ava Gardner, whom he was hoping to marry after his divorce had been finalized. He recorded a second version in 1957 in Hollywood at the legendary Capitol Tower, this time arranged by Gordon Jenkins. It was released on “Where Are You?,” his 1957 album of “suicide songs” (Sinatra’s term for his concept
albums about masculine loneliness) released by Capitol. In fact, four out of 10 songs on Dylan’s “Shadows in the Night,” also recorded in Hollywood’s Capitol Tower, were songs Sinatra recorded for “Where Are You?” After Sinatra’s recording, “I’m a Fool to Want You” became a popular song with other interpreters, and it was also recorded by Billie Holiday (for 1958’s “Lady in Satin,” a Sinatra favorite), Dinah Washington, Billy Eckstine, Chet Baker, Peggy Lee, Tom Jones, Elvis Costello and many others.
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* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“The Night We Called It a Day” (Dennis, Adair): Originally published in 1941, Sinatra also recorded this in 1957 at the Capitol Tower for “Where Are You?,” arranged by Gordon Jenkins. There are other notable pop versions by Chet Baker, June Christy and Doris Day, and a great jazz arrangement by Milt Jackson and John Coltrane. Trivia fact: The song gives its original title to a bizarre 2003 Australian movie (also know as “All the Way”) with Dennis Hopper playing Frank Sinatra and Melanie Griffith playing the singer’s fourth (and final) wife, Barbara.
http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html
Major Frank Sinatra exhibition planned for 2015 centennial year (http://www.latimes.com/entertainment/music/posts/la-et-ms-frank-sinatra-exhibit-new-york-grammy-museum-centennial-20141212-story.html)
“Stay With Me” (Moross, Jerome): Originally known as “Stay With Me (Main Theme from ‘The Cardinal’)” and featured in the soundtrack of a 1963 social melodrama directed by Otto Preminger, this is the real obscure piece in the set. It came out on Sinatra’s own label, Reprise, in 1964 as a single, but only stayed three weeks on the Billboard charts, peaking at an unimpressive No. 81. (It also turned up a year later on an odds-and-ends Reprise album, “Sinatra ’65”). It was recorded in December 1963 at United Western Recorders in Hollywood, with Don Costa arranging and conducting. The week “Stay With Me” peaked at 81 (Feb. 1, 1964) was right in the heart of Beatlemania and “I Want to Hold Your Hand” ruled the airwaves. At the time, Dylan was between “The Times They Are-a-Changing” (which had just been released) and “Another Side of Bob Dylan.” The passionate, epic “Stay With Me” wouldn’t have made a strong impression on him at the time: Dylan had just embarked on a legendary,
pot-fueled cross-country trip with his buddies, where he would write youth-culture classics like “Chimes of Freedom.”
“Autumn Leaves” (Mercer, Kosma, Prevert): Yet another song recorded by Sinatra for “Where Are You?” in 1957 at Capitol with arrangements by Gordon Jenkins, in the same session as “The Night We Called It a Day.” “Autumn Leaves,” a jazz standard, was originally written in 1945 in France by Hungarian composer Joseph Kosma and poet Jacques Prevert as “Les Feuilles Mortes” (“Dead Leaves”). Sublime lyricist Johnny Mercer wrote English words for it in 1947. There are many, many versions of this song, so we’ll just note a few: Jo Stafford’s big pop hit, an unusual version in Japanese by Nat King Cole, bilingual versions in French and English by Edith Piaf (1950), and Iggy Pop’s 2009 cover for his strange Francophile project “Préliminaires.” Jerry Lee Lewis, strangely enough given his manic persona, has had a moving version of “Autumn Leaves” as part of his extensive repertoire for decades (there’s a YouTube video (https://www.youtube.com/watch?v=byARqJrR75U) of Lewis performing the
song in 1971).
“Why Try to Change Me Now” (Coleman, McCarthy): Sinatra recorded this twice. The first version, from 1952 (arranged by Percy Faith), was his last recording for Columbia Records and many interpreted the lyrics as a kiss-off to the company. The second recording is from 1959’s “No One Cares,” another Jenkins-arranged album of “suicide songs” and a thematic sequel of sorts to Dylan favorite “Where Are You?” The song was cowritten by Broadway legend Cy Coleman, of “Sweet Charity” fame. An outstanding modern version was recorded by Fiona Apple for “The Best Is Yet to Come” a 2009 multi-artist tribute to Coleman. Check out the live version at L.A.’s Largo (https://www.youtube.com/watch?v=dUG2nS_J8cM) .
http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html
Throwbacks: Reissues from Led Zeppelin, Flesh Eaters and more (http://www.latimes.com/entertainment/music/posts/la-et-ms-throwbacks-new-old-music-from-led-zep-arthur-jellyfish-stax-more-20150108-column.html)
“Some Enchanted Evening” (Rodgers and Hammerstein): One of the showstoppers from 1949’s hit musical “South Pacific,” of course, Sinatra recorded it three times, first when the song was fresh, for a 1949 Columbia single arranged by Axel Stordahl, which didn’t sell as well as contemporary versions by Perry Como and Bing Crosby. Sinatra rerecorded it in 1963 with Nelson Riddle as part of the “Reprised Musical Repertory Theater” series of albums based on Broadway musicals that he recorded with showbiz friends. He revived it in the autumn of his years for the H.B. Barnum-led 1967 sessions for “The World We Knew.” Other versions? Take your pick, as it’s been done by everyone from Art Garfunkel to Harry Connick Jr. to any number of sentimental karaoke drunks around the world.
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POP & HISS (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
Bob Dylan to release Sinatra covers album (http://www.latimes.com/entertainment/music/posts/la-et-ms-bob-dylan-to-release-sinatra-covers-album-20141209-story.html)
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“Full Moon and Empty Arms” (Rachmaninoff, Kaye and Mossman): Yes, Rachmaninoff as in the famous Russian composer, from whose Piano Concerto No. 2 Kaye and Mossman adapted the melody in 1945. Sinatra had a minor hit on Columbia with it, and it was later done by Eddie Fisher and Sarah Vaughan. It was the track chosen by Dylan to give a sneak peek into the project back in May 2014.
“Where Are You?” (Adamson, McHugh): The title song from 1957 heartbreak concept album “Where Are You?” (and by this point, it should be clear, one of the inspirations of Dylan’s “Shadows in the Night”). By the time Sinatra got around to recording it the song was 20 years old, originating in the 1937 film “Top of the Town.” The early hit version was by Mildred Bailey in the 1930s, but Sinatra made it his. There are many other good versions, including those by Shirley Bassey, Dinah Washington and this writer’s favorite songstress, Julie London. Aretha Franklin recorded a moving rendition in 1963 during her unfairly maligned stint at Columbia Records as a jazz and pop singer.
cComments (http://www.latimes.com/entertainment/music/posts/la-et-ms-dylan-sinatra-covers-20150123-story.html#)
* One thing you can be sure of, it won’t sound like Sinatra…
AFFABLEMAN
AT 9:34 AM JANUARY 25, 2015
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“What’ll I Do” (Berlin): The oldest song on the set, written by Irving Berlin in the early 1920s for a Broadway revue. Jazzman Paul Whiteman had a hit with it in 1924. Sinatra recorded it twice: in 1947 for Columbia with Axel Stordahl and in 1962 for Reprise with Gordon Jenkins. The 1962 version was released on “All Alone,” Sinatra’s update for his own label, Reprise, of his famous “suicide songs” concept albums for Capitol in the 1950s. The song remained a popular standard for decades and there are good versions by Chet Baker (Dylan and Baker seem to share an affinity for the same torch songs), Lena Horne, Julie London, Sarah Vaughan, Cher and Harry Nilsson. “What’ll I Do” was also used by Nelson Riddle as the theme for his score for the 1974 version of “The Great Gatsby” (the one with Robert Redford and Mia Farrow).
“That Lucky Old Sun” (Smith, Gillespie): “Shadows in the Night” closes with the most soulful of the songs Dylan selected. Composed in 1949 as a kind of late-era spiritual/work song, it was recorded by Louis Armstrong, but Frankie Laine had the hit. Sinatra did his version when the song was new, but Laine’s became the definitive rendition of 1949 (and a palpable influence on singers who were coming of age at the time like Elvis Presley and Johnny Cash). Jerry Lee Lewis revved it up as a Sun recording, and it was later adopted as a proto-soul standard by Sam Cooke, Ray Charles and Aretha Franklin (also during the Columbia years). More recently, Willie Nelson recorded a crystalline version for 1976’s “The Sound in Your Mind” (included now as a bonus track to Willie’s “Stardust,” which Dylan told AARP was a direct influence on “Shadows in the Night”) and in 2007 became the centerpiece of a song cycle about California by none other than Brian Wilson.
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Secrets of New York – Tin Pan Alley – Brill Building + Who Killed the Great American Songbook?
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http://www.theatlantic.com/entertainment/archive/2015/01/the-great-american-songbook-isnt-dead/384764/
** Who Killed the Great American Songbook?
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The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song analyzes the demise of one of the most influential genres of the 20th century. But is it really dead?
JAMES SULLIVAN (http://www.theatlantic.com/james-sullivan/) JAN 23 2015, 12:42 PM ET
Riverhead Books/Wikimedia
It’s often considered the low point in Frank Sinatra’s career: the moment the singer growled, “Hot dog, woof!” during a lecherous novelty song he cut in 1951 with the statuesque TV personality Dagmar. “Mama Will Bark,” a tin-eared, Latin-flavored duet, was the dubious brainchild of Mitch Miller, the head of A&R at Columbia Records during pop music’s notorious fallow period around the dawn of rock ‘n’ roll.
** Related Story
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http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/
The End of Jazz (http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/)
Miller is portrayed, not for the first time, as a leader of the death squad for the elegant popular music of the early 20th century in Ben Yagoda’s new book,The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song (http://www.indiebound.org/book/9781594488498) . Yagoda sets out to learn just why the well-crafted songs of Cole Porter, Hoagy Carmichael, Richard Rodgers, and their contemporaries found themselves, by the 1950s, in the doghouse. But although he seems to be looking to lay some blame, the real reasons—changing tastes, greater inclusion, the dismantling of the notion that songwriters had to be “professionals”—might, in fact, be more complicated.
In what sometimes feels like three-fourths time, the author glides through an elegant anecdotal history of the Great American Songbook, and the stage and screen musicals that produced the songs we now consider to be “standards,” from “Stardust” and “Skylark” to “My Favorite Things.” The rise of Tin Pan Alley, the music publishers’ row on New York’s West 28th Street, gets at least as much air time as its demise. Yagoda, a veteran journalist and the author of books exploring language, the history of The New Yorker and vaudeville star Will Rogers, digs deep into the archives of the music industry trade papers for his detective work. Much of it is amusing—the composer of The Music Man, for instance, is quoted complaining that rock ‘n’ roll “is a plague as far reaching as any plague we have ever had.” Elsewhere, though, the narrative occasionally gets bogged down in song titles, show credits, and twice-told tales.
Marla Yagoda
As Yagoda describes, some leading factors in the decline of the Great American Songbook could certainly be pinned on murky dealings behind the scenes, including the ongoing skirmish between the two leading music publishers (the old-guard American Society of Composers, Authors, and Publishers and the upstart Broadcast Music, Inc.), the rising influence of radio disc jockeys (a show business phenomenon comparable to “an atomic bomb,” howled Variety), and the “payola” scandal that would eventually scandalize the industry. Dwindling sales of sheet music, once a staple of the industry, ended the careers of many composers, as did television’s displacement of the theater as the American family’s favorite pastime.
But the author takes some dramatic license when he posits a 1954 meeting between Miller, the perpetrator of “Come on-a My House” and “I Saw Mommy Kissing Santa Claus,” and the veteran songwriter Arthur Schwartz, who wrote the music for “That’s Entertainment!,” as the point of no return. On that day, Schwartz stooped to the level of the rank-and-file song pluggers, pitching the executive with songs from a new musical called “By the Beautiful Sea.” When he was finished, Miller said there was only one song he’d consider presenting to the label’s artists, and even that needed some work. Schwartz declined, suspecting the A&R man would be looking for a kickback in the form of a writing credit.
The show, though it ran for seven months on Broadway, has been all but lost to the ages. The song Miller singled out, “More Love Than Your Love,” has rarely been recorded; it never stood a chance at finding a page in the Great American Songbook. But as Yagoda himself notes, the problem wasn’t simply Miller’s omnipotence. The song was a dud. “Lyrically and musically, it was an undistinguished song, sentimental and plodding,” he writes. No amount of massaging or palm-greasing was going to sell this number to the homeowners who were busy stocking the hi-fi with Tony Bennett’s “Rags to Riches,” or the kids snapping up copies of “Sh-Boom” by the Crew Cuts.
That doo-wop classic was originally recorded by the Chords, a quintet of black singers from the Bronx who made the pop Top Ten with their own version. One development in the country’s changing pop music history that might have merited a bit more of Yagoda’s attention is the rise in mainstream popularity of African American artists, who until as late as 1949 were still relegated to Billboard’s “Race Records” chart. With the notable exception of Duke Ellington, almost all of the core composers of the Great American Songbook were white (though Irving Berlin, as the author notes, was so prolific he was often rumored to have “colored boys” in the back room secretly writing his songs).
The cultural desegregation that accompanied rock ‘n’ roll helped bend the tastes of American record buyers.
The cultural desegregation that accompanied the arrival of rock ‘n’ roll helped bend the tastes of American record buyers toward what Yagoda boils down as “an emotional release expressed in three chords, a pounding beat, and shout-out-loud vocals.” Though the raw sounds of rockabilly and garage bands would draw the ire of the dying breed of songwriters-for-hire, they led directly to the amateur guitar pluckers who would soon storm the fortress of music publishing.
(Many, if not most, of the Tin Pan Alley “cleffers” had been unabashed hacks, anyway. “I had to recognize for myself that I was not Irving Berlin,” recalled Sheldon Harnick, one theatrical songwriter who nevertheless balked at the pressure to conform to the “crap” that was topping the Hit Parade in the early 1950s.)
Yagoda, to his credit, does his best to make clear that The B-Side isn’t just his “they don’t write ‘em like that anymore” view of pop music, five decades late. “I love rock and roll,” he writes. “I understand that the standards are not the last word in great songs.” He notes such rock-era songwriters as Burt Bacharach, Smokey Robinson and Jimmy Webb as worthy successors to the authors of the Songbook. “It’s hard to imagine a more fecund atmosphere” for musical creativity than the mid-1960s, as Yagoda quotes Webb saying. “Record companies were willing to let us do anything we wanted to. It wasn’t like Mitch Miller was in the booth.”
Many of the musical heavyweights who came of age then have, at one point or another, reached back in time to explore the Songbook. Yagoda mentions Willie Nelson, whose 1978 Stardust remains the high-water mark of a great career, and Linda Ronstadt, whose series of albums in the 1980s with arranger Nelson Riddle helped kick off a trend.
But so did Harry Nilsson’s lovely 1973 song cycle “A Little Touch of Schmilsson in the Night.” The time-tested popular music of the Roaring Twenties, the Depression era and World War II does live on: just as the first proper solo Beatles album was Ringo Starr’s standards collection, Sentimental Journey, one of the most recent solo Beatles albums was Paul McCartney’s Kisses on the Bottom, which featured Harold Arlen’s “It’s Only a Paper Moon” and Irving Berlin’s “Always.” Dr. John has done it; Cyndi Lauper’s done it; Zooey Deschanel, as one-half of the adorable duo She and Him, has just released an album ofClassics that begins and ends with songs written in the 1930s.
Even Bob Dylan, whose revolution of one was probably a much bigger killer than Miller of the lush life of the Great American Song, is set to release an album of standards associated with Sinatra. (The new album will reportedly kick off with “I’m a Fool to Want You,” which was first released as the B-side of, yes, “Mama Will Bark.”)
“Nobody wants melody,” groused Arlen back in the early 1970s. But old Harold didn’t live long enough to see how many times they’ve sung “Over the Rainbow” on American Idol.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b88d817101) | 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=b88d817101&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Secrets of New York – Tin Pan Alley – Brill Building + Who Killed the Great American Songbook?
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
** https://www.youtube.com/watch?v=cide5mNOYBESecrets of New York – Tin Pan Alley – Brill Building
————————————————————
https://www.youtube.com/watch?v=cide5mNOYBE
http://www.theatlantic.com/entertainment/archive/2015/01/the-great-american-songbook-isnt-dead/384764/
** Who Killed the Great American Songbook?
————————————————————
The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song analyzes the demise of one of the most influential genres of the 20th century. But is it really dead?
JAMES SULLIVAN (http://www.theatlantic.com/james-sullivan/) JAN 23 2015, 12:42 PM ET
Riverhead Books/Wikimedia
It’s often considered the low point in Frank Sinatra’s career: the moment the singer growled, “Hot dog, woof!” during a lecherous novelty song he cut in 1951 with the statuesque TV personality Dagmar. “Mama Will Bark,” a tin-eared, Latin-flavored duet, was the dubious brainchild of Mitch Miller, the head of A&R at Columbia Records during pop music’s notorious fallow period around the dawn of rock ‘n’ roll.
** Related Story
————————————————————
http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/
The End of Jazz (http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/)
Miller is portrayed, not for the first time, as a leader of the death squad for the elegant popular music of the early 20th century in Ben Yagoda’s new book,The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song (http://www.indiebound.org/book/9781594488498) . Yagoda sets out to learn just why the well-crafted songs of Cole Porter, Hoagy Carmichael, Richard Rodgers, and their contemporaries found themselves, by the 1950s, in the doghouse. But although he seems to be looking to lay some blame, the real reasons—changing tastes, greater inclusion, the dismantling of the notion that songwriters had to be “professionals”—might, in fact, be more complicated.
In what sometimes feels like three-fourths time, the author glides through an elegant anecdotal history of the Great American Songbook, and the stage and screen musicals that produced the songs we now consider to be “standards,” from “Stardust” and “Skylark” to “My Favorite Things.” The rise of Tin Pan Alley, the music publishers’ row on New York’s West 28th Street, gets at least as much air time as its demise. Yagoda, a veteran journalist and the author of books exploring language, the history of The New Yorker and vaudeville star Will Rogers, digs deep into the archives of the music industry trade papers for his detective work. Much of it is amusing—the composer of The Music Man, for instance, is quoted complaining that rock ‘n’ roll “is a plague as far reaching as any plague we have ever had.” Elsewhere, though, the narrative occasionally gets bogged down in song titles, show credits, and twice-told tales.
Marla Yagoda
As Yagoda describes, some leading factors in the decline of the Great American Songbook could certainly be pinned on murky dealings behind the scenes, including the ongoing skirmish between the two leading music publishers (the old-guard American Society of Composers, Authors, and Publishers and the upstart Broadcast Music, Inc.), the rising influence of radio disc jockeys (a show business phenomenon comparable to “an atomic bomb,” howled Variety), and the “payola” scandal that would eventually scandalize the industry. Dwindling sales of sheet music, once a staple of the industry, ended the careers of many composers, as did television’s displacement of the theater as the American family’s favorite pastime.
But the author takes some dramatic license when he posits a 1954 meeting between Miller, the perpetrator of “Come on-a My House” and “I Saw Mommy Kissing Santa Claus,” and the veteran songwriter Arthur Schwartz, who wrote the music for “That’s Entertainment!,” as the point of no return. On that day, Schwartz stooped to the level of the rank-and-file song pluggers, pitching the executive with songs from a new musical called “By the Beautiful Sea.” When he was finished, Miller said there was only one song he’d consider presenting to the label’s artists, and even that needed some work. Schwartz declined, suspecting the A&R man would be looking for a kickback in the form of a writing credit.
The show, though it ran for seven months on Broadway, has been all but lost to the ages. The song Miller singled out, “More Love Than Your Love,” has rarely been recorded; it never stood a chance at finding a page in the Great American Songbook. But as Yagoda himself notes, the problem wasn’t simply Miller’s omnipotence. The song was a dud. “Lyrically and musically, it was an undistinguished song, sentimental and plodding,” he writes. No amount of massaging or palm-greasing was going to sell this number to the homeowners who were busy stocking the hi-fi with Tony Bennett’s “Rags to Riches,” or the kids snapping up copies of “Sh-Boom” by the Crew Cuts.
That doo-wop classic was originally recorded by the Chords, a quintet of black singers from the Bronx who made the pop Top Ten with their own version. One development in the country’s changing pop music history that might have merited a bit more of Yagoda’s attention is the rise in mainstream popularity of African American artists, who until as late as 1949 were still relegated to Billboard’s “Race Records” chart. With the notable exception of Duke Ellington, almost all of the core composers of the Great American Songbook were white (though Irving Berlin, as the author notes, was so prolific he was often rumored to have “colored boys” in the back room secretly writing his songs).
The cultural desegregation that accompanied rock ‘n’ roll helped bend the tastes of American record buyers.
The cultural desegregation that accompanied the arrival of rock ‘n’ roll helped bend the tastes of American record buyers toward what Yagoda boils down as “an emotional release expressed in three chords, a pounding beat, and shout-out-loud vocals.” Though the raw sounds of rockabilly and garage bands would draw the ire of the dying breed of songwriters-for-hire, they led directly to the amateur guitar pluckers who would soon storm the fortress of music publishing.
(Many, if not most, of the Tin Pan Alley “cleffers” had been unabashed hacks, anyway. “I had to recognize for myself that I was not Irving Berlin,” recalled Sheldon Harnick, one theatrical songwriter who nevertheless balked at the pressure to conform to the “crap” that was topping the Hit Parade in the early 1950s.)
Yagoda, to his credit, does his best to make clear that The B-Side isn’t just his “they don’t write ‘em like that anymore” view of pop music, five decades late. “I love rock and roll,” he writes. “I understand that the standards are not the last word in great songs.” He notes such rock-era songwriters as Burt Bacharach, Smokey Robinson and Jimmy Webb as worthy successors to the authors of the Songbook. “It’s hard to imagine a more fecund atmosphere” for musical creativity than the mid-1960s, as Yagoda quotes Webb saying. “Record companies were willing to let us do anything we wanted to. It wasn’t like Mitch Miller was in the booth.”
Many of the musical heavyweights who came of age then have, at one point or another, reached back in time to explore the Songbook. Yagoda mentions Willie Nelson, whose 1978 Stardust remains the high-water mark of a great career, and Linda Ronstadt, whose series of albums in the 1980s with arranger Nelson Riddle helped kick off a trend.
But so did Harry Nilsson’s lovely 1973 song cycle “A Little Touch of Schmilsson in the Night.” The time-tested popular music of the Roaring Twenties, the Depression era and World War II does live on: just as the first proper solo Beatles album was Ringo Starr’s standards collection, Sentimental Journey, one of the most recent solo Beatles albums was Paul McCartney’s Kisses on the Bottom, which featured Harold Arlen’s “It’s Only a Paper Moon” and Irving Berlin’s “Always.” Dr. John has done it; Cyndi Lauper’s done it; Zooey Deschanel, as one-half of the adorable duo She and Him, has just released an album ofClassics that begins and ends with songs written in the 1930s.
Even Bob Dylan, whose revolution of one was probably a much bigger killer than Miller of the lush life of the Great American Song, is set to release an album of standards associated with Sinatra. (The new album will reportedly kick off with “I’m a Fool to Want You,” which was first released as the B-side of, yes, “Mama Will Bark.”)
“Nobody wants melody,” groused Arlen back in the early 1970s. But old Harold didn’t live long enough to see how many times they’ve sung “Over the Rainbow” on American Idol.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b88d817101) | 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=b88d817101&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
Secrets of New York – Tin Pan Alley – Brill Building + Who Killed the Great American Songbook?
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
** https://www.youtube.com/watch?v=cide5mNOYBESecrets of New York – Tin Pan Alley – Brill Building
————————————————————
https://www.youtube.com/watch?v=cide5mNOYBE
http://www.theatlantic.com/entertainment/archive/2015/01/the-great-american-songbook-isnt-dead/384764/
** Who Killed the Great American Songbook?
————————————————————
The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song analyzes the demise of one of the most influential genres of the 20th century. But is it really dead?
JAMES SULLIVAN (http://www.theatlantic.com/james-sullivan/) JAN 23 2015, 12:42 PM ET
Riverhead Books/Wikimedia
It’s often considered the low point in Frank Sinatra’s career: the moment the singer growled, “Hot dog, woof!” during a lecherous novelty song he cut in 1951 with the statuesque TV personality Dagmar. “Mama Will Bark,” a tin-eared, Latin-flavored duet, was the dubious brainchild of Mitch Miller, the head of A&R at Columbia Records during pop music’s notorious fallow period around the dawn of rock ‘n’ roll.
** Related Story
————————————————————
http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/
The End of Jazz (http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/)
Miller is portrayed, not for the first time, as a leader of the death squad for the elegant popular music of the early 20th century in Ben Yagoda’s new book,The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song (http://www.indiebound.org/book/9781594488498) . Yagoda sets out to learn just why the well-crafted songs of Cole Porter, Hoagy Carmichael, Richard Rodgers, and their contemporaries found themselves, by the 1950s, in the doghouse. But although he seems to be looking to lay some blame, the real reasons—changing tastes, greater inclusion, the dismantling of the notion that songwriters had to be “professionals”—might, in fact, be more complicated.
In what sometimes feels like three-fourths time, the author glides through an elegant anecdotal history of the Great American Songbook, and the stage and screen musicals that produced the songs we now consider to be “standards,” from “Stardust” and “Skylark” to “My Favorite Things.” The rise of Tin Pan Alley, the music publishers’ row on New York’s West 28th Street, gets at least as much air time as its demise. Yagoda, a veteran journalist and the author of books exploring language, the history of The New Yorker and vaudeville star Will Rogers, digs deep into the archives of the music industry trade papers for his detective work. Much of it is amusing—the composer of The Music Man, for instance, is quoted complaining that rock ‘n’ roll “is a plague as far reaching as any plague we have ever had.” Elsewhere, though, the narrative occasionally gets bogged down in song titles, show credits, and twice-told tales.
Marla Yagoda
As Yagoda describes, some leading factors in the decline of the Great American Songbook could certainly be pinned on murky dealings behind the scenes, including the ongoing skirmish between the two leading music publishers (the old-guard American Society of Composers, Authors, and Publishers and the upstart Broadcast Music, Inc.), the rising influence of radio disc jockeys (a show business phenomenon comparable to “an atomic bomb,” howled Variety), and the “payola” scandal that would eventually scandalize the industry. Dwindling sales of sheet music, once a staple of the industry, ended the careers of many composers, as did television’s displacement of the theater as the American family’s favorite pastime.
But the author takes some dramatic license when he posits a 1954 meeting between Miller, the perpetrator of “Come on-a My House” and “I Saw Mommy Kissing Santa Claus,” and the veteran songwriter Arthur Schwartz, who wrote the music for “That’s Entertainment!,” as the point of no return. On that day, Schwartz stooped to the level of the rank-and-file song pluggers, pitching the executive with songs from a new musical called “By the Beautiful Sea.” When he was finished, Miller said there was only one song he’d consider presenting to the label’s artists, and even that needed some work. Schwartz declined, suspecting the A&R man would be looking for a kickback in the form of a writing credit.
The show, though it ran for seven months on Broadway, has been all but lost to the ages. The song Miller singled out, “More Love Than Your Love,” has rarely been recorded; it never stood a chance at finding a page in the Great American Songbook. But as Yagoda himself notes, the problem wasn’t simply Miller’s omnipotence. The song was a dud. “Lyrically and musically, it was an undistinguished song, sentimental and plodding,” he writes. No amount of massaging or palm-greasing was going to sell this number to the homeowners who were busy stocking the hi-fi with Tony Bennett’s “Rags to Riches,” or the kids snapping up copies of “Sh-Boom” by the Crew Cuts.
That doo-wop classic was originally recorded by the Chords, a quintet of black singers from the Bronx who made the pop Top Ten with their own version. One development in the country’s changing pop music history that might have merited a bit more of Yagoda’s attention is the rise in mainstream popularity of African American artists, who until as late as 1949 were still relegated to Billboard’s “Race Records” chart. With the notable exception of Duke Ellington, almost all of the core composers of the Great American Songbook were white (though Irving Berlin, as the author notes, was so prolific he was often rumored to have “colored boys” in the back room secretly writing his songs).
The cultural desegregation that accompanied rock ‘n’ roll helped bend the tastes of American record buyers.
The cultural desegregation that accompanied the arrival of rock ‘n’ roll helped bend the tastes of American record buyers toward what Yagoda boils down as “an emotional release expressed in three chords, a pounding beat, and shout-out-loud vocals.” Though the raw sounds of rockabilly and garage bands would draw the ire of the dying breed of songwriters-for-hire, they led directly to the amateur guitar pluckers who would soon storm the fortress of music publishing.
(Many, if not most, of the Tin Pan Alley “cleffers” had been unabashed hacks, anyway. “I had to recognize for myself that I was not Irving Berlin,” recalled Sheldon Harnick, one theatrical songwriter who nevertheless balked at the pressure to conform to the “crap” that was topping the Hit Parade in the early 1950s.)
Yagoda, to his credit, does his best to make clear that The B-Side isn’t just his “they don’t write ‘em like that anymore” view of pop music, five decades late. “I love rock and roll,” he writes. “I understand that the standards are not the last word in great songs.” He notes such rock-era songwriters as Burt Bacharach, Smokey Robinson and Jimmy Webb as worthy successors to the authors of the Songbook. “It’s hard to imagine a more fecund atmosphere” for musical creativity than the mid-1960s, as Yagoda quotes Webb saying. “Record companies were willing to let us do anything we wanted to. It wasn’t like Mitch Miller was in the booth.”
Many of the musical heavyweights who came of age then have, at one point or another, reached back in time to explore the Songbook. Yagoda mentions Willie Nelson, whose 1978 Stardust remains the high-water mark of a great career, and Linda Ronstadt, whose series of albums in the 1980s with arranger Nelson Riddle helped kick off a trend.
But so did Harry Nilsson’s lovely 1973 song cycle “A Little Touch of Schmilsson in the Night.” The time-tested popular music of the Roaring Twenties, the Depression era and World War II does live on: just as the first proper solo Beatles album was Ringo Starr’s standards collection, Sentimental Journey, one of the most recent solo Beatles albums was Paul McCartney’s Kisses on the Bottom, which featured Harold Arlen’s “It’s Only a Paper Moon” and Irving Berlin’s “Always.” Dr. John has done it; Cyndi Lauper’s done it; Zooey Deschanel, as one-half of the adorable duo She and Him, has just released an album ofClassics that begins and ends with songs written in the 1930s.
Even Bob Dylan, whose revolution of one was probably a much bigger killer than Miller of the lush life of the Great American Song, is set to release an album of standards associated with Sinatra. (The new album will reportedly kick off with “I’m a Fool to Want You,” which was first released as the B-side of, yes, “Mama Will Bark.”)
“Nobody wants melody,” groused Arlen back in the early 1970s. But old Harold didn’t live long enough to see how many times they’ve sung “Over the Rainbow” on American Idol.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b88d817101) | 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=b88d817101&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
Secrets of New York – Tin Pan Alley – Brill Building + Who Killed the Great American Songbook?
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
** https://www.youtube.com/watch?v=cide5mNOYBESecrets of New York – Tin Pan Alley – Brill Building
————————————————————
https://www.youtube.com/watch?v=cide5mNOYBE
http://www.theatlantic.com/entertainment/archive/2015/01/the-great-american-songbook-isnt-dead/384764/
** Who Killed the Great American Songbook?
————————————————————
The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song analyzes the demise of one of the most influential genres of the 20th century. But is it really dead?
JAMES SULLIVAN (http://www.theatlantic.com/james-sullivan/) JAN 23 2015, 12:42 PM ET
Riverhead Books/Wikimedia
It’s often considered the low point in Frank Sinatra’s career: the moment the singer growled, “Hot dog, woof!” during a lecherous novelty song he cut in 1951 with the statuesque TV personality Dagmar. “Mama Will Bark,” a tin-eared, Latin-flavored duet, was the dubious brainchild of Mitch Miller, the head of A&R at Columbia Records during pop music’s notorious fallow period around the dawn of rock ‘n’ roll.
** Related Story
————————————————————
http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/
The End of Jazz (http://www.theatlantic.com/magazine/archive/2012/11/the-end-of-jazz/309112/)
Miller is portrayed, not for the first time, as a leader of the death squad for the elegant popular music of the early 20th century in Ben Yagoda’s new book,The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song (http://www.indiebound.org/book/9781594488498) . Yagoda sets out to learn just why the well-crafted songs of Cole Porter, Hoagy Carmichael, Richard Rodgers, and their contemporaries found themselves, by the 1950s, in the doghouse. But although he seems to be looking to lay some blame, the real reasons—changing tastes, greater inclusion, the dismantling of the notion that songwriters had to be “professionals”—might, in fact, be more complicated.
In what sometimes feels like three-fourths time, the author glides through an elegant anecdotal history of the Great American Songbook, and the stage and screen musicals that produced the songs we now consider to be “standards,” from “Stardust” and “Skylark” to “My Favorite Things.” The rise of Tin Pan Alley, the music publishers’ row on New York’s West 28th Street, gets at least as much air time as its demise. Yagoda, a veteran journalist and the author of books exploring language, the history of The New Yorker and vaudeville star Will Rogers, digs deep into the archives of the music industry trade papers for his detective work. Much of it is amusing—the composer of The Music Man, for instance, is quoted complaining that rock ‘n’ roll “is a plague as far reaching as any plague we have ever had.” Elsewhere, though, the narrative occasionally gets bogged down in song titles, show credits, and twice-told tales.
Marla Yagoda
As Yagoda describes, some leading factors in the decline of the Great American Songbook could certainly be pinned on murky dealings behind the scenes, including the ongoing skirmish between the two leading music publishers (the old-guard American Society of Composers, Authors, and Publishers and the upstart Broadcast Music, Inc.), the rising influence of radio disc jockeys (a show business phenomenon comparable to “an atomic bomb,” howled Variety), and the “payola” scandal that would eventually scandalize the industry. Dwindling sales of sheet music, once a staple of the industry, ended the careers of many composers, as did television’s displacement of the theater as the American family’s favorite pastime.
But the author takes some dramatic license when he posits a 1954 meeting between Miller, the perpetrator of “Come on-a My House” and “I Saw Mommy Kissing Santa Claus,” and the veteran songwriter Arthur Schwartz, who wrote the music for “That’s Entertainment!,” as the point of no return. On that day, Schwartz stooped to the level of the rank-and-file song pluggers, pitching the executive with songs from a new musical called “By the Beautiful Sea.” When he was finished, Miller said there was only one song he’d consider presenting to the label’s artists, and even that needed some work. Schwartz declined, suspecting the A&R man would be looking for a kickback in the form of a writing credit.
The show, though it ran for seven months on Broadway, has been all but lost to the ages. The song Miller singled out, “More Love Than Your Love,” has rarely been recorded; it never stood a chance at finding a page in the Great American Songbook. But as Yagoda himself notes, the problem wasn’t simply Miller’s omnipotence. The song was a dud. “Lyrically and musically, it was an undistinguished song, sentimental and plodding,” he writes. No amount of massaging or palm-greasing was going to sell this number to the homeowners who were busy stocking the hi-fi with Tony Bennett’s “Rags to Riches,” or the kids snapping up copies of “Sh-Boom” by the Crew Cuts.
That doo-wop classic was originally recorded by the Chords, a quintet of black singers from the Bronx who made the pop Top Ten with their own version. One development in the country’s changing pop music history that might have merited a bit more of Yagoda’s attention is the rise in mainstream popularity of African American artists, who until as late as 1949 were still relegated to Billboard’s “Race Records” chart. With the notable exception of Duke Ellington, almost all of the core composers of the Great American Songbook were white (though Irving Berlin, as the author notes, was so prolific he was often rumored to have “colored boys” in the back room secretly writing his songs).
The cultural desegregation that accompanied rock ‘n’ roll helped bend the tastes of American record buyers.
The cultural desegregation that accompanied the arrival of rock ‘n’ roll helped bend the tastes of American record buyers toward what Yagoda boils down as “an emotional release expressed in three chords, a pounding beat, and shout-out-loud vocals.” Though the raw sounds of rockabilly and garage bands would draw the ire of the dying breed of songwriters-for-hire, they led directly to the amateur guitar pluckers who would soon storm the fortress of music publishing.
(Many, if not most, of the Tin Pan Alley “cleffers” had been unabashed hacks, anyway. “I had to recognize for myself that I was not Irving Berlin,” recalled Sheldon Harnick, one theatrical songwriter who nevertheless balked at the pressure to conform to the “crap” that was topping the Hit Parade in the early 1950s.)
Yagoda, to his credit, does his best to make clear that The B-Side isn’t just his “they don’t write ‘em like that anymore” view of pop music, five decades late. “I love rock and roll,” he writes. “I understand that the standards are not the last word in great songs.” He notes such rock-era songwriters as Burt Bacharach, Smokey Robinson and Jimmy Webb as worthy successors to the authors of the Songbook. “It’s hard to imagine a more fecund atmosphere” for musical creativity than the mid-1960s, as Yagoda quotes Webb saying. “Record companies were willing to let us do anything we wanted to. It wasn’t like Mitch Miller was in the booth.”
Many of the musical heavyweights who came of age then have, at one point or another, reached back in time to explore the Songbook. Yagoda mentions Willie Nelson, whose 1978 Stardust remains the high-water mark of a great career, and Linda Ronstadt, whose series of albums in the 1980s with arranger Nelson Riddle helped kick off a trend.
But so did Harry Nilsson’s lovely 1973 song cycle “A Little Touch of Schmilsson in the Night.” The time-tested popular music of the Roaring Twenties, the Depression era and World War II does live on: just as the first proper solo Beatles album was Ringo Starr’s standards collection, Sentimental Journey, one of the most recent solo Beatles albums was Paul McCartney’s Kisses on the Bottom, which featured Harold Arlen’s “It’s Only a Paper Moon” and Irving Berlin’s “Always.” Dr. John has done it; Cyndi Lauper’s done it; Zooey Deschanel, as one-half of the adorable duo She and Him, has just released an album ofClassics that begins and ends with songs written in the 1930s.
Even Bob Dylan, whose revolution of one was probably a much bigger killer than Miller of the lush life of the Great American Song, is set to release an album of standards associated with Sinatra. (The new album will reportedly kick off with “I’m a Fool to Want You,” which was first released as the B-side of, yes, “Mama Will Bark.”)
“Nobody wants melody,” groused Arlen back in the early 1970s. But old Harold didn’t live long enough to see how many times they’ve sung “Over the Rainbow” on American Idol.
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One comes from a line of New Orleans piano geniuses. Another comes from New York’s downtown scene. They bonded over old jazz, and together, inject modern twists into early repertoire.
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JAZZ NIGHT IN AMERICA: THE RADIO PROGRAM
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A half century ago, a small but important label recorded Miles, Trane, Sonny and Monk. A trio led by the rising star drummer Jamison Ross takes on classics from the Prestige catalog.
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“I’m more of a communicator than a technician,” says the self-taught, hugely successful UK jazz-pop artist. Hear him perform live in NPR’s studios.
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MARIAN MCPARTLAND’S PIANO JAZZ
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The vibraphonist performs a set of tunes by Antonio Carlos Jobim, Duke Ellington and others.
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JAZZ NIGHT IN AMERICA
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The bassist, host of NPR’s new program Jazz Night In America, talks to Audie Cornish about two exciting new jazz records, as well as two birthdays he says he can’t wait to celebrate.
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Henry Butler Meets Steven Bernstein + Prestige Records’ 65th Anniversary Party & More
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One comes from a line of New Orleans piano geniuses. Another comes from New York’s downtown scene. They bonded over old jazz, and together, inject modern twists into early repertoire.
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JAZZ NIGHT IN AMERICA: THE RADIO PROGRAM
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A half century ago, a small but important label recorded Miles, Trane, Sonny and Monk. A trio led by the rising star drummer Jamison Ross takes on classics from the Prestige catalog.
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“I’m more of a communicator than a technician,” says the self-taught, hugely successful UK jazz-pop artist. Hear him perform live in NPR’s studios.
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MARIAN MCPARTLAND’S PIANO JAZZ
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————————————————————
The vibraphonist performs a set of tunes by Antonio Carlos Jobim, Duke Ellington and others.
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JAZZ NIGHT IN AMERICA
** ‘Everything Is Cyclical’: Christian McBride Looks At 2015 In Jazz (http://click.et.npr.org/?qs=aabad832c4f13bc7916c28af4133e239282d5418663273e1264c430e0b550d03ee82806a875cce03)
————————————————————
The bassist, host of NPR’s new program Jazz Night In America, talks to Audie Cornish about two exciting new jazz records, as well as two birthdays he says he can’t wait to celebrate.
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269 State Route 94 South
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USA
Henry Butler Meets Steven Bernstein + Prestige Records’ 65th Anniversary Party & More
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One comes from a line of New Orleans piano geniuses. Another comes from New York’s downtown scene. They bonded over old jazz, and together, inject modern twists into early repertoire.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7fadda51baf45b280fe5331f773923de2bd99419994e8982a1b4a2a6001e9e12e)
JAZZ NIGHT IN AMERICA: THE RADIO PROGRAM
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————————————————————
A half century ago, a small but important label recorded Miles, Trane, Sonny and Monk. A trio led by the rising star drummer Jamison Ross takes on classics from the Prestige catalog.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7319dad9fde16b6c73603776784c888e1a4ff23675bd6b7780fe8a9e1b81d6a9a)
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STUDIO SESSIONS
** Jazz Musician Jamie Cullum Shares Stories And Plays Live (http://click.et.npr.org/?qs=aabad832c4f13bc71ac232e201a8676c6d60a1117583488fd3deaa3a27ebecda512ffb398e98a620)
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“I’m more of a communicator than a technician,” says the self-taught, hugely successful UK jazz-pop artist. Hear him perform live in NPR’s studios.
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MARIAN MCPARTLAND’S PIANO JAZZ
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————————————————————
The vibraphonist performs a set of tunes by Antonio Carlos Jobim, Duke Ellington and others.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7ef492933303f143cd2a8372abf696d3ea886e8c710082b26041693ba425b4800)
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JAZZ NIGHT IN AMERICA
** ‘Everything Is Cyclical’: Christian McBride Looks At 2015 In Jazz (http://click.et.npr.org/?qs=aabad832c4f13bc7916c28af4133e239282d5418663273e1264c430e0b550d03ee82806a875cce03)
————————————————————
The bassist, host of NPR’s new program Jazz Night In America, talks to Audie Cornish about two exciting new jazz records, as well as two birthdays he says he can’t wait to celebrate.
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Henry Butler Meets Steven Bernstein + Prestige Records’ 65th Anniversary Party & More
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————————————————————
One comes from a line of New Orleans piano geniuses. Another comes from New York’s downtown scene. They bonded over old jazz, and together, inject modern twists into early repertoire.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7fadda51baf45b280fe5331f773923de2bd99419994e8982a1b4a2a6001e9e12e)
JAZZ NIGHT IN AMERICA: THE RADIO PROGRAM
** Prestige Records’ 65th Anniversary Party (http://click.et.npr.org/?qs=aabad832c4f13bc7319dad9fde16b6c73603776784c888e1a4ff23675bd6b7780fe8a9e1b81d6a9a)
————————————————————
A half century ago, a small but important label recorded Miles, Trane, Sonny and Monk. A trio led by the rising star drummer Jamison Ross takes on classics from the Prestige catalog.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7319dad9fde16b6c73603776784c888e1a4ff23675bd6b7780fe8a9e1b81d6a9a)
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STUDIO SESSIONS
** Jazz Musician Jamie Cullum Shares Stories And Plays Live (http://click.et.npr.org/?qs=aabad832c4f13bc71ac232e201a8676c6d60a1117583488fd3deaa3a27ebecda512ffb398e98a620)
————————————————————
“I’m more of a communicator than a technician,” says the self-taught, hugely successful UK jazz-pop artist. Hear him perform live in NPR’s studios.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc71ac232e201a8676c6d60a1117583488fd3deaa3a27ebecda512ffb398e98a620)
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MARIAN MCPARTLAND’S PIANO JAZZ
** Gary Burton On Piano Jazz (http://click.et.npr.org/?qs=aabad832c4f13bc7ef492933303f143cd2a8372abf696d3ea886e8c710082b26041693ba425b4800)
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The vibraphonist performs a set of tunes by Antonio Carlos Jobim, Duke Ellington and others.
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http://click.et.npr.org/?qs=aabad832c4f13bc7ef492933303f143cd2a8372abf696d3ea886e8c710082b26041693ba425b4800
JAZZ NIGHT IN AMERICA
** ‘Everything Is Cyclical’: Christian McBride Looks At 2015 In Jazz (http://click.et.npr.org/?qs=aabad832c4f13bc7916c28af4133e239282d5418663273e1264c430e0b550d03ee82806a875cce03)
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The bassist, host of NPR’s new program Jazz Night In America, talks to Audie Cornish about two exciting new jazz records, as well as two birthdays he says he can’t wait to celebrate.
Read this story (http://click.et.npr.org/?qs=aabad832c4f13bc7916c28af4133e239282d5418663273e1264c430e0b550d03ee82806a875cce03)
http://click.et.npr.org/?qs=aabad832c4f13bc7916c28af4133e239282d5418663273e1264c430e0b550d03ee82806a875cce03
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