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Joe Franklin, Local Talk Show Pioneer, Dies at 88 – NYTimes.com
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http://www.nytimes.com/2015/01/25/nyregion/joe-franklin-local-talk-show-pioneer-dies-at-88.html?hpw
** Joe Franklin, Local Talk Show Pioneer, Dies at 88
————————————————————
Photo
Joe Franklin interviewed Debbie Reynolds at the WOR-TV studios in 1985. Credit Walter J. Kuhn
Joe Franklin, who became a New York institution by presiding over one of the most compellingly low-rent television programs in history, one that even he acknowledged was an oddly long-running parade of has-beens and yet-to-bes interrupted from time to time by surprisingly famous guests, died on Saturday in a hospice in Manhattan. He was 88. Steve Garrin, Mr. Franklin’s producer and longtime friend, said the cause was prostate cancer.
A short, pudgy performer with a sandpapery voice that bespoke old-fashioned show business razzle-dazzle, Mr. Franklin was one of local television’s most enduring personalities. He took his place behind his desk and in front of the camera day after day in the 1950s and night after night in the 1960s, ’70s, ’80s and ’90s.
In 1993, he said that he had hosted more than 300,000 guests in his more than 40 years on the air. Another way to have interviewed that many people would have been to go to Riverside, Calif., or Corpus Christi, Tex., and talk to everyone in town.
Photo
Mr. Franklin in 2002 with a trombone given to him by a member of the Tommy Dorsey Band.Credit Don Hogan Charles/The New York Times
And although he never made the move from local television in New York to the slicker, bigger realms of the networks, he was recognizable enough to have been parodied by Billy Crystal on “Saturday Night Live (http://topics.nytimes.com/top/reference/timestopics/subjects/s/saturday_night_live/index.html?inline=nyt-classifier) ” and mentioned on “The Simpsons (http://topics.nytimes.com/top/reference/timestopics/subjects/s/simpsons_the/index.html?inline=nyt-classifier) .”
What came to be considered campy began as pioneering programming: the first regular program that Channel 7 had ever broadcast at noon. WJZ-TV, as the station was known then, had not been signing on until late afternoon before the premiere of “Joe Franklin — Disk Jockey” on Jan. 8, 1951.
Soon celebrities like Elvis Presley, Bing Crosby and John F. Kennedy were making their way to the dingy basement studio on West 67th Street — a room with hot lights that was “twice the size of a cab,” Mr. Franklin recalled in 2002. He booked Woody Allen, Dustin Hoffman, Barbra Streisand, Bill Cosby and Liza Minnelli as guests when they were just starting out, and hired two other young performers, Bette Midler and Barry Manilow, as his in-house singer and accompanist.
“My show was often like a zoo,” he said in 2002. “I’d mix Margaret Mead with the man who whistled through his nose, or Richard Nixon with the tap-dancing dentist.”
Mr. Franklin claimed a perfect attendance record: He said he never missed a show. Bob Diamond, his director for the last 18 years of his television career, said that there were a few times in the days of live broadcasts when the show had to start without Mr. Franklin. But Mr. Franklin always got there eventually.
And he always seemed to have a gimmick. He celebrated his 40th anniversary on television by interviewing himself, using a split-screen arrangement. “I got a few questions I’m planning to surprise myself with,” he said before he began.
Had he been asked, he could have told viewers that he was born Joe Fortgang in the Bronx. He explained in his memoir, “Up Late With Joe Franklin,” written with R. J. Marx, that his press materials had long said that he had been born in 1928, “but I’m going to come clean and admit that my real birth date was March 9, 1926.” He was the son of Martin and Anna Fortgang; his father was a paper-and-twine dealer who had gone to Public School 158 with James Cagney.
Continue reading the main story
By the time he was 21, he had a new name, a radio career, a publicist and a too-good-to-be-true biography invented, he wrote in “Up Late,” by a publicist. In that book, he denied an anecdote that appeared in many newspaper articles about him: He had met George M. Cohan in Central Park when he was a teenager. That led to a dinner invitation from Mr. Cohan, who let him pick a recording from his collection and take it home — or so the story went. It never happened, Mr. Franklin wrote in “Up Late.”
But a real invitation to pick records was his big break. He had been the writer for the singer Kate Smith’s 1940s variety program, which featured guests like Clark Gable, Myrna Loy and Edward G. Robinson — “all my childhood heroes” — when the radio personality Martin Block hired him to choose the records played on Block’s “Make-Believe Ballroom” on WNEW. Block arranged for Mr. Franklin to go on the air with a program called “Vaudeville Isn’t Dead.” After stops at several other stations in the 1950s, Mr. Franklin settled in at WOR in the mid-60s with his “Memory Lane” program — “that big late-night stroll for nostalgiacs and memorabiliacs,” as he described it.
He was both. He owned a shoe of Greta Garbo’s, a violin of Jack Benny’s and a ukulele of Arthur Godfrey’s — not to mention 12,500 pieces of sheet music and 10,000 silent movies. His office was several rooms of uncataloged clutter, first in Times Square, later at Eighth Avenue and West 43rd Street. “You know, I was a slob,” he said in 2002.
Mr. Franklin met his wife, Lois Meriden, when she applied for a job as his secretary. Soon they were being mentioned in gossip columns. “Dorothy Kilgallen wrote that we were ‘waxing amorous,’ ” he wrote in “Up Late.” “Walter Winchell queried in his column, ‘What radio voice with initial J. F. seen ’round town with model Lois Meriden?’ ” Soon, too, she was accompanying him to the studio for his 6:30 a.m. broadcast. “Lois made faces at me through the control room window, wiggling her ears and her nose,” Mr. Franklin wrote in “Up Late.”
They were married on a television show called “Bride and Groom.” Off camera, he wrote in 1995, “things weren’t going right — it’s been like that for 40 years. But if we divorced, it would cost me a lot of money. Lois is happy, I’m happy, I live in New York, she lives in Florida.”
After his television show was canceled in 1993, Mr. Franklin repeatedly tried to cash in on his fame and his collection of memorabilia. In 2000, he lent his name to a 160-seat restaurant on Eighth Avenue at 45th Street. Eventually it became a chain restaurant with “Joe Franklin’s Comedy Club” in the back; later the restaurant and the comedy club closed. And in 2002, he sold some of his memorabilia at auction.
His survivors include his son, Bradley Franklin; two grandchildren, Billy and Sara; a younger sister, Margaret Kestenbaum; and his longtime companion, Jodi Fritz.
On television, Mr. Franklin did not like to rehearse, and he never used cue cards or prompters. The opening monologue and the questions were all in his head.
“I was the only guy who never had a preproduction meeting,” Mr. Franklin said in 2002. “You don’t rehearse your dinner conversation. I’m not saying I was right, but I lasted 43 years.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=376fe5b8f0) | 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=376fe5b8f0&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Joe Franklin, Local Talk Show Pioneer, Dies at 88 – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2015/01/25/nyregion/joe-franklin-local-talk-show-pioneer-dies-at-88.html?hpw
** Joe Franklin, Local Talk Show Pioneer, Dies at 88
————————————————————
Photo
Joe Franklin interviewed Debbie Reynolds at the WOR-TV studios in 1985. Credit Walter J. Kuhn
Joe Franklin, who became a New York institution by presiding over one of the most compellingly low-rent television programs in history, one that even he acknowledged was an oddly long-running parade of has-beens and yet-to-bes interrupted from time to time by surprisingly famous guests, died on Saturday in a hospice in Manhattan. He was 88. Steve Garrin, Mr. Franklin’s producer and longtime friend, said the cause was prostate cancer.
A short, pudgy performer with a sandpapery voice that bespoke old-fashioned show business razzle-dazzle, Mr. Franklin was one of local television’s most enduring personalities. He took his place behind his desk and in front of the camera day after day in the 1950s and night after night in the 1960s, ’70s, ’80s and ’90s.
In 1993, he said that he had hosted more than 300,000 guests in his more than 40 years on the air. Another way to have interviewed that many people would have been to go to Riverside, Calif., or Corpus Christi, Tex., and talk to everyone in town.
Photo
Mr. Franklin in 2002 with a trombone given to him by a member of the Tommy Dorsey Band.Credit Don Hogan Charles/The New York Times
And although he never made the move from local television in New York to the slicker, bigger realms of the networks, he was recognizable enough to have been parodied by Billy Crystal on “Saturday Night Live (http://topics.nytimes.com/top/reference/timestopics/subjects/s/saturday_night_live/index.html?inline=nyt-classifier) ” and mentioned on “The Simpsons (http://topics.nytimes.com/top/reference/timestopics/subjects/s/simpsons_the/index.html?inline=nyt-classifier) .”
What came to be considered campy began as pioneering programming: the first regular program that Channel 7 had ever broadcast at noon. WJZ-TV, as the station was known then, had not been signing on until late afternoon before the premiere of “Joe Franklin — Disk Jockey” on Jan. 8, 1951.
Soon celebrities like Elvis Presley, Bing Crosby and John F. Kennedy were making their way to the dingy basement studio on West 67th Street — a room with hot lights that was “twice the size of a cab,” Mr. Franklin recalled in 2002. He booked Woody Allen, Dustin Hoffman, Barbra Streisand, Bill Cosby and Liza Minnelli as guests when they were just starting out, and hired two other young performers, Bette Midler and Barry Manilow, as his in-house singer and accompanist.
“My show was often like a zoo,” he said in 2002. “I’d mix Margaret Mead with the man who whistled through his nose, or Richard Nixon with the tap-dancing dentist.”
Mr. Franklin claimed a perfect attendance record: He said he never missed a show. Bob Diamond, his director for the last 18 years of his television career, said that there were a few times in the days of live broadcasts when the show had to start without Mr. Franklin. But Mr. Franklin always got there eventually.
And he always seemed to have a gimmick. He celebrated his 40th anniversary on television by interviewing himself, using a split-screen arrangement. “I got a few questions I’m planning to surprise myself with,” he said before he began.
Had he been asked, he could have told viewers that he was born Joe Fortgang in the Bronx. He explained in his memoir, “Up Late With Joe Franklin,” written with R. J. Marx, that his press materials had long said that he had been born in 1928, “but I’m going to come clean and admit that my real birth date was March 9, 1926.” He was the son of Martin and Anna Fortgang; his father was a paper-and-twine dealer who had gone to Public School 158 with James Cagney.
Continue reading the main story
By the time he was 21, he had a new name, a radio career, a publicist and a too-good-to-be-true biography invented, he wrote in “Up Late,” by a publicist. In that book, he denied an anecdote that appeared in many newspaper articles about him: He had met George M. Cohan in Central Park when he was a teenager. That led to a dinner invitation from Mr. Cohan, who let him pick a recording from his collection and take it home — or so the story went. It never happened, Mr. Franklin wrote in “Up Late.”
But a real invitation to pick records was his big break. He had been the writer for the singer Kate Smith’s 1940s variety program, which featured guests like Clark Gable, Myrna Loy and Edward G. Robinson — “all my childhood heroes” — when the radio personality Martin Block hired him to choose the records played on Block’s “Make-Believe Ballroom” on WNEW. Block arranged for Mr. Franklin to go on the air with a program called “Vaudeville Isn’t Dead.” After stops at several other stations in the 1950s, Mr. Franklin settled in at WOR in the mid-60s with his “Memory Lane” program — “that big late-night stroll for nostalgiacs and memorabiliacs,” as he described it.
He was both. He owned a shoe of Greta Garbo’s, a violin of Jack Benny’s and a ukulele of Arthur Godfrey’s — not to mention 12,500 pieces of sheet music and 10,000 silent movies. His office was several rooms of uncataloged clutter, first in Times Square, later at Eighth Avenue and West 43rd Street. “You know, I was a slob,” he said in 2002.
Mr. Franklin met his wife, Lois Meriden, when she applied for a job as his secretary. Soon they were being mentioned in gossip columns. “Dorothy Kilgallen wrote that we were ‘waxing amorous,’ ” he wrote in “Up Late.” “Walter Winchell queried in his column, ‘What radio voice with initial J. F. seen ’round town with model Lois Meriden?’ ” Soon, too, she was accompanying him to the studio for his 6:30 a.m. broadcast. “Lois made faces at me through the control room window, wiggling her ears and her nose,” Mr. Franklin wrote in “Up Late.”
They were married on a television show called “Bride and Groom.” Off camera, he wrote in 1995, “things weren’t going right — it’s been like that for 40 years. But if we divorced, it would cost me a lot of money. Lois is happy, I’m happy, I live in New York, she lives in Florida.”
After his television show was canceled in 1993, Mr. Franklin repeatedly tried to cash in on his fame and his collection of memorabilia. In 2000, he lent his name to a 160-seat restaurant on Eighth Avenue at 45th Street. Eventually it became a chain restaurant with “Joe Franklin’s Comedy Club” in the back; later the restaurant and the comedy club closed. And in 2002, he sold some of his memorabilia at auction.
His survivors include his son, Bradley Franklin; two grandchildren, Billy and Sara; a younger sister, Margaret Kestenbaum; and his longtime companion, Jodi Fritz.
On television, Mr. Franklin did not like to rehearse, and he never used cue cards or prompters. The opening monologue and the questions were all in his head.
“I was the only guy who never had a preproduction meeting,” Mr. Franklin said in 2002. “You don’t rehearse your dinner conversation. I’m not saying I was right, but I lasted 43 years.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=376fe5b8f0) | 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=376fe5b8f0&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
Joe Franklin, Local Talk Show Pioneer, Dies at 88 – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2015/01/25/nyregion/joe-franklin-local-talk-show-pioneer-dies-at-88.html?hpw
** Joe Franklin, Local Talk Show Pioneer, Dies at 88
————————————————————
Photo
Joe Franklin interviewed Debbie Reynolds at the WOR-TV studios in 1985. Credit Walter J. Kuhn
Joe Franklin, who became a New York institution by presiding over one of the most compellingly low-rent television programs in history, one that even he acknowledged was an oddly long-running parade of has-beens and yet-to-bes interrupted from time to time by surprisingly famous guests, died on Saturday in a hospice in Manhattan. He was 88. Steve Garrin, Mr. Franklin’s producer and longtime friend, said the cause was prostate cancer.
A short, pudgy performer with a sandpapery voice that bespoke old-fashioned show business razzle-dazzle, Mr. Franklin was one of local television’s most enduring personalities. He took his place behind his desk and in front of the camera day after day in the 1950s and night after night in the 1960s, ’70s, ’80s and ’90s.
In 1993, he said that he had hosted more than 300,000 guests in his more than 40 years on the air. Another way to have interviewed that many people would have been to go to Riverside, Calif., or Corpus Christi, Tex., and talk to everyone in town.
Photo
Mr. Franklin in 2002 with a trombone given to him by a member of the Tommy Dorsey Band.Credit Don Hogan Charles/The New York Times
And although he never made the move from local television in New York to the slicker, bigger realms of the networks, he was recognizable enough to have been parodied by Billy Crystal on “Saturday Night Live (http://topics.nytimes.com/top/reference/timestopics/subjects/s/saturday_night_live/index.html?inline=nyt-classifier) ” and mentioned on “The Simpsons (http://topics.nytimes.com/top/reference/timestopics/subjects/s/simpsons_the/index.html?inline=nyt-classifier) .”
What came to be considered campy began as pioneering programming: the first regular program that Channel 7 had ever broadcast at noon. WJZ-TV, as the station was known then, had not been signing on until late afternoon before the premiere of “Joe Franklin — Disk Jockey” on Jan. 8, 1951.
Soon celebrities like Elvis Presley, Bing Crosby and John F. Kennedy were making their way to the dingy basement studio on West 67th Street — a room with hot lights that was “twice the size of a cab,” Mr. Franklin recalled in 2002. He booked Woody Allen, Dustin Hoffman, Barbra Streisand, Bill Cosby and Liza Minnelli as guests when they were just starting out, and hired two other young performers, Bette Midler and Barry Manilow, as his in-house singer and accompanist.
“My show was often like a zoo,” he said in 2002. “I’d mix Margaret Mead with the man who whistled through his nose, or Richard Nixon with the tap-dancing dentist.”
Mr. Franklin claimed a perfect attendance record: He said he never missed a show. Bob Diamond, his director for the last 18 years of his television career, said that there were a few times in the days of live broadcasts when the show had to start without Mr. Franklin. But Mr. Franklin always got there eventually.
And he always seemed to have a gimmick. He celebrated his 40th anniversary on television by interviewing himself, using a split-screen arrangement. “I got a few questions I’m planning to surprise myself with,” he said before he began.
Had he been asked, he could have told viewers that he was born Joe Fortgang in the Bronx. He explained in his memoir, “Up Late With Joe Franklin,” written with R. J. Marx, that his press materials had long said that he had been born in 1928, “but I’m going to come clean and admit that my real birth date was March 9, 1926.” He was the son of Martin and Anna Fortgang; his father was a paper-and-twine dealer who had gone to Public School 158 with James Cagney.
Continue reading the main story
By the time he was 21, he had a new name, a radio career, a publicist and a too-good-to-be-true biography invented, he wrote in “Up Late,” by a publicist. In that book, he denied an anecdote that appeared in many newspaper articles about him: He had met George M. Cohan in Central Park when he was a teenager. That led to a dinner invitation from Mr. Cohan, who let him pick a recording from his collection and take it home — or so the story went. It never happened, Mr. Franklin wrote in “Up Late.”
But a real invitation to pick records was his big break. He had been the writer for the singer Kate Smith’s 1940s variety program, which featured guests like Clark Gable, Myrna Loy and Edward G. Robinson — “all my childhood heroes” — when the radio personality Martin Block hired him to choose the records played on Block’s “Make-Believe Ballroom” on WNEW. Block arranged for Mr. Franklin to go on the air with a program called “Vaudeville Isn’t Dead.” After stops at several other stations in the 1950s, Mr. Franklin settled in at WOR in the mid-60s with his “Memory Lane” program — “that big late-night stroll for nostalgiacs and memorabiliacs,” as he described it.
He was both. He owned a shoe of Greta Garbo’s, a violin of Jack Benny’s and a ukulele of Arthur Godfrey’s — not to mention 12,500 pieces of sheet music and 10,000 silent movies. His office was several rooms of uncataloged clutter, first in Times Square, later at Eighth Avenue and West 43rd Street. “You know, I was a slob,” he said in 2002.
Mr. Franklin met his wife, Lois Meriden, when she applied for a job as his secretary. Soon they were being mentioned in gossip columns. “Dorothy Kilgallen wrote that we were ‘waxing amorous,’ ” he wrote in “Up Late.” “Walter Winchell queried in his column, ‘What radio voice with initial J. F. seen ’round town with model Lois Meriden?’ ” Soon, too, she was accompanying him to the studio for his 6:30 a.m. broadcast. “Lois made faces at me through the control room window, wiggling her ears and her nose,” Mr. Franklin wrote in “Up Late.”
They were married on a television show called “Bride and Groom.” Off camera, he wrote in 1995, “things weren’t going right — it’s been like that for 40 years. But if we divorced, it would cost me a lot of money. Lois is happy, I’m happy, I live in New York, she lives in Florida.”
After his television show was canceled in 1993, Mr. Franklin repeatedly tried to cash in on his fame and his collection of memorabilia. In 2000, he lent his name to a 160-seat restaurant on Eighth Avenue at 45th Street. Eventually it became a chain restaurant with “Joe Franklin’s Comedy Club” in the back; later the restaurant and the comedy club closed. And in 2002, he sold some of his memorabilia at auction.
His survivors include his son, Bradley Franklin; two grandchildren, Billy and Sara; a younger sister, Margaret Kestenbaum; and his longtime companion, Jodi Fritz.
On television, Mr. Franklin did not like to rehearse, and he never used cue cards or prompters. The opening monologue and the questions were all in his head.
“I was the only guy who never had a preproduction meeting,” Mr. Franklin said in 2002. “You don’t rehearse your dinner conversation. I’m not saying I was right, but I lasted 43 years.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=376fe5b8f0) | 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=376fe5b8f0&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
Joe Franklin, Local Talk Show Pioneer, Dies at 88 – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2015/01/25/nyregion/joe-franklin-local-talk-show-pioneer-dies-at-88.html?hpw
** Joe Franklin, Local Talk Show Pioneer, Dies at 88
————————————————————
Photo
Joe Franklin interviewed Debbie Reynolds at the WOR-TV studios in 1985. Credit Walter J. Kuhn
Joe Franklin, who became a New York institution by presiding over one of the most compellingly low-rent television programs in history, one that even he acknowledged was an oddly long-running parade of has-beens and yet-to-bes interrupted from time to time by surprisingly famous guests, died on Saturday in a hospice in Manhattan. He was 88. Steve Garrin, Mr. Franklin’s producer and longtime friend, said the cause was prostate cancer.
A short, pudgy performer with a sandpapery voice that bespoke old-fashioned show business razzle-dazzle, Mr. Franklin was one of local television’s most enduring personalities. He took his place behind his desk and in front of the camera day after day in the 1950s and night after night in the 1960s, ’70s, ’80s and ’90s.
In 1993, he said that he had hosted more than 300,000 guests in his more than 40 years on the air. Another way to have interviewed that many people would have been to go to Riverside, Calif., or Corpus Christi, Tex., and talk to everyone in town.
Photo
Mr. Franklin in 2002 with a trombone given to him by a member of the Tommy Dorsey Band.Credit Don Hogan Charles/The New York Times
And although he never made the move from local television in New York to the slicker, bigger realms of the networks, he was recognizable enough to have been parodied by Billy Crystal on “Saturday Night Live (http://topics.nytimes.com/top/reference/timestopics/subjects/s/saturday_night_live/index.html?inline=nyt-classifier) ” and mentioned on “The Simpsons (http://topics.nytimes.com/top/reference/timestopics/subjects/s/simpsons_the/index.html?inline=nyt-classifier) .”
What came to be considered campy began as pioneering programming: the first regular program that Channel 7 had ever broadcast at noon. WJZ-TV, as the station was known then, had not been signing on until late afternoon before the premiere of “Joe Franklin — Disk Jockey” on Jan. 8, 1951.
Soon celebrities like Elvis Presley, Bing Crosby and John F. Kennedy were making their way to the dingy basement studio on West 67th Street — a room with hot lights that was “twice the size of a cab,” Mr. Franklin recalled in 2002. He booked Woody Allen, Dustin Hoffman, Barbra Streisand, Bill Cosby and Liza Minnelli as guests when they were just starting out, and hired two other young performers, Bette Midler and Barry Manilow, as his in-house singer and accompanist.
“My show was often like a zoo,” he said in 2002. “I’d mix Margaret Mead with the man who whistled through his nose, or Richard Nixon with the tap-dancing dentist.”
Mr. Franklin claimed a perfect attendance record: He said he never missed a show. Bob Diamond, his director for the last 18 years of his television career, said that there were a few times in the days of live broadcasts when the show had to start without Mr. Franklin. But Mr. Franklin always got there eventually.
And he always seemed to have a gimmick. He celebrated his 40th anniversary on television by interviewing himself, using a split-screen arrangement. “I got a few questions I’m planning to surprise myself with,” he said before he began.
Had he been asked, he could have told viewers that he was born Joe Fortgang in the Bronx. He explained in his memoir, “Up Late With Joe Franklin,” written with R. J. Marx, that his press materials had long said that he had been born in 1928, “but I’m going to come clean and admit that my real birth date was March 9, 1926.” He was the son of Martin and Anna Fortgang; his father was a paper-and-twine dealer who had gone to Public School 158 with James Cagney.
Continue reading the main story
By the time he was 21, he had a new name, a radio career, a publicist and a too-good-to-be-true biography invented, he wrote in “Up Late,” by a publicist. In that book, he denied an anecdote that appeared in many newspaper articles about him: He had met George M. Cohan in Central Park when he was a teenager. That led to a dinner invitation from Mr. Cohan, who let him pick a recording from his collection and take it home — or so the story went. It never happened, Mr. Franklin wrote in “Up Late.”
But a real invitation to pick records was his big break. He had been the writer for the singer Kate Smith’s 1940s variety program, which featured guests like Clark Gable, Myrna Loy and Edward G. Robinson — “all my childhood heroes” — when the radio personality Martin Block hired him to choose the records played on Block’s “Make-Believe Ballroom” on WNEW. Block arranged for Mr. Franklin to go on the air with a program called “Vaudeville Isn’t Dead.” After stops at several other stations in the 1950s, Mr. Franklin settled in at WOR in the mid-60s with his “Memory Lane” program — “that big late-night stroll for nostalgiacs and memorabiliacs,” as he described it.
He was both. He owned a shoe of Greta Garbo’s, a violin of Jack Benny’s and a ukulele of Arthur Godfrey’s — not to mention 12,500 pieces of sheet music and 10,000 silent movies. His office was several rooms of uncataloged clutter, first in Times Square, later at Eighth Avenue and West 43rd Street. “You know, I was a slob,” he said in 2002.
Mr. Franklin met his wife, Lois Meriden, when she applied for a job as his secretary. Soon they were being mentioned in gossip columns. “Dorothy Kilgallen wrote that we were ‘waxing amorous,’ ” he wrote in “Up Late.” “Walter Winchell queried in his column, ‘What radio voice with initial J. F. seen ’round town with model Lois Meriden?’ ” Soon, too, she was accompanying him to the studio for his 6:30 a.m. broadcast. “Lois made faces at me through the control room window, wiggling her ears and her nose,” Mr. Franklin wrote in “Up Late.”
They were married on a television show called “Bride and Groom.” Off camera, he wrote in 1995, “things weren’t going right — it’s been like that for 40 years. But if we divorced, it would cost me a lot of money. Lois is happy, I’m happy, I live in New York, she lives in Florida.”
After his television show was canceled in 1993, Mr. Franklin repeatedly tried to cash in on his fame and his collection of memorabilia. In 2000, he lent his name to a 160-seat restaurant on Eighth Avenue at 45th Street. Eventually it became a chain restaurant with “Joe Franklin’s Comedy Club” in the back; later the restaurant and the comedy club closed. And in 2002, he sold some of his memorabilia at auction.
His survivors include his son, Bradley Franklin; two grandchildren, Billy and Sara; a younger sister, Margaret Kestenbaum; and his longtime companion, Jodi Fritz.
On television, Mr. Franklin did not like to rehearse, and he never used cue cards or prompters. The opening monologue and the questions were all in his head.
“I was the only guy who never had a preproduction meeting,” Mr. Franklin said in 2002. “You don’t rehearse your dinner conversation. I’m not saying I was right, but I lasted 43 years.”
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** New York TV Legend Joe Franklin Dead at 88, Pioneered the Celebrity Talk Show (http://www.showbiz411.com/2015/01/24/social-network-reports-new-york-tv-legend-joe-franklin-dead-at-88)
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by Roger Friedman (http://www.showbiz411.com/author/roger) – January 24, 2015 11:33 pm
http://www.showbiz411.com/2015/01/24/social-network-reports-new-york-tv-legend-joe-franklin-dead-at-88#comments 30
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UPDATE: Confirmed, sadly.
EARLIER: There’s no confirmation yet, but it does seem from reports that New York TV legend Joe Franklin has died at age 88. Franklin pioneered the talk show, and had one on WOR TV in New York from 1962 to 1993. He was famous for having eclectic groups of people– like the current head of the Joint Chiefs of Staff as well as Steve Lawrence and Eydie Gorme– on the same couch. His show was famously parodied by Billy Crystal on Saturday Night Live. Born Joseph Fortgang, Joe’s nasal voice was a New York landmark. Twitter accounts from the Friars Club and Mark Simone have each confirmed Franklin’s death. It’s really the end of an era.
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** New York TV Legend Joe Franklin Dead at 88, Pioneered the Celebrity Talk Show (http://www.showbiz411.com/2015/01/24/social-network-reports-new-york-tv-legend-joe-franklin-dead-at-88)
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by Roger Friedman (http://www.showbiz411.com/author/roger) – January 24, 2015 11:33 pm
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UPDATE: Confirmed, sadly.
EARLIER: There’s no confirmation yet, but it does seem from reports that New York TV legend Joe Franklin has died at age 88. Franklin pioneered the talk show, and had one on WOR TV in New York from 1962 to 1993. He was famous for having eclectic groups of people– like the current head of the Joint Chiefs of Staff as well as Steve Lawrence and Eydie Gorme– on the same couch. His show was famously parodied by Billy Crystal on Saturday Night Live. Born Joseph Fortgang, Joe’s nasal voice was a New York landmark. Twitter accounts from the Friars Club and Mark Simone have each confirmed Franklin’s death. It’s really the end of an era.
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** New York TV Legend Joe Franklin Dead at 88, Pioneered the Celebrity Talk Show (http://www.showbiz411.com/2015/01/24/social-network-reports-new-york-tv-legend-joe-franklin-dead-at-88)
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by Roger Friedman (http://www.showbiz411.com/author/roger) – January 24, 2015 11:33 pm
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UPDATE: Confirmed, sadly.
EARLIER: There’s no confirmation yet, but it does seem from reports that New York TV legend Joe Franklin has died at age 88. Franklin pioneered the talk show, and had one on WOR TV in New York from 1962 to 1993. He was famous for having eclectic groups of people– like the current head of the Joint Chiefs of Staff as well as Steve Lawrence and Eydie Gorme– on the same couch. His show was famously parodied by Billy Crystal on Saturday Night Live. Born Joseph Fortgang, Joe’s nasal voice was a New York landmark. Twitter accounts from the Friars Club and Mark Simone have each confirmed Franklin’s death. It’s really the end of an era.
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New York TV Legend Joe Franklin Dead at 88, Pioneered the Celebrity Talk Show | Showbiz411
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** New York TV Legend Joe Franklin Dead at 88, Pioneered the Celebrity Talk Show (http://www.showbiz411.com/2015/01/24/social-network-reports-new-york-tv-legend-joe-franklin-dead-at-88)
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by Roger Friedman (http://www.showbiz411.com/author/roger) – January 24, 2015 11:33 pm
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http://www.showbiz411.com/wp-content/uploads/2015/01/billy-crystal-with-joe-franklin.jpg
UPDATE: Confirmed, sadly.
EARLIER: There’s no confirmation yet, but it does seem from reports that New York TV legend Joe Franklin has died at age 88. Franklin pioneered the talk show, and had one on WOR TV in New York from 1962 to 1993. He was famous for having eclectic groups of people– like the current head of the Joint Chiefs of Staff as well as Steve Lawrence and Eydie Gorme– on the same couch. His show was famously parodied by Billy Crystal on Saturday Night Live. Born Joseph Fortgang, Joe’s nasal voice was a New York landmark. Twitter accounts from the Friars Club and Mark Simone have each confirmed Franklin’s death. It’s really the end of an era.
You might like:
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Lionel Hampton – Flying Home (The Patti Page Show 1957) – YouTube
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Ward Swingle, Jazz Vocalist, Dies at 87 – NYTimes.com
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** Ward Swingle, Jazz Vocalist, Dies at 87
————————————————————
Photo
Ward Swingle, bottom left, with the Swingle Sisters in 1970. Credit GAB Archive/Redferns/Getty Images
Ward Swingle, an American jazz vocalist, conductor and arranger whose Swingle Singers brought classical music into the Qiana Age with best-selling Bach that bubbled and bounced, died on Monday in Eastbourne, England. He was 87.
His death was announced on the website of the Swingles (http://www.theswingles.co.uk/) , the current incarnation of the group he founded in the early 1960s.
Trained in classical music and jazz, Mr. Swingle began the group almost as a lark in Paris, where he had lived off and on since the 1950s. In 1962 or thereabouts, while he was working as a studio session singer, he and seven French colleagues, wanting something novel to put their voices to, tried vocalizing Bach much as a jazz singer would, using scat syllables.
The result, backed by string bass and drums, was a 1963 album, released as “Jazz Sébastien Bach” in France and “Bach’s Greatest Hits” in the United States. Featuring Mr. Swingle’s arrangements of Bach’s “Well-Tempered Clavier (https://www.youtube.com/watch?v=EM6yMDB9wgE) ” and “Art of the Fugue,” it spent more than a year on the Billboard chart.
The album won a Grammy Award (http://www.grammy.com/nominees/search?artist=&field_nominee_work_value=&year=1963&genre=All) for best performance by a chorus; Mr. Swingle also won the Grammy for best new artist of 1963. The Swingle Singers, who went on to win three more Grammys in the 1960s, can be heard scatting works by Bach, Mozart and others on many recordings, and on film and television soundtracks.
The Swingle Singers performed at the White House; at Carnegie, Alice Tully and Town Halls and the Village Gate in New York; and at La Scala in Milan. The group has collaborated with artists and ensembles including the Modern Jazz Quartet, the jazz violinist Stéphane Grappelli and the New York Philharmonic.
They were esteemed by the contemporary composer Luciano Berio, whose 1968 orchestral work “Sinfonia,” commissioned for the Philharmonic’s 125th anniversary season, included texts spoken and sung by them.
Critical response to the Swingle Singers was divided, with pop-music reviewers generally more enthusiastic than classical ones. “The group is well disciplined in its unusual craft,” John S. Wilson wrote in The New York Times in 1964. “The singers are individually precise even when their ‘words’ — which usually consist of ‘baba-daba-daba’ — come tumbling out at a headlong rate.”
Compare Harold C. Schonberg, who in 1970 huffed, also in The Times, “Hearing the Badinerie from Bach’s B minor Suite buh-buh-bubbed by a singer who could not even maintain some of the basic figurations was one of the more vulgar experiences of a concert-going lifetime.”
The original Swingle Singers disbanded in 1973. Reconvened by Mr. Swingle in England not long afterward, the ensemble was known first as Swingle II and later as the New Swingle Singers. Today, the Swingles comprise seven men and women; their repertoire (https://www.youtube.com/watch?v=8lZ5Yez0Hec) , sung a cappella, spans an eclectic range of styles.
Mr. Swingle was born in Mobile, Ala., on Sept. 21, 1927. As a boy, he played the oboe, clarinet and piano; by the time he was in high school, he was playing saxophone in a nationally known big band, the Ted Fio Rito Orchestra. He earned a degree from the Cincinnati Conservatory and in 1952 married a classmate, Françoise Demorest, in France.
Continue reading the main story
In Europe, Mr. Swingle studied with the eminent pianist and composer Walter Gieseking and worked as an accompanist for Roland Petit’s Les Ballets des Paris.
As a singer he performed with two Parisian jazz vocal ensembles — Les Blue Stars, founded by the singer and pianist Blossom Dearie, and Les Double Six — before starting the Swingle Singers. After retiring from full-time involvement with the group in the mid-1980s, Mr. Swingle, who remained its adviser long afterward, worked as a conductor, arranger and music publisher.
Besides his wife, with whom he had recently moved to England, Mr. Swingle is survived by three daughters, Rebecca, Kathryn and Elizabeth, and three grandchildren.
Viewed in hindsight, Mr. Swingle’s career seems almost foreordained, for his surname carries the very sound of swing within it. “Swingle” was widely assumed to be a coinage, and he spent much time assuring people that the name (derived from the Swiss surname Zwingli) was in fact his own.
“People always ask me that,” Mr. Swingle told The Times in 1982. “And they want me to prove it by producing my passport or my mother.”
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Ward Swingle, Jazz Vocalist, Dies at 87 – NYTimes.com
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** Ward Swingle, Jazz Vocalist, Dies at 87
————————————————————
Photo
Ward Swingle, bottom left, with the Swingle Sisters in 1970. Credit GAB Archive/Redferns/Getty Images
Ward Swingle, an American jazz vocalist, conductor and arranger whose Swingle Singers brought classical music into the Qiana Age with best-selling Bach that bubbled and bounced, died on Monday in Eastbourne, England. He was 87.
His death was announced on the website of the Swingles (http://www.theswingles.co.uk/) , the current incarnation of the group he founded in the early 1960s.
Trained in classical music and jazz, Mr. Swingle began the group almost as a lark in Paris, where he had lived off and on since the 1950s. In 1962 or thereabouts, while he was working as a studio session singer, he and seven French colleagues, wanting something novel to put their voices to, tried vocalizing Bach much as a jazz singer would, using scat syllables.
The result, backed by string bass and drums, was a 1963 album, released as “Jazz Sébastien Bach” in France and “Bach’s Greatest Hits” in the United States. Featuring Mr. Swingle’s arrangements of Bach’s “Well-Tempered Clavier (https://www.youtube.com/watch?v=EM6yMDB9wgE) ” and “Art of the Fugue,” it spent more than a year on the Billboard chart.
The album won a Grammy Award (http://www.grammy.com/nominees/search?artist=&field_nominee_work_value=&year=1963&genre=All) for best performance by a chorus; Mr. Swingle also won the Grammy for best new artist of 1963. The Swingle Singers, who went on to win three more Grammys in the 1960s, can be heard scatting works by Bach, Mozart and others on many recordings, and on film and television soundtracks.
The Swingle Singers performed at the White House; at Carnegie, Alice Tully and Town Halls and the Village Gate in New York; and at La Scala in Milan. The group has collaborated with artists and ensembles including the Modern Jazz Quartet, the jazz violinist Stéphane Grappelli and the New York Philharmonic.
They were esteemed by the contemporary composer Luciano Berio, whose 1968 orchestral work “Sinfonia,” commissioned for the Philharmonic’s 125th anniversary season, included texts spoken and sung by them.
Critical response to the Swingle Singers was divided, with pop-music reviewers generally more enthusiastic than classical ones. “The group is well disciplined in its unusual craft,” John S. Wilson wrote in The New York Times in 1964. “The singers are individually precise even when their ‘words’ — which usually consist of ‘baba-daba-daba’ — come tumbling out at a headlong rate.”
Compare Harold C. Schonberg, who in 1970 huffed, also in The Times, “Hearing the Badinerie from Bach’s B minor Suite buh-buh-bubbed by a singer who could not even maintain some of the basic figurations was one of the more vulgar experiences of a concert-going lifetime.”
The original Swingle Singers disbanded in 1973. Reconvened by Mr. Swingle in England not long afterward, the ensemble was known first as Swingle II and later as the New Swingle Singers. Today, the Swingles comprise seven men and women; their repertoire (https://www.youtube.com/watch?v=8lZ5Yez0Hec) , sung a cappella, spans an eclectic range of styles.
Mr. Swingle was born in Mobile, Ala., on Sept. 21, 1927. As a boy, he played the oboe, clarinet and piano; by the time he was in high school, he was playing saxophone in a nationally known big band, the Ted Fio Rito Orchestra. He earned a degree from the Cincinnati Conservatory and in 1952 married a classmate, Françoise Demorest, in France.
Continue reading the main story
In Europe, Mr. Swingle studied with the eminent pianist and composer Walter Gieseking and worked as an accompanist for Roland Petit’s Les Ballets des Paris.
As a singer he performed with two Parisian jazz vocal ensembles — Les Blue Stars, founded by the singer and pianist Blossom Dearie, and Les Double Six — before starting the Swingle Singers. After retiring from full-time involvement with the group in the mid-1980s, Mr. Swingle, who remained its adviser long afterward, worked as a conductor, arranger and music publisher.
Besides his wife, with whom he had recently moved to England, Mr. Swingle is survived by three daughters, Rebecca, Kathryn and Elizabeth, and three grandchildren.
Viewed in hindsight, Mr. Swingle’s career seems almost foreordained, for his surname carries the very sound of swing within it. “Swingle” was widely assumed to be a coinage, and he spent much time assuring people that the name (derived from the Swiss surname Zwingli) was in fact his own.
“People always ask me that,” Mr. Swingle told The Times in 1982. “And they want me to prove it by producing my passport or my mother.”
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Ward Swingle, Jazz Vocalist, Dies at 87 – NYTimes.com
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** Ward Swingle, Jazz Vocalist, Dies at 87
————————————————————
Photo
Ward Swingle, bottom left, with the Swingle Sisters in 1970. Credit GAB Archive/Redferns/Getty Images
Ward Swingle, an American jazz vocalist, conductor and arranger whose Swingle Singers brought classical music into the Qiana Age with best-selling Bach that bubbled and bounced, died on Monday in Eastbourne, England. He was 87.
His death was announced on the website of the Swingles (http://www.theswingles.co.uk/) , the current incarnation of the group he founded in the early 1960s.
Trained in classical music and jazz, Mr. Swingle began the group almost as a lark in Paris, where he had lived off and on since the 1950s. In 1962 or thereabouts, while he was working as a studio session singer, he and seven French colleagues, wanting something novel to put their voices to, tried vocalizing Bach much as a jazz singer would, using scat syllables.
The result, backed by string bass and drums, was a 1963 album, released as “Jazz Sébastien Bach” in France and “Bach’s Greatest Hits” in the United States. Featuring Mr. Swingle’s arrangements of Bach’s “Well-Tempered Clavier (https://www.youtube.com/watch?v=EM6yMDB9wgE) ” and “Art of the Fugue,” it spent more than a year on the Billboard chart.
The album won a Grammy Award (http://www.grammy.com/nominees/search?artist=&field_nominee_work_value=&year=1963&genre=All) for best performance by a chorus; Mr. Swingle also won the Grammy for best new artist of 1963. The Swingle Singers, who went on to win three more Grammys in the 1960s, can be heard scatting works by Bach, Mozart and others on many recordings, and on film and television soundtracks.
The Swingle Singers performed at the White House; at Carnegie, Alice Tully and Town Halls and the Village Gate in New York; and at La Scala in Milan. The group has collaborated with artists and ensembles including the Modern Jazz Quartet, the jazz violinist Stéphane Grappelli and the New York Philharmonic.
They were esteemed by the contemporary composer Luciano Berio, whose 1968 orchestral work “Sinfonia,” commissioned for the Philharmonic’s 125th anniversary season, included texts spoken and sung by them.
Critical response to the Swingle Singers was divided, with pop-music reviewers generally more enthusiastic than classical ones. “The group is well disciplined in its unusual craft,” John S. Wilson wrote in The New York Times in 1964. “The singers are individually precise even when their ‘words’ — which usually consist of ‘baba-daba-daba’ — come tumbling out at a headlong rate.”
Compare Harold C. Schonberg, who in 1970 huffed, also in The Times, “Hearing the Badinerie from Bach’s B minor Suite buh-buh-bubbed by a singer who could not even maintain some of the basic figurations was one of the more vulgar experiences of a concert-going lifetime.”
The original Swingle Singers disbanded in 1973. Reconvened by Mr. Swingle in England not long afterward, the ensemble was known first as Swingle II and later as the New Swingle Singers. Today, the Swingles comprise seven men and women; their repertoire (https://www.youtube.com/watch?v=8lZ5Yez0Hec) , sung a cappella, spans an eclectic range of styles.
Mr. Swingle was born in Mobile, Ala., on Sept. 21, 1927. As a boy, he played the oboe, clarinet and piano; by the time he was in high school, he was playing saxophone in a nationally known big band, the Ted Fio Rito Orchestra. He earned a degree from the Cincinnati Conservatory and in 1952 married a classmate, Françoise Demorest, in France.
Continue reading the main story
In Europe, Mr. Swingle studied with the eminent pianist and composer Walter Gieseking and worked as an accompanist for Roland Petit’s Les Ballets des Paris.
As a singer he performed with two Parisian jazz vocal ensembles — Les Blue Stars, founded by the singer and pianist Blossom Dearie, and Les Double Six — before starting the Swingle Singers. After retiring from full-time involvement with the group in the mid-1980s, Mr. Swingle, who remained its adviser long afterward, worked as a conductor, arranger and music publisher.
Besides his wife, with whom he had recently moved to England, Mr. Swingle is survived by three daughters, Rebecca, Kathryn and Elizabeth, and three grandchildren.
Viewed in hindsight, Mr. Swingle’s career seems almost foreordained, for his surname carries the very sound of swing within it. “Swingle” was widely assumed to be a coinage, and he spent much time assuring people that the name (derived from the Swiss surname Zwingli) was in fact his own.
“People always ask me that,” Mr. Swingle told The Times in 1982. “And they want me to prove it by producing my passport or my mother.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=87d07f5cbd) | 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=87d07f5cbd&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Despite setbacks, Jazz music survives and thrives in Boston | Boston Herald
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http://www.bostonherald.com/entertainment/music/music_news/2015/01/despite_setbacks_jazz_music_survives_and_thrives_in_boston
** Despite setbacks, Jazz music survives and thrives in Boston
————————————————————
** 012015beatce007.jpg (http://www.bostonherald.com/file/4530155)
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** Photo by:
————————————————————
Christopher Evans
UNDER THE RADAR: Beat Hotel’s entrance, above, is below street level in Harvard Square.
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Friday, January 23, 2015
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Jed Gottlieb (http://www.bostonherald.com/users/jed_gottlieb)
Jazz has become fringe art. Sure, Chris Botti and Diana Krall still move tickets, but the talented students pouring out of Berklee College of Music and the New England Conservatory face a tough economic reality: Graduates often make more money behind the counter at Starbucks than blowing their horns.
But young players can take heart in an upswing in the scene. The South End’s Beehive has done so well booking jazz in the past seven years, the owners opened a club with a similar vibe — Beat Hotel in Harvard Square, which celebrated its first anniversary last fall.
“You go to New York and walk into a place in the Village and people are killing it,” Beehive and Beat Hotel music director Bruce Ferrara said. “In Boston, often it’s something cliche or warmed over. What I’ve been trying to do is bring in music that’s real, honest and legit, and that means fun.”
It also means fewer Cole Porter standards and more progressive, more adventurous jam sessions — the kind of sessions at which those Berklee and Conservatory alums excel.
“Bruce is doing an incredible job putting together left-of-center shows with a limited budget,” Conservatory grad Noah Preminger said. “This music is always a hard sell and having those two venues helps, but unless you move to Europe, it’s always going to be a struggle to make a living doing this.”
Like so many, Preminger went to New York after graduation to establish himself. He did — Preminger found a label and became a rising star. But he moved back to Boston because, even with the limited amount of clubs here, he knew he could thrive. That, and he was “tired of driving around until four in the morning looking for a parking spot.”
The Beehive and Beat Hotel are doing well by doing something different, but not all jazz fans are into Ornette Coleman avant garde and experimental, late-period John Coltrane. Some listeners want those Cole Porter standards.
“That’s who we’re catering to at Les Zygomates,” booker and jazz musician Ron Poster said. “Five nights a week, we have jazz that’s more traditional but still swings. For a while, the booker took things in a more inaccessible direction. I’m concentrating on the classics, Duke Ellington, Count Basie, Gershwin.”
Jazz continues to struggle on the radio — WGBH and WERS have drastically cut back their programing in recent years. But we live in a rare city where, without paying a cover, fans can hear all sorts of nightly iterations of the music at Les Zyg, the Beehive, Beat Hotel and Wally’s — which is “still the club where you go if you want to hear the next generation of stars coming up in Boston,” Poster said. Scullers, Regattabar and Ryles continue to book local and national touring acts.
Try to find that many jazz clubs in Denver or Des Moines.
“I’m not sure there’s going to be a resurgence,” Ferrara said. “But, little by little, I have been upping the temperature, trying to take it to another level. The jazz scene in the city is not where we want it to be, but it’s better than it was a few years ago.”
— jgottlieb@bostonherald.com (mailto:jgottlieb@bostonherald.com)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c5724311aa) | 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=c5724311aa&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Despite setbacks, Jazz music survives and thrives in Boston | Boston Herald
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.bostonherald.com/entertainment/music/music_news/2015/01/despite_setbacks_jazz_music_survives_and_thrives_in_boston
** Despite setbacks, Jazz music survives and thrives in Boston
————————————————————
** 012015beatce007.jpg (http://www.bostonherald.com/file/4530155)
————————————————————
** Photo by:
————————————————————
Christopher Evans
UNDER THE RADAR: Beat Hotel’s entrance, above, is below street level in Harvard Square.
1
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3
Friday, January 23, 2015
1 Comment (http://www.bostonherald.com/comments/1064728255#disqus_thread) Photo Gallery (http://www.bostonherald.com/photos/1064728151)
** By:
————————————————————
Jed Gottlieb (http://www.bostonherald.com/users/jed_gottlieb)
Jazz has become fringe art. Sure, Chris Botti and Diana Krall still move tickets, but the talented students pouring out of Berklee College of Music and the New England Conservatory face a tough economic reality: Graduates often make more money behind the counter at Starbucks than blowing their horns.
But young players can take heart in an upswing in the scene. The South End’s Beehive has done so well booking jazz in the past seven years, the owners opened a club with a similar vibe — Beat Hotel in Harvard Square, which celebrated its first anniversary last fall.
“You go to New York and walk into a place in the Village and people are killing it,” Beehive and Beat Hotel music director Bruce Ferrara said. “In Boston, often it’s something cliche or warmed over. What I’ve been trying to do is bring in music that’s real, honest and legit, and that means fun.”
It also means fewer Cole Porter standards and more progressive, more adventurous jam sessions — the kind of sessions at which those Berklee and Conservatory alums excel.
“Bruce is doing an incredible job putting together left-of-center shows with a limited budget,” Conservatory grad Noah Preminger said. “This music is always a hard sell and having those two venues helps, but unless you move to Europe, it’s always going to be a struggle to make a living doing this.”
Like so many, Preminger went to New York after graduation to establish himself. He did — Preminger found a label and became a rising star. But he moved back to Boston because, even with the limited amount of clubs here, he knew he could thrive. That, and he was “tired of driving around until four in the morning looking for a parking spot.”
The Beehive and Beat Hotel are doing well by doing something different, but not all jazz fans are into Ornette Coleman avant garde and experimental, late-period John Coltrane. Some listeners want those Cole Porter standards.
“That’s who we’re catering to at Les Zygomates,” booker and jazz musician Ron Poster said. “Five nights a week, we have jazz that’s more traditional but still swings. For a while, the booker took things in a more inaccessible direction. I’m concentrating on the classics, Duke Ellington, Count Basie, Gershwin.”
Jazz continues to struggle on the radio — WGBH and WERS have drastically cut back their programing in recent years. But we live in a rare city where, without paying a cover, fans can hear all sorts of nightly iterations of the music at Les Zyg, the Beehive, Beat Hotel and Wally’s — which is “still the club where you go if you want to hear the next generation of stars coming up in Boston,” Poster said. Scullers, Regattabar and Ryles continue to book local and national touring acts.
Try to find that many jazz clubs in Denver or Des Moines.
“I’m not sure there’s going to be a resurgence,” Ferrara said. “But, little by little, I have been upping the temperature, trying to take it to another level. The jazz scene in the city is not where we want it to be, but it’s better than it was a few years ago.”
— jgottlieb@bostonherald.com (mailto:jgottlieb@bostonherald.com)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c5724311aa) | 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=c5724311aa&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Despite setbacks, Jazz music survives and thrives in Boston | Boston Herald
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.bostonherald.com/entertainment/music/music_news/2015/01/despite_setbacks_jazz_music_survives_and_thrives_in_boston
** Despite setbacks, Jazz music survives and thrives in Boston
————————————————————
** 012015beatce007.jpg (http://www.bostonherald.com/file/4530155)
————————————————————
** Photo by:
————————————————————
Christopher Evans
UNDER THE RADAR: Beat Hotel’s entrance, above, is below street level in Harvard Square.
1
2
3
Friday, January 23, 2015
1 Comment (http://www.bostonherald.com/comments/1064728255#disqus_thread) Photo Gallery (http://www.bostonherald.com/photos/1064728151)
** By:
————————————————————
Jed Gottlieb (http://www.bostonherald.com/users/jed_gottlieb)
Jazz has become fringe art. Sure, Chris Botti and Diana Krall still move tickets, but the talented students pouring out of Berklee College of Music and the New England Conservatory face a tough economic reality: Graduates often make more money behind the counter at Starbucks than blowing their horns.
But young players can take heart in an upswing in the scene. The South End’s Beehive has done so well booking jazz in the past seven years, the owners opened a club with a similar vibe — Beat Hotel in Harvard Square, which celebrated its first anniversary last fall.
“You go to New York and walk into a place in the Village and people are killing it,” Beehive and Beat Hotel music director Bruce Ferrara said. “In Boston, often it’s something cliche or warmed over. What I’ve been trying to do is bring in music that’s real, honest and legit, and that means fun.”
It also means fewer Cole Porter standards and more progressive, more adventurous jam sessions — the kind of sessions at which those Berklee and Conservatory alums excel.
“Bruce is doing an incredible job putting together left-of-center shows with a limited budget,” Conservatory grad Noah Preminger said. “This music is always a hard sell and having those two venues helps, but unless you move to Europe, it’s always going to be a struggle to make a living doing this.”
Like so many, Preminger went to New York after graduation to establish himself. He did — Preminger found a label and became a rising star. But he moved back to Boston because, even with the limited amount of clubs here, he knew he could thrive. That, and he was “tired of driving around until four in the morning looking for a parking spot.”
The Beehive and Beat Hotel are doing well by doing something different, but not all jazz fans are into Ornette Coleman avant garde and experimental, late-period John Coltrane. Some listeners want those Cole Porter standards.
“That’s who we’re catering to at Les Zygomates,” booker and jazz musician Ron Poster said. “Five nights a week, we have jazz that’s more traditional but still swings. For a while, the booker took things in a more inaccessible direction. I’m concentrating on the classics, Duke Ellington, Count Basie, Gershwin.”
Jazz continues to struggle on the radio — WGBH and WERS have drastically cut back their programing in recent years. But we live in a rare city where, without paying a cover, fans can hear all sorts of nightly iterations of the music at Les Zyg, the Beehive, Beat Hotel and Wally’s — which is “still the club where you go if you want to hear the next generation of stars coming up in Boston,” Poster said. Scullers, Regattabar and Ryles continue to book local and national touring acts.
Try to find that many jazz clubs in Denver or Des Moines.
“I’m not sure there’s going to be a resurgence,” Ferrara said. “But, little by little, I have been upping the temperature, trying to take it to another level. The jazz scene in the city is not where we want it to be, but it’s better than it was a few years ago.”
— jgottlieb@bostonherald.com (mailto:jgottlieb@bostonherald.com)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c5724311aa) | 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=c5724311aa&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
Despite setbacks, Jazz music survives and thrives in Boston | Boston Herald
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.bostonherald.com/entertainment/music/music_news/2015/01/despite_setbacks_jazz_music_survives_and_thrives_in_boston
** Despite setbacks, Jazz music survives and thrives in Boston
————————————————————
** 012015beatce007.jpg (http://www.bostonherald.com/file/4530155)
————————————————————
** Photo by:
————————————————————
Christopher Evans
UNDER THE RADAR: Beat Hotel’s entrance, above, is below street level in Harvard Square.
1
2
3
Friday, January 23, 2015
1 Comment (http://www.bostonherald.com/comments/1064728255#disqus_thread) Photo Gallery (http://www.bostonherald.com/photos/1064728151)
** By:
————————————————————
Jed Gottlieb (http://www.bostonherald.com/users/jed_gottlieb)
Jazz has become fringe art. Sure, Chris Botti and Diana Krall still move tickets, but the talented students pouring out of Berklee College of Music and the New England Conservatory face a tough economic reality: Graduates often make more money behind the counter at Starbucks than blowing their horns.
But young players can take heart in an upswing in the scene. The South End’s Beehive has done so well booking jazz in the past seven years, the owners opened a club with a similar vibe — Beat Hotel in Harvard Square, which celebrated its first anniversary last fall.
“You go to New York and walk into a place in the Village and people are killing it,” Beehive and Beat Hotel music director Bruce Ferrara said. “In Boston, often it’s something cliche or warmed over. What I’ve been trying to do is bring in music that’s real, honest and legit, and that means fun.”
It also means fewer Cole Porter standards and more progressive, more adventurous jam sessions — the kind of sessions at which those Berklee and Conservatory alums excel.
“Bruce is doing an incredible job putting together left-of-center shows with a limited budget,” Conservatory grad Noah Preminger said. “This music is always a hard sell and having those two venues helps, but unless you move to Europe, it’s always going to be a struggle to make a living doing this.”
Like so many, Preminger went to New York after graduation to establish himself. He did — Preminger found a label and became a rising star. But he moved back to Boston because, even with the limited amount of clubs here, he knew he could thrive. That, and he was “tired of driving around until four in the morning looking for a parking spot.”
The Beehive and Beat Hotel are doing well by doing something different, but not all jazz fans are into Ornette Coleman avant garde and experimental, late-period John Coltrane. Some listeners want those Cole Porter standards.
“That’s who we’re catering to at Les Zygomates,” booker and jazz musician Ron Poster said. “Five nights a week, we have jazz that’s more traditional but still swings. For a while, the booker took things in a more inaccessible direction. I’m concentrating on the classics, Duke Ellington, Count Basie, Gershwin.”
Jazz continues to struggle on the radio — WGBH and WERS have drastically cut back their programing in recent years. But we live in a rare city where, without paying a cover, fans can hear all sorts of nightly iterations of the music at Les Zyg, the Beehive, Beat Hotel and Wally’s — which is “still the club where you go if you want to hear the next generation of stars coming up in Boston,” Poster said. Scullers, Regattabar and Ryles continue to book local and national touring acts.
Try to find that many jazz clubs in Denver or Des Moines.
“I’m not sure there’s going to be a resurgence,” Ferrara said. “But, little by little, I have been upping the temperature, trying to take it to another level. The jazz scene in the city is not where we want it to be, but it’s better than it was a few years ago.”
— jgottlieb@bostonherald.com (mailto:jgottlieb@bostonherald.com)
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From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
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Montclair, NJ 07043
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—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
11 Skytop Terrace
Montclair, NJ 07043
Add us to your address book (http://njarts.us9.list-manage.com/vcard?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b)
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—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
Twitter: @jaylustig, @njartsdaily
facebook.com/jay.lustig1, facebook.com/njartsnet
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
11 Skytop Terrace
Montclair, NJ 07043
Add us to your address book (http://njarts.us9.list-manage.com/vcard?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b)
unsubscribe from this list (http://njarts.us9.list-manage.com/unsubscribe?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b&e=974cbfbf90&c=8ce0722e19) update subscription preferences (http://njarts.us9.list-manage2.com/profile?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b&e=974cbfbf90)
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—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
Twitter: @jaylustig, @njartsdaily
facebook.com/jay.lustig1, facebook.com/njartsnet
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=becbb39563) | 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=becbb39563&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
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
11 Skytop Terrace
Montclair, NJ 07043
Add us to your address book (http://njarts.us9.list-manage.com/vcard?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b)
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—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
Twitter: @jaylustig, @njartsdaily
facebook.com/jay.lustig1, facebook.com/njartsnet
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=becbb39563) | 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=becbb39563&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
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
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From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
11 Skytop Terrace
Montclair, NJ 07043
Add us to your address book (http://njarts.us9.list-manage.com/vcard?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b)
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http://www.mailchimp.com/monkey-rewards/?utm_source=freemium_newsletter&utm_medium=email&utm_campaign=monkey_rewards&aid=b3ec5cc91fd28e220689a6ba5&afl=1
—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
Twitter: @jaylustig, @njartsdaily
facebook.com/jay.lustig1, facebook.com/njartsnet
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=becbb39563) | 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=becbb39563&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
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
————————————————————
————————————————————————
** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
————————————————————
————————————————————————
** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
————————————————————
——————————————————————————
** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
————————————————————
————————————————————————
New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
————————————————————————
SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
————————————————————————
MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
————————————————————————
NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
Copyright © 2015 NJArts.net, All rights reserved.
You are receiving this email because you opted in at our website, NJArts.net.
Our mailing address is:
NJArts.net
11 Skytop Terrace
Montclair, NJ 07043
Add us to your address book (http://njarts.us9.list-manage.com/vcard?u=b3ec5cc91fd28e220689a6ba5&id=4311ad570b)
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—
Jay Lustig
Editor, NJArts.net (http://njarts.net/)
njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
11 Skytop Terrace
Montclair, NJ 07043
(973) 818-7534
Twitter: @jaylustig, @njartsdaily
facebook.com/jay.lustig1, facebook.com/njartsnet
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=becbb39563) | 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=becbb39563&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
Email newsletter for NJArts.net
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
From: Jay LUSTIG
Date: Friday, January 23, 2015 at 12:36 PM
To: Jay LUSTIG
Subject: Fwd: email
NJ Arts Lovers —
I am starting a free email newsletter for my web site NJArts.net (launched in Sept.). There’s a sample below. If you’re interested in subscribing, please go to the NJArts.net home page, and fill in the box in the upper right corner.
Thanks!
– Jay Lustig
———- Forwarded message ———-
From: NJArts.net
Date: Fri, Jan 23, 2015 at 12:09 PM
Subject: email
To: njartsdaily@gmail.com (mailto:njartsdaily@gmail.com)
http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c92e551720&e=974cbfbf90
Here’s some of the content that you can find on NJArts.net (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=9862412530&e=974cbfbf90)
** Two River Theater’s ‘Absurd Person Singular’ is both funny and unsettling (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=92a8839a77&e=974cbfbf90)
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** Rush to perform in New Jersey, maybe for the last time? (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6f39c997b8&e=974cbfbf90)
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** ‘Soul Walk’: An exuberant blend of tap dancing and jazz (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=b3b18322f0&e=974cbfbf90)
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** 300 Jersey Songs: ‘Johnny B. Goode,’ Dave Edmunds and Friends at the Capitol Theatre (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=0e2bea458b&e=974cbfbf90)
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New NJ shows going on sale: Brandi Carlile, Train, Fall Out Boy, Jane Lynch, Black Potatoe Music Festival, more (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=95c34a389b&e=974cbfbf90)
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SARAH CHANG
FROM OUR LISTINGS:
Jan. 23: Vance Gilbert, Water Street at Minstrel Acoustic Concert Series, Morristown. (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=34e18ea6cf&e=974cbfbf90)
Jan. 23-24: Jay Boyd (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1f4516e9f3&e=974cbfbf90) at Scotty’s Pub and Comedy Cove, Springfield.
Jan. 23-25, 27-31 and Feb. 1, 4-8 and 10-15: “Sizwe Banzi is Dead” at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3258cd15a2&e=974cbfbf90) .
Jan. 24: Marilyn Manson (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8fb3bdaf00&e=974cbfbf90) at Starland Ballroom, Sayreville.
Jan. 24: 10,000 Maniacs (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3501890384&e=974cbfbf90) , Paul Barrere and Fred Tackett of Little Feat, at Scottish Rite Auditorium, Collingswood.
Jan. 24: Fleetwood Mac (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c81284ce66&e=974cbfbf90) at Boardwalk Hall, Atlantic City.
Jan. 24: Jimmy Webb (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=d1c4f8bc05&e=974cbfbf90) , Robin Spielberg at Berrie Center at Ramapo College, Mahwah.
Jan. 24: The Dance Connection: Frozen (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3aa936bb37&e=974cbfbf90) at TD Bank Arts Center, Sewell.
Jan. 24: Laurie Berkner Band at McCarter Theatre Center, Princeton (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ac03700769&e=974cbfbf90) .
Jan. 24: Winter Festival: West Side Story (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=2ebd5b1bf1&e=974cbfbf90) with Sarah Chang at NJPAC, Newark. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Jan. 25: Winter Festival: West Side Story (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ed3dc86ceb&e=974cbfbf90) with Sarah Chang at State Theatre, New Brunswick. With New Jersey Symphony Orchestra. Bernstein’s “West Side Story” Suite, Korngold’s “Much Ado About Nothing” Suite, Elgar’s “Falstaff.”
Through Jan. 31: “Haiti: 01-12-2010 We Remember” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=726b167094&e=974cbfbf90) at Visceglia Gallery at Caldwell University, Caldwell. Exhibition curated by AYITISTIK, a group of Haitian-born artists affected by the earthquake that devastated their homeland on Jan. 12, 2010.
Through Feb. 8: “Silk City Love Affair: Photos, Poems, Prose, and More about Paterson, New Jersey,” (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=bcf1e5e732&e=974cbfbf90) at Paterson Museum.
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MORE LISTINGS:
ART/MUSEUMS (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=dc6d21f507&e=974cbfbf90)
COMEDY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=19734192a8&e=974cbfbf90)
DANCE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=c19ea910ae&e=974cbfbf90)
FAMILY (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=ecd70fa276&e=974cbfbf90)
FILM (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1d5c479c75&e=974cbfbf90)
LITERATURE/BOOKS/STORYTELLING (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f769baef8b&e=974cbfbf90)
MUSIC:
* BLUES/FOLK/COUNTRY (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=59cd5fdf1a&e=974cbfbf90)
* CLASSICAL (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=1ae288abe7&e=974cbfbf90)
* JAZZ (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=728bacabf0&e=974cbfbf90)
* POP/ROCK (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=e0cec186a7&e=974cbfbf90)
* WORLD (http://njarts.us9.list-manage1.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=f837d4daf3&e=974cbfbf90)
THEATRE (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=733f508db2&e=974cbfbf90)
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NEWS FROM OTHER WEB SITES
CentralJersey.com: Faith and Freedom: ‘The Whipping Man’ at George Street (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=6e642259f8&e=974cbfbf90)
APP.com: Rob Schneider returns to stand-up roots (http://njarts.us9.list-manage2.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=8ddc76a7a7&e=974cbfbf90)
NJ.com: Local bands help launch a new era at Maxwell’s Tavern (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=5686eee214&e=974cbfbf90)
NJ.com: Sesame Street coming to Liberty Science Center in interactive exhibit for kids (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=52101f484f&e=974cbfbf90)
MyCentralJersey.com: New Brunswick’s State Theatre names new CEO (http://njarts.us9.list-manage.com/track/click?u=b3ec5cc91fd28e220689a6ba5&id=3027652324&e=974cbfbf90)
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Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20 | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nola.com/music/index.ssf/2015/01/uptown_celebrations_continue_f.html
** Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20
————————————————————
Bo Dollis, Jr. has sung for his father’s spirit every night since the older man’s death. The pioneering Mardi Gras Indian leader, who had masked as Big Chief of the Wild Magnolias since 1964, died at home on the morning of Tuesday (Jan. 20 (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_longtime_big_chief_o.html#incart_most-readmusic) ), just under a week after his 71^stbirthday. That evening, Gerard “Bo Jr.” Dollis and his mother Rita, the Wild Magnolias’ Big Queen (http://www.nola.com/mardigras/index.ssf/2014/03/rita_dollis_big_queen_of_the_w.html) , were joined at the Sportsman’s Corner bar on 2^nd and Dryades streets — the Indian gang’s longtime home base — by a crowd of Mardi Gras Indians, fans and supporters to shout and dance in celebration of Bo Dollis, Sr.’s life (http://www.nola.com/music/index.ssf/2015/01/celebrating_big_chief_bo_dolli.html#incart_most-readmusic) .
On Wednesday (Jan. 21), they also gathered, this time at Pop’s House of Blues (https://www.facebook.com/Popsbarnola) on Dryades, another popular Uptown second-line stop; tonight around 7 p.m. (Jan. 22), they’ll come together yet again at the Uptown Bar (https://www.facebook.com/pages/Bean-Brothers-Bar/288042161217390) (formerly Bean Brothers) on 3^rd and Danneel streets.
“My Indian family has been doing Indian practice every night — singing, dancing and taking it to the streets, a big old celebration,” Bo Dollis, Jr. said Thursday afternoon on WWOZ (http://www.wwoz.org/) ‘s “New Orleans Music Show.” “I just love everybody for doing it. And we’re going to keep doing it, at whatever bar my dad was known at.” On Friday night (Jan. 23), he said, they’ll meet, along with Da Truth Brass Band, at the Purple Rain Lounge on Washington Avenue.
In recent years, as his father was increasingly troubled by failing health, Bo Jr. had slowly assumed the role of Big Chief. He masked alongside his mother on Mardi Gras morning and St. Joseph’s night, with Bo Dollis Sr. riding in a motorized wheelchair as the gang’s council chief. In the 1970s, the elder Bo Dollis had recorded groundbreaking albums (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_and_the_wild_magnoli.html) melding traditional Indian chants, original songs and hard-biting, gritty electric funk; in 2013, for the first time, Bo Jr. recorded an album, “New Kind of Funk,” fronting the Wild Magnolias band.
It was Bo Jr.’s birthday on Thursday. That day on WWOZ, two days after his father’s passing, he told listeners how he had been stricken to his soul by Bo Sr.’s sickness and death.
“I had a point, when it first happened, that I was about to stop masking Indian,” he said. “I wasn’t going to come out this year. Because me and my dad were two peas in a pod. Wherever he went, I was his shadow, going to Indian practice at 12 o’clock at night. All those things, he installed in me at a young age.”
Friends came to his aid, he said, offering words of encouragement and help with sewing his Indian suit. And the memory of his father, he said, inspired him to keep going.
“He was a humble, humble man who had a big heart,” Rita Dollis said of her husband on WWOZ Thursday. “I met Bo in 1976. He showed me the ropes — I had come up kind of afraid of Indians, but he changed my vision about the culture absolutely. The culture was in his blood. He shared the music with everybody and he made Mardi Gras for everybody, bringing his music all over the world. He was a good, warm person and everybody loved him.”
“It’s big shoes to fill,” said Bo Jr. “I felt my dad looking down on me and he installed a chief’s position in me. This is what God gave me, and I’m going to take it.”
“He took the Mardi Gras Indians to another level, and now it’s my turn to open doors in other places.”
A viewing for Big Chief Bo Dollis is tentatively scheduled for the evening of Friday (Jan. 30), Rita Dollis and her son said Thursday on the air. The venue has yet to be determined.
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Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20 | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nola.com/music/index.ssf/2015/01/uptown_celebrations_continue_f.html
** Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20
————————————————————
Bo Dollis, Jr. has sung for his father’s spirit every night since the older man’s death. The pioneering Mardi Gras Indian leader, who had masked as Big Chief of the Wild Magnolias since 1964, died at home on the morning of Tuesday (Jan. 20 (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_longtime_big_chief_o.html#incart_most-readmusic) ), just under a week after his 71^stbirthday. That evening, Gerard “Bo Jr.” Dollis and his mother Rita, the Wild Magnolias’ Big Queen (http://www.nola.com/mardigras/index.ssf/2014/03/rita_dollis_big_queen_of_the_w.html) , were joined at the Sportsman’s Corner bar on 2^nd and Dryades streets — the Indian gang’s longtime home base — by a crowd of Mardi Gras Indians, fans and supporters to shout and dance in celebration of Bo Dollis, Sr.’s life (http://www.nola.com/music/index.ssf/2015/01/celebrating_big_chief_bo_dolli.html#incart_most-readmusic) .
On Wednesday (Jan. 21), they also gathered, this time at Pop’s House of Blues (https://www.facebook.com/Popsbarnola) on Dryades, another popular Uptown second-line stop; tonight around 7 p.m. (Jan. 22), they’ll come together yet again at the Uptown Bar (https://www.facebook.com/pages/Bean-Brothers-Bar/288042161217390) (formerly Bean Brothers) on 3^rd and Danneel streets.
“My Indian family has been doing Indian practice every night — singing, dancing and taking it to the streets, a big old celebration,” Bo Dollis, Jr. said Thursday afternoon on WWOZ (http://www.wwoz.org/) ‘s “New Orleans Music Show.” “I just love everybody for doing it. And we’re going to keep doing it, at whatever bar my dad was known at.” On Friday night (Jan. 23), he said, they’ll meet, along with Da Truth Brass Band, at the Purple Rain Lounge on Washington Avenue.
In recent years, as his father was increasingly troubled by failing health, Bo Jr. had slowly assumed the role of Big Chief. He masked alongside his mother on Mardi Gras morning and St. Joseph’s night, with Bo Dollis Sr. riding in a motorized wheelchair as the gang’s council chief. In the 1970s, the elder Bo Dollis had recorded groundbreaking albums (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_and_the_wild_magnoli.html) melding traditional Indian chants, original songs and hard-biting, gritty electric funk; in 2013, for the first time, Bo Jr. recorded an album, “New Kind of Funk,” fronting the Wild Magnolias band.
It was Bo Jr.’s birthday on Thursday. That day on WWOZ, two days after his father’s passing, he told listeners how he had been stricken to his soul by Bo Sr.’s sickness and death.
“I had a point, when it first happened, that I was about to stop masking Indian,” he said. “I wasn’t going to come out this year. Because me and my dad were two peas in a pod. Wherever he went, I was his shadow, going to Indian practice at 12 o’clock at night. All those things, he installed in me at a young age.”
Friends came to his aid, he said, offering words of encouragement and help with sewing his Indian suit. And the memory of his father, he said, inspired him to keep going.
“He was a humble, humble man who had a big heart,” Rita Dollis said of her husband on WWOZ Thursday. “I met Bo in 1976. He showed me the ropes — I had come up kind of afraid of Indians, but he changed my vision about the culture absolutely. The culture was in his blood. He shared the music with everybody and he made Mardi Gras for everybody, bringing his music all over the world. He was a good, warm person and everybody loved him.”
“It’s big shoes to fill,” said Bo Jr. “I felt my dad looking down on me and he installed a chief’s position in me. This is what God gave me, and I’m going to take it.”
“He took the Mardi Gras Indians to another level, and now it’s my turn to open doors in other places.”
A viewing for Big Chief Bo Dollis is tentatively scheduled for the evening of Friday (Jan. 30), Rita Dollis and her son said Thursday on the air. The venue has yet to be determined.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b1852c194e) | 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=b1852c194e&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
Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20 | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nola.com/music/index.ssf/2015/01/uptown_celebrations_continue_f.html
** Uptown celebrations continue for Big Chief Bo Dollis of the Wild Magnolias Mardi Gras Indians, who died Jan. 20
————————————————————
Bo Dollis, Jr. has sung for his father’s spirit every night since the older man’s death. The pioneering Mardi Gras Indian leader, who had masked as Big Chief of the Wild Magnolias since 1964, died at home on the morning of Tuesday (Jan. 20 (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_longtime_big_chief_o.html#incart_most-readmusic) ), just under a week after his 71^stbirthday. That evening, Gerard “Bo Jr.” Dollis and his mother Rita, the Wild Magnolias’ Big Queen (http://www.nola.com/mardigras/index.ssf/2014/03/rita_dollis_big_queen_of_the_w.html) , were joined at the Sportsman’s Corner bar on 2^nd and Dryades streets — the Indian gang’s longtime home base — by a crowd of Mardi Gras Indians, fans and supporters to shout and dance in celebration of Bo Dollis, Sr.’s life (http://www.nola.com/music/index.ssf/2015/01/celebrating_big_chief_bo_dolli.html#incart_most-readmusic) .
On Wednesday (Jan. 21), they also gathered, this time at Pop’s House of Blues (https://www.facebook.com/Popsbarnola) on Dryades, another popular Uptown second-line stop; tonight around 7 p.m. (Jan. 22), they’ll come together yet again at the Uptown Bar (https://www.facebook.com/pages/Bean-Brothers-Bar/288042161217390) (formerly Bean Brothers) on 3^rd and Danneel streets.
“My Indian family has been doing Indian practice every night — singing, dancing and taking it to the streets, a big old celebration,” Bo Dollis, Jr. said Thursday afternoon on WWOZ (http://www.wwoz.org/) ‘s “New Orleans Music Show.” “I just love everybody for doing it. And we’re going to keep doing it, at whatever bar my dad was known at.” On Friday night (Jan. 23), he said, they’ll meet, along with Da Truth Brass Band, at the Purple Rain Lounge on Washington Avenue.
In recent years, as his father was increasingly troubled by failing health, Bo Jr. had slowly assumed the role of Big Chief. He masked alongside his mother on Mardi Gras morning and St. Joseph’s night, with Bo Dollis Sr. riding in a motorized wheelchair as the gang’s council chief. In the 1970s, the elder Bo Dollis had recorded groundbreaking albums (http://www.nola.com/music/index.ssf/2015/01/bo_dollis_and_the_wild_magnoli.html) melding traditional Indian chants, original songs and hard-biting, gritty electric funk; in 2013, for the first time, Bo Jr. recorded an album, “New Kind of Funk,” fronting the Wild Magnolias band.
It was Bo Jr.’s birthday on Thursday. That day on WWOZ, two days after his father’s passing, he told listeners how he had been stricken to his soul by Bo Sr.’s sickness and death.
“I had a point, when it first happened, that I was about to stop masking Indian,” he said. “I wasn’t going to come out this year. Because me and my dad were two peas in a pod. Wherever he went, I was his shadow, going to Indian practice at 12 o’clock at night. All those things, he installed in me at a young age.”
Friends came to his aid, he said, offering words of encouragement and help with sewing his Indian suit. And the memory of his father, he said, inspired him to keep going.
“He was a humble, humble man who had a big heart,” Rita Dollis said of her husband on WWOZ Thursday. “I met Bo in 1976. He showed me the ropes — I had come up kind of afraid of Indians, but he changed my vision about the culture absolutely. The culture was in his blood. He shared the music with everybody and he made Mardi Gras for everybody, bringing his music all over the world. He was a good, warm person and everybody loved him.”
“It’s big shoes to fill,” said Bo Jr. “I felt my dad looking down on me and he installed a chief’s position in me. This is what God gave me, and I’m going to take it.”
“He took the Mardi Gras Indians to another level, and now it’s my turn to open doors in other places.”
A viewing for Big Chief Bo Dollis is tentatively scheduled for the evening of Friday (Jan. 30), Rita Dollis and her son said Thursday on the air. The venue has yet to be determined.
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USA
Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute | NOLA.com
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** Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute
————————————————————
Bo Dollis, leader of the Wild Magnolias, is fighting his way back.
Through grave illness. A rupture with a manager he once trusted. A years-long professional estrangement from Monk Boudreaux, his childhood friend and partner in the Wild Magnolias.
Through it all, his pride remains undiminished, his voice — one of the most potent in all of New Orleans music — strong.
That voice has largely been silent for much of the past three years. But as festival season kicks into high gear, his campaign to restore the Wild Magnolias, and himself, continues.
On Sunday, Dollis’ son Gerard “Bo Jr.” Dollis fronts the Wild Magnolias at the French Quarter Festival. On April 24, the senior Dollis and Boudreaux reunite at Tipitina’s. On May 3, father and son lead the Wild Magnolias at the New Orleans Jazz and Heritage Festival presented by Shell.
And as a remarkable tribute on a cold December night made clear, in the world of Mardi Gras Indian music, Big Chief Bo Dollis is still the biggest chief of all.
Growing up around Jackson Avenue in Central City, Dollis was fascinated by the Mardi Gras Indian “gangs” that roamed the neighborhood. By 1958, at age 14, he’d masked with the White Eagles and the fledgling Wild Magnolias, named by a shoeshine man in honor of Magnolia Street.
Six years later, thanks to his prodigious pipes, he was named Big Chief. Meanwhile, his childhood friend Boudreaux rose through the ranks of the Golden Eagles.
In the 1960s, Mardi Gras Indians were largely unknown outside working class African-American neighborhoods and bars. One of the few white people who attended White Eagles practices at Barrows and Sons Lounge downtown was a teenager named Quint Davis.
“Bo’s was the smoothest, most beautiful voice,” recalled Davis, now Jazz Fest’s producer/director. “It just stood right out.”
Chris Granger / The Times-PicayuneThe Wild Magnolias’ Bo Dollis, center, thanks the crowd at a December benefit concert in his honor at Tipitina’s. He’s surrounded by fellow Mardi Gras Indian Big Chiefs, including Monk Boudreaux, at left in hat.
Later, it became more guttural. “To me it’s Bo Dollis, Robert Plant and James Brown, as far as distinctive voices that are rooted to the center of the earth,” said Galactic drummer Stanton Moore. “It’s the most soulful, powerful shout that I ever heard in my life. It’s heartbreaking and triumphant at the same time.”
The Wild Magnolias’ self-titled 1974 debut, recorded with keyboardist Wilson “Willie Tee” Turbinton, his brother Earl Turbinton on saxophone and guitarist Snooks Eaglin, featured Dollis’ “Handa Wanda” and Willie Tee’s “Smoke My Peace Pipe.” A second album, 1975’s “They Call Us Wild,” boasted such Mardi Gras Indian funk classics as “New Suit” and “We’re Gonna Party.”
With Dollis and Boudreaux out front, the Wild Magnolias toured the globe. Dollis barked soul and funk; Boudreaux intoned traditional Indian chants. Their sweaty sets at local clubs — including Indian practice at the H&R Bar, their base near the corner of Second and Dryades — were the stuff of legend.
Every Mardi Gras morning, Dollis and Boudreaux lead their respective tribes. But the Wild Magnolias band, they vowed, could not exist without the two of them. As Boudreaux said in 1999, “Whatever we do, we’ve got to do together.”
That vow would be tested.
A July fire that gutted the H&R Bar was not the Wild Magnolias’ only trauma of 2001.
Boudreaux disapproved of how Glenn Gaines, the Magnolias’ manager since the mid-1990s, handled the band’s financial affairs. At the time, Dollis vouched for Gaines, so Boudreaux and the Wild Magnolias parted ways.
Rita Barras, queen of the Wild Magnolias tribe and Dollis’ common-law wife of more than three decades, had also started to question Gaines. Disillusioned, she quit traveling with the band.
By the spring of 2006, Dollis had more pressing concerns than business. On the eve of an Australian tour, he fell sick.
Dialysis treatments became part of his routine. A stroke made speaking difficult — yet he could still sing. Always robust, he lost weight. Before corrective heart valve surgery last summer, climbing stairs was a challenge.
He briefly returned to the stage for a September show in Chicago. Meanwhile, he encouraged Gerard, his 28-year-old son with Barras, to step up with a revamped Wild Magnolias. Gerard first fronted his more contemporary version of the Wild Magnolias in November at Tipitina’s.
“It’s some big shoes,” he said of filling in for his father. “I’m putting one foot in front of the other, and stepping out there.”
The Tip’s show “was fun,” Gerard said. “Of course, I had to call my dad down to do a song with me. The audience started cheering, and my mom started crying.”
Keith Spera / The Times-PicayuneThe Wild Magnolias’ Monk Boudreaux, Bo and Gerard Dollis and Rita Barras at the Mid-City Lanes on April 4, 2009.
Sitting in his modest Central City apartment above Barras’s beauty salon, Bo Dollis says he rarely knew how much the Wild Magnolias earned for performances, preferring to let Gaines handle contracts. “I was making money, and I thought it was good,” Dollis said. “Now a lot of people are telling me (Gaines) did this and that.”
Seven years after Boudreaux left the Wild Magnolias, the senior Dollis had come to share his old friend’s suspicions. “Bo is the type person that doesn’t go by what he hears,” Barras said. “He’s got to find out for himself. But now he knows.”
Gaines defends his financial dealings. “Do I feel that (Dollis) was paid fairly and that I was paid fairly?” Gaines said. “I would say yes.”
If he and Dollis “don’t trust each other for any reason,” Gaines said, “we shouldn’t be working together. I’ve made that clear.”
In October, Dollis and Barras announced that Gaines was no longer the Wild Magnolias’ manager.
But Gaines does not necessarily consider himself terminated. He claims to have a binding contract with Dollis. “There’s definitely a recent agreement in place,” Gaines said. “It’s a contract to protect all parties’ interests.”
Dollis said he never signed such a contract.
Last fall, Gaines tried to block the band fronted by Gerard Dollis from using the Wild Magnolias name, even though Gerard had his father’s blessing.
“If you represent a band, you can’t have three versions of that band floating around,” Gaines said. “To me it was misleading.”
In October 2001, Gaines had registered “Wild Magnolias” as a service mark with the Louisiana secretary of state office, listing himself and Bo Dollis as applicants. “If I was looking to do something maliciously, I would have put it just in my name,” Gaines said.
The current listing on the secretary of state’s Web site contains only Gaines’ name.
In Gaines’ view, “some people tried to take advantage of the fact that Bo was ill and move forward with their agendas…. The most important thing now is to get Bo healthy. Once his health gets better, I think a lot of things will be approached differently.”
Asked to describe his current involvement with the Wild Magnolias, Gaines said, “That will be answered sometime in the near future. For now, Bo Dollis should answer that.”
Dollis is unequivocal. “Glenn is not my manager,” he said. “He never will be.”
Dollis and Barras, in consultation with attorneys, continue to untangle the Wild Magnolias’ business and legal affairs.
Their first major undertaking without Gaines was a Dec. 11 benefit concert in Dollis’ honor at Tipitina’s. The guest list named dozens of musicians and Indians to be granted free admission. Gaines’ name appeared under the heading “paying guests.”
The message was clear: Gaines was welcome, as long as he paid.
Despite snow on the ground and the Saints on TV, scores of Mardi Gras Indians, musicians — Rockin’ Dopsie Jr., Marva Wright, J. Monque’D — and fans turned out to pay tribute to, and raise money for, Dollis.
Chris Granger / The Times-PicayuneBo Dollis revels in the moment at a December tribute concert.
The guest of honor sat at a card table inside the barricade in front of the stage, riveted. But he would not, could not, remain still.
As Boudreaux supported his right arm, Dollis climbed the stage steps and joined his fellow chiefs, most of whom wore fedoras instead of feathers. In an unprecedented show of solidarity, they lifted their voices and tambourines for “Indian Red,” among the most solemn and sacred of Indian chants.
Dollis beamed. His son and Dopsie wept.
“That,” Dopsie said, “was the first time I teared up since my daddy died.”
At 64, Dollis continues to rebuild his stamina. The lingering effects of the stroke still bedevil his speaking, but to his amazement, he can sing just fine.
With assistance from Gerard, he sewed an Indian “suit” of black and white feathers and stepped out on Mardi Gras morning. The only Mardi Gras he’s ever missed was the year his mother died.
Dollis and Boudreaux reunited at the Mid-City Lanes Rock ‘n’ Bowl on April 4; Gerard spent more time onstage than his father. They all flew to France for an April 10 show. The long flight exhausted Dollis, but after a morning dialysis treatment — he’s on a kidney transplant list — he was good to go for the evening’s show.
Boudreaux, who still leads the Golden Eagles, is pleased to be a part of the Wild Magnolias once again. “Bo can do a little, and I can do a little, and Gerard can do a little,” he said.
He’ll help out his old friend when asked. “That’s what I’ve been doing my whole life,” Boudreaux said. “I can’t change.”
For his part, Bo Dollis badly wants to restore as much of his old self as possible. As he stood onstage during the 2008 Jazz Fest, tears flowed.
“The people reached out to me,” he recalled, struggling through emotion to string together the words. “Although I can’t do what I could do, they still love me.
“I just love my music. I just love it. That’s all I want.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=02187f84cb) | 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=02187f84cb&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://blog.nola.com/keithspera/2009/04/wild_magnolias_big_chief_bo_do.html
** Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute
————————————————————
Bo Dollis, leader of the Wild Magnolias, is fighting his way back.
Through grave illness. A rupture with a manager he once trusted. A years-long professional estrangement from Monk Boudreaux, his childhood friend and partner in the Wild Magnolias.
Through it all, his pride remains undiminished, his voice — one of the most potent in all of New Orleans music — strong.
That voice has largely been silent for much of the past three years. But as festival season kicks into high gear, his campaign to restore the Wild Magnolias, and himself, continues.
On Sunday, Dollis’ son Gerard “Bo Jr.” Dollis fronts the Wild Magnolias at the French Quarter Festival. On April 24, the senior Dollis and Boudreaux reunite at Tipitina’s. On May 3, father and son lead the Wild Magnolias at the New Orleans Jazz and Heritage Festival presented by Shell.
And as a remarkable tribute on a cold December night made clear, in the world of Mardi Gras Indian music, Big Chief Bo Dollis is still the biggest chief of all.
Growing up around Jackson Avenue in Central City, Dollis was fascinated by the Mardi Gras Indian “gangs” that roamed the neighborhood. By 1958, at age 14, he’d masked with the White Eagles and the fledgling Wild Magnolias, named by a shoeshine man in honor of Magnolia Street.
Six years later, thanks to his prodigious pipes, he was named Big Chief. Meanwhile, his childhood friend Boudreaux rose through the ranks of the Golden Eagles.
In the 1960s, Mardi Gras Indians were largely unknown outside working class African-American neighborhoods and bars. One of the few white people who attended White Eagles practices at Barrows and Sons Lounge downtown was a teenager named Quint Davis.
“Bo’s was the smoothest, most beautiful voice,” recalled Davis, now Jazz Fest’s producer/director. “It just stood right out.”
Chris Granger / The Times-PicayuneThe Wild Magnolias’ Bo Dollis, center, thanks the crowd at a December benefit concert in his honor at Tipitina’s. He’s surrounded by fellow Mardi Gras Indian Big Chiefs, including Monk Boudreaux, at left in hat.
Later, it became more guttural. “To me it’s Bo Dollis, Robert Plant and James Brown, as far as distinctive voices that are rooted to the center of the earth,” said Galactic drummer Stanton Moore. “It’s the most soulful, powerful shout that I ever heard in my life. It’s heartbreaking and triumphant at the same time.”
The Wild Magnolias’ self-titled 1974 debut, recorded with keyboardist Wilson “Willie Tee” Turbinton, his brother Earl Turbinton on saxophone and guitarist Snooks Eaglin, featured Dollis’ “Handa Wanda” and Willie Tee’s “Smoke My Peace Pipe.” A second album, 1975’s “They Call Us Wild,” boasted such Mardi Gras Indian funk classics as “New Suit” and “We’re Gonna Party.”
With Dollis and Boudreaux out front, the Wild Magnolias toured the globe. Dollis barked soul and funk; Boudreaux intoned traditional Indian chants. Their sweaty sets at local clubs — including Indian practice at the H&R Bar, their base near the corner of Second and Dryades — were the stuff of legend.
Every Mardi Gras morning, Dollis and Boudreaux lead their respective tribes. But the Wild Magnolias band, they vowed, could not exist without the two of them. As Boudreaux said in 1999, “Whatever we do, we’ve got to do together.”
That vow would be tested.
A July fire that gutted the H&R Bar was not the Wild Magnolias’ only trauma of 2001.
Boudreaux disapproved of how Glenn Gaines, the Magnolias’ manager since the mid-1990s, handled the band’s financial affairs. At the time, Dollis vouched for Gaines, so Boudreaux and the Wild Magnolias parted ways.
Rita Barras, queen of the Wild Magnolias tribe and Dollis’ common-law wife of more than three decades, had also started to question Gaines. Disillusioned, she quit traveling with the band.
By the spring of 2006, Dollis had more pressing concerns than business. On the eve of an Australian tour, he fell sick.
Dialysis treatments became part of his routine. A stroke made speaking difficult — yet he could still sing. Always robust, he lost weight. Before corrective heart valve surgery last summer, climbing stairs was a challenge.
He briefly returned to the stage for a September show in Chicago. Meanwhile, he encouraged Gerard, his 28-year-old son with Barras, to step up with a revamped Wild Magnolias. Gerard first fronted his more contemporary version of the Wild Magnolias in November at Tipitina’s.
“It’s some big shoes,” he said of filling in for his father. “I’m putting one foot in front of the other, and stepping out there.”
The Tip’s show “was fun,” Gerard said. “Of course, I had to call my dad down to do a song with me. The audience started cheering, and my mom started crying.”
Keith Spera / The Times-PicayuneThe Wild Magnolias’ Monk Boudreaux, Bo and Gerard Dollis and Rita Barras at the Mid-City Lanes on April 4, 2009.
Sitting in his modest Central City apartment above Barras’s beauty salon, Bo Dollis says he rarely knew how much the Wild Magnolias earned for performances, preferring to let Gaines handle contracts. “I was making money, and I thought it was good,” Dollis said. “Now a lot of people are telling me (Gaines) did this and that.”
Seven years after Boudreaux left the Wild Magnolias, the senior Dollis had come to share his old friend’s suspicions. “Bo is the type person that doesn’t go by what he hears,” Barras said. “He’s got to find out for himself. But now he knows.”
Gaines defends his financial dealings. “Do I feel that (Dollis) was paid fairly and that I was paid fairly?” Gaines said. “I would say yes.”
If he and Dollis “don’t trust each other for any reason,” Gaines said, “we shouldn’t be working together. I’ve made that clear.”
In October, Dollis and Barras announced that Gaines was no longer the Wild Magnolias’ manager.
But Gaines does not necessarily consider himself terminated. He claims to have a binding contract with Dollis. “There’s definitely a recent agreement in place,” Gaines said. “It’s a contract to protect all parties’ interests.”
Dollis said he never signed such a contract.
Last fall, Gaines tried to block the band fronted by Gerard Dollis from using the Wild Magnolias name, even though Gerard had his father’s blessing.
“If you represent a band, you can’t have three versions of that band floating around,” Gaines said. “To me it was misleading.”
In October 2001, Gaines had registered “Wild Magnolias” as a service mark with the Louisiana secretary of state office, listing himself and Bo Dollis as applicants. “If I was looking to do something maliciously, I would have put it just in my name,” Gaines said.
The current listing on the secretary of state’s Web site contains only Gaines’ name.
In Gaines’ view, “some people tried to take advantage of the fact that Bo was ill and move forward with their agendas…. The most important thing now is to get Bo healthy. Once his health gets better, I think a lot of things will be approached differently.”
Asked to describe his current involvement with the Wild Magnolias, Gaines said, “That will be answered sometime in the near future. For now, Bo Dollis should answer that.”
Dollis is unequivocal. “Glenn is not my manager,” he said. “He never will be.”
Dollis and Barras, in consultation with attorneys, continue to untangle the Wild Magnolias’ business and legal affairs.
Their first major undertaking without Gaines was a Dec. 11 benefit concert in Dollis’ honor at Tipitina’s. The guest list named dozens of musicians and Indians to be granted free admission. Gaines’ name appeared under the heading “paying guests.”
The message was clear: Gaines was welcome, as long as he paid.
Despite snow on the ground and the Saints on TV, scores of Mardi Gras Indians, musicians — Rockin’ Dopsie Jr., Marva Wright, J. Monque’D — and fans turned out to pay tribute to, and raise money for, Dollis.
Chris Granger / The Times-PicayuneBo Dollis revels in the moment at a December tribute concert.
The guest of honor sat at a card table inside the barricade in front of the stage, riveted. But he would not, could not, remain still.
As Boudreaux supported his right arm, Dollis climbed the stage steps and joined his fellow chiefs, most of whom wore fedoras instead of feathers. In an unprecedented show of solidarity, they lifted their voices and tambourines for “Indian Red,” among the most solemn and sacred of Indian chants.
Dollis beamed. His son and Dopsie wept.
“That,” Dopsie said, “was the first time I teared up since my daddy died.”
At 64, Dollis continues to rebuild his stamina. The lingering effects of the stroke still bedevil his speaking, but to his amazement, he can sing just fine.
With assistance from Gerard, he sewed an Indian “suit” of black and white feathers and stepped out on Mardi Gras morning. The only Mardi Gras he’s ever missed was the year his mother died.
Dollis and Boudreaux reunited at the Mid-City Lanes Rock ‘n’ Bowl on April 4; Gerard spent more time onstage than his father. They all flew to France for an April 10 show. The long flight exhausted Dollis, but after a morning dialysis treatment — he’s on a kidney transplant list — he was good to go for the evening’s show.
Boudreaux, who still leads the Golden Eagles, is pleased to be a part of the Wild Magnolias once again. “Bo can do a little, and I can do a little, and Gerard can do a little,” he said.
He’ll help out his old friend when asked. “That’s what I’ve been doing my whole life,” Boudreaux said. “I can’t change.”
For his part, Bo Dollis badly wants to restore as much of his old self as possible. As he stood onstage during the 2008 Jazz Fest, tears flowed.
“The people reached out to me,” he recalled, struggling through emotion to string together the words. “Although I can’t do what I could do, they still love me.
“I just love my music. I just love it. That’s all I want.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=02187f84cb) | 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=02187f84cb&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://blog.nola.com/keithspera/2009/04/wild_magnolias_big_chief_bo_do.html
** Wild Magnolias Big Chief Bo Dollis is battling back from serious illness and a bitter dispute
————————————————————
Bo Dollis, leader of the Wild Magnolias, is fighting his way back.
Through grave illness. A rupture with a manager he once trusted. A years-long professional estrangement from Monk Boudreaux, his childhood friend and partner in the Wild Magnolias.
Through it all, his pride remains undiminished, his voice — one of the most potent in all of New Orleans music — strong.
That voice has largely been silent for much of the past three years. But as festival season kicks into high gear, his campaign to restore the Wild Magnolias, and himself, continues.
On Sunday, Dollis’ son Gerard “Bo Jr.” Dollis fronts the Wild Magnolias at the French Quarter Festival. On April 24, the senior Dollis and Boudreaux reunite at Tipitina’s. On May 3, father and son lead the Wild Magnolias at the New Orleans Jazz and Heritage Festival presented by Shell.
And as a remarkable tribute on a cold December night made clear, in the world of Mardi Gras Indian music, Big Chief Bo Dollis is still the biggest chief of all.
Growing up around Jackson Avenue in Central City, Dollis was fascinated by the Mardi Gras Indian “gangs” that roamed the neighborhood. By 1958, at age 14, he’d masked with the White Eagles and the fledgling Wild Magnolias, named by a shoeshine man in honor of Magnolia Street.
Six years later, thanks to his prodigious pipes, he was named Big Chief. Meanwhile, his childhood friend Boudreaux rose through the ranks of the Golden Eagles.
In the 1960s, Mardi Gras Indians were largely unknown outside working class African-American neighborhoods and bars. One of the few white people who attended White Eagles practices at Barrows and Sons Lounge downtown was a teenager named Quint Davis.
“Bo’s was the smoothest, most beautiful voice,” recalled Davis, now Jazz Fest’s producer/director. “It just stood right out.”
Chris Granger / The Times-PicayuneThe Wild Magnolias’ Bo Dollis, center, thanks the crowd at a December benefit concert in his honor at Tipitina’s. He’s surrounded by fellow Mardi Gras Indian Big Chiefs, including Monk Boudreaux, at left in hat.
Later, it became more guttural. “To me it’s Bo Dollis, Robert Plant and James Brown, as far as distinctive voices that are rooted to the center of the earth,” said Galactic drummer Stanton Moore. “It’s the most soulful, powerful shout that I ever heard in my life. It’s heartbreaking and triumphant at the same time.”
The Wild Magnolias’ self-titled 1974 debut, recorded with keyboardist Wilson “Willie Tee” Turbinton, his brother Earl Turbinton on saxophone and guitarist Snooks Eaglin, featured Dollis’ “Handa Wanda” and Willie Tee’s “Smoke My Peace Pipe.” A second album, 1975’s “They Call Us Wild,” boasted such Mardi Gras Indian funk classics as “New Suit” and “We’re Gonna Party.”
With Dollis and Boudreaux out front, the Wild Magnolias toured the globe. Dollis barked soul and funk; Boudreaux intoned traditional Indian chants. Their sweaty sets at local clubs — including Indian practice at the H&R Bar, their base near the corner of Second and Dryades — were the stuff of legend.
Every Mardi Gras morning, Dollis and Boudreaux lead their respective tribes. But the Wild Magnolias band, they vowed, could not exist without the two of them. As Boudreaux said in 1999, “Whatever we do, we’ve got to do together.”
That vow would be tested.
A July fire that gutted the H&R Bar was not the Wild Magnolias’ only trauma of 2001.
Boudreaux disapproved of how Glenn Gaines, the Magnolias’ manager since the mid-1990s, handled the band’s financial affairs. At the time, Dollis vouched for Gaines, so Boudreaux and the Wild Magnolias parted ways.
Rita Barras, queen of the Wild Magnolias tribe and Dollis’ common-law wife of more than three decades, had also started to question Gaines. Disillusioned, she quit traveling with the band.
By the spring of 2006, Dollis had more pressing concerns than business. On the eve of an Australian tour, he fell sick.
Dialysis treatments became part of his routine. A stroke made speaking difficult — yet he could still sing. Always robust, he lost weight. Before corrective heart valve surgery last summer, climbing stairs was a challenge.
He briefly returned to the stage for a September show in Chicago. Meanwhile, he encouraged Gerard, his 28-year-old son with Barras, to step up with a revamped Wild Magnolias. Gerard first fronted his more contemporary version of the Wild Magnolias in November at Tipitina’s.
“It’s some big shoes,” he said of filling in for his father. “I’m putting one foot in front of the other, and stepping out there.”
The Tip’s show “was fun,” Gerard said. “Of course, I had to call my dad down to do a song with me. The audience started cheering, and my mom started crying.”
Keith Spera / The Times-PicayuneThe Wild Magnolias’ Monk Boudreaux, Bo and Gerard Dollis and Rita Barras at the Mid-City Lanes on April 4, 2009.
Sitting in his modest Central City apartment above Barras’s beauty salon, Bo Dollis says he rarely knew how much the Wild Magnolias earned for performances, preferring to let Gaines handle contracts. “I was making money, and I thought it was good,” Dollis said. “Now a lot of people are telling me (Gaines) did this and that.”
Seven years after Boudreaux left the Wild Magnolias, the senior Dollis had come to share his old friend’s suspicions. “Bo is the type person that doesn’t go by what he hears,” Barras said. “He’s got to find out for himself. But now he knows.”
Gaines defends his financial dealings. “Do I feel that (Dollis) was paid fairly and that I was paid fairly?” Gaines said. “I would say yes.”
If he and Dollis “don’t trust each other for any reason,” Gaines said, “we shouldn’t be working together. I’ve made that clear.”
In October, Dollis and Barras announced that Gaines was no longer the Wild Magnolias’ manager.
But Gaines does not necessarily consider himself terminated. He claims to have a binding contract with Dollis. “There’s definitely a recent agreement in place,” Gaines said. “It’s a contract to protect all parties’ interests.”
Dollis said he never signed such a contract.
Last fall, Gaines tried to block the band fronted by Gerard Dollis from using the Wild Magnolias name, even though Gerard had his father’s blessing.
“If you represent a band, you can’t have three versions of that band floating around,” Gaines said. “To me it was misleading.”
In October 2001, Gaines had registered “Wild Magnolias” as a service mark with the Louisiana secretary of state office, listing himself and Bo Dollis as applicants. “If I was looking to do something maliciously, I would have put it just in my name,” Gaines said.
The current listing on the secretary of state’s Web site contains only Gaines’ name.
In Gaines’ view, “some people tried to take advantage of the fact that Bo was ill and move forward with their agendas…. The most important thing now is to get Bo healthy. Once his health gets better, I think a lot of things will be approached differently.”
Asked to describe his current involvement with the Wild Magnolias, Gaines said, “That will be answered sometime in the near future. For now, Bo Dollis should answer that.”
Dollis is unequivocal. “Glenn is not my manager,” he said. “He never will be.”
Dollis and Barras, in consultation with attorneys, continue to untangle the Wild Magnolias’ business and legal affairs.
Their first major undertaking without Gaines was a Dec. 11 benefit concert in Dollis’ honor at Tipitina’s. The guest list named dozens of musicians and Indians to be granted free admission. Gaines’ name appeared under the heading “paying guests.”
The message was clear: Gaines was welcome, as long as he paid.
Despite snow on the ground and the Saints on TV, scores of Mardi Gras Indians, musicians — Rockin’ Dopsie Jr., Marva Wright, J. Monque’D — and fans turned out to pay tribute to, and raise money for, Dollis.
Chris Granger / The Times-PicayuneBo Dollis revels in the moment at a December tribute concert.
The guest of honor sat at a card table inside the barricade in front of the stage, riveted. But he would not, could not, remain still.
As Boudreaux supported his right arm, Dollis climbed the stage steps and joined his fellow chiefs, most of whom wore fedoras instead of feathers. In an unprecedented show of solidarity, they lifted their voices and tambourines for “Indian Red,” among the most solemn and sacred of Indian chants.
Dollis beamed. His son and Dopsie wept.
“That,” Dopsie said, “was the first time I teared up since my daddy died.”
At 64, Dollis continues to rebuild his stamina. The lingering effects of the stroke still bedevil his speaking, but to his amazement, he can sing just fine.
With assistance from Gerard, he sewed an Indian “suit” of black and white feathers and stepped out on Mardi Gras morning. The only Mardi Gras he’s ever missed was the year his mother died.
Dollis and Boudreaux reunited at the Mid-City Lanes Rock ‘n’ Bowl on April 4; Gerard spent more time onstage than his father. They all flew to France for an April 10 show. The long flight exhausted Dollis, but after a morning dialysis treatment — he’s on a kidney transplant list — he was good to go for the evening’s show.
Boudreaux, who still leads the Golden Eagles, is pleased to be a part of the Wild Magnolias once again. “Bo can do a little, and I can do a little, and Gerard can do a little,” he said.
He’ll help out his old friend when asked. “That’s what I’ve been doing my whole life,” Boudreaux said. “I can’t change.”
For his part, Bo Dollis badly wants to restore as much of his old self as possible. As he stood onstage during the 2008 Jazz Fest, tears flowed.
“The people reached out to me,” he recalled, struggling through emotion to string together the words. “Although I can’t do what I could do, they still love me.
“I just love my music. I just love it. That’s all I want.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=02187f84cb) | 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=02187f84cb&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
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Ward Swingle, musician who made Bach swing, dies at 87 – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/entertainment/music/ward-swingle-musician-who-made-bach-swing-dies-at-87/2015/01/20/9bd5e780-a0bd-11e4-903f-9f2faf7cd9fe_story.html
** Ward Swingle, musician who made Bach swing, dies at 87
————————————————————
Ward Swingle, who formed a singing group that reimagined Bach and Mozart with driving jazz rhythms and playfully scatlike vocals (https://www.youtube.com/watch?v=n-g40lmDZKU) — and that put centuries-old classical masterworks on the pop charts alongside the Beatles — died Jan. 19 in Eastbourne, England. He was 87.
The death was announced by the Swingles, which he started in the early 1960s and was long known as the Swingle Singers. The cause was not disclosed.
Mr. Swingle, who frequently corrected the misperception that his surname was invented for the stage, was drawn to New Orleans jazz while growing up on Alabama’s Gulf Coast. After conservatory training, he went to Paris in 1951 on a Fulbright scholarship for further musical study and made that city his professional home.
He was a rehearsal pianist for Roland Petit’s Les Ballets de Paris. A gifted tenor with absolute pitch, Mr. Swingle also worked as a backup singer for such entertainers as Edith Piaf, Charles Aznavour and Blossom Dearie.
In 1959, he helped found the estimable vocal group Les Double Six (https://www.youtube.com/watch?v=03A5gi-IXww) , which sang or scatted note-for-note to jazz songs first popularized by musicians and bandleaders such as Count Basie, Charlie Parker and Woody Herman.
The singers thought like instrumentalists — trying to channel the sound of a trombone or saxophone depending on the part they were copying from the original recording. In creating the Swingle Singers, an octet of Parisian sopranos, altos, tenors and basses, Mr. Swingle borrowed heavily on that concept and applied it to very old music.
“Jazz Sebastian Bach (http://www.amazon.com/gp/product/B0015XL7DK/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0015XL7DK&linkCode=as2&tag=thewaspos09-20&linkId=GBWNFORDRCNV4KJO) ” and “Bach’s Greatest Hits,” the group’s first records, found widespread commercial and critical interest upon their release in 1963.
The albums were hardly the first or last crossbreeding of jazz and classical music, but the Swingle Singers were a major breakthrough act. They sold hundreds of thousands of records and drew the admiration of musicians including pianist Glenn Gould, violinist Yehudi Menuhin and singer Ella Fitzgerald.
“Bach’s Greatest Hits” spent a year on the Billboard list of top-selling LPs, and the group performed at the Johnson White House and Carnegie Hall in New York as well as on numerous TV shows. They also recorded commercials for Chevrolet and Betty Crocker.
The Swingle albums used modest instrumental accompaniment — drums and upright bass — to support the singers, who would briskly sing “baba-daba-daba,” “doo-boo, doo-boo” and “bum-pah-dah” to the likes of Bach’s “Prelude in C Major” and “Fugue in D Major” (https://www.youtube.com/watch?v=sN3Vbh5mHbM) .
Reviewers found the music gimmicky at times — but a highly diverting gimmick. “The vocal virtuosity is astonishing, but the music in this form is probably something you either violently enjoy or detest,” New York Times music critic Raymond Ericson wrote in 1964.
The group retained freshness because of the “stunning musicianship of these singers, whose vocal abilities equal or surpass that of any Bach chorale,” the music writer James Gavin said in an interview after Swingle’s death. “The group was completely up to the demands of singing this Baroque music.”
Mr. Swingle sought performers with strong classical and jazz backgrounds, notably the soprano Christiane Legrand. He carefully crafted the group’s repertoire, which grew to include pieces by Vivaldi, Handel and Chopin.
“It would be in bad taste to swing some things,” Mr. Swingle once told the Times. “In Bach, we have stayed away from the vocal works, most of which are religious or associated with religion. And some of his slow and stately fugues have a certain gravity that does not fit in with our style.”
In 1963, the Swingle Singers earned a Grammy for best new artist. “Bach’s Greatest Hits,” followed by the albums “Going Baroque (http://www.amazon.com/gp/product/B007FE7566/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B007FE7566&linkCode=as2&tag=thewaspos09-20&linkId=RSOB54RULJ6AJYEV) ” (1964) and “Anyone For Mozart?” (1965), each won Grammys for best performance by a chorus.
The Swingle Singers collaborated with the Modern Jazz Quartet on the 1966 album “Place Vendôme,” (https://www.youtube.com/watch?v=wxdAHh8ir3g) and the singing group was featured in the late 1960s on the Grammy-winning recording of “Sinfonia,” (https://www.youtube.com/watch?v=pkA8fC9_z9c) a demanding piece by the avant-garde Italian composer Luciano Berio.
In 1973, Mr. Swingle disbanded the group, only to re-form it in England under various names, including Swingle II and the New Swingle Singers. The new iterations featured an expanded repertoire that included adaptations of jazz standards, folk songs, Renaissance pieces, pop music and original compositions.
Mr. Swingle stepped down in 1984, having written more than 200 arrangements and compositions and recorded a dozen albums. He remained a musical adviser for the London-based group and lived to see its arrangements used on TV shows such as “Glee.”
Ward Lamar Swingle was born in Mobile, Ala., on Sept. 21, 1927. He said his father supported the family as an electrical contractor during the Depression but wanted to be a musician.
The elder Swingle accepted instruments as a form of payment from some clients and drilled his children in musical basics. He did not permit them to go to the movies or play baseball until he was satisfied with their progress.
Ward Swingle grew adept at the clarinet and the oboe and began playing piano professionally by his teens. He graduated in 1950 from the University of Cincinnati’s music conservatory and later studied in France under concert pianist Walter Gieseking.
Mr. Swingle composed music for several French films, including director Marcel Ophuls’s lighthearted crime caper “Banana Peel” (1963) starring Jeanne Moreau and Jean-Paul Belmondo.
Mr. Swingle’s survivors include his wife of 62 years, violinist Françoise Demorest; three daughters; and three grandchildren.
Mr. Swingle wrote a memoir, published in 1999 as “Swingle Singing.” That year, he told the Times that he had formed his group as a rebuttal to the dulling influence of rock and pop music on vocal arrangements.
“The Double Six sort of faded away,” Mr. Swingle said. “The rock scene was not very interesting for choruses, vocal harmonies were kind of dumb. Basically, we were just bored. We had nothing to sing. I had this classical training and so I got out ‘The Well-Tempered Clavier’ and I said, Let’s see if we can’t sing these things. As many people have before, we discovered that Bach swang. We couldn’t help but swing, it was spontaneous.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e523471c23) | 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=e523471c23&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
Ward Swingle, musician who made Bach swing, dies at 87 – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/entertainment/music/ward-swingle-musician-who-made-bach-swing-dies-at-87/2015/01/20/9bd5e780-a0bd-11e4-903f-9f2faf7cd9fe_story.html
** Ward Swingle, musician who made Bach swing, dies at 87
————————————————————
Ward Swingle, who formed a singing group that reimagined Bach and Mozart with driving jazz rhythms and playfully scatlike vocals (https://www.youtube.com/watch?v=n-g40lmDZKU) — and that put centuries-old classical masterworks on the pop charts alongside the Beatles — died Jan. 19 in Eastbourne, England. He was 87.
The death was announced by the Swingles, which he started in the early 1960s and was long known as the Swingle Singers. The cause was not disclosed.
Mr. Swingle, who frequently corrected the misperception that his surname was invented for the stage, was drawn to New Orleans jazz while growing up on Alabama’s Gulf Coast. After conservatory training, he went to Paris in 1951 on a Fulbright scholarship for further musical study and made that city his professional home.
He was a rehearsal pianist for Roland Petit’s Les Ballets de Paris. A gifted tenor with absolute pitch, Mr. Swingle also worked as a backup singer for such entertainers as Edith Piaf, Charles Aznavour and Blossom Dearie.
In 1959, he helped found the estimable vocal group Les Double Six (https://www.youtube.com/watch?v=03A5gi-IXww) , which sang or scatted note-for-note to jazz songs first popularized by musicians and bandleaders such as Count Basie, Charlie Parker and Woody Herman.
The singers thought like instrumentalists — trying to channel the sound of a trombone or saxophone depending on the part they were copying from the original recording. In creating the Swingle Singers, an octet of Parisian sopranos, altos, tenors and basses, Mr. Swingle borrowed heavily on that concept and applied it to very old music.
“Jazz Sebastian Bach (http://www.amazon.com/gp/product/B0015XL7DK/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0015XL7DK&linkCode=as2&tag=thewaspos09-20&linkId=GBWNFORDRCNV4KJO) ” and “Bach’s Greatest Hits,” the group’s first records, found widespread commercial and critical interest upon their release in 1963.
The albums were hardly the first or last crossbreeding of jazz and classical music, but the Swingle Singers were a major breakthrough act. They sold hundreds of thousands of records and drew the admiration of musicians including pianist Glenn Gould, violinist Yehudi Menuhin and singer Ella Fitzgerald.
“Bach’s Greatest Hits” spent a year on the Billboard list of top-selling LPs, and the group performed at the Johnson White House and Carnegie Hall in New York as well as on numerous TV shows. They also recorded commercials for Chevrolet and Betty Crocker.
The Swingle albums used modest instrumental accompaniment — drums and upright bass — to support the singers, who would briskly sing “baba-daba-daba,” “doo-boo, doo-boo” and “bum-pah-dah” to the likes of Bach’s “Prelude in C Major” and “Fugue in D Major” (https://www.youtube.com/watch?v=sN3Vbh5mHbM) .
Reviewers found the music gimmicky at times — but a highly diverting gimmick. “The vocal virtuosity is astonishing, but the music in this form is probably something you either violently enjoy or detest,” New York Times music critic Raymond Ericson wrote in 1964.
The group retained freshness because of the “stunning musicianship of these singers, whose vocal abilities equal or surpass that of any Bach chorale,” the music writer James Gavin said in an interview after Swingle’s death. “The group was completely up to the demands of singing this Baroque music.”
Mr. Swingle sought performers with strong classical and jazz backgrounds, notably the soprano Christiane Legrand. He carefully crafted the group’s repertoire, which grew to include pieces by Vivaldi, Handel and Chopin.
“It would be in bad taste to swing some things,” Mr. Swingle once told the Times. “In Bach, we have stayed away from the vocal works, most of which are religious or associated with religion. And some of his slow and stately fugues have a certain gravity that does not fit in with our style.”
In 1963, the Swingle Singers earned a Grammy for best new artist. “Bach’s Greatest Hits,” followed by the albums “Going Baroque (http://www.amazon.com/gp/product/B007FE7566/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B007FE7566&linkCode=as2&tag=thewaspos09-20&linkId=RSOB54RULJ6AJYEV) ” (1964) and “Anyone For Mozart?” (1965), each won Grammys for best performance by a chorus.
The Swingle Singers collaborated with the Modern Jazz Quartet on the 1966 album “Place Vendôme,” (https://www.youtube.com/watch?v=wxdAHh8ir3g) and the singing group was featured in the late 1960s on the Grammy-winning recording of “Sinfonia,” (https://www.youtube.com/watch?v=pkA8fC9_z9c) a demanding piece by the avant-garde Italian composer Luciano Berio.
In 1973, Mr. Swingle disbanded the group, only to re-form it in England under various names, including Swingle II and the New Swingle Singers. The new iterations featured an expanded repertoire that included adaptations of jazz standards, folk songs, Renaissance pieces, pop music and original compositions.
Mr. Swingle stepped down in 1984, having written more than 200 arrangements and compositions and recorded a dozen albums. He remained a musical adviser for the London-based group and lived to see its arrangements used on TV shows such as “Glee.”
Ward Lamar Swingle was born in Mobile, Ala., on Sept. 21, 1927. He said his father supported the family as an electrical contractor during the Depression but wanted to be a musician.
The elder Swingle accepted instruments as a form of payment from some clients and drilled his children in musical basics. He did not permit them to go to the movies or play baseball until he was satisfied with their progress.
Ward Swingle grew adept at the clarinet and the oboe and began playing piano professionally by his teens. He graduated in 1950 from the University of Cincinnati’s music conservatory and later studied in France under concert pianist Walter Gieseking.
Mr. Swingle composed music for several French films, including director Marcel Ophuls’s lighthearted crime caper “Banana Peel” (1963) starring Jeanne Moreau and Jean-Paul Belmondo.
Mr. Swingle’s survivors include his wife of 62 years, violinist Françoise Demorest; three daughters; and three grandchildren.
Mr. Swingle wrote a memoir, published in 1999 as “Swingle Singing.” That year, he told the Times that he had formed his group as a rebuttal to the dulling influence of rock and pop music on vocal arrangements.
“The Double Six sort of faded away,” Mr. Swingle said. “The rock scene was not very interesting for choruses, vocal harmonies were kind of dumb. Basically, we were just bored. We had nothing to sing. I had this classical training and so I got out ‘The Well-Tempered Clavier’ and I said, Let’s see if we can’t sing these things. As many people have before, we discovered that Bach swang. We couldn’t help but swing, it was spontaneous.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e523471c23) | 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=e523471c23&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Ward Swingle, musician who made Bach swing, dies at 87 – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/entertainment/music/ward-swingle-musician-who-made-bach-swing-dies-at-87/2015/01/20/9bd5e780-a0bd-11e4-903f-9f2faf7cd9fe_story.html
** Ward Swingle, musician who made Bach swing, dies at 87
————————————————————
Ward Swingle, who formed a singing group that reimagined Bach and Mozart with driving jazz rhythms and playfully scatlike vocals (https://www.youtube.com/watch?v=n-g40lmDZKU) — and that put centuries-old classical masterworks on the pop charts alongside the Beatles — died Jan. 19 in Eastbourne, England. He was 87.
The death was announced by the Swingles, which he started in the early 1960s and was long known as the Swingle Singers. The cause was not disclosed.
Mr. Swingle, who frequently corrected the misperception that his surname was invented for the stage, was drawn to New Orleans jazz while growing up on Alabama’s Gulf Coast. After conservatory training, he went to Paris in 1951 on a Fulbright scholarship for further musical study and made that city his professional home.
He was a rehearsal pianist for Roland Petit’s Les Ballets de Paris. A gifted tenor with absolute pitch, Mr. Swingle also worked as a backup singer for such entertainers as Edith Piaf, Charles Aznavour and Blossom Dearie.
In 1959, he helped found the estimable vocal group Les Double Six (https://www.youtube.com/watch?v=03A5gi-IXww) , which sang or scatted note-for-note to jazz songs first popularized by musicians and bandleaders such as Count Basie, Charlie Parker and Woody Herman.
The singers thought like instrumentalists — trying to channel the sound of a trombone or saxophone depending on the part they were copying from the original recording. In creating the Swingle Singers, an octet of Parisian sopranos, altos, tenors and basses, Mr. Swingle borrowed heavily on that concept and applied it to very old music.
“Jazz Sebastian Bach (http://www.amazon.com/gp/product/B0015XL7DK/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0015XL7DK&linkCode=as2&tag=thewaspos09-20&linkId=GBWNFORDRCNV4KJO) ” and “Bach’s Greatest Hits,” the group’s first records, found widespread commercial and critical interest upon their release in 1963.
The albums were hardly the first or last crossbreeding of jazz and classical music, but the Swingle Singers were a major breakthrough act. They sold hundreds of thousands of records and drew the admiration of musicians including pianist Glenn Gould, violinist Yehudi Menuhin and singer Ella Fitzgerald.
“Bach’s Greatest Hits” spent a year on the Billboard list of top-selling LPs, and the group performed at the Johnson White House and Carnegie Hall in New York as well as on numerous TV shows. They also recorded commercials for Chevrolet and Betty Crocker.
The Swingle albums used modest instrumental accompaniment — drums and upright bass — to support the singers, who would briskly sing “baba-daba-daba,” “doo-boo, doo-boo” and “bum-pah-dah” to the likes of Bach’s “Prelude in C Major” and “Fugue in D Major” (https://www.youtube.com/watch?v=sN3Vbh5mHbM) .
Reviewers found the music gimmicky at times — but a highly diverting gimmick. “The vocal virtuosity is astonishing, but the music in this form is probably something you either violently enjoy or detest,” New York Times music critic Raymond Ericson wrote in 1964.
The group retained freshness because of the “stunning musicianship of these singers, whose vocal abilities equal or surpass that of any Bach chorale,” the music writer James Gavin said in an interview after Swingle’s death. “The group was completely up to the demands of singing this Baroque music.”
Mr. Swingle sought performers with strong classical and jazz backgrounds, notably the soprano Christiane Legrand. He carefully crafted the group’s repertoire, which grew to include pieces by Vivaldi, Handel and Chopin.
“It would be in bad taste to swing some things,” Mr. Swingle once told the Times. “In Bach, we have stayed away from the vocal works, most of which are religious or associated with religion. And some of his slow and stately fugues have a certain gravity that does not fit in with our style.”
In 1963, the Swingle Singers earned a Grammy for best new artist. “Bach’s Greatest Hits,” followed by the albums “Going Baroque (http://www.amazon.com/gp/product/B007FE7566/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B007FE7566&linkCode=as2&tag=thewaspos09-20&linkId=RSOB54RULJ6AJYEV) ” (1964) and “Anyone For Mozart?” (1965), each won Grammys for best performance by a chorus.
The Swingle Singers collaborated with the Modern Jazz Quartet on the 1966 album “Place Vendôme,” (https://www.youtube.com/watch?v=wxdAHh8ir3g) and the singing group was featured in the late 1960s on the Grammy-winning recording of “Sinfonia,” (https://www.youtube.com/watch?v=pkA8fC9_z9c) a demanding piece by the avant-garde Italian composer Luciano Berio.
In 1973, Mr. Swingle disbanded the group, only to re-form it in England under various names, including Swingle II and the New Swingle Singers. The new iterations featured an expanded repertoire that included adaptations of jazz standards, folk songs, Renaissance pieces, pop music and original compositions.
Mr. Swingle stepped down in 1984, having written more than 200 arrangements and compositions and recorded a dozen albums. He remained a musical adviser for the London-based group and lived to see its arrangements used on TV shows such as “Glee.”
Ward Lamar Swingle was born in Mobile, Ala., on Sept. 21, 1927. He said his father supported the family as an electrical contractor during the Depression but wanted to be a musician.
The elder Swingle accepted instruments as a form of payment from some clients and drilled his children in musical basics. He did not permit them to go to the movies or play baseball until he was satisfied with their progress.
Ward Swingle grew adept at the clarinet and the oboe and began playing piano professionally by his teens. He graduated in 1950 from the University of Cincinnati’s music conservatory and later studied in France under concert pianist Walter Gieseking.
Mr. Swingle composed music for several French films, including director Marcel Ophuls’s lighthearted crime caper “Banana Peel” (1963) starring Jeanne Moreau and Jean-Paul Belmondo.
Mr. Swingle’s survivors include his wife of 62 years, violinist Françoise Demorest; three daughters; and three grandchildren.
Mr. Swingle wrote a memoir, published in 1999 as “Swingle Singing.” That year, he told the Times that he had formed his group as a rebuttal to the dulling influence of rock and pop music on vocal arrangements.
“The Double Six sort of faded away,” Mr. Swingle said. “The rock scene was not very interesting for choruses, vocal harmonies were kind of dumb. Basically, we were just bored. We had nothing to sing. I had this classical training and so I got out ‘The Well-Tempered Clavier’ and I said, Let’s see if we can’t sing these things. As many people have before, we discovered that Bach swang. We couldn’t help but swing, it was spontaneous.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e523471c23) | 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=e523471c23&e=[UNIQID])
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Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
▶ Stormy Monday Blues -Vi Redd w/The Count Basie and His Orchestra Live in Paris, 1968
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Stormy Monday Blues
Solo: Vi Redd(vocal and alto sax)
Count Basie and His Orchestra Live in Paris, 1968
Count Basie(p) Albert Aarons, Sonny Cohn, Gene Coe, Oscar Brashear(tp) Harlem Floyd, William Hughes, Grover Mitchell, Richard Boone(tb) Marshall Royal, Charles Fowlkes, Eric Dixon, Bobby Platter, Eddie “Lockjaw” Davis(sax) Freddie Green(g) Norman Keenan(b) Harold Jones(ds)
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USA
▶ Stormy Monday Blues -Vi Redd w/The Count Basie and His Orchestra Live in Paris, 1968
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http://www.dailymotion.com/video/x7ng6k_stormy-monday-blues-vi-redd-count-b_music
Stormy Monday Blues
Solo: Vi Redd(vocal and alto sax)
Count Basie and His Orchestra Live in Paris, 1968
Count Basie(p) Albert Aarons, Sonny Cohn, Gene Coe, Oscar Brashear(tp) Harlem Floyd, William Hughes, Grover Mitchell, Richard Boone(tb) Marshall Royal, Charles Fowlkes, Eric Dixon, Bobby Platter, Eddie “Lockjaw” Davis(sax) Freddie Green(g) Norman Keenan(b) Harold Jones(ds)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
▶ Stormy Monday Blues -Vi Redd w/The Count Basie and His Orchestra Live in Paris, 1968
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.dailymotion.com/video/x7ng6k_stormy-monday-blues-vi-redd-count-b_music
Stormy Monday Blues
Solo: Vi Redd(vocal and alto sax)
Count Basie and His Orchestra Live in Paris, 1968
Count Basie(p) Albert Aarons, Sonny Cohn, Gene Coe, Oscar Brashear(tp) Harlem Floyd, William Hughes, Grover Mitchell, Richard Boone(tb) Marshall Royal, Charles Fowlkes, Eric Dixon, Bobby Platter, Eddie “Lockjaw” Davis(sax) Freddie Green(g) Norman Keenan(b) Harold Jones(ds)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1e0944a322) | 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=1e0944a322&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Death of Alan Freed – JazzWax
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2015/01/the-death-of-alan-freed.html?utm_source=feedburner
** The Death of Alan Freed
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe3d970c-popup
When we look back at the rise of R&B in the late 1940s and its manifestation as rock ‘n’ roll in the 1950s, the music and energy were mesmerizing. We see electrifying optimism on the faces of artists and hear a huge beat, horns waiting, flamboyant artists hollering and hyperactive disc jockeys in claustrophobic studios spinning 45s and creating a private world of excitement for teens. The film American Graffiti (1973) caught some of this energy and teen wonderment about the music, albeit in a laundered and cliché sort of way.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe43970c-popup
Sadly, the truth about the record business back then was much less romantic. Artists were not only chiseled out of payments, their royalties were often seriously and irrevocably compromised by payola practices. To push disc jockeys to play records repeatedly during key times of day, record distributors typically showered disc jockeys with cash, favors, low-interest loans, cases of alcohol, prostitutes, part-ownership of record labels and even full or partial songwriting credits for songs they never thought twice about until the single arrived.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe4f970c-popup
As I write on today’s Arts & Review page in The Wall Street Journal (go here (http://www.wsj.com/articles/moondogs-final-sign-off-on-alan-reed-1421710119?KEYWORDS=alan+freed) ), Alan Freed was just the tip of the iceberg when it came to what was going on with payola in the 1950s. Despite Congress naming dozens of disc jockeys around the country who were tied to payments during its hearings in late 1959 and early 1960, including Dick Clark, Freed wound up the fall guy. Maybe it was because his name rhymed with “greed” or he was too strident an advocate for rock and black artists or because he didn’t have a better lawyer or he thought he was bigger than the problem. Whatever the reason, Freed became the poster boy for the payola blowout that gave rock ‘n’ roll a bad name. When the dust settled, Freed couldn’t find work and what his reputation didn’t comromise, his drinking did. He died on this day 50 years ago at age 43.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb07de228a970d-popup
Today, when Freed’s name is mentioned, it’s often in connection with payola—with the caveat that he also coined the term “rock ‘n’ roll.” While Freed received his fair share of “consulting” payments as he became the country’s most influential disc jockey, he also deserves a large slice of credit for helping to make many artists household names, for fusing rock with the youth culture, and for helping to change teen views about integration.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fee8970c-popup
None of this excuses having his name added to songwriting credits, including Chuck Berry’s Maybellene, a travesty that only was rectified by having Freed’s name removed in 1986. Rationalizing this royalty by saying his hype and endless airplay resulted in massive visibility and sales isn’t an excuse. But demonizing Freed to the point of extinction also is grossly unfair. To judge, we have to look at the entire landscape, how business was conducted and who else was involved up to their necks in conflicts of interest.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3ffd2970c-popup
A couple of ironies also come to mind. First, payola never went away when Congress ended the hearings. It just had to be better masked. As recently as 2006, three major record labels pleaded guilty and paid a multimillion-dollar fine when New York State discovered that their labels had engaged in pay-for-play schemes. And last year, Hannah Karp of the Wall Street Journal wrote a terrific piece (go here (http://www.wsj.com/articles/why-taylor-swift-and-one-direction-play-for-peanuts-1411163476?autologin=y) ) on how top artists who slash their fees to play at radio-sponsored festivals and holiday bashes do so with the expectation that their latest songs will be played on the air, whatever that means these days.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c40437970c-popup
The second irony is that while Congress was beating its chest over evil disc jockeys who accepted payments and gifts to play records, the same Representatives expressing outrage over the practice having lunches, accepting trips and perhaps more from lobbyists hoping to win their votes. Alan Freed deserves better in history’s eyes.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=13a65293b3) | 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=13a65293b3&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2015 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Death of Alan Freed – JazzWax
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2015/01/the-death-of-alan-freed.html?utm_source=feedburner
** The Death of Alan Freed
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe3d970c-popup
When we look back at the rise of R&B in the late 1940s and its manifestation as rock ‘n’ roll in the 1950s, the music and energy were mesmerizing. We see electrifying optimism on the faces of artists and hear a huge beat, horns waiting, flamboyant artists hollering and hyperactive disc jockeys in claustrophobic studios spinning 45s and creating a private world of excitement for teens. The film American Graffiti (1973) caught some of this energy and teen wonderment about the music, albeit in a laundered and cliché sort of way.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe43970c-popup
Sadly, the truth about the record business back then was much less romantic. Artists were not only chiseled out of payments, their royalties were often seriously and irrevocably compromised by payola practices. To push disc jockeys to play records repeatedly during key times of day, record distributors typically showered disc jockeys with cash, favors, low-interest loans, cases of alcohol, prostitutes, part-ownership of record labels and even full or partial songwriting credits for songs they never thought twice about until the single arrived.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fe4f970c-popup
As I write on today’s Arts & Review page in The Wall Street Journal (go here (http://www.wsj.com/articles/moondogs-final-sign-off-on-alan-reed-1421710119?KEYWORDS=alan+freed) ), Alan Freed was just the tip of the iceberg when it came to what was going on with payola in the 1950s. Despite Congress naming dozens of disc jockeys around the country who were tied to payments during its hearings in late 1959 and early 1960, including Dick Clark, Freed wound up the fall guy. Maybe it was because his name rhymed with “greed” or he was too strident an advocate for rock and black artists or because he didn’t have a better lawyer or he thought he was bigger than the problem. Whatever the reason, Freed became the poster boy for the payola blowout that gave rock ‘n’ roll a bad name. When the dust settled, Freed couldn’t find work and what his reputation didn’t comromise, his drinking did. He died on this day 50 years ago at age 43.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb07de228a970d-popup
Today, when Freed’s name is mentioned, it’s often in connection with payola—with the caveat that he also coined the term “rock ‘n’ roll.” While Freed received his fair share of “consulting” payments as he became the country’s most influential disc jockey, he also deserves a large slice of credit for helping to make many artists household names, for fusing rock with the youth culture, and for helping to change teen views about integration.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3fee8970c-popup
None of this excuses having his name added to songwriting credits, including Chuck Berry’s Maybellene, a travesty that only was rectified by having Freed’s name removed in 1986. Rationalizing this royalty by saying his hype and endless airplay resulted in massive visibility and sales isn’t an excuse. But demonizing Freed to the point of extinction also is grossly unfair. To judge, we have to look at the entire landscape, how business was conducted and who else was involved up to their necks in conflicts of interest.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c3ffd2970c-popup
A couple of ironies also come to mind. First, payola never went away when Congress ended the hearings. It just had to be better masked. As recently as 2006, three major record labels pleaded guilty and paid a multimillion-dollar fine when New York State discovered that their labels had engaged in pay-for-play schemes. And last year, Hannah Karp of the Wall Street Journal wrote a terrific piece (go here (http://www.wsj.com/articles/why-taylor-swift-and-one-direction-play-for-peanuts-1411163476?autologin=y) ) on how top artists who slash their fees to play at radio-sponsored festivals and holiday bashes do so with the expectation that their latest songs will be played on the air, whatever that means these days.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d0c40437970c-popup
The second irony is that while Congress was beating its chest over evil disc jockeys who accepted payments and gifts to play records, the same Representatives expressing outrage over the practice having lunches, accepting trips and perhaps more from lobbyists hoping to win their votes. Alan Freed deserves better in history’s eyes.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=13a65293b3) | 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=13a65293b3&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