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Marl Young: discography and solography by Mario Schneeberger

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** New post on Crownpropeller’s Blog
————————————————————
https://crownpropeller.wordpress.com/author/crownpropeller/

** Marl Young: discography and solography by Mario Schneeberger (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)

https://crownpropeller.files.wordpress.com/2015/01/jockey.jpg

Sunbeam 103 from the Crown Propeller collection.
Check Gene Ammon’s solo!

swansonjockey.mp3 (http://www.jazzdocumentation.ch//blog/swansonjockey.mp3)

Marl Young (1917–2009), “the only man who fired Charlie Parker” (Young), was a very interesting figure. He was a pianist, arranger, composer and for some time in the 1940s owned a small record company in Chicago. If you heard his name before that might be because Young was also pianist and arranger on two sessions by T-Bone Walker.

Swiss alto saxophonist and jazz researcher Mario Schneeberger, who likes Young’s work very much, has listened intensely to everything featuring Young that he could lay his hands on, taking notes on the featured soloists. And I am very glad, that he has allowed me to publish the resulting short biography / discography / solography on my website. Click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to go directly to Mario’s pages on Marl Young or click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to see all of Mario’s research pages.

There are a few things that Mario could not obtain (marked thusly in the discography), if you have one of those, please contact me via a comment and I’ll pass your information on to Mario.

To wet your appetite on Mario’s research, above and below you find two very rare recordings Young did for his own record company, Sunbeam. (http://myweb.clemson.edu/~campber/sunbeam.html) One featuring Little Miss Cornshucks, the other featuring tenor sax legend Gene Ammons and female impersonator Petite Swanson alias Alphonso Horsley (see above and below).

https://crownpropeller.files.wordpress.com/2015/01/foroldtimessake.jpg

Sunbeam 105 from the
Crown Propeller collection.

foroldtimessake.mp3 (http://www.jazzdocumentation.ch//blog/foroldtimessake.mp3)

Enjoy!

crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | January 17, 2015 at 12:13 pm | Tags: 78 rpm (https://crownpropeller.wordpress.com/?tag=78-rpm) , Gene Ammons (https://crownpropeller.wordpress.com/?tag=gene-ammons) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Little Miss Cornshucks (https://crownpropeller.wordpress.com/?tag=little-miss-cornshucks) , Marl Young (https://crownpropeller.wordpress.com/?tag=marl-young) | Categories: 78 rpm (https://crownpropeller.wordpress.com/?cat=539183) , Discography (https://crownpropeller.wordpress.com/?cat=16413981) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Marl Young (https://crownpropeller.wordpress.com/?cat=19921773) | URL: http://wp.me/pOgZZ-OY

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Warwick, Ny 10990
USA

Marl Young: discography and solography by Mario Schneeberger

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676

Respond to this post by replying above this line

** New post on Crownpropeller’s Blog
————————————————————
https://crownpropeller.wordpress.com/author/crownpropeller/

** Marl Young: discography and solography by Mario Schneeberger (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)

https://crownpropeller.files.wordpress.com/2015/01/jockey.jpg

Sunbeam 103 from the Crown Propeller collection.
Check Gene Ammon’s solo!

swansonjockey.mp3 (http://www.jazzdocumentation.ch//blog/swansonjockey.mp3)

Marl Young (1917–2009), “the only man who fired Charlie Parker” (Young), was a very interesting figure. He was a pianist, arranger, composer and for some time in the 1940s owned a small record company in Chicago. If you heard his name before that might be because Young was also pianist and arranger on two sessions by T-Bone Walker.

Swiss alto saxophonist and jazz researcher Mario Schneeberger, who likes Young’s work very much, has listened intensely to everything featuring Young that he could lay his hands on, taking notes on the featured soloists. And I am very glad, that he has allowed me to publish the resulting short biography / discography / solography on my website. Click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to go directly to Mario’s pages on Marl Young or click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to see all of Mario’s research pages.

There are a few things that Mario could not obtain (marked thusly in the discography), if you have one of those, please contact me via a comment and I’ll pass your information on to Mario.

To wet your appetite on Mario’s research, above and below you find two very rare recordings Young did for his own record company, Sunbeam. (http://myweb.clemson.edu/~campber/sunbeam.html) One featuring Little Miss Cornshucks, the other featuring tenor sax legend Gene Ammons and female impersonator Petite Swanson alias Alphonso Horsley (see above and below).

https://crownpropeller.files.wordpress.com/2015/01/foroldtimessake.jpg

Sunbeam 105 from the
Crown Propeller collection.

foroldtimessake.mp3 (http://www.jazzdocumentation.ch//blog/foroldtimessake.mp3)

Enjoy!

crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | January 17, 2015 at 12:13 pm | Tags: 78 rpm (https://crownpropeller.wordpress.com/?tag=78-rpm) , Gene Ammons (https://crownpropeller.wordpress.com/?tag=gene-ammons) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Little Miss Cornshucks (https://crownpropeller.wordpress.com/?tag=little-miss-cornshucks) , Marl Young (https://crownpropeller.wordpress.com/?tag=marl-young) | Categories: 78 rpm (https://crownpropeller.wordpress.com/?cat=539183) , Discography (https://crownpropeller.wordpress.com/?cat=16413981) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Marl Young (https://crownpropeller.wordpress.com/?cat=19921773) | URL: http://wp.me/pOgZZ-OY

Comment (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/#respond) See all comments (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/#comments)

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Copyright (C) 2015 All rights reserved.

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

Marl Young: discography and solography by Mario Schneeberger

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676

Respond to this post by replying above this line

** New post on Crownpropeller’s Blog
————————————————————
https://crownpropeller.wordpress.com/author/crownpropeller/

** Marl Young: discography and solography by Mario Schneeberger (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/)
————————————————————
by crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/)

https://crownpropeller.files.wordpress.com/2015/01/jockey.jpg

Sunbeam 103 from the Crown Propeller collection.
Check Gene Ammon’s solo!

swansonjockey.mp3 (http://www.jazzdocumentation.ch//blog/swansonjockey.mp3)

Marl Young (1917–2009), “the only man who fired Charlie Parker” (Young), was a very interesting figure. He was a pianist, arranger, composer and for some time in the 1940s owned a small record company in Chicago. If you heard his name before that might be because Young was also pianist and arranger on two sessions by T-Bone Walker.

Swiss alto saxophonist and jazz researcher Mario Schneeberger, who likes Young’s work very much, has listened intensely to everything featuring Young that he could lay his hands on, taking notes on the featured soloists. And I am very glad, that he has allowed me to publish the resulting short biography / discography / solography on my website. Click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to go directly to Mario’s pages on Marl Young or click here (http://www.jazzdocumentation.ch/mario/marioindex.html) to see all of Mario’s research pages.

There are a few things that Mario could not obtain (marked thusly in the discography), if you have one of those, please contact me via a comment and I’ll pass your information on to Mario.

To wet your appetite on Mario’s research, above and below you find two very rare recordings Young did for his own record company, Sunbeam. (http://myweb.clemson.edu/~campber/sunbeam.html) One featuring Little Miss Cornshucks, the other featuring tenor sax legend Gene Ammons and female impersonator Petite Swanson alias Alphonso Horsley (see above and below).

https://crownpropeller.files.wordpress.com/2015/01/foroldtimessake.jpg

Sunbeam 105 from the
Crown Propeller collection.

foroldtimessake.mp3 (http://www.jazzdocumentation.ch//blog/foroldtimessake.mp3)

Enjoy!

crownpropeller (https://crownpropeller.wordpress.com/author/crownpropeller/) | January 17, 2015 at 12:13 pm | Tags: 78 rpm (https://crownpropeller.wordpress.com/?tag=78-rpm) , Gene Ammons (https://crownpropeller.wordpress.com/?tag=gene-ammons) , jazz (https://crownpropeller.wordpress.com/?tag=jazz) , Little Miss Cornshucks (https://crownpropeller.wordpress.com/?tag=little-miss-cornshucks) , Marl Young (https://crownpropeller.wordpress.com/?tag=marl-young) | Categories: 78 rpm (https://crownpropeller.wordpress.com/?cat=539183) , Discography (https://crownpropeller.wordpress.com/?cat=16413981) , jazz (https://crownpropeller.wordpress.com/?cat=21992) , Marl Young (https://crownpropeller.wordpress.com/?cat=19921773) | URL: http://wp.me/pOgZZ-OY

Comment (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/#respond) See all comments (https://crownpropeller.wordpress.com/2015/01/17/marl-young-discography-and-solography-by-mario-schneeberger/#comments)

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Copyright (C) 2015 All rights reserved.

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

Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher – Daily Record

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http://www.dailyrecord.co.uk/news/scottish-news/young-jazz-drummer-lauren-macdonald-4992626

** Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher
————————————————————
* Jan 16, 2015 19:45 (http://www.dailyrecord.co.uk/by-date/16-01-2015)
* By Brian McIver (http://www.dailyrecord.co.uk/authors/brian-mciver/)

** GIFTED musician thinks Whiplash is one of most inspiring, realistic – and terrifying – movies she has ever seen.
————————————————————
* 73 Shares
* Share (http://www.dailyrecord.co.uk/news/scottish-news/young-jazz-drummer-lauren-macdonald-4992626#)
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Jazz drummer Lauren Macdonald is the first girl to be accepted to a prestigious Conservatoire course.

LAUREN Macdonald has never spilled blood on her drums, or had to dodge a flying chair.

But the gifted young musician thinks new movie Whiplash is one of the most inspiring, realistic and terrifying things she has ever seen.

The 17-year-old jazz drummer, from Glasgow, is about to take up her place at one of the country’s most respected music schools.

In the Oscar-nominated film, jazz drumming prodigy Andrew Nieman is terrorised by a demonic music teacher who pushes him so hard his fingers bleed.

It didn’t put Lauren off her dream career – in fact it has made her want to work even harder at it.

Lauren, who has been drumming since she was five, said the film has taught her you have to stand up to bullying teachers and conductors.

She said: “I’ve been really excited to see this film for ages and I loved it. The drummer was amazing – he was really fast and there was a lot of blood on his hands.

“I do get blisters and they are sore when they cut open but I’ve never had blood all over my drumkit. I used ice for my hands but I don’t need a whole bucket like they do in the film.

“I can’t do it as fast as in the film. That is more advanced. I’ve been practising speed and getting faster with triplet fills but it takes a lot of work.

Miles Teller as Andrew Neiman and JK Simmons as Terence Fletcher in Whiplash

“I think it was really inspiring because you see the drummer is really pushed to the limit and it made me realise that if I think I’m working hard right now, then I just need to try harder.

“At the moment I practise about three times a week for three hours at a time, and can play as loud as I want to when my family are out of the house.

“I just love drumming, it’s really fun and I’ve been playing since I got a plastic kit when I was five. Then I got my first proper kit when I was eight and joined a band when I was in primary five.

“I like playing all kinds of music but jazz has always been special and I’ve always loved the drummer Buddy Rich.

“I’ve always been younger than other people in the band, sometimes three years younger, and it was intimidating.

“I still get intimidated and I’m scared that if someone mucks it up, everybody would be looking at me.

“But the movie shows that you should stand up for yourself and I really liked that.”

In the film written and directed by Damien Chazelle, young actor Miles Teller plays a drummer who comes under the tutelage of a legendary but deranged jazz conductor, played by JK Simmons.

We see him throw chairs, attack, abuse and threaten his musicians, claiming he only wants to bring out the best in them and help them achieve greatness.

And while Lauren hopes she never has to deal with the extreme behaviour shown in the film, she said she hopes she finds teachers who are as dedicated.

“I’ve never had a teacher who has thrown a chair at me. I hope I don’t meet one either,” she said.

Lauren has been drumming since she was five

“A teacher has never pushed me that far before. At the start I thought he was so mean to all his students and I didn’t like him but you see him pushing people to do better than they thought they could do, so by the end of the film I agreed with him.

“He’s still a psychopath but a good psychopath. I’ve never had anything hurled at me. I have cried before when I got shouted at by a percussion teacher, when I was quite young.

“I was just in P7 at the time and it made me really upset. I hadn’t even done anything wrong in the performance.

“I’d taken the wrong drumkit and she just shouted in my face. People like that just scare me but this movie has told me not to care about them.”

Lauren, a pupil at Eastwood High School, near Glasgow, is looking forward to launching her own career studying for the four-year BMus at the Royal Conservatoire of Scotland in September.

She is the first female drummer to earn a place on the course.

Lauren went through a gruelling audition process which involved playing with Scots jazz giant Tommy Smith, who is the course leader at the Glasgow institution.

Lauren hopes to become a professional and dreams of performing with Smith’s Scottish National Jazz Orchestra.

She said: “I didn’t think I’d get in. It was really fun and also very nerve-wracking.

“I found out the day after the audition that I had got in and it was amazing.

“I was in tears and everyone was so happy for me and the head of the course, Helen McVey, was shouting and excited because there hadn’t been a girl drummer before.

“It’s going to be fantastic.”

Thanks to Whiplash – named after a jazz track which features in the story – Lauren knows how to react if she ever met a teacher as mad as Simmons’s character.

She said: “If I had a teacher like that, I’d be scared of him and hate him but I’d know why he is doing it. They would only do it to someone who they though was good to try to get more out of you.

“If I wasn’t getting pushed, I’d be worried I wasn’t doing it right and wonder what was going on.

“I hope I don’t get a chair lobbed at me though.”

Whiplash (15) is in cinemas now.

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Warwick, Ny 10990
USA

Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher – Daily Record

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.dailyrecord.co.uk/news/scottish-news/young-jazz-drummer-lauren-macdonald-4992626

** Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher
————————————————————
* Jan 16, 2015 19:45 (http://www.dailyrecord.co.uk/by-date/16-01-2015)
* By Brian McIver (http://www.dailyrecord.co.uk/authors/brian-mciver/)

** GIFTED musician thinks Whiplash is one of most inspiring, realistic – and terrifying – movies she has ever seen.
————————————————————
* 73 Shares
* Share (http://www.dailyrecord.co.uk/news/scottish-news/young-jazz-drummer-lauren-macdonald-4992626#)
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Jazz drummer Lauren Macdonald is the first girl to be accepted to a prestigious Conservatoire course.

LAUREN Macdonald has never spilled blood on her drums, or had to dodge a flying chair.

But the gifted young musician thinks new movie Whiplash is one of the most inspiring, realistic and terrifying things she has ever seen.

The 17-year-old jazz drummer, from Glasgow, is about to take up her place at one of the country’s most respected music schools.

In the Oscar-nominated film, jazz drumming prodigy Andrew Nieman is terrorised by a demonic music teacher who pushes him so hard his fingers bleed.

It didn’t put Lauren off her dream career – in fact it has made her want to work even harder at it.

Lauren, who has been drumming since she was five, said the film has taught her you have to stand up to bullying teachers and conductors.

She said: “I’ve been really excited to see this film for ages and I loved it. The drummer was amazing – he was really fast and there was a lot of blood on his hands.

“I do get blisters and they are sore when they cut open but I’ve never had blood all over my drumkit. I used ice for my hands but I don’t need a whole bucket like they do in the film.

“I can’t do it as fast as in the film. That is more advanced. I’ve been practising speed and getting faster with triplet fills but it takes a lot of work.

Miles Teller as Andrew Neiman and JK Simmons as Terence Fletcher in Whiplash

“I think it was really inspiring because you see the drummer is really pushed to the limit and it made me realise that if I think I’m working hard right now, then I just need to try harder.

“At the moment I practise about three times a week for three hours at a time, and can play as loud as I want to when my family are out of the house.

“I just love drumming, it’s really fun and I’ve been playing since I got a plastic kit when I was five. Then I got my first proper kit when I was eight and joined a band when I was in primary five.

“I like playing all kinds of music but jazz has always been special and I’ve always loved the drummer Buddy Rich.

“I’ve always been younger than other people in the band, sometimes three years younger, and it was intimidating.

“I still get intimidated and I’m scared that if someone mucks it up, everybody would be looking at me.

“But the movie shows that you should stand up for yourself and I really liked that.”

In the film written and directed by Damien Chazelle, young actor Miles Teller plays a drummer who comes under the tutelage of a legendary but deranged jazz conductor, played by JK Simmons.

We see him throw chairs, attack, abuse and threaten his musicians, claiming he only wants to bring out the best in them and help them achieve greatness.

And while Lauren hopes she never has to deal with the extreme behaviour shown in the film, she said she hopes she finds teachers who are as dedicated.

“I’ve never had a teacher who has thrown a chair at me. I hope I don’t meet one either,” she said.

Lauren has been drumming since she was five

“A teacher has never pushed me that far before. At the start I thought he was so mean to all his students and I didn’t like him but you see him pushing people to do better than they thought they could do, so by the end of the film I agreed with him.

“He’s still a psychopath but a good psychopath. I’ve never had anything hurled at me. I have cried before when I got shouted at by a percussion teacher, when I was quite young.

“I was just in P7 at the time and it made me really upset. I hadn’t even done anything wrong in the performance.

“I’d taken the wrong drumkit and she just shouted in my face. People like that just scare me but this movie has told me not to care about them.”

Lauren, a pupil at Eastwood High School, near Glasgow, is looking forward to launching her own career studying for the four-year BMus at the Royal Conservatoire of Scotland in September.

She is the first female drummer to earn a place on the course.

Lauren went through a gruelling audition process which involved playing with Scots jazz giant Tommy Smith, who is the course leader at the Glasgow institution.

Lauren hopes to become a professional and dreams of performing with Smith’s Scottish National Jazz Orchestra.

She said: “I didn’t think I’d get in. It was really fun and also very nerve-wracking.

“I found out the day after the audition that I had got in and it was amazing.

“I was in tears and everyone was so happy for me and the head of the course, Helen McVey, was shouting and excited because there hadn’t been a girl drummer before.

“It’s going to be fantastic.”

Thanks to Whiplash – named after a jazz track which features in the story – Lauren knows how to react if she ever met a teacher as mad as Simmons’s character.

She said: “If I had a teacher like that, I’d be scared of him and hate him but I’d know why he is doing it. They would only do it to someone who they though was good to try to get more out of you.

“If I wasn’t getting pushed, I’d be worried I wasn’t doing it right and wonder what was going on.

“I hope I don’t get a chair lobbed at me though.”

Whiplash (15) is in cinemas now.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=90b29a9734) | 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=90b29a9734&e=[UNIQID])

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269 State Route 94 South
Warwick, Ny 10990
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Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher – Daily Record

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http://www.dailyrecord.co.uk/news/scottish-news/young-jazz-drummer-lauren-macdonald-4992626

** Young jazz drummer Lauren Macdonald gives her view on Oscar-nominated film about demonic music teacher
————————————————————
* Jan 16, 2015 19:45 (http://www.dailyrecord.co.uk/by-date/16-01-2015)
* By Brian McIver (http://www.dailyrecord.co.uk/authors/brian-mciver/)

** GIFTED musician thinks Whiplash is one of most inspiring, realistic – and terrifying – movies she has ever seen.
————————————————————
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Jazz drummer Lauren Macdonald is the first girl to be accepted to a prestigious Conservatoire course.

LAUREN Macdonald has never spilled blood on her drums, or had to dodge a flying chair.

But the gifted young musician thinks new movie Whiplash is one of the most inspiring, realistic and terrifying things she has ever seen.

The 17-year-old jazz drummer, from Glasgow, is about to take up her place at one of the country’s most respected music schools.

In the Oscar-nominated film, jazz drumming prodigy Andrew Nieman is terrorised by a demonic music teacher who pushes him so hard his fingers bleed.

It didn’t put Lauren off her dream career – in fact it has made her want to work even harder at it.

Lauren, who has been drumming since she was five, said the film has taught her you have to stand up to bullying teachers and conductors.

She said: “I’ve been really excited to see this film for ages and I loved it. The drummer was amazing – he was really fast and there was a lot of blood on his hands.

“I do get blisters and they are sore when they cut open but I’ve never had blood all over my drumkit. I used ice for my hands but I don’t need a whole bucket like they do in the film.

“I can’t do it as fast as in the film. That is more advanced. I’ve been practising speed and getting faster with triplet fills but it takes a lot of work.

Miles Teller as Andrew Neiman and JK Simmons as Terence Fletcher in Whiplash

“I think it was really inspiring because you see the drummer is really pushed to the limit and it made me realise that if I think I’m working hard right now, then I just need to try harder.

“At the moment I practise about three times a week for three hours at a time, and can play as loud as I want to when my family are out of the house.

“I just love drumming, it’s really fun and I’ve been playing since I got a plastic kit when I was five. Then I got my first proper kit when I was eight and joined a band when I was in primary five.

“I like playing all kinds of music but jazz has always been special and I’ve always loved the drummer Buddy Rich.

“I’ve always been younger than other people in the band, sometimes three years younger, and it was intimidating.

“I still get intimidated and I’m scared that if someone mucks it up, everybody would be looking at me.

“But the movie shows that you should stand up for yourself and I really liked that.”

In the film written and directed by Damien Chazelle, young actor Miles Teller plays a drummer who comes under the tutelage of a legendary but deranged jazz conductor, played by JK Simmons.

We see him throw chairs, attack, abuse and threaten his musicians, claiming he only wants to bring out the best in them and help them achieve greatness.

And while Lauren hopes she never has to deal with the extreme behaviour shown in the film, she said she hopes she finds teachers who are as dedicated.

“I’ve never had a teacher who has thrown a chair at me. I hope I don’t meet one either,” she said.

Lauren has been drumming since she was five

“A teacher has never pushed me that far before. At the start I thought he was so mean to all his students and I didn’t like him but you see him pushing people to do better than they thought they could do, so by the end of the film I agreed with him.

“He’s still a psychopath but a good psychopath. I’ve never had anything hurled at me. I have cried before when I got shouted at by a percussion teacher, when I was quite young.

“I was just in P7 at the time and it made me really upset. I hadn’t even done anything wrong in the performance.

“I’d taken the wrong drumkit and she just shouted in my face. People like that just scare me but this movie has told me not to care about them.”

Lauren, a pupil at Eastwood High School, near Glasgow, is looking forward to launching her own career studying for the four-year BMus at the Royal Conservatoire of Scotland in September.

She is the first female drummer to earn a place on the course.

Lauren went through a gruelling audition process which involved playing with Scots jazz giant Tommy Smith, who is the course leader at the Glasgow institution.

Lauren hopes to become a professional and dreams of performing with Smith’s Scottish National Jazz Orchestra.

She said: “I didn’t think I’d get in. It was really fun and also very nerve-wracking.

“I found out the day after the audition that I had got in and it was amazing.

“I was in tears and everyone was so happy for me and the head of the course, Helen McVey, was shouting and excited because there hadn’t been a girl drummer before.

“It’s going to be fantastic.”

Thanks to Whiplash – named after a jazz track which features in the story – Lauren knows how to react if she ever met a teacher as mad as Simmons’s character.

She said: “If I had a teacher like that, I’d be scared of him and hate him but I’d know why he is doing it. They would only do it to someone who they though was good to try to get more out of you.

“If I wasn’t getting pushed, I’d be worried I wasn’t doing it right and wonder what was going on.

“I hope I don’t get a chair lobbed at me though.”

Whiplash (15) is in cinemas now.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=90b29a9734) | 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=90b29a9734&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

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

Live From New York: The State of Jazz in 2015 – The Atlantic

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theatlantic.com/entertainment/archive/2015/01/new-york-winter-jazzfest-state-of-jazz-2015/384585/

** Live From New York: The State of Jazz in 2015
————————————————————

Saul Williams performing with David Murray (Jett Drolette)

Zach Hindin (http://www.theatlantic.com/zach-hindin/) and David Graham (http://www.theatlantic.com/david-a-graham/) discuss the 2015 Winter Jazzfest in New York and what it says about the state of America’s classical music.
————————————————————

Hindin: The rightful home of the country’s premier jazz festival is New York City—more than tony Newport or even New Orleans, whose “Jazz & Heritage Festival” is nursing an identity crisis (this year’s headliner: Elton John)—and Winter Jazzfest is it.

It’s hard to plug a jazz festival without blushing a little. In his manifesto, “On Why Jazz Isn’t Cool Anymore (https://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore/) ,” Nicholas Payton declared, “People are holding on to an idea that died long ago.” On the contrary, more than 100 performances last weekend, including Payton’s—the emcee who introduced him as the multi-instrumentalist, the polemic … groped for a third descriptor until one astute crowd member assisted with bad motherfucker—spotlighted a deep bench of forward-thinking musicians unfettered by “jazz,” or really any genre at all. Call the music what you please, but every act I saw was by the end not an act so much as a white-knuckled, life-and-death reveal: This is who I am.
Marc Ribot (Steve Sussman)

Graham: It used to be pretty easy to demarcate distinct phases in the music: swing and then bop, modal and then free jazz, fusion and the Young Lions (http://en.wikipedia.org/wiki/Neo-bop_jazz) . Maybe from the safe distance of 25 years, we’ll be able to distill the sound of the music in 2015, but what I heard was, as you say, a genre-busting buffet. The three best shows of the weekend I saw included a three-guitar gospel band playing A Love Supreme, a set of raucous free jazz from aging titans (http://www.triothree.com/) , and a leading light (http://www.davidmurraymusic.com/) of 1980s jazz performing, well, I’m not quite sure how to describe it. Yet it all felt very clearly part of the same musical family.

Hindin: The crown jewel of the festival’s 10 venues was Judson Memorial Church, a paint-chippy place with long thin bricks and old wood worn smooth. You could hear the silence padding every note. There, I saw trumpeter Dave Douglas (http://www.davedouglas.com/) , playing with his quintet and polished flutters, and Ken Vandermark (http://kenvandermark.com/) & Nate Wooley (http://natewooley.com/) , whose difficult music repays those willing to surrender. And yes, those Campbell Brothers (http://www.campbellbrothers.com/) ! The risk of covering Coltrane in church is an empty prayer, something lifeless and obliged. But this felt indebted, like an honest-to-John devotional. There under the rose window, the cymbals crashed and the steel strings whined, and the whole congregation was chanting: “A love supreme, a love supreme, a love supreme.” Amen. (Video of a previous performance of the work is below.)

Graham: Speaking of emotionally charged moments, this was one of the most political moments I can remember in this music. You mentioned Nicholas Payton, who’s been out educating and provoking on the “Black American Music” front for years now, but it seems like racial politics are on the minds of many, many musicians right now. That makes sense, given what’s in the news in New York, Cleveland, and Ferguson, but jazz musicians can sometimes seem a little checked out of the day-to-day grind. Not at this festival: I saw two separate bands, Jose James (http://www.josejamesmusic.com/) and the Campbell Brothers, perform Sam Cooke’s “A Change Is Gonna Come,” James with a #blacklivesmatter-themed video. James also performed a haunting “Strange Fruit”—no small feat given how desensitized listeners are at this point. I saw a band called the Marquis Hill Blacktet (http://www.marquishill.com/) . I saw a band called Harriet Tubman (http://www.sunnysiderecords.com/artist.php?id=418) . Jazz
has also tended to marginalize women, welcoming them as singers but keeping out female bandleaders and instrumentalists. I saw a ton of female players and leaders, notably, bassist Linda Oh (http://lindaoh.bandcamp.com/) , pianist Geri Allen (http://www.geriallen.com/) and drummer Terri Lyne Carrington (http://www.terrilynecarrington.com/) , trumpeter Ingrid Jensen (http://ingridjensen.com/) —and harpist Brandee Younger (http://brandeeyounger.com/) .
David Murray (Jett Drolette)

Hindin: The fans were predominantly white and male, at least where I was sitting, and younger than I’d expected. Most were in their 20s and 30s. A blessed few had their hands stamped because they were too young to drink. No dancing or heckling, save to correct that poor emcee (“It’s Marc Ribot (http://marcribot.com/) . Ree. Bo.”). They don’t shush like symphonistas, but they do shoot one another these withering looks that get right down to the problem of fandom: How do you relish with grace? How do you rave over complexity, beauty, the bona fide Ding an sich, without sounding like kind of an asshole? Where’s the line between passion and fetish? Subculture and hipsterism?

Graham: My experience was a little different. Some of the crowds I was in were rapt, others … not so much. But the most fun audience was also the most boisterous—and the least white and male. That was the “Blue Note Now!” concert, a showcase of young talent on a label that’s been a magnet for gospel-inflected jazz for decades. It’s a circle that revolves around pianist Robert Glasper (http://www.robertglasper.com/) , largely hails from Houston, and puts a lot of hip-hop in its music. The energy in the house was great; the music was more mixed. Drummer Kendrick Scott’s Oracle (http://kendrickscott.com/) was fairly straight-ahead but not moldy. Bassist Derrick Hodge (http://music.derrickhodge.com/) played a set that had great grooves but never really went anywhere. And then Jose James came on and just tore down the place with “God Bless the Child.” I kind of appreciate the unevenness—not all of this stuff works, but it’s good to see experiments with contemporary sounds, and
it’s great to see people coming out for it.

Hindin: Doubly great because supposed obsolescence weakened the scene, ironically, at the same time it primed the strongest generation of players. That’s been the story for years now. Here’s how the next chapter starts: Winter Jazzfest showcases artists ignored by the Culture Industry, for fans considered a dead market, and they just outgrew their capacity.
Other festivals aim to melt one into the many. Psychedelic revivals, Carnival, Comic Con—what lures us there is Us. WJF was more like a gun show, where the state of an art is demonstrated and the draw is reveling openly in a power and pleasure that’s otherwise, especially for those of us not living in the city, felt in private. The ballad rings true: “Alone Together.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=22815100d7) | 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=22815100d7&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

Live From New York: The State of Jazz in 2015 – The Atlantic

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theatlantic.com/entertainment/archive/2015/01/new-york-winter-jazzfest-state-of-jazz-2015/384585/

** Live From New York: The State of Jazz in 2015
————————————————————

Saul Williams performing with David Murray (Jett Drolette)

Zach Hindin (http://www.theatlantic.com/zach-hindin/) and David Graham (http://www.theatlantic.com/david-a-graham/) discuss the 2015 Winter Jazzfest in New York and what it says about the state of America’s classical music.
————————————————————

Hindin: The rightful home of the country’s premier jazz festival is New York City—more than tony Newport or even New Orleans, whose “Jazz & Heritage Festival” is nursing an identity crisis (this year’s headliner: Elton John)—and Winter Jazzfest is it.

It’s hard to plug a jazz festival without blushing a little. In his manifesto, “On Why Jazz Isn’t Cool Anymore (https://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore/) ,” Nicholas Payton declared, “People are holding on to an idea that died long ago.” On the contrary, more than 100 performances last weekend, including Payton’s—the emcee who introduced him as the multi-instrumentalist, the polemic … groped for a third descriptor until one astute crowd member assisted with bad motherfucker—spotlighted a deep bench of forward-thinking musicians unfettered by “jazz,” or really any genre at all. Call the music what you please, but every act I saw was by the end not an act so much as a white-knuckled, life-and-death reveal: This is who I am.
Marc Ribot (Steve Sussman)

Graham: It used to be pretty easy to demarcate distinct phases in the music: swing and then bop, modal and then free jazz, fusion and the Young Lions (http://en.wikipedia.org/wiki/Neo-bop_jazz) . Maybe from the safe distance of 25 years, we’ll be able to distill the sound of the music in 2015, but what I heard was, as you say, a genre-busting buffet. The three best shows of the weekend I saw included a three-guitar gospel band playing A Love Supreme, a set of raucous free jazz from aging titans (http://www.triothree.com/) , and a leading light (http://www.davidmurraymusic.com/) of 1980s jazz performing, well, I’m not quite sure how to describe it. Yet it all felt very clearly part of the same musical family.

Hindin: The crown jewel of the festival’s 10 venues was Judson Memorial Church, a paint-chippy place with long thin bricks and old wood worn smooth. You could hear the silence padding every note. There, I saw trumpeter Dave Douglas (http://www.davedouglas.com/) , playing with his quintet and polished flutters, and Ken Vandermark (http://kenvandermark.com/) & Nate Wooley (http://natewooley.com/) , whose difficult music repays those willing to surrender. And yes, those Campbell Brothers (http://www.campbellbrothers.com/) ! The risk of covering Coltrane in church is an empty prayer, something lifeless and obliged. But this felt indebted, like an honest-to-John devotional. There under the rose window, the cymbals crashed and the steel strings whined, and the whole congregation was chanting: “A love supreme, a love supreme, a love supreme.” Amen. (Video of a previous performance of the work is below.)

Graham: Speaking of emotionally charged moments, this was one of the most political moments I can remember in this music. You mentioned Nicholas Payton, who’s been out educating and provoking on the “Black American Music” front for years now, but it seems like racial politics are on the minds of many, many musicians right now. That makes sense, given what’s in the news in New York, Cleveland, and Ferguson, but jazz musicians can sometimes seem a little checked out of the day-to-day grind. Not at this festival: I saw two separate bands, Jose James (http://www.josejamesmusic.com/) and the Campbell Brothers, perform Sam Cooke’s “A Change Is Gonna Come,” James with a #blacklivesmatter-themed video. James also performed a haunting “Strange Fruit”—no small feat given how desensitized listeners are at this point. I saw a band called the Marquis Hill Blacktet (http://www.marquishill.com/) . I saw a band called Harriet Tubman (http://www.sunnysiderecords.com/artist.php?id=418) . Jazz
has also tended to marginalize women, welcoming them as singers but keeping out female bandleaders and instrumentalists. I saw a ton of female players and leaders, notably, bassist Linda Oh (http://lindaoh.bandcamp.com/) , pianist Geri Allen (http://www.geriallen.com/) and drummer Terri Lyne Carrington (http://www.terrilynecarrington.com/) , trumpeter Ingrid Jensen (http://ingridjensen.com/) —and harpist Brandee Younger (http://brandeeyounger.com/) .
David Murray (Jett Drolette)

Hindin: The fans were predominantly white and male, at least where I was sitting, and younger than I’d expected. Most were in their 20s and 30s. A blessed few had their hands stamped because they were too young to drink. No dancing or heckling, save to correct that poor emcee (“It’s Marc Ribot (http://marcribot.com/) . Ree. Bo.”). They don’t shush like symphonistas, but they do shoot one another these withering looks that get right down to the problem of fandom: How do you relish with grace? How do you rave over complexity, beauty, the bona fide Ding an sich, without sounding like kind of an asshole? Where’s the line between passion and fetish? Subculture and hipsterism?

Graham: My experience was a little different. Some of the crowds I was in were rapt, others … not so much. But the most fun audience was also the most boisterous—and the least white and male. That was the “Blue Note Now!” concert, a showcase of young talent on a label that’s been a magnet for gospel-inflected jazz for decades. It’s a circle that revolves around pianist Robert Glasper (http://www.robertglasper.com/) , largely hails from Houston, and puts a lot of hip-hop in its music. The energy in the house was great; the music was more mixed. Drummer Kendrick Scott’s Oracle (http://kendrickscott.com/) was fairly straight-ahead but not moldy. Bassist Derrick Hodge (http://music.derrickhodge.com/) played a set that had great grooves but never really went anywhere. And then Jose James came on and just tore down the place with “God Bless the Child.” I kind of appreciate the unevenness—not all of this stuff works, but it’s good to see experiments with contemporary sounds, and
it’s great to see people coming out for it.

Hindin: Doubly great because supposed obsolescence weakened the scene, ironically, at the same time it primed the strongest generation of players. That’s been the story for years now. Here’s how the next chapter starts: Winter Jazzfest showcases artists ignored by the Culture Industry, for fans considered a dead market, and they just outgrew their capacity.
Other festivals aim to melt one into the many. Psychedelic revivals, Carnival, Comic Con—what lures us there is Us. WJF was more like a gun show, where the state of an art is demonstrated and the draw is reveling openly in a power and pleasure that’s otherwise, especially for those of us not living in the city, felt in private. The ballad rings true: “Alone Together.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=22815100d7) | 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=22815100d7&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

Live From New York: The State of Jazz in 2015 – The Atlantic

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theatlantic.com/entertainment/archive/2015/01/new-york-winter-jazzfest-state-of-jazz-2015/384585/

** Live From New York: The State of Jazz in 2015
————————————————————

Saul Williams performing with David Murray (Jett Drolette)

Zach Hindin (http://www.theatlantic.com/zach-hindin/) and David Graham (http://www.theatlantic.com/david-a-graham/) discuss the 2015 Winter Jazzfest in New York and what it says about the state of America’s classical music.
————————————————————

Hindin: The rightful home of the country’s premier jazz festival is New York City—more than tony Newport or even New Orleans, whose “Jazz & Heritage Festival” is nursing an identity crisis (this year’s headliner: Elton John)—and Winter Jazzfest is it.

It’s hard to plug a jazz festival without blushing a little. In his manifesto, “On Why Jazz Isn’t Cool Anymore (https://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore/) ,” Nicholas Payton declared, “People are holding on to an idea that died long ago.” On the contrary, more than 100 performances last weekend, including Payton’s—the emcee who introduced him as the multi-instrumentalist, the polemic … groped for a third descriptor until one astute crowd member assisted with bad motherfucker—spotlighted a deep bench of forward-thinking musicians unfettered by “jazz,” or really any genre at all. Call the music what you please, but every act I saw was by the end not an act so much as a white-knuckled, life-and-death reveal: This is who I am.
Marc Ribot (Steve Sussman)

Graham: It used to be pretty easy to demarcate distinct phases in the music: swing and then bop, modal and then free jazz, fusion and the Young Lions (http://en.wikipedia.org/wiki/Neo-bop_jazz) . Maybe from the safe distance of 25 years, we’ll be able to distill the sound of the music in 2015, but what I heard was, as you say, a genre-busting buffet. The three best shows of the weekend I saw included a three-guitar gospel band playing A Love Supreme, a set of raucous free jazz from aging titans (http://www.triothree.com/) , and a leading light (http://www.davidmurraymusic.com/) of 1980s jazz performing, well, I’m not quite sure how to describe it. Yet it all felt very clearly part of the same musical family.

Hindin: The crown jewel of the festival’s 10 venues was Judson Memorial Church, a paint-chippy place with long thin bricks and old wood worn smooth. You could hear the silence padding every note. There, I saw trumpeter Dave Douglas (http://www.davedouglas.com/) , playing with his quintet and polished flutters, and Ken Vandermark (http://kenvandermark.com/) & Nate Wooley (http://natewooley.com/) , whose difficult music repays those willing to surrender. And yes, those Campbell Brothers (http://www.campbellbrothers.com/) ! The risk of covering Coltrane in church is an empty prayer, something lifeless and obliged. But this felt indebted, like an honest-to-John devotional. There under the rose window, the cymbals crashed and the steel strings whined, and the whole congregation was chanting: “A love supreme, a love supreme, a love supreme.” Amen. (Video of a previous performance of the work is below.)

Graham: Speaking of emotionally charged moments, this was one of the most political moments I can remember in this music. You mentioned Nicholas Payton, who’s been out educating and provoking on the “Black American Music” front for years now, but it seems like racial politics are on the minds of many, many musicians right now. That makes sense, given what’s in the news in New York, Cleveland, and Ferguson, but jazz musicians can sometimes seem a little checked out of the day-to-day grind. Not at this festival: I saw two separate bands, Jose James (http://www.josejamesmusic.com/) and the Campbell Brothers, perform Sam Cooke’s “A Change Is Gonna Come,” James with a #blacklivesmatter-themed video. James also performed a haunting “Strange Fruit”—no small feat given how desensitized listeners are at this point. I saw a band called the Marquis Hill Blacktet (http://www.marquishill.com/) . I saw a band called Harriet Tubman (http://www.sunnysiderecords.com/artist.php?id=418) . Jazz
has also tended to marginalize women, welcoming them as singers but keeping out female bandleaders and instrumentalists. I saw a ton of female players and leaders, notably, bassist Linda Oh (http://lindaoh.bandcamp.com/) , pianist Geri Allen (http://www.geriallen.com/) and drummer Terri Lyne Carrington (http://www.terrilynecarrington.com/) , trumpeter Ingrid Jensen (http://ingridjensen.com/) —and harpist Brandee Younger (http://brandeeyounger.com/) .
David Murray (Jett Drolette)

Hindin: The fans were predominantly white and male, at least where I was sitting, and younger than I’d expected. Most were in their 20s and 30s. A blessed few had their hands stamped because they were too young to drink. No dancing or heckling, save to correct that poor emcee (“It’s Marc Ribot (http://marcribot.com/) . Ree. Bo.”). They don’t shush like symphonistas, but they do shoot one another these withering looks that get right down to the problem of fandom: How do you relish with grace? How do you rave over complexity, beauty, the bona fide Ding an sich, without sounding like kind of an asshole? Where’s the line between passion and fetish? Subculture and hipsterism?

Graham: My experience was a little different. Some of the crowds I was in were rapt, others … not so much. But the most fun audience was also the most boisterous—and the least white and male. That was the “Blue Note Now!” concert, a showcase of young talent on a label that’s been a magnet for gospel-inflected jazz for decades. It’s a circle that revolves around pianist Robert Glasper (http://www.robertglasper.com/) , largely hails from Houston, and puts a lot of hip-hop in its music. The energy in the house was great; the music was more mixed. Drummer Kendrick Scott’s Oracle (http://kendrickscott.com/) was fairly straight-ahead but not moldy. Bassist Derrick Hodge (http://music.derrickhodge.com/) played a set that had great grooves but never really went anywhere. And then Jose James came on and just tore down the place with “God Bless the Child.” I kind of appreciate the unevenness—not all of this stuff works, but it’s good to see experiments with contemporary sounds, and
it’s great to see people coming out for it.

Hindin: Doubly great because supposed obsolescence weakened the scene, ironically, at the same time it primed the strongest generation of players. That’s been the story for years now. Here’s how the next chapter starts: Winter Jazzfest showcases artists ignored by the Culture Industry, for fans considered a dead market, and they just outgrew their capacity.
Other festivals aim to melt one into the many. Psychedelic revivals, Carnival, Comic Con—what lures us there is Us. WJF was more like a gun show, where the state of an art is demonstrated and the draw is reveling openly in a power and pleasure that’s otherwise, especially for those of us not living in the city, felt in private. The ballad rings true: “Alone Together.”

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Midge Ellis, a champion of jazz in Detroit, dies at 91

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.freep.com/story/entertainment/music/2015/01/16/midge-ellis-detroit-jazz/21881513/

** Midge Ellis, a champion of jazz in Detroit, dies at 91
————————————————————

Jazz in Detroit never had a better friend than Midge Ellis.

The late Free Press columnist Bob Talbert dubbed her “Mama Jazz” decades ago, and the nickname stuck because it was, well, perfect. Ellis, who died Jan. 9 at the age of 91, was only 5-foot-2, but she was a force of nature, rearranging mountains in her spare time to nurture the music that she loved — and to support the legions of musicians that she liked to refer to as her “babies.”

Ellis was a founder and the indefatigable organizational engine behind the Michigan Jazz Festival, an annual showcase for local musicians. She also played a key, if unsung, role in the creation of the Detroit Jazz Festival. In the 1970s and early ’80s she ran a jazz concert series at Clarenceville High School that brought all of the touring big bands of the day to town, among them the orchestras of Count Basie, Stan Kenton, Woody Herman, Thad Jones and Mel Lewis, Buddy Rich and Maynard Ferguson.

Ellis became a confidante of many of the stars too, and it was not uncommon for Basie or Buddy or Maynard or Woody to call her home at home in Livonia to talk over some business or personnel problem. Or maybe just to chew the fat. The calls would come from around the world at 3 or 4 in the morning, but Ellis relished her role, as Detroit trombonist Ron Kischuk put it, as a “global jazz consigliere.”

She played a similar den mother role for some musicians in Detroit, developing close ties to veterans like the late drummer J.C. Heard and championing younger players on the way up like saxophonists Rick Margitza and Chris Collins, now director of the jazz program at Wayne State University and artistic director of the Detroit Jazz Festival.

“She was the heart and soul of Detroit jazz for a long, long time,” said Kischuk.

Born in Corbin, Ky., on Sept. 4, 1923, Ellis was introduced to jazz at age 4 by her father and spent her childhood exploring the music on record. She never lost a passion for the big bands of her youth, but she also adored small-group soloists improvising the music out of thin air.

“Jazz is such a different kind of music,” Ellis told the Free Press in 2006. “There is such freedom in it.”

Ellis moved to Detroit from Louisville, Ky., with her second husband in 1961. A decade later, she started the concert series at Clarenceville, cementing friendships with many of her heroes and building up a treasure trove of stories. Like the time the kids manning the door wouldn’t let Buddy Rich in without a ticket, even as he pleaded that he was, in fact, the drummer leading the band. Or the time she was driving Basie to a gig, and a big band came roaring through the radio speaker.

“That’s Kenton,” Ellis said.

“How do you know?” he asked.

“Because I recognize the Kenton chord. He’s the only one who plays that.”

At the concert Basie started the first tune with a block of harmonies that had his players scratching their heads, trying to figure out what he was doing. Basie smiled at Ellis in the front row: See, I can play the “Kenton chord” too.

Ellis was part of a small group of aficionados, including Donald Lupp, a music teacher at Henry Ford Community College, who traveled to the Montreux Jazz Festival in Switzerland in the late ’70s. The group conceived an annual Detroit satellite festival, and the late Robert McCabe, then president of Detroit Renaissance, championed the idea among city leaders. Starting in 1980, what is now called the Detroit Jazz Festival grew into one of the country’s leading jazz festivals.

In 1995 Ellis helped start the Michigan Jazz Festival as a showcase for local talent, after musicians Johnny Trudell and Emil Moro had come to her with the germ of the idea. The festival, held every June at Schoolcraft College in Livonia, celebrated its 20th anniversary in 2014. “We want to make jazz a national treasure,” Ellis said in 2004. “It’s recognized that way in Europe but not here. We want to change that.”

Ellis held a variety of administrative jobs at Schoolcraft College from 1974 to 1991. She continued to actively promote jazz and run the Michigan Jazz Festival through her 80s, even as macular degeneration left her legally blind. Her health declined precipitously in the last year after a fall at home.

Ellis is survived by a daughter, Holly Jan Ellis, of Redmond, Wash., and sons Gary Drew Ellis of Brighton and Timothy Scott Ellis of Thousand Oaks, Calif. No services are planned, but the family says a celebratory concert in honor of her life will be held sometime this spring. That’s exactly what Ellis would have wanted. Nothing made her happier than a front-row seat at a jam session.

Contact Mark Stryker: 313-222-6459 or mstryker@freepress.com.

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Copyright (C) 2015 All rights reserved.

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

Midge Ellis, a champion of jazz in Detroit, dies at 91

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.freep.com/story/entertainment/music/2015/01/16/midge-ellis-detroit-jazz/21881513/

** Midge Ellis, a champion of jazz in Detroit, dies at 91
————————————————————

Jazz in Detroit never had a better friend than Midge Ellis.

The late Free Press columnist Bob Talbert dubbed her “Mama Jazz” decades ago, and the nickname stuck because it was, well, perfect. Ellis, who died Jan. 9 at the age of 91, was only 5-foot-2, but she was a force of nature, rearranging mountains in her spare time to nurture the music that she loved — and to support the legions of musicians that she liked to refer to as her “babies.”

Ellis was a founder and the indefatigable organizational engine behind the Michigan Jazz Festival, an annual showcase for local musicians. She also played a key, if unsung, role in the creation of the Detroit Jazz Festival. In the 1970s and early ’80s she ran a jazz concert series at Clarenceville High School that brought all of the touring big bands of the day to town, among them the orchestras of Count Basie, Stan Kenton, Woody Herman, Thad Jones and Mel Lewis, Buddy Rich and Maynard Ferguson.

Ellis became a confidante of many of the stars too, and it was not uncommon for Basie or Buddy or Maynard or Woody to call her home at home in Livonia to talk over some business or personnel problem. Or maybe just to chew the fat. The calls would come from around the world at 3 or 4 in the morning, but Ellis relished her role, as Detroit trombonist Ron Kischuk put it, as a “global jazz consigliere.”

She played a similar den mother role for some musicians in Detroit, developing close ties to veterans like the late drummer J.C. Heard and championing younger players on the way up like saxophonists Rick Margitza and Chris Collins, now director of the jazz program at Wayne State University and artistic director of the Detroit Jazz Festival.

“She was the heart and soul of Detroit jazz for a long, long time,” said Kischuk.

Born in Corbin, Ky., on Sept. 4, 1923, Ellis was introduced to jazz at age 4 by her father and spent her childhood exploring the music on record. She never lost a passion for the big bands of her youth, but she also adored small-group soloists improvising the music out of thin air.

“Jazz is such a different kind of music,” Ellis told the Free Press in 2006. “There is such freedom in it.”

Ellis moved to Detroit from Louisville, Ky., with her second husband in 1961. A decade later, she started the concert series at Clarenceville, cementing friendships with many of her heroes and building up a treasure trove of stories. Like the time the kids manning the door wouldn’t let Buddy Rich in without a ticket, even as he pleaded that he was, in fact, the drummer leading the band. Or the time she was driving Basie to a gig, and a big band came roaring through the radio speaker.

“That’s Kenton,” Ellis said.

“How do you know?” he asked.

“Because I recognize the Kenton chord. He’s the only one who plays that.”

At the concert Basie started the first tune with a block of harmonies that had his players scratching their heads, trying to figure out what he was doing. Basie smiled at Ellis in the front row: See, I can play the “Kenton chord” too.

Ellis was part of a small group of aficionados, including Donald Lupp, a music teacher at Henry Ford Community College, who traveled to the Montreux Jazz Festival in Switzerland in the late ’70s. The group conceived an annual Detroit satellite festival, and the late Robert McCabe, then president of Detroit Renaissance, championed the idea among city leaders. Starting in 1980, what is now called the Detroit Jazz Festival grew into one of the country’s leading jazz festivals.

In 1995 Ellis helped start the Michigan Jazz Festival as a showcase for local talent, after musicians Johnny Trudell and Emil Moro had come to her with the germ of the idea. The festival, held every June at Schoolcraft College in Livonia, celebrated its 20th anniversary in 2014. “We want to make jazz a national treasure,” Ellis said in 2004. “It’s recognized that way in Europe but not here. We want to change that.”

Ellis held a variety of administrative jobs at Schoolcraft College from 1974 to 1991. She continued to actively promote jazz and run the Michigan Jazz Festival through her 80s, even as macular degeneration left her legally blind. Her health declined precipitously in the last year after a fall at home.

Ellis is survived by a daughter, Holly Jan Ellis, of Redmond, Wash., and sons Gary Drew Ellis of Brighton and Timothy Scott Ellis of Thousand Oaks, Calif. No services are planned, but the family says a celebratory concert in honor of her life will be held sometime this spring. That’s exactly what Ellis would have wanted. Nothing made her happier than a front-row seat at a jam session.

Contact Mark Stryker: 313-222-6459 or mstryker@freepress.com.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=ff6f81a677) | 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=ff6f81a677&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

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

Midge Ellis, a champion of jazz in Detroit, dies at 91

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.freep.com/story/entertainment/music/2015/01/16/midge-ellis-detroit-jazz/21881513/

** Midge Ellis, a champion of jazz in Detroit, dies at 91
————————————————————

Jazz in Detroit never had a better friend than Midge Ellis.

The late Free Press columnist Bob Talbert dubbed her “Mama Jazz” decades ago, and the nickname stuck because it was, well, perfect. Ellis, who died Jan. 9 at the age of 91, was only 5-foot-2, but she was a force of nature, rearranging mountains in her spare time to nurture the music that she loved — and to support the legions of musicians that she liked to refer to as her “babies.”

Ellis was a founder and the indefatigable organizational engine behind the Michigan Jazz Festival, an annual showcase for local musicians. She also played a key, if unsung, role in the creation of the Detroit Jazz Festival. In the 1970s and early ’80s she ran a jazz concert series at Clarenceville High School that brought all of the touring big bands of the day to town, among them the orchestras of Count Basie, Stan Kenton, Woody Herman, Thad Jones and Mel Lewis, Buddy Rich and Maynard Ferguson.

Ellis became a confidante of many of the stars too, and it was not uncommon for Basie or Buddy or Maynard or Woody to call her home at home in Livonia to talk over some business or personnel problem. Or maybe just to chew the fat. The calls would come from around the world at 3 or 4 in the morning, but Ellis relished her role, as Detroit trombonist Ron Kischuk put it, as a “global jazz consigliere.”

She played a similar den mother role for some musicians in Detroit, developing close ties to veterans like the late drummer J.C. Heard and championing younger players on the way up like saxophonists Rick Margitza and Chris Collins, now director of the jazz program at Wayne State University and artistic director of the Detroit Jazz Festival.

“She was the heart and soul of Detroit jazz for a long, long time,” said Kischuk.

Born in Corbin, Ky., on Sept. 4, 1923, Ellis was introduced to jazz at age 4 by her father and spent her childhood exploring the music on record. She never lost a passion for the big bands of her youth, but she also adored small-group soloists improvising the music out of thin air.

“Jazz is such a different kind of music,” Ellis told the Free Press in 2006. “There is such freedom in it.”

Ellis moved to Detroit from Louisville, Ky., with her second husband in 1961. A decade later, she started the concert series at Clarenceville, cementing friendships with many of her heroes and building up a treasure trove of stories. Like the time the kids manning the door wouldn’t let Buddy Rich in without a ticket, even as he pleaded that he was, in fact, the drummer leading the band. Or the time she was driving Basie to a gig, and a big band came roaring through the radio speaker.

“That’s Kenton,” Ellis said.

“How do you know?” he asked.

“Because I recognize the Kenton chord. He’s the only one who plays that.”

At the concert Basie started the first tune with a block of harmonies that had his players scratching their heads, trying to figure out what he was doing. Basie smiled at Ellis in the front row: See, I can play the “Kenton chord” too.

Ellis was part of a small group of aficionados, including Donald Lupp, a music teacher at Henry Ford Community College, who traveled to the Montreux Jazz Festival in Switzerland in the late ’70s. The group conceived an annual Detroit satellite festival, and the late Robert McCabe, then president of Detroit Renaissance, championed the idea among city leaders. Starting in 1980, what is now called the Detroit Jazz Festival grew into one of the country’s leading jazz festivals.

In 1995 Ellis helped start the Michigan Jazz Festival as a showcase for local talent, after musicians Johnny Trudell and Emil Moro had come to her with the germ of the idea. The festival, held every June at Schoolcraft College in Livonia, celebrated its 20th anniversary in 2014. “We want to make jazz a national treasure,” Ellis said in 2004. “It’s recognized that way in Europe but not here. We want to change that.”

Ellis held a variety of administrative jobs at Schoolcraft College from 1974 to 1991. She continued to actively promote jazz and run the Michigan Jazz Festival through her 80s, even as macular degeneration left her legally blind. Her health declined precipitously in the last year after a fall at home.

Ellis is survived by a daughter, Holly Jan Ellis, of Redmond, Wash., and sons Gary Drew Ellis of Brighton and Timothy Scott Ellis of Thousand Oaks, Calif. No services are planned, but the family says a celebratory concert in honor of her life will be held sometime this spring. That’s exactly what Ellis would have wanted. Nothing made her happier than a front-row seat at a jam session.

Contact Mark Stryker: 313-222-6459 or mstryker@freepress.com.

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Copyright (C) 2015 All rights reserved.

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USA

Institute of Jazz Studies: IJS Roundtable, 1-21-15 “Concept of Blues Analysis by Radam Schwartz”

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Please join us on Wednesday, January 21, 2015 when the Institute of Jazz Studies will present a Jazz Research Roundtable entitled: “Concept of Blues Analysis by Radam Schwartz”.
Summary: Blues Analysis is a system of analyzing music. It attempts to demonstrate that there is a linear and harmonic system in the blues that is prominent in jazz vocabulary and is quite distinct from the diatonic system. This can also lead to a re-appraisal of jazz history.

Radan Schwartz, Hammond B3 organist and jazz pianist, has built his reputation over the last 30 years playing with such great musicians as Arthur and Red Prysock, Eddie “Lockjaw” Davis, Al Hibbler, David “Fathead” Newman, and Jimmy Ford. He continues to make music history today playing with renowned artist Cecil Brooks III, Russell Malone, the Spirit of Life Ensemble and many others.

Radam’s prolific career has led to many successful recording, Organized (Muse Records, 1995), was mentioned in the B3 Bible as one of the essential organ records of all time. In 2005, Radam’s recording Conspiracy for Positivity (Blue Ark Records) occupied a spot of the National Charts for 12 straight weeks, climbing as high as number 15. Magic Tales, the second recording with his group, was released on Arabesque Records in 2007, and got as high as #11 on the charts stayed there for 14 weeks. In March 2009, Savant records released Blues Citizens by Radam and an all-star group which made it to #9 on the national charts. In August of 2010 Arabesque released one of Radam’s more daring recordings that combined the jazz vocalese style with the organ groove entitled Songs For the Soul, and this recording reached #23 on the national charts.

In 2009 and 2010 Radam received awards from Sesac for jazz compositions. He was also mentioned in the world famous Downbeat Magazine Critics Poll in August 2008. He was also awarded a grant from the Morroe Berger-Benny Carter Jazz Research Fund.

Radam has been a jazz educator for almost 30 years. He was the musical director of the Jazz Institute of New Jersey for 15 years which won the Louis Armstrong Award from the IAJE in 1996. Radam has been an artist-in-residence at Middlesex County Arts High School for over 25 years, and currently is on the teaching staff at Jazz House Kids (JHK) in Montclair, NJ. He is the instructor for the Mosaic Jazz Ensemble at Rutgers-Newark. In 2012 Radam’s ensemble at JHK won first place nationally in the Charles Mingus competition. He taught at the Montclair State University Jazz Connections camp for 16 years and is currently a part time instructor at the Jazz Academy at the Count Basie Theatre in Red Bank, NJ. He was also a staff accompanist at the Mason Gross School of the Arts, Rutgers University between 1986 to 1997. Radam received a Masters degree from the Jazz History and Research Program at Rutgers-Newark in 2012.

It runs from 7 to 9 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

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

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Copyright (C) 2015 All rights reserved.

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

Institute of Jazz Studies: IJS Roundtable, 1-21-15 “Concept of Blues Analysis by Radam Schwartz”

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676

Please join us on Wednesday, January 21, 2015 when the Institute of Jazz Studies will present a Jazz Research Roundtable entitled: “Concept of Blues Analysis by Radam Schwartz”.
Summary: Blues Analysis is a system of analyzing music. It attempts to demonstrate that there is a linear and harmonic system in the blues that is prominent in jazz vocabulary and is quite distinct from the diatonic system. This can also lead to a re-appraisal of jazz history.

Radan Schwartz, Hammond B3 organist and jazz pianist, has built his reputation over the last 30 years playing with such great musicians as Arthur and Red Prysock, Eddie “Lockjaw” Davis, Al Hibbler, David “Fathead” Newman, and Jimmy Ford. He continues to make music history today playing with renowned artist Cecil Brooks III, Russell Malone, the Spirit of Life Ensemble and many others.

Radam’s prolific career has led to many successful recording, Organized (Muse Records, 1995), was mentioned in the B3 Bible as one of the essential organ records of all time. In 2005, Radam’s recording Conspiracy for Positivity (Blue Ark Records) occupied a spot of the National Charts for 12 straight weeks, climbing as high as number 15. Magic Tales, the second recording with his group, was released on Arabesque Records in 2007, and got as high as #11 on the charts stayed there for 14 weeks. In March 2009, Savant records released Blues Citizens by Radam and an all-star group which made it to #9 on the national charts. In August of 2010 Arabesque released one of Radam’s more daring recordings that combined the jazz vocalese style with the organ groove entitled Songs For the Soul, and this recording reached #23 on the national charts.

In 2009 and 2010 Radam received awards from Sesac for jazz compositions. He was also mentioned in the world famous Downbeat Magazine Critics Poll in August 2008. He was also awarded a grant from the Morroe Berger-Benny Carter Jazz Research Fund.

Radam has been a jazz educator for almost 30 years. He was the musical director of the Jazz Institute of New Jersey for 15 years which won the Louis Armstrong Award from the IAJE in 1996. Radam has been an artist-in-residence at Middlesex County Arts High School for over 25 years, and currently is on the teaching staff at Jazz House Kids (JHK) in Montclair, NJ. He is the instructor for the Mosaic Jazz Ensemble at Rutgers-Newark. In 2012 Radam’s ensemble at JHK won first place nationally in the Charles Mingus competition. He taught at the Montclair State University Jazz Connections camp for 16 years and is currently a part time instructor at the Jazz Academy at the Count Basie Theatre in Red Bank, NJ. He was also a staff accompanist at the Mason Gross School of the Arts, Rutgers University between 1986 to 1997. Radam received a Masters degree from the Jazz History and Research Program at Rutgers-Newark in 2012.

It runs from 7 to 9 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

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

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Institute of Jazz Studies: IJS Roundtable, 1-21-15 “Concept of Blues Analysis by Radam Schwartz”

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Please join us on Wednesday, January 21, 2015 when the Institute of Jazz Studies will present a Jazz Research Roundtable entitled: “Concept of Blues Analysis by Radam Schwartz”.
Summary: Blues Analysis is a system of analyzing music. It attempts to demonstrate that there is a linear and harmonic system in the blues that is prominent in jazz vocabulary and is quite distinct from the diatonic system. This can also lead to a re-appraisal of jazz history.

Radan Schwartz, Hammond B3 organist and jazz pianist, has built his reputation over the last 30 years playing with such great musicians as Arthur and Red Prysock, Eddie “Lockjaw” Davis, Al Hibbler, David “Fathead” Newman, and Jimmy Ford. He continues to make music history today playing with renowned artist Cecil Brooks III, Russell Malone, the Spirit of Life Ensemble and many others.

Radam’s prolific career has led to many successful recording, Organized (Muse Records, 1995), was mentioned in the B3 Bible as one of the essential organ records of all time. In 2005, Radam’s recording Conspiracy for Positivity (Blue Ark Records) occupied a spot of the National Charts for 12 straight weeks, climbing as high as number 15. Magic Tales, the second recording with his group, was released on Arabesque Records in 2007, and got as high as #11 on the charts stayed there for 14 weeks. In March 2009, Savant records released Blues Citizens by Radam and an all-star group which made it to #9 on the national charts. In August of 2010 Arabesque released one of Radam’s more daring recordings that combined the jazz vocalese style with the organ groove entitled Songs For the Soul, and this recording reached #23 on the national charts.

In 2009 and 2010 Radam received awards from Sesac for jazz compositions. He was also mentioned in the world famous Downbeat Magazine Critics Poll in August 2008. He was also awarded a grant from the Morroe Berger-Benny Carter Jazz Research Fund.

Radam has been a jazz educator for almost 30 years. He was the musical director of the Jazz Institute of New Jersey for 15 years which won the Louis Armstrong Award from the IAJE in 1996. Radam has been an artist-in-residence at Middlesex County Arts High School for over 25 years, and currently is on the teaching staff at Jazz House Kids (JHK) in Montclair, NJ. He is the instructor for the Mosaic Jazz Ensemble at Rutgers-Newark. In 2012 Radam’s ensemble at JHK won first place nationally in the Charles Mingus competition. He taught at the Montclair State University Jazz Connections camp for 16 years and is currently a part time instructor at the Jazz Academy at the Count Basie Theatre in Red Bank, NJ. He was also a staff accompanist at the Mason Gross School of the Arts, Rutgers University between 1986 to 1997. Radam received a Masters degree from the Jazz History and Research Program at Rutgers-Newark in 2012.

It runs from 7 to 9 PM in the Dana Room of John Cotton Dana Library, 4th floor, Rutgers University-Newark.

FREE AND OPEN TO THE PUBLIC.

For directions:

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

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0605c8c423) | 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=0605c8c423&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

Jazz Promo Services
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Warwick, Ny 10990
USA

Message at Charlie Haden Memorial: “Hey, Man—We’re Family” | BLOUIN ARTINFO

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Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
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BY LARRY BLUMENFELD | JANUARY 16, 2015

Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
View Slideshow (http://www.blouinartinfo.com/photo-galleries/slideshow-a-memorial-for-charlie-haden-at-town-hall)
Siblings Petra, Rachel, Josh, and Tanya Haden sing at the Memorial Program and concert for their father, bassist Charlie Haden.
(© Jacob Blickenstaff 2014)

RELATED
* VENUES
Town Hall (http://www.blouinartinfo.com/galleryguide/town-hall/overview)

Minutes into Tuesday night’s memorial concert for Charlie Haden at Manhattan’s Town Hall, on a screen above the stage, came the first of several excerpts from a documentary, “Rambling Boy,” that punctuated three-plus hours of music and testimonials. Here was Haden as a boy, no more than two or three, singing and yodeling with confident joy.

Long before Haden helped ignite a jazz revolution while in his early twenties, as bassist in saxophonist Ornette Coleman’s quartet; before he spent a decade in another landmark band led by pianist Keith Jarrett; before he formed his Liberation Music Orchestra, blending avant-garde, big-band jazz and Latin American folk traditions with bold political statements; before his Quartet West, which played noir ballads inspired by Raymond Chandler novels and movie themes; before memorable duet recordings of spirituals and hymns, and decades of collaborations with musicians that spanned three generations of jazz’s finest players and nearly all its idioms, Haden was “Cowboy Charlie,” a precocious toddler singing his way into listeners hearts on his parents’ radio show.

Haden, who died in July 2014 (http://blogs.artinfo.com/blunotes/2014/07/4109/) , at the age of 76, was born into musical family that performed what he liked to call “hillbilly music.” Haden’s love for sturdy, heartfelt melody and folk traditions were touchstones through his career, evident even within complex improvised settings. He fathered a musical brood, too. His four children — Petra, Rachel, Tanya and Josh, all accomplished musicians — harmonized beautifully Tuesday night on a version of Bill Monroe’s “Voice From on High,” accompanied by guitarist Bill Frisell and bassist Mark Fain. Petra then sang the folk song “Oh, Shenandoah” in honor of Haden’s birthplace, Shenandoah, Iowa. (He grew up in Springfield, Mo.)

Haden was a family man, in a sense that implies the empathy and love, the tenderness and care that gives such designation meaning. Beyond technical skills and talent, he earned distinction in music by giving what was needed to fellow players to achieve communion that feels like a blood bond; in jazz, this means unspoken understandings and honest communication offered without hesitation or judgment. It’s customary to speak of great jazz bassists in terms of advancing or redefining the instrument’s role. Yet here’s how bassist Putter Smith expressed Haden’s contribution: “He gave us bassists permission to play with the kind of intimacy a mother has with a baby.”

The evening’s performances, mostly of Haden’s compositions, made a case for his body of work as one that will endure and deserves further interpretation. The spoken testimonials, along with the documentary clips, more or less traced the path and framed the influence of one remarkable musician. Yet what came across most powerfully was how Haden, through his music, presence, and personality, built bonds that seemed familial and coursed through actual families. And we received one after another example, through music and words, of how Haden led others to reveal themselves in moving and even brave ways.

The serene intimacy of “For Turiya,” as played by tenor saxophonist Ravi Coltrane, pianist Geri Allen, and harpist Brandee Younger, had a relevant backstory: Haden composed it in 1976, to play in duet with Alice Coltrane, Ravi’s mother, after hearing her play harp, and to honor her devotion to Hindu Vedantic practice.

Ornette Coleman, now 84, didn’t feel well enough to attend the Town Hall event. His son Denardo testified, first about Haden’s relationship with his father. “It takes a special person to be willing to go on that journey,” he said of Haden’s commitment to Coleman’s demanding music, in the face of early and stinging criticisms. “They were stubborn, together.” When Ornette appointed Denardo, then age ten, as drummer for the album “The Empty Foxhole,” it was Haden who “made me feel like a musician,” Denardo said. “He was always on a mission to lift you up.”

A quartet of tenor saxophonist Joshua Redman, pianist Kenny Barron, drummer Jack DeJohnette, and bassist Scott Colley played a particularly hard-hitting version of Haden’s “Blues for Pat.” Moments later, Redman’s words hit yet harder. His father, the late saxophonist Dewey Redman, had played with Haden in many distinguished contexts. Redman didn’t know his father well, he explained, but he knew his father’s records; the ones he liked best always turned out to be the ones with Haden. “Charlie brought out the love in my father’s playing — a warmth, tenderness, and honesty that few others brought out to the same degree,” he said. “In a strange way, Charlie helped me love my father.”

Guitarist Pat Metheny, who grew up in Lee’s Summit, Mo., recalled feeling an instant kinship based on geography upon meeting Haden 40 years ago. (They were duet partners for the Grammy-winning 1997 recording, “Beyond the Missouri Sky.”) At Town Hall, Metheny played a medley of three Haden songs on acoustic guitar — “Our Spanish Love Song,” “Waltz for Ruth,” and “First Song.” Through decades of work together, in wildly varying contexts, Metheny said, he felt a special, almost secret sense of communication with Haden. “We always played our little things,” he said. “I’ve never had that feeling again with anyone else.”

Metheny was 19 when he first met Haden, who was 17 years his elder. “But he wasn’t a father figure,” he said. “Because I felt like the older and more responsible one.”

“Charlie wasn’t a perfect person,” said Ruth Cameron Haden, his wife of 30 years, who organized the event and served as its host. He’d battled with polio as a teenager, which robbed him of his singing voice, and then, in his final years, was ravaged by post-polio syndrome. He’d struggled with drug addiction during one long stretch of his life, a fight he considered ongoing in some ways, she said. (“When I put my bass down,” she quoted him as saying, “I’m in trouble.”) But he was forever bent on improving, she said, and always fixed on a desire to “bring beauty to the world.”

It was about more than beauty, as Haden made clear throughout his career. While on tour with Ornette Coleman’s group in Portugal, in 1971, Haden dedicated his composition “Song for Ché” to the black liberation movements of Mozambique and Angola, and was promptly jailed (and soon rescued by Bob Jones, a cultural attaché to then-president Richard Nixon). His Liberation Music Orchestra’s 2005 album, “Not in Our Name,” was released as a protest against the Iraq War.

At Town Hall, Maurice Jackson, a history professor at Georgetown University and chair of the District of Columbia Commission on African American Affairs, who wrote liner notes for Haden’s recordings of spirituals, called up the legacy of the French-born pioneering American abolitionist Anthony Benezet in describing Haden’s outlook on race relations, and explained that “Charlie helped me understand the role of jazz in American politics.”

Which isn’t to say that Tuesday night’s event was overly reverent or high-minded. Haden was a gentle soul ever in search of a good laugh. The jokes he shared through the years got retold a few times onstage. (It’s rare to hear a saxophonist telling an audience, as Ravi Coltrane did: “A duck walks into a bar…”) Yet, according to comedian Richard Lewis, who praised Haden as a friend and a cultural force via video, although the bassist’s timing and tone were definitive on the bandstand, when it came to comedy — not so much. “Play jazz in heaven,” Lewis said. “But don’t tell God any jokes.”

Still, Haden’s timing seemed pretty good during one documentary excerpt, while reminiscing about a teenage moment when members of Stan Kenton’s band invited him up to their smoke-filled hotel room.

“Do you want to end up like this?” he recalled being asked.

He paused, smiled. “Well, yeah!”

Putter Smith called Haden a “charming rascal,” whose entreaties were always prefaced with the same greeting, delivered in an amiable whine — “Hey, man.” Haden’s longtime attorney, Fred Ansis, explained that, for him, it always went like this: “Hey, man: Any bread?” Ansis and Jean-Philippe Allard, Haden’s frequent producer and his stalwart advocate within the record industry, laughed about seemingly endless and often overlapping phone calls from an overly attentive Haden. “But this was all part of his laser-like focus,” said Allard, “on quality and elegance.”

Musically, Haden had an uncanny ability to find and hold deeply meditative moments, as did pianist Gonzalo Rubalcaba during a riveting solo performance Tuesday night. Haden could summon sincere spiritual heft, as did Henry Butler, who played piano while singing “Deep River” in an operatic baritone. Haden regularly eased into grooves with willing partners, comfortably enough to invite unfettered expression; such was the case when pianist Brad Mehldau and alto saxophonist Lee Konitz played a freewheeling blues, during which Konitz moved seamlessly (and joyously) between playing his horn and wordless singing. Haden could craft convincing moods, as did the members of his Quartet West behind the urgent tone of tenor saxophonist Ernie Watts, with bassist Scott Colley taking Haden’s place.

The concert had begun with a spiritual, “Goin’ Home” (which Haden recorded on the second of two duet recordings with pianist Hank Jones), here played by a lone trumpeter, Michael Rodriguez. At its end, Rodriguez was back, standing among the dozen members of the Liberation Music Orchestra. Carla Bley, Haden’s partner in this endeavor since its start, directed mostly from her piano bench, rising only to finesse a segue or an ending with hand motions and body language.

Anywhere, the death of a great musician is cause for gathering, for shared mourning and celebration. This is especially true in New York and New Orleans, where there are always critical masses of masterful jazz players and ready means of ritual. Those who know, know enough to show up: It’s also the impetus for rare and stellar concerts.

On Tuesday, the audience packed into Town Hall reflected Haden’s impact and reach. In one single row sat the following: singer Sheila Jordan, who, like Haden, was named a National Endowment for the Arts Jazz Master, and who smiled broadly when Konitz, another Jazz Master, scatted over those blues; Lorraine Gordon, who owns the Village Vanguard, the Greenwich Village jazz club that hosted Haden throughout his career, in many bands; Henry Grimes, a bassist who began making his own liberating impact in jazz circles around the same time as Haden; Amy Goodman, whose celebrated news program, “Democracy Now!” featured Haden as an interview guest (http://www.democracynow.org/2006/9/1/jazz_legend_charlie_haden_on_his) , delving deeply into the connections between his music and his commitment to social justice; and the woman in the aisle seat who explained that she’d just moved from Thailand to the U.S., and had read somewhere that this might be the best jazz concert in decades.

The Liberation Music Orchestra’s brass players and saxophonists didn’t form a procession, as they would in a New Orleans jazz funeral, nor did they begin with a dirge and then switch to a loose-limbed parade-worthy rhythm. They stood in a semi-circle, starting “Amazing Grace” and “We Shall Overcome” in the solemn manner of a brass choir, and then sliding during the middle of each piece into modern-jazz swing. (Trombonist Curtis Fowlkes’ bristling, pleading solo on the former would have fit right in during a New Orleans jazz funeral, though).

This was functional music communicating both beauty and purpose, and meant to outlive the man who set it in motion. (In fact, the Liberation Music Orchestra headed into a Manhattan recording studio on Wednesday to complete its next release.)

Before the orchestra played “We Shall Overcome,” Bley stepped up to the microphone. She didn’t talk about Haden’s music or her shared history with him, which in that moment I regretted. “Charlie loved audiences,” she said. “He appreciated them as much as they appreciated him.” Then she stared for a moment at what probably looked a lot like the community jazz sometimes forgets it has, one that a rare musician like Haden binds together as family.

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Copyright (C) 2015 All rights reserved.

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269 State Route 94 South
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Message at Charlie Haden Memorial: “Hey, Man—We’re Family” | BLOUIN ARTINFO

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Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
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BY LARRY BLUMENFELD | JANUARY 16, 2015

Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
View Slideshow (http://www.blouinartinfo.com/photo-galleries/slideshow-a-memorial-for-charlie-haden-at-town-hall)
Siblings Petra, Rachel, Josh, and Tanya Haden sing at the Memorial Program and concert for their father, bassist Charlie Haden.
(© Jacob Blickenstaff 2014)

RELATED
* VENUES
Town Hall (http://www.blouinartinfo.com/galleryguide/town-hall/overview)

Minutes into Tuesday night’s memorial concert for Charlie Haden at Manhattan’s Town Hall, on a screen above the stage, came the first of several excerpts from a documentary, “Rambling Boy,” that punctuated three-plus hours of music and testimonials. Here was Haden as a boy, no more than two or three, singing and yodeling with confident joy.

Long before Haden helped ignite a jazz revolution while in his early twenties, as bassist in saxophonist Ornette Coleman’s quartet; before he spent a decade in another landmark band led by pianist Keith Jarrett; before he formed his Liberation Music Orchestra, blending avant-garde, big-band jazz and Latin American folk traditions with bold political statements; before his Quartet West, which played noir ballads inspired by Raymond Chandler novels and movie themes; before memorable duet recordings of spirituals and hymns, and decades of collaborations with musicians that spanned three generations of jazz’s finest players and nearly all its idioms, Haden was “Cowboy Charlie,” a precocious toddler singing his way into listeners hearts on his parents’ radio show.

Haden, who died in July 2014 (http://blogs.artinfo.com/blunotes/2014/07/4109/) , at the age of 76, was born into musical family that performed what he liked to call “hillbilly music.” Haden’s love for sturdy, heartfelt melody and folk traditions were touchstones through his career, evident even within complex improvised settings. He fathered a musical brood, too. His four children — Petra, Rachel, Tanya and Josh, all accomplished musicians — harmonized beautifully Tuesday night on a version of Bill Monroe’s “Voice From on High,” accompanied by guitarist Bill Frisell and bassist Mark Fain. Petra then sang the folk song “Oh, Shenandoah” in honor of Haden’s birthplace, Shenandoah, Iowa. (He grew up in Springfield, Mo.)

Haden was a family man, in a sense that implies the empathy and love, the tenderness and care that gives such designation meaning. Beyond technical skills and talent, he earned distinction in music by giving what was needed to fellow players to achieve communion that feels like a blood bond; in jazz, this means unspoken understandings and honest communication offered without hesitation or judgment. It’s customary to speak of great jazz bassists in terms of advancing or redefining the instrument’s role. Yet here’s how bassist Putter Smith expressed Haden’s contribution: “He gave us bassists permission to play with the kind of intimacy a mother has with a baby.”

The evening’s performances, mostly of Haden’s compositions, made a case for his body of work as one that will endure and deserves further interpretation. The spoken testimonials, along with the documentary clips, more or less traced the path and framed the influence of one remarkable musician. Yet what came across most powerfully was how Haden, through his music, presence, and personality, built bonds that seemed familial and coursed through actual families. And we received one after another example, through music and words, of how Haden led others to reveal themselves in moving and even brave ways.

The serene intimacy of “For Turiya,” as played by tenor saxophonist Ravi Coltrane, pianist Geri Allen, and harpist Brandee Younger, had a relevant backstory: Haden composed it in 1976, to play in duet with Alice Coltrane, Ravi’s mother, after hearing her play harp, and to honor her devotion to Hindu Vedantic practice.

Ornette Coleman, now 84, didn’t feel well enough to attend the Town Hall event. His son Denardo testified, first about Haden’s relationship with his father. “It takes a special person to be willing to go on that journey,” he said of Haden’s commitment to Coleman’s demanding music, in the face of early and stinging criticisms. “They were stubborn, together.” When Ornette appointed Denardo, then age ten, as drummer for the album “The Empty Foxhole,” it was Haden who “made me feel like a musician,” Denardo said. “He was always on a mission to lift you up.”

A quartet of tenor saxophonist Joshua Redman, pianist Kenny Barron, drummer Jack DeJohnette, and bassist Scott Colley played a particularly hard-hitting version of Haden’s “Blues for Pat.” Moments later, Redman’s words hit yet harder. His father, the late saxophonist Dewey Redman, had played with Haden in many distinguished contexts. Redman didn’t know his father well, he explained, but he knew his father’s records; the ones he liked best always turned out to be the ones with Haden. “Charlie brought out the love in my father’s playing — a warmth, tenderness, and honesty that few others brought out to the same degree,” he said. “In a strange way, Charlie helped me love my father.”

Guitarist Pat Metheny, who grew up in Lee’s Summit, Mo., recalled feeling an instant kinship based on geography upon meeting Haden 40 years ago. (They were duet partners for the Grammy-winning 1997 recording, “Beyond the Missouri Sky.”) At Town Hall, Metheny played a medley of three Haden songs on acoustic guitar — “Our Spanish Love Song,” “Waltz for Ruth,” and “First Song.” Through decades of work together, in wildly varying contexts, Metheny said, he felt a special, almost secret sense of communication with Haden. “We always played our little things,” he said. “I’ve never had that feeling again with anyone else.”

Metheny was 19 when he first met Haden, who was 17 years his elder. “But he wasn’t a father figure,” he said. “Because I felt like the older and more responsible one.”

“Charlie wasn’t a perfect person,” said Ruth Cameron Haden, his wife of 30 years, who organized the event and served as its host. He’d battled with polio as a teenager, which robbed him of his singing voice, and then, in his final years, was ravaged by post-polio syndrome. He’d struggled with drug addiction during one long stretch of his life, a fight he considered ongoing in some ways, she said. (“When I put my bass down,” she quoted him as saying, “I’m in trouble.”) But he was forever bent on improving, she said, and always fixed on a desire to “bring beauty to the world.”

It was about more than beauty, as Haden made clear throughout his career. While on tour with Ornette Coleman’s group in Portugal, in 1971, Haden dedicated his composition “Song for Ché” to the black liberation movements of Mozambique and Angola, and was promptly jailed (and soon rescued by Bob Jones, a cultural attaché to then-president Richard Nixon). His Liberation Music Orchestra’s 2005 album, “Not in Our Name,” was released as a protest against the Iraq War.

At Town Hall, Maurice Jackson, a history professor at Georgetown University and chair of the District of Columbia Commission on African American Affairs, who wrote liner notes for Haden’s recordings of spirituals, called up the legacy of the French-born pioneering American abolitionist Anthony Benezet in describing Haden’s outlook on race relations, and explained that “Charlie helped me understand the role of jazz in American politics.”

Which isn’t to say that Tuesday night’s event was overly reverent or high-minded. Haden was a gentle soul ever in search of a good laugh. The jokes he shared through the years got retold a few times onstage. (It’s rare to hear a saxophonist telling an audience, as Ravi Coltrane did: “A duck walks into a bar…”) Yet, according to comedian Richard Lewis, who praised Haden as a friend and a cultural force via video, although the bassist’s timing and tone were definitive on the bandstand, when it came to comedy — not so much. “Play jazz in heaven,” Lewis said. “But don’t tell God any jokes.”

Still, Haden’s timing seemed pretty good during one documentary excerpt, while reminiscing about a teenage moment when members of Stan Kenton’s band invited him up to their smoke-filled hotel room.

“Do you want to end up like this?” he recalled being asked.

He paused, smiled. “Well, yeah!”

Putter Smith called Haden a “charming rascal,” whose entreaties were always prefaced with the same greeting, delivered in an amiable whine — “Hey, man.” Haden’s longtime attorney, Fred Ansis, explained that, for him, it always went like this: “Hey, man: Any bread?” Ansis and Jean-Philippe Allard, Haden’s frequent producer and his stalwart advocate within the record industry, laughed about seemingly endless and often overlapping phone calls from an overly attentive Haden. “But this was all part of his laser-like focus,” said Allard, “on quality and elegance.”

Musically, Haden had an uncanny ability to find and hold deeply meditative moments, as did pianist Gonzalo Rubalcaba during a riveting solo performance Tuesday night. Haden could summon sincere spiritual heft, as did Henry Butler, who played piano while singing “Deep River” in an operatic baritone. Haden regularly eased into grooves with willing partners, comfortably enough to invite unfettered expression; such was the case when pianist Brad Mehldau and alto saxophonist Lee Konitz played a freewheeling blues, during which Konitz moved seamlessly (and joyously) between playing his horn and wordless singing. Haden could craft convincing moods, as did the members of his Quartet West behind the urgent tone of tenor saxophonist Ernie Watts, with bassist Scott Colley taking Haden’s place.

The concert had begun with a spiritual, “Goin’ Home” (which Haden recorded on the second of two duet recordings with pianist Hank Jones), here played by a lone trumpeter, Michael Rodriguez. At its end, Rodriguez was back, standing among the dozen members of the Liberation Music Orchestra. Carla Bley, Haden’s partner in this endeavor since its start, directed mostly from her piano bench, rising only to finesse a segue or an ending with hand motions and body language.

Anywhere, the death of a great musician is cause for gathering, for shared mourning and celebration. This is especially true in New York and New Orleans, where there are always critical masses of masterful jazz players and ready means of ritual. Those who know, know enough to show up: It’s also the impetus for rare and stellar concerts.

On Tuesday, the audience packed into Town Hall reflected Haden’s impact and reach. In one single row sat the following: singer Sheila Jordan, who, like Haden, was named a National Endowment for the Arts Jazz Master, and who smiled broadly when Konitz, another Jazz Master, scatted over those blues; Lorraine Gordon, who owns the Village Vanguard, the Greenwich Village jazz club that hosted Haden throughout his career, in many bands; Henry Grimes, a bassist who began making his own liberating impact in jazz circles around the same time as Haden; Amy Goodman, whose celebrated news program, “Democracy Now!” featured Haden as an interview guest (http://www.democracynow.org/2006/9/1/jazz_legend_charlie_haden_on_his) , delving deeply into the connections between his music and his commitment to social justice; and the woman in the aisle seat who explained that she’d just moved from Thailand to the U.S., and had read somewhere that this might be the best jazz concert in decades.

The Liberation Music Orchestra’s brass players and saxophonists didn’t form a procession, as they would in a New Orleans jazz funeral, nor did they begin with a dirge and then switch to a loose-limbed parade-worthy rhythm. They stood in a semi-circle, starting “Amazing Grace” and “We Shall Overcome” in the solemn manner of a brass choir, and then sliding during the middle of each piece into modern-jazz swing. (Trombonist Curtis Fowlkes’ bristling, pleading solo on the former would have fit right in during a New Orleans jazz funeral, though).

This was functional music communicating both beauty and purpose, and meant to outlive the man who set it in motion. (In fact, the Liberation Music Orchestra headed into a Manhattan recording studio on Wednesday to complete its next release.)

Before the orchestra played “We Shall Overcome,” Bley stepped up to the microphone. She didn’t talk about Haden’s music or her shared history with him, which in that moment I regretted. “Charlie loved audiences,” she said. “He appreciated them as much as they appreciated him.” Then she stared for a moment at what probably looked a lot like the community jazz sometimes forgets it has, one that a rare musician like Haden binds together as family.

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Message at Charlie Haden Memorial: “Hey, Man—We’re Family” | BLOUIN ARTINFO

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Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
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BY LARRY BLUMENFELD | JANUARY 16, 2015

Message at Charlie Haden Memorial: “Hey, Man—We’re Family”
View Slideshow (http://www.blouinartinfo.com/photo-galleries/slideshow-a-memorial-for-charlie-haden-at-town-hall)
Siblings Petra, Rachel, Josh, and Tanya Haden sing at the Memorial Program and concert for their father, bassist Charlie Haden.
(© Jacob Blickenstaff 2014)

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Town Hall (http://www.blouinartinfo.com/galleryguide/town-hall/overview)

Minutes into Tuesday night’s memorial concert for Charlie Haden at Manhattan’s Town Hall, on a screen above the stage, came the first of several excerpts from a documentary, “Rambling Boy,” that punctuated three-plus hours of music and testimonials. Here was Haden as a boy, no more than two or three, singing and yodeling with confident joy.

Long before Haden helped ignite a jazz revolution while in his early twenties, as bassist in saxophonist Ornette Coleman’s quartet; before he spent a decade in another landmark band led by pianist Keith Jarrett; before he formed his Liberation Music Orchestra, blending avant-garde, big-band jazz and Latin American folk traditions with bold political statements; before his Quartet West, which played noir ballads inspired by Raymond Chandler novels and movie themes; before memorable duet recordings of spirituals and hymns, and decades of collaborations with musicians that spanned three generations of jazz’s finest players and nearly all its idioms, Haden was “Cowboy Charlie,” a precocious toddler singing his way into listeners hearts on his parents’ radio show.

Haden, who died in July 2014 (http://blogs.artinfo.com/blunotes/2014/07/4109/) , at the age of 76, was born into musical family that performed what he liked to call “hillbilly music.” Haden’s love for sturdy, heartfelt melody and folk traditions were touchstones through his career, evident even within complex improvised settings. He fathered a musical brood, too. His four children — Petra, Rachel, Tanya and Josh, all accomplished musicians — harmonized beautifully Tuesday night on a version of Bill Monroe’s “Voice From on High,” accompanied by guitarist Bill Frisell and bassist Mark Fain. Petra then sang the folk song “Oh, Shenandoah” in honor of Haden’s birthplace, Shenandoah, Iowa. (He grew up in Springfield, Mo.)

Haden was a family man, in a sense that implies the empathy and love, the tenderness and care that gives such designation meaning. Beyond technical skills and talent, he earned distinction in music by giving what was needed to fellow players to achieve communion that feels like a blood bond; in jazz, this means unspoken understandings and honest communication offered without hesitation or judgment. It’s customary to speak of great jazz bassists in terms of advancing or redefining the instrument’s role. Yet here’s how bassist Putter Smith expressed Haden’s contribution: “He gave us bassists permission to play with the kind of intimacy a mother has with a baby.”

The evening’s performances, mostly of Haden’s compositions, made a case for his body of work as one that will endure and deserves further interpretation. The spoken testimonials, along with the documentary clips, more or less traced the path and framed the influence of one remarkable musician. Yet what came across most powerfully was how Haden, through his music, presence, and personality, built bonds that seemed familial and coursed through actual families. And we received one after another example, through music and words, of how Haden led others to reveal themselves in moving and even brave ways.

The serene intimacy of “For Turiya,” as played by tenor saxophonist Ravi Coltrane, pianist Geri Allen, and harpist Brandee Younger, had a relevant backstory: Haden composed it in 1976, to play in duet with Alice Coltrane, Ravi’s mother, after hearing her play harp, and to honor her devotion to Hindu Vedantic practice.

Ornette Coleman, now 84, didn’t feel well enough to attend the Town Hall event. His son Denardo testified, first about Haden’s relationship with his father. “It takes a special person to be willing to go on that journey,” he said of Haden’s commitment to Coleman’s demanding music, in the face of early and stinging criticisms. “They were stubborn, together.” When Ornette appointed Denardo, then age ten, as drummer for the album “The Empty Foxhole,” it was Haden who “made me feel like a musician,” Denardo said. “He was always on a mission to lift you up.”

A quartet of tenor saxophonist Joshua Redman, pianist Kenny Barron, drummer Jack DeJohnette, and bassist Scott Colley played a particularly hard-hitting version of Haden’s “Blues for Pat.” Moments later, Redman’s words hit yet harder. His father, the late saxophonist Dewey Redman, had played with Haden in many distinguished contexts. Redman didn’t know his father well, he explained, but he knew his father’s records; the ones he liked best always turned out to be the ones with Haden. “Charlie brought out the love in my father’s playing — a warmth, tenderness, and honesty that few others brought out to the same degree,” he said. “In a strange way, Charlie helped me love my father.”

Guitarist Pat Metheny, who grew up in Lee’s Summit, Mo., recalled feeling an instant kinship based on geography upon meeting Haden 40 years ago. (They were duet partners for the Grammy-winning 1997 recording, “Beyond the Missouri Sky.”) At Town Hall, Metheny played a medley of three Haden songs on acoustic guitar — “Our Spanish Love Song,” “Waltz for Ruth,” and “First Song.” Through decades of work together, in wildly varying contexts, Metheny said, he felt a special, almost secret sense of communication with Haden. “We always played our little things,” he said. “I’ve never had that feeling again with anyone else.”

Metheny was 19 when he first met Haden, who was 17 years his elder. “But he wasn’t a father figure,” he said. “Because I felt like the older and more responsible one.”

“Charlie wasn’t a perfect person,” said Ruth Cameron Haden, his wife of 30 years, who organized the event and served as its host. He’d battled with polio as a teenager, which robbed him of his singing voice, and then, in his final years, was ravaged by post-polio syndrome. He’d struggled with drug addiction during one long stretch of his life, a fight he considered ongoing in some ways, she said. (“When I put my bass down,” she quoted him as saying, “I’m in trouble.”) But he was forever bent on improving, she said, and always fixed on a desire to “bring beauty to the world.”

It was about more than beauty, as Haden made clear throughout his career. While on tour with Ornette Coleman’s group in Portugal, in 1971, Haden dedicated his composition “Song for Ché” to the black liberation movements of Mozambique and Angola, and was promptly jailed (and soon rescued by Bob Jones, a cultural attaché to then-president Richard Nixon). His Liberation Music Orchestra’s 2005 album, “Not in Our Name,” was released as a protest against the Iraq War.

At Town Hall, Maurice Jackson, a history professor at Georgetown University and chair of the District of Columbia Commission on African American Affairs, who wrote liner notes for Haden’s recordings of spirituals, called up the legacy of the French-born pioneering American abolitionist Anthony Benezet in describing Haden’s outlook on race relations, and explained that “Charlie helped me understand the role of jazz in American politics.”

Which isn’t to say that Tuesday night’s event was overly reverent or high-minded. Haden was a gentle soul ever in search of a good laugh. The jokes he shared through the years got retold a few times onstage. (It’s rare to hear a saxophonist telling an audience, as Ravi Coltrane did: “A duck walks into a bar…”) Yet, according to comedian Richard Lewis, who praised Haden as a friend and a cultural force via video, although the bassist’s timing and tone were definitive on the bandstand, when it came to comedy — not so much. “Play jazz in heaven,” Lewis said. “But don’t tell God any jokes.”

Still, Haden’s timing seemed pretty good during one documentary excerpt, while reminiscing about a teenage moment when members of Stan Kenton’s band invited him up to their smoke-filled hotel room.

“Do you want to end up like this?” he recalled being asked.

He paused, smiled. “Well, yeah!”

Putter Smith called Haden a “charming rascal,” whose entreaties were always prefaced with the same greeting, delivered in an amiable whine — “Hey, man.” Haden’s longtime attorney, Fred Ansis, explained that, for him, it always went like this: “Hey, man: Any bread?” Ansis and Jean-Philippe Allard, Haden’s frequent producer and his stalwart advocate within the record industry, laughed about seemingly endless and often overlapping phone calls from an overly attentive Haden. “But this was all part of his laser-like focus,” said Allard, “on quality and elegance.”

Musically, Haden had an uncanny ability to find and hold deeply meditative moments, as did pianist Gonzalo Rubalcaba during a riveting solo performance Tuesday night. Haden could summon sincere spiritual heft, as did Henry Butler, who played piano while singing “Deep River” in an operatic baritone. Haden regularly eased into grooves with willing partners, comfortably enough to invite unfettered expression; such was the case when pianist Brad Mehldau and alto saxophonist Lee Konitz played a freewheeling blues, during which Konitz moved seamlessly (and joyously) between playing his horn and wordless singing. Haden could craft convincing moods, as did the members of his Quartet West behind the urgent tone of tenor saxophonist Ernie Watts, with bassist Scott Colley taking Haden’s place.

The concert had begun with a spiritual, “Goin’ Home” (which Haden recorded on the second of two duet recordings with pianist Hank Jones), here played by a lone trumpeter, Michael Rodriguez. At its end, Rodriguez was back, standing among the dozen members of the Liberation Music Orchestra. Carla Bley, Haden’s partner in this endeavor since its start, directed mostly from her piano bench, rising only to finesse a segue or an ending with hand motions and body language.

Anywhere, the death of a great musician is cause for gathering, for shared mourning and celebration. This is especially true in New York and New Orleans, where there are always critical masses of masterful jazz players and ready means of ritual. Those who know, know enough to show up: It’s also the impetus for rare and stellar concerts.

On Tuesday, the audience packed into Town Hall reflected Haden’s impact and reach. In one single row sat the following: singer Sheila Jordan, who, like Haden, was named a National Endowment for the Arts Jazz Master, and who smiled broadly when Konitz, another Jazz Master, scatted over those blues; Lorraine Gordon, who owns the Village Vanguard, the Greenwich Village jazz club that hosted Haden throughout his career, in many bands; Henry Grimes, a bassist who began making his own liberating impact in jazz circles around the same time as Haden; Amy Goodman, whose celebrated news program, “Democracy Now!” featured Haden as an interview guest (http://www.democracynow.org/2006/9/1/jazz_legend_charlie_haden_on_his) , delving deeply into the connections between his music and his commitment to social justice; and the woman in the aisle seat who explained that she’d just moved from Thailand to the U.S., and had read somewhere that this might be the best jazz concert in decades.

The Liberation Music Orchestra’s brass players and saxophonists didn’t form a procession, as they would in a New Orleans jazz funeral, nor did they begin with a dirge and then switch to a loose-limbed parade-worthy rhythm. They stood in a semi-circle, starting “Amazing Grace” and “We Shall Overcome” in the solemn manner of a brass choir, and then sliding during the middle of each piece into modern-jazz swing. (Trombonist Curtis Fowlkes’ bristling, pleading solo on the former would have fit right in during a New Orleans jazz funeral, though).

This was functional music communicating both beauty and purpose, and meant to outlive the man who set it in motion. (In fact, the Liberation Music Orchestra headed into a Manhattan recording studio on Wednesday to complete its next release.)

Before the orchestra played “We Shall Overcome,” Bley stepped up to the microphone. She didn’t talk about Haden’s music or her shared history with him, which in that moment I regretted. “Charlie loved audiences,” she said. “He appreciated them as much as they appreciated him.” Then she stared for a moment at what probably looked a lot like the community jazz sometimes forgets it has, one that a rare musician like Haden binds together as family.

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chicago jazz | Joe Segal NEA Jazz Master

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** Joe Segal – NEA Jazz Master
————————————————————

in his own words… Joe Segal
Cover Photo by Christine Jeffers
Joe Segal, owner and operator of Chicago’s famed Jazz Showcase, has become the elder statesman of the Chicago jazz scene. Segal is a behind-the-scenes guy—you won’t see him on stage unless he’s announcing one of the groups he’s booked. On any given night at the Showcase, however, you’ll see him in familiar pose, perched behind the counter of the entranceway, his saturnine demeanor belying his passion for the jazz music he so loves.
Over the past sixty years Segal has seen—and booked—them all. As a jazz fan, Segal has referred to himself as the “Original Bebop Boy” and has a special affinity for bopper Charlie Parker, whose image is prominently displayed behind the Showcase stage.
Segal was born on April 24, 1926. He spent most of his youth in Philadelphia, where at the age of “eight or nine or ten” he was exposed to jazz via WOR radio out of New York, to which he would listen faithfully each Saturday afternoon. During World War II, Segal was drafted by the U.S. Army, but claims most of his fighting was “fighting to get out” of the army. Segal’s Midwest discharge landed him in Chicago, where he enrolled at Roosevelt University under the G.I. Bill.
Though he tried his hand unsuccessfully at trombone back in Philly and piano and drums while at Roosevelt, it wasn’t long before jazz-lover Segal was booking sessions and events for the school. When not booking acts, Segal spent time working at a record shop behind Roosevelt on Wabash called Seymour’s Jazz Record Mart, which was later purchased by Bob Koester, who dropped “Seymour’s,” renaming it Jazz Record Mart. Segal began booking and emceeing traditional and bop sessions in an upstairs loft at the Mart, which included gigs with John Young, Kenny Mann, Lurlean Hunter, Big Bill Broonzy and “Chippie” Hill.
By 1958, Segal held Monday night sessions at the Gate of Horn with a magnificent array of local talent including Ira Sullivan, Jodie Christian, Nicky Hill, Johnny Griffin, and Paul Serrano, plus visiting sidemen from Blakey, Miles or whoever was playing at the Regal or Sutherland. Koester, who also owned Delmark Records, and Segal went on to produce live jazz recordings of Ira Sullivan with Nicky Hill, Johnny Griffin, John Young, Jimmy Forrest with Grant Green, and Art Hode with Albert Nicholas. These titles are still a part of the Delmark catalog.
Segal has always worked within the music business, including stints at Hudson-Ross, a leading record store chain, at Chess Records, overseeing re-issues and doing LP liner notes, and at Decca Records. It was never his intention to have his own jazz club; Segal was content booking rooms like the French Poodle, the Gate of Horn, the New York Room in the basement of the Sutherland Hotel on 47th and Drexel, Mother Blues on Wells Street, the Old Town Gate and the Earl of Old Town.
It was while booking Sunday concerts at the North Park Hotel that Segal saw the opportunity to maybe do something more. Segal contacted Yusef Lateef who was living in Detroit and asked him if he could do a Sunday show. Lateef noted that he needed to be booked for the whole weekend—Friday, Saturday and Sunday—to make the trip worthwhile. The basic formula of bringing in out-of-town artists for multiple-day engagements has served Segal and his Jazz Showcase well for sixty years.
It was in a downstairs room of the Happy Medium Theater on Rush and Delaware that Segal established his first Jazz Showcase. Despite many lean years—years described by many jazz musicians as being “absolutely dead”—Segal has endured, with subsequent homes for the Showcase at the landmark Blackstone Hotel, and at its current Printer’s Row home.
Now 88, Segal is in the news again with national and local recognition for his contributions to jazz.
Chicago Jazz Magazine: You will be receiving the National Endowment for the Arts Jazz Masters Fellowship, more specifically the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy. This is the highest award you can win for jazz. How did it come about?
Joe Segal: Well, I think it started out when Loraine Gordon from the Village Vanguard got one last year and Howard Reich sort of got upset about it and said she’s only been doing it for twenty-five years and Joe’s been doing it for sixty-some years. So I imagine that got through to some people and there it is. It came through, and I am getting it for Jazz advocacy since I am not a musician. That is, for promoting jazz and so forth.
Chicago Jazz Magazine: Have other club owners received this honor?
Segal: I think just Loraine and myself.
Chicago Jazz Magazine: The Village Vanguard has been around for longer than twenty-five years. Did she take over the club from someone?
Segal: Yeah, from her husband.
Chicago Jazz Magazine: How does that make you feel that you are being honored like this?
Segal: Well, I feel very fortunate. As Dorthy Donogahn used to say when we were all getting awards from the International Jazz Educators Association, “You can have the A-ward I want the RE-ward.” So there was a reward with this and it went right into our coffers because we have a lot of bills to pay.
Chicago Jazz Magazine: You seem to be on a roll––they recently renamed Plymouth Court, just outside the Jazz Showcase, to Joe Segal Way.
Segal: Actually what happened was, at the end of last year, 2013, I received an award from the Lawyers for the Creative Arts. Then Roosevelt University gave me an honorary doctorate, even though I never really graduated from there. As a matter of fact, I am working with them to have a Joe Segal Jazz Archive at the school. I am going to give all of my tapes and photos from over the years to Roosevelt and they are going to try to raise money to digitalize and archive everything.
Chicago Jazz Magazine: Let’s talk about Roosevelt, since that is where you got your start booking high-profile jazz talent. When did you get started there?
Segal: About 1947.
Chicago Jazz Magazine: You were hosting the jam sessions and concerts at Roosevelt after you left. Was there still a lot of connection?
Segal: Well, there was a connection. I think it was in 1987. That was the fortieth anniversary of the first sessions that I hosted at Roosevelt. We did a big benefit for Roosevelt for the Auditorium Theatre, which the school owns, and I think we raised $90,000 for them. I brought in a lot of the great people, of course. Ira Sullivan has been with me all along; Johnny Griffith came in. We also had Ramsey Lewis and Billy Taylor, Joe Williams, Stanley Turentine, Art Farmer, Lee Konitz, Richard Davis, Junior Mance—a lot of the people that started out at the sessions when they were young ended up coming back to this benefit.
Chicago Jazz Magazine: That was sort of your reconnection with Roosevelt?
Segal: Yeah, after that it sort of died down, and then the doctorate came out of the blue.
Chicago Jazz Magazine: So you are Dr. Joe Segal?
Segal: The Doctor is in! [laughs]
Chicago Jazz Magazine: For the archive, you must have thousands and thousands of pictures and reel-to-reel tapes.
Segal: We have tapes so old, we have some on paper tape and even wire recordings.
Chicago Jazz Magazine: Roosevelt is going to go through all of them?
Segal: Yeah. I am going to have to go through them first and then they are going to try to estimate how much it will cost to digitalize everything; and then they are going to try to raise the funds. I don’t know how we will do that. Maybe we will have a couple concerts or something.
Chicago Jazz Magazine: You just need to keep winning rewards!
Segal: [Laughs] Yeah, right!
Chicago Jazz Magazine: Back when you started jam sessions in the 1940s at Roosevelt and Columbia College, there wasn’t a jazz education program for students.
Segal: Well, let me tell you. DownBeat and all the jazz magazines have listings of all the schools with jazz courses, which is a big thing now. When I did it, the dean of the music department—which was mainly classical and operatic—he would march through the session and say, “They shouldn’t permit that jungle music here!” He was really hot! We did it anyway.
Chicago Jazz Magazine: Can you believe how far jazz education has come from its early beginnings? There are thousands of jazz majors at some of the top schools now.
Segal: Oh yeah, in fact a lot of the great musicians that used to make their living on the road playing gigs, which now isn’t really possible, they have teaching jobs at these various schools. In fact, some of them are faculty members at more than one school. Of course, you can teach the technical skills, but you still need to get out there and play music.
Chicago Jazz Magazine: When you became a concert promoter at Roosevelt, did you have any prior training for booking musicians?
Segal: No, I was just a kid in Philly. I just used to listen to the music. Then I spent two years in the Army, that’s when I got connected with Chicago. My last station was at Chanute Field in Champaign, Ill., so I used to just jump on the Illinois Central and come on up. Randolph was beginning then with jazz. It was just like 52nd street in New York. I was a wide-eyed kid at twenty years old and in hog heaven.
Chicago Jazz Magazine: Where was the music on Randolph Street?
Segal: From Wabash to Wells. There were also some things up north, but of course the big stuff was out South on 63rd and Cottage. There must have been about fifteen or twenty clubs where you could see all kinds of people playing.
Chicago Jazz Magazine: You have seen first-hand many changes in the music industry, such as being able to make a living at performing.
Segal: It is mostly because of the expenses––the hotels have gotten crazy with their prices. Also, you don’t have the audience. The few young people that you get are music students. The general public is not interested. They don’t even know what jazz is. They take a look at a photo of Charlie Parker and they say, “Who’s that?” And then I tell them who it is and they still say, “Who is Charlie Parker?” They only know Dizzy Gillespie because of his puffed out cheeks and his bent up horn. Probably the only people they have heard of are Miles Davis and John Coltrane, and that’s it.
Chicago Jazz Magazine: A lot of music students are going into jazz but, as you noted, the best teacher is on-the-job training. Don’t you think it is even more important to have clubs like the Jazz Showcase so students have a place to learn and to see bigger names perform in an intimate space?
Segal: Yeah, that’s why at least once or twice a month we have groups from Roosevelt or DePaul or Columbia College come in. Sometimes Elmhurst College brings groups. Some of the high schools have very good bands. I think they say that music follows the culture of what’s happening in the world. And you know what’s happening—lot of terrible things. That’s why popular music is terrible. The kids now don’t have any future to speak of, at least they feel they don’t, and I sometimes tend to agree with them. They don’t want to think about all of this stuff; all they want to do is put the Boom, Boom, Boom through their heads to wipe out all that other stuff. They want to jump and wiggle and yell and scream.
Chicago Jazz Magazine: The Jazz Showcase has a Sunday Matinee that is an all-ages––kids 12 and under get in for free. Is it possible for people under 21 to attend other shows during the week?
Segal: Yes, as long as they have a parent or guardian, kids under 21 are always welcome for any of the shows at the Jazz Showcase.
Chicago Jazz Magazine: There have been many different locations for the Jazz Showcase.
Segal: As far as five-nighters, it’s about the fifth place; but if you count all of the one-nighters, there are more than sixty spots. There are also some out of state, like down in Florida.
Chicago Jazz Magazine: The current Jazz Showcase is generally regarded as the best location for acoustics and sight lines. How did you and your son Wayne decide on this particular location at the old Dearborn Train Station?
Segal: We drove around and must have looked at thirty to forty different places all up and down. We turned the corner and saw the clock tower and said this is the spot! We came in here and there was a ballet school hidden inside. The landlord moved them downstairs to a better facility and Wayne redesigned the whole thing. This is the only place we have ever had where there haven’t been any visual restrictions. We also sound-proofed the entire place, because the people that live next door were worried about the noise coming from the club. You can’t hear a thing outside now. In fact we have people that live across the street say, “ I can’t hear anything, so I have to come over!”
Chicago Jazz Magazine: Since you were talking about this location specifically, who did all the design work on the club?
Segal: Wayne did it. We also had an architect, but it was mostly Wayne. Chuck did a lot of work as well.
Chicago Jazz Magazine: Looking at the photos on the wall, it is amazing to think that you actually know or had friendships with most of these famous jazz musicians.
Segal: They are not decorations. There are maybe four or five of them that are famous that didn’t play for us, but we figure they should be up there––like Duke Ellington and Louis Armstrong. We go back as far as Lester Young, quite a few of the Basie guys, the Ellington and Woody Herman guys, the big bands and all. Maynard Ferguson used to play for us for quite a bit and we have had all kinds of great artists and big bands. We have had the Kenton big band, Thad Jones/Mel Lewis Band, the Toshiko Akiyoshi, Lew Tabackin Big Band, the Mingus Big Band and many others.
Chicago Jazz Magazine: What is the process like when you are booking them?
Segal: Well it depends. Nowadays, you usually have to go through an agent. There are very few that do their own booking now. They play all over the world and they need an agent to do that because of the traveling, the hotel and many other things. There are some that I can still call up directly, but there are some that can’t even answer our calls anymore.
Chicago Jazz Magazine: Because there is an agent involved?
Segal: Yeah.
Chicago Jazz Magazine: Isn’t one of your keys to booking great talent just because you have known and hung out with them through the years?
Segal: Yeah, and they know that I love and respect the music. They know I am for real as far as the music is concerned. I am not just another nightclub owner that is in it to make money off of the musicians. A lot of nightclub owners say if the music doesn’t go then forget it, bring in the girls!
Chicago Jazz Magazine: Are there any major performances coming this spring at the Jazz Showcase?
Segal: Chris Potter is coming in at the end of January with his own group. We usually just go local during the winter, but it was the only opportunity to have him this year. Of course, we have some wonderful local musicians: Bobby Lewis will be here one weekend, Pharez Whitted and his group, Ari Brown and his group, and many others.
Chicago Jazz Magazine: The Jazz Showcase has always had weekly national acts, but in the past ten years or so you have been devoting Mondays, Tuesdays and Wednesdays to supporting local performances. What is the thought behind showcasing these groups on a weekly basis?
Segal: Many of the local musicians have a following so they bring in a nice crowd on Tuesday and Wednesday, which also brings in new people that might not have been in the club before.
Chicago Jazz Magazine: You were drawn to jazz at an early age and your still drawn to jazz now.
Segal: Yeah, but there is a lot less to hear.
Chicago Jazz Magazine: People who attend the club have seen you grooving to bebop tunes that you have probably heard a hundred times. Why are you still so passionate about the music?
Segal: Well, because that’s what I grew up with—big bands and the modern innovations. When I was in the service I heard a lot of it. And then when I got out of the service it was the rage of the day. That’s when people first became aware of Dizzy and Miles and Monk. That was the popular music of the day, but it is no longer.
nCJM

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chicago jazz | Joe Segal NEA Jazz Master

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** Joe Segal – NEA Jazz Master
————————————————————

in his own words… Joe Segal
Cover Photo by Christine Jeffers
Joe Segal, owner and operator of Chicago’s famed Jazz Showcase, has become the elder statesman of the Chicago jazz scene. Segal is a behind-the-scenes guy—you won’t see him on stage unless he’s announcing one of the groups he’s booked. On any given night at the Showcase, however, you’ll see him in familiar pose, perched behind the counter of the entranceway, his saturnine demeanor belying his passion for the jazz music he so loves.
Over the past sixty years Segal has seen—and booked—them all. As a jazz fan, Segal has referred to himself as the “Original Bebop Boy” and has a special affinity for bopper Charlie Parker, whose image is prominently displayed behind the Showcase stage.
Segal was born on April 24, 1926. He spent most of his youth in Philadelphia, where at the age of “eight or nine or ten” he was exposed to jazz via WOR radio out of New York, to which he would listen faithfully each Saturday afternoon. During World War II, Segal was drafted by the U.S. Army, but claims most of his fighting was “fighting to get out” of the army. Segal’s Midwest discharge landed him in Chicago, where he enrolled at Roosevelt University under the G.I. Bill.
Though he tried his hand unsuccessfully at trombone back in Philly and piano and drums while at Roosevelt, it wasn’t long before jazz-lover Segal was booking sessions and events for the school. When not booking acts, Segal spent time working at a record shop behind Roosevelt on Wabash called Seymour’s Jazz Record Mart, which was later purchased by Bob Koester, who dropped “Seymour’s,” renaming it Jazz Record Mart. Segal began booking and emceeing traditional and bop sessions in an upstairs loft at the Mart, which included gigs with John Young, Kenny Mann, Lurlean Hunter, Big Bill Broonzy and “Chippie” Hill.
By 1958, Segal held Monday night sessions at the Gate of Horn with a magnificent array of local talent including Ira Sullivan, Jodie Christian, Nicky Hill, Johnny Griffin, and Paul Serrano, plus visiting sidemen from Blakey, Miles or whoever was playing at the Regal or Sutherland. Koester, who also owned Delmark Records, and Segal went on to produce live jazz recordings of Ira Sullivan with Nicky Hill, Johnny Griffin, John Young, Jimmy Forrest with Grant Green, and Art Hode with Albert Nicholas. These titles are still a part of the Delmark catalog.
Segal has always worked within the music business, including stints at Hudson-Ross, a leading record store chain, at Chess Records, overseeing re-issues and doing LP liner notes, and at Decca Records. It was never his intention to have his own jazz club; Segal was content booking rooms like the French Poodle, the Gate of Horn, the New York Room in the basement of the Sutherland Hotel on 47th and Drexel, Mother Blues on Wells Street, the Old Town Gate and the Earl of Old Town.
It was while booking Sunday concerts at the North Park Hotel that Segal saw the opportunity to maybe do something more. Segal contacted Yusef Lateef who was living in Detroit and asked him if he could do a Sunday show. Lateef noted that he needed to be booked for the whole weekend—Friday, Saturday and Sunday—to make the trip worthwhile. The basic formula of bringing in out-of-town artists for multiple-day engagements has served Segal and his Jazz Showcase well for sixty years.
It was in a downstairs room of the Happy Medium Theater on Rush and Delaware that Segal established his first Jazz Showcase. Despite many lean years—years described by many jazz musicians as being “absolutely dead”—Segal has endured, with subsequent homes for the Showcase at the landmark Blackstone Hotel, and at its current Printer’s Row home.
Now 88, Segal is in the news again with national and local recognition for his contributions to jazz.
Chicago Jazz Magazine: You will be receiving the National Endowment for the Arts Jazz Masters Fellowship, more specifically the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy. This is the highest award you can win for jazz. How did it come about?
Joe Segal: Well, I think it started out when Loraine Gordon from the Village Vanguard got one last year and Howard Reich sort of got upset about it and said she’s only been doing it for twenty-five years and Joe’s been doing it for sixty-some years. So I imagine that got through to some people and there it is. It came through, and I am getting it for Jazz advocacy since I am not a musician. That is, for promoting jazz and so forth.
Chicago Jazz Magazine: Have other club owners received this honor?
Segal: I think just Loraine and myself.
Chicago Jazz Magazine: The Village Vanguard has been around for longer than twenty-five years. Did she take over the club from someone?
Segal: Yeah, from her husband.
Chicago Jazz Magazine: How does that make you feel that you are being honored like this?
Segal: Well, I feel very fortunate. As Dorthy Donogahn used to say when we were all getting awards from the International Jazz Educators Association, “You can have the A-ward I want the RE-ward.” So there was a reward with this and it went right into our coffers because we have a lot of bills to pay.
Chicago Jazz Magazine: You seem to be on a roll––they recently renamed Plymouth Court, just outside the Jazz Showcase, to Joe Segal Way.
Segal: Actually what happened was, at the end of last year, 2013, I received an award from the Lawyers for the Creative Arts. Then Roosevelt University gave me an honorary doctorate, even though I never really graduated from there. As a matter of fact, I am working with them to have a Joe Segal Jazz Archive at the school. I am going to give all of my tapes and photos from over the years to Roosevelt and they are going to try to raise money to digitalize and archive everything.
Chicago Jazz Magazine: Let’s talk about Roosevelt, since that is where you got your start booking high-profile jazz talent. When did you get started there?
Segal: About 1947.
Chicago Jazz Magazine: You were hosting the jam sessions and concerts at Roosevelt after you left. Was there still a lot of connection?
Segal: Well, there was a connection. I think it was in 1987. That was the fortieth anniversary of the first sessions that I hosted at Roosevelt. We did a big benefit for Roosevelt for the Auditorium Theatre, which the school owns, and I think we raised $90,000 for them. I brought in a lot of the great people, of course. Ira Sullivan has been with me all along; Johnny Griffith came in. We also had Ramsey Lewis and Billy Taylor, Joe Williams, Stanley Turentine, Art Farmer, Lee Konitz, Richard Davis, Junior Mance—a lot of the people that started out at the sessions when they were young ended up coming back to this benefit.
Chicago Jazz Magazine: That was sort of your reconnection with Roosevelt?
Segal: Yeah, after that it sort of died down, and then the doctorate came out of the blue.
Chicago Jazz Magazine: So you are Dr. Joe Segal?
Segal: The Doctor is in! [laughs]
Chicago Jazz Magazine: For the archive, you must have thousands and thousands of pictures and reel-to-reel tapes.
Segal: We have tapes so old, we have some on paper tape and even wire recordings.
Chicago Jazz Magazine: Roosevelt is going to go through all of them?
Segal: Yeah. I am going to have to go through them first and then they are going to try to estimate how much it will cost to digitalize everything; and then they are going to try to raise the funds. I don’t know how we will do that. Maybe we will have a couple concerts or something.
Chicago Jazz Magazine: You just need to keep winning rewards!
Segal: [Laughs] Yeah, right!
Chicago Jazz Magazine: Back when you started jam sessions in the 1940s at Roosevelt and Columbia College, there wasn’t a jazz education program for students.
Segal: Well, let me tell you. DownBeat and all the jazz magazines have listings of all the schools with jazz courses, which is a big thing now. When I did it, the dean of the music department—which was mainly classical and operatic—he would march through the session and say, “They shouldn’t permit that jungle music here!” He was really hot! We did it anyway.
Chicago Jazz Magazine: Can you believe how far jazz education has come from its early beginnings? There are thousands of jazz majors at some of the top schools now.
Segal: Oh yeah, in fact a lot of the great musicians that used to make their living on the road playing gigs, which now isn’t really possible, they have teaching jobs at these various schools. In fact, some of them are faculty members at more than one school. Of course, you can teach the technical skills, but you still need to get out there and play music.
Chicago Jazz Magazine: When you became a concert promoter at Roosevelt, did you have any prior training for booking musicians?
Segal: No, I was just a kid in Philly. I just used to listen to the music. Then I spent two years in the Army, that’s when I got connected with Chicago. My last station was at Chanute Field in Champaign, Ill., so I used to just jump on the Illinois Central and come on up. Randolph was beginning then with jazz. It was just like 52nd street in New York. I was a wide-eyed kid at twenty years old and in hog heaven.
Chicago Jazz Magazine: Where was the music on Randolph Street?
Segal: From Wabash to Wells. There were also some things up north, but of course the big stuff was out South on 63rd and Cottage. There must have been about fifteen or twenty clubs where you could see all kinds of people playing.
Chicago Jazz Magazine: You have seen first-hand many changes in the music industry, such as being able to make a living at performing.
Segal: It is mostly because of the expenses––the hotels have gotten crazy with their prices. Also, you don’t have the audience. The few young people that you get are music students. The general public is not interested. They don’t even know what jazz is. They take a look at a photo of Charlie Parker and they say, “Who’s that?” And then I tell them who it is and they still say, “Who is Charlie Parker?” They only know Dizzy Gillespie because of his puffed out cheeks and his bent up horn. Probably the only people they have heard of are Miles Davis and John Coltrane, and that’s it.
Chicago Jazz Magazine: A lot of music students are going into jazz but, as you noted, the best teacher is on-the-job training. Don’t you think it is even more important to have clubs like the Jazz Showcase so students have a place to learn and to see bigger names perform in an intimate space?
Segal: Yeah, that’s why at least once or twice a month we have groups from Roosevelt or DePaul or Columbia College come in. Sometimes Elmhurst College brings groups. Some of the high schools have very good bands. I think they say that music follows the culture of what’s happening in the world. And you know what’s happening—lot of terrible things. That’s why popular music is terrible. The kids now don’t have any future to speak of, at least they feel they don’t, and I sometimes tend to agree with them. They don’t want to think about all of this stuff; all they want to do is put the Boom, Boom, Boom through their heads to wipe out all that other stuff. They want to jump and wiggle and yell and scream.
Chicago Jazz Magazine: The Jazz Showcase has a Sunday Matinee that is an all-ages––kids 12 and under get in for free. Is it possible for people under 21 to attend other shows during the week?
Segal: Yes, as long as they have a parent or guardian, kids under 21 are always welcome for any of the shows at the Jazz Showcase.
Chicago Jazz Magazine: There have been many different locations for the Jazz Showcase.
Segal: As far as five-nighters, it’s about the fifth place; but if you count all of the one-nighters, there are more than sixty spots. There are also some out of state, like down in Florida.
Chicago Jazz Magazine: The current Jazz Showcase is generally regarded as the best location for acoustics and sight lines. How did you and your son Wayne decide on this particular location at the old Dearborn Train Station?
Segal: We drove around and must have looked at thirty to forty different places all up and down. We turned the corner and saw the clock tower and said this is the spot! We came in here and there was a ballet school hidden inside. The landlord moved them downstairs to a better facility and Wayne redesigned the whole thing. This is the only place we have ever had where there haven’t been any visual restrictions. We also sound-proofed the entire place, because the people that live next door were worried about the noise coming from the club. You can’t hear a thing outside now. In fact we have people that live across the street say, “ I can’t hear anything, so I have to come over!”
Chicago Jazz Magazine: Since you were talking about this location specifically, who did all the design work on the club?
Segal: Wayne did it. We also had an architect, but it was mostly Wayne. Chuck did a lot of work as well.
Chicago Jazz Magazine: Looking at the photos on the wall, it is amazing to think that you actually know or had friendships with most of these famous jazz musicians.
Segal: They are not decorations. There are maybe four or five of them that are famous that didn’t play for us, but we figure they should be up there––like Duke Ellington and Louis Armstrong. We go back as far as Lester Young, quite a few of the Basie guys, the Ellington and Woody Herman guys, the big bands and all. Maynard Ferguson used to play for us for quite a bit and we have had all kinds of great artists and big bands. We have had the Kenton big band, Thad Jones/Mel Lewis Band, the Toshiko Akiyoshi, Lew Tabackin Big Band, the Mingus Big Band and many others.
Chicago Jazz Magazine: What is the process like when you are booking them?
Segal: Well it depends. Nowadays, you usually have to go through an agent. There are very few that do their own booking now. They play all over the world and they need an agent to do that because of the traveling, the hotel and many other things. There are some that I can still call up directly, but there are some that can’t even answer our calls anymore.
Chicago Jazz Magazine: Because there is an agent involved?
Segal: Yeah.
Chicago Jazz Magazine: Isn’t one of your keys to booking great talent just because you have known and hung out with them through the years?
Segal: Yeah, and they know that I love and respect the music. They know I am for real as far as the music is concerned. I am not just another nightclub owner that is in it to make money off of the musicians. A lot of nightclub owners say if the music doesn’t go then forget it, bring in the girls!
Chicago Jazz Magazine: Are there any major performances coming this spring at the Jazz Showcase?
Segal: Chris Potter is coming in at the end of January with his own group. We usually just go local during the winter, but it was the only opportunity to have him this year. Of course, we have some wonderful local musicians: Bobby Lewis will be here one weekend, Pharez Whitted and his group, Ari Brown and his group, and many others.
Chicago Jazz Magazine: The Jazz Showcase has always had weekly national acts, but in the past ten years or so you have been devoting Mondays, Tuesdays and Wednesdays to supporting local performances. What is the thought behind showcasing these groups on a weekly basis?
Segal: Many of the local musicians have a following so they bring in a nice crowd on Tuesday and Wednesday, which also brings in new people that might not have been in the club before.
Chicago Jazz Magazine: You were drawn to jazz at an early age and your still drawn to jazz now.
Segal: Yeah, but there is a lot less to hear.
Chicago Jazz Magazine: People who attend the club have seen you grooving to bebop tunes that you have probably heard a hundred times. Why are you still so passionate about the music?
Segal: Well, because that’s what I grew up with—big bands and the modern innovations. When I was in the service I heard a lot of it. And then when I got out of the service it was the rage of the day. That’s when people first became aware of Dizzy and Miles and Monk. That was the popular music of the day, but it is no longer.
nCJM

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Copyright (C) 2015 All rights reserved.

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

chicago jazz | Joe Segal NEA Jazz Master

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.chicagojazz.com/magazine/joe-segal—nea-jazz-master-1324.html?utm_source=CJM+Jan+16+Eblast

** Joe Segal – NEA Jazz Master
————————————————————

in his own words… Joe Segal
Cover Photo by Christine Jeffers
Joe Segal, owner and operator of Chicago’s famed Jazz Showcase, has become the elder statesman of the Chicago jazz scene. Segal is a behind-the-scenes guy—you won’t see him on stage unless he’s announcing one of the groups he’s booked. On any given night at the Showcase, however, you’ll see him in familiar pose, perched behind the counter of the entranceway, his saturnine demeanor belying his passion for the jazz music he so loves.
Over the past sixty years Segal has seen—and booked—them all. As a jazz fan, Segal has referred to himself as the “Original Bebop Boy” and has a special affinity for bopper Charlie Parker, whose image is prominently displayed behind the Showcase stage.
Segal was born on April 24, 1926. He spent most of his youth in Philadelphia, where at the age of “eight or nine or ten” he was exposed to jazz via WOR radio out of New York, to which he would listen faithfully each Saturday afternoon. During World War II, Segal was drafted by the U.S. Army, but claims most of his fighting was “fighting to get out” of the army. Segal’s Midwest discharge landed him in Chicago, where he enrolled at Roosevelt University under the G.I. Bill.
Though he tried his hand unsuccessfully at trombone back in Philly and piano and drums while at Roosevelt, it wasn’t long before jazz-lover Segal was booking sessions and events for the school. When not booking acts, Segal spent time working at a record shop behind Roosevelt on Wabash called Seymour’s Jazz Record Mart, which was later purchased by Bob Koester, who dropped “Seymour’s,” renaming it Jazz Record Mart. Segal began booking and emceeing traditional and bop sessions in an upstairs loft at the Mart, which included gigs with John Young, Kenny Mann, Lurlean Hunter, Big Bill Broonzy and “Chippie” Hill.
By 1958, Segal held Monday night sessions at the Gate of Horn with a magnificent array of local talent including Ira Sullivan, Jodie Christian, Nicky Hill, Johnny Griffin, and Paul Serrano, plus visiting sidemen from Blakey, Miles or whoever was playing at the Regal or Sutherland. Koester, who also owned Delmark Records, and Segal went on to produce live jazz recordings of Ira Sullivan with Nicky Hill, Johnny Griffin, John Young, Jimmy Forrest with Grant Green, and Art Hode with Albert Nicholas. These titles are still a part of the Delmark catalog.
Segal has always worked within the music business, including stints at Hudson-Ross, a leading record store chain, at Chess Records, overseeing re-issues and doing LP liner notes, and at Decca Records. It was never his intention to have his own jazz club; Segal was content booking rooms like the French Poodle, the Gate of Horn, the New York Room in the basement of the Sutherland Hotel on 47th and Drexel, Mother Blues on Wells Street, the Old Town Gate and the Earl of Old Town.
It was while booking Sunday concerts at the North Park Hotel that Segal saw the opportunity to maybe do something more. Segal contacted Yusef Lateef who was living in Detroit and asked him if he could do a Sunday show. Lateef noted that he needed to be booked for the whole weekend—Friday, Saturday and Sunday—to make the trip worthwhile. The basic formula of bringing in out-of-town artists for multiple-day engagements has served Segal and his Jazz Showcase well for sixty years.
It was in a downstairs room of the Happy Medium Theater on Rush and Delaware that Segal established his first Jazz Showcase. Despite many lean years—years described by many jazz musicians as being “absolutely dead”—Segal has endured, with subsequent homes for the Showcase at the landmark Blackstone Hotel, and at its current Printer’s Row home.
Now 88, Segal is in the news again with national and local recognition for his contributions to jazz.
Chicago Jazz Magazine: You will be receiving the National Endowment for the Arts Jazz Masters Fellowship, more specifically the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy. This is the highest award you can win for jazz. How did it come about?
Joe Segal: Well, I think it started out when Loraine Gordon from the Village Vanguard got one last year and Howard Reich sort of got upset about it and said she’s only been doing it for twenty-five years and Joe’s been doing it for sixty-some years. So I imagine that got through to some people and there it is. It came through, and I am getting it for Jazz advocacy since I am not a musician. That is, for promoting jazz and so forth.
Chicago Jazz Magazine: Have other club owners received this honor?
Segal: I think just Loraine and myself.
Chicago Jazz Magazine: The Village Vanguard has been around for longer than twenty-five years. Did she take over the club from someone?
Segal: Yeah, from her husband.
Chicago Jazz Magazine: How does that make you feel that you are being honored like this?
Segal: Well, I feel very fortunate. As Dorthy Donogahn used to say when we were all getting awards from the International Jazz Educators Association, “You can have the A-ward I want the RE-ward.” So there was a reward with this and it went right into our coffers because we have a lot of bills to pay.
Chicago Jazz Magazine: You seem to be on a roll––they recently renamed Plymouth Court, just outside the Jazz Showcase, to Joe Segal Way.
Segal: Actually what happened was, at the end of last year, 2013, I received an award from the Lawyers for the Creative Arts. Then Roosevelt University gave me an honorary doctorate, even though I never really graduated from there. As a matter of fact, I am working with them to have a Joe Segal Jazz Archive at the school. I am going to give all of my tapes and photos from over the years to Roosevelt and they are going to try to raise money to digitalize and archive everything.
Chicago Jazz Magazine: Let’s talk about Roosevelt, since that is where you got your start booking high-profile jazz talent. When did you get started there?
Segal: About 1947.
Chicago Jazz Magazine: You were hosting the jam sessions and concerts at Roosevelt after you left. Was there still a lot of connection?
Segal: Well, there was a connection. I think it was in 1987. That was the fortieth anniversary of the first sessions that I hosted at Roosevelt. We did a big benefit for Roosevelt for the Auditorium Theatre, which the school owns, and I think we raised $90,000 for them. I brought in a lot of the great people, of course. Ira Sullivan has been with me all along; Johnny Griffith came in. We also had Ramsey Lewis and Billy Taylor, Joe Williams, Stanley Turentine, Art Farmer, Lee Konitz, Richard Davis, Junior Mance—a lot of the people that started out at the sessions when they were young ended up coming back to this benefit.
Chicago Jazz Magazine: That was sort of your reconnection with Roosevelt?
Segal: Yeah, after that it sort of died down, and then the doctorate came out of the blue.
Chicago Jazz Magazine: So you are Dr. Joe Segal?
Segal: The Doctor is in! [laughs]
Chicago Jazz Magazine: For the archive, you must have thousands and thousands of pictures and reel-to-reel tapes.
Segal: We have tapes so old, we have some on paper tape and even wire recordings.
Chicago Jazz Magazine: Roosevelt is going to go through all of them?
Segal: Yeah. I am going to have to go through them first and then they are going to try to estimate how much it will cost to digitalize everything; and then they are going to try to raise the funds. I don’t know how we will do that. Maybe we will have a couple concerts or something.
Chicago Jazz Magazine: You just need to keep winning rewards!
Segal: [Laughs] Yeah, right!
Chicago Jazz Magazine: Back when you started jam sessions in the 1940s at Roosevelt and Columbia College, there wasn’t a jazz education program for students.
Segal: Well, let me tell you. DownBeat and all the jazz magazines have listings of all the schools with jazz courses, which is a big thing now. When I did it, the dean of the music department—which was mainly classical and operatic—he would march through the session and say, “They shouldn’t permit that jungle music here!” He was really hot! We did it anyway.
Chicago Jazz Magazine: Can you believe how far jazz education has come from its early beginnings? There are thousands of jazz majors at some of the top schools now.
Segal: Oh yeah, in fact a lot of the great musicians that used to make their living on the road playing gigs, which now isn’t really possible, they have teaching jobs at these various schools. In fact, some of them are faculty members at more than one school. Of course, you can teach the technical skills, but you still need to get out there and play music.
Chicago Jazz Magazine: When you became a concert promoter at Roosevelt, did you have any prior training for booking musicians?
Segal: No, I was just a kid in Philly. I just used to listen to the music. Then I spent two years in the Army, that’s when I got connected with Chicago. My last station was at Chanute Field in Champaign, Ill., so I used to just jump on the Illinois Central and come on up. Randolph was beginning then with jazz. It was just like 52nd street in New York. I was a wide-eyed kid at twenty years old and in hog heaven.
Chicago Jazz Magazine: Where was the music on Randolph Street?
Segal: From Wabash to Wells. There were also some things up north, but of course the big stuff was out South on 63rd and Cottage. There must have been about fifteen or twenty clubs where you could see all kinds of people playing.
Chicago Jazz Magazine: You have seen first-hand many changes in the music industry, such as being able to make a living at performing.
Segal: It is mostly because of the expenses––the hotels have gotten crazy with their prices. Also, you don’t have the audience. The few young people that you get are music students. The general public is not interested. They don’t even know what jazz is. They take a look at a photo of Charlie Parker and they say, “Who’s that?” And then I tell them who it is and they still say, “Who is Charlie Parker?” They only know Dizzy Gillespie because of his puffed out cheeks and his bent up horn. Probably the only people they have heard of are Miles Davis and John Coltrane, and that’s it.
Chicago Jazz Magazine: A lot of music students are going into jazz but, as you noted, the best teacher is on-the-job training. Don’t you think it is even more important to have clubs like the Jazz Showcase so students have a place to learn and to see bigger names perform in an intimate space?
Segal: Yeah, that’s why at least once or twice a month we have groups from Roosevelt or DePaul or Columbia College come in. Sometimes Elmhurst College brings groups. Some of the high schools have very good bands. I think they say that music follows the culture of what’s happening in the world. And you know what’s happening—lot of terrible things. That’s why popular music is terrible. The kids now don’t have any future to speak of, at least they feel they don’t, and I sometimes tend to agree with them. They don’t want to think about all of this stuff; all they want to do is put the Boom, Boom, Boom through their heads to wipe out all that other stuff. They want to jump and wiggle and yell and scream.
Chicago Jazz Magazine: The Jazz Showcase has a Sunday Matinee that is an all-ages––kids 12 and under get in for free. Is it possible for people under 21 to attend other shows during the week?
Segal: Yes, as long as they have a parent or guardian, kids under 21 are always welcome for any of the shows at the Jazz Showcase.
Chicago Jazz Magazine: There have been many different locations for the Jazz Showcase.
Segal: As far as five-nighters, it’s about the fifth place; but if you count all of the one-nighters, there are more than sixty spots. There are also some out of state, like down in Florida.
Chicago Jazz Magazine: The current Jazz Showcase is generally regarded as the best location for acoustics and sight lines. How did you and your son Wayne decide on this particular location at the old Dearborn Train Station?
Segal: We drove around and must have looked at thirty to forty different places all up and down. We turned the corner and saw the clock tower and said this is the spot! We came in here and there was a ballet school hidden inside. The landlord moved them downstairs to a better facility and Wayne redesigned the whole thing. This is the only place we have ever had where there haven’t been any visual restrictions. We also sound-proofed the entire place, because the people that live next door were worried about the noise coming from the club. You can’t hear a thing outside now. In fact we have people that live across the street say, “ I can’t hear anything, so I have to come over!”
Chicago Jazz Magazine: Since you were talking about this location specifically, who did all the design work on the club?
Segal: Wayne did it. We also had an architect, but it was mostly Wayne. Chuck did a lot of work as well.
Chicago Jazz Magazine: Looking at the photos on the wall, it is amazing to think that you actually know or had friendships with most of these famous jazz musicians.
Segal: They are not decorations. There are maybe four or five of them that are famous that didn’t play for us, but we figure they should be up there––like Duke Ellington and Louis Armstrong. We go back as far as Lester Young, quite a few of the Basie guys, the Ellington and Woody Herman guys, the big bands and all. Maynard Ferguson used to play for us for quite a bit and we have had all kinds of great artists and big bands. We have had the Kenton big band, Thad Jones/Mel Lewis Band, the Toshiko Akiyoshi, Lew Tabackin Big Band, the Mingus Big Band and many others.
Chicago Jazz Magazine: What is the process like when you are booking them?
Segal: Well it depends. Nowadays, you usually have to go through an agent. There are very few that do their own booking now. They play all over the world and they need an agent to do that because of the traveling, the hotel and many other things. There are some that I can still call up directly, but there are some that can’t even answer our calls anymore.
Chicago Jazz Magazine: Because there is an agent involved?
Segal: Yeah.
Chicago Jazz Magazine: Isn’t one of your keys to booking great talent just because you have known and hung out with them through the years?
Segal: Yeah, and they know that I love and respect the music. They know I am for real as far as the music is concerned. I am not just another nightclub owner that is in it to make money off of the musicians. A lot of nightclub owners say if the music doesn’t go then forget it, bring in the girls!
Chicago Jazz Magazine: Are there any major performances coming this spring at the Jazz Showcase?
Segal: Chris Potter is coming in at the end of January with his own group. We usually just go local during the winter, but it was the only opportunity to have him this year. Of course, we have some wonderful local musicians: Bobby Lewis will be here one weekend, Pharez Whitted and his group, Ari Brown and his group, and many others.
Chicago Jazz Magazine: The Jazz Showcase has always had weekly national acts, but in the past ten years or so you have been devoting Mondays, Tuesdays and Wednesdays to supporting local performances. What is the thought behind showcasing these groups on a weekly basis?
Segal: Many of the local musicians have a following so they bring in a nice crowd on Tuesday and Wednesday, which also brings in new people that might not have been in the club before.
Chicago Jazz Magazine: You were drawn to jazz at an early age and your still drawn to jazz now.
Segal: Yeah, but there is a lot less to hear.
Chicago Jazz Magazine: People who attend the club have seen you grooving to bebop tunes that you have probably heard a hundred times. Why are you still so passionate about the music?
Segal: Well, because that’s what I grew up with—big bands and the modern innovations. When I was in the service I heard a lot of it. And then when I got out of the service it was the rage of the day. That’s when people first became aware of Dizzy and Miles and Monk. That was the popular music of the day, but it is no longer.
nCJM

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Jean-Claude Baker, a Restaurateur, Dies at 71 – NYTimes.com

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** Jean-Claude Baker, a Restaurateur, Dies at 71
————————————————————
Photo
Jean-Claude Baker, right, and Josephine Baker in 1973.

Jean-Claude Baker, the flamboyant restaurateur who created the popular Manhattan nightspot Chez Josephine in memory of Josephine Baker, the exotically beautiful dancer and mesmerizing chanteuse who had cared for him as a lonely child in Paris and whose biography he published to acclaim in 1993, was found dead on Thursday at his home in East Hampton, N.Y. He was 71.

The cause was suicide, said Patrick Pacheco, a theater reporter and friend. Mr. Baker’s body was discovered in his car, Mr. Pacheco said.

Mr. Baker led a colorful and many-faceted life populated by boldface names. Living on his own in Paris by the time he was 14, he became a shrewd worker in hotels and restaurants with a gift for charming the clientele; while working at Le Pavillon Dauphine in 1960, he greeted the Soviet leader Nikita S. Khrushchev, who, emerging from a limousine, reportedly kissed him on the lips.

A few years later Mr. Baker moved to West Berlin, where he had a career as a singer — he recorded under the name Jean-Claude Rousseau — and opened a nightclub called the Pimm’s Club. Sometimes called the Studio 54 of that era, it drew a mix of gay and straight customers and a glittering international crowd, including Mick Jagger, Mahalia Jackson, Leonard Bernstein, Rudolf Nureyev, Margot Fonteyn, Jessye Norman and Orson Welles.

Chez Josephine, a high-end brasserie and piano bar featuring luxuriant velvet curtains, red banquettes and Josephine Baker memorabilia, opened in 1986 on 42nd Street, between Ninth and 10th Avenues. It was an anchor in the transformation of a grim strip of real estate into an Off Broadway theater district.

From the start Chez Josephine was an eccentric pre- and post-theater spot — many Broadway theaters are within walking distance — and with its ripe décor redolent of Paris from an earlier age and Mr. Baker’s effervescent hospitality, it gathered its own coterie of the famous.

One regular was Jacqueline Kennedy Onassis. Mr. Baker told a reporter that to protect her privacy, he once allowed her to use the men’s room while he stood guard. If she had used the women’s room, he said, other women would have flocked in after her.

Mr. Baker was born Jean-Claude Julien Leon Tronville in Dijon, France, on April 18, 1943. He met Josephine Baker in 1958 at the Hotel Scribe in Paris, where she was living at the time and where he was a teenage bellhop living on his own.

His parents, Constance Luce Tronville and Julien Rouzaud, were not married when he was born, though they married later, when Jean-Claude was 7 and then known by his father’s last name. Soon afterward, his father moved to Paris to work in a restaurant, and at 14, Jean-Claude went to search for him, leaving behind his mother and three younger sisters.

“What happened was, I found my father living in a hotel for prostitutes, where they rented rooms by the hour; he had gambled away all his money,” Mr. Baker wrote in the introduction to the biography “Josephine: The Hungry Heart,” written with Chris Chase. “Three days later, he disappeared, and didn’t come back.”
Continue reading the main story

“Josephine listened to all this,” he wrote of their first encounter, “and then she said, ‘Don’t be worried, my little one; you have no father, but from today on, you will have two mothers.’ ”

They were not especially close at first, he wrote; their intimacy began when she went to Berlin in 1968, and he arranged for her to perform at the Pimm’s Club.

Her career was wobbly by then, but for much of the time before her death in 1975, Mr. Baker supported her, serving as manager, companion and amanuensis. He took her last name as his own in the early 1970s.

Mr. Baker is survived by his sisters, Marie-Josèphe Lottier, Marie-Annick Rouzaud and Martine Viellard.

Josephine Baker was notoriously difficult — self-involved and brilliant, capable of extraordinary kindness and extraordinary cruelty — and the colliding strains of her character, coupled with Mr. Baker’s complex relationship with her, drove him to write her biography, he said.

Their relationship also inspired him to amass an extensive collection of posters, paintings, documents and other memorabilia pertaining to early-20th-century African-American performers.

“Working with Chris Chase, Jean-Claude Baker has combined cultural and theatrical history with an intense Oedipal drama,” Margo Jefferson wrote in The New York Times (http://www.nytimes.com/1994/02/02/books/books-of-the-times-taking-paris-by-storm-with-bananas-flying.html) about “The Hungry Heart.” “He met Baker when he was 14, and was unofficially adopted by her. Through the years she treated him like a son and like a serf.

“He read everything about her he could find, he writes, ‘because I loved her, hated her, and wanted desperately to understand her.’ Those emotions drove his book, and they drove him to do vast amounts of valuable research. The result is mesmerizing: a battle of wills with Josephine as the mastermind, concocting fables about her life, and Jean-Claude as the detective, breaking them down into facts.”

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Warwick, Ny 10990
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Jean-Claude Baker, a Restaurateur, Dies at 71 – NYTimes.com

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** Jean-Claude Baker, a Restaurateur, Dies at 71
————————————————————
Photo
Jean-Claude Baker, right, and Josephine Baker in 1973.

Jean-Claude Baker, the flamboyant restaurateur who created the popular Manhattan nightspot Chez Josephine in memory of Josephine Baker, the exotically beautiful dancer and mesmerizing chanteuse who had cared for him as a lonely child in Paris and whose biography he published to acclaim in 1993, was found dead on Thursday at his home in East Hampton, N.Y. He was 71.

The cause was suicide, said Patrick Pacheco, a theater reporter and friend. Mr. Baker’s body was discovered in his car, Mr. Pacheco said.

Mr. Baker led a colorful and many-faceted life populated by boldface names. Living on his own in Paris by the time he was 14, he became a shrewd worker in hotels and restaurants with a gift for charming the clientele; while working at Le Pavillon Dauphine in 1960, he greeted the Soviet leader Nikita S. Khrushchev, who, emerging from a limousine, reportedly kissed him on the lips.

A few years later Mr. Baker moved to West Berlin, where he had a career as a singer — he recorded under the name Jean-Claude Rousseau — and opened a nightclub called the Pimm’s Club. Sometimes called the Studio 54 of that era, it drew a mix of gay and straight customers and a glittering international crowd, including Mick Jagger, Mahalia Jackson, Leonard Bernstein, Rudolf Nureyev, Margot Fonteyn, Jessye Norman and Orson Welles.

Chez Josephine, a high-end brasserie and piano bar featuring luxuriant velvet curtains, red banquettes and Josephine Baker memorabilia, opened in 1986 on 42nd Street, between Ninth and 10th Avenues. It was an anchor in the transformation of a grim strip of real estate into an Off Broadway theater district.

From the start Chez Josephine was an eccentric pre- and post-theater spot — many Broadway theaters are within walking distance — and with its ripe décor redolent of Paris from an earlier age and Mr. Baker’s effervescent hospitality, it gathered its own coterie of the famous.

One regular was Jacqueline Kennedy Onassis. Mr. Baker told a reporter that to protect her privacy, he once allowed her to use the men’s room while he stood guard. If she had used the women’s room, he said, other women would have flocked in after her.

Mr. Baker was born Jean-Claude Julien Leon Tronville in Dijon, France, on April 18, 1943. He met Josephine Baker in 1958 at the Hotel Scribe in Paris, where she was living at the time and where he was a teenage bellhop living on his own.

His parents, Constance Luce Tronville and Julien Rouzaud, were not married when he was born, though they married later, when Jean-Claude was 7 and then known by his father’s last name. Soon afterward, his father moved to Paris to work in a restaurant, and at 14, Jean-Claude went to search for him, leaving behind his mother and three younger sisters.

“What happened was, I found my father living in a hotel for prostitutes, where they rented rooms by the hour; he had gambled away all his money,” Mr. Baker wrote in the introduction to the biography “Josephine: The Hungry Heart,” written with Chris Chase. “Three days later, he disappeared, and didn’t come back.”
Continue reading the main story

“Josephine listened to all this,” he wrote of their first encounter, “and then she said, ‘Don’t be worried, my little one; you have no father, but from today on, you will have two mothers.’ ”

They were not especially close at first, he wrote; their intimacy began when she went to Berlin in 1968, and he arranged for her to perform at the Pimm’s Club.

Her career was wobbly by then, but for much of the time before her death in 1975, Mr. Baker supported her, serving as manager, companion and amanuensis. He took her last name as his own in the early 1970s.

Mr. Baker is survived by his sisters, Marie-Josèphe Lottier, Marie-Annick Rouzaud and Martine Viellard.

Josephine Baker was notoriously difficult — self-involved and brilliant, capable of extraordinary kindness and extraordinary cruelty — and the colliding strains of her character, coupled with Mr. Baker’s complex relationship with her, drove him to write her biography, he said.

Their relationship also inspired him to amass an extensive collection of posters, paintings, documents and other memorabilia pertaining to early-20th-century African-American performers.

“Working with Chris Chase, Jean-Claude Baker has combined cultural and theatrical history with an intense Oedipal drama,” Margo Jefferson wrote in The New York Times (http://www.nytimes.com/1994/02/02/books/books-of-the-times-taking-paris-by-storm-with-bananas-flying.html) about “The Hungry Heart.” “He met Baker when he was 14, and was unofficially adopted by her. Through the years she treated him like a son and like a serf.

“He read everything about her he could find, he writes, ‘because I loved her, hated her, and wanted desperately to understand her.’ Those emotions drove his book, and they drove him to do vast amounts of valuable research. The result is mesmerizing: a battle of wills with Josephine as the mastermind, concocting fables about her life, and Jean-Claude as the detective, breaking them down into facts.”

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269 State Route 94 South
Warwick, Ny 10990
USA

Jean-Claude Baker, a Restaurateur, Dies at 71 – NYTimes.com

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http://www.nytimes.com/2015/01/16/nyregion/jean-claude-baker-a-restaurateur-dies-at-71.html?emc=eta1

** Jean-Claude Baker, a Restaurateur, Dies at 71
————————————————————
Photo
Jean-Claude Baker, right, and Josephine Baker in 1973.

Jean-Claude Baker, the flamboyant restaurateur who created the popular Manhattan nightspot Chez Josephine in memory of Josephine Baker, the exotically beautiful dancer and mesmerizing chanteuse who had cared for him as a lonely child in Paris and whose biography he published to acclaim in 1993, was found dead on Thursday at his home in East Hampton, N.Y. He was 71.

The cause was suicide, said Patrick Pacheco, a theater reporter and friend. Mr. Baker’s body was discovered in his car, Mr. Pacheco said.

Mr. Baker led a colorful and many-faceted life populated by boldface names. Living on his own in Paris by the time he was 14, he became a shrewd worker in hotels and restaurants with a gift for charming the clientele; while working at Le Pavillon Dauphine in 1960, he greeted the Soviet leader Nikita S. Khrushchev, who, emerging from a limousine, reportedly kissed him on the lips.

A few years later Mr. Baker moved to West Berlin, where he had a career as a singer — he recorded under the name Jean-Claude Rousseau — and opened a nightclub called the Pimm’s Club. Sometimes called the Studio 54 of that era, it drew a mix of gay and straight customers and a glittering international crowd, including Mick Jagger, Mahalia Jackson, Leonard Bernstein, Rudolf Nureyev, Margot Fonteyn, Jessye Norman and Orson Welles.

Chez Josephine, a high-end brasserie and piano bar featuring luxuriant velvet curtains, red banquettes and Josephine Baker memorabilia, opened in 1986 on 42nd Street, between Ninth and 10th Avenues. It was an anchor in the transformation of a grim strip of real estate into an Off Broadway theater district.

From the start Chez Josephine was an eccentric pre- and post-theater spot — many Broadway theaters are within walking distance — and with its ripe décor redolent of Paris from an earlier age and Mr. Baker’s effervescent hospitality, it gathered its own coterie of the famous.

One regular was Jacqueline Kennedy Onassis. Mr. Baker told a reporter that to protect her privacy, he once allowed her to use the men’s room while he stood guard. If she had used the women’s room, he said, other women would have flocked in after her.

Mr. Baker was born Jean-Claude Julien Leon Tronville in Dijon, France, on April 18, 1943. He met Josephine Baker in 1958 at the Hotel Scribe in Paris, where she was living at the time and where he was a teenage bellhop living on his own.

His parents, Constance Luce Tronville and Julien Rouzaud, were not married when he was born, though they married later, when Jean-Claude was 7 and then known by his father’s last name. Soon afterward, his father moved to Paris to work in a restaurant, and at 14, Jean-Claude went to search for him, leaving behind his mother and three younger sisters.

“What happened was, I found my father living in a hotel for prostitutes, where they rented rooms by the hour; he had gambled away all his money,” Mr. Baker wrote in the introduction to the biography “Josephine: The Hungry Heart,” written with Chris Chase. “Three days later, he disappeared, and didn’t come back.”
Continue reading the main story

“Josephine listened to all this,” he wrote of their first encounter, “and then she said, ‘Don’t be worried, my little one; you have no father, but from today on, you will have two mothers.’ ”

They were not especially close at first, he wrote; their intimacy began when she went to Berlin in 1968, and he arranged for her to perform at the Pimm’s Club.

Her career was wobbly by then, but for much of the time before her death in 1975, Mr. Baker supported her, serving as manager, companion and amanuensis. He took her last name as his own in the early 1970s.

Mr. Baker is survived by his sisters, Marie-Josèphe Lottier, Marie-Annick Rouzaud and Martine Viellard.

Josephine Baker was notoriously difficult — self-involved and brilliant, capable of extraordinary kindness and extraordinary cruelty — and the colliding strains of her character, coupled with Mr. Baker’s complex relationship with her, drove him to write her biography, he said.

Their relationship also inspired him to amass an extensive collection of posters, paintings, documents and other memorabilia pertaining to early-20th-century African-American performers.

“Working with Chris Chase, Jean-Claude Baker has combined cultural and theatrical history with an intense Oedipal drama,” Margo Jefferson wrote in The New York Times (http://www.nytimes.com/1994/02/02/books/books-of-the-times-taking-paris-by-storm-with-bananas-flying.html) about “The Hungry Heart.” “He met Baker when he was 14, and was unofficially adopted by her. Through the years she treated him like a son and like a serf.

“He read everything about her he could find, he writes, ‘because I loved her, hated her, and wanted desperately to understand her.’ Those emotions drove his book, and they drove him to do vast amounts of valuable research. The result is mesmerizing: a battle of wills with Josephine as the mastermind, concocting fables about her life, and Jean-Claude as the detective, breaking them down into facts.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=69bc887e22) | 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=69bc887e22&e=[UNIQID])

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Copyright (C) 2015 All rights reserved.

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Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway | TribLIVE

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** Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway
————————————————————

Submitted

Maureen Budway

** Daily Photo Galleries
————————————————————
http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#
Tuesday – Jan. 13, 2015 (http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#)

By Bob Karlovits (mailto:bkarlovits@tribweb.com?subject=RE:%20Pittsburgh%20loses%20pitch-perfect%20jazz%20voice%20with%20death%20of%20Maureen%20Budway%20story%20on%20TribLIVE.com)
Tuesday, Jan. 13, 2015, 9:51 a.m.
Updated 13 hours ago

Maureen Budway won fans with her pitch-perfect jazz singing, but guitarist Joe Negri said her “enormous range of talent” was the heart of her work.

“She could do classical, jazz, American Songbook stuff, and she loved Brazilian, too,” Negri said.

Maureen L. Budway of Point Breeze, a renowned singer and adjunct professor of voice at Duquesne University, died Monday, Jan. 12, 2015, after a 20-year fight with breast cancer. She was 51.

Mike Tomaro, head of jazz studies at Duquesne, said she will be difficult to replace because of her jazz and classical skills — and for her overall enthusiasm. She performed in November at a benefit concert for pancreatic cancer research even though her own cancer had begun to weaken her.

“Her spirit was right there,” said Tomaro, who arranged the concert to fight the disease that took his wife, Nancy.

Patty Donohue, an adjunct voice instructor at Duquesne, said Ms. Budway taught her students “how to breathe life in a song.”

Claudia Benack, an associate professor at the School of Drama at Carnegie Mellon University, knew Ms. Budway and her work for about 25 years. She said her voice was “amazing.”

“She could have had an operatic career. Everything she did was just so perfect, so right.”

Marty Ashby, executive producer at MCG Jazz at the Manchester Craftsmen’s Guild in the North Side, said he saw a need to assemble an album of Ms. Budway’s music when he saw the cancer taking her down.

“As I get older, I realize that tomorrow is too late, so we did (the album),” he said.

The album, “Sweet Candor,” will be released at the end of this month.

Donahue said it is important to preserve that voice because “just as you always can tell it is Sarah Vaughan or Ella Fitzgerald singing, you can always tell it is Mo.”

“I think it shows all the greatness she represented,” he said. “She was not just a singer, she was a musician. The world needs to know about her.”

Her brother, pianist David Budway, who is forging a performance career in New York City, recalled how she tried to take her message to the world when she moved to New York City in 2002. She performed at various clubs in the busy and competitive scene and then decided to return to Pittsburgh in 2005.

“I look back and wish I could have done more,” Budway said. But musicians she met in New York — such as vibist Joe Locke and flutist Hubert Laws — sent their sympathy to him, he said.

Budway said his sister first was inspired by the music of Linda Ronstadt and Bonnie Raitt, but became a jazz fan when she heard Fitzgerald’s voice.

Her skill as a performer established her in various industries. Besides performing jazz in many settings, she performed with the Pittsburgh Symphony and Westmoreland Symphony orchestras and the River City Brass (http://www.rivercitybrass.org/) .

Singer Tania Grubbs said Ms. Budway was respected for her “ability to interpret lyrics at the highest emotional levels” and for the “control and tone of her voice.”

“I will forever be grateful of every note she has ever shared with us,” Grubbs added.

Ms. Budway attended St. Bede’s School and Taylor Allderdice High School, during which time she studied at Pittsburgh’s Creative and Performing Arts School. She received her bachelor’s degree in music performance from Duquesne University and her master’s degree in the same discipline from Carnegie Mellon University.

Ms. Budway was the daughter of the late Leo and Rosemary Budway of Point Breeze. She was the sister of David and Kathy Budway, Dawn Bartell and the late Marianne Budway.

Visitation will be 1 to 9 p.m. Thursday in McCabe Bros. Funeral Home, 6214 Walnut St., Shadyside. A memorial service will be at 11 a.m. Friday in St. Bede Church, 509 S. Dallas Ave., Point Breeze.

Bob Karlovits is a staff writer for Trib Total Media. He can be reached at 412-320-7852 or bkarlovits@tribweb.com (mailto:bkarlovits@tribweb.com) .
Read more: http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#ixzz3OoXixYOE
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Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway | TribLIVE

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** Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway
————————————————————

Submitted

Maureen Budway

** Daily Photo Galleries
————————————————————
http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#
Tuesday – Jan. 13, 2015 (http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#)

By Bob Karlovits (mailto:bkarlovits@tribweb.com?subject=RE:%20Pittsburgh%20loses%20pitch-perfect%20jazz%20voice%20with%20death%20of%20Maureen%20Budway%20story%20on%20TribLIVE.com)
Tuesday, Jan. 13, 2015, 9:51 a.m.
Updated 13 hours ago

Maureen Budway won fans with her pitch-perfect jazz singing, but guitarist Joe Negri said her “enormous range of talent” was the heart of her work.

“She could do classical, jazz, American Songbook stuff, and she loved Brazilian, too,” Negri said.

Maureen L. Budway of Point Breeze, a renowned singer and adjunct professor of voice at Duquesne University, died Monday, Jan. 12, 2015, after a 20-year fight with breast cancer. She was 51.

Mike Tomaro, head of jazz studies at Duquesne, said she will be difficult to replace because of her jazz and classical skills — and for her overall enthusiasm. She performed in November at a benefit concert for pancreatic cancer research even though her own cancer had begun to weaken her.

“Her spirit was right there,” said Tomaro, who arranged the concert to fight the disease that took his wife, Nancy.

Patty Donohue, an adjunct voice instructor at Duquesne, said Ms. Budway taught her students “how to breathe life in a song.”

Claudia Benack, an associate professor at the School of Drama at Carnegie Mellon University, knew Ms. Budway and her work for about 25 years. She said her voice was “amazing.”

“She could have had an operatic career. Everything she did was just so perfect, so right.”

Marty Ashby, executive producer at MCG Jazz at the Manchester Craftsmen’s Guild in the North Side, said he saw a need to assemble an album of Ms. Budway’s music when he saw the cancer taking her down.

“As I get older, I realize that tomorrow is too late, so we did (the album),” he said.

The album, “Sweet Candor,” will be released at the end of this month.

Donahue said it is important to preserve that voice because “just as you always can tell it is Sarah Vaughan or Ella Fitzgerald singing, you can always tell it is Mo.”

“I think it shows all the greatness she represented,” he said. “She was not just a singer, she was a musician. The world needs to know about her.”

Her brother, pianist David Budway, who is forging a performance career in New York City, recalled how she tried to take her message to the world when she moved to New York City in 2002. She performed at various clubs in the busy and competitive scene and then decided to return to Pittsburgh in 2005.

“I look back and wish I could have done more,” Budway said. But musicians she met in New York — such as vibist Joe Locke and flutist Hubert Laws — sent their sympathy to him, he said.

Budway said his sister first was inspired by the music of Linda Ronstadt and Bonnie Raitt, but became a jazz fan when she heard Fitzgerald’s voice.

Her skill as a performer established her in various industries. Besides performing jazz in many settings, she performed with the Pittsburgh Symphony and Westmoreland Symphony orchestras and the River City Brass (http://www.rivercitybrass.org/) .

Singer Tania Grubbs said Ms. Budway was respected for her “ability to interpret lyrics at the highest emotional levels” and for the “control and tone of her voice.”

“I will forever be grateful of every note she has ever shared with us,” Grubbs added.

Ms. Budway attended St. Bede’s School and Taylor Allderdice High School, during which time she studied at Pittsburgh’s Creative and Performing Arts School. She received her bachelor’s degree in music performance from Duquesne University and her master’s degree in the same discipline from Carnegie Mellon University.

Ms. Budway was the daughter of the late Leo and Rosemary Budway of Point Breeze. She was the sister of David and Kathy Budway, Dawn Bartell and the late Marianne Budway.

Visitation will be 1 to 9 p.m. Thursday in McCabe Bros. Funeral Home, 6214 Walnut St., Shadyside. A memorial service will be at 11 a.m. Friday in St. Bede Church, 509 S. Dallas Ave., Point Breeze.

Bob Karlovits is a staff writer for Trib Total Media. He can be reached at 412-320-7852 or bkarlovits@tribweb.com (mailto:bkarlovits@tribweb.com) .
Read more: http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#ixzz3OoXixYOE
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Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway | TribLIVE

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http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#axzz3OoXZKwYp

** Pittsburgh loses pitch-perfect jazz voice with death of Maureen Budway
————————————————————

Submitted

Maureen Budway

** Daily Photo Galleries
————————————————————
http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#
Tuesday – Jan. 13, 2015 (http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#)

By Bob Karlovits (mailto:bkarlovits@tribweb.com?subject=RE:%20Pittsburgh%20loses%20pitch-perfect%20jazz%20voice%20with%20death%20of%20Maureen%20Budway%20story%20on%20TribLIVE.com)
Tuesday, Jan. 13, 2015, 9:51 a.m.
Updated 13 hours ago

Maureen Budway won fans with her pitch-perfect jazz singing, but guitarist Joe Negri said her “enormous range of talent” was the heart of her work.

“She could do classical, jazz, American Songbook stuff, and she loved Brazilian, too,” Negri said.

Maureen L. Budway of Point Breeze, a renowned singer and adjunct professor of voice at Duquesne University, died Monday, Jan. 12, 2015, after a 20-year fight with breast cancer. She was 51.

Mike Tomaro, head of jazz studies at Duquesne, said she will be difficult to replace because of her jazz and classical skills — and for her overall enthusiasm. She performed in November at a benefit concert for pancreatic cancer research even though her own cancer had begun to weaken her.

“Her spirit was right there,” said Tomaro, who arranged the concert to fight the disease that took his wife, Nancy.

Patty Donohue, an adjunct voice instructor at Duquesne, said Ms. Budway taught her students “how to breathe life in a song.”

Claudia Benack, an associate professor at the School of Drama at Carnegie Mellon University, knew Ms. Budway and her work for about 25 years. She said her voice was “amazing.”

“She could have had an operatic career. Everything she did was just so perfect, so right.”

Marty Ashby, executive producer at MCG Jazz at the Manchester Craftsmen’s Guild in the North Side, said he saw a need to assemble an album of Ms. Budway’s music when he saw the cancer taking her down.

“As I get older, I realize that tomorrow is too late, so we did (the album),” he said.

The album, “Sweet Candor,” will be released at the end of this month.

Donahue said it is important to preserve that voice because “just as you always can tell it is Sarah Vaughan or Ella Fitzgerald singing, you can always tell it is Mo.”

“I think it shows all the greatness she represented,” he said. “She was not just a singer, she was a musician. The world needs to know about her.”

Her brother, pianist David Budway, who is forging a performance career in New York City, recalled how she tried to take her message to the world when she moved to New York City in 2002. She performed at various clubs in the busy and competitive scene and then decided to return to Pittsburgh in 2005.

“I look back and wish I could have done more,” Budway said. But musicians she met in New York — such as vibist Joe Locke and flutist Hubert Laws — sent their sympathy to him, he said.

Budway said his sister first was inspired by the music of Linda Ronstadt and Bonnie Raitt, but became a jazz fan when she heard Fitzgerald’s voice.

Her skill as a performer established her in various industries. Besides performing jazz in many settings, she performed with the Pittsburgh Symphony and Westmoreland Symphony orchestras and the River City Brass (http://www.rivercitybrass.org/) .

Singer Tania Grubbs said Ms. Budway was respected for her “ability to interpret lyrics at the highest emotional levels” and for the “control and tone of her voice.”

“I will forever be grateful of every note she has ever shared with us,” Grubbs added.

Ms. Budway attended St. Bede’s School and Taylor Allderdice High School, during which time she studied at Pittsburgh’s Creative and Performing Arts School. She received her bachelor’s degree in music performance from Duquesne University and her master’s degree in the same discipline from Carnegie Mellon University.

Ms. Budway was the daughter of the late Leo and Rosemary Budway of Point Breeze. She was the sister of David and Kathy Budway, Dawn Bartell and the late Marianne Budway.

Visitation will be 1 to 9 p.m. Thursday in McCabe Bros. Funeral Home, 6214 Walnut St., Shadyside. A memorial service will be at 11 a.m. Friday in St. Bede Church, 509 S. Dallas Ave., Point Breeze.

Bob Karlovits is a staff writer for Trib Total Media. He can be reached at 412-320-7852 or bkarlovits@tribweb.com (mailto:bkarlovits@tribweb.com) .
Read more: http://triblive.com/news/adminpage/7554418-74/budway-jazz-voice#ixzz3OoXixYOE
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A Century of Notated Jazz: “Original Jelly Roll Blues” Turns 100

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http://www.offbeat.com/news/century-notated-jazz-original-jelly-roll-blues-turns-100/

** A Century Of Notated Jazz: “Original Jelly Roll Blues” Turns 100
————————————————————

This year marks the 100 year anniversary of the earliest publication of a jazz composition, Jelly Roll Morton (http://www.offbeat.com/articles/masters-of-louisiana-music-jelly-roll-morton/) ’s “Original Jelly Roll Blues.”

This B-flat major foxtrot was originally published as sheet music for solo piano by Will Rossiter, a publisher out of Chicago.

Morton (http://www.offbeat.com/news/youtube-du-jour-jelly-roll-morton/) recorded it as a solo piano piece in 1924, and then with his Red Hot Peppers band in 1926.

It remains one of the Frenchmen Street (http://www.offbeat.com/articles/residents-preserve-jelly-roll-morton-home/) resident’s most recognizable tunes.

Although jazz certainly didn’t have one clear start date, 1915 was an important landmark.

Morton’s publication proved that songs of a genre based in improvisation could indeed be set to paper without crippling their freedom of form.

With the advent of publication, musicians continued to improvise during performances but could also more easily share and learn the foundations of common pieces that would become our canon today.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=959fed84bf) | 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=959fed84bf&e=[UNIQID])

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A Century of Notated Jazz: “Original Jelly Roll Blues” Turns 100

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http://www.offbeat.com/news/century-notated-jazz-original-jelly-roll-blues-turns-100/

** A Century Of Notated Jazz: “Original Jelly Roll Blues” Turns 100
————————————————————

This year marks the 100 year anniversary of the earliest publication of a jazz composition, Jelly Roll Morton (http://www.offbeat.com/articles/masters-of-louisiana-music-jelly-roll-morton/) ’s “Original Jelly Roll Blues.”

This B-flat major foxtrot was originally published as sheet music for solo piano by Will Rossiter, a publisher out of Chicago.

Morton (http://www.offbeat.com/news/youtube-du-jour-jelly-roll-morton/) recorded it as a solo piano piece in 1924, and then with his Red Hot Peppers band in 1926.

It remains one of the Frenchmen Street (http://www.offbeat.com/articles/residents-preserve-jelly-roll-morton-home/) resident’s most recognizable tunes.

Although jazz certainly didn’t have one clear start date, 1915 was an important landmark.

Morton’s publication proved that songs of a genre based in improvisation could indeed be set to paper without crippling their freedom of form.

With the advent of publication, musicians continued to improvise during performances but could also more easily share and learn the foundations of common pieces that would become our canon today.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=959fed84bf) | 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=959fed84bf&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!

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USA

A Century of Notated Jazz: “Original Jelly Roll Blues” Turns 100

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.offbeat.com/news/century-notated-jazz-original-jelly-roll-blues-turns-100/

** A Century Of Notated Jazz: “Original Jelly Roll Blues” Turns 100
————————————————————

This year marks the 100 year anniversary of the earliest publication of a jazz composition, Jelly Roll Morton (http://www.offbeat.com/articles/masters-of-louisiana-music-jelly-roll-morton/) ’s “Original Jelly Roll Blues.”

This B-flat major foxtrot was originally published as sheet music for solo piano by Will Rossiter, a publisher out of Chicago.

Morton (http://www.offbeat.com/news/youtube-du-jour-jelly-roll-morton/) recorded it as a solo piano piece in 1924, and then with his Red Hot Peppers band in 1926.

It remains one of the Frenchmen Street (http://www.offbeat.com/articles/residents-preserve-jelly-roll-morton-home/) resident’s most recognizable tunes.

Although jazz certainly didn’t have one clear start date, 1915 was an important landmark.

Morton’s publication proved that songs of a genre based in improvisation could indeed be set to paper without crippling their freedom of form.

With the advent of publication, musicians continued to improvise during performances but could also more easily share and learn the foundations of common pieces that would become our canon today.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=959fed84bf) | 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=959fed84bf&e=[UNIQID])

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Bassist Tim Drummond dead at 74 – Oakland Jazz music | Examiner.com

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http://www.examiner.com/article/bassist-tim-drummond-dead-at-74?CID=examiner_alerts_article

** Bassist Tim Drummond dead at 74
————————————————————

Word has come this afternoon of the death of bassist Tim Drummond. Best known for his work with Bob Dylan (safari-reader://www.examiner.com/topic/bob-dylan) ; Crosby, Stills and Nash; and Neil Young (safari-reader://www.examiner.com/topic/neil-young) , he died Saturday at age 74. No cause of death has been announced.
Drummond performed on some of classic rocks most iconic albums – Young’s “Harvest,” “After the Gold Rush” and “Comes a Time,” Dylan’s “Slow Train Coming,” CSN’s “CSN” and Don Henley’s “Building the Perfect Beast,” among them. He’s featured on the Beach Boys’ “15 Big Ones” and a slew of Ry Cooder discs, among his many other credits.
Drummond was also deeply rooted in blues and jazz (safari-reader://www.examiner.com/topic/jazz) . He performed on the Paul Butterfield Blues Band’s “Put It In Your Ear” album, John Mayall’s “Bottom Line,” Roy Buchanan’s “Black Autumn” and Lonnie Mack’s “Second Sight” and “Strike Like Lightning.” And he played on a number of James Brown tracks, including “Licking Stick” and “I Can’t Stand Myself (When You Touch Me).”
And then there’s “The Hot Spot,” the 1990 soundtrack to Dennis Hopper’s daptation of a Charles Williams’ noir potboiler starring Don Johnson (remember when he had a film career?) and Virginia Madsen. The disc is a long-standing favorite of mine, an atmospheric trip through Texas jazz-blues featuring Miles Davis on almost every track, often in collaboration with John Lee Hooker and Taj Mahal.

Want to keep up with the best in Bay Area jazz and blues?
Subscribe to me: Have our jazz and blues Examiner columns sent to your inbox. Click the SUBSCRIBE button on this page. It’s free. (And I won’t spam you or give out your information.) Bookmark me: http://www.examiner.com/jazz-music-in-oakland/brian-mccoy.CONTACT ME FOR YOUR JAZZ AND ARTS GRANT WRITING NEEDS

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Bassist Tim Drummond dead at 74 – Oakland Jazz music | Examiner.com

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** Bassist Tim Drummond dead at 74
————————————————————

Word has come this afternoon of the death of bassist Tim Drummond. Best known for his work with Bob Dylan (safari-reader://www.examiner.com/topic/bob-dylan) ; Crosby, Stills and Nash; and Neil Young (safari-reader://www.examiner.com/topic/neil-young) , he died Saturday at age 74. No cause of death has been announced.
Drummond performed on some of classic rocks most iconic albums – Young’s “Harvest,” “After the Gold Rush” and “Comes a Time,” Dylan’s “Slow Train Coming,” CSN’s “CSN” and Don Henley’s “Building the Perfect Beast,” among them. He’s featured on the Beach Boys’ “15 Big Ones” and a slew of Ry Cooder discs, among his many other credits.
Drummond was also deeply rooted in blues and jazz (safari-reader://www.examiner.com/topic/jazz) . He performed on the Paul Butterfield Blues Band’s “Put It In Your Ear” album, John Mayall’s “Bottom Line,” Roy Buchanan’s “Black Autumn” and Lonnie Mack’s “Second Sight” and “Strike Like Lightning.” And he played on a number of James Brown tracks, including “Licking Stick” and “I Can’t Stand Myself (When You Touch Me).”
And then there’s “The Hot Spot,” the 1990 soundtrack to Dennis Hopper’s daptation of a Charles Williams’ noir potboiler starring Don Johnson (remember when he had a film career?) and Virginia Madsen. The disc is a long-standing favorite of mine, an atmospheric trip through Texas jazz-blues featuring Miles Davis on almost every track, often in collaboration with John Lee Hooker and Taj Mahal.

Want to keep up with the best in Bay Area jazz and blues?
Subscribe to me: Have our jazz and blues Examiner columns sent to your inbox. Click the SUBSCRIBE button on this page. It’s free. (And I won’t spam you or give out your information.) Bookmark me: http://www.examiner.com/jazz-music-in-oakland/brian-mccoy.CONTACT ME FOR YOUR JAZZ AND ARTS GRANT WRITING NEEDS

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Bassist Tim Drummond dead at 74 – Oakland Jazz music | Examiner.com

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http://www.examiner.com/article/bassist-tim-drummond-dead-at-74?CID=examiner_alerts_article

** Bassist Tim Drummond dead at 74
————————————————————

Word has come this afternoon of the death of bassist Tim Drummond. Best known for his work with Bob Dylan (safari-reader://www.examiner.com/topic/bob-dylan) ; Crosby, Stills and Nash; and Neil Young (safari-reader://www.examiner.com/topic/neil-young) , he died Saturday at age 74. No cause of death has been announced.
Drummond performed on some of classic rocks most iconic albums – Young’s “Harvest,” “After the Gold Rush” and “Comes a Time,” Dylan’s “Slow Train Coming,” CSN’s “CSN” and Don Henley’s “Building the Perfect Beast,” among them. He’s featured on the Beach Boys’ “15 Big Ones” and a slew of Ry Cooder discs, among his many other credits.
Drummond was also deeply rooted in blues and jazz (safari-reader://www.examiner.com/topic/jazz) . He performed on the Paul Butterfield Blues Band’s “Put It In Your Ear” album, John Mayall’s “Bottom Line,” Roy Buchanan’s “Black Autumn” and Lonnie Mack’s “Second Sight” and “Strike Like Lightning.” And he played on a number of James Brown tracks, including “Licking Stick” and “I Can’t Stand Myself (When You Touch Me).”
And then there’s “The Hot Spot,” the 1990 soundtrack to Dennis Hopper’s daptation of a Charles Williams’ noir potboiler starring Don Johnson (remember when he had a film career?) and Virginia Madsen. The disc is a long-standing favorite of mine, an atmospheric trip through Texas jazz-blues featuring Miles Davis on almost every track, often in collaboration with John Lee Hooker and Taj Mahal.

Want to keep up with the best in Bay Area jazz and blues?
Subscribe to me: Have our jazz and blues Examiner columns sent to your inbox. Click the SUBSCRIBE button on this page. It’s free. (And I won’t spam you or give out your information.) Bookmark me: http://www.examiner.com/jazz-music-in-oakland/brian-mccoy.CONTACT ME FOR YOUR JAZZ AND ARTS GRANT WRITING NEEDS

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=aa2512e67b) | 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=aa2512e67b&e=[UNIQID])

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269 State Route 94 South
Warwick, Ny 10990
USA

Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59 – NYTimes.com

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http://www.nytimes.com/2015/01/09/nyregion/walter-khr-accordion-evangelist-dies-at-59.html

** Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59
————————————————————
Photo
Walter Kühr, who opened the Main Squeeze in Manhattan in 1996, playing his favorite accordion. Credit Don Hogan Charles/The New York Times
Continue reading the main story

“A gentleman,” a widely repeated anonymous quotation has it, “is a man who can play the accordion but doesn’t.”

By those lights, Walter Kühr was unequivocally no gentleman.

Mr. Kühr, who died in Manhattan on Jan. 2, at 59, was for decades an evangelist of the instrument, as a performer, bandleader and owner of the Main Squeeze (http://mainsqueeze-nyc.com/) , a shop on the Lower East Side that he founded, in the words of its website, to meet “all your accordion needs.”

That most of us have accordion needs — unrecognized, untapped and achingly unfulfilled — was Mr. Kühr’s self-appointed mission to impress upon the public. From his boyhood in Germany to the end of his life, he sought to prove that the accordion, long derided, was actually “the hippest instrument on the planet,” as he said in a 2011 interview (http://www.wnyc.org/story/137775-blog-niche-market-accordions/) .

As a performer (https://www.youtube.com/watch?v=CT8nQU-tBno) , Mr. Kühr appeared with the Last of the International Playboys, the nine-piece Latin jazz ensemble he founded, which played in clubs across the country.

As a bandleader, he established the Main Squeeze Orchestra (https://www.youtube.com/watch?v=90LFSVMmjTk) , an all-female, all-accordion ensemble of about 14 that has performed throughout New York City, playing everything from Strauss waltzes to Kinks covers.

As an entrepreneur, he opened the Main Squeeze, at 19 Essex Street, between Hester and Canal Streets, in 1996. Part emporium, part performance space, part conservatory and part hiring hall, the store teaches, tunes, repairs and sells the accordion — prices range from about $100 into the thousands — and has become a mecca for players from around the world.

Accordions can be heard in genres as diverse as jazz, rock, tango, klezmer and zydeco. But as Mr. Kühr well knew, the stigma of the wheezing polka box endures. He was quick to finger its source.

“Blame it on Lawrence Welk,” he told The Star-Ledger of Newark in 1999.

Walter Werner Kühr was born in Hanau, near Frankfurt, on Oct. 10, 1955, and began studying the accordion at about 6 years old. After earning a degree in piano and bassoon from the Musikakademie Frankfurt am Main, he was offered a position as a bassoonist with the Frankfurt Radio Symphony Orchestra.

He declined, preferring to make his way as a jazz bassoonist and pianist. Settling in Hamburg, he supported his musical life with a series of odd jobs, among them gravedigger, wine seller aboard a streetcar and janitor in a brothel.

Mr. Kühr moved to New York in the late 1980s to study jazz piano in Harlem, packing his accordion “almost as an afterthought,” his former wife, Claire Connors, said on Wednesday.

The instrument would give him his livelihood, first as a performer on subway platforms and later as a visible, and audible, public ambassador.

Mr. Kühr’s marriage to Ms. Connors ended in divorce. Survivors include his companion, Lauren Schwartz; his mother, Loni; and a brother, Gerhard. At his death — from lymphoma, Ms. Connors said — he lived in the Williamsburg section of Brooklyn.

The Main Squeeze recently lost its lease and must close by Jan. 15. There are no plans to reopen it elsewhere, Ms. Connors said.

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

Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59 – NYTimes.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2015/01/09/nyregion/walter-khr-accordion-evangelist-dies-at-59.html

** Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59
————————————————————
Photo
Walter Kühr, who opened the Main Squeeze in Manhattan in 1996, playing his favorite accordion. Credit Don Hogan Charles/The New York Times
Continue reading the main story

“A gentleman,” a widely repeated anonymous quotation has it, “is a man who can play the accordion but doesn’t.”

By those lights, Walter Kühr was unequivocally no gentleman.

Mr. Kühr, who died in Manhattan on Jan. 2, at 59, was for decades an evangelist of the instrument, as a performer, bandleader and owner of the Main Squeeze (http://mainsqueeze-nyc.com/) , a shop on the Lower East Side that he founded, in the words of its website, to meet “all your accordion needs.”

That most of us have accordion needs — unrecognized, untapped and achingly unfulfilled — was Mr. Kühr’s self-appointed mission to impress upon the public. From his boyhood in Germany to the end of his life, he sought to prove that the accordion, long derided, was actually “the hippest instrument on the planet,” as he said in a 2011 interview (http://www.wnyc.org/story/137775-blog-niche-market-accordions/) .

As a performer (https://www.youtube.com/watch?v=CT8nQU-tBno) , Mr. Kühr appeared with the Last of the International Playboys, the nine-piece Latin jazz ensemble he founded, which played in clubs across the country.

As a bandleader, he established the Main Squeeze Orchestra (https://www.youtube.com/watch?v=90LFSVMmjTk) , an all-female, all-accordion ensemble of about 14 that has performed throughout New York City, playing everything from Strauss waltzes to Kinks covers.

As an entrepreneur, he opened the Main Squeeze, at 19 Essex Street, between Hester and Canal Streets, in 1996. Part emporium, part performance space, part conservatory and part hiring hall, the store teaches, tunes, repairs and sells the accordion — prices range from about $100 into the thousands — and has become a mecca for players from around the world.

Accordions can be heard in genres as diverse as jazz, rock, tango, klezmer and zydeco. But as Mr. Kühr well knew, the stigma of the wheezing polka box endures. He was quick to finger its source.

“Blame it on Lawrence Welk,” he told The Star-Ledger of Newark in 1999.

Walter Werner Kühr was born in Hanau, near Frankfurt, on Oct. 10, 1955, and began studying the accordion at about 6 years old. After earning a degree in piano and bassoon from the Musikakademie Frankfurt am Main, he was offered a position as a bassoonist with the Frankfurt Radio Symphony Orchestra.

He declined, preferring to make his way as a jazz bassoonist and pianist. Settling in Hamburg, he supported his musical life with a series of odd jobs, among them gravedigger, wine seller aboard a streetcar and janitor in a brothel.

Mr. Kühr moved to New York in the late 1980s to study jazz piano in Harlem, packing his accordion “almost as an afterthought,” his former wife, Claire Connors, said on Wednesday.

The instrument would give him his livelihood, first as a performer on subway platforms and later as a visible, and audible, public ambassador.

Mr. Kühr’s marriage to Ms. Connors ended in divorce. Survivors include his companion, Lauren Schwartz; his mother, Loni; and a brother, Gerhard. At his death — from lymphoma, Ms. Connors said — he lived in the Williamsburg section of Brooklyn.

The Main Squeeze recently lost its lease and must close by Jan. 15. There are no plans to reopen it elsewhere, Ms. Connors said.

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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

Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59 – NYTimes.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2015/01/09/nyregion/walter-khr-accordion-evangelist-dies-at-59.html

** Walter Kühr, Performer, Bandleader and Accordion Evangelist, Dies at 59
————————————————————
Photo
Walter Kühr, who opened the Main Squeeze in Manhattan in 1996, playing his favorite accordion. Credit Don Hogan Charles/The New York Times
Continue reading the main story

“A gentleman,” a widely repeated anonymous quotation has it, “is a man who can play the accordion but doesn’t.”

By those lights, Walter Kühr was unequivocally no gentleman.

Mr. Kühr, who died in Manhattan on Jan. 2, at 59, was for decades an evangelist of the instrument, as a performer, bandleader and owner of the Main Squeeze (http://mainsqueeze-nyc.com/) , a shop on the Lower East Side that he founded, in the words of its website, to meet “all your accordion needs.”

That most of us have accordion needs — unrecognized, untapped and achingly unfulfilled — was Mr. Kühr’s self-appointed mission to impress upon the public. From his boyhood in Germany to the end of his life, he sought to prove that the accordion, long derided, was actually “the hippest instrument on the planet,” as he said in a 2011 interview (http://www.wnyc.org/story/137775-blog-niche-market-accordions/) .

As a performer (https://www.youtube.com/watch?v=CT8nQU-tBno) , Mr. Kühr appeared with the Last of the International Playboys, the nine-piece Latin jazz ensemble he founded, which played in clubs across the country.

As a bandleader, he established the Main Squeeze Orchestra (https://www.youtube.com/watch?v=90LFSVMmjTk) , an all-female, all-accordion ensemble of about 14 that has performed throughout New York City, playing everything from Strauss waltzes to Kinks covers.

As an entrepreneur, he opened the Main Squeeze, at 19 Essex Street, between Hester and Canal Streets, in 1996. Part emporium, part performance space, part conservatory and part hiring hall, the store teaches, tunes, repairs and sells the accordion — prices range from about $100 into the thousands — and has become a mecca for players from around the world.

Accordions can be heard in genres as diverse as jazz, rock, tango, klezmer and zydeco. But as Mr. Kühr well knew, the stigma of the wheezing polka box endures. He was quick to finger its source.

“Blame it on Lawrence Welk,” he told The Star-Ledger of Newark in 1999.

Walter Werner Kühr was born in Hanau, near Frankfurt, on Oct. 10, 1955, and began studying the accordion at about 6 years old. After earning a degree in piano and bassoon from the Musikakademie Frankfurt am Main, he was offered a position as a bassoonist with the Frankfurt Radio Symphony Orchestra.

He declined, preferring to make his way as a jazz bassoonist and pianist. Settling in Hamburg, he supported his musical life with a series of odd jobs, among them gravedigger, wine seller aboard a streetcar and janitor in a brothel.

Mr. Kühr moved to New York in the late 1980s to study jazz piano in Harlem, packing his accordion “almost as an afterthought,” his former wife, Claire Connors, said on Wednesday.

The instrument would give him his livelihood, first as a performer on subway platforms and later as a visible, and audible, public ambassador.

Mr. Kühr’s marriage to Ms. Connors ended in divorce. Survivors include his companion, Lauren Schwartz; his mother, Loni; and a brother, Gerhard. At his death — from lymphoma, Ms. Connors said — he lived in the Williamsburg section of Brooklyn.

The Main Squeeze recently lost its lease and must close by Jan. 15. There are no plans to reopen it elsewhere, Ms. Connors said.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=577d7328e8) | 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=577d7328e8&e=[UNIQID])

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

Copyright (C) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Andrae Crouch, Legendary Gospel Figure, Dies at 72 – NYTimes.com

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/aponline/2015/01/08/us/ap-us-obit-andrae-crouch.html?_r=0

** Andrae Crouch, Legendary Gospel Figure, Dies at 72
————————————————————
Photo
Andrae Crouch in 1996. Credit Frank Wiese/Associated Press
Continue reading the main story

LOS ANGELES — Andrae Crouch, a legendary gospel performer, songwriter and choir director whose work graced songs by Michael Jackson and Madonna and movies such as “The Lion King,” died on Thursday at a hospital in Los Angeles. He was 72.

His death was announced by his publicist, Brian Mayes, who said he had been admitted to the hospital on Saturday after suffering a heart attack.

Mr. Crouch and his twin sister, Sandra Crouch, also a singer, lived in the Pacoima area of Los Angeles. They were pastors at the New Christ Memorial Church in the Los Angeles suburb of San Fernando.

Mr. Crouch was born in San Francisco and wrote his first gospel tune at age 14. He went on to write dozens of songs, including gospel favorites like “The Blood Will Never Lose Its Power,” ‘’My Tribute (To God Be the Glory)” and “Soon and Very Soon,” which was sung at a public memorial for Michael Jackson.

In the 1960s and ’70s, Mr. Crouch helped pioneer the burgeoning “Jesus music” movement that started the spread of contemporary Christian music.

His influence also crossed over into in pop music. Elvis Presley performed his song “I’ve Got Confidence” for a 1972 gospel album, and Paul Simon recorded his “Jesus Is the Answer” for a 1974 live album.

Mr. Crouch worked with many other stars, from Diana Ross to Ringo Starr, and his gospel albums sometimes featured performers from other musical genres. His 18th solo album, “The Journey,” released in 2011, featured Chaka Khan, Shelia E., Take 6, Kim Burrell and Marvin Winans.

Mr. Crouch was one of only a handful of gospel performers to have a star on the Hollywood Walk of Fame.

His choir, the Disciples, sang background for Madonna’s song “Like a Prayer.” Mr. Crouch helped Michael Jackson arrange his 1987 hit “Man in the Mirror.”

He also arranged music for the 1985 film “The Color Purple” — which earned him an Academy Award nomination — and Disney’s “The Lion King” in 1994.

His success came despite a lifelong struggle with dyslexia. To create, he would make drawings that allowed him to grasp the concept. For the Jackson song, he drew a mirror with an image in it.

“I memorized everything through sight, the shape of the word,” Mr. Crouch told The Associated Press in 2011. “Some things that I write, you’ll see a page with cartoon pictures or a drawing of a car — like a Ford — or a flag. I still do it on an occasion when a word is strange to me.”

“So when I finish a song, I thank God for bringing me through,” he continued. “You have to press on and know your calling. That’s what I’ve been doing for all my life. I just went forward.”

Mr. Crouch had health issues in recent years, including diabetes and cancer. Last month he was hospitalized for pneumonia and congestive heart failure and had to cancel a tour.

The Recording Academy, which awarded seven Grammys to Mr. Crouch during a career that spanned more than a half-century, said in a statement that he was “a remarkable musician and legendary figure” who was “fiercely devoted to evolving the sound of contemporary, urban gospel music.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=a695fe86eb) | 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=a695fe86eb&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!

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Andrae Crouch, Legendary Gospel Figure, Dies at 72 – NYTimes.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/aponline/2015/01/08/us/ap-us-obit-andrae-crouch.html?_r=0

** Andrae Crouch, Legendary Gospel Figure, Dies at 72
————————————————————
Photo
Andrae Crouch in 1996. Credit Frank Wiese/Associated Press
Continue reading the main story

LOS ANGELES — Andrae Crouch, a legendary gospel performer, songwriter and choir director whose work graced songs by Michael Jackson and Madonna and movies such as “The Lion King,” died on Thursday at a hospital in Los Angeles. He was 72.

His death was announced by his publicist, Brian Mayes, who said he had been admitted to the hospital on Saturday after suffering a heart attack.

Mr. Crouch and his twin sister, Sandra Crouch, also a singer, lived in the Pacoima area of Los Angeles. They were pastors at the New Christ Memorial Church in the Los Angeles suburb of San Fernando.

Mr. Crouch was born in San Francisco and wrote his first gospel tune at age 14. He went on to write dozens of songs, including gospel favorites like “The Blood Will Never Lose Its Power,” ‘’My Tribute (To God Be the Glory)” and “Soon and Very Soon,” which was sung at a public memorial for Michael Jackson.

In the 1960s and ’70s, Mr. Crouch helped pioneer the burgeoning “Jesus music” movement that started the spread of contemporary Christian music.

His influence also crossed over into in pop music. Elvis Presley performed his song “I’ve Got Confidence” for a 1972 gospel album, and Paul Simon recorded his “Jesus Is the Answer” for a 1974 live album.

Mr. Crouch worked with many other stars, from Diana Ross to Ringo Starr, and his gospel albums sometimes featured performers from other musical genres. His 18th solo album, “The Journey,” released in 2011, featured Chaka Khan, Shelia E., Take 6, Kim Burrell and Marvin Winans.

Mr. Crouch was one of only a handful of gospel performers to have a star on the Hollywood Walk of Fame.

His choir, the Disciples, sang background for Madonna’s song “Like a Prayer.” Mr. Crouch helped Michael Jackson arrange his 1987 hit “Man in the Mirror.”

He also arranged music for the 1985 film “The Color Purple” — which earned him an Academy Award nomination — and Disney’s “The Lion King” in 1994.

His success came despite a lifelong struggle with dyslexia. To create, he would make drawings that allowed him to grasp the concept. For the Jackson song, he drew a mirror with an image in it.

“I memorized everything through sight, the shape of the word,” Mr. Crouch told The Associated Press in 2011. “Some things that I write, you’ll see a page with cartoon pictures or a drawing of a car — like a Ford — or a flag. I still do it on an occasion when a word is strange to me.”

“So when I finish a song, I thank God for bringing me through,” he continued. “You have to press on and know your calling. That’s what I’ve been doing for all my life. I just went forward.”

Mr. Crouch had health issues in recent years, including diabetes and cancer. Last month he was hospitalized for pneumonia and congestive heart failure and had to cancel a tour.

The Recording Academy, which awarded seven Grammys to Mr. Crouch during a career that spanned more than a half-century, said in a statement that he was “a remarkable musician and legendary figure” who was “fiercely devoted to evolving the sound of contemporary, urban gospel music.”

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Andrae Crouch, Legendary Gospel Figure, Dies at 72 – NYTimes.com

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** Andrae Crouch, Legendary Gospel Figure, Dies at 72
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Andrae Crouch in 1996. Credit Frank Wiese/Associated Press
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LOS ANGELES — Andrae Crouch, a legendary gospel performer, songwriter and choir director whose work graced songs by Michael Jackson and Madonna and movies such as “The Lion King,” died on Thursday at a hospital in Los Angeles. He was 72.

His death was announced by his publicist, Brian Mayes, who said he had been admitted to the hospital on Saturday after suffering a heart attack.

Mr. Crouch and his twin sister, Sandra Crouch, also a singer, lived in the Pacoima area of Los Angeles. They were pastors at the New Christ Memorial Church in the Los Angeles suburb of San Fernando.

Mr. Crouch was born in San Francisco and wrote his first gospel tune at age 14. He went on to write dozens of songs, including gospel favorites like “The Blood Will Never Lose Its Power,” ‘’My Tribute (To God Be the Glory)” and “Soon and Very Soon,” which was sung at a public memorial for Michael Jackson.

In the 1960s and ’70s, Mr. Crouch helped pioneer the burgeoning “Jesus music” movement that started the spread of contemporary Christian music.

His influence also crossed over into in pop music. Elvis Presley performed his song “I’ve Got Confidence” for a 1972 gospel album, and Paul Simon recorded his “Jesus Is the Answer” for a 1974 live album.

Mr. Crouch worked with many other stars, from Diana Ross to Ringo Starr, and his gospel albums sometimes featured performers from other musical genres. His 18th solo album, “The Journey,” released in 2011, featured Chaka Khan, Shelia E., Take 6, Kim Burrell and Marvin Winans.

Mr. Crouch was one of only a handful of gospel performers to have a star on the Hollywood Walk of Fame.

His choir, the Disciples, sang background for Madonna’s song “Like a Prayer.” Mr. Crouch helped Michael Jackson arrange his 1987 hit “Man in the Mirror.”

He also arranged music for the 1985 film “The Color Purple” — which earned him an Academy Award nomination — and Disney’s “The Lion King” in 1994.

His success came despite a lifelong struggle with dyslexia. To create, he would make drawings that allowed him to grasp the concept. For the Jackson song, he drew a mirror with an image in it.

“I memorized everything through sight, the shape of the word,” Mr. Crouch told The Associated Press in 2011. “Some things that I write, you’ll see a page with cartoon pictures or a drawing of a car — like a Ford — or a flag. I still do it on an occasion when a word is strange to me.”

“So when I finish a song, I thank God for bringing me through,” he continued. “You have to press on and know your calling. That’s what I’ve been doing for all my life. I just went forward.”

Mr. Crouch had health issues in recent years, including diabetes and cancer. Last month he was hospitalized for pneumonia and congestive heart failure and had to cancel a tour.

The Recording Academy, which awarded seven Grammys to Mr. Crouch during a career that spanned more than a half-century, said in a statement that he was “a remarkable musician and legendary figure” who was “fiercely devoted to evolving the sound of contemporary, urban gospel music.”

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Queen Latifah to portray Bessie Smith in HBO biopic – Oakland Jazz music | Examiner.com

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** Queen Latifah to portray Bessie Smith in HBO biopic
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Queen Latifah

Blues legend Bessie Smith is the subject of a small-screen biopic (safari-reader://www.examiner.com/topic/biopic) coming to HBO (safari-reader://www.examiner.com/topic/hbo) later this year. It looks to be a first-class production and will feature Academy Award nominee Queen Latifah (safari-reader://www.examiner.com/topic/queen-latifah) in the title role.
Hard to believe, but it’s been 25 years since Latifah released her debut album, a hip-hop affair that set the pattern for her ‘90s output. Latifah demonstrated that she has serious vocal chops, however, on “The Dana Owens Album” (2004) and “Trav’lin’ Light” (2007), which found her singing vintage jazz (safari-reader://www.examiner.com/topic/jazz) and pop material including “Lush Life,” “Moody’s Mood for Love,” “Mercy, Mercy, Mercy.” “California Dreaming,” “Poetry Man” and “I Want A Little Sugar in My Bowl.” Great stuff, as were her performances in “Bringing Out the Dead,” “Chicago” and “Stranger Than Fiction.”
That said, Latifah has noted in press interviews that she had a lot to learn about Smith before taking on the project.

“I had no idea who Bessie Smith was, to be honest with you,” she told USA Today. “I had to become familiar with who she was in particular.”
But once she did discover facts about the legendary musician, she was more than just surprised. Bessie is famed for being one of the founders of blues back in the 1920s, and is currently noted as an inspiration for much of today’s jazz music.
“I was just blown away,” explained Queen. “I could hear her voice in so many people who came after her. If there was a Bessie Smith alive today, she’d blow everyone else out of the water. I could never match her true ability.”
Queen herself is most known for her hip-hop prowess. She told the publication that when the role of Bessie was first presented to her by producers, she was more interested in rap and had no knowledge of the blues mother. But she’s since altered her perspective.
“The blues, the blues, I’ve gained such a great amount of respect for the blues,” Queen gushed. “The blues are just as stunning to me now as when this first came to me. If anything, I feel like I have a little more of the story of what Bessie had to say.”
The Bessie Smith biopic follows her life as she struggles to overcome personal issues to become a superstar in the music industry. It’s based on both her life and Chris Albertson’s biography of her, and the script was penned and will be directed by Dee Rees.
A release date for Bessie is yet to be announced, but it’ll premiere on HBO sometime in 2015.

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