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Detroit blues legend Alberta Adams dies
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http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
Sounds like a blues song: born in the heat of July, died on Christmas Day.
Detroit singer Alberta Adams was 97 when she died early Thursday at a Dearborn rehabilitation facility of congestive heart failure.
“God put me here to sing the blues,” she told the Free Press in 1999, amid a late-life career resurgence that saw her touring North America and earning acclaim from blues aficionados around the world.
Funeral information was released Friday: Daylong visitations will be held Monday and Tuesday at Swanson Funeral Home (805 E. Grand Blvd., Detroit), with a service at 11 a.m. Wednesday (and family hour at 10 a.m.) at Bethel Baptist Church East (5715 Holcomb, Detroit).
“She was the last of the old-time blues singers, the great postwar singers who made their mark in the ’40s,” said R.J. Spangler, Adams’ manager, producer and band leader.
Born in July 1917 in Indianapolis to what she described as an alcoholic mother, Adams (then Roberta Louise Osborne) moved to Detroit as a child and was raised by an aunt.
Adams started her entertainment career in Detroit’s Black Bottom district, working as a tap dancer in her early 20s and getting her singing break when called to fill in for an ailing headliner at Club B and C.
Becoming a regular at clubs around town in the 1940s, she eventually was discovered by Chess Records and cut several singles with the Chicago label. She also briefly recorded with Berry Gordy’s Thelma Records and New Jersey’s Savoy label.
Embracing the nickname “Queen of the Blues” after an Apollo Theatre emcee spontaneously introduced her as such, Adams went on to share bills with artists including Duke Ellington, Louis Jordan and T-Bone Walker, touring into the 1980s.
She was still performing around Detroit in the mid-1990s when she linked up with Spangler, a musician working with veteran Detroit bluesmen, including the late Johnnie Bassett and Joe Weaver.
The new setup — including collaborations with Bassett — sparked attention, leading to appearances on nationally released compilation discs and a pair of solo albums for Cannonball Records, her first recordings since the 1960s.
With Spangler on drums, Adams began touring again, greeted by glowing press and renewed interest in her earlier work.
Adams, by then in her 80s, was tickled by the career rejuvenation.
“She had a ball. She was never grouchy, never short with anybody at a gig, always happy to meet people and say thank you,” Spangler said. “We would sometimes drive long periods of day, eight to 10 hours in a van, and she’d get up on that stage and kick ass. She was a professional ’til the end.”
Lively on stage, her fingers laden with glittering rings, Adams had a knack for showmanship. “I can’t stand still and sing,” she told the Free Press. “I got to move.”
“I would tell the guys in rock bands: If you learn to communicate with an audience like this lady does, you might have something someday,” said Detroit music publicist Matt Lee, who represented Adams. “In terms of audience connection, she was the best I ever saw.”
In 2008, she recorded her final full album, “Detroit Is My Home,” her second for Eastlawn Records, composing several songs and collaborating with a host of local musicians.
“She had a unique Alberta Adams stamp — her singing, her phrasing, was like no other singer,” Spangler said. “She could take a standard shuffle form or slow blues and do it her own way, without too many overt influences. She was her own woman.”
Adams’ activity was curtailed after a fall at her west-side Detroit home, and she spent recent years in and out of hospitals.
She was hospitalized earlier this month and transferred to the Dearborn rehab facility last week.
Adams is survived by her daughter, Barbara Jean Tinsley, and nine grandchildren. Her son, the Detroit doo-wop singer James Drayton, died in 2001.
92 Year old Alberta Adams knockin em dead at Callahans in Auburn Hills, Mi. This was a tune up show before Alberta and R.J. Spangler with his band The Rhythm Rockers were to leave Detroit to do a show at the renowned Apollo Theater in New York. Recorded by Live Gig Video.
https://www.youtube.com/watch?v=2NFCHQ0WZnM
**
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Detroit blues legend Alberta Adams dies
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
Sounds like a blues song: born in the heat of July, died on Christmas Day.
Detroit singer Alberta Adams was 97 when she died early Thursday at a Dearborn rehabilitation facility of congestive heart failure.
“God put me here to sing the blues,” she told the Free Press in 1999, amid a late-life career resurgence that saw her touring North America and earning acclaim from blues aficionados around the world.
Funeral information was released Friday: Daylong visitations will be held Monday and Tuesday at Swanson Funeral Home (805 E. Grand Blvd., Detroit), with a service at 11 a.m. Wednesday (and family hour at 10 a.m.) at Bethel Baptist Church East (5715 Holcomb, Detroit).
“She was the last of the old-time blues singers, the great postwar singers who made their mark in the ’40s,” said R.J. Spangler, Adams’ manager, producer and band leader.
Born in July 1917 in Indianapolis to what she described as an alcoholic mother, Adams (then Roberta Louise Osborne) moved to Detroit as a child and was raised by an aunt.
Adams started her entertainment career in Detroit’s Black Bottom district, working as a tap dancer in her early 20s and getting her singing break when called to fill in for an ailing headliner at Club B and C.
Becoming a regular at clubs around town in the 1940s, she eventually was discovered by Chess Records and cut several singles with the Chicago label. She also briefly recorded with Berry Gordy’s Thelma Records and New Jersey’s Savoy label.
Embracing the nickname “Queen of the Blues” after an Apollo Theatre emcee spontaneously introduced her as such, Adams went on to share bills with artists including Duke Ellington, Louis Jordan and T-Bone Walker, touring into the 1980s.
She was still performing around Detroit in the mid-1990s when she linked up with Spangler, a musician working with veteran Detroit bluesmen, including the late Johnnie Bassett and Joe Weaver.
The new setup — including collaborations with Bassett — sparked attention, leading to appearances on nationally released compilation discs and a pair of solo albums for Cannonball Records, her first recordings since the 1960s.
With Spangler on drums, Adams began touring again, greeted by glowing press and renewed interest in her earlier work.
Adams, by then in her 80s, was tickled by the career rejuvenation.
“She had a ball. She was never grouchy, never short with anybody at a gig, always happy to meet people and say thank you,” Spangler said. “We would sometimes drive long periods of day, eight to 10 hours in a van, and she’d get up on that stage and kick ass. She was a professional ’til the end.”
Lively on stage, her fingers laden with glittering rings, Adams had a knack for showmanship. “I can’t stand still and sing,” she told the Free Press. “I got to move.”
“I would tell the guys in rock bands: If you learn to communicate with an audience like this lady does, you might have something someday,” said Detroit music publicist Matt Lee, who represented Adams. “In terms of audience connection, she was the best I ever saw.”
In 2008, she recorded her final full album, “Detroit Is My Home,” her second for Eastlawn Records, composing several songs and collaborating with a host of local musicians.
“She had a unique Alberta Adams stamp — her singing, her phrasing, was like no other singer,” Spangler said. “She could take a standard shuffle form or slow blues and do it her own way, without too many overt influences. She was her own woman.”
Adams’ activity was curtailed after a fall at her west-side Detroit home, and she spent recent years in and out of hospitals.
She was hospitalized earlier this month and transferred to the Dearborn rehab facility last week.
Adams is survived by her daughter, Barbara Jean Tinsley, and nine grandchildren. Her son, the Detroit doo-wop singer James Drayton, died in 2001.
92 Year old Alberta Adams knockin em dead at Callahans in Auburn Hills, Mi. This was a tune up show before Alberta and R.J. Spangler with his band The Rhythm Rockers were to leave Detroit to do a show at the renowned Apollo Theater in New York. Recorded by Live Gig Video.
https://www.youtube.com/watch?v=2NFCHQ0WZnM
**
————————————————————
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
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Warwick, Ny 10990
USA
Detroit blues legend Alberta Adams dies
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
http://www.freep.com/story/news/local/michigan/detroit/2014/12/25/detroit-blues-legend-alberta-adams-dies/20898315/
** Detroit blues legend Alberta Adams dies
————————————————————
** By Brian McCollum, Detroit Free Press Pop Music Writer
————————————————————
Sounds like a blues song: born in the heat of July, died on Christmas Day.
Detroit singer Alberta Adams was 97 when she died early Thursday at a Dearborn rehabilitation facility of congestive heart failure.
“God put me here to sing the blues,” she told the Free Press in 1999, amid a late-life career resurgence that saw her touring North America and earning acclaim from blues aficionados around the world.
Funeral information was released Friday: Daylong visitations will be held Monday and Tuesday at Swanson Funeral Home (805 E. Grand Blvd., Detroit), with a service at 11 a.m. Wednesday (and family hour at 10 a.m.) at Bethel Baptist Church East (5715 Holcomb, Detroit).
“She was the last of the old-time blues singers, the great postwar singers who made their mark in the ’40s,” said R.J. Spangler, Adams’ manager, producer and band leader.
Born in July 1917 in Indianapolis to what she described as an alcoholic mother, Adams (then Roberta Louise Osborne) moved to Detroit as a child and was raised by an aunt.
Adams started her entertainment career in Detroit’s Black Bottom district, working as a tap dancer in her early 20s and getting her singing break when called to fill in for an ailing headliner at Club B and C.
Becoming a regular at clubs around town in the 1940s, she eventually was discovered by Chess Records and cut several singles with the Chicago label. She also briefly recorded with Berry Gordy’s Thelma Records and New Jersey’s Savoy label.
Embracing the nickname “Queen of the Blues” after an Apollo Theatre emcee spontaneously introduced her as such, Adams went on to share bills with artists including Duke Ellington, Louis Jordan and T-Bone Walker, touring into the 1980s.
She was still performing around Detroit in the mid-1990s when she linked up with Spangler, a musician working with veteran Detroit bluesmen, including the late Johnnie Bassett and Joe Weaver.
The new setup — including collaborations with Bassett — sparked attention, leading to appearances on nationally released compilation discs and a pair of solo albums for Cannonball Records, her first recordings since the 1960s.
With Spangler on drums, Adams began touring again, greeted by glowing press and renewed interest in her earlier work.
Adams, by then in her 80s, was tickled by the career rejuvenation.
“She had a ball. She was never grouchy, never short with anybody at a gig, always happy to meet people and say thank you,” Spangler said. “We would sometimes drive long periods of day, eight to 10 hours in a van, and she’d get up on that stage and kick ass. She was a professional ’til the end.”
Lively on stage, her fingers laden with glittering rings, Adams had a knack for showmanship. “I can’t stand still and sing,” she told the Free Press. “I got to move.”
“I would tell the guys in rock bands: If you learn to communicate with an audience like this lady does, you might have something someday,” said Detroit music publicist Matt Lee, who represented Adams. “In terms of audience connection, she was the best I ever saw.”
In 2008, she recorded her final full album, “Detroit Is My Home,” her second for Eastlawn Records, composing several songs and collaborating with a host of local musicians.
“She had a unique Alberta Adams stamp — her singing, her phrasing, was like no other singer,” Spangler said. “She could take a standard shuffle form or slow blues and do it her own way, without too many overt influences. She was her own woman.”
Adams’ activity was curtailed after a fall at her west-side Detroit home, and she spent recent years in and out of hospitals.
She was hospitalized earlier this month and transferred to the Dearborn rehab facility last week.
Adams is survived by her daughter, Barbara Jean Tinsley, and nine grandchildren. Her son, the Detroit doo-wop singer James Drayton, died in 2001.
92 Year old Alberta Adams knockin em dead at Callahans in Auburn Hills, Mi. This was a tune up show before Alberta and R.J. Spangler with his band The Rhythm Rockers were to leave Detroit to do a show at the renowned Apollo Theater in New York. Recorded by Live Gig Video.
https://www.youtube.com/watch?v=2NFCHQ0WZnM
**
————————————————————
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
PANAMA CITY, Fla.: Jazz great Buddy DeFranco dies at age 91 | Music | Bradenton Herald
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http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1
** Jazz great Buddy DeFranco dies at age 91
————————————————————
BY MELISSA NELSON-GABRIEL AND CHARLES J. GANS
Associated PressDecember 26, 2014 Updated 12 hours ago
PANAMA CITY, FLA. — Renowned jazz clarinetist Buddy DeFranco, who led the way on his instrument in the transition between the swing and bebop eras, has died at the age of 91, his family said Friday.
DeFranco’s family told The Associated Press that the famed musician died Wednesday evening at a Panama City hospital. His wife, Joyce, said he had been in declining health in recent years. The couple lived in Panama City.
DeFranco, who began his professional career as a teenager in the late 1930s, made both concert and recording appearances with many of the top singers and musicians of his era, including Frank Sinatra, Billie Holiday, Tony Bennett, Ella Fitzgerald, Nat King Cole, Oscar Peterson and Art Tatum.
“We have received condolences from around the world,” said Joyce DeFranco. She said her husband’s influences on music will last long beyond his lifetime.
“Buddy DeFranco almost single-handedly was the clarinetist who moved the harmonic and rhythmic language forward from where Benny Goodman left off into the much more adventurous territory of bebop and beyond, while never forgetting his roots in swing music,” said leading jazz clarinetist Ken Peplowski in an email to the AP. “He was also unfailingly kind and supportive to every other clarinetist who came after him.”
Born in 1923 in Camden, N.J., DeFranco was raised in South Philadelphia and began playing the clarinet at age 9. By age 14, he had won a national Tommy Dorsey Swing contest and began his road career in 1939.
DeFranco said his favorite clarinetist at the time was Artie Shaw, who led his own big band.
“Artie Shaw was way ahead of most clarinetists and most jazz players,” DeFranco said in a 2007 interview for the National Endowment of the Arts.
In the 1940s, DeFranco appeared in top swing bands led by Gene Krupa, Charlie Barnet and Tommy Dorsey. In 1950, as the big band era was in decline, he joined the Count Basie Septet.
Meanwhile, Charlie Parker and Dizzy Gillespie were leading a modern jazz revolution, and DeFranco became excited about the improvisatory freedom in the new style known as bebop after hearing Parker play at Minton’s club in Harlem.
“When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz,” said DeFranco in the 2007 NEA interview. “From that point on, I was sold with … the idea of bebop. But that presented another problem with the clarinet because … it was much more difficult to play. It was treacherous in many ways as far as fingering and articulation.”
In the 1950s, DeFranco performed with Parker, Gillespie and other bebop legends. He formed his own quartet with drummer Art Blakey, pianist Kenny Drew and bassist Eugene Wright, and toured Europe with Holiday in 1954. Jazz at the Philharmonic producer Norman Granz paired DeFranco with pianists Art Tatum and Oscar Peterson for memorable recordings.
DeFranco performed at leading venues around the world and was repeatedly recognized as the top jazz clarinetist in magazine polls conducted by Downbeat, Metronome and Playboy.
DeFranco never lost his affinity for swing music, and led the Glenn Miller Orchestra from 1966 to 1974. He also worked extensively in the studios and on television, and had his own show, “The Buddy DeFranco Jazz Forum” on public television.
He formed a lasting musical partnership with vibraphonist Terry Gibbs and they recorded a series of albums in the 1980s and 1990s. DeFranco made more than 160 recordings.
The Cuban-born jazz clarinetist Paquito D’Rivera credits DeFranco with helping keep the jazz clarinet legacy alive when younger musicians were shunning the instrument because of its difficulty to master in modern jazz.
“He was not only a great artist, but a very elegant gentleman with a great sense of camaraderie,” D’Rivera said in an email.
In 2007, DeFranco was named a National Endowment for the Arts Jazz Master, the nation’s highest jazz honor.
“Charlie Parker and Art Tatum to me were genius, and I’m right below that,” DeFranco said in the 2007 NEA interview. “I did in my own way do something different on the instrument and that’s the way I’d like to be remembered.”
DeFranco’s family asked that contributions in his memory be made to the non-profit Buddy DeFranco Jazz Festival which is held each spring at the University of Montana in Missoula.
DeFranco is survived by his wife and his son, Chad.
Charles J. Gans reported from New York.
Read more here: http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1#storylink=cpy
*
+
* DeFranco is survived by his wife and his son, Chad. (http://www.mcclatchyreprints.com/)
Charles J. Gans reported from New York. (http://www.mcclatchyreprints.com/)
Read more here: (http://www.mcclatchyreprints.com/) http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1#storylink=cpy
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Copyright (C) 2014 All rights reserved.
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USA
PANAMA CITY, Fla.: Jazz great Buddy DeFranco dies at age 91 | Music | Bradenton Herald
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http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1
** Jazz great Buddy DeFranco dies at age 91
————————————————————
BY MELISSA NELSON-GABRIEL AND CHARLES J. GANS
Associated PressDecember 26, 2014 Updated 12 hours ago
PANAMA CITY, FLA. — Renowned jazz clarinetist Buddy DeFranco, who led the way on his instrument in the transition between the swing and bebop eras, has died at the age of 91, his family said Friday.
DeFranco’s family told The Associated Press that the famed musician died Wednesday evening at a Panama City hospital. His wife, Joyce, said he had been in declining health in recent years. The couple lived in Panama City.
DeFranco, who began his professional career as a teenager in the late 1930s, made both concert and recording appearances with many of the top singers and musicians of his era, including Frank Sinatra, Billie Holiday, Tony Bennett, Ella Fitzgerald, Nat King Cole, Oscar Peterson and Art Tatum.
“We have received condolences from around the world,” said Joyce DeFranco. She said her husband’s influences on music will last long beyond his lifetime.
“Buddy DeFranco almost single-handedly was the clarinetist who moved the harmonic and rhythmic language forward from where Benny Goodman left off into the much more adventurous territory of bebop and beyond, while never forgetting his roots in swing music,” said leading jazz clarinetist Ken Peplowski in an email to the AP. “He was also unfailingly kind and supportive to every other clarinetist who came after him.”
Born in 1923 in Camden, N.J., DeFranco was raised in South Philadelphia and began playing the clarinet at age 9. By age 14, he had won a national Tommy Dorsey Swing contest and began his road career in 1939.
DeFranco said his favorite clarinetist at the time was Artie Shaw, who led his own big band.
“Artie Shaw was way ahead of most clarinetists and most jazz players,” DeFranco said in a 2007 interview for the National Endowment of the Arts.
In the 1940s, DeFranco appeared in top swing bands led by Gene Krupa, Charlie Barnet and Tommy Dorsey. In 1950, as the big band era was in decline, he joined the Count Basie Septet.
Meanwhile, Charlie Parker and Dizzy Gillespie were leading a modern jazz revolution, and DeFranco became excited about the improvisatory freedom in the new style known as bebop after hearing Parker play at Minton’s club in Harlem.
“When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz,” said DeFranco in the 2007 NEA interview. “From that point on, I was sold with … the idea of bebop. But that presented another problem with the clarinet because … it was much more difficult to play. It was treacherous in many ways as far as fingering and articulation.”
In the 1950s, DeFranco performed with Parker, Gillespie and other bebop legends. He formed his own quartet with drummer Art Blakey, pianist Kenny Drew and bassist Eugene Wright, and toured Europe with Holiday in 1954. Jazz at the Philharmonic producer Norman Granz paired DeFranco with pianists Art Tatum and Oscar Peterson for memorable recordings.
DeFranco performed at leading venues around the world and was repeatedly recognized as the top jazz clarinetist in magazine polls conducted by Downbeat, Metronome and Playboy.
DeFranco never lost his affinity for swing music, and led the Glenn Miller Orchestra from 1966 to 1974. He also worked extensively in the studios and on television, and had his own show, “The Buddy DeFranco Jazz Forum” on public television.
He formed a lasting musical partnership with vibraphonist Terry Gibbs and they recorded a series of albums in the 1980s and 1990s. DeFranco made more than 160 recordings.
The Cuban-born jazz clarinetist Paquito D’Rivera credits DeFranco with helping keep the jazz clarinet legacy alive when younger musicians were shunning the instrument because of its difficulty to master in modern jazz.
“He was not only a great artist, but a very elegant gentleman with a great sense of camaraderie,” D’Rivera said in an email.
In 2007, DeFranco was named a National Endowment for the Arts Jazz Master, the nation’s highest jazz honor.
“Charlie Parker and Art Tatum to me were genius, and I’m right below that,” DeFranco said in the 2007 NEA interview. “I did in my own way do something different on the instrument and that’s the way I’d like to be remembered.”
DeFranco’s family asked that contributions in his memory be made to the non-profit Buddy DeFranco Jazz Festival which is held each spring at the University of Montana in Missoula.
DeFranco is survived by his wife and his son, Chad.
Charles J. Gans reported from New York.
Read more here: http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1#storylink=cpy
*
+
* DeFranco is survived by his wife and his son, Chad. (http://www.mcclatchyreprints.com/)
Charles J. Gans reported from New York. (http://www.mcclatchyreprints.com/)
Read more here: (http://www.mcclatchyreprints.com/) http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1#storylink=cpy
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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PANAMA CITY, Fla.: Jazz great Buddy DeFranco dies at age 91 | Music | Bradenton Herald
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** Jazz great Buddy DeFranco dies at age 91
————————————————————
BY MELISSA NELSON-GABRIEL AND CHARLES J. GANS
Associated PressDecember 26, 2014 Updated 12 hours ago
PANAMA CITY, FLA. — Renowned jazz clarinetist Buddy DeFranco, who led the way on his instrument in the transition between the swing and bebop eras, has died at the age of 91, his family said Friday.
DeFranco’s family told The Associated Press that the famed musician died Wednesday evening at a Panama City hospital. His wife, Joyce, said he had been in declining health in recent years. The couple lived in Panama City.
DeFranco, who began his professional career as a teenager in the late 1930s, made both concert and recording appearances with many of the top singers and musicians of his era, including Frank Sinatra, Billie Holiday, Tony Bennett, Ella Fitzgerald, Nat King Cole, Oscar Peterson and Art Tatum.
“We have received condolences from around the world,” said Joyce DeFranco. She said her husband’s influences on music will last long beyond his lifetime.
“Buddy DeFranco almost single-handedly was the clarinetist who moved the harmonic and rhythmic language forward from where Benny Goodman left off into the much more adventurous territory of bebop and beyond, while never forgetting his roots in swing music,” said leading jazz clarinetist Ken Peplowski in an email to the AP. “He was also unfailingly kind and supportive to every other clarinetist who came after him.”
Born in 1923 in Camden, N.J., DeFranco was raised in South Philadelphia and began playing the clarinet at age 9. By age 14, he had won a national Tommy Dorsey Swing contest and began his road career in 1939.
DeFranco said his favorite clarinetist at the time was Artie Shaw, who led his own big band.
“Artie Shaw was way ahead of most clarinetists and most jazz players,” DeFranco said in a 2007 interview for the National Endowment of the Arts.
In the 1940s, DeFranco appeared in top swing bands led by Gene Krupa, Charlie Barnet and Tommy Dorsey. In 1950, as the big band era was in decline, he joined the Count Basie Septet.
Meanwhile, Charlie Parker and Dizzy Gillespie were leading a modern jazz revolution, and DeFranco became excited about the improvisatory freedom in the new style known as bebop after hearing Parker play at Minton’s club in Harlem.
“When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz,” said DeFranco in the 2007 NEA interview. “From that point on, I was sold with … the idea of bebop. But that presented another problem with the clarinet because … it was much more difficult to play. It was treacherous in many ways as far as fingering and articulation.”
In the 1950s, DeFranco performed with Parker, Gillespie and other bebop legends. He formed his own quartet with drummer Art Blakey, pianist Kenny Drew and bassist Eugene Wright, and toured Europe with Holiday in 1954. Jazz at the Philharmonic producer Norman Granz paired DeFranco with pianists Art Tatum and Oscar Peterson for memorable recordings.
DeFranco performed at leading venues around the world and was repeatedly recognized as the top jazz clarinetist in magazine polls conducted by Downbeat, Metronome and Playboy.
DeFranco never lost his affinity for swing music, and led the Glenn Miller Orchestra from 1966 to 1974. He also worked extensively in the studios and on television, and had his own show, “The Buddy DeFranco Jazz Forum” on public television.
He formed a lasting musical partnership with vibraphonist Terry Gibbs and they recorded a series of albums in the 1980s and 1990s. DeFranco made more than 160 recordings.
The Cuban-born jazz clarinetist Paquito D’Rivera credits DeFranco with helping keep the jazz clarinet legacy alive when younger musicians were shunning the instrument because of its difficulty to master in modern jazz.
“He was not only a great artist, but a very elegant gentleman with a great sense of camaraderie,” D’Rivera said in an email.
In 2007, DeFranco was named a National Endowment for the Arts Jazz Master, the nation’s highest jazz honor.
“Charlie Parker and Art Tatum to me were genius, and I’m right below that,” DeFranco said in the 2007 NEA interview. “I did in my own way do something different on the instrument and that’s the way I’d like to be remembered.”
DeFranco’s family asked that contributions in his memory be made to the non-profit Buddy DeFranco Jazz Festival which is held each spring at the University of Montana in Missoula.
DeFranco is survived by his wife and his son, Chad.
Charles J. Gans reported from New York.
Read more here: http://www.bradenton.com/2014/12/26/5550746_jazz-great-buddy-defranco-dies.html?rh=1#storylink=cpy
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* DeFranco is survived by his wife and his son, Chad. (http://www.mcclatchyreprints.com/)
Charles J. Gans reported from New York. (http://www.mcclatchyreprints.com/)
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One the great joys if my jazz career was bringing Buddy DeFranco and Tony Scott together for a glorious week @ The Iridium back in 2003.
Photo by Jack Vartoogian
06/21/03
JazzTimes
** Buddy DeFranco Live in New York (http://jazztimes.com/articles/17930-buddy-defranco-live-in-new-york)
————————————————————
**
————————————————————
By Ira Gitler (http://jazztimes.com/contributors/81-ira-gitler)
“Legends of the Clarinet” was the overall billing for a week at the Iridium by Buddy DeFranco, 80, and Tony Scott, 82. Conceived by publicist Jim Eigo, the event was booked into the establishment on Broadway and 51st Street and eventually became part of the JVC Jazz Festival’s club affiliations. Most of the participating clubs had different artists every night, but DeFranco and Scott, with the Bill Mays Trio (Mays, piano; Martin Wind, bass; Matt Wilson, drums), were in residence Tuesday through Sunday. The difference here was that each night a third clarinetist was added to spice the stew. The diverse group of guests included (in order of appearance) Perry Robinson, Don Byron, Kenny Davern (two nights), Marty Ehrlich and Ron Odrich.
I was there for the first of the two Davern appearances, and it turned out to be a good mix. Mays, a confident, harmonically astute player, opened in trio with an upbeat “Isn’t It Romantic” that maintained interest as it moved among meters. Then DeFranco and Scott came on for “What Is This Thing Called Love?” Buddy, with fluidity, was at his bopping best while Tony was choppier, in fits and starts, scoring when unleashing those passionate bursts that have been part of his musical character throughout his career. “East of the Sun,” at a relaxed pace, was mostly DeFranco with Scott playing an abbreviated solo before retiring to a chair at the side of the stage. Tony has had dental problems. In Rome, a couple of years ago, he showed me a clear, plastic clip that fits over the middle of his upper gum, enabling him to play.
Scott returned front and center for a dedication to Benny Goodman, “Memories of You.” Davern joined the others for some mellow reflection. Here Tony, in lowering his volume, displayed a gorgeous, limpid tone that fit the piece perfectly, toasting Goodman without playing in his style and honoring Eubie Blake’s memory and “Memories,” as did all involved.
For his feature Davern chose to stay in the Goodman small group mode with “Moonglow,” exhibiting great patience in exposing a melody and remarkable control of his carefully sculpted phraseology in improvisation.
Last was a rousing “I Got Rhythm.” The two-bar tag, which is never played when any of the many lines written on “Rhythm” changes are used, threw the rhythm section the first time around but they’re fast learners-or recallers-and stoked the fires for the clarinets three. DeFranco’s amazing, uptempo aplomb won the honors on this set-closer.
For one week the oft-neglected clarinet was front and center. The return of Scott to New York, after many years in Italy, was an event, as was the entire week, the clarinet combinations eliciting much positive talk in jazz circles around town.
Incidentally both DeFranco and Scott have written books: Tony’s, I believe not yet released, is Bird, Lady and Me. Buddy’s is A Life in the Golden Age of Jazz: A Biography of Buddy DeFranco by Fabrice Zammarchi and Sylvie Mas (383 pp., including discography, filmography and DeFranco solos, transcribed by Tom Ranier; Parkside Publications. Cloth-bound $65 in U.S. & Canada; $85 in all other countries; Collectors’ edition, leather bound, $125 & $145)
Great jazz musicians have always attracted avid fans who are sometimes moved to going beyond forming fan clubs or attempting to stuff ballot boxes in magazine polls. Some have backed the idol’s band and/or subsidized recordings through their own independent labels; others have written biographies. Professional clarinetist Fabrice Zammarchi of France, abetted by his wife, Sylvie Mas, has chosen the last method to express his admiration for Buddy DeFranco, musician and man; and Malcolm Harris, head of Parkside Publications and another ardent DeFranco fan, gave the book a production he feels jazz musicians deserve but rarely receive.
Profusely illustrated with pictures (including an abundance of never-before published images and end papers consisting of color reproductions of DeFranco’s album covers), the coffee-table book takes us from Buddy’s humble, hard-times beginnings in Philadelphia, through his emergence in the big bands of the swing era and his early recognition that Charlie Parker was a true genius whose music was the pathway to the future. What DeFranco couldn’t foresee was that the advent of bebop would coincide with the decline of his chosen instrument, the clarinet, which had been a focal point in the big bands with celebrated leaders Benny Goodman and Artie Shaw. Nevertheless, his singular excellence triumphed and led to a long, illustrious, varied and still-happening career.
DeFranco’s clear, intelligent voice is heard throughout, talking directly about the music and the music business: his ups and downs with the crusty Tommy Dorsey; the fun he had with Charlie Barnet’s band; his admiration for Count Basie; and his special regard for Parker, Gillespie and Art Tatum; his own failed big band; and the more successful quartet he led featuring Sonny Clark, Gene Wright and Art Blakey.
The main shortcoming in this labor of love lies in the editing. The writers could have avoided having DeFranco reiterate ideas and opinions that he had already made clear in other parts of the book. It’s not Buddy’s fault. He was only bring true to his ideals in a variety of interviews over the years.
This is a collectors’ item and should appeal to aficionados and musicians.
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
RIP Buddy DeFranco
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One the great joys if my jazz career was bringing Buddy DeFranco and Tony Scott together for a glorious week @ The Iridium back in 2003.
Photo by Jack Vartoogian
06/21/03
JazzTimes
** Buddy DeFranco Live in New York (http://jazztimes.com/articles/17930-buddy-defranco-live-in-new-york)
————————————————————
**
————————————————————
By Ira Gitler (http://jazztimes.com/contributors/81-ira-gitler)
“Legends of the Clarinet” was the overall billing for a week at the Iridium by Buddy DeFranco, 80, and Tony Scott, 82. Conceived by publicist Jim Eigo, the event was booked into the establishment on Broadway and 51st Street and eventually became part of the JVC Jazz Festival’s club affiliations. Most of the participating clubs had different artists every night, but DeFranco and Scott, with the Bill Mays Trio (Mays, piano; Martin Wind, bass; Matt Wilson, drums), were in residence Tuesday through Sunday. The difference here was that each night a third clarinetist was added to spice the stew. The diverse group of guests included (in order of appearance) Perry Robinson, Don Byron, Kenny Davern (two nights), Marty Ehrlich and Ron Odrich.
I was there for the first of the two Davern appearances, and it turned out to be a good mix. Mays, a confident, harmonically astute player, opened in trio with an upbeat “Isn’t It Romantic” that maintained interest as it moved among meters. Then DeFranco and Scott came on for “What Is This Thing Called Love?” Buddy, with fluidity, was at his bopping best while Tony was choppier, in fits and starts, scoring when unleashing those passionate bursts that have been part of his musical character throughout his career. “East of the Sun,” at a relaxed pace, was mostly DeFranco with Scott playing an abbreviated solo before retiring to a chair at the side of the stage. Tony has had dental problems. In Rome, a couple of years ago, he showed me a clear, plastic clip that fits over the middle of his upper gum, enabling him to play.
Scott returned front and center for a dedication to Benny Goodman, “Memories of You.” Davern joined the others for some mellow reflection. Here Tony, in lowering his volume, displayed a gorgeous, limpid tone that fit the piece perfectly, toasting Goodman without playing in his style and honoring Eubie Blake’s memory and “Memories,” as did all involved.
For his feature Davern chose to stay in the Goodman small group mode with “Moonglow,” exhibiting great patience in exposing a melody and remarkable control of his carefully sculpted phraseology in improvisation.
Last was a rousing “I Got Rhythm.” The two-bar tag, which is never played when any of the many lines written on “Rhythm” changes are used, threw the rhythm section the first time around but they’re fast learners-or recallers-and stoked the fires for the clarinets three. DeFranco’s amazing, uptempo aplomb won the honors on this set-closer.
For one week the oft-neglected clarinet was front and center. The return of Scott to New York, after many years in Italy, was an event, as was the entire week, the clarinet combinations eliciting much positive talk in jazz circles around town.
Incidentally both DeFranco and Scott have written books: Tony’s, I believe not yet released, is Bird, Lady and Me. Buddy’s is A Life in the Golden Age of Jazz: A Biography of Buddy DeFranco by Fabrice Zammarchi and Sylvie Mas (383 pp., including discography, filmography and DeFranco solos, transcribed by Tom Ranier; Parkside Publications. Cloth-bound $65 in U.S. & Canada; $85 in all other countries; Collectors’ edition, leather bound, $125 & $145)
Great jazz musicians have always attracted avid fans who are sometimes moved to going beyond forming fan clubs or attempting to stuff ballot boxes in magazine polls. Some have backed the idol’s band and/or subsidized recordings through their own independent labels; others have written biographies. Professional clarinetist Fabrice Zammarchi of France, abetted by his wife, Sylvie Mas, has chosen the last method to express his admiration for Buddy DeFranco, musician and man; and Malcolm Harris, head of Parkside Publications and another ardent DeFranco fan, gave the book a production he feels jazz musicians deserve but rarely receive.
Profusely illustrated with pictures (including an abundance of never-before published images and end papers consisting of color reproductions of DeFranco’s album covers), the coffee-table book takes us from Buddy’s humble, hard-times beginnings in Philadelphia, through his emergence in the big bands of the swing era and his early recognition that Charlie Parker was a true genius whose music was the pathway to the future. What DeFranco couldn’t foresee was that the advent of bebop would coincide with the decline of his chosen instrument, the clarinet, which had been a focal point in the big bands with celebrated leaders Benny Goodman and Artie Shaw. Nevertheless, his singular excellence triumphed and led to a long, illustrious, varied and still-happening career.
DeFranco’s clear, intelligent voice is heard throughout, talking directly about the music and the music business: his ups and downs with the crusty Tommy Dorsey; the fun he had with Charlie Barnet’s band; his admiration for Count Basie; and his special regard for Parker, Gillespie and Art Tatum; his own failed big band; and the more successful quartet he led featuring Sonny Clark, Gene Wright and Art Blakey.
The main shortcoming in this labor of love lies in the editing. The writers could have avoided having DeFranco reiterate ideas and opinions that he had already made clear in other parts of the book. It’s not Buddy’s fault. He was only bring true to his ideals in a variety of interviews over the years.
This is a collectors’ item and should appeal to aficionados and musicians.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2d8949f1f0) | 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=2d8949f1f0&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
RIP Buddy DeFranco
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One the great joys if my jazz career was bringing Buddy DeFranco and Tony Scott together for a glorious week @ The Iridium back in 2003.
Photo by Jack Vartoogian
06/21/03
JazzTimes
** Buddy DeFranco Live in New York (http://jazztimes.com/articles/17930-buddy-defranco-live-in-new-york)
————————————————————
**
————————————————————
By Ira Gitler (http://jazztimes.com/contributors/81-ira-gitler)
“Legends of the Clarinet” was the overall billing for a week at the Iridium by Buddy DeFranco, 80, and Tony Scott, 82. Conceived by publicist Jim Eigo, the event was booked into the establishment on Broadway and 51st Street and eventually became part of the JVC Jazz Festival’s club affiliations. Most of the participating clubs had different artists every night, but DeFranco and Scott, with the Bill Mays Trio (Mays, piano; Martin Wind, bass; Matt Wilson, drums), were in residence Tuesday through Sunday. The difference here was that each night a third clarinetist was added to spice the stew. The diverse group of guests included (in order of appearance) Perry Robinson, Don Byron, Kenny Davern (two nights), Marty Ehrlich and Ron Odrich.
I was there for the first of the two Davern appearances, and it turned out to be a good mix. Mays, a confident, harmonically astute player, opened in trio with an upbeat “Isn’t It Romantic” that maintained interest as it moved among meters. Then DeFranco and Scott came on for “What Is This Thing Called Love?” Buddy, with fluidity, was at his bopping best while Tony was choppier, in fits and starts, scoring when unleashing those passionate bursts that have been part of his musical character throughout his career. “East of the Sun,” at a relaxed pace, was mostly DeFranco with Scott playing an abbreviated solo before retiring to a chair at the side of the stage. Tony has had dental problems. In Rome, a couple of years ago, he showed me a clear, plastic clip that fits over the middle of his upper gum, enabling him to play.
Scott returned front and center for a dedication to Benny Goodman, “Memories of You.” Davern joined the others for some mellow reflection. Here Tony, in lowering his volume, displayed a gorgeous, limpid tone that fit the piece perfectly, toasting Goodman without playing in his style and honoring Eubie Blake’s memory and “Memories,” as did all involved.
For his feature Davern chose to stay in the Goodman small group mode with “Moonglow,” exhibiting great patience in exposing a melody and remarkable control of his carefully sculpted phraseology in improvisation.
Last was a rousing “I Got Rhythm.” The two-bar tag, which is never played when any of the many lines written on “Rhythm” changes are used, threw the rhythm section the first time around but they’re fast learners-or recallers-and stoked the fires for the clarinets three. DeFranco’s amazing, uptempo aplomb won the honors on this set-closer.
For one week the oft-neglected clarinet was front and center. The return of Scott to New York, after many years in Italy, was an event, as was the entire week, the clarinet combinations eliciting much positive talk in jazz circles around town.
Incidentally both DeFranco and Scott have written books: Tony’s, I believe not yet released, is Bird, Lady and Me. Buddy’s is A Life in the Golden Age of Jazz: A Biography of Buddy DeFranco by Fabrice Zammarchi and Sylvie Mas (383 pp., including discography, filmography and DeFranco solos, transcribed by Tom Ranier; Parkside Publications. Cloth-bound $65 in U.S. & Canada; $85 in all other countries; Collectors’ edition, leather bound, $125 & $145)
Great jazz musicians have always attracted avid fans who are sometimes moved to going beyond forming fan clubs or attempting to stuff ballot boxes in magazine polls. Some have backed the idol’s band and/or subsidized recordings through their own independent labels; others have written biographies. Professional clarinetist Fabrice Zammarchi of France, abetted by his wife, Sylvie Mas, has chosen the last method to express his admiration for Buddy DeFranco, musician and man; and Malcolm Harris, head of Parkside Publications and another ardent DeFranco fan, gave the book a production he feels jazz musicians deserve but rarely receive.
Profusely illustrated with pictures (including an abundance of never-before published images and end papers consisting of color reproductions of DeFranco’s album covers), the coffee-table book takes us from Buddy’s humble, hard-times beginnings in Philadelphia, through his emergence in the big bands of the swing era and his early recognition that Charlie Parker was a true genius whose music was the pathway to the future. What DeFranco couldn’t foresee was that the advent of bebop would coincide with the decline of his chosen instrument, the clarinet, which had been a focal point in the big bands with celebrated leaders Benny Goodman and Artie Shaw. Nevertheless, his singular excellence triumphed and led to a long, illustrious, varied and still-happening career.
DeFranco’s clear, intelligent voice is heard throughout, talking directly about the music and the music business: his ups and downs with the crusty Tommy Dorsey; the fun he had with Charlie Barnet’s band; his admiration for Count Basie; and his special regard for Parker, Gillespie and Art Tatum; his own failed big band; and the more successful quartet he led featuring Sonny Clark, Gene Wright and Art Blakey.
The main shortcoming in this labor of love lies in the editing. The writers could have avoided having DeFranco reiterate ideas and opinions that he had already made clear in other parts of the book. It’s not Buddy’s fault. He was only bring true to his ideals in a variety of interviews over the years.
This is a collectors’ item and should appeal to aficionados and musicians.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2d8949f1f0) | 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=2d8949f1f0&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
Jazz clarinet great Buddy DeFranco dead at 91 – Chicago Tribune
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** Jazz clarinet great Buddy DeFranco dead at 91
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Jazz clarinet great Buddy DeFranco dead at 91
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Buddy DeFranco
Buddy DeFranco, seen here playing with the Chicago Jazz Orchestra in 2007, died Wednesday in Panama City, Fla. He was 91. (William Rice/Chicago Tribune)
Accomplished clarinetist Buddy DeFranco dead at 91
Jazz clarinetist DeFranco brought instrument into rarified realm of bebop
Buddy DeFranco, one of the most virtuosic and musically accomplished clarinetists in the history of jazz, died Wednesday night in Panama City, Fla., said his wife of 44 years, Joyce DeFranco. He was 91.
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DeFranco, more than anyone, brought the clarinet into the rarefied realm of bebop. As Charlie Parker did with alto saxophone, Dizzy Gillespie with trumpet and J.J. Johnson with trombone, DeFranco proved that his instrument could finesse the extraordinary technical hurdles of bebop music of the 1940s.
The Rev. Johnnie Colemon
Newsmakers and others from the Chicago area who died in 2014.
DeFranco also had copious performance and recording experience, working with Gene Krupa, Tommy Dorsey, Count Basie, Oscar Peterson, Billie Holiday and practically everyone else of his era. He won the country’s most prestigious jazz honor, the National Endowment for the Arts Jazz Masters Fellowship, in 2006.
DeFranco last performed publicly at age 89, said his wife. A public celebration of his life will take place next year, she added.
cComments (http://www.chicagotribune.com/entertainment/chi-buddy-defranco-dead-20141225-column.html#)
* http://tedpanken.wordpress.com/2012/02/17/on-buddy-defrancos-89th-birthday-a-1999-downbeat-article-plus-interview/
TJH011
AT 9:32 AM DECEMBER 26, 2014
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Jazz clarinet great Buddy DeFranco dead at 91 – Chicago Tribune
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Jazz clarinet great Buddy DeFranco dead at 91
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Buddy DeFranco
Buddy DeFranco, seen here playing with the Chicago Jazz Orchestra in 2007, died Wednesday in Panama City, Fla. He was 91. (William Rice/Chicago Tribune)
Accomplished clarinetist Buddy DeFranco dead at 91
Jazz clarinetist DeFranco brought instrument into rarified realm of bebop
Buddy DeFranco, one of the most virtuosic and musically accomplished clarinetists in the history of jazz, died Wednesday night in Panama City, Fla., said his wife of 44 years, Joyce DeFranco. He was 91.
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DeFranco, more than anyone, brought the clarinet into the rarefied realm of bebop. As Charlie Parker did with alto saxophone, Dizzy Gillespie with trumpet and J.J. Johnson with trombone, DeFranco proved that his instrument could finesse the extraordinary technical hurdles of bebop music of the 1940s.
The Rev. Johnnie Colemon
Newsmakers and others from the Chicago area who died in 2014.
DeFranco also had copious performance and recording experience, working with Gene Krupa, Tommy Dorsey, Count Basie, Oscar Peterson, Billie Holiday and practically everyone else of his era. He won the country’s most prestigious jazz honor, the National Endowment for the Arts Jazz Masters Fellowship, in 2006.
DeFranco last performed publicly at age 89, said his wife. A public celebration of his life will take place next year, she added.
cComments (http://www.chicagotribune.com/entertainment/chi-buddy-defranco-dead-20141225-column.html#)
* http://tedpanken.wordpress.com/2012/02/17/on-buddy-defrancos-89th-birthday-a-1999-downbeat-article-plus-interview/
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Buddy DeFranco
Buddy DeFranco, seen here playing with the Chicago Jazz Orchestra in 2007, died Wednesday in Panama City, Fla. He was 91. (William Rice/Chicago Tribune)
Accomplished clarinetist Buddy DeFranco dead at 91
Jazz clarinetist DeFranco brought instrument into rarified realm of bebop
Buddy DeFranco, one of the most virtuosic and musically accomplished clarinetists in the history of jazz, died Wednesday night in Panama City, Fla., said his wife of 44 years, Joyce DeFranco. He was 91.
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DeFranco, more than anyone, brought the clarinet into the rarefied realm of bebop. As Charlie Parker did with alto saxophone, Dizzy Gillespie with trumpet and J.J. Johnson with trombone, DeFranco proved that his instrument could finesse the extraordinary technical hurdles of bebop music of the 1940s.
The Rev. Johnnie Colemon
Newsmakers and others from the Chicago area who died in 2014.
DeFranco also had copious performance and recording experience, working with Gene Krupa, Tommy Dorsey, Count Basie, Oscar Peterson, Billie Holiday and practically everyone else of his era. He won the country’s most prestigious jazz honor, the National Endowment for the Arts Jazz Masters Fellowship, in 2006.
DeFranco last performed publicly at age 89, said his wife. A public celebration of his life will take place next year, she added.
cComments (http://www.chicagotribune.com/entertainment/chi-buddy-defranco-dead-20141225-column.html#)
* http://tedpanken.wordpress.com/2012/02/17/on-buddy-defrancos-89th-birthday-a-1999-downbeat-article-plus-interview/
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Our Times: The Louis Armstrong childhood arrest that no one knew about | NOLA.com
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By James Karst, The Times-Picayune
** Our Times: The Louis Armstrong childhood arrest that no one knew about
————————————————————
South Rampart was a thoroughfare teeming with life on Oct. 21, 1910. The street, between the Central Business District and what was known as “the back of town,” was part of a bustling, diverse neighborhood that included grocery stores and restaurants, hotels and jazz-fueled honky tonks, according to Tulane University geographer and writer Richard Campanella.
It was also teeming with police activity. That day, a Friday, a clerk and pharmacist at a drug store on Rampart between Perdido and Poydras streets were arrested in a crackdown on cocaine sales. The two were allegedly part of a ring that moved large quantities of the drug, which would be cut up into smaller packages and resold.
Down the street, between Gravier Street and Tulane Avenue, police put a stop to something else. Six boys were arrested there “for being dangerous and suspicious characters,” according to a brief on page 4 of the following day’s Daily Picayune.
“Detectives Charles Mellen, William Kennedy, John Dantonio and Patrolman Anthony Sabrier arrested Henry Smith, of Lafayette and Fulton; James Kent, of 338 Saratoga Street; Archie Anderson, of 631 Dryades Street; Willie Telfry, of 416 S. Franklin Street; Louis Armstrong, of Perdido, between Liberty and Franklin streets; and Eddie Moore, of Liberty, between Gravier and Perdido streets,” the paper said.
Armstrong was 9.
He was sent to the Colored Waifs Home.
••••••••
Armstrong is perhaps the best-known New Orleanian of all time, an ambassador of jazz for the nation and a hero of his hometown, a man who played the trumpet in a way that defined the genre, whose face is instantly recognizable around the globe. When tourists fly to New Orleans, it is through Louis Armstrong International Airport that they arrive.
There have been countless Armstrong biographies based on exhaustive research. More than 40 years after his death, you might think there would be nothing left to learn about the man.
And yet there is. Documents from the Colored Waifs Home, a facility off City Park Avenue for troubled and orphaned children where Armstrong famously began to play the horn in 1913, have never before been seen in public.
The records, in turn, have led to the discovery of long-lost newspaper stories about him before he was even a teenager. Together the fragments reveal previously unknown details about Armstrong’s early years, altering the course of a legend that he himself helped create.
In his 1954 autobiography, “Satchmo: My Life in New Orleans,” Armstrong writes that when he was arrested in 1913, he “had no idea what a Waifs Home was” — even though he had been sent to the home just three years earlier.
“This is mind-blowing,” said Ricky Riccardi, archivist at the Louis Armstrong House and Museum in New York City’s borough of Queens and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years.”
“I’ve been spending half my life researching Armstrong, and this is a breakthrough.”
In all likelihood, no one alive has even known of the existence of the Colored Waifs Home records until now.
No one except Allen Kimble.
••••••••
Allen Kimble Jr. was born in 1948 at Charity Hospital, “on the colored side,” he said. He grew up on Pauger Street in the 7th Ward and went to high school at G.W. Carver, where he met Sylvia Washington, whom he would marry in 1969, two years after they graduated.
Washington is the granddaughter of Capt. Joseph Jones, an interpreter in the Spanish-American War who rose to become a commissioned officer, and who later operated the Colored Waifs Home with his wife, Manuela, incorporating elements of his military background in his oversight of what was sometimes known as the Jones Home or the Municipal Boys Home. It later evolved into the Milne Home.
It was at the Colored Waifs Home that Armstrong began playing the cornet in 1913, under the instruction of the institution’s band instructor, Peter Davis, and where Joseph and Manuela Jones filled a void in his life as parental figures. The Joneses, Sylvia Washington said in a telephone interview, “kind of adopted him.”
Allen Kimble joined the military, serving in Vietnam, Japan and California, as well as at Keesler Air Force Base in Biloxi, Miss. He and his wife had two children.
Around 1980, not long after he was honorably discharged as a staff sergeant, Kimble was in the home where his in-laws had lived at 5619 Baccich St.
“The house had a library, built by the boys (from the home),” Kimble said. “It was in bad repair. Things were being subjected to the elements.”
Kimble had heard from his wife that her grandparents had known Louis Armstrong before he was famous, so he combed through the records in the library in search of pages that might have the musician’s name. He found some from 1910 and 1913, as well as some negatives from the home. He took them with him.
••••••••
In 1981, the Kimbles flew to Turkey, where Allen Kimble had landed a job as an alarm technician, the documents from the Colored Waifs Home carefully tucked away in his luggage. The family arrived safely in Istanbul, but eight or nine pieces of their luggage were sent by mistake to Tunisia. It would be a week or two before their other possessions, including the documents from the Waifs Home, arrived in Turkey.
Kimble’s job was eventually eliminated, a move found by the Equal Employment Opportunity Commission to be motivated by racial discrimination. He and his family moved back to the United States, later living in Oklahoma City, Hampton, Va., and Orlando. In 2005, they arrived in Scottsdale, Ariz., where Kimble fell into a deep depression. It was a dark time.
“That led to the destruction of my marriage,” he said. “Thirty-nine years …”
In 2008, Kimble returned to New Orleans, where he still had family, and began putting his life back together.
“Several times over that period, I pulled out the stuff from the Jones Home,” he said, “and on several occasions I reached out to people to try to get them interested in writing about it.
“No one was.”
••••••••
The records from the home are yellowed, brittle, fragile. They are bound together with tarnished brass pins. Holding the papers in your hands, you get the feeling they belong in a museum.
The cover page from the 1910 documents bears the seal of the Louisiana Society for the Prevention of Cruelty to Children, a group that operated separate institutions for black and white children in New Orleans.
At the top of the page, “colored” is typed in parentheses. “Daily Census for the month ending Jan. 1910,” it says below that. In the upper right corner is a handwritten note: “Louis Armstrong in the Nov. report of 1910. Pending trial. Dis Nov. 8, 1910 to aunt.”
Inside, another sheet provides a daily census for October 1910. The line for Oct. 21 shows 77 juveniles started the day at the facility. “G. Muks, Kent, Armstrong, Delphrey, Anderson & Smith” are the new arrivals.
Another page of the 1910 documents gives details of the cases against the juveniles. For Armstrong, it gives his name and his age; quotation marks seemingly indicate the charges and the status of the case against him could be the same as those for a 13-year-old several lines up: “pilfer” and “pending trial.
There’s no way of accounting for a change in the charges against Armstrong.
But whatever the case, the “dangerous and suspicious” charge was attacked on more than one occasion by local defense lawyers as an unconstitutional method used by New Orleans police to detain people at will, absent any evidence a crime had occurred.
The charge resulted from a city ordinance passed in 1902 that sought “to punish vagrants, dangerous and suspicious persons, bunco steerers, confidence men, thieves, gamblers, pimps, touts, fakers, pickpockets” and the people who protected them.
••••••••
That Armstrong had spent time at the Waifs Home is no secret. The story goes that he was arrested after shooting a .38-caliber revolver into the air on South Rampart at Perdido on New Year’s Eve in 1912.
Still, the documents Allen Kimble carried around the world and back give a more nuanced picture of Armstrong’s development. He wasn’t a fresh face when he arrived at the home in 1913. He’d been there before.
A report on the incident published in The Times-Democrat on Jan. 2, 1913, and widely recounted by biographers, said Armstrong was remanded to the home as “an old offender,” perhaps a reference to the 1910 arrest.
Soon after he arrived at the home, he began learning to play the bugle and then the cornet, under the instruction of Davis, the home’s band director.
He joined the Colored Waifs Home band and took part in its performances in parades, picnics and other events around the city. He was hooked, and after leaving the home he began picking up gigs.
“How soon after you took lessons from Mr. Davis did you start to play professionally, Louie?” Armstrong was asked by Steve Allen during a 1965 appearance with Davis on the television show “I’ve Got a Secret.”
“Soon as I got out,” he cracked.
That stay that began in 1913 is also reflected in the paperwork from the Colored Waifs Home. “Armstrong in” is handwritten on the daily census from January 1913. He was the lone inmate to enter the home Jan. 1, joining 70 other boys.
His name appears in the monthly census figures, too; he would stay, according to a note, until “sometime about June 1914.”
The thinking, until now, is that The Times-Democrat’s brief item was the first to mention Armstrong before he became famous. But the 1910 report on his “dangerous and suspicious” arrest precedes it by more than two years.
••••••••
It has also been thought that after the story on his arrest for the New Year’s Eve shooting, Armstrong would not be heard from again in the media until he became famous.
But that’s not the case, either. On May 31, just over four months after Armstrong landed in the Colored Waifs Home for at least the second time, The Daily Picayune described the home’s band on parade the day before, with Armstrong, then 11, as its charismatic leader.
“Little black imps, sixteen of them, yesterday in honor of Federal Decoration Day, each bearing a criminal record, equipped with every wrinkle that goes to make up a brass band, paraded the streets of New Orleans,” the paper reported, later reiterating that the boys were criminals. Decoration Day is now known as Memorial Day.
“Marching proudly through the streets with drum and fife, they rendered several selections, patriotic mostly, and were loudly encored from the sidewalks.”
Extraordinarily, the story goes on to name each of the musicians, mentioning not only Armstrong but also early jazz figure Henry “Kid” Rena.
“Those who made up the band were: Louis Armstrong, leader; Sam Johnson, solo cornet; Henry Rene (sic), second cornet; Louis Rock, solo alto; Isaac Ingram, first alto; Robert Oliver, flute; Louis Smith, clarinete (sic); Gus Vanzan, bass baritone; Richard Williams, bass trombone; Jeffery Harris, bass; Eddie Frazier, bass; Joseph Johnson, cymbal; James Brown, snare drum; Isaac Smoot, bass drum; Louis Stey, drum boy; Richard Cook, flag boy.”
••••••••
It’s not clear from the 1913 newspaper story whether Armstrong was playing the horn yet, according to Bruce Raeburn, curator of the Hogan Jazz Archive at Tulane University.
“He could be the mascot or the equivalent of a grand marshal, meaning that he was essentially ‘fronting’ the band, not so much as a musical leader but as a source of charismatic energy for the musicians and crowd to feed on,” he said.
Raeburn noted that something critical happened between the time Armstrong was detained at the home in 1910 and his return there in 1913: Davis arrived and started the band program.
“The first time Armstrong was in there, there was no band to get involved with,” he said. “It’s almost like he got a second chance.”
At the age of 11, Armstrong found his calling.
“There it is, in black and white, a measuring stick for how far Armstrong had already traveled in such a short period of time,” Riccardi said. “From Louis Armstrong, ‘an old offender,’ to ‘Louis Armstrong, leader’ in less than a calendar year.”
As Kimble put it, “Without Joseph and Manuela (Jones) and Peter Davis, there probably would not have been a Louis Armstrong.”
••••••••
The block where Armstrong was arrested in 1910 is quiet now. There is no marker to indicate where he was picked up. There is no statue on the spot where he shot the gun on New Year’s Eve in 1912, the fateful crime that ended up turning him into a musician.
There’s no placard at the site of the Colored Waifs Home, which was unceremoniously torn down in the mid-20th century, like so many other jazz landmarks in New Orleans.
There’s no Peter Davis Parkway. Capt. Joseph and Manuela Jones’ final resting place in Mount Olivet Cemetery is, according to Kimble, a “common grave,” with no tourists lining up to pay their respects.
Kimble believes the Joneses and Davis have not gotten the recognition they deserve for their role in Louis Armstrong’s transformation from troubled youth to world-famous musician; for nurturing other important figures in American music, including Waifs Home Band alumni Kid Rena, Champion Jack Dupree and, later, Lionel Batiste; and for caring for countless other children in desperate need of help who never became famous.
They weren’t in it for the money.
“They went out on a limb for the boys,” said Ellenor Marquez, another granddaughter of Capt. Joseph and Manuela Jones, in a telephone interview.
••••••••
Armstrong’s second stay at the home was a clear turning point in his life, a stable period of about 18 months, during which he picked up the cornet and began playing for Davis.
“I’ve always said that Armstrong’s New Year’s Eve arrest was the greatest arrest in the history of arrests, and seeing his reputation change from clipping to clipping is proof that without his being a ‘dangerous and suspicious’ character in trouble with the police, he might never have ended up in the Waifs Home, and he never would have changed the sound of American popular music,” Riccardi said.
“What would we be listening to today if it wasn’t for Armstrong’s arrest?”
Allen Kimble said he hopes to create a foundation in honor of the Joneses and Davis “to research, record and preserve our endangered history and culture.”
“I want to bring people from all over the world (to New Orleans) to research the black culture of New Orleans,” he said. “In my estimation, the damage done to black history is irreversible. My job is to research and document it so people remember we were here.”
As for the remaining documents from the library at the Joneses’ house on Baccich Street, Kimble believes they were lost when the building was demolished.
“I always regret not taking more,” he said.
••••••••
Armstrong left New Orleans for Chicago, then moved to New York and became a star. But he remained loyal to Capt. and Manuela Jones and to Peter Davis.
In 1931, on his first trip home after hitting it big, Armstrong made it a point to stop by the Colored Waifs Home, sitting with his band for a picture in front of the boys who were staying at the home and posing by himself alongside the Joneses and Davis.
He also turned benefactor, sending numerous donations to the home over the years.
He wrote in his autobiography about the day he was released into the custody of his father, noting that he was not happy to go.
And in 1937, Armstrong wrote a letter to Capt. Jones, published decades later in The Second Line, the magazine of the New Orleans Jazz Club.
“Remember, Mr. Jones, how the old place used to be back of City Park Avenue when I was a boy? You two have really stuck by those kids for years and years — in fact, you all have spent the very best days of your lives with those kids — us kids, I should say.
“You both shall always have good luck, because you’ve been wonderful to us all. You both shall be the ‘tops’ in my estimation always.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e40ebd6d9a) | 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=e40ebd6d9a&e=[UNIQID])
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Our Times: The Louis Armstrong childhood arrest that no one knew about | NOLA.com
http://www.jazzpromoservices.com/
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http://www.nola.com/entertainment/index.ssf/2014/12/our_times_the_louis_armstrong.html
By James Karst, The Times-Picayune
** Our Times: The Louis Armstrong childhood arrest that no one knew about
————————————————————
South Rampart was a thoroughfare teeming with life on Oct. 21, 1910. The street, between the Central Business District and what was known as “the back of town,” was part of a bustling, diverse neighborhood that included grocery stores and restaurants, hotels and jazz-fueled honky tonks, according to Tulane University geographer and writer Richard Campanella.
It was also teeming with police activity. That day, a Friday, a clerk and pharmacist at a drug store on Rampart between Perdido and Poydras streets were arrested in a crackdown on cocaine sales. The two were allegedly part of a ring that moved large quantities of the drug, which would be cut up into smaller packages and resold.
Down the street, between Gravier Street and Tulane Avenue, police put a stop to something else. Six boys were arrested there “for being dangerous and suspicious characters,” according to a brief on page 4 of the following day’s Daily Picayune.
“Detectives Charles Mellen, William Kennedy, John Dantonio and Patrolman Anthony Sabrier arrested Henry Smith, of Lafayette and Fulton; James Kent, of 338 Saratoga Street; Archie Anderson, of 631 Dryades Street; Willie Telfry, of 416 S. Franklin Street; Louis Armstrong, of Perdido, between Liberty and Franklin streets; and Eddie Moore, of Liberty, between Gravier and Perdido streets,” the paper said.
Armstrong was 9.
He was sent to the Colored Waifs Home.
••••••••
Armstrong is perhaps the best-known New Orleanian of all time, an ambassador of jazz for the nation and a hero of his hometown, a man who played the trumpet in a way that defined the genre, whose face is instantly recognizable around the globe. When tourists fly to New Orleans, it is through Louis Armstrong International Airport that they arrive.
There have been countless Armstrong biographies based on exhaustive research. More than 40 years after his death, you might think there would be nothing left to learn about the man.
And yet there is. Documents from the Colored Waifs Home, a facility off City Park Avenue for troubled and orphaned children where Armstrong famously began to play the horn in 1913, have never before been seen in public.
The records, in turn, have led to the discovery of long-lost newspaper stories about him before he was even a teenager. Together the fragments reveal previously unknown details about Armstrong’s early years, altering the course of a legend that he himself helped create.
In his 1954 autobiography, “Satchmo: My Life in New Orleans,” Armstrong writes that when he was arrested in 1913, he “had no idea what a Waifs Home was” — even though he had been sent to the home just three years earlier.
“This is mind-blowing,” said Ricky Riccardi, archivist at the Louis Armstrong House and Museum in New York City’s borough of Queens and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years.”
“I’ve been spending half my life researching Armstrong, and this is a breakthrough.”
In all likelihood, no one alive has even known of the existence of the Colored Waifs Home records until now.
No one except Allen Kimble.
••••••••
Allen Kimble Jr. was born in 1948 at Charity Hospital, “on the colored side,” he said. He grew up on Pauger Street in the 7th Ward and went to high school at G.W. Carver, where he met Sylvia Washington, whom he would marry in 1969, two years after they graduated.
Washington is the granddaughter of Capt. Joseph Jones, an interpreter in the Spanish-American War who rose to become a commissioned officer, and who later operated the Colored Waifs Home with his wife, Manuela, incorporating elements of his military background in his oversight of what was sometimes known as the Jones Home or the Municipal Boys Home. It later evolved into the Milne Home.
It was at the Colored Waifs Home that Armstrong began playing the cornet in 1913, under the instruction of the institution’s band instructor, Peter Davis, and where Joseph and Manuela Jones filled a void in his life as parental figures. The Joneses, Sylvia Washington said in a telephone interview, “kind of adopted him.”
Allen Kimble joined the military, serving in Vietnam, Japan and California, as well as at Keesler Air Force Base in Biloxi, Miss. He and his wife had two children.
Around 1980, not long after he was honorably discharged as a staff sergeant, Kimble was in the home where his in-laws had lived at 5619 Baccich St.
“The house had a library, built by the boys (from the home),” Kimble said. “It was in bad repair. Things were being subjected to the elements.”
Kimble had heard from his wife that her grandparents had known Louis Armstrong before he was famous, so he combed through the records in the library in search of pages that might have the musician’s name. He found some from 1910 and 1913, as well as some negatives from the home. He took them with him.
••••••••
In 1981, the Kimbles flew to Turkey, where Allen Kimble had landed a job as an alarm technician, the documents from the Colored Waifs Home carefully tucked away in his luggage. The family arrived safely in Istanbul, but eight or nine pieces of their luggage were sent by mistake to Tunisia. It would be a week or two before their other possessions, including the documents from the Waifs Home, arrived in Turkey.
Kimble’s job was eventually eliminated, a move found by the Equal Employment Opportunity Commission to be motivated by racial discrimination. He and his family moved back to the United States, later living in Oklahoma City, Hampton, Va., and Orlando. In 2005, they arrived in Scottsdale, Ariz., where Kimble fell into a deep depression. It was a dark time.
“That led to the destruction of my marriage,” he said. “Thirty-nine years …”
In 2008, Kimble returned to New Orleans, where he still had family, and began putting his life back together.
“Several times over that period, I pulled out the stuff from the Jones Home,” he said, “and on several occasions I reached out to people to try to get them interested in writing about it.
“No one was.”
••••••••
The records from the home are yellowed, brittle, fragile. They are bound together with tarnished brass pins. Holding the papers in your hands, you get the feeling they belong in a museum.
The cover page from the 1910 documents bears the seal of the Louisiana Society for the Prevention of Cruelty to Children, a group that operated separate institutions for black and white children in New Orleans.
At the top of the page, “colored” is typed in parentheses. “Daily Census for the month ending Jan. 1910,” it says below that. In the upper right corner is a handwritten note: “Louis Armstrong in the Nov. report of 1910. Pending trial. Dis Nov. 8, 1910 to aunt.”
Inside, another sheet provides a daily census for October 1910. The line for Oct. 21 shows 77 juveniles started the day at the facility. “G. Muks, Kent, Armstrong, Delphrey, Anderson & Smith” are the new arrivals.
Another page of the 1910 documents gives details of the cases against the juveniles. For Armstrong, it gives his name and his age; quotation marks seemingly indicate the charges and the status of the case against him could be the same as those for a 13-year-old several lines up: “pilfer” and “pending trial.
There’s no way of accounting for a change in the charges against Armstrong.
But whatever the case, the “dangerous and suspicious” charge was attacked on more than one occasion by local defense lawyers as an unconstitutional method used by New Orleans police to detain people at will, absent any evidence a crime had occurred.
The charge resulted from a city ordinance passed in 1902 that sought “to punish vagrants, dangerous and suspicious persons, bunco steerers, confidence men, thieves, gamblers, pimps, touts, fakers, pickpockets” and the people who protected them.
••••••••
That Armstrong had spent time at the Waifs Home is no secret. The story goes that he was arrested after shooting a .38-caliber revolver into the air on South Rampart at Perdido on New Year’s Eve in 1912.
Still, the documents Allen Kimble carried around the world and back give a more nuanced picture of Armstrong’s development. He wasn’t a fresh face when he arrived at the home in 1913. He’d been there before.
A report on the incident published in The Times-Democrat on Jan. 2, 1913, and widely recounted by biographers, said Armstrong was remanded to the home as “an old offender,” perhaps a reference to the 1910 arrest.
Soon after he arrived at the home, he began learning to play the bugle and then the cornet, under the instruction of Davis, the home’s band director.
He joined the Colored Waifs Home band and took part in its performances in parades, picnics and other events around the city. He was hooked, and after leaving the home he began picking up gigs.
“How soon after you took lessons from Mr. Davis did you start to play professionally, Louie?” Armstrong was asked by Steve Allen during a 1965 appearance with Davis on the television show “I’ve Got a Secret.”
“Soon as I got out,” he cracked.
That stay that began in 1913 is also reflected in the paperwork from the Colored Waifs Home. “Armstrong in” is handwritten on the daily census from January 1913. He was the lone inmate to enter the home Jan. 1, joining 70 other boys.
His name appears in the monthly census figures, too; he would stay, according to a note, until “sometime about June 1914.”
The thinking, until now, is that The Times-Democrat’s brief item was the first to mention Armstrong before he became famous. But the 1910 report on his “dangerous and suspicious” arrest precedes it by more than two years.
••••••••
It has also been thought that after the story on his arrest for the New Year’s Eve shooting, Armstrong would not be heard from again in the media until he became famous.
But that’s not the case, either. On May 31, just over four months after Armstrong landed in the Colored Waifs Home for at least the second time, The Daily Picayune described the home’s band on parade the day before, with Armstrong, then 11, as its charismatic leader.
“Little black imps, sixteen of them, yesterday in honor of Federal Decoration Day, each bearing a criminal record, equipped with every wrinkle that goes to make up a brass band, paraded the streets of New Orleans,” the paper reported, later reiterating that the boys were criminals. Decoration Day is now known as Memorial Day.
“Marching proudly through the streets with drum and fife, they rendered several selections, patriotic mostly, and were loudly encored from the sidewalks.”
Extraordinarily, the story goes on to name each of the musicians, mentioning not only Armstrong but also early jazz figure Henry “Kid” Rena.
“Those who made up the band were: Louis Armstrong, leader; Sam Johnson, solo cornet; Henry Rene (sic), second cornet; Louis Rock, solo alto; Isaac Ingram, first alto; Robert Oliver, flute; Louis Smith, clarinete (sic); Gus Vanzan, bass baritone; Richard Williams, bass trombone; Jeffery Harris, bass; Eddie Frazier, bass; Joseph Johnson, cymbal; James Brown, snare drum; Isaac Smoot, bass drum; Louis Stey, drum boy; Richard Cook, flag boy.”
••••••••
It’s not clear from the 1913 newspaper story whether Armstrong was playing the horn yet, according to Bruce Raeburn, curator of the Hogan Jazz Archive at Tulane University.
“He could be the mascot or the equivalent of a grand marshal, meaning that he was essentially ‘fronting’ the band, not so much as a musical leader but as a source of charismatic energy for the musicians and crowd to feed on,” he said.
Raeburn noted that something critical happened between the time Armstrong was detained at the home in 1910 and his return there in 1913: Davis arrived and started the band program.
“The first time Armstrong was in there, there was no band to get involved with,” he said. “It’s almost like he got a second chance.”
At the age of 11, Armstrong found his calling.
“There it is, in black and white, a measuring stick for how far Armstrong had already traveled in such a short period of time,” Riccardi said. “From Louis Armstrong, ‘an old offender,’ to ‘Louis Armstrong, leader’ in less than a calendar year.”
As Kimble put it, “Without Joseph and Manuela (Jones) and Peter Davis, there probably would not have been a Louis Armstrong.”
••••••••
The block where Armstrong was arrested in 1910 is quiet now. There is no marker to indicate where he was picked up. There is no statue on the spot where he shot the gun on New Year’s Eve in 1912, the fateful crime that ended up turning him into a musician.
There’s no placard at the site of the Colored Waifs Home, which was unceremoniously torn down in the mid-20th century, like so many other jazz landmarks in New Orleans.
There’s no Peter Davis Parkway. Capt. Joseph and Manuela Jones’ final resting place in Mount Olivet Cemetery is, according to Kimble, a “common grave,” with no tourists lining up to pay their respects.
Kimble believes the Joneses and Davis have not gotten the recognition they deserve for their role in Louis Armstrong’s transformation from troubled youth to world-famous musician; for nurturing other important figures in American music, including Waifs Home Band alumni Kid Rena, Champion Jack Dupree and, later, Lionel Batiste; and for caring for countless other children in desperate need of help who never became famous.
They weren’t in it for the money.
“They went out on a limb for the boys,” said Ellenor Marquez, another granddaughter of Capt. Joseph and Manuela Jones, in a telephone interview.
••••••••
Armstrong’s second stay at the home was a clear turning point in his life, a stable period of about 18 months, during which he picked up the cornet and began playing for Davis.
“I’ve always said that Armstrong’s New Year’s Eve arrest was the greatest arrest in the history of arrests, and seeing his reputation change from clipping to clipping is proof that without his being a ‘dangerous and suspicious’ character in trouble with the police, he might never have ended up in the Waifs Home, and he never would have changed the sound of American popular music,” Riccardi said.
“What would we be listening to today if it wasn’t for Armstrong’s arrest?”
Allen Kimble said he hopes to create a foundation in honor of the Joneses and Davis “to research, record and preserve our endangered history and culture.”
“I want to bring people from all over the world (to New Orleans) to research the black culture of New Orleans,” he said. “In my estimation, the damage done to black history is irreversible. My job is to research and document it so people remember we were here.”
As for the remaining documents from the library at the Joneses’ house on Baccich Street, Kimble believes they were lost when the building was demolished.
“I always regret not taking more,” he said.
••••••••
Armstrong left New Orleans for Chicago, then moved to New York and became a star. But he remained loyal to Capt. and Manuela Jones and to Peter Davis.
In 1931, on his first trip home after hitting it big, Armstrong made it a point to stop by the Colored Waifs Home, sitting with his band for a picture in front of the boys who were staying at the home and posing by himself alongside the Joneses and Davis.
He also turned benefactor, sending numerous donations to the home over the years.
He wrote in his autobiography about the day he was released into the custody of his father, noting that he was not happy to go.
And in 1937, Armstrong wrote a letter to Capt. Jones, published decades later in The Second Line, the magazine of the New Orleans Jazz Club.
“Remember, Mr. Jones, how the old place used to be back of City Park Avenue when I was a boy? You two have really stuck by those kids for years and years — in fact, you all have spent the very best days of your lives with those kids — us kids, I should say.
“You both shall always have good luck, because you’ve been wonderful to us all. You both shall be the ‘tops’ in my estimation always.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e40ebd6d9a) | 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=e40ebd6d9a&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Our Times: The Louis Armstrong childhood arrest that no one knew about | NOLA.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nola.com/entertainment/index.ssf/2014/12/our_times_the_louis_armstrong.html
By James Karst, The Times-Picayune
** Our Times: The Louis Armstrong childhood arrest that no one knew about
————————————————————
South Rampart was a thoroughfare teeming with life on Oct. 21, 1910. The street, between the Central Business District and what was known as “the back of town,” was part of a bustling, diverse neighborhood that included grocery stores and restaurants, hotels and jazz-fueled honky tonks, according to Tulane University geographer and writer Richard Campanella.
It was also teeming with police activity. That day, a Friday, a clerk and pharmacist at a drug store on Rampart between Perdido and Poydras streets were arrested in a crackdown on cocaine sales. The two were allegedly part of a ring that moved large quantities of the drug, which would be cut up into smaller packages and resold.
Down the street, between Gravier Street and Tulane Avenue, police put a stop to something else. Six boys were arrested there “for being dangerous and suspicious characters,” according to a brief on page 4 of the following day’s Daily Picayune.
“Detectives Charles Mellen, William Kennedy, John Dantonio and Patrolman Anthony Sabrier arrested Henry Smith, of Lafayette and Fulton; James Kent, of 338 Saratoga Street; Archie Anderson, of 631 Dryades Street; Willie Telfry, of 416 S. Franklin Street; Louis Armstrong, of Perdido, between Liberty and Franklin streets; and Eddie Moore, of Liberty, between Gravier and Perdido streets,” the paper said.
Armstrong was 9.
He was sent to the Colored Waifs Home.
••••••••
Armstrong is perhaps the best-known New Orleanian of all time, an ambassador of jazz for the nation and a hero of his hometown, a man who played the trumpet in a way that defined the genre, whose face is instantly recognizable around the globe. When tourists fly to New Orleans, it is through Louis Armstrong International Airport that they arrive.
There have been countless Armstrong biographies based on exhaustive research. More than 40 years after his death, you might think there would be nothing left to learn about the man.
And yet there is. Documents from the Colored Waifs Home, a facility off City Park Avenue for troubled and orphaned children where Armstrong famously began to play the horn in 1913, have never before been seen in public.
The records, in turn, have led to the discovery of long-lost newspaper stories about him before he was even a teenager. Together the fragments reveal previously unknown details about Armstrong’s early years, altering the course of a legend that he himself helped create.
In his 1954 autobiography, “Satchmo: My Life in New Orleans,” Armstrong writes that when he was arrested in 1913, he “had no idea what a Waifs Home was” — even though he had been sent to the home just three years earlier.
“This is mind-blowing,” said Ricky Riccardi, archivist at the Louis Armstrong House and Museum in New York City’s borough of Queens and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years.”
“I’ve been spending half my life researching Armstrong, and this is a breakthrough.”
In all likelihood, no one alive has even known of the existence of the Colored Waifs Home records until now.
No one except Allen Kimble.
••••••••
Allen Kimble Jr. was born in 1948 at Charity Hospital, “on the colored side,” he said. He grew up on Pauger Street in the 7th Ward and went to high school at G.W. Carver, where he met Sylvia Washington, whom he would marry in 1969, two years after they graduated.
Washington is the granddaughter of Capt. Joseph Jones, an interpreter in the Spanish-American War who rose to become a commissioned officer, and who later operated the Colored Waifs Home with his wife, Manuela, incorporating elements of his military background in his oversight of what was sometimes known as the Jones Home or the Municipal Boys Home. It later evolved into the Milne Home.
It was at the Colored Waifs Home that Armstrong began playing the cornet in 1913, under the instruction of the institution’s band instructor, Peter Davis, and where Joseph and Manuela Jones filled a void in his life as parental figures. The Joneses, Sylvia Washington said in a telephone interview, “kind of adopted him.”
Allen Kimble joined the military, serving in Vietnam, Japan and California, as well as at Keesler Air Force Base in Biloxi, Miss. He and his wife had two children.
Around 1980, not long after he was honorably discharged as a staff sergeant, Kimble was in the home where his in-laws had lived at 5619 Baccich St.
“The house had a library, built by the boys (from the home),” Kimble said. “It was in bad repair. Things were being subjected to the elements.”
Kimble had heard from his wife that her grandparents had known Louis Armstrong before he was famous, so he combed through the records in the library in search of pages that might have the musician’s name. He found some from 1910 and 1913, as well as some negatives from the home. He took them with him.
••••••••
In 1981, the Kimbles flew to Turkey, where Allen Kimble had landed a job as an alarm technician, the documents from the Colored Waifs Home carefully tucked away in his luggage. The family arrived safely in Istanbul, but eight or nine pieces of their luggage were sent by mistake to Tunisia. It would be a week or two before their other possessions, including the documents from the Waifs Home, arrived in Turkey.
Kimble’s job was eventually eliminated, a move found by the Equal Employment Opportunity Commission to be motivated by racial discrimination. He and his family moved back to the United States, later living in Oklahoma City, Hampton, Va., and Orlando. In 2005, they arrived in Scottsdale, Ariz., where Kimble fell into a deep depression. It was a dark time.
“That led to the destruction of my marriage,” he said. “Thirty-nine years …”
In 2008, Kimble returned to New Orleans, where he still had family, and began putting his life back together.
“Several times over that period, I pulled out the stuff from the Jones Home,” he said, “and on several occasions I reached out to people to try to get them interested in writing about it.
“No one was.”
••••••••
The records from the home are yellowed, brittle, fragile. They are bound together with tarnished brass pins. Holding the papers in your hands, you get the feeling they belong in a museum.
The cover page from the 1910 documents bears the seal of the Louisiana Society for the Prevention of Cruelty to Children, a group that operated separate institutions for black and white children in New Orleans.
At the top of the page, “colored” is typed in parentheses. “Daily Census for the month ending Jan. 1910,” it says below that. In the upper right corner is a handwritten note: “Louis Armstrong in the Nov. report of 1910. Pending trial. Dis Nov. 8, 1910 to aunt.”
Inside, another sheet provides a daily census for October 1910. The line for Oct. 21 shows 77 juveniles started the day at the facility. “G. Muks, Kent, Armstrong, Delphrey, Anderson & Smith” are the new arrivals.
Another page of the 1910 documents gives details of the cases against the juveniles. For Armstrong, it gives his name and his age; quotation marks seemingly indicate the charges and the status of the case against him could be the same as those for a 13-year-old several lines up: “pilfer” and “pending trial.
There’s no way of accounting for a change in the charges against Armstrong.
But whatever the case, the “dangerous and suspicious” charge was attacked on more than one occasion by local defense lawyers as an unconstitutional method used by New Orleans police to detain people at will, absent any evidence a crime had occurred.
The charge resulted from a city ordinance passed in 1902 that sought “to punish vagrants, dangerous and suspicious persons, bunco steerers, confidence men, thieves, gamblers, pimps, touts, fakers, pickpockets” and the people who protected them.
••••••••
That Armstrong had spent time at the Waifs Home is no secret. The story goes that he was arrested after shooting a .38-caliber revolver into the air on South Rampart at Perdido on New Year’s Eve in 1912.
Still, the documents Allen Kimble carried around the world and back give a more nuanced picture of Armstrong’s development. He wasn’t a fresh face when he arrived at the home in 1913. He’d been there before.
A report on the incident published in The Times-Democrat on Jan. 2, 1913, and widely recounted by biographers, said Armstrong was remanded to the home as “an old offender,” perhaps a reference to the 1910 arrest.
Soon after he arrived at the home, he began learning to play the bugle and then the cornet, under the instruction of Davis, the home’s band director.
He joined the Colored Waifs Home band and took part in its performances in parades, picnics and other events around the city. He was hooked, and after leaving the home he began picking up gigs.
“How soon after you took lessons from Mr. Davis did you start to play professionally, Louie?” Armstrong was asked by Steve Allen during a 1965 appearance with Davis on the television show “I’ve Got a Secret.”
“Soon as I got out,” he cracked.
That stay that began in 1913 is also reflected in the paperwork from the Colored Waifs Home. “Armstrong in” is handwritten on the daily census from January 1913. He was the lone inmate to enter the home Jan. 1, joining 70 other boys.
His name appears in the monthly census figures, too; he would stay, according to a note, until “sometime about June 1914.”
The thinking, until now, is that The Times-Democrat’s brief item was the first to mention Armstrong before he became famous. But the 1910 report on his “dangerous and suspicious” arrest precedes it by more than two years.
••••••••
It has also been thought that after the story on his arrest for the New Year’s Eve shooting, Armstrong would not be heard from again in the media until he became famous.
But that’s not the case, either. On May 31, just over four months after Armstrong landed in the Colored Waifs Home for at least the second time, The Daily Picayune described the home’s band on parade the day before, with Armstrong, then 11, as its charismatic leader.
“Little black imps, sixteen of them, yesterday in honor of Federal Decoration Day, each bearing a criminal record, equipped with every wrinkle that goes to make up a brass band, paraded the streets of New Orleans,” the paper reported, later reiterating that the boys were criminals. Decoration Day is now known as Memorial Day.
“Marching proudly through the streets with drum and fife, they rendered several selections, patriotic mostly, and were loudly encored from the sidewalks.”
Extraordinarily, the story goes on to name each of the musicians, mentioning not only Armstrong but also early jazz figure Henry “Kid” Rena.
“Those who made up the band were: Louis Armstrong, leader; Sam Johnson, solo cornet; Henry Rene (sic), second cornet; Louis Rock, solo alto; Isaac Ingram, first alto; Robert Oliver, flute; Louis Smith, clarinete (sic); Gus Vanzan, bass baritone; Richard Williams, bass trombone; Jeffery Harris, bass; Eddie Frazier, bass; Joseph Johnson, cymbal; James Brown, snare drum; Isaac Smoot, bass drum; Louis Stey, drum boy; Richard Cook, flag boy.”
••••••••
It’s not clear from the 1913 newspaper story whether Armstrong was playing the horn yet, according to Bruce Raeburn, curator of the Hogan Jazz Archive at Tulane University.
“He could be the mascot or the equivalent of a grand marshal, meaning that he was essentially ‘fronting’ the band, not so much as a musical leader but as a source of charismatic energy for the musicians and crowd to feed on,” he said.
Raeburn noted that something critical happened between the time Armstrong was detained at the home in 1910 and his return there in 1913: Davis arrived and started the band program.
“The first time Armstrong was in there, there was no band to get involved with,” he said. “It’s almost like he got a second chance.”
At the age of 11, Armstrong found his calling.
“There it is, in black and white, a measuring stick for how far Armstrong had already traveled in such a short period of time,” Riccardi said. “From Louis Armstrong, ‘an old offender,’ to ‘Louis Armstrong, leader’ in less than a calendar year.”
As Kimble put it, “Without Joseph and Manuela (Jones) and Peter Davis, there probably would not have been a Louis Armstrong.”
••••••••
The block where Armstrong was arrested in 1910 is quiet now. There is no marker to indicate where he was picked up. There is no statue on the spot where he shot the gun on New Year’s Eve in 1912, the fateful crime that ended up turning him into a musician.
There’s no placard at the site of the Colored Waifs Home, which was unceremoniously torn down in the mid-20th century, like so many other jazz landmarks in New Orleans.
There’s no Peter Davis Parkway. Capt. Joseph and Manuela Jones’ final resting place in Mount Olivet Cemetery is, according to Kimble, a “common grave,” with no tourists lining up to pay their respects.
Kimble believes the Joneses and Davis have not gotten the recognition they deserve for their role in Louis Armstrong’s transformation from troubled youth to world-famous musician; for nurturing other important figures in American music, including Waifs Home Band alumni Kid Rena, Champion Jack Dupree and, later, Lionel Batiste; and for caring for countless other children in desperate need of help who never became famous.
They weren’t in it for the money.
“They went out on a limb for the boys,” said Ellenor Marquez, another granddaughter of Capt. Joseph and Manuela Jones, in a telephone interview.
••••••••
Armstrong’s second stay at the home was a clear turning point in his life, a stable period of about 18 months, during which he picked up the cornet and began playing for Davis.
“I’ve always said that Armstrong’s New Year’s Eve arrest was the greatest arrest in the history of arrests, and seeing his reputation change from clipping to clipping is proof that without his being a ‘dangerous and suspicious’ character in trouble with the police, he might never have ended up in the Waifs Home, and he never would have changed the sound of American popular music,” Riccardi said.
“What would we be listening to today if it wasn’t for Armstrong’s arrest?”
Allen Kimble said he hopes to create a foundation in honor of the Joneses and Davis “to research, record and preserve our endangered history and culture.”
“I want to bring people from all over the world (to New Orleans) to research the black culture of New Orleans,” he said. “In my estimation, the damage done to black history is irreversible. My job is to research and document it so people remember we were here.”
As for the remaining documents from the library at the Joneses’ house on Baccich Street, Kimble believes they were lost when the building was demolished.
“I always regret not taking more,” he said.
••••••••
Armstrong left New Orleans for Chicago, then moved to New York and became a star. But he remained loyal to Capt. and Manuela Jones and to Peter Davis.
In 1931, on his first trip home after hitting it big, Armstrong made it a point to stop by the Colored Waifs Home, sitting with his band for a picture in front of the boys who were staying at the home and posing by himself alongside the Joneses and Davis.
He also turned benefactor, sending numerous donations to the home over the years.
He wrote in his autobiography about the day he was released into the custody of his father, noting that he was not happy to go.
And in 1937, Armstrong wrote a letter to Capt. Jones, published decades later in The Second Line, the magazine of the New Orleans Jazz Club.
“Remember, Mr. Jones, how the old place used to be back of City Park Avenue when I was a boy? You two have really stuck by those kids for years and years — in fact, you all have spent the very best days of your lives with those kids — us kids, I should say.
“You both shall always have good luck, because you’ve been wonderful to us all. You both shall be the ‘tops’ in my estimation always.”
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Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many : Entertainment
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http://billingsgazette.com/entertainment/enjoy/noted-jazz-musician-ronnie-bedford-remembered-as-gregarious-player-mentor/article_a7262dcf-481e-56d2-8635-fad44c1657a7.html
http://billingsgazette.com/entertainment/
** Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many
————————————————————
16 HOURS AGO • BY JACI WEBB (http://billingsgazette.com/users/profile/JaciWebb)
Bill Honaker recalled nationally renowned jazz drummer Ronnie Bedford as a gentle man who became a wild man behind the drums.
Bedford died Saturday at the age of 83. His last performance was during Happy Hour at the Powell Valley Care Center in Wyoming.
Honaker, owner of Walker’s Grill and Tapas Bar, hosted an 80th birthday party for Bedford at the downtown Billings restaurant in June 2011. Walker’s was a favorite spot of Bedford’s, and he played there often over the past 20 years, starting out at the old Walker’s Grill location on Third Avenue North. Bedford’s 2010 show at the Sunday jazz show drew the club’s largest crowd ever.
“If Ronnie called, you dropped what you were doing and got a show together,” Honaker said. “He’d always call me up and say, ‘Hey Billy, I’m putting something together.’ For his 80th, we had all the cats who played with him over the years come join him.”
Among the younger generation of musicians influenced by Bedford were Billings players like guitarist Alex Nauman and bassist Parker Brown.
Brown said Bedford became his mentor when the two met in 2007 and started playing together. In 2009, Bedford, Brown and Nauman performed at Grace Montessori, inspiring yet another generation of young people.
Nauman said the first time he saw Bedford perform was when Nauman was in middle school in Basin, Wyo. Nauman and his father drove to Powell to see Bedford play at Northwest College, where Bedford taught percussion for many years.
“He may have been one of the first influences I ever had,” Nauman said. “He would always bring out the best musicians from New York to play.”
Bedford’s first professional appearance was at age 16 in his native Connecticut. Bedford served in the U.S. Army and played most of his career in New York and New Jersey. He toured the U.S. and Europe with jazz greats Benny Goodman, Benny Carter and hundreds of others. Bedford once played a huge show in Central Park with the Benny Goodman Quintet and also performed at the Royal Albert Hall in London.
In 1980, Bedford and his wife, Janet, took a vacation to Wyoming, marveling at the slower pace of life and beauty of Wyoming.
After several more visits, they moved to Powell in 1987 when Bedford was hired to teach at Northwest College. He served for 25 years as a percussion teacher and helped found the Yellowstone Jazz Festival. Bedford also earned the Governor’s Award for the Arts for promoting jazz throughout the region.
“He has influenced three generations of musicians,” Honaker said. “There are a whole bunch of people who make music, but not a lot of them want to pass it on.”
Billings drummer Matt Devitt said Bedford played with a lot of “A-listers,” but beyond that he brought such passion to his music, you could feel.
“He brought a lot of joy to the music. It was apparent that he enjoyed what he did,” Devitt said.
Bedford is survived by Janet, his wife of 35 years, and children Georgia Schwartz and Jason Bedford. A public celebration of his life and music will be announced at a later date.
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Warwick, Ny 10990
USA
Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many : Entertainment
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http://billingsgazette.com/entertainment/
** Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many
————————————————————
16 HOURS AGO • BY JACI WEBB (http://billingsgazette.com/users/profile/JaciWebb)
Bill Honaker recalled nationally renowned jazz drummer Ronnie Bedford as a gentle man who became a wild man behind the drums.
Bedford died Saturday at the age of 83. His last performance was during Happy Hour at the Powell Valley Care Center in Wyoming.
Honaker, owner of Walker’s Grill and Tapas Bar, hosted an 80th birthday party for Bedford at the downtown Billings restaurant in June 2011. Walker’s was a favorite spot of Bedford’s, and he played there often over the past 20 years, starting out at the old Walker’s Grill location on Third Avenue North. Bedford’s 2010 show at the Sunday jazz show drew the club’s largest crowd ever.
“If Ronnie called, you dropped what you were doing and got a show together,” Honaker said. “He’d always call me up and say, ‘Hey Billy, I’m putting something together.’ For his 80th, we had all the cats who played with him over the years come join him.”
Among the younger generation of musicians influenced by Bedford were Billings players like guitarist Alex Nauman and bassist Parker Brown.
Brown said Bedford became his mentor when the two met in 2007 and started playing together. In 2009, Bedford, Brown and Nauman performed at Grace Montessori, inspiring yet another generation of young people.
Nauman said the first time he saw Bedford perform was when Nauman was in middle school in Basin, Wyo. Nauman and his father drove to Powell to see Bedford play at Northwest College, where Bedford taught percussion for many years.
“He may have been one of the first influences I ever had,” Nauman said. “He would always bring out the best musicians from New York to play.”
Bedford’s first professional appearance was at age 16 in his native Connecticut. Bedford served in the U.S. Army and played most of his career in New York and New Jersey. He toured the U.S. and Europe with jazz greats Benny Goodman, Benny Carter and hundreds of others. Bedford once played a huge show in Central Park with the Benny Goodman Quintet and also performed at the Royal Albert Hall in London.
In 1980, Bedford and his wife, Janet, took a vacation to Wyoming, marveling at the slower pace of life and beauty of Wyoming.
After several more visits, they moved to Powell in 1987 when Bedford was hired to teach at Northwest College. He served for 25 years as a percussion teacher and helped found the Yellowstone Jazz Festival. Bedford also earned the Governor’s Award for the Arts for promoting jazz throughout the region.
“He has influenced three generations of musicians,” Honaker said. “There are a whole bunch of people who make music, but not a lot of them want to pass it on.”
Billings drummer Matt Devitt said Bedford played with a lot of “A-listers,” but beyond that he brought such passion to his music, you could feel.
“He brought a lot of joy to the music. It was apparent that he enjoyed what he did,” Devitt said.
Bedford is survived by Janet, his wife of 35 years, and children Georgia Schwartz and Jason Bedford. A public celebration of his life and music will be announced at a later date.
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many : Entertainment
http://www.jazzpromoservices.com/
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http://billingsgazette.com/entertainment/
** Noted jazz musician Ronnie Bedford remembered as gregarious player, mentor to many
————————————————————
16 HOURS AGO • BY JACI WEBB (http://billingsgazette.com/users/profile/JaciWebb)
Bill Honaker recalled nationally renowned jazz drummer Ronnie Bedford as a gentle man who became a wild man behind the drums.
Bedford died Saturday at the age of 83. His last performance was during Happy Hour at the Powell Valley Care Center in Wyoming.
Honaker, owner of Walker’s Grill and Tapas Bar, hosted an 80th birthday party for Bedford at the downtown Billings restaurant in June 2011. Walker’s was a favorite spot of Bedford’s, and he played there often over the past 20 years, starting out at the old Walker’s Grill location on Third Avenue North. Bedford’s 2010 show at the Sunday jazz show drew the club’s largest crowd ever.
“If Ronnie called, you dropped what you were doing and got a show together,” Honaker said. “He’d always call me up and say, ‘Hey Billy, I’m putting something together.’ For his 80th, we had all the cats who played with him over the years come join him.”
Among the younger generation of musicians influenced by Bedford were Billings players like guitarist Alex Nauman and bassist Parker Brown.
Brown said Bedford became his mentor when the two met in 2007 and started playing together. In 2009, Bedford, Brown and Nauman performed at Grace Montessori, inspiring yet another generation of young people.
Nauman said the first time he saw Bedford perform was when Nauman was in middle school in Basin, Wyo. Nauman and his father drove to Powell to see Bedford play at Northwest College, where Bedford taught percussion for many years.
“He may have been one of the first influences I ever had,” Nauman said. “He would always bring out the best musicians from New York to play.”
Bedford’s first professional appearance was at age 16 in his native Connecticut. Bedford served in the U.S. Army and played most of his career in New York and New Jersey. He toured the U.S. and Europe with jazz greats Benny Goodman, Benny Carter and hundreds of others. Bedford once played a huge show in Central Park with the Benny Goodman Quintet and also performed at the Royal Albert Hall in London.
In 1980, Bedford and his wife, Janet, took a vacation to Wyoming, marveling at the slower pace of life and beauty of Wyoming.
After several more visits, they moved to Powell in 1987 when Bedford was hired to teach at Northwest College. He served for 25 years as a percussion teacher and helped found the Yellowstone Jazz Festival. Bedford also earned the Governor’s Award for the Arts for promoting jazz throughout the region.
“He has influenced three generations of musicians,” Honaker said. “There are a whole bunch of people who make music, but not a lot of them want to pass it on.”
Billings drummer Matt Devitt said Bedford played with a lot of “A-listers,” but beyond that he brought such passion to his music, you could feel.
“He brought a lot of joy to the music. It was apparent that he enjoyed what he did,” Devitt said.
Bedford is survived by Janet, his wife of 35 years, and children Georgia Schwartz and Jason Bedford. A public celebration of his life and music will be announced at a later date.
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269 State Route 94 South
Warwick, Ny 10990
USA
Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
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** Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
————————————————————
cliffordadams.png
TRENTON (http://www.nj.com/trenton) – Trenton residents, musicians and fans of the local jazz scene are rallying to help Kool and the Gang trombonist Clifford Adams, who is hospitalized and in need of a liver transplant.
Adams, a Trenton native, has been suffering with medical issues for about a year and has no health insurance. He is currently being treated at Capital Health Medical Center in Trenton.
His family and friends are raising funds to help pay his medical bills and get him transferred to a hospital where he can have a liver transplant, said Michael Ray, a longtime friend of Adams who also played the trumpet in Kool and the Gang.
“He is my oldest friend in life and he has put two kids through college playing the trombone, which is a miracle,” Ray said. “And now he needs help.”
Ray describes Adams, 63, as a loving and caring husband and father and a great friend.
“He is just fading away, fading away,” Ray said.
“Everybody thinks because you played with Kool and the Gang you must be rich,” Ray said. “But it is about playing a gig and getting paid, and if you can’t play, well — he has been on the sidelines for a little over a year now.”
Ray said he hopes his fellow musicians will rally around one of their own.
“All I can do is put the word out and Kool and the Gang are trying to step up to the plate,” he said.
Adams’ family and friends have been reaching out and asking for donations via Jazz Bridge, a nonprofit founded to help jazz musicians in the region though tough times.
So far, the group has raised over $4,000, said Wendy Simon Sinkler, who founded Jazz Bridge with fellow jazz singer Suzanne Cloud.
“People are coming together for the music and to help the musicians that we love,” said Simon Sinkler.
“The whole thing is really to rally for him because the problem is, with no health insurance, it is difficult to be treated,” she said.
Evans said Adams is the kind of musician who just connects with people and knows what to do.
“He picks it up real good,” Evans said. “He has a knack for it. He will just get it.”
Donations can be made to Jazz Bridge online (http://www.jazzbridge.org/ways-to-help/donate/) , but friends of Adams are also putting on benefits in his honor.
On Saturday, a fundraiser will be held at the Candlelight Lounge in Trenton. The fundraiser will feature music from the Victor North Trio. The event starts at 3:30 p.m. and runs until 7:30 p.m. at the lounge at 24 Passaic Street in Trenton.
Next month, there will be another fundraiser in Willingboro organized by Todd Evans, a spoken word poet who has performed on occasion with Adams. The event on Jan. 16, will feature music and poetry and will run from 6 to 9 p.m. at the JFK Recreational Center in Willingboro.
For more information about Jazz Bridge or to donate visit http://www.jazzbridge.org (http://www.jazzbridge.org/) .
Jenna Pizzi may be reached at jpizzi@njtimes.com (mailto:jpizzi@njtimes.com) . Follow her on Twitter @JennaPizzi (http://www.twitter.com/jennapizzi) . Find The Times of Trenton on Facebook (https://www.facebook.com/TimesofTrenton?cmpid=TimesFacebook) .
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
http://www.jazzpromoservices.com/
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** Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
————————————————————
cliffordadams.png
TRENTON (http://www.nj.com/trenton) – Trenton residents, musicians and fans of the local jazz scene are rallying to help Kool and the Gang trombonist Clifford Adams, who is hospitalized and in need of a liver transplant.
Adams, a Trenton native, has been suffering with medical issues for about a year and has no health insurance. He is currently being treated at Capital Health Medical Center in Trenton.
His family and friends are raising funds to help pay his medical bills and get him transferred to a hospital where he can have a liver transplant, said Michael Ray, a longtime friend of Adams who also played the trumpet in Kool and the Gang.
“He is my oldest friend in life and he has put two kids through college playing the trombone, which is a miracle,” Ray said. “And now he needs help.”
Ray describes Adams, 63, as a loving and caring husband and father and a great friend.
“He is just fading away, fading away,” Ray said.
“Everybody thinks because you played with Kool and the Gang you must be rich,” Ray said. “But it is about playing a gig and getting paid, and if you can’t play, well — he has been on the sidelines for a little over a year now.”
Ray said he hopes his fellow musicians will rally around one of their own.
“All I can do is put the word out and Kool and the Gang are trying to step up to the plate,” he said.
Adams’ family and friends have been reaching out and asking for donations via Jazz Bridge, a nonprofit founded to help jazz musicians in the region though tough times.
So far, the group has raised over $4,000, said Wendy Simon Sinkler, who founded Jazz Bridge with fellow jazz singer Suzanne Cloud.
“People are coming together for the music and to help the musicians that we love,” said Simon Sinkler.
“The whole thing is really to rally for him because the problem is, with no health insurance, it is difficult to be treated,” she said.
Evans said Adams is the kind of musician who just connects with people and knows what to do.
“He picks it up real good,” Evans said. “He has a knack for it. He will just get it.”
Donations can be made to Jazz Bridge online (http://www.jazzbridge.org/ways-to-help/donate/) , but friends of Adams are also putting on benefits in his honor.
On Saturday, a fundraiser will be held at the Candlelight Lounge in Trenton. The fundraiser will feature music from the Victor North Trio. The event starts at 3:30 p.m. and runs until 7:30 p.m. at the lounge at 24 Passaic Street in Trenton.
Next month, there will be another fundraiser in Willingboro organized by Todd Evans, a spoken word poet who has performed on occasion with Adams. The event on Jan. 16, will feature music and poetry and will run from 6 to 9 p.m. at the JFK Recreational Center in Willingboro.
For more information about Jazz Bridge or to donate visit http://www.jazzbridge.org (http://www.jazzbridge.org/) .
Jenna Pizzi may be reached at jpizzi@njtimes.com (mailto:jpizzi@njtimes.com) . Follow her on Twitter @JennaPizzi (http://www.twitter.com/jennapizzi) . Find The Times of Trenton on Facebook (https://www.facebook.com/TimesofTrenton?cmpid=TimesFacebook) .
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=297b391b90) | 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=297b391b90&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
http://www.jazzpromoservices.com/
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** Trenton jazz community rallies to help Kool and the Gang trombonist who needs liver transplant
————————————————————
cliffordadams.png
TRENTON (http://www.nj.com/trenton) – Trenton residents, musicians and fans of the local jazz scene are rallying to help Kool and the Gang trombonist Clifford Adams, who is hospitalized and in need of a liver transplant.
Adams, a Trenton native, has been suffering with medical issues for about a year and has no health insurance. He is currently being treated at Capital Health Medical Center in Trenton.
His family and friends are raising funds to help pay his medical bills and get him transferred to a hospital where he can have a liver transplant, said Michael Ray, a longtime friend of Adams who also played the trumpet in Kool and the Gang.
“He is my oldest friend in life and he has put two kids through college playing the trombone, which is a miracle,” Ray said. “And now he needs help.”
Ray describes Adams, 63, as a loving and caring husband and father and a great friend.
“He is just fading away, fading away,” Ray said.
“Everybody thinks because you played with Kool and the Gang you must be rich,” Ray said. “But it is about playing a gig and getting paid, and if you can’t play, well — he has been on the sidelines for a little over a year now.”
Ray said he hopes his fellow musicians will rally around one of their own.
“All I can do is put the word out and Kool and the Gang are trying to step up to the plate,” he said.
Adams’ family and friends have been reaching out and asking for donations via Jazz Bridge, a nonprofit founded to help jazz musicians in the region though tough times.
So far, the group has raised over $4,000, said Wendy Simon Sinkler, who founded Jazz Bridge with fellow jazz singer Suzanne Cloud.
“People are coming together for the music and to help the musicians that we love,” said Simon Sinkler.
“The whole thing is really to rally for him because the problem is, with no health insurance, it is difficult to be treated,” she said.
Evans said Adams is the kind of musician who just connects with people and knows what to do.
“He picks it up real good,” Evans said. “He has a knack for it. He will just get it.”
Donations can be made to Jazz Bridge online (http://www.jazzbridge.org/ways-to-help/donate/) , but friends of Adams are also putting on benefits in his honor.
On Saturday, a fundraiser will be held at the Candlelight Lounge in Trenton. The fundraiser will feature music from the Victor North Trio. The event starts at 3:30 p.m. and runs until 7:30 p.m. at the lounge at 24 Passaic Street in Trenton.
Next month, there will be another fundraiser in Willingboro organized by Todd Evans, a spoken word poet who has performed on occasion with Adams. The event on Jan. 16, will feature music and poetry and will run from 6 to 9 p.m. at the JFK Recreational Center in Willingboro.
For more information about Jazz Bridge or to donate visit http://www.jazzbridge.org (http://www.jazzbridge.org/) .
Jenna Pizzi may be reached at jpizzi@njtimes.com (mailto:jpizzi@njtimes.com) . Follow her on Twitter @JennaPizzi (http://www.twitter.com/jennapizzi) . Find The Times of Trenton on Facebook (https://www.facebook.com/TimesofTrenton?cmpid=TimesFacebook) .
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▶ John Lewis England’s Carol – YouTube
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* Baritone Saxophone – Ronnie Ross (http://www.discogs.com/artist/126152-Ronnie-Ross)
* Flute – Gerry Weinkopf (http://www.discogs.com/artist/314710-Gerry-Weinkopf)
* Liner Notes – Nat Hentoff (http://www.discogs.com/artist/332791-Nat-Hentoff)
* Orchestra – Stuttgart Symphony Orchestra (http://www.discogs.com/artist/3218849-Stuttgart-Symphony-Orchestra)
* Piano, Conductor – John Lewis (2) (http://www.discogs.com/artist/267675-John-Lewis-2)
*
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▶ John Lewis England’s Carol – YouTube
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* Baritone Saxophone – Ronnie Ross (http://www.discogs.com/artist/126152-Ronnie-Ross)
* Flute – Gerry Weinkopf (http://www.discogs.com/artist/314710-Gerry-Weinkopf)
* Liner Notes – Nat Hentoff (http://www.discogs.com/artist/332791-Nat-Hentoff)
* Orchestra – Stuttgart Symphony Orchestra (http://www.discogs.com/artist/3218849-Stuttgart-Symphony-Orchestra)
* Piano, Conductor – John Lewis (2) (http://www.discogs.com/artist/267675-John-Lewis-2)
*
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* Baritone Saxophone – Ronnie Ross (http://www.discogs.com/artist/126152-Ronnie-Ross)
* Flute – Gerry Weinkopf (http://www.discogs.com/artist/314710-Gerry-Weinkopf)
* Liner Notes – Nat Hentoff (http://www.discogs.com/artist/332791-Nat-Hentoff)
* Orchestra – Stuttgart Symphony Orchestra (http://www.discogs.com/artist/3218849-Stuttgart-Symphony-Orchestra)
* Piano, Conductor – John Lewis (2) (http://www.discogs.com/artist/267675-John-Lewis-2)
*
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Mills Brothers Christmas – JazzWax
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** Mills Brothers Christmas
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c726101e970b-popup
What better way to usher in the hushed, mellow holidays ahead than with the Mills Brothers singing a series of Christmas songs. Vocal groups don’t get much better than this…
Here’s I Believe in Santa Claus (https://www.youtube.com/watch?v=VaiH0PZIOzM) …
Here’s I’ll Be Home for Christmas (https://www.youtube.com/watch?v=W0etIMaTkdI) …
Here’s On This Christmas Eve (https://www.youtube.com/watch?v=QAPNF11Fha4) …
Here’s My Christmas Song for You (https://www.youtube.com/watch?v=L0yeAVH3klc) …
Here’s Jingle Bells (https://www.youtube.com/watch?v=dD8ssthPHCY) …
And here’s White Christmas (https://www.youtube.com/watch?v=nqls2LcUUHw) …
Posted by Marc Myers (http://profile.typepad.com/marcmyers) at 12:05 AM | Permalink (http://www.jazzwax.com/2014/12/mills-brothers-christmas.html)
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Mills Brothers Christmas – JazzWax
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** Mills Brothers Christmas
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c726101e970b-popup
What better way to usher in the hushed, mellow holidays ahead than with the Mills Brothers singing a series of Christmas songs. Vocal groups don’t get much better than this…
Here’s I Believe in Santa Claus (https://www.youtube.com/watch?v=VaiH0PZIOzM) …
Here’s I’ll Be Home for Christmas (https://www.youtube.com/watch?v=W0etIMaTkdI) …
Here’s On This Christmas Eve (https://www.youtube.com/watch?v=QAPNF11Fha4) …
Here’s My Christmas Song for You (https://www.youtube.com/watch?v=L0yeAVH3klc) …
Here’s Jingle Bells (https://www.youtube.com/watch?v=dD8ssthPHCY) …
And here’s White Christmas (https://www.youtube.com/watch?v=nqls2LcUUHw) …
Posted by Marc Myers (http://profile.typepad.com/marcmyers) at 12:05 AM | Permalink (http://www.jazzwax.com/2014/12/mills-brothers-christmas.html)
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Mills Brothers Christmas – JazzWax
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http://www.jazzwax.com/2014/12/mills-brothers-christmas.html?utm_source=feedburner
** Mills Brothers Christmas
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c726101e970b-popup
What better way to usher in the hushed, mellow holidays ahead than with the Mills Brothers singing a series of Christmas songs. Vocal groups don’t get much better than this…
Here’s I Believe in Santa Claus (https://www.youtube.com/watch?v=VaiH0PZIOzM) …
Here’s I’ll Be Home for Christmas (https://www.youtube.com/watch?v=W0etIMaTkdI) …
Here’s On This Christmas Eve (https://www.youtube.com/watch?v=QAPNF11Fha4) …
Here’s My Christmas Song for You (https://www.youtube.com/watch?v=L0yeAVH3klc) …
Here’s Jingle Bells (https://www.youtube.com/watch?v=dD8ssthPHCY) …
And here’s White Christmas (https://www.youtube.com/watch?v=nqls2LcUUHw) …
Posted by Marc Myers (http://profile.typepad.com/marcmyers) at 12:05 AM | Permalink (http://www.jazzwax.com/2014/12/mills-brothers-christmas.html)
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The story of ‘Seinfeld’ and the famous Buddy Rich tapes | When You Put It That Way
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http://whenyouputitthatway.wordpress.com/2012/10/06/the-story-of-seinfeld-and-the-famous-buddy-rich-tapes/
** The story of ‘Seinfeld’ and the famous Buddy Rich tapes
————————————————————
http://whenyouputitthatway.files.wordpress.com/2012/10/buddyrich-10b.jpg
The famous Buddy Rich tapes went viral before there was an Internet. Rich, who today is regarded as one of the best Big Band drummers the world has ever seen, would perform with his bands onstage and when they didn’t play up to his standard he would take them back to the tour bus and berate them. But it wasn’t just yelling.
They were the type of rants that would inspire Rich to get into a groove of pure, vitriolic rage. It’s easy to picture him standing at the front of the bus absolutely blowing his stack and reminding himself of other things that annoyed him, then go into a violent spasm about that, too.
Well, one of his band members – maybe more, no one is quite sure of the exact details – had the good sense to start recording Rich when he flew off the handle. The tapes was passed around and somehow made its way into the ears of Jerry Seinfeld and Larry David, who used the recordings as a source of inspiration for Seinfeld. The comic rage was put to good use in “The Opposite” (when George discovers every instinct he’s ever had is wrong), “The Understudy” (where Elaine hires Frank Costanza to translate what the Korean women are saying about her) and “The Butter Shave” (when Jerry intentionally bombs onstage to sabotage Bania).
Below is some of the audio from Rich’s ranting followed by Jerry’s explanation of he used it for the show.
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The story of ‘Seinfeld’ and the famous Buddy Rich tapes | When You Put It That Way
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** The story of ‘Seinfeld’ and the famous Buddy Rich tapes
————————————————————
http://whenyouputitthatway.files.wordpress.com/2012/10/buddyrich-10b.jpg
The famous Buddy Rich tapes went viral before there was an Internet. Rich, who today is regarded as one of the best Big Band drummers the world has ever seen, would perform with his bands onstage and when they didn’t play up to his standard he would take them back to the tour bus and berate them. But it wasn’t just yelling.
They were the type of rants that would inspire Rich to get into a groove of pure, vitriolic rage. It’s easy to picture him standing at the front of the bus absolutely blowing his stack and reminding himself of other things that annoyed him, then go into a violent spasm about that, too.
Well, one of his band members – maybe more, no one is quite sure of the exact details – had the good sense to start recording Rich when he flew off the handle. The tapes was passed around and somehow made its way into the ears of Jerry Seinfeld and Larry David, who used the recordings as a source of inspiration for Seinfeld. The comic rage was put to good use in “The Opposite” (when George discovers every instinct he’s ever had is wrong), “The Understudy” (where Elaine hires Frank Costanza to translate what the Korean women are saying about her) and “The Butter Shave” (when Jerry intentionally bombs onstage to sabotage Bania).
Below is some of the audio from Rich’s ranting followed by Jerry’s explanation of he used it for the show.
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The story of ‘Seinfeld’ and the famous Buddy Rich tapes | When You Put It That Way
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://whenyouputitthatway.wordpress.com/2012/10/06/the-story-of-seinfeld-and-the-famous-buddy-rich-tapes/
** The story of ‘Seinfeld’ and the famous Buddy Rich tapes
————————————————————
http://whenyouputitthatway.files.wordpress.com/2012/10/buddyrich-10b.jpg
The famous Buddy Rich tapes went viral before there was an Internet. Rich, who today is regarded as one of the best Big Band drummers the world has ever seen, would perform with his bands onstage and when they didn’t play up to his standard he would take them back to the tour bus and berate them. But it wasn’t just yelling.
They were the type of rants that would inspire Rich to get into a groove of pure, vitriolic rage. It’s easy to picture him standing at the front of the bus absolutely blowing his stack and reminding himself of other things that annoyed him, then go into a violent spasm about that, too.
Well, one of his band members – maybe more, no one is quite sure of the exact details – had the good sense to start recording Rich when he flew off the handle. The tapes was passed around and somehow made its way into the ears of Jerry Seinfeld and Larry David, who used the recordings as a source of inspiration for Seinfeld. The comic rage was put to good use in “The Opposite” (when George discovers every instinct he’s ever had is wrong), “The Understudy” (where Elaine hires Frank Costanza to translate what the Korean women are saying about her) and “The Butter Shave” (when Jerry intentionally bombs onstage to sabotage Bania).
Below is some of the audio from Rich’s ranting followed by Jerry’s explanation of he used it for the show.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c2e6eb978c) | 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=c2e6eb978c&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic: New day for Cuban-American relations – CBS News 60 Minutes
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http://www.cbsnews.com/news/new-day-for-cuban-american-relations/http://www.cbsnews.com/news/new-day-for-cuban-american-relations/
** New day for Cuban-American relations
————————————————————
The following script is from “Cuba” which aired on Dec. 21, 2014. Scott Pelley is the correspondent. Nicole Young, Oriana Zill de Granados, Andy Court and Robert Anderson, producers.
A truce has been declared along a frontline of the Cold War. After 18 months of secret talks and an old fashioned exchange of captured spies, President Obama surprised the world, on Wednesday, reestablishing relations with Cuba, in a deal guaranteed by the Vatican. It happened because of accidents of history. A second-term president doesn’t have to worry about losing Florida. For the first time in 2,000 years, the pope is Latin American. And the last Castro seems somewhat more inclined to evolution than revolution.
safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
** Rewind to 1989: The contradictions of life in Cuba (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
————————————————————
It’s been half a century since communism staked a beachhead 90 miles from the United States, half a century since the island was primed as the detonator in a countdown to nuclear holocaust. Once, the world held its breath over Cuba. But when we arrived there, this past week, we found a nation still waiting to exhale.
Havana is a city of antiques. An island in the flow of time. Wealthy societies spend fortunes to recreate what comes naturally to poverty — a living museum of old models still running beyond their time; Chevy and Ford, Marx and Lenin.
Wednesday, it seemed to fit the pattern that news of change would come from a classic, an 83-year-old dictator clothed in fatigue.
Even the music stopped at Havana’s University of the Arts, where visiting teachers from Chicago were interrupted so students could be told their future would not be the past.
A Cuban and an American clasped hands. Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic just happened to catch the downbeat of history.
Orbert Davis: It was just a joyous occasion of experiencing change and something that they’ve been hoping for, for a very long time.
Mark Ingram: And the cheering, some tears and, you know, just amazed and happy, not knowing what really that means other than communication with the U.S.
Before now, communication sounded like this. Cultural exchanges have been permitted for years. And, the Chicago musicians were here on one of those programs. We asked these young Cuban performers what they would call their generation. One of them said, “How ’bout the ‘window generation? Because now we can see the future.”
Scott Pelley: Ernesto, how do you imagine your life will be different than that of your parents?
Ernesto Lima: I don’t imagine. I’m sure that it will be different. So it would be better. So better. And Cuba will be going, a great place.
Scott Pelley: Give me some specifics of things that you think will change in Cuba.
Ernesto Lima: I think the economy. And this is important thing because we can get a better instrument. We can get computers, Internet.
Scott Pelley: You’d like to be online?
Ernesto Lima: Yes. Yes.
Wendy Ora: It’s another perspective.
Scott Pelley: Another perspective on the world if you’re communicating with the United States.
Ernesto Lima: I think we will be more of close to the freedom that you always are talking about your country, and the freedom that we want to make.
But “freedom,” remains a distant dream. Among the government graffiti is the slogan, “socialism or death,” which could be read more as a warning than a call to patriotism. Stalin would be comfortable behind the wheel of this 1950s autocracy, the last Big Brother model in the West. Housing, medical care and education are all free. But look at what’s missing from this picture. This has to be the only harbor in the islands that has no boats. The government restricts ownership because many Cubans would sail away.
fullshow1221.jpg
Cuba
CBS News
Every neighborhood is organized under its own Committee for the Defense of the Revolution. The CDR’s hold neighborhood meetings and every Cuban has to attend. A lot of them hate that. Because the government runs just about everything, 80 percent of the Cuban people are government employees and they get paid pretty much the same. Somewhere between $20 and $50 a month, it doesn’t really matter much whether you’re a street sweeper or an accountant. They also get one of these. It’s a food ration book. It covers things like eggs and milk and meat and rice. The food that is purchased with these ration books is virtually free, but it’s supposed to last a month, and any Cuban will tell you, it lasts about 10 days.
Stomachs may grumble but not too loudly. Hector Maseda Gutierrez went to prison for criticizing rations, pay and medical care. And yet he was willing to do it again with us.
Hector Maseda Gutierrez: I have always been and will always be faithful to the truth, even if it harms me.
Scott Pelley: What is the truth that needs to be known?
Hector Maseda Gutierrez: What happens in Cuba every day, the way people suffer, the shortages, the deprivations. The government simply does not care about what happens to the Cuban people; it only cares about its own interests.
He’s a man of extraordinary courage — a nuclear engineer by training — Maseda Gutierrez started an opposition news service. He was jailed in 2003 in a roundup of 75 dissidents. His wife led a protest movement that Cubans called “The Ladies in White.” In 2011, Maseda Gutierrez was released into her arms but eight months after this picture she was dead. It was a sudden illness. And he will not forgive missing her last eight years. After so much sacrifice we wondered what a man like him thought of America establishing relations with the regime.
Hector Maseda Gutierrez: I think this is a very interesting, very intelligent and very positive move by the U.S. government. We applaud this and will support it. It is what the people need. Even if only some of this is achieved, it will be a substantial leap forward, regardless of the Castros.
** “The government simply does not care about what happens to the Cuban people; it only cares about its own interests.”
————————————————————
Any connection to America, he told us, will inevitably increase pressure for reform.
Scott Pelley: Are you in favor of the embargo being lifted?
Hector Maseda Gutierrez: I am against the lifting of the embargo. It is a way to pressure the Cuban government to really achieve things for the Cuban people and for the world.
Scott Pelley: Do you have hope for Cuba?
Hector Maseda Gutierrez: Yes, I have great hopes for Cuba, as I never have had before.
The hope of a relationship dimmed in 1961 when the U.S. took it’s flag and went home. One of the diplomats closing the embassy then was Wayne Smith.
Wayne Smith: I remember it very well. The Cubans, as sort of a farewell, had brought a battalion of women militia members to the embassy to protect us. We didn’t need any protection– except for– dozens and dozens of people trying to get visas before we left.
Months later, America organized the failed invasion at the Bay of Pigs. Then came the trade embargo JFK signed after he took delivery of 1,200 Cuban cigars. Wayne Smith, who’s famous among diplomats for his work on Cuba, returned in the Carter years in another failed attempt to patch up relations.
Scott Pelley: There are a lot of reasonable Americans who argue, “Why reward the Castros? You’re caving in to the Castro regime.”
Wayne Smith: We haven’t gained anything in 50 years with this refusal to have a dialogue, embargo, all that. That hasn’t gained anything. Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.
Scott Pelley: You probably know Fidel Castro about as well as any American. How do you think he’s reacting to this?
Wayne Smith: I think he’s reacting very favorably. They didn’t do this against his will.
Smith thinks the embargo should end too. But it won’t. Only Congress can do that. The U.S. Treasury will continue to enforce the rules as Orbert Davis and Mark Ingram discovered.
** “Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.”
————————————————————
Scott Pelley: You wanted to bring some things to these students?
Mark Ingram: Yes. ‘Cause they have limited resources here. I mean, they have 12 music stands.
Scott Pelley: How many do you need?
Mark Ingram: Well, it’s a 60-piece orchestra. You know–
Scott Pelley: What else do they lack?
Mark Ingram: Reeds. We have one student who’s a saxophone player. They’re playin’ reeds from 1970. Old dried out reeds, you know, paper.
Orbert Davis: Music paper–
Scott Pelley: Did you bring this stuff to them?
Mark Ingram: We weren’t able to bring any of this stuff to them. You can’t do that.
Scott Pelley: So because of what they call the embargo here you couldn’t bring music paper, you couldn’t bring reeds?
Orbert Davis: To use, but not to give.
Scott Pelley: You couldn’t give it to them?
Orbert Davis: No. We’re using the music stands, but they are ours.
Mark Ingram: We cannot donate them.
Scott Pelley: You have to take them back with you.
Orbert Davis: Yes.
Scott Pelley: You’d like to leave them?
Orbert Davis: Can we say that?
Mark Ingram: We would love to leave them. Yes, we would love to leave them.
Scott Pelley: But the United States Treasury will not let you?
Mark Ingram: Well, yeah. No. They told us we can’t do that. And the Cuban government says you can’t do that.
They can’t make extra copies of the sheet music either.
Orbert Davis: Unfortunately, we could not Xerox the music because there is no Xerox machine.
Scott Pelley: At a university?
Mark Ingram: At a university.
Orbert Davis: A university, right.
Mark Ingram: No copy machine. Can’t afford one.
And they can’t e-mail it. Only five percent of Cubans are connected to the world wide web, it’s about the lowest percentage on Earth. In the new agreement, America added an exception to the embargo, U.S. Internet technology.
Jeff DeLaurentis: This could be a game changer down the line.
Jeff DeLaurentis is America’s top diplomat in Havana.
Jeff DeLaurentis: The government here did its best to restrict the flow of information. And they have committed to providing more access to the Internet to the Cuban people in the course of our discussions.
DeLaurentis works in the same building that America abandoned in ’61. It won’t fly the flag as an embassy until next year. But U.S. diplomats have been back since the 70s trying to pry Cuba open. For example, Castro first permitted cell phones in 2008. And after that, the U.S. brought in tens of thousands of phones and gave them away for free.
Jeff DeLaurentis: We believe that lighting up the island is gonna make a major change here.
Scott Pelley: Lighting up the island in terms of connecting it to the worldwide web?
Jeff DeLaurentis: Yes, yes.
Darkness has been lifting slowly. Raul Castro, who took over from his brother, has allowed some small business and real estate ownership. And, last year, he largely lifted the ban on travel.
Scott Pelley: And I wonder now, in this building, how many Cubans come to you, looking for visas to the United States?
Jeff DeLaurentis: 500 a day, sometimes more–
Scott Pelley: 500 a day?
Jeff DeLaurentis: 500 a day.
Scott Pelley: You process 500 Cubans a day, looking for visas to go to the United States?
Jeff DeLaurentis: Yes, we do.
It seems remarkable, when you consider that an entire generation of Cubans has been taught their suffering is imposed by America and its embargo. But even that was something most Cubans couldn’t buy. They’re too far from Marx, too close to Miami. They pirate American TV signals, love jazz, baseball is the national pastime, and two million family members live in America. Most any Cuban will tell you, in a whisper, they’re poor because socialism is bankrupt.
Scott Pelley: We were driving through town today and I was struck. I looked up at an apartment building and somebody had hung a Cuban flag and an American flag, side by side. I have to imagine on Monday somebody would’ve gotten arrested for that.
Jeff DeLaurentis: Yes. I suspect that’s probably true. And I suspect we’re going to see more and more of that.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d098cc59ee) | 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=d098cc59ee&e=[UNIQID])
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USA
Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic: New day for Cuban-American relations – CBS News 60 Minutes
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.cbsnews.com/news/new-day-for-cuban-american-relations/http://www.cbsnews.com/news/new-day-for-cuban-american-relations/
** New day for Cuban-American relations
————————————————————
The following script is from “Cuba” which aired on Dec. 21, 2014. Scott Pelley is the correspondent. Nicole Young, Oriana Zill de Granados, Andy Court and Robert Anderson, producers.
A truce has been declared along a frontline of the Cold War. After 18 months of secret talks and an old fashioned exchange of captured spies, President Obama surprised the world, on Wednesday, reestablishing relations with Cuba, in a deal guaranteed by the Vatican. It happened because of accidents of history. A second-term president doesn’t have to worry about losing Florida. For the first time in 2,000 years, the pope is Latin American. And the last Castro seems somewhat more inclined to evolution than revolution.
safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
** Rewind to 1989: The contradictions of life in Cuba (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
————————————————————
It’s been half a century since communism staked a beachhead 90 miles from the United States, half a century since the island was primed as the detonator in a countdown to nuclear holocaust. Once, the world held its breath over Cuba. But when we arrived there, this past week, we found a nation still waiting to exhale.
Havana is a city of antiques. An island in the flow of time. Wealthy societies spend fortunes to recreate what comes naturally to poverty — a living museum of old models still running beyond their time; Chevy and Ford, Marx and Lenin.
Wednesday, it seemed to fit the pattern that news of change would come from a classic, an 83-year-old dictator clothed in fatigue.
Even the music stopped at Havana’s University of the Arts, where visiting teachers from Chicago were interrupted so students could be told their future would not be the past.
A Cuban and an American clasped hands. Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic just happened to catch the downbeat of history.
Orbert Davis: It was just a joyous occasion of experiencing change and something that they’ve been hoping for, for a very long time.
Mark Ingram: And the cheering, some tears and, you know, just amazed and happy, not knowing what really that means other than communication with the U.S.
Before now, communication sounded like this. Cultural exchanges have been permitted for years. And, the Chicago musicians were here on one of those programs. We asked these young Cuban performers what they would call their generation. One of them said, “How ’bout the ‘window generation? Because now we can see the future.”
Scott Pelley: Ernesto, how do you imagine your life will be different than that of your parents?
Ernesto Lima: I don’t imagine. I’m sure that it will be different. So it would be better. So better. And Cuba will be going, a great place.
Scott Pelley: Give me some specifics of things that you think will change in Cuba.
Ernesto Lima: I think the economy. And this is important thing because we can get a better instrument. We can get computers, Internet.
Scott Pelley: You’d like to be online?
Ernesto Lima: Yes. Yes.
Wendy Ora: It’s another perspective.
Scott Pelley: Another perspective on the world if you’re communicating with the United States.
Ernesto Lima: I think we will be more of close to the freedom that you always are talking about your country, and the freedom that we want to make.
But “freedom,” remains a distant dream. Among the government graffiti is the slogan, “socialism or death,” which could be read more as a warning than a call to patriotism. Stalin would be comfortable behind the wheel of this 1950s autocracy, the last Big Brother model in the West. Housing, medical care and education are all free. But look at what’s missing from this picture. This has to be the only harbor in the islands that has no boats. The government restricts ownership because many Cubans would sail away.
fullshow1221.jpg
Cuba
CBS News
Every neighborhood is organized under its own Committee for the Defense of the Revolution. The CDR’s hold neighborhood meetings and every Cuban has to attend. A lot of them hate that. Because the government runs just about everything, 80 percent of the Cuban people are government employees and they get paid pretty much the same. Somewhere between $20 and $50 a month, it doesn’t really matter much whether you’re a street sweeper or an accountant. They also get one of these. It’s a food ration book. It covers things like eggs and milk and meat and rice. The food that is purchased with these ration books is virtually free, but it’s supposed to last a month, and any Cuban will tell you, it lasts about 10 days.
Stomachs may grumble but not too loudly. Hector Maseda Gutierrez went to prison for criticizing rations, pay and medical care. And yet he was willing to do it again with us.
Hector Maseda Gutierrez: I have always been and will always be faithful to the truth, even if it harms me.
Scott Pelley: What is the truth that needs to be known?
Hector Maseda Gutierrez: What happens in Cuba every day, the way people suffer, the shortages, the deprivations. The government simply does not care about what happens to the Cuban people; it only cares about its own interests.
He’s a man of extraordinary courage — a nuclear engineer by training — Maseda Gutierrez started an opposition news service. He was jailed in 2003 in a roundup of 75 dissidents. His wife led a protest movement that Cubans called “The Ladies in White.” In 2011, Maseda Gutierrez was released into her arms but eight months after this picture she was dead. It was a sudden illness. And he will not forgive missing her last eight years. After so much sacrifice we wondered what a man like him thought of America establishing relations with the regime.
Hector Maseda Gutierrez: I think this is a very interesting, very intelligent and very positive move by the U.S. government. We applaud this and will support it. It is what the people need. Even if only some of this is achieved, it will be a substantial leap forward, regardless of the Castros.
** “The government simply does not care about what happens to the Cuban people; it only cares about its own interests.”
————————————————————
Any connection to America, he told us, will inevitably increase pressure for reform.
Scott Pelley: Are you in favor of the embargo being lifted?
Hector Maseda Gutierrez: I am against the lifting of the embargo. It is a way to pressure the Cuban government to really achieve things for the Cuban people and for the world.
Scott Pelley: Do you have hope for Cuba?
Hector Maseda Gutierrez: Yes, I have great hopes for Cuba, as I never have had before.
The hope of a relationship dimmed in 1961 when the U.S. took it’s flag and went home. One of the diplomats closing the embassy then was Wayne Smith.
Wayne Smith: I remember it very well. The Cubans, as sort of a farewell, had brought a battalion of women militia members to the embassy to protect us. We didn’t need any protection– except for– dozens and dozens of people trying to get visas before we left.
Months later, America organized the failed invasion at the Bay of Pigs. Then came the trade embargo JFK signed after he took delivery of 1,200 Cuban cigars. Wayne Smith, who’s famous among diplomats for his work on Cuba, returned in the Carter years in another failed attempt to patch up relations.
Scott Pelley: There are a lot of reasonable Americans who argue, “Why reward the Castros? You’re caving in to the Castro regime.”
Wayne Smith: We haven’t gained anything in 50 years with this refusal to have a dialogue, embargo, all that. That hasn’t gained anything. Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.
Scott Pelley: You probably know Fidel Castro about as well as any American. How do you think he’s reacting to this?
Wayne Smith: I think he’s reacting very favorably. They didn’t do this against his will.
Smith thinks the embargo should end too. But it won’t. Only Congress can do that. The U.S. Treasury will continue to enforce the rules as Orbert Davis and Mark Ingram discovered.
** “Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.”
————————————————————
Scott Pelley: You wanted to bring some things to these students?
Mark Ingram: Yes. ‘Cause they have limited resources here. I mean, they have 12 music stands.
Scott Pelley: How many do you need?
Mark Ingram: Well, it’s a 60-piece orchestra. You know–
Scott Pelley: What else do they lack?
Mark Ingram: Reeds. We have one student who’s a saxophone player. They’re playin’ reeds from 1970. Old dried out reeds, you know, paper.
Orbert Davis: Music paper–
Scott Pelley: Did you bring this stuff to them?
Mark Ingram: We weren’t able to bring any of this stuff to them. You can’t do that.
Scott Pelley: So because of what they call the embargo here you couldn’t bring music paper, you couldn’t bring reeds?
Orbert Davis: To use, but not to give.
Scott Pelley: You couldn’t give it to them?
Orbert Davis: No. We’re using the music stands, but they are ours.
Mark Ingram: We cannot donate them.
Scott Pelley: You have to take them back with you.
Orbert Davis: Yes.
Scott Pelley: You’d like to leave them?
Orbert Davis: Can we say that?
Mark Ingram: We would love to leave them. Yes, we would love to leave them.
Scott Pelley: But the United States Treasury will not let you?
Mark Ingram: Well, yeah. No. They told us we can’t do that. And the Cuban government says you can’t do that.
They can’t make extra copies of the sheet music either.
Orbert Davis: Unfortunately, we could not Xerox the music because there is no Xerox machine.
Scott Pelley: At a university?
Mark Ingram: At a university.
Orbert Davis: A university, right.
Mark Ingram: No copy machine. Can’t afford one.
And they can’t e-mail it. Only five percent of Cubans are connected to the world wide web, it’s about the lowest percentage on Earth. In the new agreement, America added an exception to the embargo, U.S. Internet technology.
Jeff DeLaurentis: This could be a game changer down the line.
Jeff DeLaurentis is America’s top diplomat in Havana.
Jeff DeLaurentis: The government here did its best to restrict the flow of information. And they have committed to providing more access to the Internet to the Cuban people in the course of our discussions.
DeLaurentis works in the same building that America abandoned in ’61. It won’t fly the flag as an embassy until next year. But U.S. diplomats have been back since the 70s trying to pry Cuba open. For example, Castro first permitted cell phones in 2008. And after that, the U.S. brought in tens of thousands of phones and gave them away for free.
Jeff DeLaurentis: We believe that lighting up the island is gonna make a major change here.
Scott Pelley: Lighting up the island in terms of connecting it to the worldwide web?
Jeff DeLaurentis: Yes, yes.
Darkness has been lifting slowly. Raul Castro, who took over from his brother, has allowed some small business and real estate ownership. And, last year, he largely lifted the ban on travel.
Scott Pelley: And I wonder now, in this building, how many Cubans come to you, looking for visas to the United States?
Jeff DeLaurentis: 500 a day, sometimes more–
Scott Pelley: 500 a day?
Jeff DeLaurentis: 500 a day.
Scott Pelley: You process 500 Cubans a day, looking for visas to go to the United States?
Jeff DeLaurentis: Yes, we do.
It seems remarkable, when you consider that an entire generation of Cubans has been taught their suffering is imposed by America and its embargo. But even that was something most Cubans couldn’t buy. They’re too far from Marx, too close to Miami. They pirate American TV signals, love jazz, baseball is the national pastime, and two million family members live in America. Most any Cuban will tell you, in a whisper, they’re poor because socialism is bankrupt.
Scott Pelley: We were driving through town today and I was struck. I looked up at an apartment building and somebody had hung a Cuban flag and an American flag, side by side. I have to imagine on Monday somebody would’ve gotten arrested for that.
Jeff DeLaurentis: Yes. I suspect that’s probably true. And I suspect we’re going to see more and more of that.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d098cc59ee) | 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=d098cc59ee&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) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic: New day for Cuban-American relations – CBS News 60 Minutes
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.cbsnews.com/news/new-day-for-cuban-american-relations/http://www.cbsnews.com/news/new-day-for-cuban-american-relations/
** New day for Cuban-American relations
————————————————————
The following script is from “Cuba” which aired on Dec. 21, 2014. Scott Pelley is the correspondent. Nicole Young, Oriana Zill de Granados, Andy Court and Robert Anderson, producers.
A truce has been declared along a frontline of the Cold War. After 18 months of secret talks and an old fashioned exchange of captured spies, President Obama surprised the world, on Wednesday, reestablishing relations with Cuba, in a deal guaranteed by the Vatican. It happened because of accidents of history. A second-term president doesn’t have to worry about losing Florida. For the first time in 2,000 years, the pope is Latin American. And the last Castro seems somewhat more inclined to evolution than revolution.
safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
** Rewind to 1989: The contradictions of life in Cuba (safari-reader://www.cbsnews.com/videos/rewind-to-1989-the-contradictions-of-life-in-cuba)
————————————————————
It’s been half a century since communism staked a beachhead 90 miles from the United States, half a century since the island was primed as the detonator in a countdown to nuclear holocaust. Once, the world held its breath over Cuba. But when we arrived there, this past week, we found a nation still waiting to exhale.
Havana is a city of antiques. An island in the flow of time. Wealthy societies spend fortunes to recreate what comes naturally to poverty — a living museum of old models still running beyond their time; Chevy and Ford, Marx and Lenin.
Wednesday, it seemed to fit the pattern that news of change would come from a classic, an 83-year-old dictator clothed in fatigue.
Even the music stopped at Havana’s University of the Arts, where visiting teachers from Chicago were interrupted so students could be told their future would not be the past.
A Cuban and an American clasped hands. Orbert Davis and Mark Ingram of the Chicago Jazz Philharmonic just happened to catch the downbeat of history.
Orbert Davis: It was just a joyous occasion of experiencing change and something that they’ve been hoping for, for a very long time.
Mark Ingram: And the cheering, some tears and, you know, just amazed and happy, not knowing what really that means other than communication with the U.S.
Before now, communication sounded like this. Cultural exchanges have been permitted for years. And, the Chicago musicians were here on one of those programs. We asked these young Cuban performers what they would call their generation. One of them said, “How ’bout the ‘window generation? Because now we can see the future.”
Scott Pelley: Ernesto, how do you imagine your life will be different than that of your parents?
Ernesto Lima: I don’t imagine. I’m sure that it will be different. So it would be better. So better. And Cuba will be going, a great place.
Scott Pelley: Give me some specifics of things that you think will change in Cuba.
Ernesto Lima: I think the economy. And this is important thing because we can get a better instrument. We can get computers, Internet.
Scott Pelley: You’d like to be online?
Ernesto Lima: Yes. Yes.
Wendy Ora: It’s another perspective.
Scott Pelley: Another perspective on the world if you’re communicating with the United States.
Ernesto Lima: I think we will be more of close to the freedom that you always are talking about your country, and the freedom that we want to make.
But “freedom,” remains a distant dream. Among the government graffiti is the slogan, “socialism or death,” which could be read more as a warning than a call to patriotism. Stalin would be comfortable behind the wheel of this 1950s autocracy, the last Big Brother model in the West. Housing, medical care and education are all free. But look at what’s missing from this picture. This has to be the only harbor in the islands that has no boats. The government restricts ownership because many Cubans would sail away.
fullshow1221.jpg
Cuba
CBS News
Every neighborhood is organized under its own Committee for the Defense of the Revolution. The CDR’s hold neighborhood meetings and every Cuban has to attend. A lot of them hate that. Because the government runs just about everything, 80 percent of the Cuban people are government employees and they get paid pretty much the same. Somewhere between $20 and $50 a month, it doesn’t really matter much whether you’re a street sweeper or an accountant. They also get one of these. It’s a food ration book. It covers things like eggs and milk and meat and rice. The food that is purchased with these ration books is virtually free, but it’s supposed to last a month, and any Cuban will tell you, it lasts about 10 days.
Stomachs may grumble but not too loudly. Hector Maseda Gutierrez went to prison for criticizing rations, pay and medical care. And yet he was willing to do it again with us.
Hector Maseda Gutierrez: I have always been and will always be faithful to the truth, even if it harms me.
Scott Pelley: What is the truth that needs to be known?
Hector Maseda Gutierrez: What happens in Cuba every day, the way people suffer, the shortages, the deprivations. The government simply does not care about what happens to the Cuban people; it only cares about its own interests.
He’s a man of extraordinary courage — a nuclear engineer by training — Maseda Gutierrez started an opposition news service. He was jailed in 2003 in a roundup of 75 dissidents. His wife led a protest movement that Cubans called “The Ladies in White.” In 2011, Maseda Gutierrez was released into her arms but eight months after this picture she was dead. It was a sudden illness. And he will not forgive missing her last eight years. After so much sacrifice we wondered what a man like him thought of America establishing relations with the regime.
Hector Maseda Gutierrez: I think this is a very interesting, very intelligent and very positive move by the U.S. government. We applaud this and will support it. It is what the people need. Even if only some of this is achieved, it will be a substantial leap forward, regardless of the Castros.
** “The government simply does not care about what happens to the Cuban people; it only cares about its own interests.”
————————————————————
Any connection to America, he told us, will inevitably increase pressure for reform.
Scott Pelley: Are you in favor of the embargo being lifted?
Hector Maseda Gutierrez: I am against the lifting of the embargo. It is a way to pressure the Cuban government to really achieve things for the Cuban people and for the world.
Scott Pelley: Do you have hope for Cuba?
Hector Maseda Gutierrez: Yes, I have great hopes for Cuba, as I never have had before.
The hope of a relationship dimmed in 1961 when the U.S. took it’s flag and went home. One of the diplomats closing the embassy then was Wayne Smith.
Wayne Smith: I remember it very well. The Cubans, as sort of a farewell, had brought a battalion of women militia members to the embassy to protect us. We didn’t need any protection– except for– dozens and dozens of people trying to get visas before we left.
Months later, America organized the failed invasion at the Bay of Pigs. Then came the trade embargo JFK signed after he took delivery of 1,200 Cuban cigars. Wayne Smith, who’s famous among diplomats for his work on Cuba, returned in the Carter years in another failed attempt to patch up relations.
Scott Pelley: There are a lot of reasonable Americans who argue, “Why reward the Castros? You’re caving in to the Castro regime.”
Wayne Smith: We haven’t gained anything in 50 years with this refusal to have a dialogue, embargo, all that. That hasn’t gained anything. Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.
Scott Pelley: You probably know Fidel Castro about as well as any American. How do you think he’s reacting to this?
Wayne Smith: I think he’s reacting very favorably. They didn’t do this against his will.
Smith thinks the embargo should end too. But it won’t. Only Congress can do that. The U.S. Treasury will continue to enforce the rules as Orbert Davis and Mark Ingram discovered.
** “Why keep repeating the same old mistake year after year when it isn’t achieving anything? It was time to change, time long ago to change. And at last, sensibly, we have.”
————————————————————
Scott Pelley: You wanted to bring some things to these students?
Mark Ingram: Yes. ‘Cause they have limited resources here. I mean, they have 12 music stands.
Scott Pelley: How many do you need?
Mark Ingram: Well, it’s a 60-piece orchestra. You know–
Scott Pelley: What else do they lack?
Mark Ingram: Reeds. We have one student who’s a saxophone player. They’re playin’ reeds from 1970. Old dried out reeds, you know, paper.
Orbert Davis: Music paper–
Scott Pelley: Did you bring this stuff to them?
Mark Ingram: We weren’t able to bring any of this stuff to them. You can’t do that.
Scott Pelley: So because of what they call the embargo here you couldn’t bring music paper, you couldn’t bring reeds?
Orbert Davis: To use, but not to give.
Scott Pelley: You couldn’t give it to them?
Orbert Davis: No. We’re using the music stands, but they are ours.
Mark Ingram: We cannot donate them.
Scott Pelley: You have to take them back with you.
Orbert Davis: Yes.
Scott Pelley: You’d like to leave them?
Orbert Davis: Can we say that?
Mark Ingram: We would love to leave them. Yes, we would love to leave them.
Scott Pelley: But the United States Treasury will not let you?
Mark Ingram: Well, yeah. No. They told us we can’t do that. And the Cuban government says you can’t do that.
They can’t make extra copies of the sheet music either.
Orbert Davis: Unfortunately, we could not Xerox the music because there is no Xerox machine.
Scott Pelley: At a university?
Mark Ingram: At a university.
Orbert Davis: A university, right.
Mark Ingram: No copy machine. Can’t afford one.
And they can’t e-mail it. Only five percent of Cubans are connected to the world wide web, it’s about the lowest percentage on Earth. In the new agreement, America added an exception to the embargo, U.S. Internet technology.
Jeff DeLaurentis: This could be a game changer down the line.
Jeff DeLaurentis is America’s top diplomat in Havana.
Jeff DeLaurentis: The government here did its best to restrict the flow of information. And they have committed to providing more access to the Internet to the Cuban people in the course of our discussions.
DeLaurentis works in the same building that America abandoned in ’61. It won’t fly the flag as an embassy until next year. But U.S. diplomats have been back since the 70s trying to pry Cuba open. For example, Castro first permitted cell phones in 2008. And after that, the U.S. brought in tens of thousands of phones and gave them away for free.
Jeff DeLaurentis: We believe that lighting up the island is gonna make a major change here.
Scott Pelley: Lighting up the island in terms of connecting it to the worldwide web?
Jeff DeLaurentis: Yes, yes.
Darkness has been lifting slowly. Raul Castro, who took over from his brother, has allowed some small business and real estate ownership. And, last year, he largely lifted the ban on travel.
Scott Pelley: And I wonder now, in this building, how many Cubans come to you, looking for visas to the United States?
Jeff DeLaurentis: 500 a day, sometimes more–
Scott Pelley: 500 a day?
Jeff DeLaurentis: 500 a day.
Scott Pelley: You process 500 Cubans a day, looking for visas to go to the United States?
Jeff DeLaurentis: Yes, we do.
It seems remarkable, when you consider that an entire generation of Cubans has been taught their suffering is imposed by America and its embargo. But even that was something most Cubans couldn’t buy. They’re too far from Marx, too close to Miami. They pirate American TV signals, love jazz, baseball is the national pastime, and two million family members live in America. Most any Cuban will tell you, in a whisper, they’re poor because socialism is bankrupt.
Scott Pelley: We were driving through town today and I was struck. I looked up at an apartment building and somebody had hung a Cuban flag and an American flag, side by side. I have to imagine on Monday somebody would’ve gotten arrested for that.
Jeff DeLaurentis: Yes. I suspect that’s probably true. And I suspect we’re going to see more and more of that.
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‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot | New York Post
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** ‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
————————————————————
‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
It may not be as famous as Harlem’s Cotton Club, but Cafe Society made its mark on the New York jazz scene of the 1930s and ’40s — not least because, unlike its uptown rival, whites and blacks mixed freely there.
The Sheridan Square joint’s slogan was “the wrong place for the right people.” And the people onstage were very, very right: Billie Holiday opened the club in 1938 and became a regular, joined by the likes of Lena Horne and Count Basie.
Now the revue “Cafe Society Swing” aims to reintroduce the nightspot with songs associated with its most famous performers.
Those are big shoes to fill.
Modal Trigger (https://thenypost.files.wordpress.com/2014/12/cafeswingsociety2.jpg)
Charenee Wade in “Cafe Society Swing.”Photo: Carol Rosegg
Of the three vocal leads, Allan Harris and Charenee Wade, veterans both, are perfectly fine, if a bit bland. More interesting is slinky Cyrille Aimée, a young singer who’s still in the intriguing process of finding herself.
Aimée was trying way too hard in “A Bed and a Chair,” last year’s misguided attempt to jazzify Stephen Sondheim. But she doesn’t have to shoehorn swing into the material here — it’s already there — so she’s a lot more relaxed and often quite wonderful, as on her smoky “Stormy Weather.”
She even gets to perform in her native French on “Parlez-Moi d’Amour” — the signature song of gallic import Lucienne Boyer, whom Cafe Society owner Barney Josephson booked after Josephine Baker proved too expensive.
This is just one of the anecdotes in Alex Webb’s disorganized, lumbering book. In the first half, Evan Pappas plays a journalist writing about Josephson, a left-wing shoe salesman turned music impresario. In Act 2, Pappas has suddenly turned into a wisecracking bartender.
No matter: All these scenes are just a clumsy way to tie together the songs. Happily, Webb — who’s also the show’s music director and pianist — does a much better job leading the supple seven-piece band. When the beat gets going, the brass instruments shine and the singers are in the zone, it’s easy enough to push the awkwardness aside and bask in the music.
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‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot | New York Post
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** ‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
————————————————————
‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
It may not be as famous as Harlem’s Cotton Club, but Cafe Society made its mark on the New York jazz scene of the 1930s and ’40s — not least because, unlike its uptown rival, whites and blacks mixed freely there.
The Sheridan Square joint’s slogan was “the wrong place for the right people.” And the people onstage were very, very right: Billie Holiday opened the club in 1938 and became a regular, joined by the likes of Lena Horne and Count Basie.
Now the revue “Cafe Society Swing” aims to reintroduce the nightspot with songs associated with its most famous performers.
Those are big shoes to fill.
Modal Trigger (https://thenypost.files.wordpress.com/2014/12/cafeswingsociety2.jpg)
Charenee Wade in “Cafe Society Swing.”Photo: Carol Rosegg
Of the three vocal leads, Allan Harris and Charenee Wade, veterans both, are perfectly fine, if a bit bland. More interesting is slinky Cyrille Aimée, a young singer who’s still in the intriguing process of finding herself.
Aimée was trying way too hard in “A Bed and a Chair,” last year’s misguided attempt to jazzify Stephen Sondheim. But she doesn’t have to shoehorn swing into the material here — it’s already there — so she’s a lot more relaxed and often quite wonderful, as on her smoky “Stormy Weather.”
She even gets to perform in her native French on “Parlez-Moi d’Amour” — the signature song of gallic import Lucienne Boyer, whom Cafe Society owner Barney Josephson booked after Josephine Baker proved too expensive.
This is just one of the anecdotes in Alex Webb’s disorganized, lumbering book. In the first half, Evan Pappas plays a journalist writing about Josephson, a left-wing shoe salesman turned music impresario. In Act 2, Pappas has suddenly turned into a wisecracking bartender.
No matter: All these scenes are just a clumsy way to tie together the songs. Happily, Webb — who’s also the show’s music director and pianist — does a much better job leading the supple seven-piece band. When the beat gets going, the brass instruments shine and the singers are in the zone, it’s easy enough to push the awkwardness aside and bask in the music.
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot | New York Post
http://www.jazzpromoservices.com/
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http://nypost.com/2014/12/22/cafe-society-swing-pays-tribute-to-long-lost-jazz-hot-spot/
** ‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
————————————————————
‘Cafe Society Swing’ pays tribute to long-lost jazz hot spot
It may not be as famous as Harlem’s Cotton Club, but Cafe Society made its mark on the New York jazz scene of the 1930s and ’40s — not least because, unlike its uptown rival, whites and blacks mixed freely there.
The Sheridan Square joint’s slogan was “the wrong place for the right people.” And the people onstage were very, very right: Billie Holiday opened the club in 1938 and became a regular, joined by the likes of Lena Horne and Count Basie.
Now the revue “Cafe Society Swing” aims to reintroduce the nightspot with songs associated with its most famous performers.
Those are big shoes to fill.
Modal Trigger (https://thenypost.files.wordpress.com/2014/12/cafeswingsociety2.jpg)
Charenee Wade in “Cafe Society Swing.”Photo: Carol Rosegg
Of the three vocal leads, Allan Harris and Charenee Wade, veterans both, are perfectly fine, if a bit bland. More interesting is slinky Cyrille Aimée, a young singer who’s still in the intriguing process of finding herself.
Aimée was trying way too hard in “A Bed and a Chair,” last year’s misguided attempt to jazzify Stephen Sondheim. But she doesn’t have to shoehorn swing into the material here — it’s already there — so she’s a lot more relaxed and often quite wonderful, as on her smoky “Stormy Weather.”
She even gets to perform in her native French on “Parlez-Moi d’Amour” — the signature song of gallic import Lucienne Boyer, whom Cafe Society owner Barney Josephson booked after Josephine Baker proved too expensive.
This is just one of the anecdotes in Alex Webb’s disorganized, lumbering book. In the first half, Evan Pappas plays a journalist writing about Josephson, a left-wing shoe salesman turned music impresario. In Act 2, Pappas has suddenly turned into a wisecracking bartender.
No matter: All these scenes are just a clumsy way to tie together the songs. Happily, Webb — who’s also the show’s music director and pianist — does a much better job leading the supple seven-piece band. When the beat gets going, the brass instruments shine and the singers are in the zone, it’s easy enough to push the awkwardness aside and bask in the music.
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USA
9 Jews Who Changed The Sound of Jazz – The Arty Semite – Forward.com
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** 9 Jews Who Changed The Sound of Jazz
————————————————————
December 22, 2014, 11:00am
** By Curt Schleier (safari-reader://blogs.forward.com/authors/curt-schleier/)
————————————————————
Willie Smith at his Manhattan apartment. Photo by William P. Gottlieb.
Barney Josephson opened Cafe Society in 1938, but the music he featured (and is featured in the play “Cafe Society Swing”) has been around much longer.
Jazz originated in the late 19th and early 20th centuries in African-American communities — most notably in New Orleans. As it spread, the music began to draw on different traditions, including the work of Jewish composers who populated Tin Pan Alley.
Because it took in so much from so many places and changed so much from its origins, Jazz might easily be called the Yiddish of musical forms. It includes everything from ragtime to be-bop to big band, and in most of these incarnations the Jewish impact was large. Here are 9 Jewish artists who helped shape the many different sounds of jazz:
** 1. Willie “The Lion” Smith (1893-1973)
————————————————————
An early jazz great, pianist Smith was the son of a Jewish father, Frank Bertholoff. He apparently learned Hebrew from a rabbi for whom his mother worked, and according to all accounts was a bar mitzvah at age 13. In fact, he told Nat Hentoff, “People can’t seem to realize I have a Jewish soul and belong to that faith.” According to his autobiography, later in life he served as a cantor for a black Jewish congregation in Harlem.
** 2. Teddy Charles (1928-2012)
————————————————————
Born Theodore Charles Cohen, Teddy was an influential percussionist (most famously on the vibraphone) and composer. He was also a much sought-after session musician who played with Miles Davis, Charles Mingus and others.
** 3. Benny Goodman (1909-1986)
————————————————————
The King of Swing was one of 12 children of immigrants from Poland and Lithuania. His first clarinet lessons were at a local Chicago synagogue. Frankly, because he was white, he helped make jazz acceptable, especially with his famous 1938 concert at Carnegie Hall, the first jazz show there. He also had the first integrated band, which helped black artists such as Lionel Hampton and Teddy Wilson get their starts.
** 4. Herbie Mann (1930-2003):
————————————————————
Herbert Jay Solomon was born in Brooklyn, and got his first professional gig at age 15 in the Catskills. His was a rare career in a couple of ways. For one thing, he had a number of Billboard top 200 albums, a level of mainstream success that has eluded most jazz artists. But even odder was that the success came from a flautist, which is hardly a common jazz instrument.
** 5. Stan Getz (1927-1991)
————————————————————
Born Stanley Gayetzky in Philadelphia and raised in New York, Getz was among the most popular jazz musicians of the 1960s and ‘70s. A child prodigy, he played in Jack Teagarden’s band, but because Getz was just 16 he had to become Teagarden’s ward. There followed stints with other bands and even bigger success as a single artist. But success — especially early success — had drawbacks. He became addicted to alcohol and drugs while still a teenager, and was once arrested for breaking onto a pharmacy to steal morphine, while his wife was giving birth to a child. He lived in Copenhagen for a while to get as far away from the drug scene as he could.
** 6. Lee Konitz (1927- )
————————————————————
A saxophonist and composer, Konitz is noted for his improvisational skills and association with the cool jazz movement more famously typified by Miles Davis. In fact, he participated in Davis’s “Birth of Cool” sessions. Although he’s had health issues, Konitz still offers rare live performances, including this performance below last month in Paris.
** 7. Buddy Rich (1917-1987)
————————————————————
One of the greatest jazz drummers of all time, Buddy Rich never took a drum lesson. In fact, he said instruction would only hurt his style. Known almost as much for his temper as his playing, some of his outbursts were used by Jerry Seinfeld and Larry David almost verbatim on their TV show, “Seinfeld.”
** 8. Artie Shaw (1920-2004)
————————————————————
Arthur Jacob Arshawsky, along with Benny Goodman, is considered one of the great jazz clarinetists. He was also a composer and leader of a popular swing band and enjoyed great success following his recording of Cole Porter’s “Begin the Beguine.” He’s known, too, for hiring Billie Holiday as his vocalist for a tour in the South. Unfortunately, Holiday had to leave because of the hostility she faced from southern audiences. Also of note: Shaw went through eight marriages, numbering both Lana Turner and Ava Gardner among his brides.
** 9. John Zorn (1953- )
————————————————————
While Zorn is best known as a jazz musician and avant-garde composer, that’s too confining a description for man who has made film and concert music as well as jazz compositions that prompted Down Beat magazine to label him as “one of our most important composers.” Many of his movie scores were for documentaries of Jewish interest and were subsequently recorded on his own label, Tzadik records. In 1992, he created a moving, seven-composition piece called Kristallnacht. He further explored his Jewish heritage by setting a goal of writing 100 compositions based largely on klezmer within a year. He ultimately created over 500 songs that became known as the Masada Songbook, enough material for 10 albums, which he continues to perform.
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