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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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December 22, 2014 / No Comments / More

9 Jews Who Changed The Sound of Jazz – The Arty Semite – Forward.com

** 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.

** 1. Willie “The Lion” Smith (1893-1973)
————————————————————

** 2. Teddy Charles (1928-2012)
————————————————————

** 3. Benny Goodman (1909-1986)
————————————————————

** 4. Herbie Mann (1930-2003):
————————————————————

** 5. Stan Getz (1927-1991)
————————————————————

** 6. Lee Konitz (1927- )
————————————————————

** 7. Buddy Rich (1917-1987)
————————————————————

** 8. Artie Shaw (1920-2004)
————————————————————

** 9. John Zorn (1953- )
————————————————————

** Top Stories
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Meet The Last Jewish Lox Slicer At Zabar’s: Gothamist

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** Meet The Last Jewish Lox Slicer At Zabar’s
————————————————————

122214lox_zabars.jpg 84-Year-Old Len Berkman

Visiting iconic Upper West Side market Zabar’s (http://gothamist.com/tags/zabars) is a pilgrimage of sorts, especially at the fish counter, where skilled blade handlers hand slice thousands of pounds of smoked fish (http://gothamist.com/2013/01/20/jeffrey_sachs_loves_watching_lox_be.php) . One such craftsman is Len Berk, an 84-year-old lox slicer who’s been working for Zabar’s for almost 20 years. The Forward made a lovely video (http://forward.com/articles/211233/the-last-jewish-lox-slicer-at-zabars/) of Berk hard at work behind the counter, where he slices the fish into translucent pieces every Thursday and Friday. He also happens to be the last Jewish lox slicer employed by the store.

In the video, Berk briefly talks about his past life as a public accountant before selling his practice and taking on part-time work at Zabar’s. “Work is one of the most important things in life. I have many friends that are ill, can’t walk, can’t speak, their minds are going; I feel very lucky. I’m in the middle of what is going on today.”

Even after two decades behind the counter, Berk says he still hasn’t made the perfect slice, but enjoys the intimate relationship he has with the fish. “I love running my hand across it; it’s a very sensual experience,” he says. “You could say I’m making love to the salmon.”

Lox Me Tender (http://vimeo.com/114172199) from Jewish Daily Forward (http://vimeo.com/forward) on Vimeo (https://vimeo.com/) .

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Meet The Last Jewish Lox Slicer At Zabar’s: Gothamist

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** Meet The Last Jewish Lox Slicer At Zabar’s
————————————————————

122214lox_zabars.jpg 84-Year-Old Len Berkman

Lox Me Tender (http://vimeo.com/114172199) from Jewish Daily Forward (http://vimeo.com/forward) on Vimeo (https://vimeo.com/) .

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Meet The Last Jewish Lox Slicer At Zabar’s: Gothamist

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** Meet The Last Jewish Lox Slicer At Zabar’s
————————————————————

122214lox_zabars.jpg 84-Year-Old Len Berkman

Lox Me Tender (http://vimeo.com/114172199) from Jewish Daily Forward (http://vimeo.com/forward) on Vimeo (https://vimeo.com/) .

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12 Songs By African-Americans That Shaped The 20th Century And Made White America More Progressive | Critical Analysis |Axisoflogic.com

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** 12 Songs By African-Americans That Shaped The 20th Century And Made White America More Progressive | Critical Analysis |Axisoflogic.com
————————————————————
Scott Joplin. Photo Credit: U.S. Postal Service
For more than a century, white Americans have been drawing on black American culture and the country has been better off for it. Whether or not today’s largely white governing class will act on the racial injustices raised by nationwide protests on abusive policing is an open question.
But the pattern of white America listening and learning from communities of color is unmistakable—and goes back further than most people think. My new book, On Highway 61: Music, Race And Cultural Freedom, traces this narrative and the roots of American counterculture from its earliest days, and especially through the intersection of music and civil rights.
What follows are 12 songs from the late nineteenth century through the 1960s civil rights movement that mark how white America became more progressive by listening to African-Americans.
1. Maple Leaf Rag – Scott Joplin, 1899: Late in the 19th century, the first generation of African-Americans born after Emancipation came of age. One result was an extraordinary burst of creativity, largely in music. Ragtime was the earliest example to affect the white majority, and its finest flower was Scott Joplin’s 1898 “Maple Leaf Rag,” widely thought to be the first million-selling (sheet music) song.
The real impact of ragtime, the one that would appall and even terrify the guardians of civic morality – to quote Meredith Willson’s “The Music Man”: “Libertine men and scarlet women and ragtime / Shameless music that’ll grab your son, your daughter / into the arms of a jungle animal instinct… Ya Got Trouble” – came in 1912, when dancing to ragtime swept the country.
2. Alexander’s Ragtime Band – Irving Berlin, 1911: There was a block on 28th St. in Manhattan that contained some twenty-one music-publishing firms, each with someone pounding on a piano while writing tunes. When summer heat made for open windows, the resulting cacophony earned it to the label of “Tin Pan Alley,” and it remained the heart of American popular music from the turn of the century until the 1960s, when Bob Dylan ended its reign.
Its quintessential early star was Isidore Balleen, Irving Berlin, who would earn the sobriquet “King of Ragtime” with “Alexander’s Ragtime Band,” which did indeed have some ragtime elements and pleasantly lacked the other attributes most of the white-written rags included, like “coons.”
3. St. Louis Blues – W.C. Handy, 1915: Though there is no way to verify it, it seems quite likely that the blues emerged in the 1880s and 1890s in Mississippi, and with remarkable swiftness were being played from Texas to South Carolina not long after. The songs were highly variable, and featured what was called “floating verses,” in which different fragments of lyric slid from song to song. There were a lot of songs with “the sun is gonna shine on my backdoor some day…”
At the turn of the century, a classically trained musician named William Christopher Handy heard the blues – although the players called them reels – being played at a Mississippi train stop, and eventually translated them into songs, first the “Memphis Blues” and then his masterpiece, “St. Louis Blues.” He was not, as his autobiography put it, “Father of the Blues,” but a bridge between the rural black folk world of the earliest blues and the white world of sheet music and copyrights. And it’s a beautiful song.
4. Livery Stable Blues – Original Dixieland Jazz Band, 1917:Black music would unsurprisingly enter the wider (white) world through the playing of white people. Actually “Livery Stable Blues” is neither a blues nor jazz, but a vaudeville song that featured novelty sounds like the neighing of a horse. But it was fast and peppy and sold a million copies, thus introducing the idea, if not the reality, of jazz into the national American conversation.
5. Crazy Blues – Mamie Smith, 1920: To this point, such blues songs as had been recorded were the work of white vocalists. Finally, a Broadway hustler named Perry Bradford convinced the music director of the OKeh label, Fred Hager, to consider recording a black woman named Mamie Smith. The first pass was with a white studio band and was sufficiently popular that they returned to the studio. This time, Bradford persuaded Hager to use a black band, “the Jazz Hounds,” which included the great stride pianist Willy “The Lion” Smith.
“Crazy Blues” was not great and not even a blues, but a vaudeville lament that proceeded to sell more than a million copies, which had several consequences: one was that the record companies woke up to the fact that black people bought records. As a result, the hunt for other black women vocalists assumed high priority (black men emoting was thought risky in these racially charged times).
6. Backwater Blues – Bessie Smith, 1927: One of the beneficiaries of the new record company policy would also turn out to be one of the great American voices of all time. Bessie Smith had, wrote Eddie Condon, “timing, resonance, volume, pitch, control, timbre, power – throw in the book and burn it; Bessie had everything.” She could also write songs.
The great Mississippi flood of 1927 generated at least two masterpieces – Charlie Patton’s “High Water Everywhere” and Bessie’s “Backwater Blues.” Touring in Cincinnati, Bessie witnessed the edge of the flood – the epicenter was in Mississippi – and went into the studio in New York to record it accompanied only by the master of stride piano, James P. Johnson.
7. West End Blues – Louis Armstrong and Earl Hines, 1928: Jazz had brought together ragtime syncopation, the blues, and European instruments in New Orleans at the turn of the century, and within twenty years it had become a subtle and sophisticated art. Born at the same time as jazz, Louis Armstrong was destined to take it to the next level. Though mostly playing in large orchestras, the fashion of the era, he created indelible art by assembling small (the “Hot 5,” the “Hot 7,”) studio groups and redefining jazz as the soloists’ art. Working with one of the few musicians of the era who could be considered his peer, Louis and Hines fashioned in “West End Blues” the high-water mark of early jazz.
8. Blue Yodel #9 – Jimmie Rogers with Louis Armstrong and Lil Hardin, 1930: The notion that there was such a thing as purely “white” music was flawed at least from the time that black singing began to affect all of American protestant church music after the Great Awakening of the 1740s. The Carter Family, “the First Family of Country Music,” hunted songs with Lesley Riddle, a black man. The banjo was an African instrument. Et cetera.
Jimmie Rodgers, the “Father of Country Music,” not only yodeled – almost certainly borrowed from black railroad workers, “gandy dancers” – but reached out to record his masterpiece, “Blue Yodel #9,” with Louis Armstrong and Lil Hardin, one of the early and very important black-white collaborations.
9. King Porter Stomp – Benny Goodman, arr. By Fletcher Henderson, 1935: Musical white youth in Chicago in the 1920s had an extraordinary opportunity to listen to the masters of the new art of jazz. There was a particular group who attended Austin High School in the suburbs – and became known as the Austin High Gang – but they were joined by friends like drummers Dave Tough and Gene Krupa, pianist Jess Stacey, and the brilliant clarinetist Benny Goodman.
To this point, jazz had been defined as either sweet (Paul Whiteman, Guy Lombardo) or hot (black). These youngsters preferred hot, and by the 1930s, called Swing (supposedly the BBC found the phrase “hot jazz” offensive), they took over American popular music. The “King Porter Stomp,” written by Jelly Roll Morton and arranged by Fletcher Henderson, is perhaps the classic example of the early meeting of black and white in the universe of jazz.
10. Now’s the Time – Charlie Parker, 1945: Black music was so vital that by the time of World War II it trifurcated. The rural blues would add electricity and become the electric/Chicago blues. One segment of big band jazz would become urban party music, “Rhythm and Blues.” And one part of jazz would become art music; they called it bebop, bop for short. It was virtuosic, complex, and revolutionary in terms of its approach to rhythm and harmony. Socially, it reflected the era in its refusal to pander to overt entertainment values. It was a new dawn.
11. Shake, Rattle and Roll – Bill Haley and the Comets, 1955: Bill Haley was a country-western Disc Jockey whose time was followed by an R & B show. He liked the show’s theme song, “Rock the Joint,” and began to play it in his band. Soon he was being tutored in the finer points of Louis Jordan’s R & B shuffle rhythm, and a musical marriage of sorts gave birth to rock ‘n’ roll. “Shake, Rattle and Roll,” a sizeable hit for Big Joe Turner, now became a gigantic hit, and once again white kids danced to black music played by white guys.
12. Blowin’ in the Wind – Bob Dylan, 1962: Bob Dylan had grown up listening to black music on Gatemouth Page’s “No Name Jive” radio show from Arkansas, patterned his earliest high school bands after Little Richard, and studied Lead Belly and Odetta before he adopted his son-of-Woody Guthrie persona. Then he fell in love with a CORE (Congress of Racial Equality) volunteer just six weeks after the Freedom Rides, the shining example of a brave moral crusade in 20th century America. The result was an anthem called “Blowin’ in the Wind,” which connects musically with “Many Thousands Gone,” a spiritual sung by the Fisk Jubilee Singers, the first black musicians to tour the North. Both songs influenced white people for the better.
A Two-Way Street
There have also been examples where white American artists whose work built on the long legacy of African-Americans inspired black artists to be more bold and forthcoming. The best example is Sam Cooke’s heartfelt prayer expressed in song, 1964’s A Change is Gonna Come.
Dylan’s “Blowin’ in the Wind” had a number of effects, one of which was to convince the great Sam Cooke that he could write a song of social impact and still be part of the pop music world. The result was his masterpiece. After all the borrowing from black music by white people, the circle came full.

Dennis McNally is a cultural historian and author with an interest in Americans who challenged conventional mainstream thinking.
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12 Songs By African-Americans That Shaped The 20th Century And Made White America More Progressive | Critical Analysis |Axisoflogic.com

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12 Songs By African-Americans That Shaped The 20th Century And Made White America More Progressive | Critical Analysis |Axisoflogic.com

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Chelsea Rialto Studios – LATEST RELEASES

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For sale: The Beatles, jazz and blues records from shamed Rafael Hui’s extensive record collection | South China Morning Post

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** For sale: The Beatles, jazz and blues records from shamed Rafael Hui’s extensive record collection
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PUBLISHED : Friday, 19 December, 2014, 4:31pm
UPDATED : Saturday, 20 December, 2014, 12:04pm

Enoch Yiu enoch.yiu@scmp.com (mailto:enoch.yiu@scmp.com)

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Rafael Hui spent hundreds of thousands of dollars on records and concerts. Photo: Nora Tam

International and local music lovers can check out the roughly 11,000 records, CDs and video discs that once belonged to former chief secretary Rafael Hui Si-yan but are now on offer, preferably to be sold in one batch, to offset his reported debts of HK$75 million.

Hui gave up his entire music library, the fruit of a collection craze since the 1960s, to trustees John Lees and Mat Ng of JLA Asia after the High Court declared him bankrupt in November last year.

https://www.scmp.com/sites/default/files/2014/12/20/rafaelhui-graphic.jpg

Ng, managing director of JLA Asia, said they had been advertising in newspapers and on a website to sell the music and film records, which were divided into 11 categories according to the genre. The trustees had also contacted individual collectors to inspect the huge collection.

“We have received some offers and are still open to accepting more offers,” Ng said.

“We prefer to find a single collector to buy the whole lot, but we may also split the collection into two or more batches if that can achieve a higher sale price.”

HMV Hong Kong product manager Michelle Tang said she had inspected the lot. “The collection is very old and in very bad condition. We have little interest to submit a bid,” she told the South China Morning Post. “Hui seemed to have bought the music for his own enjoyment.”

Music lover: Rafael Hui and wife Teresa at the Music First gala dinner at the Mira on September 27, 2009. (https://www.scmp.com/sites/default/files/2014/12/19/hui_music.jpg)

Apart from losing the music collection, the insolvent Hui and his wife had also moved out of two deluxe flats in The Leighton Hill, a Happy Valley estate developed and managed by Sun Hung Kai Properties, a source familiar with Hui told the Post.

The couple had shifted to a tiny rented flat in Tin Hau instead, the source said.

Hui’s bankruptcy means he cannot live in luxury property, but only in a place with a reasonable rent agreed by the trustee.

He must surrender his assets and all income to the trustees, who will then give him an allowance to cover basic living costs.

“He can still buy CDs, go to a show, take a taxi or have a meal with his family as long as he spends no more than the monthly amount for expenses,” Ng said.

During Hui’s corruption trial, the court heard he inherited a flat in Wan Chai after his mother died but sold it a long time ago.

He also revealed he used to have a wine collection worth more than HK$7 million. Creditors sold that before the former chief secretary went bust, Ng said. The trustees had sold some of Hui’s other assets, but Ng declined to give details, citing Hui’s right to privacy.

All proceeds from the sales will be used to pay back Hui’s creditors, including banks and finance companies. The sales will not be affected despite his conviction.

All these assets were part of the lavish lifestyle Hui testified to leading. He freely indulged in his fetish for classical music, resulting in the collection of 10,955 discs – mainly vinyl LPs – that includes 6,323 classical music albums, 965 titles on operas and ballet, 1,330 jazz and blues records and 835 rock and pop discs, many of which are Beatles albums from the 1960s.

There are also local discs, including 140 LPs by Canto-pop singers such as Alan Tam Wing-lun, Leslie Cheung Kwok-wing and Anita Mui Yim-fong.

The hobby cost him millions of dollars. He admitted spending HK$200,000 in a single day buying albums, and going on overseas trips for opera concerts that cost more than HK$200,000.

But he never listened to music at the office, according to a former colleague. “Mr Hui was very focused on his work, so he listened to his music collection only at home,” the man said.

“However, he would ask not to arrange important meetings in the afternoon if there was an important concert to go to at night.”

He said Hui liked to shop for records during lunchtime. Hong Kong Records, HMV and smaller shops in Admiralty and Wan Chai were his favourites.

An employee at one of the stores said Hui came at least once a week when he was in government, but had not visited since his arrest in 2012. “He spent almost HK$10,000 per visit. He likes to order whole collections or some rare copies of classical music, and he bought mainly vinyl.”

Ng said the trustees were allowed to trace funds that Hui moved to non-family individuals up to six months before his bankruptcy, and up to two years before for family members.

Hui is believed to owe more than HK$75 million. The amount is equivalent to almost 200 times his monthly salary as chief secretary, and more than 900 times the monthly pension he had received since retirement in 2007.

Last year, at least five banks filed writs in an attempt to recover their loans. Those included Chong Hing Bank seeking HK$9.8 million, Honour Finance for HK$3.16 million, Standard Chartered for HK$1.19 million and Hang Seng for HK$780,000.

The largest creditor is Bank of East Asia, which has not disclosed the exact sum owing. News reports suggest it amounts to HK$60 million. The lender filed a bankruptcy petition against Hui and the court granted the order on November 27.

Under Civil Service Bureau guidelines for bankrupt retirees, Hui’s HK$80,000 monthly pension is suspended during the maximum eight-year period he is under a bankruptcy order. The payments will resume once he is discharged from bankruptcy.

This article appeared in the South China Morning Post print edition as A criminal record may soon be the only one Hui owns

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