Author: Bash Daily Group Archive Feed

Justin Kauflin Jams with the Greats BY TAD FRIEND New Yorker

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.newyorker.com/magazine/2014/11/03/protégé (http://www.newyorker.com/magazine/2014/11/03/protege)

** BY TAD FRIEND
————————————————————
http://www.newyorker.com/wp-content/uploads/2014/11/141103_r25724rgb-1200-784.jpg

Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!”

Jones, the trumpeter who went on to produce Frank Sinatra and Michael Jackson and win twenty-seven Grammys, had returned to where he got his musician’s card, in the fifties, to support his latest discovery, a piano player named Justin Kauflin. Kauflin, who is twenty-eight and blind, was in the back with his guide dog, Candy, wearing dark glasses and a trusting smile.

The men embraced, and Jones studied Kauflin approvingly, saying, “Look at this cat, now!” Then the producer—stocky, monumental, still unruly at eighty-one—sat and began fist bumping the many who came up for a word, chatting in Spanish and French as he bounced his hand off his knee in time to the bass. When an elderly woman in a red bandanna, Loretta Abbott, did a provocative shimmy up front, undulating a là “The Wiz”—which she danced in and Jones wrote songs for—he cackled and called out, “Shake it, but don’t break it! Bite it, but don’t fight it!”

Two years ago, Jones went to Arkansas to visit Clark Terry, an ebullient ninety-three-year-old trumpeter who’d been not only his mentor but Miles Davis’s. Jones recalled, “We were in the process of recording Clark and Snoop”—the rapper Snoop Lion—“because, as Duke told me, ‘Fuck categories. You be the one to decategorize American music.’ But we couldn’t finish.” Terry, a diabetic who’d recently had both legs amputated, had just enough embouchure left to murmur that Jones should hear his new protégé, Kauflin, who was at his bedside. Jones promptly signed him—Kauflin’s new album débuts in January—and stepped in to help produce a half-completed documentary about Terry and Kauflin’s friendship, “Keep On Keepin’ On,” which opened a few weeks ago.
Buy or license » (http://www.cartoonbank.com/)

Kauflin walked up to the stage with Candy, to sit in. He was introduced by Wendy Oxenhorn, of the Jazz Foundation of America, which pays the living expenses for aging artists, including Clark Terry; she elicited warm applause when she explained that “this is the man who helped keep Clark alive the last few years, who gave him a reason to live.” Kauflin bent low over the keys, gliding into “It Could Happen to You,” searching around, then finding the pocket with a bass player and a drummer nearly three times his age.

Jones listened, smiling, and said, “What I liked about Justin was he’d done his homework. God gives you the right brain, everyone’s got emotion, but you gotta practice, you gotta put the left-brain work in. You need musicality and discipline when we’re fighting all these booties, the booty battles.” He broke off to address an attractive woman with dreadlocks: “Do you sing?”

“I used to,” she said, shyly.

Jones, who has seven children with five women, leaned in. “Why’d you stop?”

“I got scared. And I got lazy.”

“Lazy!” he said. “Lazy!” He turned away. “I see fourteen Nobel doctors in Stockholm,” he went on, as the combo moved into Sonny Rollins’s “Pent-Up House,” “and they tell me there’s two things that kill you: one is something in your inner ear that falls down and makes you lose your balance, I forget exactly what, and the other is your mind. Use it or lose it! I do four Sudoku every day, to keep me young. Puzzles, and young women!”

When Kauflin returned, the renowned drummer Steve Jordan said, “You played your ass off, man!” and Kauflin blushed. The drummer he’d played with shuffled over and took his hand to say, “It’s Jackie, man—Jackie Williams. I really loved playing with you! When you see Clark, if you remember, say, ‘Stish said to say hello to Spish.’ ” Kauflin repeated the message, and they laughed, still holding hands.

“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”

A Japanese woman knelt beside him and began a flirty conversation. Then Jones hailed her over, calling out, “Domo arigato gozaimasu!”

As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you.” ♦
*
*
*
* mailto:?subject=From%20newyorker.com:%20Prot%C3%A9g%C3%A9&body=Jazz,%20once%20the%20national%20vernacular,%20lingers%20as%20a%20fading%20dialect%20at%20a%20musicians%E2%80%99%20union%20in%20Hell%E2%80%99s%20Kitchen.%20Old%20men%20in%20black%20fedoras%20and%20roomy%20suits,%20men%20who%20toured%20Europe%20with%20Lionel%20Hampton%20and%20Chet%20Baker,%20now%20brush%20the%20hi-hat%20at%20Monday-night%20jam%20sessions%20before%20forty%20people%20in%20folding…%0A%0AContinue%20reading%20at%20http://www.newyorker.com/magazine/2014/11/03/protege

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Copyright (C) 2014 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

Justin Kauflin Jams with the Greats BY TAD FRIEND New Yorker

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.newyorker.com/magazine/2014/11/03/protégé (http://www.newyorker.com/magazine/2014/11/03/protege)

** BY TAD FRIEND
————————————————————
http://www.newyorker.com/wp-content/uploads/2014/11/141103_r25724rgb-1200-784.jpg

Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!”

Jones, the trumpeter who went on to produce Frank Sinatra and Michael Jackson and win twenty-seven Grammys, had returned to where he got his musician’s card, in the fifties, to support his latest discovery, a piano player named Justin Kauflin. Kauflin, who is twenty-eight and blind, was in the back with his guide dog, Candy, wearing dark glasses and a trusting smile.

The men embraced, and Jones studied Kauflin approvingly, saying, “Look at this cat, now!” Then the producer—stocky, monumental, still unruly at eighty-one—sat and began fist bumping the many who came up for a word, chatting in Spanish and French as he bounced his hand off his knee in time to the bass. When an elderly woman in a red bandanna, Loretta Abbott, did a provocative shimmy up front, undulating a là “The Wiz”—which she danced in and Jones wrote songs for—he cackled and called out, “Shake it, but don’t break it! Bite it, but don’t fight it!”

Two years ago, Jones went to Arkansas to visit Clark Terry, an ebullient ninety-three-year-old trumpeter who’d been not only his mentor but Miles Davis’s. Jones recalled, “We were in the process of recording Clark and Snoop”—the rapper Snoop Lion—“because, as Duke told me, ‘Fuck categories. You be the one to decategorize American music.’ But we couldn’t finish.” Terry, a diabetic who’d recently had both legs amputated, had just enough embouchure left to murmur that Jones should hear his new protégé, Kauflin, who was at his bedside. Jones promptly signed him—Kauflin’s new album débuts in January—and stepped in to help produce a half-completed documentary about Terry and Kauflin’s friendship, “Keep On Keepin’ On,” which opened a few weeks ago.
Buy or license » (http://www.cartoonbank.com/)

Kauflin walked up to the stage with Candy, to sit in. He was introduced by Wendy Oxenhorn, of the Jazz Foundation of America, which pays the living expenses for aging artists, including Clark Terry; she elicited warm applause when she explained that “this is the man who helped keep Clark alive the last few years, who gave him a reason to live.” Kauflin bent low over the keys, gliding into “It Could Happen to You,” searching around, then finding the pocket with a bass player and a drummer nearly three times his age.

Jones listened, smiling, and said, “What I liked about Justin was he’d done his homework. God gives you the right brain, everyone’s got emotion, but you gotta practice, you gotta put the left-brain work in. You need musicality and discipline when we’re fighting all these booties, the booty battles.” He broke off to address an attractive woman with dreadlocks: “Do you sing?”

“I used to,” she said, shyly.

Jones, who has seven children with five women, leaned in. “Why’d you stop?”

“I got scared. And I got lazy.”

“Lazy!” he said. “Lazy!” He turned away. “I see fourteen Nobel doctors in Stockholm,” he went on, as the combo moved into Sonny Rollins’s “Pent-Up House,” “and they tell me there’s two things that kill you: one is something in your inner ear that falls down and makes you lose your balance, I forget exactly what, and the other is your mind. Use it or lose it! I do four Sudoku every day, to keep me young. Puzzles, and young women!”

When Kauflin returned, the renowned drummer Steve Jordan said, “You played your ass off, man!” and Kauflin blushed. The drummer he’d played with shuffled over and took his hand to say, “It’s Jackie, man—Jackie Williams. I really loved playing with you! When you see Clark, if you remember, say, ‘Stish said to say hello to Spish.’ ” Kauflin repeated the message, and they laughed, still holding hands.

“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”

A Japanese woman knelt beside him and began a flirty conversation. Then Jones hailed her over, calling out, “Domo arigato gozaimasu!”

As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you.” ♦
*
*
*
* mailto:?subject=From%20newyorker.com:%20Prot%C3%A9g%C3%A9&body=Jazz,%20once%20the%20national%20vernacular,%20lingers%20as%20a%20fading%20dialect%20at%20a%20musicians%E2%80%99%20union%20in%20Hell%E2%80%99s%20Kitchen.%20Old%20men%20in%20black%20fedoras%20and%20roomy%20suits,%20men%20who%20toured%20Europe%20with%20Lionel%20Hampton%20and%20Chet%20Baker,%20now%20brush%20the%20hi-hat%20at%20Monday-night%20jam%20sessions%20before%20forty%20people%20in%20folding…%0A%0AContinue%20reading%20at%20http://www.newyorker.com/magazine/2014/11/03/protege

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Copyright (C) 2014 All rights reserved.

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

Brilliant Corners: More New Yorker Jazz Nonsense

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29 (http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29)

** More New Yorker Jazz Nonsense
————————————————————
http://1.bp.blogspot.com/-TfUp2-y3YSg/VFkmNn-stHI/AAAAAAAADZ0/j1V5HZxiud0/s1600/images.jpeg
A recent short piece in the New Yorker (they call it a “casual”) brings us back to the shift in how this magazine and other “thoughtful” mainstream periodicals now think of jazz.
The piece (http://www.newyorker.com/magazine/2014/11/03/protege) , under the heading “The Musical Life” is titled “Protege.” It opens this way:
“Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!””
http://3.bp.blogspot.com/-GFulxY0zf_U/VFkma9QXmVI/AAAAAAAADZ8/JYvsyhm_7pY/s1600/images%2B(1).jpeg
The piece focuses some of its attention on pianist Justin Kauflin, a protege of trumpeter Clark Terry. Kauflin’s recording career was given a boost by the involvement of Quincy Jones, who also helped finance the documentary about Terry and Kauflin, called “Keep on Keepin’ On (http://keeponkeepinon.com/) .”
Apart from this, there’s a noticeably prurient emphasis on Jones’ love life. He flirts with two women, and says: “four Sudoku every day, to keep me young. Puzzles, and young women!” The closing of the piece is:
“As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you.”
http://1.bp.blogspot.com/-h-80CL92gWk/VFkmxm6msBI/AAAAAAAADaE/HKdM8FOj2pk/s1600/download.jpeg
The final bit I want to quote is this:
“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”
So, to sum up: jazz is a fading dialect, the province of old men with fedoras and “roomy suits” (where the hell does that come from?) playing, essentially, for each other. Two elders of jazz are mentioned: Clark Terry, who is unfortunately, near the end of his life (offstage) and Quincy Jones (center stage), a swashbuckling womanizer with the bucks to keep the dim jazz flame alive.
Make of it what you will.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7975ed6aa) | 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=e7975ed6aa&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

Brilliant Corners: More New Yorker Jazz Nonsense

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29 (http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29)

** More New Yorker Jazz Nonsense
————————————————————
http://1.bp.blogspot.com/-TfUp2-y3YSg/VFkmNn-stHI/AAAAAAAADZ0/j1V5HZxiud0/s1600/images.jpeg
A recent short piece in the New Yorker (they call it a “casual”) brings us back to the shift in how this magazine and other “thoughtful” mainstream periodicals now think of jazz.
The piece (http://www.newyorker.com/magazine/2014/11/03/protege) , under the heading “The Musical Life” is titled “Protege.” It opens this way:
“Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!””
http://3.bp.blogspot.com/-GFulxY0zf_U/VFkma9QXmVI/AAAAAAAADZ8/JYvsyhm_7pY/s1600/images%2B(1).jpeg
The piece focuses some of its attention on pianist Justin Kauflin, a protege of trumpeter Clark Terry. Kauflin’s recording career was given a boost by the involvement of Quincy Jones, who also helped finance the documentary about Terry and Kauflin, called “Keep on Keepin’ On (http://keeponkeepinon.com/) .”
Apart from this, there’s a noticeably prurient emphasis on Jones’ love life. He flirts with two women, and says: “four Sudoku every day, to keep me young. Puzzles, and young women!” The closing of the piece is:
“As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you.”
http://1.bp.blogspot.com/-h-80CL92gWk/VFkmxm6msBI/AAAAAAAADaE/HKdM8FOj2pk/s1600/download.jpeg
The final bit I want to quote is this:
“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”
So, to sum up: jazz is a fading dialect, the province of old men with fedoras and “roomy suits” (where the hell does that come from?) playing, essentially, for each other. Two elders of jazz are mentioned: Clark Terry, who is unfortunately, near the end of his life (offstage) and Quincy Jones (center stage), a swashbuckling womanizer with the bucks to keep the dim jazz flame alive.
Make of it what you will.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7975ed6aa) | 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=e7975ed6aa&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

Brilliant Corners: More New Yorker Jazz Nonsense

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29 (http://brilliantcornersabostonjazzblog.blogspot.com/2014/11/more-new-yorker-jazz-nonsense.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+BrilliantCornersABostonJazzBlog+%28Brilliant+Corners%2C+a+Boston+Jazz+Blog.%29)

** More New Yorker Jazz Nonsense
————————————————————
http://1.bp.blogspot.com/-TfUp2-y3YSg/VFkmNn-stHI/AAAAAAAADZ0/j1V5HZxiud0/s1600/images.jpeg
A recent short piece in the New Yorker (they call it a “casual”) brings us back to the shift in how this magazine and other “thoughtful” mainstream periodicals now think of jazz.
The piece (http://www.newyorker.com/magazine/2014/11/03/protege) , under the heading “The Musical Life” is titled “Protege.” It opens this way:
“Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!””
http://3.bp.blogspot.com/-GFulxY0zf_U/VFkma9QXmVI/AAAAAAAADZ8/JYvsyhm_7pY/s1600/images%2B(1).jpeg
The piece focuses some of its attention on pianist Justin Kauflin, a protege of trumpeter Clark Terry. Kauflin’s recording career was given a boost by the involvement of Quincy Jones, who also helped finance the documentary about Terry and Kauflin, called “Keep on Keepin’ On (http://keeponkeepinon.com/) .”
Apart from this, there’s a noticeably prurient emphasis on Jones’ love life. He flirts with two women, and says: “four Sudoku every day, to keep me young. Puzzles, and young women!” The closing of the piece is:
“As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you.”
http://1.bp.blogspot.com/-h-80CL92gWk/VFkmxm6msBI/AAAAAAAADaE/HKdM8FOj2pk/s1600/download.jpeg
The final bit I want to quote is this:
“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”
So, to sum up: jazz is a fading dialect, the province of old men with fedoras and “roomy suits” (where the hell does that come from?) playing, essentially, for each other. Two elders of jazz are mentioned: Clark Terry, who is unfortunately, near the end of his life (offstage) and Quincy Jones (center stage), a swashbuckling womanizer with the bucks to keep the dim jazz flame alive.
Make of it what you will.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e7975ed6aa) | 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=e7975ed6aa&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

Duke Ellington Still Being Stiffed on Royalties, 40 Years After His Death | Village Voice

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http://www.theguardian.com/film/2014/oct/27/oldest-surviving-film-all-black-cast

** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

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** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

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** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=988069823f) | 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=988069823f&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher | Film | The Guardian

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** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

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Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher | Film | The Guardian

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http://www.theguardian.com/film/2014/oct/27/oldest-surviving-film-all-black-cast

** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

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Copyright (C) 2014 All rights reserved.

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Warwick, Ny 10990
USA

Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher | Film | The Guardian

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theguardian.com/film/2014/oct/27/oldest-surviving-film-all-black-cast

** Oldest surviving film with an all-black cast moved me to laughter and tears | Steven W Thrasher
————————————————————

Sometimes I sit down to watch a black and white film and immediately feel depressed as I think to myself: “Everyone I am about to see is dead.” But I felt an unmitigated sense of joy – before, during and after – watching the recently restored dailies of a 101-year-old feature film with an all-black cast (http://www.theguardian.com/film/2014/sep/23/film-black-actors-premiere-new-york-moma) .

Produced by Biograph Studio in 1913 and starring Caribbean American star Bert Williams (https://www.youtube.com/watch?v=xTZT1JKv4m0) , the never-finished, never-released film (awkwardly titled Bert Williams Lime Kiln Club Field Day (http://www.moma.org/visit/calendar/film_screenings/22255) ) is showing in the Museum of Modern Art’s 12th annual To Save and Project (http://www.moma.org/visit/calendar/films/1521) festival. It is a gem of a movie which moved me to tears a couple of times, but which also slapped an irrepressible smile on my face during most of its flickering frames. The film is also significant because it is the oldest film of any kind with its “daily rushes” (multiple unedited takes) intact, allowing us to see what was happening behind the scenes, including two white co-directors and a black stage manager directing an all-black cast.

The process of bringing the film to the public has been an effort “a decade in the making”, MoMA film curator Ron Magliozzi (http://www.moma.org/explore/inside_out/author/rmagliozzi) explained in his opening remarks, after it languished for nine decades nearly unwatched. In 1939, it was among 900 negatives acquired from Biograph as part of the MoMA’s founding film collection, when curator Iris Barry was hunting, ironically, for work by racist filmmaker DW Griffith (http://www.theguardian.com/film/filmblog/2013/jul/29/birth-of-a-nation-dw-griffith-masterpiece) .

In a Q&A before the screening, Williams’s comedic screen presence was repeatedly (and rightly) compared to that of Charlie Chaplin or Buster Keaton by Magliozzi and critic Margo Jefferson (http://www.nytimes.com/ref/theater/JEFFERSON-BIO.html) . The plot of the loosely assembled footage, which was never edited until now, is about as loose as that of any Chaplin vehicle, and basically involves Williams, a schemer, trying to woo a young woman over his rivals as he squires her about town.
Bert Williams Lime Kiln Club Field Day Chaplinesque: ‘it is shocking to see black people of the time engaging in leisure’ Photograph: Museum of Modern Art

The film is not without its problems. Williams appears as a black actor in blackface, and it’s a strange era for him to be doing so, as blackface by black actors was waning. Also, on the one hand, the film was produced at an ascendant moment for black culture, a generation before the Harlem Renaissance (http://www.history.com/topics/black-history/harlem-renaissance) and jazz would alter black art in America. On the other, this film was made right before black culture would have a major reactionary setback by film, in the form of Griffith’s Birth of a Nation (http://www.theguardian.com/film/1999/nov/25/3) . Made at the same time, Birth would instigate race riots across America and be a rallying cry for the Ku Klux Klan until the 1970s. (Indeed, Magliozzi believes Williams’ film wasn’t initially released because it “It wasn’t racist enough” and Birth’s role as the nation’s first blockbuster sealed its fate.)

There are racist tropes in Williams’ film, although you can largely sense the actors working to use them in a manner of disidentification. Particularly cringeworthy are the scenes of black people chasing after a pig, fighting each other for shoes like they’re the latest Nikes, and engaged in a watermelon eating contest. But these activities were common events at the kind of field day fair they’re attending, and it’s sweet to see black people going to a fair period, strolling in an Easter parade and riding a merry-go-round.

Indeed, it is shocking to see black people of the time engaging in leisure. Life was not easy for African Americans in 1913. Perhaps because we are so inured to cinematic images of black Americans as beasts of burden – from Precious (http://www.theguardian.com/film/2010/jan/31/precious-review-philip-french) to Beasts of the Southern Wild (http://www.theguardian.com/film/2012/oct/18/beast-southern-wild-review) to 12 Years a Slave (http://www.theguardian.com/film/2014/jan/09/12-years-a-slave-review) to Madea Goes to Jail (http://www.imdb.com/title/tt1142800/fullcredits/) – there is something so amazingly sweet about seeing Williams and his girl, a hundred years ago, leisurely strolling around without a care in the world like they’re Harold Hill and Marion the Librarian in The Music Man (https://www.youtube.com/watch?v=LI_Oe-jtgdI) .
Bert Williams Lime Kiln Club Field Day Joyous … the dance scene in Bert Williams Lime Kiln Club Field Day. Photograph: Museum of Modern Art

The “cakewalk” dance (http://www.moma.org/visit/calendar/exhibitions/1528) at the Lime Kiln Club scene is the highlight, in which much of the cast parades, their joy palpable, down a dance line, a precursor by many decades of Don Cornelius and his Soul Train (https://www.youtube.com/watch?v=qOeGDIPd4TM) , or the voguing catwalks of ballroom drag and Paris is Burning (http://www.theguardian.com/film/2009/apr/17/paris-is-burning) . The cut of the film prepared by Magliozzi is very loose, and as a white preservationist, he says his hope is that it will “go viral” and be re-edited by black filmmakers, artists and musicians. Especially musically, it is fun to think of how an all black cast from 1913 could interact with jazz, hip-hop and visual black artists of today to create a meme.

The movie is also a love story, featuring one of the most delightful courtships you are ever going to see between a black man and woman on American celluloid. Even in 2014, it’s rare to see even Denzel Washington (http://www.theguardian.com/film/denzelwashington) or Viola Davis (http://www.theguardian.com/film/viola-davis) play a romantic leading role. Williams riding the merry go round with his girl, and puckering up his lips for a kiss at the end of the film, holds up as surprisingly rare moment of black intimacy a century after those lips touched.

That’s the reason I was moved by the film: we have never seen these people before. These black performers were wiped out of our American consciousness by Birth of a Nation and decades of subsequently limited black imagery. It is only a century later that we get to see them; and, their subsequent arrival, as if out of a time capsule, should be as heralded by us as Margaret Atwood’s work in the Future Library (http://www.theguardian.com/books/2014/sep/05/margaret-atwood-new-work-unseen-century-future-library) will be when it is read for the first time in 2114. These performers, who look so alive on screen, never got their due in life. And yet, we get to see that they lived. That they worked as actors. That they experienced joy in their cakewalks and on that merry-go-round. The perceptible love they had for their work, and the love they expressed as characters, is a beautiful thing to witness.

It is a joy simply to see proof that such black performers had once lived and walked this earth.
* See extracts from the film here (http://www.moma.org/visit/calendar/exhibitions/1528)
* This article was amended on 28 October 2014. The first version said that the cast was “interracial”. The crew is interracial; the cast is all-black, with some white extras.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4da6389bba) | 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=4da6389bba&e=[UNIQID])

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RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne – ABC Brisbane – Australian Broadcasting Corporation

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http://www.abc.net.au/local/stories/2014/10/28/4116251.htm?site=brisbane

** RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne
————————————————————

The moment Horst Liepolt heard a recording of Louis Armstrong and his Hot Five play Savoy Blues in 1944 he was hooked on Jazz.

A stranger he met on the streets of Berlin noticed Liepolt’s displeasure with a local marching band passing them by and invited him over to listen to some jazz records.

That initial taste quickly grew to an insatiable hunger that has continued ever since.

In 1948 Horst Liepolt saw the Dizzy Gillespie Band playing bebop and, realising that jazz was a highly creative and evolving musical tradition, he became a devotee of modern jazz.

In 1951 Liepolt was ready to move to New York but a simple twist of fate had him travelling by plane to Tasmania instead. He loved it.

Six months later he moved to Melbourne and went in search of jazz bands. Trad jazz was the popular style of the day but he soon found a small group of musicians interested in making modern sounds.

In the mid 1950s he began paying five pounds rent for a space in St Kilda where he began promoting jazz shows on a Sunday afternoon.

Thinking back to his life changing experience with Louis Armstrong in 1944 he decided to call the place Jazz Centre 44.

It quickly established itself as one of the most influential and important venues of the day hosting shows by favourites like the Brian Brown Quintet, Alan Lee Quartet and the Melbourne New Orleans Jazz Band.

By late 1959 Liepolt had decided that it was time for a change. He closed the centre and made a move to Sydney.

This is part one of a two-part interview with Horst Leipolt, looking at the thirty years he spent promoting and producing jazz in Australian.

Part two will focus on his time in Sydney.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d3a8399f18) | 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=d3a8399f18&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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

RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne – ABC Brisbane – Australian Broadcasting Corporation

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.abc.net.au/local/stories/2014/10/28/4116251.htm?site=brisbane

** RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne
————————————————————

The moment Horst Liepolt heard a recording of Louis Armstrong and his Hot Five play Savoy Blues in 1944 he was hooked on Jazz.

A stranger he met on the streets of Berlin noticed Liepolt’s displeasure with a local marching band passing them by and invited him over to listen to some jazz records.

That initial taste quickly grew to an insatiable hunger that has continued ever since.

In 1948 Horst Liepolt saw the Dizzy Gillespie Band playing bebop and, realising that jazz was a highly creative and evolving musical tradition, he became a devotee of modern jazz.

In 1951 Liepolt was ready to move to New York but a simple twist of fate had him travelling by plane to Tasmania instead. He loved it.

Six months later he moved to Melbourne and went in search of jazz bands. Trad jazz was the popular style of the day but he soon found a small group of musicians interested in making modern sounds.

In the mid 1950s he began paying five pounds rent for a space in St Kilda where he began promoting jazz shows on a Sunday afternoon.

Thinking back to his life changing experience with Louis Armstrong in 1944 he decided to call the place Jazz Centre 44.

It quickly established itself as one of the most influential and important venues of the day hosting shows by favourites like the Brian Brown Quintet, Alan Lee Quartet and the Melbourne New Orleans Jazz Band.

By late 1959 Liepolt had decided that it was time for a change. He closed the centre and made a move to Sydney.

This is part one of a two-part interview with Horst Leipolt, looking at the thirty years he spent promoting and producing jazz in Australian.

Part two will focus on his time in Sydney.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d3a8399f18) | 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=d3a8399f18&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

RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne – ABC Brisbane – Australian Broadcasting Corporation

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http://www.abc.net.au/local/stories/2014/10/28/4116251.htm?site=brisbane

** RareCollections: Horst Liepolt and Modern Jazz in 1950s Melbourne
————————————————————

The moment Horst Liepolt heard a recording of Louis Armstrong and his Hot Five play Savoy Blues in 1944 he was hooked on Jazz.

A stranger he met on the streets of Berlin noticed Liepolt’s displeasure with a local marching band passing them by and invited him over to listen to some jazz records.

That initial taste quickly grew to an insatiable hunger that has continued ever since.

In 1948 Horst Liepolt saw the Dizzy Gillespie Band playing bebop and, realising that jazz was a highly creative and evolving musical tradition, he became a devotee of modern jazz.

In 1951 Liepolt was ready to move to New York but a simple twist of fate had him travelling by plane to Tasmania instead. He loved it.

Six months later he moved to Melbourne and went in search of jazz bands. Trad jazz was the popular style of the day but he soon found a small group of musicians interested in making modern sounds.

In the mid 1950s he began paying five pounds rent for a space in St Kilda where he began promoting jazz shows on a Sunday afternoon.

Thinking back to his life changing experience with Louis Armstrong in 1944 he decided to call the place Jazz Centre 44.

It quickly established itself as one of the most influential and important venues of the day hosting shows by favourites like the Brian Brown Quintet, Alan Lee Quartet and the Melbourne New Orleans Jazz Band.

By late 1959 Liepolt had decided that it was time for a change. He closed the centre and made a move to Sydney.

This is part one of a two-part interview with Horst Leipolt, looking at the thirty years he spent promoting and producing jazz in Australian.

Part two will focus on his time in Sydney.

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EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM : Classical : Classicalite

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** EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM
————————————————————
Herbie Hancock, Sasha Frere-Jones

A classically trained pianist since the age of 7, Herbie Hancock (http://www.classicalite.com/tags/herbie-hancock) did not predict his success would be in music, let alone the world of jazz. In fact, he went to college for engineering. To divulge into how that pivotal change happened leading to his fourteen Grammy awards and his long anticipated memoir Possibilities; Hancock and New Yorker magazine critic Sasha Frere-Jones (http://www.classicalite.com/articles/11223/20140908/herbie-hancock-new-yorker-critic-sasha-frere-jones-in-conversation-possibilities-book-signing-at-brooklyn-academy-of-music-for-unbound-a-literary-series-on-october-29.htm) laid it all out in front of a nearly sold out audience on Wednesday night at the Brooklyn Academy of Music’s Rose Cinema as part of the Unbound: A Literary Series. (http://www.bam.org/unbound)

Like Us on Facebook (https://www.facebook.com/Classicalite)

They talked at length about Hancock’s Chicago high school days, classic R&B and Miles Davis. Long winded and winding at times, the hour plus evening exuded Hancock’s elixir: Buddhism and good, old honest charm.

“This is all in the book,” joked Hancock. “Verbatim.”

Hancock started with how he became a jazz fan during the Senior Varieties show at his Hyde Park High School in Chicago. From there he asked his mother for George Sherman records, (which he unknowingly already owned) listened to Oscar Peterson and vocal groups like the The Four Freshman and Al Benson’s R&B station. (http://legendariesofradio.wix.com/black-radio#!al-benson)

He attributes his second teacher, Mrs. Short, as his inspiration to play piano in a realm other than classical. She played Chopin for Hancock and it sounded like piano playing he had never heard before.

“The touch, the nuances, the feeling that she had, the softness when it was necessary. It made an impression on me,” said Hancock. “I was a little kid. I said, “Can you teach me to play the piano like that?” she said, “I can try.”

It was the idea of touch that stylistically stayed with Hancock. From there he nostalgically recalled his college days in Ohio trying to organize a jazz concert. During that time, he became true to himself and realized where his heart really was: jazz.

“It wasn’t really a choice, it was very obvious to me,” said Hancock.

Frere-Jones led the conversation further with gems of knowledge from Hancock’s score to Blow Up (http://hcl.harvard.edu/hfa/films/2014janmar/hancock.html) to Super Cat and Biggie Smalls sampling “Watermelon Man,” (http://www.discogs.com/Super-Cat-Dolly-My-Baby/release/2294521) to his work with Tony Williams and his beautifully detailed account on turning to Buddhism, an act which he graciously thanks Buster Williams for during a performance in Seattle in their Mwandishi days. (http://www.thewire.co.uk/news/19212/story-of-herbie-hancock-and-the-mwandishi-band-to-be-published)

“People in the audience were not only applauding, they were going nuts and I could feel myself waking up,” said Hancock on Williams playing the bass by himself for nearly 15 minutes, waking up the band on a night they just were not on at all.

As audience members ran to the stage and said that they not only heard the music but experienced it, Hancock decided he needed whatever made Williams so on that night.

The talk was followed by an audience generated Q&A and Hancock graciously signing copies of Possibilities.

About the Author (https://plus.google.com/u/0/114614172237835927524?rel=author)

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

EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM : Classical : Classicalite

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.classicalite.com/articles/12523/20141031/exclusive-herbie-hancock-saha-frere-jones-talk-posibilities-flying-lotus-miles-davis-and-buster-williams-at-brooklyn-academy-of-music.htm

** EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM
————————————————————
Herbie Hancock, Sasha Frere-Jones

A classically trained pianist since the age of 7, Herbie Hancock (http://www.classicalite.com/tags/herbie-hancock) did not predict his success would be in music, let alone the world of jazz. In fact, he went to college for engineering. To divulge into how that pivotal change happened leading to his fourteen Grammy awards and his long anticipated memoir Possibilities; Hancock and New Yorker magazine critic Sasha Frere-Jones (http://www.classicalite.com/articles/11223/20140908/herbie-hancock-new-yorker-critic-sasha-frere-jones-in-conversation-possibilities-book-signing-at-brooklyn-academy-of-music-for-unbound-a-literary-series-on-october-29.htm) laid it all out in front of a nearly sold out audience on Wednesday night at the Brooklyn Academy of Music’s Rose Cinema as part of the Unbound: A Literary Series. (http://www.bam.org/unbound)

Like Us on Facebook (https://www.facebook.com/Classicalite)

They talked at length about Hancock’s Chicago high school days, classic R&B and Miles Davis. Long winded and winding at times, the hour plus evening exuded Hancock’s elixir: Buddhism and good, old honest charm.

“This is all in the book,” joked Hancock. “Verbatim.”

Hancock started with how he became a jazz fan during the Senior Varieties show at his Hyde Park High School in Chicago. From there he asked his mother for George Sherman records, (which he unknowingly already owned) listened to Oscar Peterson and vocal groups like the The Four Freshman and Al Benson’s R&B station. (http://legendariesofradio.wix.com/black-radio#!al-benson)

He attributes his second teacher, Mrs. Short, as his inspiration to play piano in a realm other than classical. She played Chopin for Hancock and it sounded like piano playing he had never heard before.

“The touch, the nuances, the feeling that she had, the softness when it was necessary. It made an impression on me,” said Hancock. “I was a little kid. I said, “Can you teach me to play the piano like that?” she said, “I can try.”

It was the idea of touch that stylistically stayed with Hancock. From there he nostalgically recalled his college days in Ohio trying to organize a jazz concert. During that time, he became true to himself and realized where his heart really was: jazz.

“It wasn’t really a choice, it was very obvious to me,” said Hancock.

Frere-Jones led the conversation further with gems of knowledge from Hancock’s score to Blow Up (http://hcl.harvard.edu/hfa/films/2014janmar/hancock.html) to Super Cat and Biggie Smalls sampling “Watermelon Man,” (http://www.discogs.com/Super-Cat-Dolly-My-Baby/release/2294521) to his work with Tony Williams and his beautifully detailed account on turning to Buddhism, an act which he graciously thanks Buster Williams for during a performance in Seattle in their Mwandishi days. (http://www.thewire.co.uk/news/19212/story-of-herbie-hancock-and-the-mwandishi-band-to-be-published)

“People in the audience were not only applauding, they were going nuts and I could feel myself waking up,” said Hancock on Williams playing the bass by himself for nearly 15 minutes, waking up the band on a night they just were not on at all.

As audience members ran to the stage and said that they not only heard the music but experienced it, Hancock decided he needed whatever made Williams so on that night.

The talk was followed by an audience generated Q&A and Hancock graciously signing copies of Possibilities.

About the Author (https://plus.google.com/u/0/114614172237835927524?rel=author)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d69c4a90d9) | 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=d69c4a90d9&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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

EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM : Classical : Classicalite

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.classicalite.com/articles/12523/20141031/exclusive-herbie-hancock-saha-frere-jones-talk-posibilities-flying-lotus-miles-davis-and-buster-williams-at-brooklyn-academy-of-music.htm

** EXCLUSIVE: Herbie Hancock, Saha Frere-Jones Talk ‘Possibilities,’ Flying Lotus, Miles Davis and Buster Williams at BAM
————————————————————
Herbie Hancock, Sasha Frere-Jones

A classically trained pianist since the age of 7, Herbie Hancock (http://www.classicalite.com/tags/herbie-hancock) did not predict his success would be in music, let alone the world of jazz. In fact, he went to college for engineering. To divulge into how that pivotal change happened leading to his fourteen Grammy awards and his long anticipated memoir Possibilities; Hancock and New Yorker magazine critic Sasha Frere-Jones (http://www.classicalite.com/articles/11223/20140908/herbie-hancock-new-yorker-critic-sasha-frere-jones-in-conversation-possibilities-book-signing-at-brooklyn-academy-of-music-for-unbound-a-literary-series-on-october-29.htm) laid it all out in front of a nearly sold out audience on Wednesday night at the Brooklyn Academy of Music’s Rose Cinema as part of the Unbound: A Literary Series. (http://www.bam.org/unbound)

Like Us on Facebook (https://www.facebook.com/Classicalite)

They talked at length about Hancock’s Chicago high school days, classic R&B and Miles Davis. Long winded and winding at times, the hour plus evening exuded Hancock’s elixir: Buddhism and good, old honest charm.

“This is all in the book,” joked Hancock. “Verbatim.”

Hancock started with how he became a jazz fan during the Senior Varieties show at his Hyde Park High School in Chicago. From there he asked his mother for George Sherman records, (which he unknowingly already owned) listened to Oscar Peterson and vocal groups like the The Four Freshman and Al Benson’s R&B station. (http://legendariesofradio.wix.com/black-radio#!al-benson)

He attributes his second teacher, Mrs. Short, as his inspiration to play piano in a realm other than classical. She played Chopin for Hancock and it sounded like piano playing he had never heard before.

“The touch, the nuances, the feeling that she had, the softness when it was necessary. It made an impression on me,” said Hancock. “I was a little kid. I said, “Can you teach me to play the piano like that?” she said, “I can try.”

It was the idea of touch that stylistically stayed with Hancock. From there he nostalgically recalled his college days in Ohio trying to organize a jazz concert. During that time, he became true to himself and realized where his heart really was: jazz.

“It wasn’t really a choice, it was very obvious to me,” said Hancock.

Frere-Jones led the conversation further with gems of knowledge from Hancock’s score to Blow Up (http://hcl.harvard.edu/hfa/films/2014janmar/hancock.html) to Super Cat and Biggie Smalls sampling “Watermelon Man,” (http://www.discogs.com/Super-Cat-Dolly-My-Baby/release/2294521) to his work with Tony Williams and his beautifully detailed account on turning to Buddhism, an act which he graciously thanks Buster Williams for during a performance in Seattle in their Mwandishi days. (http://www.thewire.co.uk/news/19212/story-of-herbie-hancock-and-the-mwandishi-band-to-be-published)

“People in the audience were not only applauding, they were going nuts and I could feel myself waking up,” said Hancock on Williams playing the bass by himself for nearly 15 minutes, waking up the band on a night they just were not on at all.

As audience members ran to the stage and said that they not only heard the music but experienced it, Hancock decided he needed whatever made Williams so on that night.

The talk was followed by an audience generated Q&A and Hancock graciously signing copies of Possibilities.

About the Author (https://plus.google.com/u/0/114614172237835927524?rel=author)

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

Acker Bilk, jazz clarinettist, dies aged 85 | Music | The Guardian

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theguardian.com/music/2014/nov/02/acker-bilk-dies-jazz-traditional-clarinet

** Acker Bilk, jazz clarinettist, dies aged 85
————————————————————

The celebrated jazz clarinettist Acker Bilk has died aged 85.

Bilk was perhaps best known for his 1961 song Stranger on the Shore and was one of the most important figures in the revival of traditional jazz in the middle of the last century.

“He was vastly important to the jazz movement, he could play the clarinet like nobody else, he had a special tone and vibrato – other musicians would tell you that,” his manager, Pamela Sutton, said.

Sutton, who worked with Bilk for 45 years, said: “His life was music and performing. He only gave it up because his age caught up with him and he couldn’t perform any more.”

Bilk’s last performance was in August 2013 at the Brecon jazz festival in Wales.

Sutton said: “He was a charming person to be with and he was famous worldwide, especially in Australia.

“He was a brilliant musician. He had a great sense of humour in every way. He just loved life.”

She said that he died around 2pm with his wife Jean by his side. “I am very happy that so many people have called [since news of his death broke]. As he was 85, age had just caught up with him. He was in some pain from different things that were going wrong.”

He also leaves two children, Peter and Jenny.

Bilk, who was made an MBE in the New Year honours list of 2001, had previously overcome throat cancer.

Poet Ian McMillan tweeted: “Goodbye Acker Bilk, creator of one of the great earworms. That shore was strange, but memorable.”

He was born Bernard Stanley Bilk and raised in Somerset, and soon took the name Acker – a local expression meaning “friend” or “mate”.

Bilk’s uniform of garish waistcoat and bowler hat set the tone for onstage outfits for anyone performing in that genre.

He was 18 when he took up the clarinet while in the Royal Engineers during his national service. Posted to Egypt, he found himself with plenty of spare time in the desert and borrowed a marching clarinet, learning by copying recordings.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=492209d28c) | 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=492209d28c&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

Acker Bilk, jazz clarinettist, dies aged 85 | Music | The Guardian

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.theguardian.com/music/2014/nov/02/acker-bilk-dies-jazz-traditional-clarinet

** Acker Bilk, jazz clarinettist, dies aged 85
————————————————————

The celebrated jazz clarinettist Acker Bilk has died aged 85.

Bilk was perhaps best known for his 1961 song Stranger on the Shore and was one of the most important figures in the revival of traditional jazz in the middle of the last century.

“He was vastly important to the jazz movement, he could play the clarinet like nobody else, he had a special tone and vibrato – other musicians would tell you that,” his manager, Pamela Sutton, said.

Sutton, who worked with Bilk for 45 years, said: “His life was music and performing. He only gave it up because his age caught up with him and he couldn’t perform any more.”

Bilk’s last performance was in August 2013 at the Brecon jazz festival in Wales.

Sutton said: “He was a charming person to be with and he was famous worldwide, especially in Australia.

“He was a brilliant musician. He had a great sense of humour in every way. He just loved life.”

She said that he died around 2pm with his wife Jean by his side. “I am very happy that so many people have called [since news of his death broke]. As he was 85, age had just caught up with him. He was in some pain from different things that were going wrong.”

He also leaves two children, Peter and Jenny.

Bilk, who was made an MBE in the New Year honours list of 2001, had previously overcome throat cancer.

Poet Ian McMillan tweeted: “Goodbye Acker Bilk, creator of one of the great earworms. That shore was strange, but memorable.”

He was born Bernard Stanley Bilk and raised in Somerset, and soon took the name Acker – a local expression meaning “friend” or “mate”.

Bilk’s uniform of garish waistcoat and bowler hat set the tone for onstage outfits for anyone performing in that genre.

He was 18 when he took up the clarinet while in the Royal Engineers during his national service. Posted to Egypt, he found himself with plenty of spare time in the desert and borrowed a marching clarinet, learning by copying recordings.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=492209d28c) | 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=492209d28c&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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Warwick, Ny 10990
USA

Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers, review: ‘lavish, brilliant photography’ – Telegraph

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http://www.telegraph.co.uk/culture/books/bookreviews/11197822/Blue-Note-Uncompromising-Expression-75-Years-of-the-Finest-in-Jazz-by-Richard-Havers.html

** Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers, review: ‘lavish, brilliant photography’
————————————————————

** Blue Note, the jazz label founded by refugees from Hitler’s Germany, turned out album covers as legendary as its music
————————————————————
4 out of 5 stars
Hank Mobley, 19 January 1968
Hank Mobley, 1968, photographed by Jewish refugee Francis Wolff Photo: Francis Wolff / Mosaic Images

By Martin Gayford

7:00AM GMT 01 Nov 2014

Comments Comment (http://www.telegraph.co.uk/culture/books/bookreviews/11197822/Blue-Note-Uncompromising-Expression-75-Years-of-the-Finest-in-Jazz-by-Richard-Havers.html#disqus_thread)

It is well known that the Nazi regime denounced modernist art as “degenerate”, but not so well known that the Third Reich also proscribed “Entartete Musik” or “degenerate music”. Another name for this was jazz (http://www.telegraph.co.uk/culture/books/bookreviews/10433312/Verve-the-Sound-of-America-by-Richard-Havers-review.html) . It makes complete sense, therefore, that the most renowned of American jazz recording companies – Blue Note Records – was founded by refugees from Hitler’s Germany.

Blue Note survives in name, if not – some would argue – in spirit. This weighty book helps to explain the mystique that continues to surround the label, though in that regard the pictures are more helpful than the text. One of the crucial points about Blue Note records was that they looked beautiful – and distinctive.

The covers were works of art in themselves. They had a look that combined typography derived from the Bauhaus – bastion of modern design in Weimar Germany – with brilliant photography, often starkly black and white and resembling the work of a master of the camera such as Cartier-Bresson or Robert Frank. Those designs were visible evidence of an attitude more common in Europe than America: that jazz was not merely a novel form of entertainment but something to be taken with the same seriousness with which one might approach Beethoven or Debussy. It, too, was art.

Alfred Lion, the founder of Blue Note, came from a cultivated Jewish background in Berlin (his father was an architect). As a teenager, he heard a recording made by the Sam Wooding & His Orchestra, among the first African-American jazz bands to perform in Europe. In 1925 they recorded a piece called Shanghai Shuffle in Berlin; many years later Lion remembered the effect it had on him. “It interested me immediately. I felt the music, not knowing actually what made me feel it.”

In 1928, aged 20, Lion went to the US, slept rough in Central Park, got a job at the docks and rented a series of rooms from which he was usually ejected for playing his record player too loudly. He returned to Germany for a while, tried his luck in South America and ended up back in New York. By January 1939, he had saved up just enough money to pay for his first recording session, and Blue Note was born.

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* The 85 best books of 2014 (http://www.telegraph.co.uk/culture/books/bookreviews/10828075/The-best-books-of-2014.html)
30 Oct 2014
* How Ella Fitzgerald won the heart of America (http://www.telegraph.co.uk/culture/books/bookreviews/10433312/Verve-the-Sound-of-America-by-Richard-Havers-review.html)
08 Nov 2013
* Jason Moran: Ten Blue Note (http://www.telegraph.co.uk/culture/music/cdreviews/7956635/Jason-Moran-Ten-Blue-Note-CD-review.html)
20 Aug 2010
* Horace Silver, jazz pioneer, dies (http://www.telegraph.co.uk/culture/music/worldfolkandjazz/10910894/Horace-Silver-pioneer-of-jazz-hard-bop-dies-at-85.html)
19 Jun 2014
* The Best of Blue Note: top ten blue note albums (http://www.telegraph.co.uk/culture/music/worldfolkandjazz/5834721/The-Best-of-Blue-Note-top-ten-blue-note-albums.html)
15 Jul 2009
* Jazz Me Blues, by Chris Barber: review (http://www.telegraph.co.uk/culture/books/biographyandmemoirreviews/10767186/Jazz-Me-Blues-by-Chris-Barber-review.html)
17 Apr 2014

His choice of performers for that first date was interesting: Albert Ammons and Meade “Lux” Lewis, two exponents of driving blues piano, or boogie-woogie. This was exactly the idiom that caught the ear of another European modernist refugee, Piet Mondrian, the doyen of geometric abstraction, a year or two later. The masterpieces of Mondrian’s New York years were titled Broadway Boogie Woogie and Victory Boogie Woogie.

The styles of music that Lion recorded changed through the years, from earthy blues and New Orleans in the early Forties, through bebop to free-form in the Sixties, but, in some ways, his taste remained consistent. He liked his jazz rhythmically forceful and a little gritty. There was not much interest at Blue Note in pianists with a romantically lyrical approach, such as Bill Evans, Hank Jones or Tommy Flanagan; nor was there any dulcet-toned “cool” music.

The label was the expression of a distinctive taste: Lion’s. When he heard certain players – the astringently percussive Thelonious Monk was a prime example – he “flipped” and felt he had to record all their music, regardless of whether it sold. Blue Note had its hits from time to time, otherwise Lion would have gone bankrupt. But he was emphatic that the company was not primarily about making money, but about quality. He was prepared to pay for rehearsal time, regarded by his rivals as an expensive luxury. Consequently, for example, the one album that the tenor saxophonist John Coltrane made for Blue Note – Blue Train (1957) – is also the most poised and perfect of his early efforts.

Francis Wolff, a boyhood friend of Lion’s and his long-term partner in the Blue Note enterprise, narrowly escaped from Germany in 1939. “The Gestapo came to his apartment,” Lion remembered. “I was working feverishly to get Frank out.” It was Wolff who took those brilliant photographs. During Blue Note’s great period – roughly from the mid-Fifties to the mid-Sixties – the covers were conceived by a young designer named Reid Miles. To Wolff’s pictures, he added that bold Bauhaus-inspired typography. The results were often works of art in themselves (although the most famous artist to work on them, Andy Warhol, produced comparatively weak results).

Lion had a heart attack in 1966, and sold his label. Wolff carried on until his death in 1971 but, by that point, the distinctiveness had largely seeped away, visually and musically. Since then, there have been a number of excellent recordings made under the Blue Note name in the Eighties and Nineties – and some less distinguished – but the fact that it continues at all is a tribute to the strength of Lion’s original vision.

This book tells the story with amiable, but rather unfocused enthusiasm. Its main interest is in the lavish quantity of Wolff’s images that are reproduced, including many not used on the final cover designs. Those in search of a critical assessment of Lion and Wolff’s musical achievement would do better to seek out a copy of the late Richard Cook’s Blue Note Records: The Biography (2001).

Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers (http://telegraphbookshop.tbphost.co.uk/TBP.Direct/PurchaseProduct/OrderProduct/CustomerSelectProduct/FullProductDetail.aspx?d=telegraphbookshop&s=C&r=10000059&ui=0&bc=0&productId=26412148&backURL=%2ftbp.direct%2fpurchaseproduct%2forderproduct%2fcustomerselectproduct%2fsearchproducts.aspx%3fd%3dtelegraphbookshop%26s%3dC%26r%3d10000059%26ui%3d0%26bc%3d0%26keywordSearch%3dblue%2520note%26productGroupId%3d)

Thames & Hudson, 400p, Telegraph offer price: £43 + £1.95 p&p (RRP £48). Call 0844 871 1515 or see books.telegraph.co.uk (http://books.telegraph.co.uk/)

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Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers, review: ‘lavish, brilliant photography’ – Telegraph

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** Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers, review: ‘lavish, brilliant photography’
————————————————————

** Blue Note, the jazz label founded by refugees from Hitler’s Germany, turned out album covers as legendary as its music
————————————————————
4 out of 5 stars
Hank Mobley, 19 January 1968
Hank Mobley, 1968, photographed by Jewish refugee Francis Wolff Photo: Francis Wolff / Mosaic Images

By Martin Gayford

7:00AM GMT 01 Nov 2014

Comments Comment (http://www.telegraph.co.uk/culture/books/bookreviews/11197822/Blue-Note-Uncompromising-Expression-75-Years-of-the-Finest-in-Jazz-by-Richard-Havers.html#disqus_thread)

It is well known that the Nazi regime denounced modernist art as “degenerate”, but not so well known that the Third Reich also proscribed “Entartete Musik” or “degenerate music”. Another name for this was jazz (http://www.telegraph.co.uk/culture/books/bookreviews/10433312/Verve-the-Sound-of-America-by-Richard-Havers-review.html) . It makes complete sense, therefore, that the most renowned of American jazz recording companies – Blue Note Records – was founded by refugees from Hitler’s Germany.

Blue Note survives in name, if not – some would argue – in spirit. This weighty book helps to explain the mystique that continues to surround the label, though in that regard the pictures are more helpful than the text. One of the crucial points about Blue Note records was that they looked beautiful – and distinctive.

The covers were works of art in themselves. They had a look that combined typography derived from the Bauhaus – bastion of modern design in Weimar Germany – with brilliant photography, often starkly black and white and resembling the work of a master of the camera such as Cartier-Bresson or Robert Frank. Those designs were visible evidence of an attitude more common in Europe than America: that jazz was not merely a novel form of entertainment but something to be taken with the same seriousness with which one might approach Beethoven or Debussy. It, too, was art.

Alfred Lion, the founder of Blue Note, came from a cultivated Jewish background in Berlin (his father was an architect). As a teenager, he heard a recording made by the Sam Wooding & His Orchestra, among the first African-American jazz bands to perform in Europe. In 1925 they recorded a piece called Shanghai Shuffle in Berlin; many years later Lion remembered the effect it had on him. “It interested me immediately. I felt the music, not knowing actually what made me feel it.”

In 1928, aged 20, Lion went to the US, slept rough in Central Park, got a job at the docks and rented a series of rooms from which he was usually ejected for playing his record player too loudly. He returned to Germany for a while, tried his luck in South America and ended up back in New York. By January 1939, he had saved up just enough money to pay for his first recording session, and Blue Note was born.

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30 Oct 2014
* How Ella Fitzgerald won the heart of America (http://www.telegraph.co.uk/culture/books/bookreviews/10433312/Verve-the-Sound-of-America-by-Richard-Havers-review.html)
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* Jason Moran: Ten Blue Note (http://www.telegraph.co.uk/culture/music/cdreviews/7956635/Jason-Moran-Ten-Blue-Note-CD-review.html)
20 Aug 2010
* Horace Silver, jazz pioneer, dies (http://www.telegraph.co.uk/culture/music/worldfolkandjazz/10910894/Horace-Silver-pioneer-of-jazz-hard-bop-dies-at-85.html)
19 Jun 2014
* The Best of Blue Note: top ten blue note albums (http://www.telegraph.co.uk/culture/music/worldfolkandjazz/5834721/The-Best-of-Blue-Note-top-ten-blue-note-albums.html)
15 Jul 2009
* Jazz Me Blues, by Chris Barber: review (http://www.telegraph.co.uk/culture/books/biographyandmemoirreviews/10767186/Jazz-Me-Blues-by-Chris-Barber-review.html)
17 Apr 2014

His choice of performers for that first date was interesting: Albert Ammons and Meade “Lux” Lewis, two exponents of driving blues piano, or boogie-woogie. This was exactly the idiom that caught the ear of another European modernist refugee, Piet Mondrian, the doyen of geometric abstraction, a year or two later. The masterpieces of Mondrian’s New York years were titled Broadway Boogie Woogie and Victory Boogie Woogie.

The styles of music that Lion recorded changed through the years, from earthy blues and New Orleans in the early Forties, through bebop to free-form in the Sixties, but, in some ways, his taste remained consistent. He liked his jazz rhythmically forceful and a little gritty. There was not much interest at Blue Note in pianists with a romantically lyrical approach, such as Bill Evans, Hank Jones or Tommy Flanagan; nor was there any dulcet-toned “cool” music.

The label was the expression of a distinctive taste: Lion’s. When he heard certain players – the astringently percussive Thelonious Monk was a prime example – he “flipped” and felt he had to record all their music, regardless of whether it sold. Blue Note had its hits from time to time, otherwise Lion would have gone bankrupt. But he was emphatic that the company was not primarily about making money, but about quality. He was prepared to pay for rehearsal time, regarded by his rivals as an expensive luxury. Consequently, for example, the one album that the tenor saxophonist John Coltrane made for Blue Note – Blue Train (1957) – is also the most poised and perfect of his early efforts.

Francis Wolff, a boyhood friend of Lion’s and his long-term partner in the Blue Note enterprise, narrowly escaped from Germany in 1939. “The Gestapo came to his apartment,” Lion remembered. “I was working feverishly to get Frank out.” It was Wolff who took those brilliant photographs. During Blue Note’s great period – roughly from the mid-Fifties to the mid-Sixties – the covers were conceived by a young designer named Reid Miles. To Wolff’s pictures, he added that bold Bauhaus-inspired typography. The results were often works of art in themselves (although the most famous artist to work on them, Andy Warhol, produced comparatively weak results).

Lion had a heart attack in 1966, and sold his label. Wolff carried on until his death in 1971 but, by that point, the distinctiveness had largely seeped away, visually and musically. Since then, there have been a number of excellent recordings made under the Blue Note name in the Eighties and Nineties – and some less distinguished – but the fact that it continues at all is a tribute to the strength of Lion’s original vision.

This book tells the story with amiable, but rather unfocused enthusiasm. Its main interest is in the lavish quantity of Wolff’s images that are reproduced, including many not used on the final cover designs. Those in search of a critical assessment of Lion and Wolff’s musical achievement would do better to seek out a copy of the late Richard Cook’s Blue Note Records: The Biography (2001).

Blue Note: Uncompromising Expression – 75 Years of the Finest in Jazz by Richard Havers (http://telegraphbookshop.tbphost.co.uk/TBP.Direct/PurchaseProduct/OrderProduct/CustomerSelectProduct/FullProductDetail.aspx?d=telegraphbookshop&s=C&r=10000059&ui=0&bc=0&productId=26412148&backURL=%2ftbp.direct%2fpurchaseproduct%2forderproduct%2fcustomerselectproduct%2fsearchproducts.aspx%3fd%3dtelegraphbookshop%26s%3dC%26r%3d10000059%26ui%3d0%26bc%3d0%26keywordSearch%3dblue%2520note%26productGroupId%3d)

Thames & Hudson, 400p, Telegraph offer price: £43 + £1.95 p&p (RRP £48). Call 0844 871 1515 or see books.telegraph.co.uk (http://books.telegraph.co.uk/)

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Copyright (C) 2014 All rights reserved.

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Remembering David Redfern, the king of jazz photography » British Journal of Photography

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** Remembering David Redfern, the king of jazz photography
————————————————————

Tom Seymour — 31 October 2014

••
Louis Armstrong © David Redfern/Redferns, courtesy Getty Images

Louis Armstrong © David Redfern/Redferns, courtesy Getty Images

David Redfern, one of the most influential and revered music photographers of his generation, died last week, aged 78, three years into a brave struggle with pancreatic cancer, writes Leon Morris, a long-term friend.

In the pantheon of music photographers – and particularly in the uber-hip niche of jazz photography – Redfern ranks as a pioneer. He was, until his passing, the undisputed elder statesman of jazz photography.

Many of Redfern’s images have already achieved iconic status; many more will achieve that status as his archive continues to be unearthed. In Whiplash, the 28-year-old debutant director Damien Chazelle’s multi-award winning independent film released early next year, Redfern’s image of drummer Buddy Rich, head turned, mouth wide open, hands ablur, is taped to the wall above the young student drummer’s practice kit. It is a recurring talisman for the film’s theme of physical and emotional tension in pursuit of the elusive perfection (or imperfection) of jazz genius.

That image, about as close to perfection as a live image of a jazz drummer can be, was taken side stage at Ronnie Scott’s jazz club in London in 1969. It has now entered the lexicon of high art achievement because Redfern was uniquely on hand to exercise his own brand of high art.

The small fraction of a second it took to squeeze the shutter required a lot of work. Redfern had access because he had earned the confidence, respect and friendship of both Ronnie Scott and Buddy Rich. He knew where he needed to stand (seemingly close enough to the horn section to be rubbing shoulders with the trombone player); he had the eye, and patience, to frame the image dramatically; he had the sensitivity to know (and feel) when the moment was just right, and he had the craft and skill to ensure his exposure was exactly right. No surprise that Dexter Gordon described him as the Cartier-Bresson of jazz.

The resulting print sings. Some 45 years later, a young film director has recognised Redfern’s achievement in this photograph: he has placed the viewer as a participant in that singularly intense moment of artistic creation. If the best of modern jazz, as Whiplash seems to suggest, is about striving for excellence, then only mirrors that perfection. He reminds us that great jazz is a conversation between the musicians and the audience. He invites those of us who were not present to feel as if we were, to imagine what it would have been like to be there; as if Buddy Rich is playing for us, right now, and forever. Could there be any greater accolade for a concert photograph?

Redfern achieved this timelessness again and again. His joy of music was not just limited to stylish representation. He wants the viewer to cherish the artist’s performance as much as he does. He understands that one of his pictures, one of those squeezes of the shutter, might be ascribed the role of summing up a musician’s lifelong pursuit of musical excellence.

Redfern was always aware of the potential history he was recording. He underscored this with his continuous commitment to work, even when his illness made him frail. Right up until his last images from the French festival circuit in the summer of 2014, he continued to strive to capture something more expansive than a high quality record of a performance. He instinctively knew he was only ever a second away from the next great image, another affirmation of his lifelong role as chronicler of music greats.

David Redfern did not just capture some of the most memorable images of the golden era of modern jazz – unforgettable and enduring images of Miles Davis, Ben Webster, Bill Evans, Duke Ellington, Dizzy Gillespie, Art Blakey, Nina Simone and Louis Armstrong spring to mind – but was also responsible for defining images of artists like Frank Sinatra, The Beatles, Jimi Hendrix, Sandie Shaw, B.B. King and John Lee Hooker.

While he was partial to big bands and swing, and was instrumental in defining the attitude and lighting we now associate with modern jazz, he was at heart a blues man. There was nothing he liked more than a rollicking blues guitar solo – he was, if truth be told, more Sonny Landreth or Roy Rogers than Pat Metheny.

One of his career defining gigs was Jimi Hendrix’s final performance at the Royal Albert Hall in February of 1969. Granted privileged access by the promoter, he took full advantage of the high quality lighting. In those days there was no fast colour film and no self-respecting photographer would disrupt a concert with the use of a flash. The only option for colour photography was long exposures using stage lighting, which almost inevitably resulted in unusable blurred images. But Redfern’s images of that are stunningly sharp and vibrant. While the transparencies lay dormant for a couple of years, they have since been sold over and over again, including a best-selling poster adorning hundreds of thousands of walls worldwide. More recently, Hendrix has become the stunning centrepiece for the fabric printing business Redfern has developed with his wife, the fashion designer Suzy Reed.

His warmth and sense of humour ran deep. He liked to described himself as the son of a preacher man (he was), and seemed never to tire of Ronnie Scott’s nightly routine of jokes. He was mightily amused by Buddy Guy’s delivery of the Lowell Fulson song Love Her with a Feeling –“One leg in the east, one leg in the west, I’m right down the middle, trying to do my best” – and he had a seemingly endless repertoire of memorable anecdotes, some of which he shares in his self-published memoir The Unclosed Eye; others he saved for friends over a late night brandy to mark the end of another day.

He was also a soul man who revered a great vocal. Asked for his favourite performers, he would usually single out the vocal snorts of Bobby Blue Bland and the irrepressible energy of the very Reverend Al Green. Always the consummate professional, the measure of the performance was filtered through the quality of the pictures. A great concert with poor light or inadequate access couldn’t hold a candle to a performance that allowed good access and with light enough to please his trademark Hasselblad.

Many of Redfern’s best black and white images – of Miles Davis, Ben Webster, Bill Evans, Sonny Rollins and Duke Ellington – are important contributions to the jazz imagery developed across the Atlantic by his contemporaries like William Claxton, William Gottlieb and Herman Leonard. Sadly, all four luminaries have now passed, while their peerless images continue to inspire current and future generations of photographers.

Redfern was an early adopter of colour photography for live jazz concerts. It is probably his Englishness that permitted this – in London, he was photographing visiting American artists in the well-lit TV studios of the BBC. And when he made his first trip to New York in 1967, it was straight to a Herb Alpert television recording where he captured what may be his most enduring image: a colour image of Louis Armstrong, strategically framed against a bank of lights. The image was chosen by the US Post Office in 1996 as one of 10 postage stamps in an American Jazz series. Three of the 10 stamps in that series – Louis Armstrong, Coleman Hawkins and Thelonious Monk were by Redfern. If ever an endorsement of his status as an elder statesman of jazz photography was needed, this was it. If ever there was a glimmer of doubt about the role of an Englishman in documenting an African American art form, this silenced it.

Redfern believed “that photographers are born, not made”. He was born in England’s Peak District on June 7, 1936. His interest in jazz and photography dates back to his national service in Germany, where he bought his first 35mm camera and became hooked on jazz at a Hamburg concert featuring, among others, Ella Fitzgerald, Dizzy Gillespie and Oscar Peterson. Demobbed, he picked up a job working in the Kodak factory and found himself living in St. Johns Wood in London at the time trad jazz was beginning to take off. By 1959 he was photographing music festivals and in the early 60s he began photographing early British television programs such as Ready Steady Go and Thank Your Lucky Stars. The next stage of his career was the international festival circuit, and the rest, as they say, is history.

David Redfern was, in every way, quintessentially English. He was a tall, affable and engaging gentleman with a moral compass set firmly to social justice. Everyone liked David, and David would either return the sentiment or be very diplomatic. His urbane and outgoing manner oozed a natural charisma. He was outrageously attractive to women of all ages. He would often default to harmless flirting; or just beam that huge smile of his, perhaps followed by a deep guffaw of a laugh that told you all was good in the world of David Redfern.

The truth of it is that it wasn’t always good in the world of Redfern. In later years, prior even to his battle with cancer, industry changes led to him sell his eponymous music picture library to the behemoth of global digital imagery, Getty Images. This was no easy decision for Redfern – he was a well-respected leader in the British Association of Picture Libraries and Agencies (he was the President of the association from 1989 to 2013) and had watched as smaller agencies like his were progressively swallowed up by industry giants.

Redferns Music Picture Library thrived on reputation and relationships. His was a small team-based effort with dedicated photographers and staff who cared deeply about their photography and their relationship with the music industry. In the end, a boutique music library, however popular, could not escape the tidal wave of mergers. As he has explained in a slightly different context: “Unfortunately in this photographic digital age, it’s adapt or die.”

When he finally sold his name, his images and his library to Getty Images, he negotiated to retain the rights over a selection of his premium images for fine art and related purposes – a wily decision which has underpinned the gallery and fabric printing business he established with his wife, Suzy Reed, at the Brampton Road premises he retained when the library was sold.

Like other photographers of his generation, schooled as he was in the chemistry and craft of picture making, he has lived through the digital revolution. Gone now is the widespread recognition of the photographer as a respected artist providing a valuable contribution to the development of the industry. In its place is a new paradigm of control and restrictions: access restricted to the first three songs or the back of the hall, draconian contracts, impatient minders. As he wrote in 2005: “Nowadays one has to cut through so much hype and crap before one can even consider whether to photograph an event or concert.”

And this from a man befriended by countless musicians; for whom Chuck Berry once stopped a concert so he could introduce David and make sure he was lined up and ready to catch Berry’s legendary duck walk.

It is indeed sobering to consider how many images we might not be able to enjoy if today’s restrictions had applied when David Redfern was building his archive.

The proud recipient of the Milt Hinton Award for Excellence in Jazz Photography in 2007 and the Parliamentary Jazz Award for Services to Jazz at the UK Houses of Parliament earlier this year, Redfern has lived his life to the full. “This vast scheme of life we have,” he wrote in 2005. “Ain’t no rehearsal. As we ride off into the sunset, I’ll quote from the song from the great Louis Armstrong. It’s a wonderful world.”

He is survived by his wife, two ex-wives, three children, five grandchildren and hundreds of thousands of memorable images.

davidredfern.com (http://www.davidredfern.com/)

581 43 0 3

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Remembering David Redfern, the king of jazz photography » British Journal of Photography

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.bjp-online.com/2014/10/david-redfern-photographer-obituary/

** Remembering David Redfern, the king of jazz photography
————————————————————

Tom Seymour — 31 October 2014

••
Louis Armstrong © David Redfern/Redferns, courtesy Getty Images

Louis Armstrong © David Redfern/Redferns, courtesy Getty Images

David Redfern, one of the most influential and revered music photographers of his generation, died last week, aged 78, three years into a brave struggle with pancreatic cancer, writes Leon Morris, a long-term friend.

In the pantheon of music photographers – and particularly in the uber-hip niche of jazz photography – Redfern ranks as a pioneer. He was, until his passing, the undisputed elder statesman of jazz photography.

Many of Redfern’s images have already achieved iconic status; many more will achieve that status as his archive continues to be unearthed. In Whiplash, the 28-year-old debutant director Damien Chazelle’s multi-award winning independent film released early next year, Redfern’s image of drummer Buddy Rich, head turned, mouth wide open, hands ablur, is taped to the wall above the young student drummer’s practice kit. It is a recurring talisman for the film’s theme of physical and emotional tension in pursuit of the elusive perfection (or imperfection) of jazz genius.

That image, about as close to perfection as a live image of a jazz drummer can be, was taken side stage at Ronnie Scott’s jazz club in London in 1969. It has now entered the lexicon of high art achievement because Redfern was uniquely on hand to exercise his own brand of high art.

The small fraction of a second it took to squeeze the shutter required a lot of work. Redfern had access because he had earned the confidence, respect and friendship of both Ronnie Scott and Buddy Rich. He knew where he needed to stand (seemingly close enough to the horn section to be rubbing shoulders with the trombone player); he had the eye, and patience, to frame the image dramatically; he had the sensitivity to know (and feel) when the moment was just right, and he had the craft and skill to ensure his exposure was exactly right. No surprise that Dexter Gordon described him as the Cartier-Bresson of jazz.

The resulting print sings. Some 45 years later, a young film director has recognised Redfern’s achievement in this photograph: he has placed the viewer as a participant in that singularly intense moment of artistic creation. If the best of modern jazz, as Whiplash seems to suggest, is about striving for excellence, then only mirrors that perfection. He reminds us that great jazz is a conversation between the musicians and the audience. He invites those of us who were not present to feel as if we were, to imagine what it would have been like to be there; as if Buddy Rich is playing for us, right now, and forever. Could there be any greater accolade for a concert photograph?

Redfern achieved this timelessness again and again. His joy of music was not just limited to stylish representation. He wants the viewer to cherish the artist’s performance as much as he does. He understands that one of his pictures, one of those squeezes of the shutter, might be ascribed the role of summing up a musician’s lifelong pursuit of musical excellence.

Redfern was always aware of the potential history he was recording. He underscored this with his continuous commitment to work, even when his illness made him frail. Right up until his last images from the French festival circuit in the summer of 2014, he continued to strive to capture something more expansive than a high quality record of a performance. He instinctively knew he was only ever a second away from the next great image, another affirmation of his lifelong role as chronicler of music greats.

David Redfern did not just capture some of the most memorable images of the golden era of modern jazz – unforgettable and enduring images of Miles Davis, Ben Webster, Bill Evans, Duke Ellington, Dizzy Gillespie, Art Blakey, Nina Simone and Louis Armstrong spring to mind – but was also responsible for defining images of artists like Frank Sinatra, The Beatles, Jimi Hendrix, Sandie Shaw, B.B. King and John Lee Hooker.

While he was partial to big bands and swing, and was instrumental in defining the attitude and lighting we now associate with modern jazz, he was at heart a blues man. There was nothing he liked more than a rollicking blues guitar solo – he was, if truth be told, more Sonny Landreth or Roy Rogers than Pat Metheny.

One of his career defining gigs was Jimi Hendrix’s final performance at the Royal Albert Hall in February of 1969. Granted privileged access by the promoter, he took full advantage of the high quality lighting. In those days there was no fast colour film and no self-respecting photographer would disrupt a concert with the use of a flash. The only option for colour photography was long exposures using stage lighting, which almost inevitably resulted in unusable blurred images. But Redfern’s images of that are stunningly sharp and vibrant. While the transparencies lay dormant for a couple of years, they have since been sold over and over again, including a best-selling poster adorning hundreds of thousands of walls worldwide. More recently, Hendrix has become the stunning centrepiece for the fabric printing business Redfern has developed with his wife, the fashion designer Suzy Reed.

His warmth and sense of humour ran deep. He liked to described himself as the son of a preacher man (he was), and seemed never to tire of Ronnie Scott’s nightly routine of jokes. He was mightily amused by Buddy Guy’s delivery of the Lowell Fulson song Love Her with a Feeling –“One leg in the east, one leg in the west, I’m right down the middle, trying to do my best” – and he had a seemingly endless repertoire of memorable anecdotes, some of which he shares in his self-published memoir The Unclosed Eye; others he saved for friends over a late night brandy to mark the end of another day.

He was also a soul man who revered a great vocal. Asked for his favourite performers, he would usually single out the vocal snorts of Bobby Blue Bland and the irrepressible energy of the very Reverend Al Green. Always the consummate professional, the measure of the performance was filtered through the quality of the pictures. A great concert with poor light or inadequate access couldn’t hold a candle to a performance that allowed good access and with light enough to please his trademark Hasselblad.

Many of Redfern’s best black and white images – of Miles Davis, Ben Webster, Bill Evans, Sonny Rollins and Duke Ellington – are important contributions to the jazz imagery developed across the Atlantic by his contemporaries like William Claxton, William Gottlieb and Herman Leonard. Sadly, all four luminaries have now passed, while their peerless images continue to inspire current and future generations of photographers.

Redfern was an early adopter of colour photography for live jazz concerts. It is probably his Englishness that permitted this – in London, he was photographing visiting American artists in the well-lit TV studios of the BBC. And when he made his first trip to New York in 1967, it was straight to a Herb Alpert television recording where he captured what may be his most enduring image: a colour image of Louis Armstrong, strategically framed against a bank of lights. The image was chosen by the US Post Office in 1996 as one of 10 postage stamps in an American Jazz series. Three of the 10 stamps in that series – Louis Armstrong, Coleman Hawkins and Thelonious Monk were by Redfern. If ever an endorsement of his status as an elder statesman of jazz photography was needed, this was it. If ever there was a glimmer of doubt about the role of an Englishman in documenting an African American art form, this silenced it.

Redfern believed “that photographers are born, not made”. He was born in England’s Peak District on June 7, 1936. His interest in jazz and photography dates back to his national service in Germany, where he bought his first 35mm camera and became hooked on jazz at a Hamburg concert featuring, among others, Ella Fitzgerald, Dizzy Gillespie and Oscar Peterson. Demobbed, he picked up a job working in the Kodak factory and found himself living in St. Johns Wood in London at the time trad jazz was beginning to take off. By 1959 he was photographing music festivals and in the early 60s he began photographing early British television programs such as Ready Steady Go and Thank Your Lucky Stars. The next stage of his career was the international festival circuit, and the rest, as they say, is history.

David Redfern was, in every way, quintessentially English. He was a tall, affable and engaging gentleman with a moral compass set firmly to social justice. Everyone liked David, and David would either return the sentiment or be very diplomatic. His urbane and outgoing manner oozed a natural charisma. He was outrageously attractive to women of all ages. He would often default to harmless flirting; or just beam that huge smile of his, perhaps followed by a deep guffaw of a laugh that told you all was good in the world of David Redfern.

The truth of it is that it wasn’t always good in the world of Redfern. In later years, prior even to his battle with cancer, industry changes led to him sell his eponymous music picture library to the behemoth of global digital imagery, Getty Images. This was no easy decision for Redfern – he was a well-respected leader in the British Association of Picture Libraries and Agencies (he was the President of the association from 1989 to 2013) and had watched as smaller agencies like his were progressively swallowed up by industry giants.

Redferns Music Picture Library thrived on reputation and relationships. His was a small team-based effort with dedicated photographers and staff who cared deeply about their photography and their relationship with the music industry. In the end, a boutique music library, however popular, could not escape the tidal wave of mergers. As he has explained in a slightly different context: “Unfortunately in this photographic digital age, it’s adapt or die.”

When he finally sold his name, his images and his library to Getty Images, he negotiated to retain the rights over a selection of his premium images for fine art and related purposes – a wily decision which has underpinned the gallery and fabric printing business he established with his wife, Suzy Reed, at the Brampton Road premises he retained when the library was sold.

Like other photographers of his generation, schooled as he was in the chemistry and craft of picture making, he has lived through the digital revolution. Gone now is the widespread recognition of the photographer as a respected artist providing a valuable contribution to the development of the industry. In its place is a new paradigm of control and restrictions: access restricted to the first three songs or the back of the hall, draconian contracts, impatient minders. As he wrote in 2005: “Nowadays one has to cut through so much hype and crap before one can even consider whether to photograph an event or concert.”

And this from a man befriended by countless musicians; for whom Chuck Berry once stopped a concert so he could introduce David and make sure he was lined up and ready to catch Berry’s legendary duck walk.

It is indeed sobering to consider how many images we might not be able to enjoy if today’s restrictions had applied when David Redfern was building his archive.

The proud recipient of the Milt Hinton Award for Excellence in Jazz Photography in 2007 and the Parliamentary Jazz Award for Services to Jazz at the UK Houses of Parliament earlier this year, Redfern has lived his life to the full. “This vast scheme of life we have,” he wrote in 2005. “Ain’t no rehearsal. As we ride off into the sunset, I’ll quote from the song from the great Louis Armstrong. It’s a wonderful world.”

He is survived by his wife, two ex-wives, three children, five grandchildren and hundreds of thousands of memorable images.

davidredfern.com (http://www.davidredfern.com/)

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** David Redfern: Celebrated photographer of jazz and rock stars who created the biggest music picture library in the world
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The musician started out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club

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Thursday 30 October 2014

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David Redfern was an internationally renowned British music photographer who, in a career spanning over five decades, captured live snapshots of some of the biggest and most illustrious stars on the planet, including Jimi Hendrix, The Rolling Stones, Led Zeppelin and The Beatles. In the highly temperamental world of musicians, he was once thrown out of a venue on Marlene Dietrich’s orders, although later became Frank Sinatra’s official tour photographer at the singer’s request.
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However, it was as a jazz photographer par excellence that Redfern became nationally and internationally known. Starting out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club, Redfern captured in colour (rather than the favoured monochrome) emerging British Trad Jazz talents such as George Melly, Chris Barber and Kenny Ball – as well as visiting superstars like Miles Davis and Nina Simone. His unobtrusive approach, individual style and love of jazz made him popular with musicians.

Although Redfern never saw his career as being defined by genre, American drummer and band leader Buddy Rich described Redfern as “the greatest jazz photographer in the world”, while LA-born tenor saxophonist Dexter Gordon described him as the “Cartier-Bresson of jazz”.

Redfern, self-deprecating to a point, explained, “I guess I was in the right place at the right time: swinging London at the start of the Sixties. The British trad jazz phenomenon of the late Fifties was followed by the British rock and pop explosion.”

Fuelled by his success, Redfern started attending the big international festivals, including the jazz events in Antibes, Newport and Montreux, as well as stadium rock concerts. Upon crossing the pond, he photographed the likes of Duke Ellington, Marvin Gaye – one of his personal favourites – Ella Fitzgerald and Louis Armstrong, as well as rising rocks stars Bob Dylan and Jimi Hendrix.

Born in the Derbyshire market town of Ashbourne in 1936, David Reginald Redfern was hooked on photography from an early age; during his National Service in Germany, he photographed soldiers wanting pictures to send home. His one and only full-time job was with Kodak, but he gave this up, along with “…all the securities of proper employment. I didn’t know anything about business,” he said, “but I did know how to take a picture.”

By night, Redfern had been documenting the birth of British Trad Jazz, but by day he began photographing the unfolding rock and pop explosion of the 1960s on TV shows like Ready Steady Go! and Thank Your Lucky Stars. In these TV studios he took many of his best-known early shots, including of The Beatles, the Stones and Dusty Springfield.

In 1980, following a request to become Sinatra’s official photographer, Redfern said, “I just took four or five pictures, click click click, and handed the film over. I was nervous as hell!” The same year, Pete Townshend’s Eel Pie Company published Redfern’s first photography book, Jazz Album, lavishly illustrated; it was highly acclaimed by critics and public alike. The follow-up, The Unclosed Eye (1999), also received critical acclaim. In 2005, a limited edition, expanded second edition of The Unclosed Eye was released in hardback; it included two 10×8 original colour prints.

Over the years, in addition to taking his own photographs, Redfern represented other photographers, amassing an exhaustive library. In 1989 he moved his music picture library, Redferns, to new premises in Notting Hill, West London. With further expansion it eventually represented over 500 photographers and collections and had over 205,000 items online, making it the most comprehensive music picture library in the world.

Redfern sold the library to Getty Images in 2008, although he was allowed to use in perpetuity his favourite 1000 images to market as prints and as designs for his third wife Suzy’s business.

Exhibitions of his work were regularly commissioned, and in the late 1980s, Redfern showed work alongside Lord Lichfield and Lord Snowdon at the Kodak and Royal Photographic Society’s Living Body exhibition. In 1990 he was invited to put on a show in Cuba to coincide with the Jazz Festival, and there were also exhibitions in London, New York and Cork. In 1995 the US post office launched a series of 10 jazz-themed postage stamps using three of Redfern’s images – of Louis Armstrong, Thelonious Monk and Coleman Hawkins.

The recipient of numerous multi-national awards, Redfern received the Milt Hinton Award for Excellence in Jazz Photography in New York in 2007, which recognised his achievement in jazz photography as art and history. Earlier this year, he received the Parliamentary Jazz Award for Services to Jazz, presented to him at the Houses of Parliament.

He was also president of BAPLA (British Association of Picture Libraries & Agencies) for the last 18 years.

Redfern had been fighting pancreatic cancer over the last couple of years, but still travelled to festivals, including this summer’s Vienne Jazz Festival and Juan les Pins, Antibes, where he photographed singers Charles Bradley and Joss Stone.

He had highlighted future plans on his website, including “a Norwegian fjord cruise in the autumn, the London Jazz Festival in November and an exhibition at the new South Coast Jazz Festival in the Shoreham Arts Centre in late January 2015.”

“Keep the faith and live every day to the full, you just never know,” he signed the update.

Redfern is survived by his wife, whom he thanked for “her unfailing devotion”, and his three children.

Martin Childs

David Redfern, photographer: born Ashbourne, Derbyshire 7 June 1936; married first 1959 Kate Fenn (divorced 1969, two children), second 1971 Mary Moore Mason (divorced, one son), third Suzy Reed; died Uzes, France 23 October 2014.

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** David Redfern: Celebrated photographer of jazz and rock stars who created the biggest music picture library in the world
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**
————————————————————

**
————————————————————

The musician started out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club

**
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Thursday 30 October 2014

3
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David Redfern was an internationally renowned British music photographer who, in a career spanning over five decades, captured live snapshots of some of the biggest and most illustrious stars on the planet, including Jimi Hendrix, The Rolling Stones, Led Zeppelin and The Beatles. In the highly temperamental world of musicians, he was once thrown out of a venue on Marlene Dietrich’s orders, although later became Frank Sinatra’s official tour photographer at the singer’s request.
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However, it was as a jazz photographer par excellence that Redfern became nationally and internationally known. Starting out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club, Redfern captured in colour (rather than the favoured monochrome) emerging British Trad Jazz talents such as George Melly, Chris Barber and Kenny Ball – as well as visiting superstars like Miles Davis and Nina Simone. His unobtrusive approach, individual style and love of jazz made him popular with musicians.

Although Redfern never saw his career as being defined by genre, American drummer and band leader Buddy Rich described Redfern as “the greatest jazz photographer in the world”, while LA-born tenor saxophonist Dexter Gordon described him as the “Cartier-Bresson of jazz”.

Redfern, self-deprecating to a point, explained, “I guess I was in the right place at the right time: swinging London at the start of the Sixties. The British trad jazz phenomenon of the late Fifties was followed by the British rock and pop explosion.”

Fuelled by his success, Redfern started attending the big international festivals, including the jazz events in Antibes, Newport and Montreux, as well as stadium rock concerts. Upon crossing the pond, he photographed the likes of Duke Ellington, Marvin Gaye – one of his personal favourites – Ella Fitzgerald and Louis Armstrong, as well as rising rocks stars Bob Dylan and Jimi Hendrix.

Born in the Derbyshire market town of Ashbourne in 1936, David Reginald Redfern was hooked on photography from an early age; during his National Service in Germany, he photographed soldiers wanting pictures to send home. His one and only full-time job was with Kodak, but he gave this up, along with “…all the securities of proper employment. I didn’t know anything about business,” he said, “but I did know how to take a picture.”

By night, Redfern had been documenting the birth of British Trad Jazz, but by day he began photographing the unfolding rock and pop explosion of the 1960s on TV shows like Ready Steady Go! and Thank Your Lucky Stars. In these TV studios he took many of his best-known early shots, including of The Beatles, the Stones and Dusty Springfield.

In 1980, following a request to become Sinatra’s official photographer, Redfern said, “I just took four or five pictures, click click click, and handed the film over. I was nervous as hell!” The same year, Pete Townshend’s Eel Pie Company published Redfern’s first photography book, Jazz Album, lavishly illustrated; it was highly acclaimed by critics and public alike. The follow-up, The Unclosed Eye (1999), also received critical acclaim. In 2005, a limited edition, expanded second edition of The Unclosed Eye was released in hardback; it included two 10×8 original colour prints.

Over the years, in addition to taking his own photographs, Redfern represented other photographers, amassing an exhaustive library. In 1989 he moved his music picture library, Redferns, to new premises in Notting Hill, West London. With further expansion it eventually represented over 500 photographers and collections and had over 205,000 items online, making it the most comprehensive music picture library in the world.

Redfern sold the library to Getty Images in 2008, although he was allowed to use in perpetuity his favourite 1000 images to market as prints and as designs for his third wife Suzy’s business.

Exhibitions of his work were regularly commissioned, and in the late 1980s, Redfern showed work alongside Lord Lichfield and Lord Snowdon at the Kodak and Royal Photographic Society’s Living Body exhibition. In 1990 he was invited to put on a show in Cuba to coincide with the Jazz Festival, and there were also exhibitions in London, New York and Cork. In 1995 the US post office launched a series of 10 jazz-themed postage stamps using three of Redfern’s images – of Louis Armstrong, Thelonious Monk and Coleman Hawkins.

The recipient of numerous multi-national awards, Redfern received the Milt Hinton Award for Excellence in Jazz Photography in New York in 2007, which recognised his achievement in jazz photography as art and history. Earlier this year, he received the Parliamentary Jazz Award for Services to Jazz, presented to him at the Houses of Parliament.

He was also president of BAPLA (British Association of Picture Libraries & Agencies) for the last 18 years.

Redfern had been fighting pancreatic cancer over the last couple of years, but still travelled to festivals, including this summer’s Vienne Jazz Festival and Juan les Pins, Antibes, where he photographed singers Charles Bradley and Joss Stone.

He had highlighted future plans on his website, including “a Norwegian fjord cruise in the autumn, the London Jazz Festival in November and an exhibition at the new South Coast Jazz Festival in the Shoreham Arts Centre in late January 2015.”

“Keep the faith and live every day to the full, you just never know,” he signed the update.

Redfern is survived by his wife, whom he thanked for “her unfailing devotion”, and his three children.

Martin Childs

David Redfern, photographer: born Ashbourne, Derbyshire 7 June 1936; married first 1959 Kate Fenn (divorced 1969, two children), second 1971 Mary Moore Mason (divorced, one son), third Suzy Reed; died Uzes, France 23 October 2014.

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Copyright (C) 2014 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

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http://www.independent.co.uk/news/people/david-redfern-celebrated-photographer-of-jazz-and-rock-stars-who-created-the-biggest-music-picture-library-in-the-world-9826861.html

** David Redfern: Celebrated photographer of jazz and rock stars who created the biggest music picture library in the world
————————————————————

**
————————————————————

**
————————————————————

The musician started out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club

**
————————————————————

Thursday 30 October 2014

3
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David Redfern was an internationally renowned British music photographer who, in a career spanning over five decades, captured live snapshots of some of the biggest and most illustrious stars on the planet, including Jimi Hendrix, The Rolling Stones, Led Zeppelin and The Beatles. In the highly temperamental world of musicians, he was once thrown out of a venue on Marlene Dietrich’s orders, although later became Frank Sinatra’s official tour photographer at the singer’s request.
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However, it was as a jazz photographer par excellence that Redfern became nationally and internationally known. Starting out in the smoke-filled jazz clubs of 1960s Soho, London, in venues like Ronnie Scott’s, the 100 Club and the Marquee Club, Redfern captured in colour (rather than the favoured monochrome) emerging British Trad Jazz talents such as George Melly, Chris Barber and Kenny Ball – as well as visiting superstars like Miles Davis and Nina Simone. His unobtrusive approach, individual style and love of jazz made him popular with musicians.

Although Redfern never saw his career as being defined by genre, American drummer and band leader Buddy Rich described Redfern as “the greatest jazz photographer in the world”, while LA-born tenor saxophonist Dexter Gordon described him as the “Cartier-Bresson of jazz”.

Redfern, self-deprecating to a point, explained, “I guess I was in the right place at the right time: swinging London at the start of the Sixties. The British trad jazz phenomenon of the late Fifties was followed by the British rock and pop explosion.”

Fuelled by his success, Redfern started attending the big international festivals, including the jazz events in Antibes, Newport and Montreux, as well as stadium rock concerts. Upon crossing the pond, he photographed the likes of Duke Ellington, Marvin Gaye – one of his personal favourites – Ella Fitzgerald and Louis Armstrong, as well as rising rocks stars Bob Dylan and Jimi Hendrix.

Born in the Derbyshire market town of Ashbourne in 1936, David Reginald Redfern was hooked on photography from an early age; during his National Service in Germany, he photographed soldiers wanting pictures to send home. His one and only full-time job was with Kodak, but he gave this up, along with “…all the securities of proper employment. I didn’t know anything about business,” he said, “but I did know how to take a picture.”

By night, Redfern had been documenting the birth of British Trad Jazz, but by day he began photographing the unfolding rock and pop explosion of the 1960s on TV shows like Ready Steady Go! and Thank Your Lucky Stars. In these TV studios he took many of his best-known early shots, including of The Beatles, the Stones and Dusty Springfield.

In 1980, following a request to become Sinatra’s official photographer, Redfern said, “I just took four or five pictures, click click click, and handed the film over. I was nervous as hell!” The same year, Pete Townshend’s Eel Pie Company published Redfern’s first photography book, Jazz Album, lavishly illustrated; it was highly acclaimed by critics and public alike. The follow-up, The Unclosed Eye (1999), also received critical acclaim. In 2005, a limited edition, expanded second edition of The Unclosed Eye was released in hardback; it included two 10×8 original colour prints.

Over the years, in addition to taking his own photographs, Redfern represented other photographers, amassing an exhaustive library. In 1989 he moved his music picture library, Redferns, to new premises in Notting Hill, West London. With further expansion it eventually represented over 500 photographers and collections and had over 205,000 items online, making it the most comprehensive music picture library in the world.

Redfern sold the library to Getty Images in 2008, although he was allowed to use in perpetuity his favourite 1000 images to market as prints and as designs for his third wife Suzy’s business.

Exhibitions of his work were regularly commissioned, and in the late 1980s, Redfern showed work alongside Lord Lichfield and Lord Snowdon at the Kodak and Royal Photographic Society’s Living Body exhibition. In 1990 he was invited to put on a show in Cuba to coincide with the Jazz Festival, and there were also exhibitions in London, New York and Cork. In 1995 the US post office launched a series of 10 jazz-themed postage stamps using three of Redfern’s images – of Louis Armstrong, Thelonious Monk and Coleman Hawkins.

The recipient of numerous multi-national awards, Redfern received the Milt Hinton Award for Excellence in Jazz Photography in New York in 2007, which recognised his achievement in jazz photography as art and history. Earlier this year, he received the Parliamentary Jazz Award for Services to Jazz, presented to him at the Houses of Parliament.

He was also president of BAPLA (British Association of Picture Libraries & Agencies) for the last 18 years.

Redfern had been fighting pancreatic cancer over the last couple of years, but still travelled to festivals, including this summer’s Vienne Jazz Festival and Juan les Pins, Antibes, where he photographed singers Charles Bradley and Joss Stone.

He had highlighted future plans on his website, including “a Norwegian fjord cruise in the autumn, the London Jazz Festival in November and an exhibition at the new South Coast Jazz Festival in the Shoreham Arts Centre in late January 2015.”

“Keep the faith and live every day to the full, you just never know,” he signed the update.

Redfern is survived by his wife, whom he thanked for “her unfailing devotion”, and his three children.

Martin Childs

David Redfern, photographer: born Ashbourne, Derbyshire 7 June 1936; married first 1959 Kate Fenn (divorced 1969, two children), second 1971 Mary Moore Mason (divorced, one son), third Suzy Reed; died Uzes, France 23 October 2014.

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** Duke Ellington: Making Records
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d086340f970c-popup
Following my post (http://www.jazzwax.com/2014/10/how-records-were-made.html) on Monday detailing films made by RCA and Capitol in the 1940s and ’50s to tout the miracle of records and the recording process, Carl Woideck of the University of Oregon sent along a link to a short film, Ellington Makes a Record, produced in June 1937 by Paramount Pictures. Ellington recorded for the Variety label at the time, which had been set up by his manager Irving Mills to promote him and other signed acts. As Melody News reported in July ’37: “Last month, a crew of cameramen, electricians and technicians from the Paramount film company set up their paraphernalia in the recording studios of Master Records, Inc. for the purpose of gathering ‘location’ scenes for a movie short, now in production, showing how phonograph records are produced and manufactured. Duke Ellington and his orchestra was employed for the studio scenes, with Ivie Anderson doing the vocals.” By September, when the short
came out, Mills’ had already shuttered his short-lived venture. For a terrific article on Mills and his Variety and Master labels, go here (http://www.iajrc.org/docs/irving_mills_variety.pdf) . Here’s (https://www.youtube.com/watch?v=SJ0Vn7ul42s) Duke Ellington in the short recording Oh Babe, Maybe Someday, with the vocal by Ivie Anderson…

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** Duke Ellington: Making Records
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d086340f970c-popup
Following my post (http://www.jazzwax.com/2014/10/how-records-were-made.html) on Monday detailing films made by RCA and Capitol in the 1940s and ’50s to tout the miracle of records and the recording process, Carl Woideck of the University of Oregon sent along a link to a short film, Ellington Makes a Record, produced in June 1937 by Paramount Pictures. Ellington recorded for the Variety label at the time, which had been set up by his manager Irving Mills to promote him and other signed acts. As Melody News reported in July ’37: “Last month, a crew of cameramen, electricians and technicians from the Paramount film company set up their paraphernalia in the recording studios of Master Records, Inc. for the purpose of gathering ‘location’ scenes for a movie short, now in production, showing how phonograph records are produced and manufactured. Duke Ellington and his orchestra was employed for the studio scenes, with Ivie Anderson doing the vocals.” By September, when the short
came out, Mills’ had already shuttered his short-lived venture. For a terrific article on Mills and his Variety and Master labels, go here (http://www.iajrc.org/docs/irving_mills_variety.pdf) . Here’s (https://www.youtube.com/watch?v=SJ0Vn7ul42s) Duke Ellington in the short recording Oh Babe, Maybe Someday, with the vocal by Ivie Anderson…

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Duke Ellington: Making Records – JazzWax

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** Duke Ellington: Making Records
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d086340f970c-popup
Following my post (http://www.jazzwax.com/2014/10/how-records-were-made.html) on Monday detailing films made by RCA and Capitol in the 1940s and ’50s to tout the miracle of records and the recording process, Carl Woideck of the University of Oregon sent along a link to a short film, Ellington Makes a Record, produced in June 1937 by Paramount Pictures. Ellington recorded for the Variety label at the time, which had been set up by his manager Irving Mills to promote him and other signed acts. As Melody News reported in July ’37: “Last month, a crew of cameramen, electricians and technicians from the Paramount film company set up their paraphernalia in the recording studios of Master Records, Inc. for the purpose of gathering ‘location’ scenes for a movie short, now in production, showing how phonograph records are produced and manufactured. Duke Ellington and his orchestra was employed for the studio scenes, with Ivie Anderson doing the vocals.” By September, when the short
came out, Mills’ had already shuttered his short-lived venture. For a terrific article on Mills and his Variety and Master labels, go here (http://www.iajrc.org/docs/irving_mills_variety.pdf) . Here’s (https://www.youtube.com/watch?v=SJ0Vn7ul42s) Duke Ellington in the short recording Oh Babe, Maybe Someday, with the vocal by Ivie Anderson…

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Copyright (C) 2014 All rights reserved.

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

Ray Santisi RIP

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
I got this email earlier today from

Eric Jackson
WGBH Boston

Dear Colleagues,

It is with much sadness that I write to tell you that long-time Berklee faculty member in the Piano Department, Ray Santisi (http://www.berklee.edu/people/ray-santisi) , passed away last night.

Ray was an alum of Berklee College and Boston Conservatory of Music and taught at Berklee for 47 years (since 1957). He played with Charlie Parker, Stan Getz, Buddy DeFranco, Gabor Szabo, Mel Torme, and Natalie Cole.

Information about funeral arrangements will be communicated once those are known.

Regards,

Jay Kennedy

S. Jay Kennedy, Ph.D.
Vice President for Academic Affairs/Vice Provost
Berklee College of Music
1140 Boylston Street, Suite 6Y
MS-1140 AAOF
Boston, MA 02215
617/747-2382
jkennedy@berklee.edu (mailto:jkennedy@berklee.edu)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b96d751a21) | 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=b96d751a21&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

Ray Santisi RIP

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
I got this email earlier today from

Eric Jackson
WGBH Boston

Dear Colleagues,

It is with much sadness that I write to tell you that long-time Berklee faculty member in the Piano Department, Ray Santisi (http://www.berklee.edu/people/ray-santisi) , passed away last night.

Ray was an alum of Berklee College and Boston Conservatory of Music and taught at Berklee for 47 years (since 1957). He played with Charlie Parker, Stan Getz, Buddy DeFranco, Gabor Szabo, Mel Torme, and Natalie Cole.

Information about funeral arrangements will be communicated once those are known.

Regards,

Jay Kennedy

S. Jay Kennedy, Ph.D.
Vice President for Academic Affairs/Vice Provost
Berklee College of Music
1140 Boylston Street, Suite 6Y
MS-1140 AAOF
Boston, MA 02215
617/747-2382
jkennedy@berklee.edu (mailto:jkennedy@berklee.edu)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b96d751a21) | 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=b96d751a21&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

Ray Santisi RIP

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
I got this email earlier today from

Eric Jackson
WGBH Boston

Dear Colleagues,

It is with much sadness that I write to tell you that long-time Berklee faculty member in the Piano Department, Ray Santisi (http://www.berklee.edu/people/ray-santisi) , passed away last night.

Ray was an alum of Berklee College and Boston Conservatory of Music and taught at Berklee for 47 years (since 1957). He played with Charlie Parker, Stan Getz, Buddy DeFranco, Gabor Szabo, Mel Torme, and Natalie Cole.

Information about funeral arrangements will be communicated once those are known.

Regards,

Jay Kennedy

S. Jay Kennedy, Ph.D.
Vice President for Academic Affairs/Vice Provost
Berklee College of Music
1140 Boylston Street, Suite 6Y
MS-1140 AAOF
Boston, MA 02215
617/747-2382
jkennedy@berklee.edu (mailto:jkennedy@berklee.edu)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b96d751a21) | 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=b96d751a21&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

FOUR BIG EVENTS FOR HALLOWEEN!

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

HOWDY NEIGHBORS! Bart Simpson had it right: “Halloween kicks Thanksgiving’s Ass!” – actually, it kicks the butt of every other Holiday, with the possible exception of Chinese New Year! This week is going to be a very special HALLO-WEEKEND between Thursday and Saturday night, there are at least four big events that I want to tell you about, starting with a special concert hosted by STEVE ROSS at the NYPL. (That’s on Thursday 10/30, and will be followed at Zeb’s by CLIP JOINT: HALLOWEEN SPOOK-TACULAR! More info below.)

Right off the “Bat!” – click here:
Coming attraction & main titles (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=e0a9b290ef&e=2afdbb1856)

View this email in your browser (http://us7.campaign-archive2.com/?u=8f209c91d8d90a21addfc6817&id=d428ccf5f3&e=2afdbb1856)

FOUR BIG EVENTS FOR HALLOWEEN!
(only one of which is my own production, but I’m eagerly looking forward to all four!)

#1 FROM THE WONDERFUL MR. STEVE ROSS:

At the Bruno Walter auditorium at Lincoln Center on Thursday, Oct. 30th, 6PM – come to this AND THEN to CLIP JOINT:

TAP TOO AND HALLOW’EN…BOO! Songs about dancing from Broadway, Hollywood and Tin Pan Alley as well as some spooky treats.

Jim Brochu
Shana Farr
Eric Michael Gillette
Anita Gillette
Christopher Gines
Heather MacRae
Sidney Myer
Joe Sirola
Neva Small
Ron Spivak
Jane Summerhays
Karen Wyman

More stars than there are in Heaven, as once was observed…

Admission is free to the public, but early arrival is suggested. Admission lines form one hour prior to each program. At that time one ticket is provided per person. Tickets are not available for advance reservation and saving seats is not permitted. General admission seating. Call 212.642.0142 for more detailed information. (http://twitter.us7.list-manage1.com/track/click?u=8f209c91d8d90a21addfc6817&id=f35e0b24f9&e=2afdbb1856)

[#2] proceed from the NYPL directly to
the CLIP JOINT HALLOWEEN show at Zeb’s!

A Fun-Sational Mirth-Quake!

Coming attraction & main titles (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=8ced209842&e=2afdbb1856)

featuring:
Tony Bennett & his Dancing Monster
Louis Armstrong
Betty Boop
Cab Calloway
The Delta Rhythm Boys
The Singing Detective
The Lost Skeleton
The Three Eddies
Alice Cooper
Boris Karloff
Dinah Shore
Puddles Pity Party

Art Carney
Betty Hutton
Herman Munster
The Blob
The Pumpkin King
Oogie Boogie
Santa Claus
The Bonzo Dog Doodah Band
Scrappy
Donald Duck
Hoagy Carmichael
The Rolling Stones
Harry Belafonte
Danny Kaye
The Muppets
and all your Favorites!

RSVP to levis4402@yahoo.com; (mailto:levis4402@yahoo.com?subject=RSVP%20for%20CLIP%20Joint&body=Yes!%20save%20me%20a%20seat%20for%20CLIP%20JOINT!)
House charge: $10

#3 THE SALON: Halloween Stomp Friday 10/31!

4 West 43rd St
7pm to 3am / live music all night
18+ (ID required)

A swinging Hot Jazz Costume Party near Times Square!

Live music by:
– Dan Levinson’s Hot Phantoms w/Molly Ryan
– Professor Cunningham and his Old School
– The Xylopholks
– The Black & Bluez

plus
– DJ VaVa Voon
– MC Dandy Wellington
– burlesque by Cassandra Rosebeetle & Hazel Honeysuckle
– FREE swing dance lesson from 7:30-8pm!
– TABLEAU X – featuring The Lillian Lorraine Girls and directed by Syrie Moskowitz

TICKETS
– General Admission tickets start at $20
– VIP Tickets start at $59 and includes a 2hr limited open bar from 8:30-10:30pm

More Info & Tickets – http://www.thesalon.biz (http://www.thesalon.biz/)

for full info click here (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=8a87744405&e=2afdbb1856)

#4 SHANGHAI MERMAID: VICTORIAN SEANCE
SATURDAY, NOVEMBER 1
just to be original, Juliette Campbell of SHANGHAI MERMAID is doing her big event on the day after Halloween! For more info, click here! (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=2836a70b20&e=2afdbb1856) I’ll update this spot with more details next week. Knowing the way that Juliette throws a party, this could be the most SPOOK-TACULAR event of them all! (This will take place at the Downtown Association at 60 Pine Street, between William & Pearl Streets.)

BANDS & PERFORMERS:

tableux vivante by sequinette

roving, classical violin by helen buyniski

early dance music by the paragon ragtime orchestra

drew nugent & the midnight society playing hot 1920’s jazz

electrifying performances by djahari and cassandra of desert sin

fortune-telling and carnival antics by ian mackenzie & justin blaser

victorian chamber music on the gramaphone by michael cumella

hauntingly beautiful burlesque by cassandra rosebeetle

performances from the otherworld by pandora

victorian mourning dance by amanda
and more to be announced . . .

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=884d2df881) | 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=884d2df881&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

FOUR BIG EVENTS FOR HALLOWEEN!

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

HOWDY NEIGHBORS! Bart Simpson had it right: “Halloween kicks Thanksgiving’s Ass!” – actually, it kicks the butt of every other Holiday, with the possible exception of Chinese New Year! This week is going to be a very special HALLO-WEEKEND between Thursday and Saturday night, there are at least four big events that I want to tell you about, starting with a special concert hosted by STEVE ROSS at the NYPL. (That’s on Thursday 10/30, and will be followed at Zeb’s by CLIP JOINT: HALLOWEEN SPOOK-TACULAR! More info below.)

Right off the “Bat!” – click here:
Coming attraction & main titles (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=e0a9b290ef&e=2afdbb1856)

View this email in your browser (http://us7.campaign-archive2.com/?u=8f209c91d8d90a21addfc6817&id=d428ccf5f3&e=2afdbb1856)

FOUR BIG EVENTS FOR HALLOWEEN!
(only one of which is my own production, but I’m eagerly looking forward to all four!)

#1 FROM THE WONDERFUL MR. STEVE ROSS:

At the Bruno Walter auditorium at Lincoln Center on Thursday, Oct. 30th, 6PM – come to this AND THEN to CLIP JOINT:

TAP TOO AND HALLOW’EN…BOO! Songs about dancing from Broadway, Hollywood and Tin Pan Alley as well as some spooky treats.

Jim Brochu
Shana Farr
Eric Michael Gillette
Anita Gillette
Christopher Gines
Heather MacRae
Sidney Myer
Joe Sirola
Neva Small
Ron Spivak
Jane Summerhays
Karen Wyman

More stars than there are in Heaven, as once was observed…

Admission is free to the public, but early arrival is suggested. Admission lines form one hour prior to each program. At that time one ticket is provided per person. Tickets are not available for advance reservation and saving seats is not permitted. General admission seating. Call 212.642.0142 for more detailed information. (http://twitter.us7.list-manage1.com/track/click?u=8f209c91d8d90a21addfc6817&id=f35e0b24f9&e=2afdbb1856)

[#2] proceed from the NYPL directly to
the CLIP JOINT HALLOWEEN show at Zeb’s!

A Fun-Sational Mirth-Quake!

Coming attraction & main titles (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=8ced209842&e=2afdbb1856)

featuring:
Tony Bennett & his Dancing Monster
Louis Armstrong
Betty Boop
Cab Calloway
The Delta Rhythm Boys
The Singing Detective
The Lost Skeleton
The Three Eddies
Alice Cooper
Boris Karloff
Dinah Shore
Puddles Pity Party

Art Carney
Betty Hutton
Herman Munster
The Blob
The Pumpkin King
Oogie Boogie
Santa Claus
The Bonzo Dog Doodah Band
Scrappy
Donald Duck
Hoagy Carmichael
The Rolling Stones
Harry Belafonte
Danny Kaye
The Muppets
and all your Favorites!

RSVP to levis4402@yahoo.com; (mailto:levis4402@yahoo.com?subject=RSVP%20for%20CLIP%20Joint&body=Yes!%20save%20me%20a%20seat%20for%20CLIP%20JOINT!)
House charge: $10

#3 THE SALON: Halloween Stomp Friday 10/31!

4 West 43rd St
7pm to 3am / live music all night
18+ (ID required)

A swinging Hot Jazz Costume Party near Times Square!

Live music by:
– Dan Levinson’s Hot Phantoms w/Molly Ryan
– Professor Cunningham and his Old School
– The Xylopholks
– The Black & Bluez

plus
– DJ VaVa Voon
– MC Dandy Wellington
– burlesque by Cassandra Rosebeetle & Hazel Honeysuckle
– FREE swing dance lesson from 7:30-8pm!
– TABLEAU X – featuring The Lillian Lorraine Girls and directed by Syrie Moskowitz

TICKETS
– General Admission tickets start at $20
– VIP Tickets start at $59 and includes a 2hr limited open bar from 8:30-10:30pm

More Info & Tickets – http://www.thesalon.biz (http://www.thesalon.biz/)

for full info click here (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=8a87744405&e=2afdbb1856)

#4 SHANGHAI MERMAID: VICTORIAN SEANCE
SATURDAY, NOVEMBER 1
just to be original, Juliette Campbell of SHANGHAI MERMAID is doing her big event on the day after Halloween! For more info, click here! (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=2836a70b20&e=2afdbb1856) I’ll update this spot with more details next week. Knowing the way that Juliette throws a party, this could be the most SPOOK-TACULAR event of them all! (This will take place at the Downtown Association at 60 Pine Street, between William & Pearl Streets.)

BANDS & PERFORMERS:

tableux vivante by sequinette

roving, classical violin by helen buyniski

early dance music by the paragon ragtime orchestra

drew nugent & the midnight society playing hot 1920’s jazz

electrifying performances by djahari and cassandra of desert sin

fortune-telling and carnival antics by ian mackenzie & justin blaser

victorian chamber music on the gramaphone by michael cumella

hauntingly beautiful burlesque by cassandra rosebeetle

performances from the otherworld by pandora

victorian mourning dance by amanda
and more to be announced . . .

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=884d2df881) | 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=884d2df881&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

FOUR BIG EVENTS FOR HALLOWEEN!

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

HOWDY NEIGHBORS! Bart Simpson had it right: “Halloween kicks Thanksgiving’s Ass!” – actually, it kicks the butt of every other Holiday, with the possible exception of Chinese New Year! This week is going to be a very special HALLO-WEEKEND between Thursday and Saturday night, there are at least four big events that I want to tell you about, starting with a special concert hosted by STEVE ROSS at the NYPL. (That’s on Thursday 10/30, and will be followed at Zeb’s by CLIP JOINT: HALLOWEEN SPOOK-TACULAR! More info below.)

Right off the “Bat!” – click here:
Coming attraction & main titles (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=e0a9b290ef&e=2afdbb1856)

View this email in your browser (http://us7.campaign-archive2.com/?u=8f209c91d8d90a21addfc6817&id=d428ccf5f3&e=2afdbb1856)

FOUR BIG EVENTS FOR HALLOWEEN!
(only one of which is my own production, but I’m eagerly looking forward to all four!)

#1 FROM THE WONDERFUL MR. STEVE ROSS:

At the Bruno Walter auditorium at Lincoln Center on Thursday, Oct. 30th, 6PM – come to this AND THEN to CLIP JOINT:

TAP TOO AND HALLOW’EN…BOO! Songs about dancing from Broadway, Hollywood and Tin Pan Alley as well as some spooky treats.

Jim Brochu
Shana Farr
Eric Michael Gillette
Anita Gillette
Christopher Gines
Heather MacRae
Sidney Myer
Joe Sirola
Neva Small
Ron Spivak
Jane Summerhays
Karen Wyman

More stars than there are in Heaven, as once was observed…

Admission is free to the public, but early arrival is suggested. Admission lines form one hour prior to each program. At that time one ticket is provided per person. Tickets are not available for advance reservation and saving seats is not permitted. General admission seating. Call 212.642.0142 for more detailed information. (http://twitter.us7.list-manage1.com/track/click?u=8f209c91d8d90a21addfc6817&id=f35e0b24f9&e=2afdbb1856)

[#2] proceed from the NYPL directly to
the CLIP JOINT HALLOWEEN show at Zeb’s!

A Fun-Sational Mirth-Quake!

Coming attraction & main titles (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=8ced209842&e=2afdbb1856)

featuring:
Tony Bennett & his Dancing Monster
Louis Armstrong
Betty Boop
Cab Calloway
The Delta Rhythm Boys
The Singing Detective
The Lost Skeleton
The Three Eddies
Alice Cooper
Boris Karloff
Dinah Shore
Puddles Pity Party

Art Carney
Betty Hutton
Herman Munster
The Blob
The Pumpkin King
Oogie Boogie
Santa Claus
The Bonzo Dog Doodah Band
Scrappy
Donald Duck
Hoagy Carmichael
The Rolling Stones
Harry Belafonte
Danny Kaye
The Muppets
and all your Favorites!

RSVP to levis4402@yahoo.com; (mailto:levis4402@yahoo.com?subject=RSVP%20for%20CLIP%20Joint&body=Yes!%20save%20me%20a%20seat%20for%20CLIP%20JOINT!)
House charge: $10

#3 THE SALON: Halloween Stomp Friday 10/31!

4 West 43rd St
7pm to 3am / live music all night
18+ (ID required)

A swinging Hot Jazz Costume Party near Times Square!

Live music by:
– Dan Levinson’s Hot Phantoms w/Molly Ryan
– Professor Cunningham and his Old School
– The Xylopholks
– The Black & Bluez

plus
– DJ VaVa Voon
– MC Dandy Wellington
– burlesque by Cassandra Rosebeetle & Hazel Honeysuckle
– FREE swing dance lesson from 7:30-8pm!
– TABLEAU X – featuring The Lillian Lorraine Girls and directed by Syrie Moskowitz

TICKETS
– General Admission tickets start at $20
– VIP Tickets start at $59 and includes a 2hr limited open bar from 8:30-10:30pm

More Info & Tickets – http://www.thesalon.biz (http://www.thesalon.biz/)

for full info click here (http://twitter.us7.list-manage.com/track/click?u=8f209c91d8d90a21addfc6817&id=8a87744405&e=2afdbb1856)

#4 SHANGHAI MERMAID: VICTORIAN SEANCE
SATURDAY, NOVEMBER 1
just to be original, Juliette Campbell of SHANGHAI MERMAID is doing her big event on the day after Halloween! For more info, click here! (http://twitter.us7.list-manage2.com/track/click?u=8f209c91d8d90a21addfc6817&id=2836a70b20&e=2afdbb1856) I’ll update this spot with more details next week. Knowing the way that Juliette throws a party, this could be the most SPOOK-TACULAR event of them all! (This will take place at the Downtown Association at 60 Pine Street, between William & Pearl Streets.)

BANDS & PERFORMERS:

tableux vivante by sequinette

roving, classical violin by helen buyniski

early dance music by the paragon ragtime orchestra

drew nugent & the midnight society playing hot 1920’s jazz

electrifying performances by djahari and cassandra of desert sin

fortune-telling and carnival antics by ian mackenzie & justin blaser

victorian chamber music on the gramaphone by michael cumella

hauntingly beautiful burlesque by cassandra rosebeetle

performances from the otherworld by pandora

victorian mourning dance by amanda
and more to be announced . . .

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

Copyright (C) 2014 All rights reserved.

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

Somerset County Library System adds jazz to online music library | NJ.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nj.com/messenger-gazette/index.ssf/2014/10/somerset_county_library_system_adds_jazz_to_online_music_library.html

** Somerset County Library System adds jazz to online music library
————————————————————

NAXOS Music Library Jazz, one of the most comprehensive collections of Jazz music available online, is now available through Somerset County Library System of New Jersey (SCLSNJ). NAXOS Music Library Jazz offers more than 92,200 tracks of jazz from more than 8,600 albums, with more than 32,000 jazz artists represented and includes catalogs of Blue Notes Records.
NAXOS Music Library Jazz is Somerset County Library System of New Jersey’s most recent addition to NAXOS Music Library, the world’s largest online classical music library. Somerset County Library System of New Jersey gives library cardholders the opportunity to stream music to a PC or mobile device for free using this resource. NAXOS Music Library currently offers streaming access to more than 103,743 CDs with more than 1,508,021 tracks of both standard and rare repertoire (as of Oct. 27, 2014). And that number continues to grow, with more than 800 new CDs added every month. Additionally, Somerset County Library System of New Jersey library cardholders have free access to NAXOS Sheet Music, which allows users to download and print copies of sheet music from a catalogue of more than 40,000 works.
NAXOS Music Library, NAXOS Music Library Jazz and NAXOS Sheet Music can be accessed from computer and mobile device, anywhere, anytime. With iPhone/iPod and Android mobile apps, subscribers can access the service on the go, and the HTLM5 player can stream music though the standard internet connection of most phones and tablets. To gain free access to Somerset County Library System of New Jersey’s NAXOS resources, visit any one of Somerset County Library System of New Jersey’s 10 library branches today or visit SCLSNJ.org (http://www.sclsnj.org/) for more information.
Somerset County Library System of New Jersey (SCLSNJ) partners with you to connect, to explore, to share and to discover. Together we enrich lives, expand knowledge and strengthen communities. Somerset County Library System of New Jersey branches can be found in Bridgewater, Bound Brook, Hillsborough, Manville, at the Mary Jacobs Library in Rocky Hill, North Plainfield, Peapack and Gladstone, Somerville, Warren Township and Watchung. Visit SCLSNJ.org (http://www.sclsnj.org/) for further information about library services offered at SCLSNJ.

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

Copyright (C) 2014 All rights reserved.

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

Somerset County Library System adds jazz to online music library | NJ.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nj.com/messenger-gazette/index.ssf/2014/10/somerset_county_library_system_adds_jazz_to_online_music_library.html

** Somerset County Library System adds jazz to online music library
————————————————————

NAXOS Music Library Jazz, one of the most comprehensive collections of Jazz music available online, is now available through Somerset County Library System of New Jersey (SCLSNJ). NAXOS Music Library Jazz offers more than 92,200 tracks of jazz from more than 8,600 albums, with more than 32,000 jazz artists represented and includes catalogs of Blue Notes Records.
NAXOS Music Library Jazz is Somerset County Library System of New Jersey’s most recent addition to NAXOS Music Library, the world’s largest online classical music library. Somerset County Library System of New Jersey gives library cardholders the opportunity to stream music to a PC or mobile device for free using this resource. NAXOS Music Library currently offers streaming access to more than 103,743 CDs with more than 1,508,021 tracks of both standard and rare repertoire (as of Oct. 27, 2014). And that number continues to grow, with more than 800 new CDs added every month. Additionally, Somerset County Library System of New Jersey library cardholders have free access to NAXOS Sheet Music, which allows users to download and print copies of sheet music from a catalogue of more than 40,000 works.
NAXOS Music Library, NAXOS Music Library Jazz and NAXOS Sheet Music can be accessed from computer and mobile device, anywhere, anytime. With iPhone/iPod and Android mobile apps, subscribers can access the service on the go, and the HTLM5 player can stream music though the standard internet connection of most phones and tablets. To gain free access to Somerset County Library System of New Jersey’s NAXOS resources, visit any one of Somerset County Library System of New Jersey’s 10 library branches today or visit SCLSNJ.org (http://www.sclsnj.org/) for more information.
Somerset County Library System of New Jersey (SCLSNJ) partners with you to connect, to explore, to share and to discover. Together we enrich lives, expand knowledge and strengthen communities. Somerset County Library System of New Jersey branches can be found in Bridgewater, Bound Brook, Hillsborough, Manville, at the Mary Jacobs Library in Rocky Hill, North Plainfield, Peapack and Gladstone, Somerville, Warren Township and Watchung. Visit SCLSNJ.org (http://www.sclsnj.org/) for further information about library services offered at SCLSNJ.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=41eb05da0a) | 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=41eb05da0a&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

Somerset County Library System adds jazz to online music library | NJ.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nj.com/messenger-gazette/index.ssf/2014/10/somerset_county_library_system_adds_jazz_to_online_music_library.html

** Somerset County Library System adds jazz to online music library
————————————————————

NAXOS Music Library Jazz, one of the most comprehensive collections of Jazz music available online, is now available through Somerset County Library System of New Jersey (SCLSNJ). NAXOS Music Library Jazz offers more than 92,200 tracks of jazz from more than 8,600 albums, with more than 32,000 jazz artists represented and includes catalogs of Blue Notes Records.
NAXOS Music Library Jazz is Somerset County Library System of New Jersey’s most recent addition to NAXOS Music Library, the world’s largest online classical music library. Somerset County Library System of New Jersey gives library cardholders the opportunity to stream music to a PC or mobile device for free using this resource. NAXOS Music Library currently offers streaming access to more than 103,743 CDs with more than 1,508,021 tracks of both standard and rare repertoire (as of Oct. 27, 2014). And that number continues to grow, with more than 800 new CDs added every month. Additionally, Somerset County Library System of New Jersey library cardholders have free access to NAXOS Sheet Music, which allows users to download and print copies of sheet music from a catalogue of more than 40,000 works.
NAXOS Music Library, NAXOS Music Library Jazz and NAXOS Sheet Music can be accessed from computer and mobile device, anywhere, anytime. With iPhone/iPod and Android mobile apps, subscribers can access the service on the go, and the HTLM5 player can stream music though the standard internet connection of most phones and tablets. To gain free access to Somerset County Library System of New Jersey’s NAXOS resources, visit any one of Somerset County Library System of New Jersey’s 10 library branches today or visit SCLSNJ.org (http://www.sclsnj.org/) for more information.
Somerset County Library System of New Jersey (SCLSNJ) partners with you to connect, to explore, to share and to discover. Together we enrich lives, expand knowledge and strengthen communities. Somerset County Library System of New Jersey branches can be found in Bridgewater, Bound Brook, Hillsborough, Manville, at the Mary Jacobs Library in Rocky Hill, North Plainfield, Peapack and Gladstone, Somerville, Warren Township and Watchung. Visit SCLSNJ.org (http://www.sclsnj.org/) for further information about library services offered at SCLSNJ.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=41eb05da0a) | 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=41eb05da0a&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

How Records Were Made – JazzWax

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2014/10/how-records-were-made.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29 (http://www.jazzwax.com/2014/10/how-records-were-made.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29)

** How Records Were Made
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d084f4c3970c-popup
Back before Spotify and clouds and downloads and iTunes and CDs, there were things called records, which today are making something of a comeback. First came single-song sides spinning at 78rpm, followed by the 10-inch album, the 7-inch 45rpm and the 12-inch LP. Turntables came with a tonearm and a stylus needle attached. When you placed the needle on one of those records, music magically emerged from the speakers.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d084f4f6970c-popup
The whole concept was ingenious and baffling—a durable platter with music hidden in its grooves, music that could only be revealed when the tonearm needle rode the disc. The average record-buyer didn’t really know how the technology worked, but it didn’t matter. As you watched the record spin, something electronically nifty took place between the silvery needle, the shiny disc and the speakers. Sounds of musicians playing emerged, sounds that were the same over and over again, no matter how many times you played the record.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c6faf192970b-popup
At different points in time, record companies created films to tout the recording and record-pressing process and to promote the marvel of recorded music and new advances in fidelity. I found five of these films on YouTube:

Here’s (https://www.youtube.com/watch?v=qZ5PQSaDYgU) RCA’s Command Performance, which in 1942 showed viewers how records were recorded and made. The film came on the eve of the first American Federation of Musicians’ recording ban that began in August of that year…

Here’s (https://www.youtube.com/watch?v=X6IMuRICNP0) Capitol’s 1951 film Wanna Buy a Record?, a whimsical promotional short starring Mel Blanc and Billy May. The film came at a moment in time when record-industry sales were falling due to consumer confusion over the speed war between Columbia’s new 33 1/3 LP format and RCA’s 45rpm. People stopped buying records until the format battle was resolved in ’52. That’s when RCA threw in the towel and begin producing LPs while Columbia and the rest of the industry embraced the 45 as a more durable and convenient replacement for the 78 single…

Here’s (https://www.youtube.com/watch?v=otR-MGsmCeE) RCA’s The Sound and the Story. It was released in 1956, when the 12-inch LP began replacing the 10-inch album as the industry standard for all forms of music…

Here’s (https://www.youtube.com/watch?v=lbG-ps0CSkQ) RCA’s New Dimensions in Sound, a 1957 film to educate buyers about a new technological advance—stereo…

And here (https://www.youtube.com/watch?v=GqEeP6YPkGM) , in 1958, RCA chimed in again with its Living Stereo film…

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=da55934965) | 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=da55934965&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

How Records Were Made – JazzWax

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2014/10/how-records-were-made.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29 (http://www.jazzwax.com/2014/10/how-records-were-made.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29)

** How Records Were Made
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d084f4c3970c-popup
Back before Spotify and clouds and downloads and iTunes and CDs, there were things called records, which today are making something of a comeback. First came single-song sides spinning at 78rpm, followed by the 10-inch album, the 7-inch 45rpm and the 12-inch LP. Turntables came with a tonearm and a stylus needle attached. When you placed the needle on one of those records, music magically emerged from the speakers.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d084f4f6970c-popup
The whole concept was ingenious and baffling—a durable platter with music hidden in its grooves, music that could only be revealed when the tonearm needle rode the disc. The average record-buyer didn’t really know how the technology worked, but it didn’t matter. As you watched the record spin, something electronically nifty took place between the silvery needle, the shiny disc and the speakers. Sounds of musicians playing emerged, sounds that were the same over and over again, no matter how many times you played the record.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c6faf192970b-popup
At different points in time, record companies created films to tout the recording and record-pressing process and to promote the marvel of recorded music and new advances in fidelity. I found five of these films on YouTube:

Here’s (https://www.youtube.com/watch?v=qZ5PQSaDYgU) RCA’s Command Performance, which in 1942 showed viewers how records were recorded and made. The film came on the eve of the first American Federation of Musicians’ recording ban that began in August of that year…

Here’s (https://www.youtube.com/watch?v=X6IMuRICNP0) Capitol’s 1951 film Wanna Buy a Record?, a whimsical promotional short starring Mel Blanc and Billy May. The film came at a moment in time when record-industry sales were falling due to consumer confusion over the speed war between Columbia’s new 33 1/3 LP format and RCA’s 45rpm. People stopped buying records until the format battle was resolved in ’52. That’s when RCA threw in the towel and begin producing LPs while Columbia and the rest of the industry embraced the 45 as a more durable and convenient replacement for the 78 single…

Here’s (https://www.youtube.com/watch?v=otR-MGsmCeE) RCA’s The Sound and the Story. It was released in 1956, when the 12-inch LP began replacing the 10-inch album as the industry standard for all forms of music…

Here’s (https://www.youtube.com/watch?v=lbG-ps0CSkQ) RCA’s New Dimensions in Sound, a 1957 film to educate buyers about a new technological advance—stereo…

And here (https://www.youtube.com/watch?v=GqEeP6YPkGM) , in 1958, RCA chimed in again with its Living Stereo film…

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=da55934965) | 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=da55934965&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