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Retrospective planned for renowned Pittsburgh artist Mozelle Thompson | New Pittsburgh Courier
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http://newpittsburghcourieronline.com/2014/08/01/retrospective-planned-for-renowned-artist-mozelle-thompson/
** Retrospective planned for renowned Pittsburgh artist Mozelle Thompson
————————————————————
10
MOZELLE THOMPSON
Who was that guy? You know, the artist; born in 1928, designed clothes, did advertising art, stage design, album covers for RCA? He was from Pittsburgh. Oh yeah, Andy Warhol, right? Not exactly.
True, Warhol did those things, but he only did about 60 album covers. Mozelle Thompson did at least 80, and in addition to the work mentioned above, he also did numerous book jackets and theatrical posters. He was acclaimed as a genius for his work even in his teens.
20
“It’s ironic that you have this Black artist from Garfield, who early on is said to be the greatest artist of his generation, and then you have this other guy, from the same city—Warhol–who actually becomes that,” said DJ Jay Malls. “And though I can’t say for certain Mozelle was the first African-American artist to do album covers, I can’t find a record of anyone else doing it earlier.”
Malls will be curating a retrospective exhibit of Thompson’s work at the Most Wanted Fine Art Gallery beginning Nov. 2. Malls has acquired 60 of Thompson’s album covers, most done for RCA Records between 1953 and 1966, but he is still working on getting the remaining 20 he knows of.
“I spent about $500 getting the ones I have, but because the remaining ones are rarer, it will cost me that much for the last 20,” he said. “I’m trying to get funding from Sprout Fund seed award–they say I’m still in the running, and Heinz Endowments has an Advancement of the Black Arts in Pittsburgh grant I’m applying for, so we’ll see. IKEA is donating 12×12 frames for the exhibit.”
But those are just the album covers. There’s also the Mademoiselle magazine featuring one of his dress designs from 1945, The Ebony #4 magazine from 1949 with five images of him in Paris, and the Graphis Annual 1964-1965, a graphic design periodical that ran a feature on Thompson. And there’s more.
30
“He did the first dust cover for “Shaft” in 1970, and what’s kind of spooky is that it looks a lot like Samuel L. Jackson,” Malls said. “And I just acquired three theatrical illustrations he did for the New York Times between 1968-1969, Sidney Poitier from “The Lost Man,” also Leroy Jones, Dick Williams and Alvin Ailey dancer Judith Jameson.”
He located another theatrical poster Thompson did, but because of its provenance, it is too expensive to acquire. “In 1965, Dick Williams directed and starred in a play called “Big Time Buck White” and Mozelle did the artwork for it when it went to New York in 1968, which by all accounts was well received,” said Malls. “In 1969, they reused the art for a musical version called “Buck White” starring Muhammad Ali, who was barred from boxing at the time—it was not as well received. They want $700 for the playbill just because it’s related to Ali.”
The oddest thing about this journey to discover Thompson, Malls said, was the lack of information about his life and family.
“It blows my mind how little documentation there is on this guy,” he said. “The only relative I’ve been able to document is a nephew who is named after him, Mozelle W. Thompson, who’s a big time Washington lawyer and former chairman of the Federal Trade Commission. I tried contacting him, but he’s obviously a very busy man.”
Malls recently found some images of him in the Teenie Harris collection that may be helpful. Some are photos of him with some women at a swimming pool in Clairton and another with the late Pittsburgh Courier columnist Phyllis Garland.
40
“Mozelle actually wrote a column for the Courier too,” he said. “It was called “The Junior Social Swirl.” It was a social column about high school life, parties, who’s going where to college. It ran in 1945 while he was still at Peabody.”
Regardless of how much material he ultimately acquires, Malls will display what he has when the show opens. “As far as I know, this is the most comprehensive exhibit of Mozelle’s work,” he said. “When it’s all said and done, I’ll probably donate it to someone. It should be seen.”
Thompson died in 1970. According to a Courier obituary Malls located, he was found in the street six floors below his Brooklyn apartment. He had apparently jumped.
The retrospective will open Friday, Nov. 7 at 7 p.m. to coincide with a scheduled Gallery Crawl. A separate reception will be held the next day from noon to 6 p.m. with Roger Barber as entertainment. Malls will have regular gallery hours every Sunday through the end of the month. The Most Wanted Fine Art gallery is located at 5015 Penn Ave.
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DJ Jay Malls
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Retrospective planned for renowned Pittsburgh artist Mozelle Thompson | New Pittsburgh Courier
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http://newpittsburghcourieronline.com/2014/08/01/retrospective-planned-for-renowned-artist-mozelle-thompson/
** Retrospective planned for renowned Pittsburgh artist Mozelle Thompson
————————————————————
10
MOZELLE THOMPSON
Who was that guy? You know, the artist; born in 1928, designed clothes, did advertising art, stage design, album covers for RCA? He was from Pittsburgh. Oh yeah, Andy Warhol, right? Not exactly.
True, Warhol did those things, but he only did about 60 album covers. Mozelle Thompson did at least 80, and in addition to the work mentioned above, he also did numerous book jackets and theatrical posters. He was acclaimed as a genius for his work even in his teens.
20
“It’s ironic that you have this Black artist from Garfield, who early on is said to be the greatest artist of his generation, and then you have this other guy, from the same city—Warhol–who actually becomes that,” said DJ Jay Malls. “And though I can’t say for certain Mozelle was the first African-American artist to do album covers, I can’t find a record of anyone else doing it earlier.”
Malls will be curating a retrospective exhibit of Thompson’s work at the Most Wanted Fine Art Gallery beginning Nov. 2. Malls has acquired 60 of Thompson’s album covers, most done for RCA Records between 1953 and 1966, but he is still working on getting the remaining 20 he knows of.
“I spent about $500 getting the ones I have, but because the remaining ones are rarer, it will cost me that much for the last 20,” he said. “I’m trying to get funding from Sprout Fund seed award–they say I’m still in the running, and Heinz Endowments has an Advancement of the Black Arts in Pittsburgh grant I’m applying for, so we’ll see. IKEA is donating 12×12 frames for the exhibit.”
But those are just the album covers. There’s also the Mademoiselle magazine featuring one of his dress designs from 1945, The Ebony #4 magazine from 1949 with five images of him in Paris, and the Graphis Annual 1964-1965, a graphic design periodical that ran a feature on Thompson. And there’s more.
30
“He did the first dust cover for “Shaft” in 1970, and what’s kind of spooky is that it looks a lot like Samuel L. Jackson,” Malls said. “And I just acquired three theatrical illustrations he did for the New York Times between 1968-1969, Sidney Poitier from “The Lost Man,” also Leroy Jones, Dick Williams and Alvin Ailey dancer Judith Jameson.”
He located another theatrical poster Thompson did, but because of its provenance, it is too expensive to acquire. “In 1965, Dick Williams directed and starred in a play called “Big Time Buck White” and Mozelle did the artwork for it when it went to New York in 1968, which by all accounts was well received,” said Malls. “In 1969, they reused the art for a musical version called “Buck White” starring Muhammad Ali, who was barred from boxing at the time—it was not as well received. They want $700 for the playbill just because it’s related to Ali.”
The oddest thing about this journey to discover Thompson, Malls said, was the lack of information about his life and family.
“It blows my mind how little documentation there is on this guy,” he said. “The only relative I’ve been able to document is a nephew who is named after him, Mozelle W. Thompson, who’s a big time Washington lawyer and former chairman of the Federal Trade Commission. I tried contacting him, but he’s obviously a very busy man.”
Malls recently found some images of him in the Teenie Harris collection that may be helpful. Some are photos of him with some women at a swimming pool in Clairton and another with the late Pittsburgh Courier columnist Phyllis Garland.
40
“Mozelle actually wrote a column for the Courier too,” he said. “It was called “The Junior Social Swirl.” It was a social column about high school life, parties, who’s going where to college. It ran in 1945 while he was still at Peabody.”
Regardless of how much material he ultimately acquires, Malls will display what he has when the show opens. “As far as I know, this is the most comprehensive exhibit of Mozelle’s work,” he said. “When it’s all said and done, I’ll probably donate it to someone. It should be seen.”
Thompson died in 1970. According to a Courier obituary Malls located, he was found in the street six floors below his Brooklyn apartment. He had apparently jumped.
The retrospective will open Friday, Nov. 7 at 7 p.m. to coincide with a scheduled Gallery Crawl. A separate reception will be held the next day from noon to 6 p.m. with Roger Barber as entertainment. Malls will have regular gallery hours every Sunday through the end of the month. The Most Wanted Fine Art gallery is located at 5015 Penn Ave.
R-1826483-1313125625
R-4870820-1378581592-4448
SBPICS 697
DJ Jay Malls
(Send comments to cmorrow@newpittsburghcourier.com.)
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Warwick, Ny 10990
USA
Interview with Jerry Schultz Owner of Slugs Saloon | , 4:05 pm on 9 August 2014 | Radio New Zealand
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http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon
** Slugs Saloon
————————————————————
** Originally aired on Radio NZ National Music (http://www.radionz.co.nz/national/music) , Saturday 9 August 2014
————————————————————
Slugs Saloon front
The Albert Ayler Quintet outside Slug’s Saloon
Daniel Beban who runs Wellington sound exploration space The Pyramid Club met a fascinating character recently, who once ran an establishment of his own – Slug’s Saloon.
When Orchestra of Spheres played Golden Bay’s Mussel Inn, Beban got to talking to New York City native Jerry Schultz, now known as Gopal Krishna and resident in Onekaka, who it turns out opened Slug’s Saloon, an underground jazz club in New York that was once a hotspot of 60s counterculture and revolutionary jazz music.
So, the next time Beban was in Golden Bay, he took a recorder so he could get the history of Jerry Schultz – and the history of Slug’s – on tape.
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Interview with Jerry Schultz Owner of Slugs Saloon | , 4:05 pm on 9 August 2014 | Radio New Zealand
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http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon
** Slugs Saloon
————————————————————
** Originally aired on Radio NZ National Music (http://www.radionz.co.nz/national/music) , Saturday 9 August 2014
————————————————————
Slugs Saloon front
The Albert Ayler Quintet outside Slug’s Saloon
Daniel Beban who runs Wellington sound exploration space The Pyramid Club met a fascinating character recently, who once ran an establishment of his own – Slug’s Saloon.
When Orchestra of Spheres played Golden Bay’s Mussel Inn, Beban got to talking to New York City native Jerry Schultz, now known as Gopal Krishna and resident in Onekaka, who it turns out opened Slug’s Saloon, an underground jazz club in New York that was once a hotspot of 60s counterculture and revolutionary jazz music.
So, the next time Beban was in Golden Bay, he took a recorder so he could get the history of Jerry Schultz – and the history of Slug’s – on tape.
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Interview with Jerry Schultz Owner of Slugs Saloon | , 4:05 pm on 9 August 2014 | Radio New Zealand
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon
** Slugs Saloon
————————————————————
** Originally aired on Radio NZ National Music (http://www.radionz.co.nz/national/music) , Saturday 9 August 2014
————————————————————
Slugs Saloon front
The Albert Ayler Quintet outside Slug’s Saloon
Daniel Beban who runs Wellington sound exploration space The Pyramid Club met a fascinating character recently, who once ran an establishment of his own – Slug’s Saloon.
When Orchestra of Spheres played Golden Bay’s Mussel Inn, Beban got to talking to New York City native Jerry Schultz, now known as Gopal Krishna and resident in Onekaka, who it turns out opened Slug’s Saloon, an underground jazz club in New York that was once a hotspot of 60s counterculture and revolutionary jazz music.
So, the next time Beban was in Golden Bay, he took a recorder so he could get the history of Jerry Schultz – and the history of Slug’s – on tape.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6b439a1b0d) | 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=6b439a1b0d&e=[UNIQID])
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Who Says There’s No Money In Jazz
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Blue Note Records’ Don Was buys home in Santa Monica – LA Times
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html
Bassist/record producer Don Was has quietly bought a house in Santa Monica for $2.75 million.
The Mediterranean-style home, built in 1988, features a step-down living room, a formal dining room, a library, five bedrooms and six bathrooms within more than 5,500 square feet of living space. An office sits above the garage.
Vaulted ceilings tower over the master suite, which has a sitting area, a fireplace and a patio. There are also fireplaces in the living and family rooms.
Was, 62, became president of Blue Note Records two years ago.
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html
Steve Aoki sells Hollywood Hills West home with studio (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
Lauren Beale (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
He formed the band Was (Was Not) in 1979 with friend David Was. Their real names are Don Fagenson and David Weiss. The rock-disco-dance-jazz-R&B band took a hiatus of about a dozen years before resuming in 2004. “Boo!,” released six years ago, is their most recent studio album.
Don Was composed the theme music for “Mad About You” (1992-99) and has written or produced the soundtracks for a variety of TV shows and films.
The property previously sold a decade ago for $2 million.
lRelated (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#) http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html
HOT PROPERTY (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html)
Minnie Driver lists her 1920s home in Hollywood Hills (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html)
SEE ALL RELATED (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#)
8 (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#)
Credit goes to Celebrity Address Aerial (http://www.celebrityaddressaerial.com/) for unearthing the off-market deal.
Twitter: @LATHotProperty (https://twitter.com/LATHotProperty)
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Who Says There’s No Money In Jazz
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Blue Note Records’ Don Was buys home in Santa Monica – LA Times
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html
Bassist/record producer Don Was has quietly bought a house in Santa Monica for $2.75 million.
The Mediterranean-style home, built in 1988, features a step-down living room, a formal dining room, a library, five bedrooms and six bathrooms within more than 5,500 square feet of living space. An office sits above the garage.
Vaulted ceilings tower over the master suite, which has a sitting area, a fireplace and a patio. There are also fireplaces in the living and family rooms.
Was, 62, became president of Blue Note Records two years ago.
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html
Steve Aoki sells Hollywood Hills West home with studio (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
Lauren Beale (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
He formed the band Was (Was Not) in 1979 with friend David Was. Their real names are Don Fagenson and David Weiss. The rock-disco-dance-jazz-R&B band took a hiatus of about a dozen years before resuming in 2004. “Boo!,” released six years ago, is their most recent studio album.
Don Was composed the theme music for “Mad About You” (1992-99) and has written or produced the soundtracks for a variety of TV shows and films.
The property previously sold a decade ago for $2 million.
lRelated (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#) http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html
HOT PROPERTY (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html)
Minnie Driver lists her 1920s home in Hollywood Hills (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-minnie-driver-20141008-story.html)
SEE ALL RELATED (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#)
8 (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html#)
Credit goes to Celebrity Address Aerial (http://www.celebrityaddressaerial.com/) for unearthing the off-market deal.
Twitter: @LATHotProperty (https://twitter.com/LATHotProperty)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=804b050a54) | 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=804b050a54&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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269 State Route 94 South
Warwick, Ny 10990
USA
Who Says There’s No Money In Jazz
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Blue Note Records’ Don Was buys home in Santa Monica – LA Times
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-don-was-20141010-story.html
Bassist/record producer Don Was has quietly bought a house in Santa Monica for $2.75 million.
The Mediterranean-style home, built in 1988, features a step-down living room, a formal dining room, a library, five bedrooms and six bathrooms within more than 5,500 square feet of living space. An office sits above the garage.
Vaulted ceilings tower over the master suite, which has a sitting area, a fireplace and a patio. There are also fireplaces in the living and family rooms.
Was, 62, became president of Blue Note Records two years ago.
http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html
Steve Aoki sells Hollywood Hills West home with studio (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
Lauren Beale (http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-steve-aoki-20141009-story.html)
He formed the band Was (Was Not) in 1979 with friend David Was. Their real names are Don Fagenson and David Weiss. The rock-disco-dance-jazz-R&B band took a hiatus of about a dozen years before resuming in 2004. “Boo!,” released six years ago, is their most recent studio album.
Don Was composed the theme music for “Mad About You” (1992-99) and has written or produced the soundtracks for a variety of TV shows and films.
The property previously sold a decade ago for $2 million.
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‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
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** ‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
————————————————————
http://bedfordandbowery.com/wp-content/uploads/2014/09/tumblr_lp9lkdDVtZ1r02r3uo1_400.jpg
Albert Ayler outside of Slugs.
Slugs’ Saloon opened its doors in 1964, a neighborhood bar owned by Robert Schoenholt, who died in 2012, and Jerry Schultz. By early 1965, many musicians who lived in the neighborhood convinced the owners to feature live jazz. The club rivaled the Five Spot Café (http://bedfordandbowery.com/2014/01/definitely-a-new-york-hang-jazz-musicians-remember-the-five-spot-cafe-waiting-on-photos/) as one of the top jazz spots in the East Village.
Despite its implication, Slugs’ took its name from the book All and Everything by mystic George Gurdjieff, who referred to three-brained humans as “slugs.” New York law in the ‘60s prohibited the name “saloon,” (http://www.nytimes.com/2013/02/10/nyregion/the-value-of-an-empty-beer-can.html?_r=0) so the club re-branded itself – keeping the apostrophe – as “Slugs’ in the Far East.”
In a recent interview (http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon) , Jerry Schultz – now a New Zealand resident known as Gopal Krishna – described the East Village of the era. “From the time somebody would leave the door to enter Slugs’, from the taxi to the door, somebody could come and stick a knife in their ribs and say ‘Your money or your life.’ And they would empty their pockets before they could ever afford to buy a drink in the club.”
Slugs’ closed soon after trumpeter Lee Morgan was shot by his longtime companion Helen Moore (aka More) in the early hours of February 19, 1972. Often described as Morgan’s common-law wife, Moore had helped the musician beat heroin addiction and revive his career.
Moore, jealous that Morgan had found a new girlfriend, confronted the trumpeter as he stood at the bar before his last set. Schultz described what happened next.
“She just walked right up to him and says, “I have a gun, I’m gonna kill you.” And he said, “Bitch, you don’t even have any bullets for the gun” – because they kept a little pistol in his trumpet case. What happens, she goes out, gets bullets in the gun, comes back, points the gun at his heart and kills him right at the bar.” Morgan was 33.
Soon afterwards, Schultz decided that eight years of running a club was enough and he headed for India. Slugs’ closed a few months later.
Though remembered for the Morgan shooting, great music was created at Slugs’ by a host of jazz legends that included Charles Mingus, Herbie Hancock and Pharaoh Sanders. Today 242 East Third Street is occupied by Rossy’s Bakery Café.
We spoke with people who worked at Slugs’ and remember the club as a great spot to perform, hang out and find their next gig; a venue where jazz was appreciated by audiences who made the journey to the “Far East.”
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsRossys4.jpg
The site of Slugs’ today. (Photo: Frank Mastropolo)
Charles McPherson, Alto Saxophonist
This was not Dizzy’s Club Coca-Cola. It was a joint. Slugs’ – it definitely was the right name for the joint. There would be some rough moments where there were confrontations between people. Slugs’ – that says it all.
You’d come in there and it was a comfortable hang. It was a place where you could hang out at the bar and talk and the music was far enough away. It was popular.
I was working there with George Coleman and Miles Davis came by. He was auditioning Tony Williams at that time. Miles obviously knew we were working there. So he came in and asked to use our band to hear Tony Williams. I let him do it because he’s Miles and secondly, when I was a kid, Miles let me sit in with him. So I wasn’t about to turn that down.
I said OK and he played a tune with Tony and that was it. I guess he just wanted to hear him play.
I was working there with Mingus and everybody else in the band was there but Mingus was late. He came in and before playing a note of music, he got on the bandstand and grabbed the mic and started talking about what just happened to him an hour ago.
He was hassled by the police. I remember him being upset and feeling that he had been disrespected.
Usually Mingus would be the kind of guy that’s going to fistfight. Or he’s going to rant and rave with a lot of anger. This particular evening, instead of the anger, he started talking and then actually started crying.
Here’s this great jazz musician: “You wouldn’t treat Yo Yo Ma like that. Why would you do that? Only because you don’t respect me in the first place.
“You don’t even know who I am and even if you did it wouldn’t make any difference anyway. Why should a great artist be treated this way?”
Now he kind of said that without necessarily saying that. But you knowthis is what he meant. And then everybody in the joint just totally melted with what Mingus was saying. And the joint is full of people. Some people are thugs, some people are there for the music, a cross-section of people. But emotionally, everybody connected with Mingus and felt sorry for him, including the bartenders.
The bartenders were some hardened guys. I can remember the bartender saying, “Oh, that’s terrible. It’s a shame that a man like that is treated like that. That’s horrible.” So it was kind of an odd moment. He had the whole room almost wanting to cry with him.
And he stayed on the mic talking about this situation for quite a while. It changed the whole emotional ambiance of the room to the point that to play music right after that didn’t feel like a good fit. We needed to wait a minute, let the air clear.
Charles McPherson (http://www.charlesmcpherson.com/) , who played with Charles Mingus for 12 years, today performs at concerts and festivals with his own orchestra. McPherson was the featured alto saxophonist in the Clint Eastwood film Bird, a biography of Charlie Parker.
————————————————————
Bill Cherry, Bartender
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill1.jpgI worked full-time at the Annex, so I only filled in once and awhile at Slugs’. Whenever they needed some help on the bar at Slugs’, either because someone was sick or somebody took a vacation, they would call me up.
It wasn’t a big club, but I’ve seen everyone there: Junior Cook, Joe Henderson, J.C. Moses, he was a drummer from the Lower East Side. He never made it big. Scotty Holt, a bass player. Freddie Hubbard was there quite a bit.
Lee Morgan was my favorite trumpet player in that time frame. He was kind of arrogant; almost like Miles but not quite as bad as Miles. I never talked to Lee at all because he just had this air about him of “I’m great, don’t fuck with me” and so I didn’t.
You’d come in the door, it had a long bar on the left-hand side and the stage was straight ahead. It wasn’t a big club, it didn’t have a lot of tables. But it had some fantastic music.
Kenny Dorham, Charlie Mingus, Jackie McLean, these were all guys who lived in the area so they played there quite a bit. There was a waitress, I think her name was Renee, very zaftig young lady. She walked around with this boa constrictor around her neck while she was serving people. It was weird, but this is the Lower East Side back then.
Bartender Bill Cherry worked on the Lower East Side in the 1960s at the Annex, a musicians’ hangout, and jazz clubs including Pee Wee’s and Slugs’. Cherry currently lives in New Hampshire.
Jack Bruce, Bassist and Vocalist
For me it was a real treat because for years I’d been playing those huge venues and being very iconic and stuff like that. I didn’t want to do that kind of Cream thing, I’d had enough of it for a while. I wanted to divorce myself from that kind of scene completely. I wanted to play some jazz, simple as that.
I was in the process of trying to put a band together so I was just playing with a few different people, here in England and in New York with Larry Coryell. Somehow got roped into doing those nights at Slugs’ (laughs).
I just wanted to play in a band and have some fun. What I do remember is this amazing drum solo that Bob Moses did, where he completely demolished the drum set and ended up playing a bit of metal (laughs).
Bassist and vocalist Jack Bruce (http://jackbruce.com/) played two nights at Slugs’ in July 1969 following the breakup of supergroup Cream. Earlier this year Bruce released “Silver Rails,” his first solo LP in more than a decade.
————————————————————
Cecil McBee, Bassist
http://bedfordandbowery.com/wp-content/uploads/2014/09/NYTSlugs02201972edited.jpgI was living on 10th Street between B and C. This was is ’65. At the time I was playing with Jackie McLean, who happened to be the first bandleader that I was fortunate enough to be with upon entering New York City from Detroit.
We happened to be called to play for a birthday party of the owner of the club. It was in the afternoon and people were all over the place and Tommy Turrentine, who was the brother of Stanley Turrentine, was there. He delved in and out of the techniques of the trumpet and he also delved in and out of the techniques of the bottle from time to time.
So he got a little boozed up to the extent there was this conflict with another gentleman there and they started to go after each other. We all had to put our instruments down and either take cover or help prevent it. The word came out, “Hey man, these guys, they’re gonna slug it out, man.” That’s what I remember about this club being called Slugs’.
There was a very loud and strong word out that people from the wealthy parts of the city would park their limousines outside and come down and hear a set and then go away with their furs on.
There was, and I don’t exaggerate, a lot of excitement. Because the scene was just natural, it was perfect for musicians to play and for people to enjoy the moment at the time. Nothing big but it was just really happening.
I played there several times with Roy Haynes on the other side of Jackie McLean, off and on for about three years. But in the interim I found myself playing there with Wayne Shorter.
Wayne liked what I played so he asked me to join him on the gig at Slugs’. So there I am playing again with Roy Haynes on drums, Wayne of course, and a guy named Albert Dailey, fantastic piano player. It was a wonderful, wonderful week. People were jammed into the place. Quite frankly, I had stirred up a little name for myself. I’m a young guy playing with all these great musicians and was playing rather well. It was just music that’s said even to this day that should have been recorded because we were playing our asses off, man.
The very last night there was this tall gentleman standing at the end of the bar. The only person standing. He was standing at the corner of the bar just facing the stage to his left. Bushy haired and really grooving on the music. Occasionally I would notice the cat jumping up and down a little bit in agreement with some things that we had done.
When I got off the stage, he approached me right away and said, “McBee! Yeah, I came to hear you play. I heard about you. My name is Charles Lloyd.” He says, “You’re a wonderful player. Would you like to do a gig with me in Chicago in a couple of months?”
I said, “Sure.” He said, “But you gotta audition.” And I said to myself, “What the hell’s going on here? You just heard me play, you say I’m wonderful, but I’ve got to audition?”
Influential bassist and composer Cecil McBee has played with jazz figures like Miles Davis and Yusef Lateef. McBee won a Grammy in 1989 for his performance of Blues for John Coltrane. McBee continues to perform in concert and teaches jazz studies at the New England Conservatory.
————————————————————
Larry Willis, Pianist
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill3.jpgI played Slugs’ fairly often but don’t think I’ve ever played there with anybody other than Jackie McLean. One of the most vivid nights of my career was when I played there in a band that consisted of Clifford Jarvis playing drums, Paul Chambers playing bass, Jackie and Lee Morgan.
Back then, we played until four o’clock in the morning and the last set, Kenny Dorham came down and sat in. And he and Lee had a trumpet battle royale.
The piano was always in horrible shape, but a piano nonetheless. I remember playing a festival in Paris. I had to play after Dave Brubeck. And he came up to me and said, “You might want to take a napkin and wipe the keyboard off because there seems to be some dust or something on the surface and it was really irritating for me to play.”
And I looked at him and I said, “Dave, if dust is all I have to worry about, I’m way ahead of the game. You never had to play at Slugs’!”
It was also a place where other musicians would come to hang out. Back in the day, the clubs were open seven nights a week. And Monday night was always what they would call the “dark night.” They would have other bands come in and play on that Monday night. I remember going down there to hear people like Barry Harris. You would always see the jazz who’s who standing at the bar and hanging out.
It was kind of a fun place to play in a very rough neighborhood. I remember people would come outside, especially in the summer, and congregate in front of the club, getting fresh air.
Slugs’ was located on the first floor and there were apartments upstairs. Obviously the people who lived upstairs would be perturbed by all of this action going on downstairs. And every now and then somebody would drop a milk carton full of water on people’s heads.
And then you look up and they’re gone already and you don’t know where it came from. You just know it came down on your head.
Pianist Larry Willis, who cites alto saxophonist Jackie McLean as his mentor, has played a variety of styles including fusion and bebop. Beginning in 1972, Willis played keyboards with Blood, Sweat & Tears for seven years. Willis continues to perform in concert across the U.S. and internationally.
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
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‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
http://www.jazzpromoservices.com/
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** ‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
————————————————————
http://bedfordandbowery.com/wp-content/uploads/2014/09/tumblr_lp9lkdDVtZ1r02r3uo1_400.jpg
Albert Ayler outside of Slugs.
Slugs’ Saloon opened its doors in 1964, a neighborhood bar owned by Robert Schoenholt, who died in 2012, and Jerry Schultz. By early 1965, many musicians who lived in the neighborhood convinced the owners to feature live jazz. The club rivaled the Five Spot Café (http://bedfordandbowery.com/2014/01/definitely-a-new-york-hang-jazz-musicians-remember-the-five-spot-cafe-waiting-on-photos/) as one of the top jazz spots in the East Village.
Despite its implication, Slugs’ took its name from the book All and Everything by mystic George Gurdjieff, who referred to three-brained humans as “slugs.” New York law in the ‘60s prohibited the name “saloon,” (http://www.nytimes.com/2013/02/10/nyregion/the-value-of-an-empty-beer-can.html?_r=0) so the club re-branded itself – keeping the apostrophe – as “Slugs’ in the Far East.”
In a recent interview (http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon) , Jerry Schultz – now a New Zealand resident known as Gopal Krishna – described the East Village of the era. “From the time somebody would leave the door to enter Slugs’, from the taxi to the door, somebody could come and stick a knife in their ribs and say ‘Your money or your life.’ And they would empty their pockets before they could ever afford to buy a drink in the club.”
Slugs’ closed soon after trumpeter Lee Morgan was shot by his longtime companion Helen Moore (aka More) in the early hours of February 19, 1972. Often described as Morgan’s common-law wife, Moore had helped the musician beat heroin addiction and revive his career.
Moore, jealous that Morgan had found a new girlfriend, confronted the trumpeter as he stood at the bar before his last set. Schultz described what happened next.
“She just walked right up to him and says, “I have a gun, I’m gonna kill you.” And he said, “Bitch, you don’t even have any bullets for the gun” – because they kept a little pistol in his trumpet case. What happens, she goes out, gets bullets in the gun, comes back, points the gun at his heart and kills him right at the bar.” Morgan was 33.
Soon afterwards, Schultz decided that eight years of running a club was enough and he headed for India. Slugs’ closed a few months later.
Though remembered for the Morgan shooting, great music was created at Slugs’ by a host of jazz legends that included Charles Mingus, Herbie Hancock and Pharaoh Sanders. Today 242 East Third Street is occupied by Rossy’s Bakery Café.
We spoke with people who worked at Slugs’ and remember the club as a great spot to perform, hang out and find their next gig; a venue where jazz was appreciated by audiences who made the journey to the “Far East.”
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsRossys4.jpg
The site of Slugs’ today. (Photo: Frank Mastropolo)
Charles McPherson, Alto Saxophonist
This was not Dizzy’s Club Coca-Cola. It was a joint. Slugs’ – it definitely was the right name for the joint. There would be some rough moments where there were confrontations between people. Slugs’ – that says it all.
You’d come in there and it was a comfortable hang. It was a place where you could hang out at the bar and talk and the music was far enough away. It was popular.
I was working there with George Coleman and Miles Davis came by. He was auditioning Tony Williams at that time. Miles obviously knew we were working there. So he came in and asked to use our band to hear Tony Williams. I let him do it because he’s Miles and secondly, when I was a kid, Miles let me sit in with him. So I wasn’t about to turn that down.
I said OK and he played a tune with Tony and that was it. I guess he just wanted to hear him play.
I was working there with Mingus and everybody else in the band was there but Mingus was late. He came in and before playing a note of music, he got on the bandstand and grabbed the mic and started talking about what just happened to him an hour ago.
He was hassled by the police. I remember him being upset and feeling that he had been disrespected.
Usually Mingus would be the kind of guy that’s going to fistfight. Or he’s going to rant and rave with a lot of anger. This particular evening, instead of the anger, he started talking and then actually started crying.
Here’s this great jazz musician: “You wouldn’t treat Yo Yo Ma like that. Why would you do that? Only because you don’t respect me in the first place.
“You don’t even know who I am and even if you did it wouldn’t make any difference anyway. Why should a great artist be treated this way?”
Now he kind of said that without necessarily saying that. But you knowthis is what he meant. And then everybody in the joint just totally melted with what Mingus was saying. And the joint is full of people. Some people are thugs, some people are there for the music, a cross-section of people. But emotionally, everybody connected with Mingus and felt sorry for him, including the bartenders.
The bartenders were some hardened guys. I can remember the bartender saying, “Oh, that’s terrible. It’s a shame that a man like that is treated like that. That’s horrible.” So it was kind of an odd moment. He had the whole room almost wanting to cry with him.
And he stayed on the mic talking about this situation for quite a while. It changed the whole emotional ambiance of the room to the point that to play music right after that didn’t feel like a good fit. We needed to wait a minute, let the air clear.
Charles McPherson (http://www.charlesmcpherson.com/) , who played with Charles Mingus for 12 years, today performs at concerts and festivals with his own orchestra. McPherson was the featured alto saxophonist in the Clint Eastwood film Bird, a biography of Charlie Parker.
————————————————————
Bill Cherry, Bartender
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill1.jpgI worked full-time at the Annex, so I only filled in once and awhile at Slugs’. Whenever they needed some help on the bar at Slugs’, either because someone was sick or somebody took a vacation, they would call me up.
It wasn’t a big club, but I’ve seen everyone there: Junior Cook, Joe Henderson, J.C. Moses, he was a drummer from the Lower East Side. He never made it big. Scotty Holt, a bass player. Freddie Hubbard was there quite a bit.
Lee Morgan was my favorite trumpet player in that time frame. He was kind of arrogant; almost like Miles but not quite as bad as Miles. I never talked to Lee at all because he just had this air about him of “I’m great, don’t fuck with me” and so I didn’t.
You’d come in the door, it had a long bar on the left-hand side and the stage was straight ahead. It wasn’t a big club, it didn’t have a lot of tables. But it had some fantastic music.
Kenny Dorham, Charlie Mingus, Jackie McLean, these were all guys who lived in the area so they played there quite a bit. There was a waitress, I think her name was Renee, very zaftig young lady. She walked around with this boa constrictor around her neck while she was serving people. It was weird, but this is the Lower East Side back then.
Bartender Bill Cherry worked on the Lower East Side in the 1960s at the Annex, a musicians’ hangout, and jazz clubs including Pee Wee’s and Slugs’. Cherry currently lives in New Hampshire.
Jack Bruce, Bassist and Vocalist
For me it was a real treat because for years I’d been playing those huge venues and being very iconic and stuff like that. I didn’t want to do that kind of Cream thing, I’d had enough of it for a while. I wanted to divorce myself from that kind of scene completely. I wanted to play some jazz, simple as that.
I was in the process of trying to put a band together so I was just playing with a few different people, here in England and in New York with Larry Coryell. Somehow got roped into doing those nights at Slugs’ (laughs).
I just wanted to play in a band and have some fun. What I do remember is this amazing drum solo that Bob Moses did, where he completely demolished the drum set and ended up playing a bit of metal (laughs).
Bassist and vocalist Jack Bruce (http://jackbruce.com/) played two nights at Slugs’ in July 1969 following the breakup of supergroup Cream. Earlier this year Bruce released “Silver Rails,” his first solo LP in more than a decade.
————————————————————
Cecil McBee, Bassist
http://bedfordandbowery.com/wp-content/uploads/2014/09/NYTSlugs02201972edited.jpgI was living on 10th Street between B and C. This was is ’65. At the time I was playing with Jackie McLean, who happened to be the first bandleader that I was fortunate enough to be with upon entering New York City from Detroit.
We happened to be called to play for a birthday party of the owner of the club. It was in the afternoon and people were all over the place and Tommy Turrentine, who was the brother of Stanley Turrentine, was there. He delved in and out of the techniques of the trumpet and he also delved in and out of the techniques of the bottle from time to time.
So he got a little boozed up to the extent there was this conflict with another gentleman there and they started to go after each other. We all had to put our instruments down and either take cover or help prevent it. The word came out, “Hey man, these guys, they’re gonna slug it out, man.” That’s what I remember about this club being called Slugs’.
There was a very loud and strong word out that people from the wealthy parts of the city would park their limousines outside and come down and hear a set and then go away with their furs on.
There was, and I don’t exaggerate, a lot of excitement. Because the scene was just natural, it was perfect for musicians to play and for people to enjoy the moment at the time. Nothing big but it was just really happening.
I played there several times with Roy Haynes on the other side of Jackie McLean, off and on for about three years. But in the interim I found myself playing there with Wayne Shorter.
Wayne liked what I played so he asked me to join him on the gig at Slugs’. So there I am playing again with Roy Haynes on drums, Wayne of course, and a guy named Albert Dailey, fantastic piano player. It was a wonderful, wonderful week. People were jammed into the place. Quite frankly, I had stirred up a little name for myself. I’m a young guy playing with all these great musicians and was playing rather well. It was just music that’s said even to this day that should have been recorded because we were playing our asses off, man.
The very last night there was this tall gentleman standing at the end of the bar. The only person standing. He was standing at the corner of the bar just facing the stage to his left. Bushy haired and really grooving on the music. Occasionally I would notice the cat jumping up and down a little bit in agreement with some things that we had done.
When I got off the stage, he approached me right away and said, “McBee! Yeah, I came to hear you play. I heard about you. My name is Charles Lloyd.” He says, “You’re a wonderful player. Would you like to do a gig with me in Chicago in a couple of months?”
I said, “Sure.” He said, “But you gotta audition.” And I said to myself, “What the hell’s going on here? You just heard me play, you say I’m wonderful, but I’ve got to audition?”
Influential bassist and composer Cecil McBee has played with jazz figures like Miles Davis and Yusef Lateef. McBee won a Grammy in 1989 for his performance of Blues for John Coltrane. McBee continues to perform in concert and teaches jazz studies at the New England Conservatory.
————————————————————
Larry Willis, Pianist
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill3.jpgI played Slugs’ fairly often but don’t think I’ve ever played there with anybody other than Jackie McLean. One of the most vivid nights of my career was when I played there in a band that consisted of Clifford Jarvis playing drums, Paul Chambers playing bass, Jackie and Lee Morgan.
Back then, we played until four o’clock in the morning and the last set, Kenny Dorham came down and sat in. And he and Lee had a trumpet battle royale.
The piano was always in horrible shape, but a piano nonetheless. I remember playing a festival in Paris. I had to play after Dave Brubeck. And he came up to me and said, “You might want to take a napkin and wipe the keyboard off because there seems to be some dust or something on the surface and it was really irritating for me to play.”
And I looked at him and I said, “Dave, if dust is all I have to worry about, I’m way ahead of the game. You never had to play at Slugs’!”
It was also a place where other musicians would come to hang out. Back in the day, the clubs were open seven nights a week. And Monday night was always what they would call the “dark night.” They would have other bands come in and play on that Monday night. I remember going down there to hear people like Barry Harris. You would always see the jazz who’s who standing at the bar and hanging out.
It was kind of a fun place to play in a very rough neighborhood. I remember people would come outside, especially in the summer, and congregate in front of the club, getting fresh air.
Slugs’ was located on the first floor and there were apartments upstairs. Obviously the people who lived upstairs would be perturbed by all of this action going on downstairs. And every now and then somebody would drop a milk carton full of water on people’s heads.
And then you look up and they’re gone already and you don’t know where it came from. You just know it came down on your head.
Pianist Larry Willis, who cites alto saxophonist Jackie McLean as his mentor, has played a variety of styles including fusion and bebop. Beginning in 1972, Willis played keyboards with Blood, Sweat & Tears for seven years. Willis continues to perform in concert across the U.S. and internationally.
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‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
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** ‘It Was a Joint’: Jazz Musicians Remember Slugs’ in the Far East
————————————————————
http://bedfordandbowery.com/wp-content/uploads/2014/09/tumblr_lp9lkdDVtZ1r02r3uo1_400.jpg
Albert Ayler outside of Slugs.
Slugs’ Saloon opened its doors in 1964, a neighborhood bar owned by Robert Schoenholt, who died in 2012, and Jerry Schultz. By early 1965, many musicians who lived in the neighborhood convinced the owners to feature live jazz. The club rivaled the Five Spot Café (http://bedfordandbowery.com/2014/01/definitely-a-new-york-hang-jazz-musicians-remember-the-five-spot-cafe-waiting-on-photos/) as one of the top jazz spots in the East Village.
Despite its implication, Slugs’ took its name from the book All and Everything by mystic George Gurdjieff, who referred to three-brained humans as “slugs.” New York law in the ‘60s prohibited the name “saloon,” (http://www.nytimes.com/2013/02/10/nyregion/the-value-of-an-empty-beer-can.html?_r=0) so the club re-branded itself – keeping the apostrophe – as “Slugs’ in the Far East.”
In a recent interview (http://www.radionz.co.nz/national/programmes/nat-music/audio/20145088/slugs-saloon) , Jerry Schultz – now a New Zealand resident known as Gopal Krishna – described the East Village of the era. “From the time somebody would leave the door to enter Slugs’, from the taxi to the door, somebody could come and stick a knife in their ribs and say ‘Your money or your life.’ And they would empty their pockets before they could ever afford to buy a drink in the club.”
Slugs’ closed soon after trumpeter Lee Morgan was shot by his longtime companion Helen Moore (aka More) in the early hours of February 19, 1972. Often described as Morgan’s common-law wife, Moore had helped the musician beat heroin addiction and revive his career.
Moore, jealous that Morgan had found a new girlfriend, confronted the trumpeter as he stood at the bar before his last set. Schultz described what happened next.
“She just walked right up to him and says, “I have a gun, I’m gonna kill you.” And he said, “Bitch, you don’t even have any bullets for the gun” – because they kept a little pistol in his trumpet case. What happens, she goes out, gets bullets in the gun, comes back, points the gun at his heart and kills him right at the bar.” Morgan was 33.
Soon afterwards, Schultz decided that eight years of running a club was enough and he headed for India. Slugs’ closed a few months later.
Though remembered for the Morgan shooting, great music was created at Slugs’ by a host of jazz legends that included Charles Mingus, Herbie Hancock and Pharaoh Sanders. Today 242 East Third Street is occupied by Rossy’s Bakery Café.
We spoke with people who worked at Slugs’ and remember the club as a great spot to perform, hang out and find their next gig; a venue where jazz was appreciated by audiences who made the journey to the “Far East.”
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsRossys4.jpg
The site of Slugs’ today. (Photo: Frank Mastropolo)
Charles McPherson, Alto Saxophonist
This was not Dizzy’s Club Coca-Cola. It was a joint. Slugs’ – it definitely was the right name for the joint. There would be some rough moments where there were confrontations between people. Slugs’ – that says it all.
You’d come in there and it was a comfortable hang. It was a place where you could hang out at the bar and talk and the music was far enough away. It was popular.
I was working there with George Coleman and Miles Davis came by. He was auditioning Tony Williams at that time. Miles obviously knew we were working there. So he came in and asked to use our band to hear Tony Williams. I let him do it because he’s Miles and secondly, when I was a kid, Miles let me sit in with him. So I wasn’t about to turn that down.
I said OK and he played a tune with Tony and that was it. I guess he just wanted to hear him play.
I was working there with Mingus and everybody else in the band was there but Mingus was late. He came in and before playing a note of music, he got on the bandstand and grabbed the mic and started talking about what just happened to him an hour ago.
He was hassled by the police. I remember him being upset and feeling that he had been disrespected.
Usually Mingus would be the kind of guy that’s going to fistfight. Or he’s going to rant and rave with a lot of anger. This particular evening, instead of the anger, he started talking and then actually started crying.
Here’s this great jazz musician: “You wouldn’t treat Yo Yo Ma like that. Why would you do that? Only because you don’t respect me in the first place.
“You don’t even know who I am and even if you did it wouldn’t make any difference anyway. Why should a great artist be treated this way?”
Now he kind of said that without necessarily saying that. But you knowthis is what he meant. And then everybody in the joint just totally melted with what Mingus was saying. And the joint is full of people. Some people are thugs, some people are there for the music, a cross-section of people. But emotionally, everybody connected with Mingus and felt sorry for him, including the bartenders.
The bartenders were some hardened guys. I can remember the bartender saying, “Oh, that’s terrible. It’s a shame that a man like that is treated like that. That’s horrible.” So it was kind of an odd moment. He had the whole room almost wanting to cry with him.
And he stayed on the mic talking about this situation for quite a while. It changed the whole emotional ambiance of the room to the point that to play music right after that didn’t feel like a good fit. We needed to wait a minute, let the air clear.
Charles McPherson (http://www.charlesmcpherson.com/) , who played with Charles Mingus for 12 years, today performs at concerts and festivals with his own orchestra. McPherson was the featured alto saxophonist in the Clint Eastwood film Bird, a biography of Charlie Parker.
————————————————————
Bill Cherry, Bartender
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill1.jpgI worked full-time at the Annex, so I only filled in once and awhile at Slugs’. Whenever they needed some help on the bar at Slugs’, either because someone was sick or somebody took a vacation, they would call me up.
It wasn’t a big club, but I’ve seen everyone there: Junior Cook, Joe Henderson, J.C. Moses, he was a drummer from the Lower East Side. He never made it big. Scotty Holt, a bass player. Freddie Hubbard was there quite a bit.
Lee Morgan was my favorite trumpet player in that time frame. He was kind of arrogant; almost like Miles but not quite as bad as Miles. I never talked to Lee at all because he just had this air about him of “I’m great, don’t fuck with me” and so I didn’t.
You’d come in the door, it had a long bar on the left-hand side and the stage was straight ahead. It wasn’t a big club, it didn’t have a lot of tables. But it had some fantastic music.
Kenny Dorham, Charlie Mingus, Jackie McLean, these were all guys who lived in the area so they played there quite a bit. There was a waitress, I think her name was Renee, very zaftig young lady. She walked around with this boa constrictor around her neck while she was serving people. It was weird, but this is the Lower East Side back then.
Bartender Bill Cherry worked on the Lower East Side in the 1960s at the Annex, a musicians’ hangout, and jazz clubs including Pee Wee’s and Slugs’. Cherry currently lives in New Hampshire.
Jack Bruce, Bassist and Vocalist
For me it was a real treat because for years I’d been playing those huge venues and being very iconic and stuff like that. I didn’t want to do that kind of Cream thing, I’d had enough of it for a while. I wanted to divorce myself from that kind of scene completely. I wanted to play some jazz, simple as that.
I was in the process of trying to put a band together so I was just playing with a few different people, here in England and in New York with Larry Coryell. Somehow got roped into doing those nights at Slugs’ (laughs).
I just wanted to play in a band and have some fun. What I do remember is this amazing drum solo that Bob Moses did, where he completely demolished the drum set and ended up playing a bit of metal (laughs).
Bassist and vocalist Jack Bruce (http://jackbruce.com/) played two nights at Slugs’ in July 1969 following the breakup of supergroup Cream. Earlier this year Bruce released “Silver Rails,” his first solo LP in more than a decade.
————————————————————
Cecil McBee, Bassist
http://bedfordandbowery.com/wp-content/uploads/2014/09/NYTSlugs02201972edited.jpgI was living on 10th Street between B and C. This was is ’65. At the time I was playing with Jackie McLean, who happened to be the first bandleader that I was fortunate enough to be with upon entering New York City from Detroit.
We happened to be called to play for a birthday party of the owner of the club. It was in the afternoon and people were all over the place and Tommy Turrentine, who was the brother of Stanley Turrentine, was there. He delved in and out of the techniques of the trumpet and he also delved in and out of the techniques of the bottle from time to time.
So he got a little boozed up to the extent there was this conflict with another gentleman there and they started to go after each other. We all had to put our instruments down and either take cover or help prevent it. The word came out, “Hey man, these guys, they’re gonna slug it out, man.” That’s what I remember about this club being called Slugs’.
There was a very loud and strong word out that people from the wealthy parts of the city would park their limousines outside and come down and hear a set and then go away with their furs on.
There was, and I don’t exaggerate, a lot of excitement. Because the scene was just natural, it was perfect for musicians to play and for people to enjoy the moment at the time. Nothing big but it was just really happening.
I played there several times with Roy Haynes on the other side of Jackie McLean, off and on for about three years. But in the interim I found myself playing there with Wayne Shorter.
Wayne liked what I played so he asked me to join him on the gig at Slugs’. So there I am playing again with Roy Haynes on drums, Wayne of course, and a guy named Albert Dailey, fantastic piano player. It was a wonderful, wonderful week. People were jammed into the place. Quite frankly, I had stirred up a little name for myself. I’m a young guy playing with all these great musicians and was playing rather well. It was just music that’s said even to this day that should have been recorded because we were playing our asses off, man.
The very last night there was this tall gentleman standing at the end of the bar. The only person standing. He was standing at the corner of the bar just facing the stage to his left. Bushy haired and really grooving on the music. Occasionally I would notice the cat jumping up and down a little bit in agreement with some things that we had done.
When I got off the stage, he approached me right away and said, “McBee! Yeah, I came to hear you play. I heard about you. My name is Charles Lloyd.” He says, “You’re a wonderful player. Would you like to do a gig with me in Chicago in a couple of months?”
I said, “Sure.” He said, “But you gotta audition.” And I said to myself, “What the hell’s going on here? You just heard me play, you say I’m wonderful, but I’ve got to audition?”
Influential bassist and composer Cecil McBee has played with jazz figures like Miles Davis and Yusef Lateef. McBee won a Grammy in 1989 for his performance of Blues for John Coltrane. McBee continues to perform in concert and teaches jazz studies at the New England Conservatory.
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Larry Willis, Pianist
http://bedfordandbowery.com/wp-content/uploads/2014/09/SlugsHandbill3.jpgI played Slugs’ fairly often but don’t think I’ve ever played there with anybody other than Jackie McLean. One of the most vivid nights of my career was when I played there in a band that consisted of Clifford Jarvis playing drums, Paul Chambers playing bass, Jackie and Lee Morgan.
Back then, we played until four o’clock in the morning and the last set, Kenny Dorham came down and sat in. And he and Lee had a trumpet battle royale.
The piano was always in horrible shape, but a piano nonetheless. I remember playing a festival in Paris. I had to play after Dave Brubeck. And he came up to me and said, “You might want to take a napkin and wipe the keyboard off because there seems to be some dust or something on the surface and it was really irritating for me to play.”
And I looked at him and I said, “Dave, if dust is all I have to worry about, I’m way ahead of the game. You never had to play at Slugs’!”
It was also a place where other musicians would come to hang out. Back in the day, the clubs were open seven nights a week. And Monday night was always what they would call the “dark night.” They would have other bands come in and play on that Monday night. I remember going down there to hear people like Barry Harris. You would always see the jazz who’s who standing at the bar and hanging out.
It was kind of a fun place to play in a very rough neighborhood. I remember people would come outside, especially in the summer, and congregate in front of the club, getting fresh air.
Slugs’ was located on the first floor and there were apartments upstairs. Obviously the people who lived upstairs would be perturbed by all of this action going on downstairs. And every now and then somebody would drop a milk carton full of water on people’s heads.
And then you look up and they’re gone already and you don’t know where it came from. You just know it came down on your head.
Pianist Larry Willis, who cites alto saxophonist Jackie McLean as his mentor, has played a variety of styles including fusion and bebop. Beginning in 1972, Willis played keyboards with Blood, Sweat & Tears for seven years. Willis continues to perform in concert across the U.S. and internationally.
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Museum Showcases an Unseen Louis Armstrong Trove – NYTimes.com
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http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0 (http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0)
** Museum Showcases an Unseen Louis Armstrong Trove
————————————————————
Photo
Louis Armstrong with Jack Bradley in 1967.
Louis Armstrong with Jack Bradley in 1967.Credit Louis Armstrong House Museum, via Associated Press
The Louis Armstrong House Museum (http://louisarmstronghouse.org/) , housed in the brick building in Corona, Queens, where the great jazz trumpeter lived for the last 28 years of his life, has just opened an exhibition of Armstrong memorabilia from the expansive collection of Jack Bradley (http://www.libertyhall.com/stamp/bradley.html) , a sailor (and sometime jazz club owner and manager) who befriended Armstrong in 1959, and amassed what is said to be the world’s largest private collection of Armstrongiana. The museum acquired the collection in 2005, but only recently finished cataloging and preserving the materials, which it has never shown before. The exhibition runs through March 29.
Mr. Bradley, whom Armstrong (http://www.redhotjazz.com/louie.html) called “my white son,” collected everything he could find that had anything to do with the trumpeter, including letters, handwritten set lists, posters and even laundry receipts. A centerpiece of the exhibition is a Giardinelli trumpet mouthpiece, made to Armstrong’s specification. The museum has another 15 mouthpieces.
Photo
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.Credit Bebeto Matthews/Associated Press
“Jack was never obnoxious about his collecting,” Ricky Riccardi, the museum’s archivist, said in an interview. “And Louis appreciated that, so he had no problem giving him things like the mouthpiece when he was no longer using it.”
Mr. Bradley, who is now 80 and lives in Cape Cod, was also an avid photographer who took close to 8,000 pictures of Armstrong. One, in the museum’s show, captures Armstrong playing along with his 1954 recording of “Trees” two weeks before his death, on July 6, 1971. Another, taken backstage before a performance in 1968, is shot from behind, but shows Armstrong, reflected in a mirror, looking intently at his trumpet. And particularly striking is a photograph, taken at a party on May 26, 1970, in which Armstrong and Miles Davis are huddled together, smiling and chatting warmly.
“They were polar opposites in most ways,” Mr. Riccardi said, “but they respected each other. Louis loved Miles’s recordings, particularly the ones he made with Gil Evans. And although Miles, in his autobiography, was critical of Louis’ showmanship, he never said a bad word about his trumpet playing.”
Recordings feature prominently in the collection, naturally: Mr. Bradley had some 2,600 Armstrong discs. There is a framed 1924 recording of “One of These Days,” (https://www.youtube.com/watch?v=_DoCseED8xM) by the Fletcher Henderson Orchestra, in which Armstrong played at the time. The 78-r.p.m. disc, on the Regal label, is a rarity in its own right; the Armstrong autograph on Mr. Bradley’s copy makes it rarer still.
“When we acquired the collection, in 2005,” Mr. Riccardi said, “the agreement we had with Jack was that we would drive up to Cape Cod once a year, load a van with as much as we could fit, then give him a year to recuperate before we came back. That took us until 2010. But the first year we went, we took the recordings, and he thumbed through each one and told us stories about them.”
The collection, which has been appraised at $1 million, was acquired with a grant from the Louis Armstrong Educational Foundation. The museum got a bargain: it paid only $500,000 for the collection.
“But we also have all of Louis’ own things – his photos, his trumpets, his reel-to-reel tapes,” Mr. Riccardi said. “So while I’m sure Jack could have got more money elsewhere, I don’t think about that. Having his collection here at Louis’ house, together with Louis’ things, just seems right.”
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Museum Showcases an Unseen Louis Armstrong Trove – NYTimes.com
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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0 (http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0)
** Museum Showcases an Unseen Louis Armstrong Trove
————————————————————
Photo
Louis Armstrong with Jack Bradley in 1967.
Louis Armstrong with Jack Bradley in 1967.Credit Louis Armstrong House Museum, via Associated Press
The Louis Armstrong House Museum (http://louisarmstronghouse.org/) , housed in the brick building in Corona, Queens, where the great jazz trumpeter lived for the last 28 years of his life, has just opened an exhibition of Armstrong memorabilia from the expansive collection of Jack Bradley (http://www.libertyhall.com/stamp/bradley.html) , a sailor (and sometime jazz club owner and manager) who befriended Armstrong in 1959, and amassed what is said to be the world’s largest private collection of Armstrongiana. The museum acquired the collection in 2005, but only recently finished cataloging and preserving the materials, which it has never shown before. The exhibition runs through March 29.
Mr. Bradley, whom Armstrong (http://www.redhotjazz.com/louie.html) called “my white son,” collected everything he could find that had anything to do with the trumpeter, including letters, handwritten set lists, posters and even laundry receipts. A centerpiece of the exhibition is a Giardinelli trumpet mouthpiece, made to Armstrong’s specification. The museum has another 15 mouthpieces.
Photo
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.Credit Bebeto Matthews/Associated Press
“Jack was never obnoxious about his collecting,” Ricky Riccardi, the museum’s archivist, said in an interview. “And Louis appreciated that, so he had no problem giving him things like the mouthpiece when he was no longer using it.”
Mr. Bradley, who is now 80 and lives in Cape Cod, was also an avid photographer who took close to 8,000 pictures of Armstrong. One, in the museum’s show, captures Armstrong playing along with his 1954 recording of “Trees” two weeks before his death, on July 6, 1971. Another, taken backstage before a performance in 1968, is shot from behind, but shows Armstrong, reflected in a mirror, looking intently at his trumpet. And particularly striking is a photograph, taken at a party on May 26, 1970, in which Armstrong and Miles Davis are huddled together, smiling and chatting warmly.
“They were polar opposites in most ways,” Mr. Riccardi said, “but they respected each other. Louis loved Miles’s recordings, particularly the ones he made with Gil Evans. And although Miles, in his autobiography, was critical of Louis’ showmanship, he never said a bad word about his trumpet playing.”
Recordings feature prominently in the collection, naturally: Mr. Bradley had some 2,600 Armstrong discs. There is a framed 1924 recording of “One of These Days,” (https://www.youtube.com/watch?v=_DoCseED8xM) by the Fletcher Henderson Orchestra, in which Armstrong played at the time. The 78-r.p.m. disc, on the Regal label, is a rarity in its own right; the Armstrong autograph on Mr. Bradley’s copy makes it rarer still.
“When we acquired the collection, in 2005,” Mr. Riccardi said, “the agreement we had with Jack was that we would drive up to Cape Cod once a year, load a van with as much as we could fit, then give him a year to recuperate before we came back. That took us until 2010. But the first year we went, we took the recordings, and he thumbed through each one and told us stories about them.”
The collection, which has been appraised at $1 million, was acquired with a grant from the Louis Armstrong Educational Foundation. The museum got a bargain: it paid only $500,000 for the collection.
“But we also have all of Louis’ own things – his photos, his trumpets, his reel-to-reel tapes,” Mr. Riccardi said. “So while I’m sure Jack could have got more money elsewhere, I don’t think about that. Having his collection here at Louis’ house, together with Louis’ things, just seems right.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=737942ae0d) | 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=737942ae0d&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Museum Showcases an Unseen Louis Armstrong Trove – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0 (http://artsbeat.blogs.nytimes.com/2014/10/21/museum-showcases-an-unseen-louis-armstrong-trove/?_php=true&_type=blogs&emc=edit_tnt_20141021&nlid=16833052&tntemail0=y&_r=0)
** Museum Showcases an Unseen Louis Armstrong Trove
————————————————————
Photo
Louis Armstrong with Jack Bradley in 1967.
Louis Armstrong with Jack Bradley in 1967.Credit Louis Armstrong House Museum, via Associated Press
The Louis Armstrong House Museum (http://louisarmstronghouse.org/) , housed in the brick building in Corona, Queens, where the great jazz trumpeter lived for the last 28 years of his life, has just opened an exhibition of Armstrong memorabilia from the expansive collection of Jack Bradley (http://www.libertyhall.com/stamp/bradley.html) , a sailor (and sometime jazz club owner and manager) who befriended Armstrong in 1959, and amassed what is said to be the world’s largest private collection of Armstrongiana. The museum acquired the collection in 2005, but only recently finished cataloging and preserving the materials, which it has never shown before. The exhibition runs through March 29.
Mr. Bradley, whom Armstrong (http://www.redhotjazz.com/louie.html) called “my white son,” collected everything he could find that had anything to do with the trumpeter, including letters, handwritten set lists, posters and even laundry receipts. A centerpiece of the exhibition is a Giardinelli trumpet mouthpiece, made to Armstrong’s specification. The museum has another 15 mouthpieces.
Photo
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.
A photograph of Louis Armstrong, framed by a trumpet, part of the exhibition.Credit Bebeto Matthews/Associated Press
“Jack was never obnoxious about his collecting,” Ricky Riccardi, the museum’s archivist, said in an interview. “And Louis appreciated that, so he had no problem giving him things like the mouthpiece when he was no longer using it.”
Mr. Bradley, who is now 80 and lives in Cape Cod, was also an avid photographer who took close to 8,000 pictures of Armstrong. One, in the museum’s show, captures Armstrong playing along with his 1954 recording of “Trees” two weeks before his death, on July 6, 1971. Another, taken backstage before a performance in 1968, is shot from behind, but shows Armstrong, reflected in a mirror, looking intently at his trumpet. And particularly striking is a photograph, taken at a party on May 26, 1970, in which Armstrong and Miles Davis are huddled together, smiling and chatting warmly.
“They were polar opposites in most ways,” Mr. Riccardi said, “but they respected each other. Louis loved Miles’s recordings, particularly the ones he made with Gil Evans. And although Miles, in his autobiography, was critical of Louis’ showmanship, he never said a bad word about his trumpet playing.”
Recordings feature prominently in the collection, naturally: Mr. Bradley had some 2,600 Armstrong discs. There is a framed 1924 recording of “One of These Days,” (https://www.youtube.com/watch?v=_DoCseED8xM) by the Fletcher Henderson Orchestra, in which Armstrong played at the time. The 78-r.p.m. disc, on the Regal label, is a rarity in its own right; the Armstrong autograph on Mr. Bradley’s copy makes it rarer still.
“When we acquired the collection, in 2005,” Mr. Riccardi said, “the agreement we had with Jack was that we would drive up to Cape Cod once a year, load a van with as much as we could fit, then give him a year to recuperate before we came back. That took us until 2010. But the first year we went, we took the recordings, and he thumbed through each one and told us stories about them.”
The collection, which has been appraised at $1 million, was acquired with a grant from the Louis Armstrong Educational Foundation. The museum got a bargain: it paid only $500,000 for the collection.
“But we also have all of Louis’ own things – his photos, his trumpets, his reel-to-reel tapes,” Mr. Riccardi said. “So while I’m sure Jack could have got more money elsewhere, I don’t think about that. Having his collection here at Louis’ house, together with Louis’ things, just seems right.”
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Jazz radio legend Leigh Kamman dies at 92 | Star Tribune
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** Jazz radio legend Leigh Kamman dies at 92
————————————————————
On some of the weekend nights before he’d begin broadcasting “The Jazz Image,” Minnesota Public Radio broadcaster Leigh Kamman would pull out a worn-out box and hand his radio board operator an old reel-to-reel tape.
Sometimes it was when a jazz legend had died, and Kamman wanted to make part of the show a tribute to the artist. And almost always, Kamman would do more than just spin a few songs — he could play recordings of his own interviews with some of the biggest names in music. He’d talked to Charlie Parker, Billie Holiday and Stan Kenton. He had a tape of a lengthy interview with Duke Ellington, recorded as the two rode around in the back of Ellington’s limousine.
Kamman, who died Friday in Edina (http://www.startribune.com/topics/places/edina.html) at age 92, never made music of his own. But in a six-decade career that began with a teenage Kamman snagging an interview with Ellington in St. Paul and ended with a 34-year run on MPR, the broadcaster became a jazz icon in his own right.
“For not being a musician I think that Leigh was probably the most respected and the most revered of anybody in the jazz field, not just here but around the world,” said Kenny Horst, who owned the Artists’ Quarter in St. Paul, a jazz hot spot. “Everybody knew who he was.”
Kamman got his first radio hosting gig while he was still in high school, a late-night jazz show he called “Studio Party Wham.” That work led to a job in Duluth, and later, an assignment after he joined the Army during World War II: hosting jazz programs on Armed Forces Radio.
In the 1950s, Kamman left Minnesota for New York. He married a singer, Patty McGovern, had two daughters and continued to snag interviews with jazz greats. One of his daughters, Katherine Vye, said her father counted many performers among his friends.
“He had a very calming demeanor, a lovely voice and a tremendous ability to reach out to the people,” she said.
After he returned to the Twin Cities in the mid-1950s, Kamman worked for several stations before launching “The Jazz Image” on MPR in 1973. On that program, broadcast in the overnight hours on weekends, Kamman wouldn’t just play songs and interviews. He’d always work hard to set the scene, letting listeners imagine themselves in a far different place.
“The technique,” he told a Star Tribune reporter in 2002, “is to take people on a journey, to use imagery and pace with the music to suggest a time and place so they can picture it, or remember it.”
Steve Tibbetts, a St. Paul musician who worked as Kamman’s board operator in the early years of the show, said he’s not sure exactly how Kamman managed to get so many interested in the music he loved. But he said the impact of Kamman’s work was clear.
“I honestly never was the biggest jazz fan in the world, but after two or three years of that, at some moments at 3:30 in the morning, I’d think: this is the only music,’ ” he said.
Kamman’s family is planning a private memorial service, with a larger celebration for the jazz community to be held at a later date.
Erin Golden • 612-673-4790
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Jazz radio legend Leigh Kamman dies at 92 | Star Tribune
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http://www.startribune.com/entertainment/music/279674512.html
** Jazz radio legend Leigh Kamman dies at 92
————————————————————
On some of the weekend nights before he’d begin broadcasting “The Jazz Image,” Minnesota Public Radio broadcaster Leigh Kamman would pull out a worn-out box and hand his radio board operator an old reel-to-reel tape.
Sometimes it was when a jazz legend had died, and Kamman wanted to make part of the show a tribute to the artist. And almost always, Kamman would do more than just spin a few songs — he could play recordings of his own interviews with some of the biggest names in music. He’d talked to Charlie Parker, Billie Holiday and Stan Kenton. He had a tape of a lengthy interview with Duke Ellington, recorded as the two rode around in the back of Ellington’s limousine.
Kamman, who died Friday in Edina (http://www.startribune.com/topics/places/edina.html) at age 92, never made music of his own. But in a six-decade career that began with a teenage Kamman snagging an interview with Ellington in St. Paul and ended with a 34-year run on MPR, the broadcaster became a jazz icon in his own right.
“For not being a musician I think that Leigh was probably the most respected and the most revered of anybody in the jazz field, not just here but around the world,” said Kenny Horst, who owned the Artists’ Quarter in St. Paul, a jazz hot spot. “Everybody knew who he was.”
Kamman got his first radio hosting gig while he was still in high school, a late-night jazz show he called “Studio Party Wham.” That work led to a job in Duluth, and later, an assignment after he joined the Army during World War II: hosting jazz programs on Armed Forces Radio.
In the 1950s, Kamman left Minnesota for New York. He married a singer, Patty McGovern, had two daughters and continued to snag interviews with jazz greats. One of his daughters, Katherine Vye, said her father counted many performers among his friends.
“He had a very calming demeanor, a lovely voice and a tremendous ability to reach out to the people,” she said.
After he returned to the Twin Cities in the mid-1950s, Kamman worked for several stations before launching “The Jazz Image” on MPR in 1973. On that program, broadcast in the overnight hours on weekends, Kamman wouldn’t just play songs and interviews. He’d always work hard to set the scene, letting listeners imagine themselves in a far different place.
“The technique,” he told a Star Tribune reporter in 2002, “is to take people on a journey, to use imagery and pace with the music to suggest a time and place so they can picture it, or remember it.”
Steve Tibbetts, a St. Paul musician who worked as Kamman’s board operator in the early years of the show, said he’s not sure exactly how Kamman managed to get so many interested in the music he loved. But he said the impact of Kamman’s work was clear.
“I honestly never was the biggest jazz fan in the world, but after two or three years of that, at some moments at 3:30 in the morning, I’d think: this is the only music,’ ” he said.
Kamman’s family is planning a private memorial service, with a larger celebration for the jazz community to be held at a later date.
Erin Golden • 612-673-4790
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Jazz radio legend Leigh Kamman dies at 92 | Star Tribune
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** Jazz radio legend Leigh Kamman dies at 92
————————————————————
On some of the weekend nights before he’d begin broadcasting “The Jazz Image,” Minnesota Public Radio broadcaster Leigh Kamman would pull out a worn-out box and hand his radio board operator an old reel-to-reel tape.
Sometimes it was when a jazz legend had died, and Kamman wanted to make part of the show a tribute to the artist. And almost always, Kamman would do more than just spin a few songs — he could play recordings of his own interviews with some of the biggest names in music. He’d talked to Charlie Parker, Billie Holiday and Stan Kenton. He had a tape of a lengthy interview with Duke Ellington, recorded as the two rode around in the back of Ellington’s limousine.
Kamman, who died Friday in Edina (http://www.startribune.com/topics/places/edina.html) at age 92, never made music of his own. But in a six-decade career that began with a teenage Kamman snagging an interview with Ellington in St. Paul and ended with a 34-year run on MPR, the broadcaster became a jazz icon in his own right.
“For not being a musician I think that Leigh was probably the most respected and the most revered of anybody in the jazz field, not just here but around the world,” said Kenny Horst, who owned the Artists’ Quarter in St. Paul, a jazz hot spot. “Everybody knew who he was.”
Kamman got his first radio hosting gig while he was still in high school, a late-night jazz show he called “Studio Party Wham.” That work led to a job in Duluth, and later, an assignment after he joined the Army during World War II: hosting jazz programs on Armed Forces Radio.
In the 1950s, Kamman left Minnesota for New York. He married a singer, Patty McGovern, had two daughters and continued to snag interviews with jazz greats. One of his daughters, Katherine Vye, said her father counted many performers among his friends.
“He had a very calming demeanor, a lovely voice and a tremendous ability to reach out to the people,” she said.
After he returned to the Twin Cities in the mid-1950s, Kamman worked for several stations before launching “The Jazz Image” on MPR in 1973. On that program, broadcast in the overnight hours on weekends, Kamman wouldn’t just play songs and interviews. He’d always work hard to set the scene, letting listeners imagine themselves in a far different place.
“The technique,” he told a Star Tribune reporter in 2002, “is to take people on a journey, to use imagery and pace with the music to suggest a time and place so they can picture it, or remember it.”
Steve Tibbetts, a St. Paul musician who worked as Kamman’s board operator in the early years of the show, said he’s not sure exactly how Kamman managed to get so many interested in the music he loved. But he said the impact of Kamman’s work was clear.
“I honestly never was the biggest jazz fan in the world, but after two or three years of that, at some moments at 3:30 in the morning, I’d think: this is the only music,’ ” he said.
Kamman’s family is planning a private memorial service, with a larger celebration for the jazz community to be held at a later date.
Erin Golden • 612-673-4790
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=88d0f1ac25) | 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=88d0f1ac25&e=[UNIQID])
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Walter Davis, Art Taylor, Doug Watkins, Zoot Sims 1958 – YouTube
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Doug Ramsey on Jazz and other matters…
** Weekend Extra: Zoot Sims & Friends in Cannes (http://www.artsjournal.com/rifftides/2014/10/weekend-extra-zoot-sims-friends-in-cannes.html)
————————————————————
https://www.youtube.com/watch?v=pF3t14zwthU
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Walter Davis, Art Taylor, Doug Watkins, Zoot Sims 1958 – YouTube
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** Weekend Extra: Zoot Sims & Friends in Cannes (http://www.artsjournal.com/rifftides/2014/10/weekend-extra-zoot-sims-friends-in-cannes.html)
————————————————————
https://www.youtube.com/watch?v=pF3t14zwthU
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https://www.youtube.com/watch?v=pF3t14zwthU
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Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72 – NYTimes.com
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http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0 (http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0)
** Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72
————————————————————
Photo
Tim Hauser CreditGeorgios Kefalas/Keystone, via Associated Press
Tim Hauser, a singer and showman who founded the Manhattan Transfer, a Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning vocal group that brought four-part harmonies to several decades’ worth of American popular songs, died on Thursday in Sayre, Pa. He was 72.
The cause was cardiac arrest, said his sister, Fayette. She said he had been taken to a hospital in Elmira, N.Y., with pneumonia shortly after arriving in nearby Corning for a scheduled performance and was later moved to a hospital in Sayre, where he died.
Begun in 1972 when Mr. Hauser was making ends meet as a New York City cabdriver, the Manhattan Transfer (http://manhattantransfer.net/) became known for its jazzy treatment of a wide spectrum of musical styles, from gospel and swing to doo-wop, pop and rhythm and blues; for stylish and sophisticated arrangements; and for a razzle-dazzle stage presence featuring slick costuming and arch choreography.
The group’s wide repertoire embraced different eras. It included Louis Armstrong numbers from the first half of the 20th century; “Tuxedo Junction,” which had been a hit for Glenn Miller in 1940; “Route 66,” (https://www.youtube.com/watch?v=XZnJNUM8GHA) Bobby Troup’s 1946 paean to the great American highway, which had been covered by Nat King Cole, Chuck Berry and others; the gospel tune “Operator,” recorded by the Friendly Brothers in 1959; the Rascals’ 1967 pop hit “Groovin’ ”; and soul songs like “The Boy From New York City,” a remake of a 1965 hit by the Ad Libs that was the group’s only Top 10 single.
Before Mr. Hauser’s death, the Manhattan Transfer had the same four members — the others were Janis Siegel, Alan Paul and Cheryl Bentyne — since the late ’70s, when Ms. Bentyne replaced Laurel Massé, who had been Mr. Hauser’s first recruit for his new vocal group but who had been injured in a car accident. By then the Manhattan Transfer had earned a substantial following, touring extensively, recording for Atlantic Records and headlining a summer variety series on CBS in 1975.
Still, the years between 1979 and the early 1990s were the group’s heyday. During that time they recorded their best-known albums — among them “Extensions, (http://manhattantransfer.net/discography/extensions/) ” which included a vocal version of the Weather Report song “Birdland,” which became one of their signatures; “Vocalese,” (http://manhattantransfer.net/discography/vocalese/) a collection of songs with lyrics (written by Jon Hendricks of Lambert, Hendricks & Ross) set to previously recorded jazz instrumentals; and the samba-tinged “Brasil” — and won multiple Grammys in both jazz and pop categories.
In addition to providing a smooth tenor and crisp diction to the group’s renditions, Mr. Hauser was in charge of its public image, of which he was very conscious. Always flashily dressed onstage — sometimes with casual extravagance, now and then in formal wear — the Manhattan Transfer employed a showbizzy dance steps in live performances, a Hollywood or even Las Vegas touch that appealed to many fans but that critics sometimes found irritating.
“On the one hand,” the New York Times critic Robert Palmer wrote in 1980, the four vocalists “are genuine aficionados of pop music’s many vocal-group idioms.” But, he added, “they’ve built their following with the help of a liberal amount of flash and often their jive talk, costume changes and showy stagings have tended to overwhelm the more musicianly qualities in their work.”
Continue reading the main story
Timothy DuPron Hauser was born in Troy, N.Y., on Dec. 12, 1941, and grew up mostly on the Jersey Shore, in Ocean Township and Asbury Park. His father, F. Jackson Hauser, was an insurance adjuster; his mother, the former Theresa Butters, was a school secretary who later opened her own travel agency. She died earlier this year.
Mr. Hauser went to high school in Belmar, N.J., and studied economics at Villanova University. He was interested in vocal pop music from an early age and sang in his high school glee club.
In 1956, he met the members of the doo-wop group Frankie Lymon and the Teenagers.
“I heard them warm up a cappella in the dressing room before a concert, and that did it for me,” Mr. Hauser recalled in a 2012 interview for the Archive of Music Preservation. “I would say karmically, that was God hitting me with that lightning bolt, going, ‘Here it is, kid; if you miss it, it ain’t my fault.’ ”
When he was still in his teens, Mr. Hauser and a friend started a singing group called the Criterions, recording several songs and appearing on the same bill with groups including Dion and the Belmonts. He later sang in a folk trio, the Troubadours Three.
After graduating from Villanova in 1963 and serving in the Air National Guard, he worked for a time in advertising and in the marketing department of Nabisco. In 1969 he started a singing group, a quintet with a country and rhythm-and-blues bent that he called the Manhattan Transfer. (The name comes from the title of a 1925 novel by John Dos Passos.)
They recorded one album, “Jukin’,” for Capitol Records before disbanding. In 1972, Mr. Hauser was driving a cab to pay the bills when he picked up Ms. Massé, then a waitress and aspiring singer, as a fare, and the second iteration of the Manhattan Transfer began to gestate. Several weeks later, another fare brought him to a party, where he met Ms. Siegel. Mr. Paul, who was performing in the original Broadway production of “Grease,” was a friend of Ms. Massé’s boyfriend.
Mr. Hauser, who lived in the Los Angeles area, recorded a solo album, “Love Stories,” that was released in 2007. He also appeared as an actor in the 1991 film “The Marrying Man,” whose soundtrack he helped produce.
His first two marriages ended in divorce. In addition to his sister, he is survived by his wife, Barb Sennet Hauser; a son, Basie; and a daughter, Lily.
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Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72 – NYTimes.com
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http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0 (http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0)
** Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72
————————————————————
Photo
Tim Hauser CreditGeorgios Kefalas/Keystone, via Associated Press
Tim Hauser, a singer and showman who founded the Manhattan Transfer, a Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning vocal group that brought four-part harmonies to several decades’ worth of American popular songs, died on Thursday in Sayre, Pa. He was 72.
The cause was cardiac arrest, said his sister, Fayette. She said he had been taken to a hospital in Elmira, N.Y., with pneumonia shortly after arriving in nearby Corning for a scheduled performance and was later moved to a hospital in Sayre, where he died.
Begun in 1972 when Mr. Hauser was making ends meet as a New York City cabdriver, the Manhattan Transfer (http://manhattantransfer.net/) became known for its jazzy treatment of a wide spectrum of musical styles, from gospel and swing to doo-wop, pop and rhythm and blues; for stylish and sophisticated arrangements; and for a razzle-dazzle stage presence featuring slick costuming and arch choreography.
The group’s wide repertoire embraced different eras. It included Louis Armstrong numbers from the first half of the 20th century; “Tuxedo Junction,” which had been a hit for Glenn Miller in 1940; “Route 66,” (https://www.youtube.com/watch?v=XZnJNUM8GHA) Bobby Troup’s 1946 paean to the great American highway, which had been covered by Nat King Cole, Chuck Berry and others; the gospel tune “Operator,” recorded by the Friendly Brothers in 1959; the Rascals’ 1967 pop hit “Groovin’ ”; and soul songs like “The Boy From New York City,” a remake of a 1965 hit by the Ad Libs that was the group’s only Top 10 single.
Before Mr. Hauser’s death, the Manhattan Transfer had the same four members — the others were Janis Siegel, Alan Paul and Cheryl Bentyne — since the late ’70s, when Ms. Bentyne replaced Laurel Massé, who had been Mr. Hauser’s first recruit for his new vocal group but who had been injured in a car accident. By then the Manhattan Transfer had earned a substantial following, touring extensively, recording for Atlantic Records and headlining a summer variety series on CBS in 1975.
Still, the years between 1979 and the early 1990s were the group’s heyday. During that time they recorded their best-known albums — among them “Extensions, (http://manhattantransfer.net/discography/extensions/) ” which included a vocal version of the Weather Report song “Birdland,” which became one of their signatures; “Vocalese,” (http://manhattantransfer.net/discography/vocalese/) a collection of songs with lyrics (written by Jon Hendricks of Lambert, Hendricks & Ross) set to previously recorded jazz instrumentals; and the samba-tinged “Brasil” — and won multiple Grammys in both jazz and pop categories.
In addition to providing a smooth tenor and crisp diction to the group’s renditions, Mr. Hauser was in charge of its public image, of which he was very conscious. Always flashily dressed onstage — sometimes with casual extravagance, now and then in formal wear — the Manhattan Transfer employed a showbizzy dance steps in live performances, a Hollywood or even Las Vegas touch that appealed to many fans but that critics sometimes found irritating.
“On the one hand,” the New York Times critic Robert Palmer wrote in 1980, the four vocalists “are genuine aficionados of pop music’s many vocal-group idioms.” But, he added, “they’ve built their following with the help of a liberal amount of flash and often their jive talk, costume changes and showy stagings have tended to overwhelm the more musicianly qualities in their work.”
Continue reading the main story
Timothy DuPron Hauser was born in Troy, N.Y., on Dec. 12, 1941, and grew up mostly on the Jersey Shore, in Ocean Township and Asbury Park. His father, F. Jackson Hauser, was an insurance adjuster; his mother, the former Theresa Butters, was a school secretary who later opened her own travel agency. She died earlier this year.
Mr. Hauser went to high school in Belmar, N.J., and studied economics at Villanova University. He was interested in vocal pop music from an early age and sang in his high school glee club.
In 1956, he met the members of the doo-wop group Frankie Lymon and the Teenagers.
“I heard them warm up a cappella in the dressing room before a concert, and that did it for me,” Mr. Hauser recalled in a 2012 interview for the Archive of Music Preservation. “I would say karmically, that was God hitting me with that lightning bolt, going, ‘Here it is, kid; if you miss it, it ain’t my fault.’ ”
When he was still in his teens, Mr. Hauser and a friend started a singing group called the Criterions, recording several songs and appearing on the same bill with groups including Dion and the Belmonts. He later sang in a folk trio, the Troubadours Three.
After graduating from Villanova in 1963 and serving in the Air National Guard, he worked for a time in advertising and in the marketing department of Nabisco. In 1969 he started a singing group, a quintet with a country and rhythm-and-blues bent that he called the Manhattan Transfer. (The name comes from the title of a 1925 novel by John Dos Passos.)
They recorded one album, “Jukin’,” for Capitol Records before disbanding. In 1972, Mr. Hauser was driving a cab to pay the bills when he picked up Ms. Massé, then a waitress and aspiring singer, as a fare, and the second iteration of the Manhattan Transfer began to gestate. Several weeks later, another fare brought him to a party, where he met Ms. Siegel. Mr. Paul, who was performing in the original Broadway production of “Grease,” was a friend of Ms. Massé’s boyfriend.
Mr. Hauser, who lived in the Los Angeles area, recorded a solo album, “Love Stories,” that was released in 2007. He also appeared as an actor in the 1991 film “The Marrying Man,” whose soundtrack he helped produce.
His first two marriages ended in divorce. In addition to his sister, he is survived by his wife, Barb Sennet Hauser; a son, Basie; and a daughter, Lily.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f8e7931698) | 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=f8e7931698&e=[UNIQID])
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Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72 – NYTimes.com
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http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0 (http://www.nytimes.com/2014/10/19/arts/music/tim-hauser-the-founder-of-the-manhattan-transfer-dies-at-72.html?emc=eta1&_r=0)
** Tim Hauser, the Founder of the Manhattan Transfer, Dies at 72
————————————————————
Photo
Tim Hauser CreditGeorgios Kefalas/Keystone, via Associated Press
Tim Hauser, a singer and showman who founded the Manhattan Transfer, a Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning vocal group that brought four-part harmonies to several decades’ worth of American popular songs, died on Thursday in Sayre, Pa. He was 72.
The cause was cardiac arrest, said his sister, Fayette. She said he had been taken to a hospital in Elmira, N.Y., with pneumonia shortly after arriving in nearby Corning for a scheduled performance and was later moved to a hospital in Sayre, where he died.
Begun in 1972 when Mr. Hauser was making ends meet as a New York City cabdriver, the Manhattan Transfer (http://manhattantransfer.net/) became known for its jazzy treatment of a wide spectrum of musical styles, from gospel and swing to doo-wop, pop and rhythm and blues; for stylish and sophisticated arrangements; and for a razzle-dazzle stage presence featuring slick costuming and arch choreography.
The group’s wide repertoire embraced different eras. It included Louis Armstrong numbers from the first half of the 20th century; “Tuxedo Junction,” which had been a hit for Glenn Miller in 1940; “Route 66,” (https://www.youtube.com/watch?v=XZnJNUM8GHA) Bobby Troup’s 1946 paean to the great American highway, which had been covered by Nat King Cole, Chuck Berry and others; the gospel tune “Operator,” recorded by the Friendly Brothers in 1959; the Rascals’ 1967 pop hit “Groovin’ ”; and soul songs like “The Boy From New York City,” a remake of a 1965 hit by the Ad Libs that was the group’s only Top 10 single.
Before Mr. Hauser’s death, the Manhattan Transfer had the same four members — the others were Janis Siegel, Alan Paul and Cheryl Bentyne — since the late ’70s, when Ms. Bentyne replaced Laurel Massé, who had been Mr. Hauser’s first recruit for his new vocal group but who had been injured in a car accident. By then the Manhattan Transfer had earned a substantial following, touring extensively, recording for Atlantic Records and headlining a summer variety series on CBS in 1975.
Still, the years between 1979 and the early 1990s were the group’s heyday. During that time they recorded their best-known albums — among them “Extensions, (http://manhattantransfer.net/discography/extensions/) ” which included a vocal version of the Weather Report song “Birdland,” which became one of their signatures; “Vocalese,” (http://manhattantransfer.net/discography/vocalese/) a collection of songs with lyrics (written by Jon Hendricks of Lambert, Hendricks & Ross) set to previously recorded jazz instrumentals; and the samba-tinged “Brasil” — and won multiple Grammys in both jazz and pop categories.
In addition to providing a smooth tenor and crisp diction to the group’s renditions, Mr. Hauser was in charge of its public image, of which he was very conscious. Always flashily dressed onstage — sometimes with casual extravagance, now and then in formal wear — the Manhattan Transfer employed a showbizzy dance steps in live performances, a Hollywood or even Las Vegas touch that appealed to many fans but that critics sometimes found irritating.
“On the one hand,” the New York Times critic Robert Palmer wrote in 1980, the four vocalists “are genuine aficionados of pop music’s many vocal-group idioms.” But, he added, “they’ve built their following with the help of a liberal amount of flash and often their jive talk, costume changes and showy stagings have tended to overwhelm the more musicianly qualities in their work.”
Continue reading the main story
Timothy DuPron Hauser was born in Troy, N.Y., on Dec. 12, 1941, and grew up mostly on the Jersey Shore, in Ocean Township and Asbury Park. His father, F. Jackson Hauser, was an insurance adjuster; his mother, the former Theresa Butters, was a school secretary who later opened her own travel agency. She died earlier this year.
Mr. Hauser went to high school in Belmar, N.J., and studied economics at Villanova University. He was interested in vocal pop music from an early age and sang in his high school glee club.
In 1956, he met the members of the doo-wop group Frankie Lymon and the Teenagers.
“I heard them warm up a cappella in the dressing room before a concert, and that did it for me,” Mr. Hauser recalled in a 2012 interview for the Archive of Music Preservation. “I would say karmically, that was God hitting me with that lightning bolt, going, ‘Here it is, kid; if you miss it, it ain’t my fault.’ ”
When he was still in his teens, Mr. Hauser and a friend started a singing group called the Criterions, recording several songs and appearing on the same bill with groups including Dion and the Belmonts. He later sang in a folk trio, the Troubadours Three.
After graduating from Villanova in 1963 and serving in the Air National Guard, he worked for a time in advertising and in the marketing department of Nabisco. In 1969 he started a singing group, a quintet with a country and rhythm-and-blues bent that he called the Manhattan Transfer. (The name comes from the title of a 1925 novel by John Dos Passos.)
They recorded one album, “Jukin’,” for Capitol Records before disbanding. In 1972, Mr. Hauser was driving a cab to pay the bills when he picked up Ms. Massé, then a waitress and aspiring singer, as a fare, and the second iteration of the Manhattan Transfer began to gestate. Several weeks later, another fare brought him to a party, where he met Ms. Siegel. Mr. Paul, who was performing in the original Broadway production of “Grease,” was a friend of Ms. Massé’s boyfriend.
Mr. Hauser, who lived in the Los Angeles area, recorded a solo album, “Love Stories,” that was released in 2007. He also appeared as an actor in the 1991 film “The Marrying Man,” whose soundtrack he helped produce.
His first two marriages ended in divorce. In addition to his sister, he is survived by his wife, Barb Sennet Hauser; a son, Basie; and a daughter, Lily.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f8e7931698) | 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=f8e7931698&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
Jazz Articles: Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72 – By Jeff Tamarkin — Jazz Articles
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http://jazztimes.com/articles/143902-tim-hauser-co-founder-of-the-manhattan-transfer-dead-at-72
** Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72
————————————————————
Tim Hauser, who co-founded the vocal quartet the Manhattan Transfer in 1969 and was its sole remaining original member, died Oct. 16. Details regarding the cause and place of death are not yet available, but Hauser’s passing was confirmed by the other members of the Manhattan Transfer—Alan Paul, Janis Siegel and Cheryl Bentyne—on the group’s Facebook page. That lineup had been undisturbed since 1978 when Bentyne replaced Laurel Massé, injured in a car accident. (Bentyne has been sidelined on occasion during the past few years as she’s undergone treatments for Hodgkin’s lymphoma.)
Tim_hauser_span3
Tim Hauser of Manhattan Transfer
Schooled in classic jazz vocal harmony, swing and vocalese—they were often compared to Lambert, Hendricks and Ross in their early years—the group, named after a 1925 novel by John Dos Passos, was also immersed in ’50s doo-wop, bebop, pop, Latin and world music and other genres. The original lineup—Hauser, Erin Dickins, Marty Nelson, Gene Pistilli and Pat Rosali—released its debut album, Jukin’, on Capitol Records in 1971. That lineup, which leaned as much toward the rocking good-time jug band music of the Lovin’ Spoonful as to jazz, disbanded the following year and Hauser grouped with Massé, Paul and Siegel.
That lineup signed with Atlantic Records and released the self-titled Manhattan Transfer album in 1975. Reaching back to 1940s swing but also to the girl group sound of the ’60s and to New Orleans R&B, the album included guest contributions from saxophonists David Sanborn and Zoot Sims, trumpeters Randy Brecker and Jon Faddis and other jazz luminaries of the day.
The group continued to record for Atlantic until the late 1980s, and although none of their albums rose higher than number 22 on the Billboard album chart (1981’s Mecca for Moderns), they did enjoy one Top 10 single in their cover of the Ad-Libs’ “Boy From New York City,” from the same album. That year the group won Grammys in both the jazz and pop music categories. They won a Grammy in the Best Jazz Vocal Performance, Duo or Group category the following year for their remake of the classic “Route 66.” Ultimately the Manhattan Transfer took home 10 Grammy awards in all.
The Manhattan Transfer was also a consistently popular concert draw and found a foothold on entertainment television.
After leaving Atlantic, the group signed with Columbia Records in 1991 and, in 2003, with Telarc. In 2009 they released The Chick Corea Songbook, a tribute to the keyboardist, on the Four Quarters label. The Manhattan Transfer was inducted into the Vocal Group Hall of Fame in 1998 and was named best vocal group in the JazzTimes readers poll on several occasions.
Born in Troy, N.Y., Dec. 12, 1941, Hauser grew up in towns on the New Jersey shore, and began his singing career in Asbury Park at age 15 with a doo-wop group called the Criterions that once performed for the legendary disc jockey Alan Freed. In college Hauser sang with other vocal outfits, including one folk aggregation that included future hitmaker Jim Croce. Hauser served in the Air Force beginning in 1964 and took jobs in advertising upon his discharge, before starting the Manhattan Transfer in 1969.
Hauser released one solo album, Love Stories, in 2007.
Hauser underwent spinal surgery in 2013 and was absent from the group’s performances for some time.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f830d8c51e) | 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=f830d8c51e&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Jazz Articles: Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72 – By Jeff Tamarkin — Jazz Articles
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://jazztimes.com/articles/143902-tim-hauser-co-founder-of-the-manhattan-transfer-dead-at-72
** Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72
————————————————————
Tim Hauser, who co-founded the vocal quartet the Manhattan Transfer in 1969 and was its sole remaining original member, died Oct. 16. Details regarding the cause and place of death are not yet available, but Hauser’s passing was confirmed by the other members of the Manhattan Transfer—Alan Paul, Janis Siegel and Cheryl Bentyne—on the group’s Facebook page. That lineup had been undisturbed since 1978 when Bentyne replaced Laurel Massé, injured in a car accident. (Bentyne has been sidelined on occasion during the past few years as she’s undergone treatments for Hodgkin’s lymphoma.)
Tim_hauser_span3
Tim Hauser of Manhattan Transfer
Schooled in classic jazz vocal harmony, swing and vocalese—they were often compared to Lambert, Hendricks and Ross in their early years—the group, named after a 1925 novel by John Dos Passos, was also immersed in ’50s doo-wop, bebop, pop, Latin and world music and other genres. The original lineup—Hauser, Erin Dickins, Marty Nelson, Gene Pistilli and Pat Rosali—released its debut album, Jukin’, on Capitol Records in 1971. That lineup, which leaned as much toward the rocking good-time jug band music of the Lovin’ Spoonful as to jazz, disbanded the following year and Hauser grouped with Massé, Paul and Siegel.
That lineup signed with Atlantic Records and released the self-titled Manhattan Transfer album in 1975. Reaching back to 1940s swing but also to the girl group sound of the ’60s and to New Orleans R&B, the album included guest contributions from saxophonists David Sanborn and Zoot Sims, trumpeters Randy Brecker and Jon Faddis and other jazz luminaries of the day.
The group continued to record for Atlantic until the late 1980s, and although none of their albums rose higher than number 22 on the Billboard album chart (1981’s Mecca for Moderns), they did enjoy one Top 10 single in their cover of the Ad-Libs’ “Boy From New York City,” from the same album. That year the group won Grammys in both the jazz and pop music categories. They won a Grammy in the Best Jazz Vocal Performance, Duo or Group category the following year for their remake of the classic “Route 66.” Ultimately the Manhattan Transfer took home 10 Grammy awards in all.
The Manhattan Transfer was also a consistently popular concert draw and found a foothold on entertainment television.
After leaving Atlantic, the group signed with Columbia Records in 1991 and, in 2003, with Telarc. In 2009 they released The Chick Corea Songbook, a tribute to the keyboardist, on the Four Quarters label. The Manhattan Transfer was inducted into the Vocal Group Hall of Fame in 1998 and was named best vocal group in the JazzTimes readers poll on several occasions.
Born in Troy, N.Y., Dec. 12, 1941, Hauser grew up in towns on the New Jersey shore, and began his singing career in Asbury Park at age 15 with a doo-wop group called the Criterions that once performed for the legendary disc jockey Alan Freed. In college Hauser sang with other vocal outfits, including one folk aggregation that included future hitmaker Jim Croce. Hauser served in the Air Force beginning in 1964 and took jobs in advertising upon his discharge, before starting the Manhattan Transfer in 1969.
Hauser released one solo album, Love Stories, in 2007.
Hauser underwent spinal surgery in 2013 and was absent from the group’s performances for some time.
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Copyright (C) 2014 All rights reserved.
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Jazz Articles: Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72 – By Jeff Tamarkin — Jazz Articles
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http://jazztimes.com/articles/143902-tim-hauser-co-founder-of-the-manhattan-transfer-dead-at-72
** Tim Hauser, Co-Founder of the Manhattan Transfer, Dead at 72
————————————————————
Tim Hauser, who co-founded the vocal quartet the Manhattan Transfer in 1969 and was its sole remaining original member, died Oct. 16. Details regarding the cause and place of death are not yet available, but Hauser’s passing was confirmed by the other members of the Manhattan Transfer—Alan Paul, Janis Siegel and Cheryl Bentyne—on the group’s Facebook page. That lineup had been undisturbed since 1978 when Bentyne replaced Laurel Massé, injured in a car accident. (Bentyne has been sidelined on occasion during the past few years as she’s undergone treatments for Hodgkin’s lymphoma.)
Tim_hauser_span3
Tim Hauser of Manhattan Transfer
Schooled in classic jazz vocal harmony, swing and vocalese—they were often compared to Lambert, Hendricks and Ross in their early years—the group, named after a 1925 novel by John Dos Passos, was also immersed in ’50s doo-wop, bebop, pop, Latin and world music and other genres. The original lineup—Hauser, Erin Dickins, Marty Nelson, Gene Pistilli and Pat Rosali—released its debut album, Jukin’, on Capitol Records in 1971. That lineup, which leaned as much toward the rocking good-time jug band music of the Lovin’ Spoonful as to jazz, disbanded the following year and Hauser grouped with Massé, Paul and Siegel.
That lineup signed with Atlantic Records and released the self-titled Manhattan Transfer album in 1975. Reaching back to 1940s swing but also to the girl group sound of the ’60s and to New Orleans R&B, the album included guest contributions from saxophonists David Sanborn and Zoot Sims, trumpeters Randy Brecker and Jon Faddis and other jazz luminaries of the day.
The group continued to record for Atlantic until the late 1980s, and although none of their albums rose higher than number 22 on the Billboard album chart (1981’s Mecca for Moderns), they did enjoy one Top 10 single in their cover of the Ad-Libs’ “Boy From New York City,” from the same album. That year the group won Grammys in both the jazz and pop music categories. They won a Grammy in the Best Jazz Vocal Performance, Duo or Group category the following year for their remake of the classic “Route 66.” Ultimately the Manhattan Transfer took home 10 Grammy awards in all.
The Manhattan Transfer was also a consistently popular concert draw and found a foothold on entertainment television.
After leaving Atlantic, the group signed with Columbia Records in 1991 and, in 2003, with Telarc. In 2009 they released The Chick Corea Songbook, a tribute to the keyboardist, on the Four Quarters label. The Manhattan Transfer was inducted into the Vocal Group Hall of Fame in 1998 and was named best vocal group in the JazzTimes readers poll on several occasions.
Born in Troy, N.Y., Dec. 12, 1941, Hauser grew up in towns on the New Jersey shore, and began his singing career in Asbury Park at age 15 with a doo-wop group called the Criterions that once performed for the legendary disc jockey Alan Freed. In college Hauser sang with other vocal outfits, including one folk aggregation that included future hitmaker Jim Croce. Hauser served in the Air Force beginning in 1964 and took jobs in advertising upon his discharge, before starting the Manhattan Transfer in 1969.
Hauser released one solo album, Love Stories, in 2007.
Hauser underwent spinal surgery in 2013 and was absent from the group’s performances for some time.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f830d8c51e) | 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=f830d8c51e&e=[UNIQID])
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Lester Young & Coleman Hawkins 1958 – YouTube
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Charlie Shavers, trumpet JC Higginbotham, trombone Coleman Hawkins, Lester Young, tenor sax Pee Wee Russell, clarinet Harry Sheppard, vibraphone Willie “The Lion” Smith, piano Dickie Thompson, guitar Vinnie Burke, acoustic double bass Sonny Greer, drums
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Lester Young & Coleman Hawkins 1958 – YouTube
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Charlie Shavers, trumpet JC Higginbotham, trombone Coleman Hawkins, Lester Young, tenor sax Pee Wee Russell, clarinet Harry Sheppard, vibraphone Willie “The Lion” Smith, piano Dickie Thompson, guitar Vinnie Burke, acoustic double bass Sonny Greer, drums
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Lester Young & Coleman Hawkins 1958 – YouTube
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Charlie Shavers, trumpet JC Higginbotham, trombone Coleman Hawkins, Lester Young, tenor sax Pee Wee Russell, clarinet Harry Sheppard, vibraphone Willie “The Lion” Smith, piano Dickie Thompson, guitar Vinnie Burke, acoustic double bass Sonny Greer, drums
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Martha, Connie and Helvetia Boswell and vocal-harmony ensembles in jazz. – WSJ
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** Temporary Fame, Longstanding Loyalty
————————————————————
The New Orleans-raised Boswell sisters influenced greats such as Ella Fitzgerald thanks to their vocal gymnastics. © Bettmann/CORBIS
New Orleans
On Oct. 9, at Snug Harbor here, the vocal trio Duchess reached a point in the middle of a number when the arrangement called for an abrupt tempo change—and all of a sudden the three singers up front realized that they were going one way while their rhythm section was going another. Singer Amy Cervini waved the band to stop and told the crowd, “Tempo changes were one of the Boswell Sisters’ signatures.” Then she added, “We have no idea how they did it!”
There’s a lot about the Boswell Sisters that people don’t know, even those who have studied their music and career for decades. For five years at the start of the 1930s, the Boswell Sisters were perhaps the most popular musical group in the country, and to this day they are ranked among the most important vocal-harmony ensembles in all of jazz. They dazzled Depression-era audiences not only with their telepathic stop-and-start arrangements (likely the product of their classical music training), but their bluesy cadences, luminescent vocal blend, and—most of all—their freewheeling interpolation of jazz techniques, essentially rendering irrelevant the boundaries between composition, improvisation and interpretation. They did for group harmony what Bing Crosby did for popular singing and Louis Armstrong for jazz improvisation.
The Boswell family arrived in New Orleans on Oct. 9, 1914, when the three sisters, Martha, Connie and Helvetia (”Vet”), were 9, 6 and 3, respectively. Kyla Titus, granddaughter of the youngest sister, has named this date as the centennial of the Boswell Sisters, which she commemorated by organizing “Shout, Sister, Shout!”—a four-day celebration in New Orleans that began last Thursday. (Its title came from the sisters’ radio-show theme song, which they recorded in 1931.) That same day, Mayor Mitch Landrieu declared the start of Boswell Sisters Week. The exhibition “Shout, Sister, Shout! The Boswell Sisters of New Orleans” is winding up its run at the Historic New Orleans Collection museum on Oct. 26 before moving on to Lake Charles, La. There’s also a documentary about the trio being readied for PBS.
The sisters grew up in the Crescent City, and even long after all three moved away, “they never considered anyplace else their home,” Ms. Titus said when we spoke. The Boswells were inseparable from the bloodline of New Orleans music: The city was the only place in the world where three teenage girls of Irish descent could become immersed in African-American gospel music as well as Italian opera, and their music combines the formalized, high discipline of chamber music with the unrestrained passion and majesty of the blues. Theirs is a sound of the streets as well as the concert halls, a sound that continues to inspire young singers around the globe.
The four-day celebration included presentations by Ms. Titus, who will publish this month “The Boswell Legacy,” the first book on the sisters, and historian David McCain, a New Orleans native who has devoted his life to researching the Boswells (and other sister acts). Ms. Titus and Mr. McCain shared rare private recordings made by the family, as well as home movies and photographs. They also co-hosted a bus tour of the city, which included the house on Camp Street where the family lived from 1914 on, the Orpheum Theater where they established themselves as professionals in 1925, and the Palace Cafe, the spot where they made their first recordings that same year.
But this wasn’t an academic conference so much as a music festival, in which seven trios from all over the world re-created vintage Boswell arrangements in six different venues. None of the groups who performed at the Centennial’s central event, the Friday night concert at the Louisiana State Museum’s Mint Building, attempted to mimic the trio’s famous Southern drawl. In fact, a great deal of the fun was in hearing Australia’s The Boswell Project, Canada’s Company B and Israel’s Hazelnuts revisit the classic charts with their own regional accents. The popularity of Boswells even among non-English-speaking singers was illustrated by O Sister from Seville, Spain, whose show included choreography and a male “sister” who harmonizes with two women.
The Boswells didn’t become nationally known until 1930-31 and stopped working together (after, among other things, two tours of Europe) in 1936, when Martha and Vet essentially stepped aside so their middle sister, Connie, would be free to pursue a solo career. In time, the Boswells were overshadowed by their contemporaries the Mills Brothers and the Andrews Sisters, two acts that stayed together much longer—the Andrews becoming to World War II what the Boswells were to the Depression.
But the Andrews Sisters freely admitted that they started as Boswell wannabes, and Connie Boswell was the only singer Ella Fitzgerald admitted to learning from. Indeed, in their free-flowing use of scat singing, and their farsighted approach to melody (which caused some conservative listeners at the beginning of their radio career to dismiss them as “savage chanters”), the Boswells constitute a crucial link between Armstrong and Fitzgerald in the development of vocal improvisation.
As influential as they were, they had few serious imitators—perhaps not until the Pfister Sisters began honoring their legacy on a regular basis beginning in the 1970s. (The Pfisters are still going strong, after singing this music for 35 years, and were prominent throughout the Centennial.)
It’s amazing that a sound produced for so short a time could command such longstanding loyalty.
Mr. Friedwald writes the weekly Jazz Scene column for the Journal.
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Copyright (C) 2014 All rights reserved.
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USA
Martha, Connie and Helvetia Boswell and vocal-harmony ensembles in jazz. – WSJ
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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://online.wsj.com/articles/martha-connie-and-helvetia-boswell-and-vocal-harmony-ensembles-in-jazz-1413406700
** Temporary Fame, Longstanding Loyalty
————————————————————
The New Orleans-raised Boswell sisters influenced greats such as Ella Fitzgerald thanks to their vocal gymnastics. © Bettmann/CORBIS
New Orleans
On Oct. 9, at Snug Harbor here, the vocal trio Duchess reached a point in the middle of a number when the arrangement called for an abrupt tempo change—and all of a sudden the three singers up front realized that they were going one way while their rhythm section was going another. Singer Amy Cervini waved the band to stop and told the crowd, “Tempo changes were one of the Boswell Sisters’ signatures.” Then she added, “We have no idea how they did it!”
There’s a lot about the Boswell Sisters that people don’t know, even those who have studied their music and career for decades. For five years at the start of the 1930s, the Boswell Sisters were perhaps the most popular musical group in the country, and to this day they are ranked among the most important vocal-harmony ensembles in all of jazz. They dazzled Depression-era audiences not only with their telepathic stop-and-start arrangements (likely the product of their classical music training), but their bluesy cadences, luminescent vocal blend, and—most of all—their freewheeling interpolation of jazz techniques, essentially rendering irrelevant the boundaries between composition, improvisation and interpretation. They did for group harmony what Bing Crosby did for popular singing and Louis Armstrong for jazz improvisation.
The Boswell family arrived in New Orleans on Oct. 9, 1914, when the three sisters, Martha, Connie and Helvetia (”Vet”), were 9, 6 and 3, respectively. Kyla Titus, granddaughter of the youngest sister, has named this date as the centennial of the Boswell Sisters, which she commemorated by organizing “Shout, Sister, Shout!”—a four-day celebration in New Orleans that began last Thursday. (Its title came from the sisters’ radio-show theme song, which they recorded in 1931.) That same day, Mayor Mitch Landrieu declared the start of Boswell Sisters Week. The exhibition “Shout, Sister, Shout! The Boswell Sisters of New Orleans” is winding up its run at the Historic New Orleans Collection museum on Oct. 26 before moving on to Lake Charles, La. There’s also a documentary about the trio being readied for PBS.
The sisters grew up in the Crescent City, and even long after all three moved away, “they never considered anyplace else their home,” Ms. Titus said when we spoke. The Boswells were inseparable from the bloodline of New Orleans music: The city was the only place in the world where three teenage girls of Irish descent could become immersed in African-American gospel music as well as Italian opera, and their music combines the formalized, high discipline of chamber music with the unrestrained passion and majesty of the blues. Theirs is a sound of the streets as well as the concert halls, a sound that continues to inspire young singers around the globe.
The four-day celebration included presentations by Ms. Titus, who will publish this month “The Boswell Legacy,” the first book on the sisters, and historian David McCain, a New Orleans native who has devoted his life to researching the Boswells (and other sister acts). Ms. Titus and Mr. McCain shared rare private recordings made by the family, as well as home movies and photographs. They also co-hosted a bus tour of the city, which included the house on Camp Street where the family lived from 1914 on, the Orpheum Theater where they established themselves as professionals in 1925, and the Palace Cafe, the spot where they made their first recordings that same year.
But this wasn’t an academic conference so much as a music festival, in which seven trios from all over the world re-created vintage Boswell arrangements in six different venues. None of the groups who performed at the Centennial’s central event, the Friday night concert at the Louisiana State Museum’s Mint Building, attempted to mimic the trio’s famous Southern drawl. In fact, a great deal of the fun was in hearing Australia’s The Boswell Project, Canada’s Company B and Israel’s Hazelnuts revisit the classic charts with their own regional accents. The popularity of Boswells even among non-English-speaking singers was illustrated by O Sister from Seville, Spain, whose show included choreography and a male “sister” who harmonizes with two women.
The Boswells didn’t become nationally known until 1930-31 and stopped working together (after, among other things, two tours of Europe) in 1936, when Martha and Vet essentially stepped aside so their middle sister, Connie, would be free to pursue a solo career. In time, the Boswells were overshadowed by their contemporaries the Mills Brothers and the Andrews Sisters, two acts that stayed together much longer—the Andrews becoming to World War II what the Boswells were to the Depression.
But the Andrews Sisters freely admitted that they started as Boswell wannabes, and Connie Boswell was the only singer Ella Fitzgerald admitted to learning from. Indeed, in their free-flowing use of scat singing, and their farsighted approach to melody (which caused some conservative listeners at the beginning of their radio career to dismiss them as “savage chanters”), the Boswells constitute a crucial link between Armstrong and Fitzgerald in the development of vocal improvisation.
As influential as they were, they had few serious imitators—perhaps not until the Pfister Sisters began honoring their legacy on a regular basis beginning in the 1970s. (The Pfisters are still going strong, after singing this music for 35 years, and were prominent throughout the Centennial.)
It’s amazing that a sound produced for so short a time could command such longstanding loyalty.
Mr. Friedwald writes the weekly Jazz Scene column for the Journal.
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
Martha, Connie and Helvetia Boswell and vocal-harmony ensembles in jazz. – WSJ
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://online.wsj.com/articles/martha-connie-and-helvetia-boswell-and-vocal-harmony-ensembles-in-jazz-1413406700
** Temporary Fame, Longstanding Loyalty
————————————————————
The New Orleans-raised Boswell sisters influenced greats such as Ella Fitzgerald thanks to their vocal gymnastics. © Bettmann/CORBIS
New Orleans
On Oct. 9, at Snug Harbor here, the vocal trio Duchess reached a point in the middle of a number when the arrangement called for an abrupt tempo change—and all of a sudden the three singers up front realized that they were going one way while their rhythm section was going another. Singer Amy Cervini waved the band to stop and told the crowd, “Tempo changes were one of the Boswell Sisters’ signatures.” Then she added, “We have no idea how they did it!”
There’s a lot about the Boswell Sisters that people don’t know, even those who have studied their music and career for decades. For five years at the start of the 1930s, the Boswell Sisters were perhaps the most popular musical group in the country, and to this day they are ranked among the most important vocal-harmony ensembles in all of jazz. They dazzled Depression-era audiences not only with their telepathic stop-and-start arrangements (likely the product of their classical music training), but their bluesy cadences, luminescent vocal blend, and—most of all—their freewheeling interpolation of jazz techniques, essentially rendering irrelevant the boundaries between composition, improvisation and interpretation. They did for group harmony what Bing Crosby did for popular singing and Louis Armstrong for jazz improvisation.
The Boswell family arrived in New Orleans on Oct. 9, 1914, when the three sisters, Martha, Connie and Helvetia (”Vet”), were 9, 6 and 3, respectively. Kyla Titus, granddaughter of the youngest sister, has named this date as the centennial of the Boswell Sisters, which she commemorated by organizing “Shout, Sister, Shout!”—a four-day celebration in New Orleans that began last Thursday. (Its title came from the sisters’ radio-show theme song, which they recorded in 1931.) That same day, Mayor Mitch Landrieu declared the start of Boswell Sisters Week. The exhibition “Shout, Sister, Shout! The Boswell Sisters of New Orleans” is winding up its run at the Historic New Orleans Collection museum on Oct. 26 before moving on to Lake Charles, La. There’s also a documentary about the trio being readied for PBS.
The sisters grew up in the Crescent City, and even long after all three moved away, “they never considered anyplace else their home,” Ms. Titus said when we spoke. The Boswells were inseparable from the bloodline of New Orleans music: The city was the only place in the world where three teenage girls of Irish descent could become immersed in African-American gospel music as well as Italian opera, and their music combines the formalized, high discipline of chamber music with the unrestrained passion and majesty of the blues. Theirs is a sound of the streets as well as the concert halls, a sound that continues to inspire young singers around the globe.
The four-day celebration included presentations by Ms. Titus, who will publish this month “The Boswell Legacy,” the first book on the sisters, and historian David McCain, a New Orleans native who has devoted his life to researching the Boswells (and other sister acts). Ms. Titus and Mr. McCain shared rare private recordings made by the family, as well as home movies and photographs. They also co-hosted a bus tour of the city, which included the house on Camp Street where the family lived from 1914 on, the Orpheum Theater where they established themselves as professionals in 1925, and the Palace Cafe, the spot where they made their first recordings that same year.
But this wasn’t an academic conference so much as a music festival, in which seven trios from all over the world re-created vintage Boswell arrangements in six different venues. None of the groups who performed at the Centennial’s central event, the Friday night concert at the Louisiana State Museum’s Mint Building, attempted to mimic the trio’s famous Southern drawl. In fact, a great deal of the fun was in hearing Australia’s The Boswell Project, Canada’s Company B and Israel’s Hazelnuts revisit the classic charts with their own regional accents. The popularity of Boswells even among non-English-speaking singers was illustrated by O Sister from Seville, Spain, whose show included choreography and a male “sister” who harmonizes with two women.
The Boswells didn’t become nationally known until 1930-31 and stopped working together (after, among other things, two tours of Europe) in 1936, when Martha and Vet essentially stepped aside so their middle sister, Connie, would be free to pursue a solo career. In time, the Boswells were overshadowed by their contemporaries the Mills Brothers and the Andrews Sisters, two acts that stayed together much longer—the Andrews becoming to World War II what the Boswells were to the Depression.
But the Andrews Sisters freely admitted that they started as Boswell wannabes, and Connie Boswell was the only singer Ella Fitzgerald admitted to learning from. Indeed, in their free-flowing use of scat singing, and their farsighted approach to melody (which caused some conservative listeners at the beginning of their radio career to dismiss them as “savage chanters”), the Boswells constitute a crucial link between Armstrong and Fitzgerald in the development of vocal improvisation.
As influential as they were, they had few serious imitators—perhaps not until the Pfister Sisters began honoring their legacy on a regular basis beginning in the 1970s. (The Pfisters are still going strong, after singing this music for 35 years, and were prominent throughout the Centennial.)
It’s amazing that a sound produced for so short a time could command such longstanding loyalty.
Mr. Friedwald writes the weekly Jazz Scene column for the Journal.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=aacd36ac67) | 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=aacd36ac67&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend | Variety
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http://variety.com/2014/film/news/miles-beyond-the-biopic-don-cheadle-riffs-on-a-jazz-legend-1201329867/
** Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend
————————————————————
Don Cheadle Miles Davis biopic
Don Cheadle (http://variety.com/t/don-cheadle/) has managed to accomplish something no one has been able to pull off in two decades: serve up a bigscreen tale of jazz great Miles Davis (http://variety.com/t/miles-davis/) .
SEE MORE: From the October 14, 2014 issue of Variety (http://variety.com/print-issues/325-9-october-14-2014/)
“Miles Ahead,” in which the versatile actor portrays the legendary trumpeter, marks the directorial debut of Cheadle, who co-wrote the script. The independently financed production, made for $8.5 million, wrapped a monthlong shoot in Cincinnati in mid-August, capping a lengthy gestation period for a project that began eight years ago with Davis’ posthumous induction into the Rock ’n’ Roll Hall of Fame.
The picture, which has yet to score a U.S. distributor, is among a number of film endeavors centering on iconic black musicians — all of them divisive figures who were considered ahead of their time, with none of the films so far connecting with a wide audience. Most recently, “Jimi: All Is by My Side,” starring Andre Benjamin (aka Outkast’s Andre 3000) as Jimi Hendrix, bowed quietly Sept. 26, and has grossed less than $300,000 to date. “Get On Up,” the $30 million James Brown biopic, received a similarly chilly reception, despite major studio support (Universal), grossing little more than its budget since its Aug. 1 debut. Alex Gibney’s low-earning documentary “Finding Fela!” about Afrobeat pioneer Fela Kuti, opened in limited release in early August.
“Nina,” which stars Zoe Saldana as troubled pianist-singer Nina Simone — who like Davis could not be pinned to a specific musical genre — appears to be in a holding pattern, despite being shown to potential distributors at Cannes in May. The movie has been embroiled in controversy ever since it was announced that Saldana, a light-skinned beauty of Dominican descent, would play Simone.
And there will no doubt be legions of naysayers who will object to the way the Davis story is told, given the kind of fanatical following such artists tend to cultivate.
“Miles Davis is a hugely significant figure, perhaps one of the most important musicians and cultural figures of the 20th Century,” says Todd Boyd, professor of critical studies at USC who specializes in the study of race and popular culture. “So attempting to reduce someone’s life like Miles into a two-hour film is a challenge in and of itself.”
Bryce Duffy for Variety
Davis’ career spanned some 50 years, and the highlights are many, from his pioneering “Birth of the Cool” sessions starting in 1949, to his first quintet with John Coltrane in the ’50s, his orchestral collaborations with Gil Evans later in the decade, the second great quintet with Herbie Hancock in the ’60s, and his electro-funk Prince of Darkness phase.
Cheadle’s take on Davis, co-written with Steven Baigelman, leans toward the more conceptual, juxtaposing two periods in the trumpeter’s life. “The central story takes place in two days, before he made his comeback (in 1980),” Cheadle says. The “B story,” as he calls it, reflects back to 1956-66, which parallels Davis’ relationship with his first wife, dancer Frances Taylor Davis. “She’s sort of the one that got away,” Cheadle explains, “the love of his life.” Saldana was originally identified to play Frances, but the role ultimately went to Emayatzy Corinealdi (Sundance hit “The Middle of Nowhere”).
Sets (http://variety411.com/us/los-angeles/sets-stages/) and locations in Cincinnati double for Davis’ New York Brownstone, the office of Columbia Records executive George Butler, and for performance spaces in the flashback sequences that could make up as much as 40% of the film.
The filmmakers are adamant that “Miles Ahead” not be considered a biopic, but rather an interpretation of what made the trumpeter tick. “It’s like wall-to-wall truth, not wall-to-wall facts,” explains Cheadle, who says the script ideas he rejected were too traditional in tone, and too aggressive in scope. “We’re much closer to something like historical fiction, where this is a composition of our making, using Miles as our inspiration, our muse, to tell a story from our perspective.”
At the time of Davis’ Rock ’n’ Roll Hall of Fame induction ceremony in 2006, his nephew, Vince Wilburn Jr., a producer (http://variety411.com/us/los-angeles/producers/) on the movie, was asked if a Miles Davis film was in the works. And, as Cheadle recalls now — adding that he didn’t know it then — Wilburn had said, “ ‘Yes, and Don Cheadle’s going to play him.’ ”
Wilburn, who played a role in coaxing the man he calls “Uncle Miles” out of retirement in 1980, confirms the story. “We just knew (Cheadle) would fit,” he says, calling the actor’s performance “his interpretation; his spin.” Adds Erin Davis, the trumpeter’s son and also a producer on the feature: “I can say that the direction of the film is going to be what Miles would have liked.”
There are many reasons Miles Davis stopped performing and recording in 1974, including serious health issues, creative burnout, continued hostility from critics who refused to embrace his electronic music, and perhaps just an old-fashioned midlife crisis (Davis was about to turn 50 at the time, corresponding with Cheadle’s current age).
“Miles had this incredible facility and ability to move to the next thing and the next thing, and not play it safe and not repeat himself,” says Cheadle, whose swaggering self-confidence and wiry intensity appear to make him the ideal candidate for the role. “When that’s exhausted, what do you do? So that to me was a very interesting part of his life.”
Cheadle says he sought directing counsel from some of the helmers he’s worked with, including Steven Soderbergh, Paul Thomas Anderson, Carl Franklin and George Clooney, who knows what it’s like to juggle roles from behind and in front of the camera (http://variety411.com/us/new-york/camera-sound-equipment/) .
“I knew it on paper; I knew what our schedule was, which was ambitious to say the least,” Cheadle says of the 30-day shoot. “But experience is the real kicker when you’re on the set. It’s like, ‘Wow, OK, there’s no pause’ — and trying to do things that are in some ways diametrically opposed; trying to be immersed in the acting but also have some sort of 10,000-foot perspective.”
Bryce Duffy for Variety
The filmmakers are cagey about what other real-life figures will be depicted in the movie or how much performance footage will be included — pretty much keeping anything other than the story’s broad strokes under wraps. Ewan McGregor reportedly will play a Rolling Stone reporter, loosely based on a real-life person who inadvertently gets Miles out of his isolation, according to Cheadle. That reporter very well could be David Breskin (though Cheadle elaborates by calling the character “an amalgam”), who gained significant access to Davis during and after his seclusion, based on the Jack Chambers biography of Davis, entitled “Milestones.”
Cheadle says he neither glossed over nor dwelled on Davis’ dissolute lifestyle, including excessive cocaine abuse and certain misogynistic tendencies, which the trumpeter described with blunt candor in his autobiography “Miles.” “We’re dealing with everything,” he says. “But it’s not the point of that period.”
A warts-and-all treatment of a pop figure can be problematic when negotiating for rights with that talent’s estate. Biopics on Charlie Parker (“Bird”), Ray Charles (“Ray”) and Johnny Cash (“Walk the Line”) managed to navigate through all the speed bumps. But long-in-the-works films on Janis Joplin and Marvin Gaye, to name just two, seem no closer to realization now than when they were first announced several years ago.
Cooperation of estates that control the artist’s likeness, access to personal archives and, in the case of the Davis family, music publishing rights, is key. The cost of licensing the music alone can be a deal-breaker, although “Jimi” managed to skirt the issue by avoiding any music Hendrix wrote himself. “Miles Ahead” is benefitting from the full cooperation of the Davis estate, controlled by Wilburn, Davis’ kids Erin and Cheryl Davis, and Darryl Porter, general manager of Miles Davis Properties. The estate controls publishing rights to Davis’ music, while Sony owns the master recordings for much of the period covered in the movie. “Columbia and Sony have been very generous in giving us things at a price that doesn’t break the bank,” Cheadle says, “but we absolutely have had to pay for it.”
The estate has aggressively marketed all things Miles since his death in 1991, assisting Sony with exhaustive boxed CD/DVD sets, publishing an art book showcasing Davis’ paintings, and peddling Miles-themed merchandise and mounting annual treks to SXSW to further fan the flame among younger audiences. Porter says Davis “is best-known for being a musician, although we claim he’s a lifestyle.”
Many of these Davis collectibles were offered as incentives to those who contributed to crowdfunding service Indiegogo to help raise more than $343,000 in gap financing for the film. According to Indiegogo’s head of film, Marc Hofstatter, the 2,000-plus funders were driven by social media, with Cheadle boasting some 240,000 Twitter followers, and the Miles Davis website claiming almost two million likes on Facebook. Cheadle invested his own money in the production, but wouldn’t reveal how much. The rest was covered via independent financing from Bifrost Pictures, with a favorable Ohio tax rebate. IM Global handled foreign pre-sales.
Herbie Hancock’s involvement in the film has been described as everything from serving as a consultant to a technical advisor, although he describes his role as non-specific. Whatever original music is being done for the film is from jazz crossover artist Robert Glasper. “The only music I’ve heard so far is what Robert has done,” says Hancock, who was drawn into the project in its very early stages (http://variety411.com/us/los-angeles/stages/) . “It sampled some ideas that Don had discussed with me earlier.”
Adds Cheadle: “Robert Glasper is kind of taking point on actually creating the music and playing that music. Herbie is kind of our shepherd and godfather, making sure we don’t fall off the beam.”
Telling the Miles Davis story has baffled Hollywood for at least 20 years. Former Columbia Records chief Walter Yetnikoff announced a planned biopic in 1993, starring Wesley Snipes. But despite securing rights to Davis’ autobiography, and talking with Spike Lee about directing, the Yetnikoff project, tentatively titled “Million Dollar Lips,” fell through, and his option lapsed. Producer Marvin Worth (“Lenny,” “Malcolm X”) picked up the thread from there, but his death in 1998 halted further progress.
After the Davis estate hooked up with Cheadle, it shopped the idea to the studios, but ultimately decided to take the independent route. “I always felt that if we could do it with creative control, where people like Don could see it through in his own vision, we would have a focused direction,” Erin Davis says.
Wilburn gets more specific. “Hollywood didn’t buy it,” he says. “I stopped going to the pitches, because it was too frustrating to try to convince people who Miles Davis is.”
For his part, Hancock is confident that Cheadle’s take on Davis properly captures the musician’s spirit. “It’s not a documentary of Miles Davis’ life,” he says. “It’s a story that’s got its inspiration from Miles’ music — that kind of in-the-moment creative flow that Miles had. The thing I like about that type of approach is that we don’t have to worry about people saying, ‘Wait a minute, it didn’t happen this way.’”
But Boyd, who has read the script, is skeptical. “It seems as though the period of time that they picked — the late ’70s — is probably the least significant era of Miles’ music,” he says. “If this film actually does make it to the screen, there’s the likelihood that we won’t see any more Miles Davis biopics any time soon. And so the legacy of Miles Davis is resting thus far on this one film, and I don’t think based on what I’ve seen, this film serves the purpose of properly representing what Miles Davis represented to American music and American culture.”
Cheadle is more concerned with making a movie that’s entertaining than with giving a history lesson. “I don’t think the movie can tarnish the legacy,” he says. “To me, Miles’ legacy is his music.”
For its part, the Davis family seems anything but displeased by what has transpired. “I want people to understand how complex he was,” Erin Davis says about his expectations of the film, “and I want them to leave the movie wanting to know more.”
Cheadle is well aware of the tremendous risks involved. “I know I’m dancing in a minefield on this one,” he says, “but I’d own it.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=bd9a3a7809) | 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=bd9a3a7809&e=[UNIQID])
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Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend | Variety
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** Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend
————————————————————
Don Cheadle Miles Davis biopic
Don Cheadle (http://variety.com/t/don-cheadle/) has managed to accomplish something no one has been able to pull off in two decades: serve up a bigscreen tale of jazz great Miles Davis (http://variety.com/t/miles-davis/) .
SEE MORE: From the October 14, 2014 issue of Variety (http://variety.com/print-issues/325-9-october-14-2014/)
“Miles Ahead,” in which the versatile actor portrays the legendary trumpeter, marks the directorial debut of Cheadle, who co-wrote the script. The independently financed production, made for $8.5 million, wrapped a monthlong shoot in Cincinnati in mid-August, capping a lengthy gestation period for a project that began eight years ago with Davis’ posthumous induction into the Rock ’n’ Roll Hall of Fame.
The picture, which has yet to score a U.S. distributor, is among a number of film endeavors centering on iconic black musicians — all of them divisive figures who were considered ahead of their time, with none of the films so far connecting with a wide audience. Most recently, “Jimi: All Is by My Side,” starring Andre Benjamin (aka Outkast’s Andre 3000) as Jimi Hendrix, bowed quietly Sept. 26, and has grossed less than $300,000 to date. “Get On Up,” the $30 million James Brown biopic, received a similarly chilly reception, despite major studio support (Universal), grossing little more than its budget since its Aug. 1 debut. Alex Gibney’s low-earning documentary “Finding Fela!” about Afrobeat pioneer Fela Kuti, opened in limited release in early August.
“Nina,” which stars Zoe Saldana as troubled pianist-singer Nina Simone — who like Davis could not be pinned to a specific musical genre — appears to be in a holding pattern, despite being shown to potential distributors at Cannes in May. The movie has been embroiled in controversy ever since it was announced that Saldana, a light-skinned beauty of Dominican descent, would play Simone.
And there will no doubt be legions of naysayers who will object to the way the Davis story is told, given the kind of fanatical following such artists tend to cultivate.
“Miles Davis is a hugely significant figure, perhaps one of the most important musicians and cultural figures of the 20th Century,” says Todd Boyd, professor of critical studies at USC who specializes in the study of race and popular culture. “So attempting to reduce someone’s life like Miles into a two-hour film is a challenge in and of itself.”
Bryce Duffy for Variety
Davis’ career spanned some 50 years, and the highlights are many, from his pioneering “Birth of the Cool” sessions starting in 1949, to his first quintet with John Coltrane in the ’50s, his orchestral collaborations with Gil Evans later in the decade, the second great quintet with Herbie Hancock in the ’60s, and his electro-funk Prince of Darkness phase.
Cheadle’s take on Davis, co-written with Steven Baigelman, leans toward the more conceptual, juxtaposing two periods in the trumpeter’s life. “The central story takes place in two days, before he made his comeback (in 1980),” Cheadle says. The “B story,” as he calls it, reflects back to 1956-66, which parallels Davis’ relationship with his first wife, dancer Frances Taylor Davis. “She’s sort of the one that got away,” Cheadle explains, “the love of his life.” Saldana was originally identified to play Frances, but the role ultimately went to Emayatzy Corinealdi (Sundance hit “The Middle of Nowhere”).
Sets (http://variety411.com/us/los-angeles/sets-stages/) and locations in Cincinnati double for Davis’ New York Brownstone, the office of Columbia Records executive George Butler, and for performance spaces in the flashback sequences that could make up as much as 40% of the film.
The filmmakers are adamant that “Miles Ahead” not be considered a biopic, but rather an interpretation of what made the trumpeter tick. “It’s like wall-to-wall truth, not wall-to-wall facts,” explains Cheadle, who says the script ideas he rejected were too traditional in tone, and too aggressive in scope. “We’re much closer to something like historical fiction, where this is a composition of our making, using Miles as our inspiration, our muse, to tell a story from our perspective.”
At the time of Davis’ Rock ’n’ Roll Hall of Fame induction ceremony in 2006, his nephew, Vince Wilburn Jr., a producer (http://variety411.com/us/los-angeles/producers/) on the movie, was asked if a Miles Davis film was in the works. And, as Cheadle recalls now — adding that he didn’t know it then — Wilburn had said, “ ‘Yes, and Don Cheadle’s going to play him.’ ”
Wilburn, who played a role in coaxing the man he calls “Uncle Miles” out of retirement in 1980, confirms the story. “We just knew (Cheadle) would fit,” he says, calling the actor’s performance “his interpretation; his spin.” Adds Erin Davis, the trumpeter’s son and also a producer on the feature: “I can say that the direction of the film is going to be what Miles would have liked.”
There are many reasons Miles Davis stopped performing and recording in 1974, including serious health issues, creative burnout, continued hostility from critics who refused to embrace his electronic music, and perhaps just an old-fashioned midlife crisis (Davis was about to turn 50 at the time, corresponding with Cheadle’s current age).
“Miles had this incredible facility and ability to move to the next thing and the next thing, and not play it safe and not repeat himself,” says Cheadle, whose swaggering self-confidence and wiry intensity appear to make him the ideal candidate for the role. “When that’s exhausted, what do you do? So that to me was a very interesting part of his life.”
Cheadle says he sought directing counsel from some of the helmers he’s worked with, including Steven Soderbergh, Paul Thomas Anderson, Carl Franklin and George Clooney, who knows what it’s like to juggle roles from behind and in front of the camera (http://variety411.com/us/new-york/camera-sound-equipment/) .
“I knew it on paper; I knew what our schedule was, which was ambitious to say the least,” Cheadle says of the 30-day shoot. “But experience is the real kicker when you’re on the set. It’s like, ‘Wow, OK, there’s no pause’ — and trying to do things that are in some ways diametrically opposed; trying to be immersed in the acting but also have some sort of 10,000-foot perspective.”
Bryce Duffy for Variety
The filmmakers are cagey about what other real-life figures will be depicted in the movie or how much performance footage will be included — pretty much keeping anything other than the story’s broad strokes under wraps. Ewan McGregor reportedly will play a Rolling Stone reporter, loosely based on a real-life person who inadvertently gets Miles out of his isolation, according to Cheadle. That reporter very well could be David Breskin (though Cheadle elaborates by calling the character “an amalgam”), who gained significant access to Davis during and after his seclusion, based on the Jack Chambers biography of Davis, entitled “Milestones.”
Cheadle says he neither glossed over nor dwelled on Davis’ dissolute lifestyle, including excessive cocaine abuse and certain misogynistic tendencies, which the trumpeter described with blunt candor in his autobiography “Miles.” “We’re dealing with everything,” he says. “But it’s not the point of that period.”
A warts-and-all treatment of a pop figure can be problematic when negotiating for rights with that talent’s estate. Biopics on Charlie Parker (“Bird”), Ray Charles (“Ray”) and Johnny Cash (“Walk the Line”) managed to navigate through all the speed bumps. But long-in-the-works films on Janis Joplin and Marvin Gaye, to name just two, seem no closer to realization now than when they were first announced several years ago.
Cooperation of estates that control the artist’s likeness, access to personal archives and, in the case of the Davis family, music publishing rights, is key. The cost of licensing the music alone can be a deal-breaker, although “Jimi” managed to skirt the issue by avoiding any music Hendrix wrote himself. “Miles Ahead” is benefitting from the full cooperation of the Davis estate, controlled by Wilburn, Davis’ kids Erin and Cheryl Davis, and Darryl Porter, general manager of Miles Davis Properties. The estate controls publishing rights to Davis’ music, while Sony owns the master recordings for much of the period covered in the movie. “Columbia and Sony have been very generous in giving us things at a price that doesn’t break the bank,” Cheadle says, “but we absolutely have had to pay for it.”
The estate has aggressively marketed all things Miles since his death in 1991, assisting Sony with exhaustive boxed CD/DVD sets, publishing an art book showcasing Davis’ paintings, and peddling Miles-themed merchandise and mounting annual treks to SXSW to further fan the flame among younger audiences. Porter says Davis “is best-known for being a musician, although we claim he’s a lifestyle.”
Many of these Davis collectibles were offered as incentives to those who contributed to crowdfunding service Indiegogo to help raise more than $343,000 in gap financing for the film. According to Indiegogo’s head of film, Marc Hofstatter, the 2,000-plus funders were driven by social media, with Cheadle boasting some 240,000 Twitter followers, and the Miles Davis website claiming almost two million likes on Facebook. Cheadle invested his own money in the production, but wouldn’t reveal how much. The rest was covered via independent financing from Bifrost Pictures, with a favorable Ohio tax rebate. IM Global handled foreign pre-sales.
Herbie Hancock’s involvement in the film has been described as everything from serving as a consultant to a technical advisor, although he describes his role as non-specific. Whatever original music is being done for the film is from jazz crossover artist Robert Glasper. “The only music I’ve heard so far is what Robert has done,” says Hancock, who was drawn into the project in its very early stages (http://variety411.com/us/los-angeles/stages/) . “It sampled some ideas that Don had discussed with me earlier.”
Adds Cheadle: “Robert Glasper is kind of taking point on actually creating the music and playing that music. Herbie is kind of our shepherd and godfather, making sure we don’t fall off the beam.”
Telling the Miles Davis story has baffled Hollywood for at least 20 years. Former Columbia Records chief Walter Yetnikoff announced a planned biopic in 1993, starring Wesley Snipes. But despite securing rights to Davis’ autobiography, and talking with Spike Lee about directing, the Yetnikoff project, tentatively titled “Million Dollar Lips,” fell through, and his option lapsed. Producer Marvin Worth (“Lenny,” “Malcolm X”) picked up the thread from there, but his death in 1998 halted further progress.
After the Davis estate hooked up with Cheadle, it shopped the idea to the studios, but ultimately decided to take the independent route. “I always felt that if we could do it with creative control, where people like Don could see it through in his own vision, we would have a focused direction,” Erin Davis says.
Wilburn gets more specific. “Hollywood didn’t buy it,” he says. “I stopped going to the pitches, because it was too frustrating to try to convince people who Miles Davis is.”
For his part, Hancock is confident that Cheadle’s take on Davis properly captures the musician’s spirit. “It’s not a documentary of Miles Davis’ life,” he says. “It’s a story that’s got its inspiration from Miles’ music — that kind of in-the-moment creative flow that Miles had. The thing I like about that type of approach is that we don’t have to worry about people saying, ‘Wait a minute, it didn’t happen this way.’”
But Boyd, who has read the script, is skeptical. “It seems as though the period of time that they picked — the late ’70s — is probably the least significant era of Miles’ music,” he says. “If this film actually does make it to the screen, there’s the likelihood that we won’t see any more Miles Davis biopics any time soon. And so the legacy of Miles Davis is resting thus far on this one film, and I don’t think based on what I’ve seen, this film serves the purpose of properly representing what Miles Davis represented to American music and American culture.”
Cheadle is more concerned with making a movie that’s entertaining than with giving a history lesson. “I don’t think the movie can tarnish the legacy,” he says. “To me, Miles’ legacy is his music.”
For its part, the Davis family seems anything but displeased by what has transpired. “I want people to understand how complex he was,” Erin Davis says about his expectations of the film, “and I want them to leave the movie wanting to know more.”
Cheadle is well aware of the tremendous risks involved. “I know I’m dancing in a minefield on this one,” he says, “but I’d own it.”
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=bd9a3a7809) | 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=bd9a3a7809&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend | Variety
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://variety.com/2014/film/news/miles-beyond-the-biopic-don-cheadle-riffs-on-a-jazz-legend-1201329867/
** Miles Beyond the Biopic: Don Cheadle Riffs on a Jazz Legend
————————————————————
Don Cheadle Miles Davis biopic
Don Cheadle (http://variety.com/t/don-cheadle/) has managed to accomplish something no one has been able to pull off in two decades: serve up a bigscreen tale of jazz great Miles Davis (http://variety.com/t/miles-davis/) .
SEE MORE: From the October 14, 2014 issue of Variety (http://variety.com/print-issues/325-9-october-14-2014/)
“Miles Ahead,” in which the versatile actor portrays the legendary trumpeter, marks the directorial debut of Cheadle, who co-wrote the script. The independently financed production, made for $8.5 million, wrapped a monthlong shoot in Cincinnati in mid-August, capping a lengthy gestation period for a project that began eight years ago with Davis’ posthumous induction into the Rock ’n’ Roll Hall of Fame.
The picture, which has yet to score a U.S. distributor, is among a number of film endeavors centering on iconic black musicians — all of them divisive figures who were considered ahead of their time, with none of the films so far connecting with a wide audience. Most recently, “Jimi: All Is by My Side,” starring Andre Benjamin (aka Outkast’s Andre 3000) as Jimi Hendrix, bowed quietly Sept. 26, and has grossed less than $300,000 to date. “Get On Up,” the $30 million James Brown biopic, received a similarly chilly reception, despite major studio support (Universal), grossing little more than its budget since its Aug. 1 debut. Alex Gibney’s low-earning documentary “Finding Fela!” about Afrobeat pioneer Fela Kuti, opened in limited release in early August.
“Nina,” which stars Zoe Saldana as troubled pianist-singer Nina Simone — who like Davis could not be pinned to a specific musical genre — appears to be in a holding pattern, despite being shown to potential distributors at Cannes in May. The movie has been embroiled in controversy ever since it was announced that Saldana, a light-skinned beauty of Dominican descent, would play Simone.
And there will no doubt be legions of naysayers who will object to the way the Davis story is told, given the kind of fanatical following such artists tend to cultivate.
“Miles Davis is a hugely significant figure, perhaps one of the most important musicians and cultural figures of the 20th Century,” says Todd Boyd, professor of critical studies at USC who specializes in the study of race and popular culture. “So attempting to reduce someone’s life like Miles into a two-hour film is a challenge in and of itself.”
Bryce Duffy for Variety
Davis’ career spanned some 50 years, and the highlights are many, from his pioneering “Birth of the Cool” sessions starting in 1949, to his first quintet with John Coltrane in the ’50s, his orchestral collaborations with Gil Evans later in the decade, the second great quintet with Herbie Hancock in the ’60s, and his electro-funk Prince of Darkness phase.
Cheadle’s take on Davis, co-written with Steven Baigelman, leans toward the more conceptual, juxtaposing two periods in the trumpeter’s life. “The central story takes place in two days, before he made his comeback (in 1980),” Cheadle says. The “B story,” as he calls it, reflects back to 1956-66, which parallels Davis’ relationship with his first wife, dancer Frances Taylor Davis. “She’s sort of the one that got away,” Cheadle explains, “the love of his life.” Saldana was originally identified to play Frances, but the role ultimately went to Emayatzy Corinealdi (Sundance hit “The Middle of Nowhere”).
Sets (http://variety411.com/us/los-angeles/sets-stages/) and locations in Cincinnati double for Davis’ New York Brownstone, the office of Columbia Records executive George Butler, and for performance spaces in the flashback sequences that could make up as much as 40% of the film.
The filmmakers are adamant that “Miles Ahead” not be considered a biopic, but rather an interpretation of what made the trumpeter tick. “It’s like wall-to-wall truth, not wall-to-wall facts,” explains Cheadle, who says the script ideas he rejected were too traditional in tone, and too aggressive in scope. “We’re much closer to something like historical fiction, where this is a composition of our making, using Miles as our inspiration, our muse, to tell a story from our perspective.”
At the time of Davis’ Rock ’n’ Roll Hall of Fame induction ceremony in 2006, his nephew, Vince Wilburn Jr., a producer (http://variety411.com/us/los-angeles/producers/) on the movie, was asked if a Miles Davis film was in the works. And, as Cheadle recalls now — adding that he didn’t know it then — Wilburn had said, “ ‘Yes, and Don Cheadle’s going to play him.’ ”
Wilburn, who played a role in coaxing the man he calls “Uncle Miles” out of retirement in 1980, confirms the story. “We just knew (Cheadle) would fit,” he says, calling the actor’s performance “his interpretation; his spin.” Adds Erin Davis, the trumpeter’s son and also a producer on the feature: “I can say that the direction of the film is going to be what Miles would have liked.”
There are many reasons Miles Davis stopped performing and recording in 1974, including serious health issues, creative burnout, continued hostility from critics who refused to embrace his electronic music, and perhaps just an old-fashioned midlife crisis (Davis was about to turn 50 at the time, corresponding with Cheadle’s current age).
“Miles had this incredible facility and ability to move to the next thing and the next thing, and not play it safe and not repeat himself,” says Cheadle, whose swaggering self-confidence and wiry intensity appear to make him the ideal candidate for the role. “When that’s exhausted, what do you do? So that to me was a very interesting part of his life.”
Cheadle says he sought directing counsel from some of the helmers he’s worked with, including Steven Soderbergh, Paul Thomas Anderson, Carl Franklin and George Clooney, who knows what it’s like to juggle roles from behind and in front of the camera (http://variety411.com/us/new-york/camera-sound-equipment/) .
“I knew it on paper; I knew what our schedule was, which was ambitious to say the least,” Cheadle says of the 30-day shoot. “But experience is the real kicker when you’re on the set. It’s like, ‘Wow, OK, there’s no pause’ — and trying to do things that are in some ways diametrically opposed; trying to be immersed in the acting but also have some sort of 10,000-foot perspective.”
Bryce Duffy for Variety
The filmmakers are cagey about what other real-life figures will be depicted in the movie or how much performance footage will be included — pretty much keeping anything other than the story’s broad strokes under wraps. Ewan McGregor reportedly will play a Rolling Stone reporter, loosely based on a real-life person who inadvertently gets Miles out of his isolation, according to Cheadle. That reporter very well could be David Breskin (though Cheadle elaborates by calling the character “an amalgam”), who gained significant access to Davis during and after his seclusion, based on the Jack Chambers biography of Davis, entitled “Milestones.”
Cheadle says he neither glossed over nor dwelled on Davis’ dissolute lifestyle, including excessive cocaine abuse and certain misogynistic tendencies, which the trumpeter described with blunt candor in his autobiography “Miles.” “We’re dealing with everything,” he says. “But it’s not the point of that period.”
A warts-and-all treatment of a pop figure can be problematic when negotiating for rights with that talent’s estate. Biopics on Charlie Parker (“Bird”), Ray Charles (“Ray”) and Johnny Cash (“Walk the Line”) managed to navigate through all the speed bumps. But long-in-the-works films on Janis Joplin and Marvin Gaye, to name just two, seem no closer to realization now than when they were first announced several years ago.
Cooperation of estates that control the artist’s likeness, access to personal archives and, in the case of the Davis family, music publishing rights, is key. The cost of licensing the music alone can be a deal-breaker, although “Jimi” managed to skirt the issue by avoiding any music Hendrix wrote himself. “Miles Ahead” is benefitting from the full cooperation of the Davis estate, controlled by Wilburn, Davis’ kids Erin and Cheryl Davis, and Darryl Porter, general manager of Miles Davis Properties. The estate controls publishing rights to Davis’ music, while Sony owns the master recordings for much of the period covered in the movie. “Columbia and Sony have been very generous in giving us things at a price that doesn’t break the bank,” Cheadle says, “but we absolutely have had to pay for it.”
The estate has aggressively marketed all things Miles since his death in 1991, assisting Sony with exhaustive boxed CD/DVD sets, publishing an art book showcasing Davis’ paintings, and peddling Miles-themed merchandise and mounting annual treks to SXSW to further fan the flame among younger audiences. Porter says Davis “is best-known for being a musician, although we claim he’s a lifestyle.”
Many of these Davis collectibles were offered as incentives to those who contributed to crowdfunding service Indiegogo to help raise more than $343,000 in gap financing for the film. According to Indiegogo’s head of film, Marc Hofstatter, the 2,000-plus funders were driven by social media, with Cheadle boasting some 240,000 Twitter followers, and the Miles Davis website claiming almost two million likes on Facebook. Cheadle invested his own money in the production, but wouldn’t reveal how much. The rest was covered via independent financing from Bifrost Pictures, with a favorable Ohio tax rebate. IM Global handled foreign pre-sales.
Herbie Hancock’s involvement in the film has been described as everything from serving as a consultant to a technical advisor, although he describes his role as non-specific. Whatever original music is being done for the film is from jazz crossover artist Robert Glasper. “The only music I’ve heard so far is what Robert has done,” says Hancock, who was drawn into the project in its very early stages (http://variety411.com/us/los-angeles/stages/) . “It sampled some ideas that Don had discussed with me earlier.”
Adds Cheadle: “Robert Glasper is kind of taking point on actually creating the music and playing that music. Herbie is kind of our shepherd and godfather, making sure we don’t fall off the beam.”
Telling the Miles Davis story has baffled Hollywood for at least 20 years. Former Columbia Records chief Walter Yetnikoff announced a planned biopic in 1993, starring Wesley Snipes. But despite securing rights to Davis’ autobiography, and talking with Spike Lee about directing, the Yetnikoff project, tentatively titled “Million Dollar Lips,” fell through, and his option lapsed. Producer Marvin Worth (“Lenny,” “Malcolm X”) picked up the thread from there, but his death in 1998 halted further progress.
After the Davis estate hooked up with Cheadle, it shopped the idea to the studios, but ultimately decided to take the independent route. “I always felt that if we could do it with creative control, where people like Don could see it through in his own vision, we would have a focused direction,” Erin Davis says.
Wilburn gets more specific. “Hollywood didn’t buy it,” he says. “I stopped going to the pitches, because it was too frustrating to try to convince people who Miles Davis is.”
For his part, Hancock is confident that Cheadle’s take on Davis properly captures the musician’s spirit. “It’s not a documentary of Miles Davis’ life,” he says. “It’s a story that’s got its inspiration from Miles’ music — that kind of in-the-moment creative flow that Miles had. The thing I like about that type of approach is that we don’t have to worry about people saying, ‘Wait a minute, it didn’t happen this way.’”
But Boyd, who has read the script, is skeptical. “It seems as though the period of time that they picked — the late ’70s — is probably the least significant era of Miles’ music,” he says. “If this film actually does make it to the screen, there’s the likelihood that we won’t see any more Miles Davis biopics any time soon. And so the legacy of Miles Davis is resting thus far on this one film, and I don’t think based on what I’ve seen, this film serves the purpose of properly representing what Miles Davis represented to American music and American culture.”
Cheadle is more concerned with making a movie that’s entertaining than with giving a history lesson. “I don’t think the movie can tarnish the legacy,” he says. “To me, Miles’ legacy is his music.”
For its part, the Davis family seems anything but displeased by what has transpired. “I want people to understand how complex he was,” Erin Davis says about his expectations of the film, “and I want them to leave the movie wanting to know more.”
Cheadle is well aware of the tremendous risks involved. “I know I’m dancing in a minefield on this one,” he says, “but I’d own it.”
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Warwick, Ny 10990
USA
Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall | WNPR News
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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://wnpr.org/post/memoir-celebrates-northampton-s-legendary-iron-horse-music-hall
** Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall
————————————————————
It’s hard to imagine what the regional music scene would have been like over the past four decades without the invaluable, energizing force generated by The Iron Horse Music Hall, (http://www.iheg.com/iron_horse_main.asp) the small but mighty powerhouse of an entertainment center in Northampton, Massachusetts.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/jazz-calendar.jpg
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch10_1985_January_Suzanne-Vega.jpg
Ranging from Mose Allison (http://moseallison.com/) ’s sophisticated, ebullient musings to John (http://www.tzadik.com/) Zorn (http://www.tzadik.com/) ’s cerebral, atonal abstractions, The Horse, as it is affectionately known to its countless devotees, has presented legions of premier jazz, blues, folk, bluegrass, Celtic, Chicano, country, cutting-edge, honkytonk, Afro-Pop, fringe rock royals like Patti Smith and Lou Reed, New Age, and a variety of pop artists; offbeat comedians like Paula Poundstone and Steven Wright; and convention-defying poets ranging from Robert Bly to Allen Ginsberg; and the brilliant, gloriously unhinged Gonzo journalist Hunter S. Thompson.
With its intimate, resolutely unpretentious charm — an aura evocative of a classic 1950s Greenwich Village club magically transported to the Pioneer Valley — and its richly varied, exciting offerings, The Horse, right from the opening gate, became a centerpiece for the seductive image of Northampton as ultra-hip and happy, an open-minded, all-inclusive, politically progressive town or, perhaps, utopia crackling with a cornucopia of culture, cuisine and counter-cultural chic.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch5_Early-80s.jpg
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/1990s-2.jpg
The Iron Horse is at 20 Center Street, right down the street from Northampton’s vibrant Main Street, which has long been the antithesis of the homogenized, safely conformist small town American Main Street skewered by novelist Sinclair Lewis in his satirical Main Street, a classic spanking of the bourgeoisie.
Still on track, running full speed ahead, and lugging in culture and entertainment by the boxcar load, the magnetic Iron Horse attracts devoted audiences who love both the music and the offbeat aura of the venue’s digs. The clientele includes not just Pioneer Valley loyalists, but also a diverse array of devotees from throughout the region inspired to make the pilgrimage to The Iron Horse to experience the revivifying live music and Northampton’s unique ambience.
If you’re a jazz fan from Connecticut, you’ve probably made numerous trips to the Center Street shrine to sample its bountiful fare that has included, among countless giants, Stan Getz (http://www.stangetz.net/index.html) , Wynton Marsalis (http://wyntonmarsalis.org/) , Archie Shepp (http://www.archieshepp.net/) , Marion Brown (http://www.nytimes.com/2010/10/24/nyregion/24brown.html?_r=0) , Betty Carter (http://bettycarter.org/) , Cecil Taylor, McCoy Tyner (http://mccoytyner.com/) and Sun Ra (http://www.sunraarkestra.com/) , the mystical maestro from the planet Saturn, who, through some sort of intergalactic intervention, managed to cram his 18-piece orchestra onto The Horse’s tiny, stall-sized stage.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch24_Jordi_AfterExpansion_1990s.jpg
Similar blue-chip lists can just as readily be made for great blues and folk artists who have played there, plus a significant honor roll of performers who made early appearances at The Horse before their ascension to fame. Among these are pianist/composer Brad Mehldau (http://www.bradmehldau.com/) , West Hartford’s superb contribution to the international jazz scene, as well as the now legendary singer/songwriters Suzanne Vega (http://www.suzannevega.com/) , Shawn Colvin (http://www.shawncolvin.com/) and Mary Chapin Carpenter (http://www.marychapincarpenter.com/) .
As happens with many great music clubs—venues that necessarily live in the moment—the history of The Iron Horse’s formative years might well have passed unchronicled and into oblivion except for reviews and features scattered about in area newspapers, sources perhaps forever interred in digital morgues.
Thanks to the club’s visionary founder, Jordi Herold, The Horse now has a lavishly illustrated, anecdote-packed, tell-it-like-is history of its first 25 years permanently preserved in its own invaluable, new memoir, Positively Center Street: My 25 Years at The Iron Horse Music Hall, 1979-2004, (http://www.amazon.com/Positively-Center-Street-Years-1979-2004/dp/1937146537) co-written with journalist and music writer David Sokol and published by Levellers Press (http://www.levellerspress.com/) of Amherst, Massachusetts.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/shepp-cover.jpg
Initially, Herold thought he would write a modestly small, personal memoir that would serve as a legacy keepsake for his two daughters.
But fortunately, the final product resulting from 30 hours of taped interviews with Sokol has yielded a full-bodied, general audience book packed with Herold’s insightful memories of launching the club with his friend and partner, John Riley, on through its evolution from humble but homey coffeehouse to a celebrated, premier music hall.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/iheg-sign-copy.jpg
If you’re an Iron Horse fan, you’ll love Herold’s freewheeling, often humorous accounts of a never-ending cast of colorful characters, including performers and patrons, and his candid perspective on the profound challenges of running the business and keeping his miracle on Center Street afloat.
Yes, there is the enthralling romance of the place, its performers, concerts and even odd, funny, surprising happenings. There was the night, for example, that trumpet great Freddie Hubbard (http://www.freddiehubbardmusic.com/) went out the front door in the middle of a gig and never ever returned again — literally an out-of-sight performance.
There was the time Hunter Thompson’s antics added an off-stage mix of comic relief and panic. While finding neither fear nor loathing in Northampton, the prodigiously outrageous, gifted Thompson did manage to make a naked, young woman companion appear in his makeshift, basement level dressing room, and later, for no particular reason, attempted to set his trousers on fire with a cigarette lighter, all before showtime.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Hunter_S._Thompson%2C_1988_crop.jpg
You don’t have to be an Iron Horse true believer to enjoy Herold’s engaging riffs on people and the business, a free-flowing narrative that’s deftly knitted together by Sokol’s background info. The text is accompanied by an avalanche of memorabilia illustrating the club’s history through its first quarter century.
Included in the memoir’s museum’s worth of illustrated material are archival photographs of performers and the club’s evolving interior and exterior; calendars of all-star attractions to die for, old menus ($1.25 for a bottle of Michelob); flyers, press releases, correspondence, promos, reviews, and appreciations.
Even if you’ve never made the journey to the music mecca that Herold built and nurtured for its first quarter century, you might well be interested in the book itself as a good read. Its narrative reveals the mystery of how Herold’s vision or fantasy of running an ideal venue morphs from dreamy conception to shoestring operation to great, ongoing success. It’s a remarkable long distance run that Herold said for him was “exhilarating but exhausting,” an idealistic quest filled with financial challenges, among other Herculean labors in the Horse’s stable. Following his bliss as a concert producer with a room of his own to create in, brought Herold enormous personal fulfillment, but was, he confesses, a demanding path to take.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/1970-photos-1.jpg
“It was always financially, euphemistically, a balancing act,” Herrold said, “and sometimes it was just outright terrorizing for me.”
The club opened on February 24, 1979, as The Iron Horse Coffeehouse with a traditional Irish band, Clanjamfrey (http://clamjamfry.co.uk/index.html) , playing to a 60-seat house. This marked the genesis of Herold’s 15-year reign during which he was the inventive, hands-on owner of the club and its creative, imaginative booker (his own form of high art), until he sold The Horse in 1994. After a brief hiatus, Herold stepped back into the club’s action, returning under its present owner, Eric Suher, as its creative director and talent buyer, handling the booking until he officially retired from The Horse ten years ago in 2004.
Here’s how Sokol describes Herold’s Derek Jeter-like career stats in his run as a major league player at The Horse: “From the very start,” writes Sokol of the club’s early coffeehouse days, “The Iron Horse drew caffeine-hungry Smith professors, students, locals and colorful street people by day and music lovers of all genres by night. It was Jordi Herold’s vision that conjured up this scene.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch11_Jordi_Late-80s.jpg
“In the 25 years between 1979 and 2004 — give or take a couple after he sold the club in 1994 and before he was hired to book it for Eric Suher in 1995 — more than 8,500 shows were brought to the region under The Horse banner, most, though not all of them, at the club itself. The room, on an unassuming Northampton side street, became the heart of a cultural renaissance that rippled out from there, drawing hundreds of thousands of music lovers to its confines in the process.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Iron_Horse_Music_Hall%2C_Northampton_MA.jpg
While Herold, as memoirist, talks about his life and its virtual blood-bond with his livelihood, the Iron Horse itself is the main character in the narrative he spins fluently and conversationally, almost as if he’s chatting with you at the bar over a cold brew.
In its own uniquely free-spirited way, The Iron Horse’s wide-ranging fare early on helped provide an inspiring soundtrack for the cultural and social changes blowin’ in the wind for Northampton itself.
“In the early ’80s,” Sokol wrote putting the dynamic venue’s impact in historical context, “Northampton is in the process of morphing from Hamp to Noho, from being the old-school county seat into a ‘college town’ embodying the ethos of the intellectual world and the alternative culture taking root there.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch27_1989_WyntonMarsalis_-%C2%ACJimGipe.jpg
Part of what made it succeed may well have been Herold’s decision early on not to focus just on one single brand of music for The Horse, which, he always maintained, was meant to be “a listening room.”
“It’s not any one club,” he has explained. “It’s not a blues club, it’s not a rock club. It’s not a jazz club, it’s not a folk club.”
On the occasion of the club’s tenth anniversary in 1989, Herold spelled out his working credo in more detail, specifying what he, as a concert producer, wanted and what he disdained when booking acts for his club, which had expanded to 170 seats, and, Sokol writes, “became the heart of Northampton’s cultural renaissance.”
“All the bookings at The Horse, be they local or legendary,” Herold declared back then, “are bound by a single criterion, and that is that I must perceive a sense of veracity in the music. I have never booked entertainers and I try not to book icons. I look for people whose heart and soul, whose personal expression is in their music. People who are making a very specific statement.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Rory_Block.jpg
Even more specifically, he laid down these aesthetic commandments for booking acts: “Thus you’ll see Chicago blues bands, but no rock ‘n’ roll party bands; many singer/songwriters, but no Joni Mitchell girl strummers; many Celtic acts, but no green beer Danny Boys; cerebral comics, but no ‘guy in the bar’ humor: and emerging local talent, but only new artists searching for their own voices, not someone else’s.”
Sadly, a number of really fine venues like The Horse come and go, leaving behind fond but fading memories, with nothing substantial to document their historic legacy. Invaluable pieces of local cultural history virtually vanish because they are not chronicled. Think, for example, of how Hartford’s once glorious jazz club scene in the city’s North End in the 1940s and ’50s never had a historian to preserve its vanishing legacy with a book like Positively Center Street, an anchor in time’s relentless tide.
Not only does Positively Center Street preserve and celebrate a vital, 25-year slice of cultural history for our region, but it’s also an amusing, informative entertainment in and of itself. It offers a nostalgic trip down memory lane for older fans, and maybe even opens up an inviting gateway for newcomers to the storied little Iron Horse that could.
Herold chats about his book at 7:00 pm on November 6 at Hartford’s Real Art Ways. Copies will be available for sale and signing. Admission: free. Information: realartways.org (http://realartways.org/) .
Pride’s Germinating Quartet
Mike Pride, (http://mikepride.com/) a resilient, genre-bending drummer/composer, leads his oddly named quartet, From Bacteria to Boys, at 8:30 and 10:00 pm on Friday, October 17, at New Haven’s Firehouse 12.
With himself on drums and glockenspiel, his germinating group includes saxophonist Jon Irabagon (http://www.jonirabagon.com/) , pianist Alexis Marcelo and bassist Peter Bitenc. Tickets: $20.00 first set; $15.00 second set, available at firehouse12.com (http://firehouse12.com/) and (203) 785-0468.
Thollem’s Theorem of Myriad Music
Thollem McDonas (http://www.thollem.com/) , a perpetually travelling singer/songwriter/pianist, presents a solo piano performance of original music—an ecumenical mix of genres embracing everything from gamelan, Middle Eastern, and Ethiopian, to punk, blues, and jazz, at 8:00 pm on Saturday, October 18 at The Buttonwood Tree (http://www.buttonwood.org/) in Middletown.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/tollem_mc_0.jpg
For his concert, called “Thollem’s Myriad– Solo Piano Show,” McDonas spontaneously composes music that he hopes “stimulates the body, that’s sexy and athletic and revolutionary and spiritual and loving, and that will shake people awake, starting with me first.” Tickets: $10.00 at the door. Information: (860) 347-4957.
Please submit press releases on upcoming jazz events at least two weeks before the publication date to omac28@gmail.com (mailto:omac28@gmail.com) . Comments left below are also most welcome.
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall | WNPR News
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://wnpr.org/post/memoir-celebrates-northampton-s-legendary-iron-horse-music-hall
** Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall
————————————————————
It’s hard to imagine what the regional music scene would have been like over the past four decades without the invaluable, energizing force generated by The Iron Horse Music Hall, (http://www.iheg.com/iron_horse_main.asp) the small but mighty powerhouse of an entertainment center in Northampton, Massachusetts.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/jazz-calendar.jpg
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch10_1985_January_Suzanne-Vega.jpg
Ranging from Mose Allison (http://moseallison.com/) ’s sophisticated, ebullient musings to John (http://www.tzadik.com/) Zorn (http://www.tzadik.com/) ’s cerebral, atonal abstractions, The Horse, as it is affectionately known to its countless devotees, has presented legions of premier jazz, blues, folk, bluegrass, Celtic, Chicano, country, cutting-edge, honkytonk, Afro-Pop, fringe rock royals like Patti Smith and Lou Reed, New Age, and a variety of pop artists; offbeat comedians like Paula Poundstone and Steven Wright; and convention-defying poets ranging from Robert Bly to Allen Ginsberg; and the brilliant, gloriously unhinged Gonzo journalist Hunter S. Thompson.
With its intimate, resolutely unpretentious charm — an aura evocative of a classic 1950s Greenwich Village club magically transported to the Pioneer Valley — and its richly varied, exciting offerings, The Horse, right from the opening gate, became a centerpiece for the seductive image of Northampton as ultra-hip and happy, an open-minded, all-inclusive, politically progressive town or, perhaps, utopia crackling with a cornucopia of culture, cuisine and counter-cultural chic.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch5_Early-80s.jpg
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/1990s-2.jpg
The Iron Horse is at 20 Center Street, right down the street from Northampton’s vibrant Main Street, which has long been the antithesis of the homogenized, safely conformist small town American Main Street skewered by novelist Sinclair Lewis in his satirical Main Street, a classic spanking of the bourgeoisie.
Still on track, running full speed ahead, and lugging in culture and entertainment by the boxcar load, the magnetic Iron Horse attracts devoted audiences who love both the music and the offbeat aura of the venue’s digs. The clientele includes not just Pioneer Valley loyalists, but also a diverse array of devotees from throughout the region inspired to make the pilgrimage to The Iron Horse to experience the revivifying live music and Northampton’s unique ambience.
If you’re a jazz fan from Connecticut, you’ve probably made numerous trips to the Center Street shrine to sample its bountiful fare that has included, among countless giants, Stan Getz (http://www.stangetz.net/index.html) , Wynton Marsalis (http://wyntonmarsalis.org/) , Archie Shepp (http://www.archieshepp.net/) , Marion Brown (http://www.nytimes.com/2010/10/24/nyregion/24brown.html?_r=0) , Betty Carter (http://bettycarter.org/) , Cecil Taylor, McCoy Tyner (http://mccoytyner.com/) and Sun Ra (http://www.sunraarkestra.com/) , the mystical maestro from the planet Saturn, who, through some sort of intergalactic intervention, managed to cram his 18-piece orchestra onto The Horse’s tiny, stall-sized stage.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch24_Jordi_AfterExpansion_1990s.jpg
Similar blue-chip lists can just as readily be made for great blues and folk artists who have played there, plus a significant honor roll of performers who made early appearances at The Horse before their ascension to fame. Among these are pianist/composer Brad Mehldau (http://www.bradmehldau.com/) , West Hartford’s superb contribution to the international jazz scene, as well as the now legendary singer/songwriters Suzanne Vega (http://www.suzannevega.com/) , Shawn Colvin (http://www.shawncolvin.com/) and Mary Chapin Carpenter (http://www.marychapincarpenter.com/) .
As happens with many great music clubs—venues that necessarily live in the moment—the history of The Iron Horse’s formative years might well have passed unchronicled and into oblivion except for reviews and features scattered about in area newspapers, sources perhaps forever interred in digital morgues.
Thanks to the club’s visionary founder, Jordi Herold, The Horse now has a lavishly illustrated, anecdote-packed, tell-it-like-is history of its first 25 years permanently preserved in its own invaluable, new memoir, Positively Center Street: My 25 Years at The Iron Horse Music Hall, 1979-2004, (http://www.amazon.com/Positively-Center-Street-Years-1979-2004/dp/1937146537) co-written with journalist and music writer David Sokol and published by Levellers Press (http://www.levellerspress.com/) of Amherst, Massachusetts.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/shepp-cover.jpg
Initially, Herold thought he would write a modestly small, personal memoir that would serve as a legacy keepsake for his two daughters.
But fortunately, the final product resulting from 30 hours of taped interviews with Sokol has yielded a full-bodied, general audience book packed with Herold’s insightful memories of launching the club with his friend and partner, John Riley, on through its evolution from humble but homey coffeehouse to a celebrated, premier music hall.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/iheg-sign-copy.jpg
If you’re an Iron Horse fan, you’ll love Herold’s freewheeling, often humorous accounts of a never-ending cast of colorful characters, including performers and patrons, and his candid perspective on the profound challenges of running the business and keeping his miracle on Center Street afloat.
Yes, there is the enthralling romance of the place, its performers, concerts and even odd, funny, surprising happenings. There was the night, for example, that trumpet great Freddie Hubbard (http://www.freddiehubbardmusic.com/) went out the front door in the middle of a gig and never ever returned again — literally an out-of-sight performance.
There was the time Hunter Thompson’s antics added an off-stage mix of comic relief and panic. While finding neither fear nor loathing in Northampton, the prodigiously outrageous, gifted Thompson did manage to make a naked, young woman companion appear in his makeshift, basement level dressing room, and later, for no particular reason, attempted to set his trousers on fire with a cigarette lighter, all before showtime.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Hunter_S._Thompson%2C_1988_crop.jpg
You don’t have to be an Iron Horse true believer to enjoy Herold’s engaging riffs on people and the business, a free-flowing narrative that’s deftly knitted together by Sokol’s background info. The text is accompanied by an avalanche of memorabilia illustrating the club’s history through its first quarter century.
Included in the memoir’s museum’s worth of illustrated material are archival photographs of performers and the club’s evolving interior and exterior; calendars of all-star attractions to die for, old menus ($1.25 for a bottle of Michelob); flyers, press releases, correspondence, promos, reviews, and appreciations.
Even if you’ve never made the journey to the music mecca that Herold built and nurtured for its first quarter century, you might well be interested in the book itself as a good read. Its narrative reveals the mystery of how Herold’s vision or fantasy of running an ideal venue morphs from dreamy conception to shoestring operation to great, ongoing success. It’s a remarkable long distance run that Herold said for him was “exhilarating but exhausting,” an idealistic quest filled with financial challenges, among other Herculean labors in the Horse’s stable. Following his bliss as a concert producer with a room of his own to create in, brought Herold enormous personal fulfillment, but was, he confesses, a demanding path to take.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/1970-photos-1.jpg
“It was always financially, euphemistically, a balancing act,” Herrold said, “and sometimes it was just outright terrorizing for me.”
The club opened on February 24, 1979, as The Iron Horse Coffeehouse with a traditional Irish band, Clanjamfrey (http://clamjamfry.co.uk/index.html) , playing to a 60-seat house. This marked the genesis of Herold’s 15-year reign during which he was the inventive, hands-on owner of the club and its creative, imaginative booker (his own form of high art), until he sold The Horse in 1994. After a brief hiatus, Herold stepped back into the club’s action, returning under its present owner, Eric Suher, as its creative director and talent buyer, handling the booking until he officially retired from The Horse ten years ago in 2004.
Here’s how Sokol describes Herold’s Derek Jeter-like career stats in his run as a major league player at The Horse: “From the very start,” writes Sokol of the club’s early coffeehouse days, “The Iron Horse drew caffeine-hungry Smith professors, students, locals and colorful street people by day and music lovers of all genres by night. It was Jordi Herold’s vision that conjured up this scene.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch11_Jordi_Late-80s.jpg
“In the 25 years between 1979 and 2004 — give or take a couple after he sold the club in 1994 and before he was hired to book it for Eric Suher in 1995 — more than 8,500 shows were brought to the region under The Horse banner, most, though not all of them, at the club itself. The room, on an unassuming Northampton side street, became the heart of a cultural renaissance that rippled out from there, drawing hundreds of thousands of music lovers to its confines in the process.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Iron_Horse_Music_Hall%2C_Northampton_MA.jpg
While Herold, as memoirist, talks about his life and its virtual blood-bond with his livelihood, the Iron Horse itself is the main character in the narrative he spins fluently and conversationally, almost as if he’s chatting with you at the bar over a cold brew.
In its own uniquely free-spirited way, The Iron Horse’s wide-ranging fare early on helped provide an inspiring soundtrack for the cultural and social changes blowin’ in the wind for Northampton itself.
“In the early ’80s,” Sokol wrote putting the dynamic venue’s impact in historical context, “Northampton is in the process of morphing from Hamp to Noho, from being the old-school county seat into a ‘college town’ embodying the ethos of the intellectual world and the alternative culture taking root there.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Ch27_1989_WyntonMarsalis_-%C2%ACJimGipe.jpg
Part of what made it succeed may well have been Herold’s decision early on not to focus just on one single brand of music for The Horse, which, he always maintained, was meant to be “a listening room.”
“It’s not any one club,” he has explained. “It’s not a blues club, it’s not a rock club. It’s not a jazz club, it’s not a folk club.”
On the occasion of the club’s tenth anniversary in 1989, Herold spelled out his working credo in more detail, specifying what he, as a concert producer, wanted and what he disdained when booking acts for his club, which had expanded to 170 seats, and, Sokol writes, “became the heart of Northampton’s cultural renaissance.”
“All the bookings at The Horse, be they local or legendary,” Herold declared back then, “are bound by a single criterion, and that is that I must perceive a sense of veracity in the music. I have never booked entertainers and I try not to book icons. I look for people whose heart and soul, whose personal expression is in their music. People who are making a very specific statement.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Rory_Block.jpg
Even more specifically, he laid down these aesthetic commandments for booking acts: “Thus you’ll see Chicago blues bands, but no rock ‘n’ roll party bands; many singer/songwriters, but no Joni Mitchell girl strummers; many Celtic acts, but no green beer Danny Boys; cerebral comics, but no ‘guy in the bar’ humor: and emerging local talent, but only new artists searching for their own voices, not someone else’s.”
Sadly, a number of really fine venues like The Horse come and go, leaving behind fond but fading memories, with nothing substantial to document their historic legacy. Invaluable pieces of local cultural history virtually vanish because they are not chronicled. Think, for example, of how Hartford’s once glorious jazz club scene in the city’s North End in the 1940s and ’50s never had a historian to preserve its vanishing legacy with a book like Positively Center Street, an anchor in time’s relentless tide.
Not only does Positively Center Street preserve and celebrate a vital, 25-year slice of cultural history for our region, but it’s also an amusing, informative entertainment in and of itself. It offers a nostalgic trip down memory lane for older fans, and maybe even opens up an inviting gateway for newcomers to the storied little Iron Horse that could.
Herold chats about his book at 7:00 pm on November 6 at Hartford’s Real Art Ways. Copies will be available for sale and signing. Admission: free. Information: realartways.org (http://realartways.org/) .
Pride’s Germinating Quartet
Mike Pride, (http://mikepride.com/) a resilient, genre-bending drummer/composer, leads his oddly named quartet, From Bacteria to Boys, at 8:30 and 10:00 pm on Friday, October 17, at New Haven’s Firehouse 12.
With himself on drums and glockenspiel, his germinating group includes saxophonist Jon Irabagon (http://www.jonirabagon.com/) , pianist Alexis Marcelo and bassist Peter Bitenc. Tickets: $20.00 first set; $15.00 second set, available at firehouse12.com (http://firehouse12.com/) and (203) 785-0468.
Thollem’s Theorem of Myriad Music
Thollem McDonas (http://www.thollem.com/) , a perpetually travelling singer/songwriter/pianist, presents a solo piano performance of original music—an ecumenical mix of genres embracing everything from gamelan, Middle Eastern, and Ethiopian, to punk, blues, and jazz, at 8:00 pm on Saturday, October 18 at The Buttonwood Tree (http://www.buttonwood.org/) in Middletown.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/tollem_mc_0.jpg
For his concert, called “Thollem’s Myriad– Solo Piano Show,” McDonas spontaneously composes music that he hopes “stimulates the body, that’s sexy and athletic and revolutionary and spiritual and loving, and that will shake people awake, starting with me first.” Tickets: $10.00 at the door. Information: (860) 347-4957.
Please submit press releases on upcoming jazz events at least two weeks before the publication date to omac28@gmail.com (mailto:omac28@gmail.com) . Comments left below are also most welcome.
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Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall | WNPR News
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** Memoir Celebrates Northampton’s Legendary Iron Horse Music Hall
————————————————————
It’s hard to imagine what the regional music scene would have been like over the past four decades without the invaluable, energizing force generated by The Iron Horse Music Hall, (http://www.iheg.com/iron_horse_main.asp) the small but mighty powerhouse of an entertainment center in Northampton, Massachusetts.
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Ranging from Mose Allison (http://moseallison.com/) ’s sophisticated, ebullient musings to John (http://www.tzadik.com/) Zorn (http://www.tzadik.com/) ’s cerebral, atonal abstractions, The Horse, as it is affectionately known to its countless devotees, has presented legions of premier jazz, blues, folk, bluegrass, Celtic, Chicano, country, cutting-edge, honkytonk, Afro-Pop, fringe rock royals like Patti Smith and Lou Reed, New Age, and a variety of pop artists; offbeat comedians like Paula Poundstone and Steven Wright; and convention-defying poets ranging from Robert Bly to Allen Ginsberg; and the brilliant, gloriously unhinged Gonzo journalist Hunter S. Thompson.
With its intimate, resolutely unpretentious charm — an aura evocative of a classic 1950s Greenwich Village club magically transported to the Pioneer Valley — and its richly varied, exciting offerings, The Horse, right from the opening gate, became a centerpiece for the seductive image of Northampton as ultra-hip and happy, an open-minded, all-inclusive, politically progressive town or, perhaps, utopia crackling with a cornucopia of culture, cuisine and counter-cultural chic.
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The Iron Horse is at 20 Center Street, right down the street from Northampton’s vibrant Main Street, which has long been the antithesis of the homogenized, safely conformist small town American Main Street skewered by novelist Sinclair Lewis in his satirical Main Street, a classic spanking of the bourgeoisie.
Still on track, running full speed ahead, and lugging in culture and entertainment by the boxcar load, the magnetic Iron Horse attracts devoted audiences who love both the music and the offbeat aura of the venue’s digs. The clientele includes not just Pioneer Valley loyalists, but also a diverse array of devotees from throughout the region inspired to make the pilgrimage to The Iron Horse to experience the revivifying live music and Northampton’s unique ambience.
If you’re a jazz fan from Connecticut, you’ve probably made numerous trips to the Center Street shrine to sample its bountiful fare that has included, among countless giants, Stan Getz (http://www.stangetz.net/index.html) , Wynton Marsalis (http://wyntonmarsalis.org/) , Archie Shepp (http://www.archieshepp.net/) , Marion Brown (http://www.nytimes.com/2010/10/24/nyregion/24brown.html?_r=0) , Betty Carter (http://bettycarter.org/) , Cecil Taylor, McCoy Tyner (http://mccoytyner.com/) and Sun Ra (http://www.sunraarkestra.com/) , the mystical maestro from the planet Saturn, who, through some sort of intergalactic intervention, managed to cram his 18-piece orchestra onto The Horse’s tiny, stall-sized stage.
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Similar blue-chip lists can just as readily be made for great blues and folk artists who have played there, plus a significant honor roll of performers who made early appearances at The Horse before their ascension to fame. Among these are pianist/composer Brad Mehldau (http://www.bradmehldau.com/) , West Hartford’s superb contribution to the international jazz scene, as well as the now legendary singer/songwriters Suzanne Vega (http://www.suzannevega.com/) , Shawn Colvin (http://www.shawncolvin.com/) and Mary Chapin Carpenter (http://www.marychapincarpenter.com/) .
As happens with many great music clubs—venues that necessarily live in the moment—the history of The Iron Horse’s formative years might well have passed unchronicled and into oblivion except for reviews and features scattered about in area newspapers, sources perhaps forever interred in digital morgues.
Thanks to the club’s visionary founder, Jordi Herold, The Horse now has a lavishly illustrated, anecdote-packed, tell-it-like-is history of its first 25 years permanently preserved in its own invaluable, new memoir, Positively Center Street: My 25 Years at The Iron Horse Music Hall, 1979-2004, (http://www.amazon.com/Positively-Center-Street-Years-1979-2004/dp/1937146537) co-written with journalist and music writer David Sokol and published by Levellers Press (http://www.levellerspress.com/) of Amherst, Massachusetts.
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Initially, Herold thought he would write a modestly small, personal memoir that would serve as a legacy keepsake for his two daughters.
But fortunately, the final product resulting from 30 hours of taped interviews with Sokol has yielded a full-bodied, general audience book packed with Herold’s insightful memories of launching the club with his friend and partner, John Riley, on through its evolution from humble but homey coffeehouse to a celebrated, premier music hall.
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If you’re an Iron Horse fan, you’ll love Herold’s freewheeling, often humorous accounts of a never-ending cast of colorful characters, including performers and patrons, and his candid perspective on the profound challenges of running the business and keeping his miracle on Center Street afloat.
Yes, there is the enthralling romance of the place, its performers, concerts and even odd, funny, surprising happenings. There was the night, for example, that trumpet great Freddie Hubbard (http://www.freddiehubbardmusic.com/) went out the front door in the middle of a gig and never ever returned again — literally an out-of-sight performance.
There was the time Hunter Thompson’s antics added an off-stage mix of comic relief and panic. While finding neither fear nor loathing in Northampton, the prodigiously outrageous, gifted Thompson did manage to make a naked, young woman companion appear in his makeshift, basement level dressing room, and later, for no particular reason, attempted to set his trousers on fire with a cigarette lighter, all before showtime.
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You don’t have to be an Iron Horse true believer to enjoy Herold’s engaging riffs on people and the business, a free-flowing narrative that’s deftly knitted together by Sokol’s background info. The text is accompanied by an avalanche of memorabilia illustrating the club’s history through its first quarter century.
Included in the memoir’s museum’s worth of illustrated material are archival photographs of performers and the club’s evolving interior and exterior; calendars of all-star attractions to die for, old menus ($1.25 for a bottle of Michelob); flyers, press releases, correspondence, promos, reviews, and appreciations.
Even if you’ve never made the journey to the music mecca that Herold built and nurtured for its first quarter century, you might well be interested in the book itself as a good read. Its narrative reveals the mystery of how Herold’s vision or fantasy of running an ideal venue morphs from dreamy conception to shoestring operation to great, ongoing success. It’s a remarkable long distance run that Herold said for him was “exhilarating but exhausting,” an idealistic quest filled with financial challenges, among other Herculean labors in the Horse’s stable. Following his bliss as a concert producer with a room of his own to create in, brought Herold enormous personal fulfillment, but was, he confesses, a demanding path to take.
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“It was always financially, euphemistically, a balancing act,” Herrold said, “and sometimes it was just outright terrorizing for me.”
The club opened on February 24, 1979, as The Iron Horse Coffeehouse with a traditional Irish band, Clanjamfrey (http://clamjamfry.co.uk/index.html) , playing to a 60-seat house. This marked the genesis of Herold’s 15-year reign during which he was the inventive, hands-on owner of the club and its creative, imaginative booker (his own form of high art), until he sold The Horse in 1994. After a brief hiatus, Herold stepped back into the club’s action, returning under its present owner, Eric Suher, as its creative director and talent buyer, handling the booking until he officially retired from The Horse ten years ago in 2004.
Here’s how Sokol describes Herold’s Derek Jeter-like career stats in his run as a major league player at The Horse: “From the very start,” writes Sokol of the club’s early coffeehouse days, “The Iron Horse drew caffeine-hungry Smith professors, students, locals and colorful street people by day and music lovers of all genres by night. It was Jordi Herold’s vision that conjured up this scene.”
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“In the 25 years between 1979 and 2004 — give or take a couple after he sold the club in 1994 and before he was hired to book it for Eric Suher in 1995 — more than 8,500 shows were brought to the region under The Horse banner, most, though not all of them, at the club itself. The room, on an unassuming Northampton side street, became the heart of a cultural renaissance that rippled out from there, drawing hundreds of thousands of music lovers to its confines in the process.”
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While Herold, as memoirist, talks about his life and its virtual blood-bond with his livelihood, the Iron Horse itself is the main character in the narrative he spins fluently and conversationally, almost as if he’s chatting with you at the bar over a cold brew.
In its own uniquely free-spirited way, The Iron Horse’s wide-ranging fare early on helped provide an inspiring soundtrack for the cultural and social changes blowin’ in the wind for Northampton itself.
“In the early ’80s,” Sokol wrote putting the dynamic venue’s impact in historical context, “Northampton is in the process of morphing from Hamp to Noho, from being the old-school county seat into a ‘college town’ embodying the ethos of the intellectual world and the alternative culture taking root there.”
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Part of what made it succeed may well have been Herold’s decision early on not to focus just on one single brand of music for The Horse, which, he always maintained, was meant to be “a listening room.”
“It’s not any one club,” he has explained. “It’s not a blues club, it’s not a rock club. It’s not a jazz club, it’s not a folk club.”
On the occasion of the club’s tenth anniversary in 1989, Herold spelled out his working credo in more detail, specifying what he, as a concert producer, wanted and what he disdained when booking acts for his club, which had expanded to 170 seats, and, Sokol writes, “became the heart of Northampton’s cultural renaissance.”
“All the bookings at The Horse, be they local or legendary,” Herold declared back then, “are bound by a single criterion, and that is that I must perceive a sense of veracity in the music. I have never booked entertainers and I try not to book icons. I look for people whose heart and soul, whose personal expression is in their music. People who are making a very specific statement.”
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/Rory_Block.jpg
Even more specifically, he laid down these aesthetic commandments for booking acts: “Thus you’ll see Chicago blues bands, but no rock ‘n’ roll party bands; many singer/songwriters, but no Joni Mitchell girl strummers; many Celtic acts, but no green beer Danny Boys; cerebral comics, but no ‘guy in the bar’ humor: and emerging local talent, but only new artists searching for their own voices, not someone else’s.”
Sadly, a number of really fine venues like The Horse come and go, leaving behind fond but fading memories, with nothing substantial to document their historic legacy. Invaluable pieces of local cultural history virtually vanish because they are not chronicled. Think, for example, of how Hartford’s once glorious jazz club scene in the city’s North End in the 1940s and ’50s never had a historian to preserve its vanishing legacy with a book like Positively Center Street, an anchor in time’s relentless tide.
Not only does Positively Center Street preserve and celebrate a vital, 25-year slice of cultural history for our region, but it’s also an amusing, informative entertainment in and of itself. It offers a nostalgic trip down memory lane for older fans, and maybe even opens up an inviting gateway for newcomers to the storied little Iron Horse that could.
Herold chats about his book at 7:00 pm on November 6 at Hartford’s Real Art Ways. Copies will be available for sale and signing. Admission: free. Information: realartways.org (http://realartways.org/) .
Pride’s Germinating Quartet
Mike Pride, (http://mikepride.com/) a resilient, genre-bending drummer/composer, leads his oddly named quartet, From Bacteria to Boys, at 8:30 and 10:00 pm on Friday, October 17, at New Haven’s Firehouse 12.
With himself on drums and glockenspiel, his germinating group includes saxophonist Jon Irabagon (http://www.jonirabagon.com/) , pianist Alexis Marcelo and bassist Peter Bitenc. Tickets: $20.00 first set; $15.00 second set, available at firehouse12.com (http://firehouse12.com/) and (203) 785-0468.
Thollem’s Theorem of Myriad Music
Thollem McDonas (http://www.thollem.com/) , a perpetually travelling singer/songwriter/pianist, presents a solo piano performance of original music—an ecumenical mix of genres embracing everything from gamelan, Middle Eastern, and Ethiopian, to punk, blues, and jazz, at 8:00 pm on Saturday, October 18 at The Buttonwood Tree (http://www.buttonwood.org/) in Middletown.
http://mediad.publicbroadcasting.net/p/wnpr/files/201410/tollem_mc_0.jpg
For his concert, called “Thollem’s Myriad– Solo Piano Show,” McDonas spontaneously composes music that he hopes “stimulates the body, that’s sexy and athletic and revolutionary and spiritual and loving, and that will shake people awake, starting with me first.” Tickets: $10.00 at the door. Information: (860) 347-4957.
Please submit press releases on upcoming jazz events at least two weeks before the publication date to omac28@gmail.com (mailto:omac28@gmail.com) . Comments left below are also most welcome.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6872baa77e) | 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=6872baa77e&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
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** JINGLE BELL ROCKS!
————————————————————
is a trippy, cinematic sleighride into the strange and sublime universe of alternative and underground Christmas music, featuring The Flaming Lips, Run-DMC, The Free Design, Low, Miles Davis & Bob Dorough, Clarence Carter, John Waters, Akim & The Teddy Vann Prod. Co., The Mighty Sparrow, A Girl Called Eddy, El Vez and many more. FIND OUT MORE (http://jinglebellrocks.com/about-the-film)
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jingle Bell Rocks Trailer HD on Vimeo
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
** JINGLE BELL ROCKS!
————————————————————
is a trippy, cinematic sleighride into the strange and sublime universe of alternative and underground Christmas music, featuring The Flaming Lips, Run-DMC, The Free Design, Low, Miles Davis & Bob Dorough, Clarence Carter, John Waters, Akim & The Teddy Vann Prod. Co., The Mighty Sparrow, A Girl Called Eddy, El Vez and many more. FIND OUT MORE (http://jinglebellrocks.com/about-the-film)
http://vimeo.com/78113050
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=63bc884122) | 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=63bc884122&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA