Author: Bash Daily Group Archive Feed
Bluetooth Gramophone
http://www.jazzpromoservices.com/
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Introducing the world’s first Bluetooth Gramophone by Gramovox: http://gramovox.com/
The functional device beautifully marries old and new to bring to life the bold design and authentic, vintage sound of 1920s gramophones. The Gramovox streams nostalgia as makes classic jazz sound the way it should.
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Bluetooth Gramophone
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
Introducing the world’s first Bluetooth Gramophone by Gramovox: http://gramovox.com/
The functional device beautifully marries old and new to bring to life the bold design and authentic, vintage sound of 1920s gramophones. The Gramovox streams nostalgia as makes classic jazz sound the way it should.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2249d65ac0) | 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=2249d65ac0&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Bluetooth Gramophone
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
Introducing the world’s first Bluetooth Gramophone by Gramovox: http://gramovox.com/
The functional device beautifully marries old and new to bring to life the bold design and authentic, vintage sound of 1920s gramophones. The Gramovox streams nostalgia as makes classic jazz sound the way it should.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2249d65ac0) | 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=2249d65ac0&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
The Institute of Jazz Studies is presenting our first concert in our 2014-15 concert season called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:
Tuesday, October 14, 2014, 2-4 pm
Kazzrie Jaxen Quartet
Kazzrie Jaxen (formerly known as Liz Gorrill) is an improvising pianist, vocalist, teacher, and composer. Known for her playful exuberance, originality, virtuosity, and ability to transport an audience, her musical expression ranges from free improvisation to jazz standards, from original songs to vibrational journeys into the dreamtime. She has recorded for the Jazz Records and New Artists labels, as well as independently. The quartet consists of Jaxen on piano, Charley Krachy (tenor sax), Don Messina (bass), and Bill Chattin (drums). For more information on Ms. Jaxen and the quartet go to the following website: http://www.kazzriejaxenquartet.com/index/.
For directions to Rutgers:
—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
The Institute of Jazz Studies is presenting our first concert in our 2014-15 concert season called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:
Tuesday, October 14, 2014, 2-4 pm
Kazzrie Jaxen Quartet
Kazzrie Jaxen (formerly known as Liz Gorrill) is an improvising pianist, vocalist, teacher, and composer. Known for her playful exuberance, originality, virtuosity, and ability to transport an audience, her musical expression ranges from free improvisation to jazz standards, from original songs to vibrational journeys into the dreamtime. She has recorded for the Jazz Records and New Artists labels, as well as independently. The quartet consists of Jaxen on piano, Charley Krachy (tenor sax), Don Messina (bass), and Bill Chattin (drums). For more information on Ms. Jaxen and the quartet go to the following website: http://www.kazzriejaxenquartet.com/index/.
For directions to Rutgers:
—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
Free Concert at Rutgers-Newark featuring Kazzrie Jaxen, 10-14-14
The Institute of Jazz Studies is presenting our first concert in our 2014-15 concert season called: Jazz Piano: Contemporary Currents. The concert is free and takes place from 2-4 PM in the Dana Room on the fourth floor of the John Cotton Dana Library on the Rutgers-Newark campus. So please join us for the following:
Tuesday, October 14, 2014, 2-4 pm
Kazzrie Jaxen Quartet
Kazzrie Jaxen (formerly known as Liz Gorrill) is an improvising pianist, vocalist, teacher, and composer. Known for her playful exuberance, originality, virtuosity, and ability to transport an audience, her musical expression ranges from free improvisation to jazz standards, from original songs to vibrational journeys into the dreamtime. She has recorded for the Jazz Records and New Artists labels, as well as independently. The quartet consists of Jaxen on piano, Charley Krachy (tenor sax), Don Messina (bass), and Bill Chattin (drums). For more information on Ms. Jaxen and the quartet go to the following website: http://www.kazzriejaxenquartet.com/index/.
For directions to Rutgers:
—
Vincent Pelote
Interim Director
Institute of Jazz Studies
Rutgers University
Dana Library
185 University Avenue
Newark, NJ 07102
phone: 973-353-5595
email: pelote@rulmail.rutgers.edu (mailto:pelote@rulmail.rutgers.edu)
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Al Caiola Celebrates His 94th @ Frank Vignola’s Guitar Night @ The Cutting Room
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The great guitarist Al Caiola celebrated his 94th birthday last night to a packed house at Frank Vignola’s Guitar Night @ The Cutting Room Monday, September 29th.
The featured guitarists were: Frank Vignola, Vinny Raniolo, Bucky Pizzarelli, Julian Lage, 23 year old Finiish guitar sensation Olli Soikkeli and special guests Al Caiola, Gene Bertoncini & Julian Lage.
Also in the house was the great studio guitarist Al Casamenti and former Miles Davis guitarist Reggie Lucas.
You Can view my pics HERE (https://www.facebook.com/JimEigo) .
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Al Caiola Celebrates His 94th @ Frank Vignola’s Guitar Night @ The Cutting Room
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
The great guitarist Al Caiola celebrated his 94th birthday last night to a packed house at Frank Vignola’s Guitar Night @ The Cutting Room Monday, September 29th.
The featured guitarists were: Frank Vignola, Vinny Raniolo, Bucky Pizzarelli, Julian Lage, 23 year old Finiish guitar sensation Olli Soikkeli and special guests Al Caiola, Gene Bertoncini & Julian Lage.
Also in the house was the great studio guitarist Al Casamenti and former Miles Davis guitarist Reggie Lucas.
You Can view my pics HERE (https://www.facebook.com/JimEigo) .
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Al Caiola Celebrates His 94th @ Frank Vignola’s Guitar Night @ The Cutting Room
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
The great guitarist Al Caiola celebrated his 94th birthday last night to a packed house at Frank Vignola’s Guitar Night @ The Cutting Room Monday, September 29th.
The featured guitarists were: Frank Vignola, Vinny Raniolo, Bucky Pizzarelli, Julian Lage, 23 year old Finiish guitar sensation Olli Soikkeli and special guests Al Caiola, Gene Bertoncini & Julian Lage.
Also in the house was the great studio guitarist Al Casamenti and former Miles Davis guitarist Reggie Lucas.
You Can view my pics HERE (https://www.facebook.com/JimEigo) .
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Midday Jazz @ Saint Peter’s: October 2014
http://www.jazzpromoservices.com/
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FALL
2014 ISSUE
No. 5
MIDDAY JAZZ MIDTOWN
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Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
OCTOBER 2014
Wednesday, October 1, 1:00 p.m.
A TRIBUTE TO GEORGE SHEARING with Warren Chiasson, vibes; and Rio Clemente, piano
Wednesday, October 8, 1:00 p.m.
KYLE ATHAYDE BIG BAND
Wednesday, October 15, 1:00 p.m.
PETER AND WILL ANDERSON TRIO with Peter Anderson, sax and clarinet; Will Anderson, sax, clarinet, and flute; and Alex Wintz, guitar
Wednesday, October 22, 1:00 p.m.
SONGS OF HARRY WARREN with Jay Clayton, vocal; and John DiMartino, piano
Wednesday, October 29, 1:00 p.m.
ALEX LEONARD with Alex Leonard, voice and piano; Jay Leonhart, bass; and Al Gafa, guitar
http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi
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Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
http://www.saintpeters.org (http://r20.rs6.net/tn.jsp?f=0011pb1b814AvDzWSvt3J78yNmqQvbszmkcMOJrB8JwEepXcCk6n5dmvZKHUWiLVSkRQztSnmQ-5GzCCoNlxgoFdGtv46iX_TH6qvh-kBOpLJ6GYGeCPJIwUD1evAPEzmNvjRi9tI-YEEuOoh-rKMuNwIx3DXvb3tIhEFpHT1aJxzo=&c=SjUgNY8Q0AEvm2ZtIRCejtQgAXVMCBxUB50DXuYdLmEkbFH60_sjBQ==&ch=IQ3Yt_V8CrT7xsiaAvan5Sq4pEvdZ7S6pQIlc0I0nqZSwhMvZYzJuw==)
Copyright © 2014. All Rights Reserved.
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Saint Peter’s Church | 619 Lexington Avenue | New York | NY | 10022
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Midday Jazz @ Saint Peter’s: October 2014
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FALL
2014 ISSUE
No. 5
MIDDAY JAZZ MIDTOWN
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Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
OCTOBER 2014
Wednesday, October 1, 1:00 p.m.
A TRIBUTE TO GEORGE SHEARING with Warren Chiasson, vibes; and Rio Clemente, piano
Wednesday, October 8, 1:00 p.m.
KYLE ATHAYDE BIG BAND
Wednesday, October 15, 1:00 p.m.
PETER AND WILL ANDERSON TRIO with Peter Anderson, sax and clarinet; Will Anderson, sax, clarinet, and flute; and Alex Wintz, guitar
Wednesday, October 22, 1:00 p.m.
SONGS OF HARRY WARREN with Jay Clayton, vocal; and John DiMartino, piano
Wednesday, October 29, 1:00 p.m.
ALEX LEONARD with Alex Leonard, voice and piano; Jay Leonhart, bass; and Al Gafa, guitar
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FALL
2014 ISSUE
No. 5
MIDDAY JAZZ MIDTOWN
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Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
OCTOBER 2014
Wednesday, October 1, 1:00 p.m.
A TRIBUTE TO GEORGE SHEARING with Warren Chiasson, vibes; and Rio Clemente, piano
Wednesday, October 8, 1:00 p.m.
KYLE ATHAYDE BIG BAND
Wednesday, October 15, 1:00 p.m.
PETER AND WILL ANDERSON TRIO with Peter Anderson, sax and clarinet; Will Anderson, sax, clarinet, and flute; and Alex Wintz, guitar
Wednesday, October 22, 1:00 p.m.
SONGS OF HARRY WARREN with Jay Clayton, vocal; and John DiMartino, piano
Wednesday, October 29, 1:00 p.m.
ALEX LEONARD with Alex Leonard, voice and piano; Jay Leonhart, bass; and Al Gafa, guitar
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Jazz at Saint Peter’s
619 Lexington Ave @ 54th Street
212-935-2200
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BBC News – Annie Lennox ‘pushes boundaries’ with jazz album
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** Annie Lennox ‘pushes boundaries’ with jazz album
————————————————————
By Kev GeogheganArts and entertainment reporter, BBC News
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Annie Lennox: “It’s nostalgia but it is new for me”
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** Related Stories
————————————————————
* Strange Fruit: An enduring protest (http://www.bbc.com/news/entertainment-arts-25034438)
As she approaches her 60th birthday, singer Annie Lennox looks back on her career and says the classic songs she tackles in her latest album are as relevant now as they were when they were recorded during the US civil rights era.
As an artist, Annie Lennox needs no introduction. With record sales across her five-decade career, first with The Tourists and Eurythmics and then as a solo artist, hovering somewhere around the 80 million mark, the figures speak for themselves.
Then there are the awards, recognised eight times by the Brits, four times at the Grammys, not to mention the Golden Globe and Oscar for the song Into the West from the final Lord of the Rings film.
In 2011, Lennox was appointed an OBE for her “tireless charity campaigns and championing of humanitarian causes”.
She has sung with David Bowie, Al Green, Alicia Keys, Chrissie Hyde and Aretha Franklin.
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Annie Lennox: “If you have a young audience and you are overtly sexual that is troubling”
Her new album Nostalgia sees the singer move out of her comfort zone a into a genre which she had, until now, never attempted – jazz.
“I’ve never sung in this genre before and when you’re an artist you tend to get labelled, you get categorized and put in a little box and people think this is who you are,” she explains ahead of the launch of her new covers album.
“I always like to push my boundaries and I think if I repeat what I’ve done over the years, I’ve never found that interesting. The challenge for me is to interpret because you can easily in a short space of time just sing a song and record it and there it is.
“But I really wanted to explore them and to reinterpret them musically.”
Nostalgia – which is being released on vinyl in the US under the legendary jazz label Blue Note – digs deep into the musical crate of history and comes up with standards including Summertime, God Bless the Child and I Cover The Waterfront.
The songs came as something of a surprise to Lennox, who admits she has never been a jazz aficionado.
She discovered the roots of the music lay in the early Mississippi Delta blues, the same blues that influenced the soul and R&B that formed her musical taste during her childhood in Aberdeen.
“In the north east of Scotland back in the day when I was a 14-year-old hearing Tamla and Motown, there’s this whole lineage of music that has nothing to do with my own culture that deeply affected me so I’m getting that vibe again through these songs, it’s just been joyful.”
Billie Holiday performs Strange Fruit in 1939 Billie Holiday performs Strange Fruit in 1939
Among some of the lesser known songs such as Harry Warren and Al Dublin’s September In The Rain and Memphis In June, are songs like Georgia On My Mind, famously recorded by Ray Charles, and I Put A Spell on You.
Nina Simone recorded what, for many, is the definitive version of that song in 1965. But was written and originally sung by Screamin’ Jay Hawkins nearly 10 years earlier in 1956.
Lennox says: “I have to put all the other versions out of my mind because otherwise you’d be feeling so afraid and nervous, so I tried to look at the songs as though I had never heard them before.
“It’s a funny thing, people’s tastes in music. I know what I respond to but I don’t know what someone else will like, you have to work on what resonates for you.”
A standout track, one which sees a shift in tone in the record, is Lennox’s haunting cover of Strange Fruit.
The song, made famous by Billie Holiday (https://www.youtube.com/watch?v=h4ZyuULy9zs) in 1939, protested against racism in America, specifically the lynching of African-Americans in the Deep South.
Seventy-five years later, the lynching may have stopped but recent protests in Ferguson, Missouri, over the police shooting of an unarmed black teenager shows that black communities still feel disenfranchised and oppressed.
“I realised the fundamental message that is going through these songs is as relevant today as it ever was,” says Lennox.
“A song like Strange Fruit, you can’t just go there and sing it, it’s a dark song, it’s addressing the issue of lynching in the deep south. But the issue of racism, the issue of violence of man’s inhumanity towards our common brotherhood, is as relevant today as it ever was.”
Annie Lennox Lennox, as one half of Eurythmics, along with Dave Stewart, recorded hit songs like Sweet Dreams (Are Made Of This) and Love Is A Stranger
Central to the album, Lennox’s sixth solo effort, is her distinctive voice. Undimmed through the years, it is a voice which has seen her celebrated throughout her career and earned her a place in Rolling Stone’s top 100 singers of all time.
“The voice reflects the state that you’re in,” says Lennox. “So when you’re very young, you’re full of this freshness and you don’t have the experience of life. It’s like a whisky, the older you get, is this kind of seasoned thing which you can’t put into words.”
Lennox will turn 60 on Christmas day this year, she admits that as she reaches this milestone age, it feels time to take stock of her career.
“Career is a strange word because a career is a way to look at a life lived through music and there’s the perception of what people see of you and the circumstances behind it so it’s mixed in together so I can’t really separate life and career and work and music.”
“I’ve dipped in and out, I worked over two decades in the 70s and 80s and, in the early 90s, I had children so I wanted to take a step back from touring and making albums with Eurythmics. It was very intense and creative but I got to the point where I thought I needed to be a human being again and step away from the circus.
‘Kids need to be protected’
“I’ve done that through my life many times. I’m grateful because I think it is a milestone to look at 60 and see you’ve survived.”
Lennox admits the new album was recorded as much for posterity as for any creative reason though she hopes it will also inspire other older artists in the same way she was inspired in recent years by artists like Tina Turner.
“I’m a female artist that’s making music that’s resonant for people still, and that’s a good thing and maybe it means other female artists can say there’s a chance to still be relevant in that way.
Recently Lennox – who has two grown-up daughters – turned her attention to the growing sexualisation of the music industry, particularly in reference to young female singers.
Last year, following an open letter which Sinead O’Connor wrote to former Disney star turned wild child Miley Cyrus, Lennox took to Facebook (https://www.facebook.com/photo.php?fbid=10151886512349589&set=a.10150674901984589.419727.6216464588&type=1&theater) to voice her own opinion, saying she was “disturbed and dismayed by the recent spate of overtly sexualised performances and videos”.
The government and the British Board of Film Classification recently announced a voluntary age rating system (http://www.bbc.co.uk/newsbeat/28838822) for music videos posted online but Lennon is yet to be convinced that the subject is being tackled effectively.
“When something sells and people want it, then of course, its going to sell. But that’s not the point, sexuality is not the point, the point is the context because if you have a young audience, seven year-olds or 12 year-olds and you’re overtly sexual, that’s troubling, that’s disturbing.”
“When I was younger I wasn’t a parent, then I became one and saw it from a different perspective and I do think that young kids need to be protected. We need to have that discussion that says ‘How do we address this?’
“I’m not against sexuality, I’m very open minded but these young performers with young audiences, I don’t think its appropriate.”
Nostalgia is released in the UK on 27 October.
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BBC News – Annie Lennox ‘pushes boundaries’ with jazz album
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http://www.bbc.com/news/entertainment-arts-29129566
** Annie Lennox ‘pushes boundaries’ with jazz album
————————————————————
By Kev GeogheganArts and entertainment reporter, BBC News
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Annie Lennox: “It’s nostalgia but it is new for me”
Continue reading the main story (http://www.bbc.com/news/entertainment-arts-29129566#story_continues_1)
** Related Stories
————————————————————
* Strange Fruit: An enduring protest (http://www.bbc.com/news/entertainment-arts-25034438)
As she approaches her 60th birthday, singer Annie Lennox looks back on her career and says the classic songs she tackles in her latest album are as relevant now as they were when they were recorded during the US civil rights era.
As an artist, Annie Lennox needs no introduction. With record sales across her five-decade career, first with The Tourists and Eurythmics and then as a solo artist, hovering somewhere around the 80 million mark, the figures speak for themselves.
Then there are the awards, recognised eight times by the Brits, four times at the Grammys, not to mention the Golden Globe and Oscar for the song Into the West from the final Lord of the Rings film.
In 2011, Lennox was appointed an OBE for her “tireless charity campaigns and championing of humanitarian causes”.
She has sung with David Bowie, Al Green, Alicia Keys, Chrissie Hyde and Aretha Franklin.
Jump media player ()
Media player help (http://www.bbc.co.uk/faqs/online/mp_accessibility_help)
Out of media player. Press enter to return or tab to continue. (http://www.bbc.com/news/entertainment-arts-29129566#afterFlash)
Annie Lennox: “If you have a young audience and you are overtly sexual that is troubling”
Her new album Nostalgia sees the singer move out of her comfort zone a into a genre which she had, until now, never attempted – jazz.
“I’ve never sung in this genre before and when you’re an artist you tend to get labelled, you get categorized and put in a little box and people think this is who you are,” she explains ahead of the launch of her new covers album.
“I always like to push my boundaries and I think if I repeat what I’ve done over the years, I’ve never found that interesting. The challenge for me is to interpret because you can easily in a short space of time just sing a song and record it and there it is.
“But I really wanted to explore them and to reinterpret them musically.”
Nostalgia – which is being released on vinyl in the US under the legendary jazz label Blue Note – digs deep into the musical crate of history and comes up with standards including Summertime, God Bless the Child and I Cover The Waterfront.
The songs came as something of a surprise to Lennox, who admits she has never been a jazz aficionado.
She discovered the roots of the music lay in the early Mississippi Delta blues, the same blues that influenced the soul and R&B that formed her musical taste during her childhood in Aberdeen.
“In the north east of Scotland back in the day when I was a 14-year-old hearing Tamla and Motown, there’s this whole lineage of music that has nothing to do with my own culture that deeply affected me so I’m getting that vibe again through these songs, it’s just been joyful.”
Billie Holiday performs Strange Fruit in 1939 Billie Holiday performs Strange Fruit in 1939
Among some of the lesser known songs such as Harry Warren and Al Dublin’s September In The Rain and Memphis In June, are songs like Georgia On My Mind, famously recorded by Ray Charles, and I Put A Spell on You.
Nina Simone recorded what, for many, is the definitive version of that song in 1965. But was written and originally sung by Screamin’ Jay Hawkins nearly 10 years earlier in 1956.
Lennox says: “I have to put all the other versions out of my mind because otherwise you’d be feeling so afraid and nervous, so I tried to look at the songs as though I had never heard them before.
“It’s a funny thing, people’s tastes in music. I know what I respond to but I don’t know what someone else will like, you have to work on what resonates for you.”
A standout track, one which sees a shift in tone in the record, is Lennox’s haunting cover of Strange Fruit.
The song, made famous by Billie Holiday (https://www.youtube.com/watch?v=h4ZyuULy9zs) in 1939, protested against racism in America, specifically the lynching of African-Americans in the Deep South.
Seventy-five years later, the lynching may have stopped but recent protests in Ferguson, Missouri, over the police shooting of an unarmed black teenager shows that black communities still feel disenfranchised and oppressed.
“I realised the fundamental message that is going through these songs is as relevant today as it ever was,” says Lennox.
“A song like Strange Fruit, you can’t just go there and sing it, it’s a dark song, it’s addressing the issue of lynching in the deep south. But the issue of racism, the issue of violence of man’s inhumanity towards our common brotherhood, is as relevant today as it ever was.”
Annie Lennox Lennox, as one half of Eurythmics, along with Dave Stewart, recorded hit songs like Sweet Dreams (Are Made Of This) and Love Is A Stranger
Central to the album, Lennox’s sixth solo effort, is her distinctive voice. Undimmed through the years, it is a voice which has seen her celebrated throughout her career and earned her a place in Rolling Stone’s top 100 singers of all time.
“The voice reflects the state that you’re in,” says Lennox. “So when you’re very young, you’re full of this freshness and you don’t have the experience of life. It’s like a whisky, the older you get, is this kind of seasoned thing which you can’t put into words.”
Lennox will turn 60 on Christmas day this year, she admits that as she reaches this milestone age, it feels time to take stock of her career.
“Career is a strange word because a career is a way to look at a life lived through music and there’s the perception of what people see of you and the circumstances behind it so it’s mixed in together so I can’t really separate life and career and work and music.”
“I’ve dipped in and out, I worked over two decades in the 70s and 80s and, in the early 90s, I had children so I wanted to take a step back from touring and making albums with Eurythmics. It was very intense and creative but I got to the point where I thought I needed to be a human being again and step away from the circus.
‘Kids need to be protected’
“I’ve done that through my life many times. I’m grateful because I think it is a milestone to look at 60 and see you’ve survived.”
Lennox admits the new album was recorded as much for posterity as for any creative reason though she hopes it will also inspire other older artists in the same way she was inspired in recent years by artists like Tina Turner.
“I’m a female artist that’s making music that’s resonant for people still, and that’s a good thing and maybe it means other female artists can say there’s a chance to still be relevant in that way.
Recently Lennox – who has two grown-up daughters – turned her attention to the growing sexualisation of the music industry, particularly in reference to young female singers.
Last year, following an open letter which Sinead O’Connor wrote to former Disney star turned wild child Miley Cyrus, Lennox took to Facebook (https://www.facebook.com/photo.php?fbid=10151886512349589&set=a.10150674901984589.419727.6216464588&type=1&theater) to voice her own opinion, saying she was “disturbed and dismayed by the recent spate of overtly sexualised performances and videos”.
The government and the British Board of Film Classification recently announced a voluntary age rating system (http://www.bbc.co.uk/newsbeat/28838822) for music videos posted online but Lennon is yet to be convinced that the subject is being tackled effectively.
“When something sells and people want it, then of course, its going to sell. But that’s not the point, sexuality is not the point, the point is the context because if you have a young audience, seven year-olds or 12 year-olds and you’re overtly sexual, that’s troubling, that’s disturbing.”
“When I was younger I wasn’t a parent, then I became one and saw it from a different perspective and I do think that young kids need to be protected. We need to have that discussion that says ‘How do we address this?’
“I’m not against sexuality, I’m very open minded but these young performers with young audiences, I don’t think its appropriate.”
Nostalgia is released in the UK on 27 October.
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BBC News – Annie Lennox ‘pushes boundaries’ with jazz album
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** Annie Lennox ‘pushes boundaries’ with jazz album
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By Kev GeogheganArts and entertainment reporter, BBC News
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Annie Lennox: “It’s nostalgia but it is new for me”
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* Strange Fruit: An enduring protest (http://www.bbc.com/news/entertainment-arts-25034438)
As she approaches her 60th birthday, singer Annie Lennox looks back on her career and says the classic songs she tackles in her latest album are as relevant now as they were when they were recorded during the US civil rights era.
As an artist, Annie Lennox needs no introduction. With record sales across her five-decade career, first with The Tourists and Eurythmics and then as a solo artist, hovering somewhere around the 80 million mark, the figures speak for themselves.
Then there are the awards, recognised eight times by the Brits, four times at the Grammys, not to mention the Golden Globe and Oscar for the song Into the West from the final Lord of the Rings film.
In 2011, Lennox was appointed an OBE for her “tireless charity campaigns and championing of humanitarian causes”.
She has sung with David Bowie, Al Green, Alicia Keys, Chrissie Hyde and Aretha Franklin.
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Annie Lennox: “If you have a young audience and you are overtly sexual that is troubling”
Her new album Nostalgia sees the singer move out of her comfort zone a into a genre which she had, until now, never attempted – jazz.
“I’ve never sung in this genre before and when you’re an artist you tend to get labelled, you get categorized and put in a little box and people think this is who you are,” she explains ahead of the launch of her new covers album.
“I always like to push my boundaries and I think if I repeat what I’ve done over the years, I’ve never found that interesting. The challenge for me is to interpret because you can easily in a short space of time just sing a song and record it and there it is.
“But I really wanted to explore them and to reinterpret them musically.”
Nostalgia – which is being released on vinyl in the US under the legendary jazz label Blue Note – digs deep into the musical crate of history and comes up with standards including Summertime, God Bless the Child and I Cover The Waterfront.
The songs came as something of a surprise to Lennox, who admits she has never been a jazz aficionado.
She discovered the roots of the music lay in the early Mississippi Delta blues, the same blues that influenced the soul and R&B that formed her musical taste during her childhood in Aberdeen.
“In the north east of Scotland back in the day when I was a 14-year-old hearing Tamla and Motown, there’s this whole lineage of music that has nothing to do with my own culture that deeply affected me so I’m getting that vibe again through these songs, it’s just been joyful.”
Billie Holiday performs Strange Fruit in 1939 Billie Holiday performs Strange Fruit in 1939
Among some of the lesser known songs such as Harry Warren and Al Dublin’s September In The Rain and Memphis In June, are songs like Georgia On My Mind, famously recorded by Ray Charles, and I Put A Spell on You.
Nina Simone recorded what, for many, is the definitive version of that song in 1965. But was written and originally sung by Screamin’ Jay Hawkins nearly 10 years earlier in 1956.
Lennox says: “I have to put all the other versions out of my mind because otherwise you’d be feeling so afraid and nervous, so I tried to look at the songs as though I had never heard them before.
“It’s a funny thing, people’s tastes in music. I know what I respond to but I don’t know what someone else will like, you have to work on what resonates for you.”
A standout track, one which sees a shift in tone in the record, is Lennox’s haunting cover of Strange Fruit.
The song, made famous by Billie Holiday (https://www.youtube.com/watch?v=h4ZyuULy9zs) in 1939, protested against racism in America, specifically the lynching of African-Americans in the Deep South.
Seventy-five years later, the lynching may have stopped but recent protests in Ferguson, Missouri, over the police shooting of an unarmed black teenager shows that black communities still feel disenfranchised and oppressed.
“I realised the fundamental message that is going through these songs is as relevant today as it ever was,” says Lennox.
“A song like Strange Fruit, you can’t just go there and sing it, it’s a dark song, it’s addressing the issue of lynching in the deep south. But the issue of racism, the issue of violence of man’s inhumanity towards our common brotherhood, is as relevant today as it ever was.”
Annie Lennox Lennox, as one half of Eurythmics, along with Dave Stewart, recorded hit songs like Sweet Dreams (Are Made Of This) and Love Is A Stranger
Central to the album, Lennox’s sixth solo effort, is her distinctive voice. Undimmed through the years, it is a voice which has seen her celebrated throughout her career and earned her a place in Rolling Stone’s top 100 singers of all time.
“The voice reflects the state that you’re in,” says Lennox. “So when you’re very young, you’re full of this freshness and you don’t have the experience of life. It’s like a whisky, the older you get, is this kind of seasoned thing which you can’t put into words.”
Lennox will turn 60 on Christmas day this year, she admits that as she reaches this milestone age, it feels time to take stock of her career.
“Career is a strange word because a career is a way to look at a life lived through music and there’s the perception of what people see of you and the circumstances behind it so it’s mixed in together so I can’t really separate life and career and work and music.”
“I’ve dipped in and out, I worked over two decades in the 70s and 80s and, in the early 90s, I had children so I wanted to take a step back from touring and making albums with Eurythmics. It was very intense and creative but I got to the point where I thought I needed to be a human being again and step away from the circus.
‘Kids need to be protected’
“I’ve done that through my life many times. I’m grateful because I think it is a milestone to look at 60 and see you’ve survived.”
Lennox admits the new album was recorded as much for posterity as for any creative reason though she hopes it will also inspire other older artists in the same way she was inspired in recent years by artists like Tina Turner.
“I’m a female artist that’s making music that’s resonant for people still, and that’s a good thing and maybe it means other female artists can say there’s a chance to still be relevant in that way.
Recently Lennox – who has two grown-up daughters – turned her attention to the growing sexualisation of the music industry, particularly in reference to young female singers.
Last year, following an open letter which Sinead O’Connor wrote to former Disney star turned wild child Miley Cyrus, Lennox took to Facebook (https://www.facebook.com/photo.php?fbid=10151886512349589&set=a.10150674901984589.419727.6216464588&type=1&theater) to voice her own opinion, saying she was “disturbed and dismayed by the recent spate of overtly sexualised performances and videos”.
The government and the British Board of Film Classification recently announced a voluntary age rating system (http://www.bbc.co.uk/newsbeat/28838822) for music videos posted online but Lennon is yet to be convinced that the subject is being tackled effectively.
“When something sells and people want it, then of course, its going to sell. But that’s not the point, sexuality is not the point, the point is the context because if you have a young audience, seven year-olds or 12 year-olds and you’re overtly sexual, that’s troubling, that’s disturbing.”
“When I was younger I wasn’t a parent, then I became one and saw it from a different perspective and I do think that young kids need to be protected. We need to have that discussion that says ‘How do we address this?’
“I’m not against sexuality, I’m very open minded but these young performers with young audiences, I don’t think its appropriate.”
Nostalgia is released in the UK on 27 October.
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Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’ | Plymouth Herald
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** Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’
————————————————————
By Plymouth Herald (http://www.plymouthherald.co.uk/people/Plymouth%20Herald/profile.html) | Posted: September 28, 2014
By SAM BLACKLEDGE Herald reporter
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Peter Russell
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TRIBUTES have been paid to a popular city record shop owner known as ‘Dr Jazz’ who has died aged 88.
Peter Russell ran Peter Russell’s Hot Record Store in Market Avenue and later his Hi-Fi Attic above Woolworths in New George Street.
Peter died on September 19 and his funeral is set to take place on Wednesday.
Plymouth historian Chris Robinson, who knew Australian-born Peter since the 1960s, said: “He was a gentleman. He ran the best independent record shop that I think Plymouth ever had, he was massively into his music. It was not a shop where you go and get the latest pop records, it was far more specialist than that.
“When he opened his Hi-Fi store it was good quality Hi-Fis so people could hear music properly.”
In an obituary notice in The Herald, Peter’s family said he was known for his anti-nuclear campaigning and “an enduring and infectious love of jazz music”.
“He was a genuine enthusiast, he loved the music and wanted to share it with other people,” Mr Robinson said. “He ran a record shop where he was bringing in imports that you could not buy in other record shops, which made it that much more interesting.
“I think everybody who used his record shop would have known and respected him. Some people went there just to buy records, but other people went there because it was Pete that was running it and you could speak to him. He would ask what you liked and say ‘Have you heard this?’”
The Herald’s features editor, Martin Freeman, wrote a profile of Peter in 2011. (http://www.plymouthherald.co.uk/Hi-fi-stereos-78s-jazz/story-14100645-detail/story.html)
He recalled that he was born in Melbourne, Australia, and moved to the UK with his parents at the age of seven.
After working as an electrical engineer, he started selling records for a jazz specialist in a shop in Nottingham.
He moved to Plymouth and opened his first record shop at the Stonehouse end of Union Street.
In the early 1960s he set up Pete Russell’s Hot Records Store in Market Avenue, in a shop on the outside of the Pannier Market building.
Then he opened Pete Russell’s Hi-Fi attic a few years later, moving to a separate home in New George Street.
“I started another business, Pete Russell’s Hi-Fi Attic in 1963 or 64.” The business later got a separate home in New George Street, above Woolworths.
He got rid of the record shop in 1987 and concentrated on selling music from the Hi-Fi attic premises. That continued until he sold the business in 1991.
Read more: http://www.plymouthherald.co.uk/Tributes-paid-Plymouth-record-store-owner-known/story-23011354-detail/story.html#ixzz3Ehcqdv25
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Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’ | Plymouth Herald
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** Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’
————————————————————
By Plymouth Herald (http://www.plymouthherald.co.uk/people/Plymouth%20Herald/profile.html) | Posted: September 28, 2014
By SAM BLACKLEDGE Herald reporter
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Peter Russell
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Peter Russell
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TRIBUTES have been paid to a popular city record shop owner known as ‘Dr Jazz’ who has died aged 88.
Peter Russell ran Peter Russell’s Hot Record Store in Market Avenue and later his Hi-Fi Attic above Woolworths in New George Street.
Peter died on September 19 and his funeral is set to take place on Wednesday.
Plymouth historian Chris Robinson, who knew Australian-born Peter since the 1960s, said: “He was a gentleman. He ran the best independent record shop that I think Plymouth ever had, he was massively into his music. It was not a shop where you go and get the latest pop records, it was far more specialist than that.
“When he opened his Hi-Fi store it was good quality Hi-Fis so people could hear music properly.”
In an obituary notice in The Herald, Peter’s family said he was known for his anti-nuclear campaigning and “an enduring and infectious love of jazz music”.
“He was a genuine enthusiast, he loved the music and wanted to share it with other people,” Mr Robinson said. “He ran a record shop where he was bringing in imports that you could not buy in other record shops, which made it that much more interesting.
“I think everybody who used his record shop would have known and respected him. Some people went there just to buy records, but other people went there because it was Pete that was running it and you could speak to him. He would ask what you liked and say ‘Have you heard this?’”
The Herald’s features editor, Martin Freeman, wrote a profile of Peter in 2011. (http://www.plymouthherald.co.uk/Hi-fi-stereos-78s-jazz/story-14100645-detail/story.html)
He recalled that he was born in Melbourne, Australia, and moved to the UK with his parents at the age of seven.
After working as an electrical engineer, he started selling records for a jazz specialist in a shop in Nottingham.
He moved to Plymouth and opened his first record shop at the Stonehouse end of Union Street.
In the early 1960s he set up Pete Russell’s Hot Records Store in Market Avenue, in a shop on the outside of the Pannier Market building.
Then he opened Pete Russell’s Hi-Fi attic a few years later, moving to a separate home in New George Street.
“I started another business, Pete Russell’s Hi-Fi Attic in 1963 or 64.” The business later got a separate home in New George Street, above Woolworths.
He got rid of the record shop in 1987 and concentrated on selling music from the Hi-Fi attic premises. That continued until he sold the business in 1991.
Read more: http://www.plymouthherald.co.uk/Tributes-paid-Plymouth-record-store-owner-known/story-23011354-detail/story.html#ixzz3Ehcqdv25
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’ | Plymouth Herald
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.plymouthherald.co.uk/Tributes-paid-Plymouth-record-store-owner-known/story-23011354-detail/story.html
** Tributes paid to former Plymouth record store owner known as ‘Dr Jazz’
————————————————————
By Plymouth Herald (http://www.plymouthherald.co.uk/people/Plymouth%20Herald/profile.html) | Posted: September 28, 2014
By SAM BLACKLEDGE Herald reporter
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*
Peter Russell
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Peter Russell
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TRIBUTES have been paid to a popular city record shop owner known as ‘Dr Jazz’ who has died aged 88.
Peter Russell ran Peter Russell’s Hot Record Store in Market Avenue and later his Hi-Fi Attic above Woolworths in New George Street.
Peter died on September 19 and his funeral is set to take place on Wednesday.
Plymouth historian Chris Robinson, who knew Australian-born Peter since the 1960s, said: “He was a gentleman. He ran the best independent record shop that I think Plymouth ever had, he was massively into his music. It was not a shop where you go and get the latest pop records, it was far more specialist than that.
“When he opened his Hi-Fi store it was good quality Hi-Fis so people could hear music properly.”
In an obituary notice in The Herald, Peter’s family said he was known for his anti-nuclear campaigning and “an enduring and infectious love of jazz music”.
“He was a genuine enthusiast, he loved the music and wanted to share it with other people,” Mr Robinson said. “He ran a record shop where he was bringing in imports that you could not buy in other record shops, which made it that much more interesting.
“I think everybody who used his record shop would have known and respected him. Some people went there just to buy records, but other people went there because it was Pete that was running it and you could speak to him. He would ask what you liked and say ‘Have you heard this?’”
The Herald’s features editor, Martin Freeman, wrote a profile of Peter in 2011. (http://www.plymouthherald.co.uk/Hi-fi-stereos-78s-jazz/story-14100645-detail/story.html)
He recalled that he was born in Melbourne, Australia, and moved to the UK with his parents at the age of seven.
After working as an electrical engineer, he started selling records for a jazz specialist in a shop in Nottingham.
He moved to Plymouth and opened his first record shop at the Stonehouse end of Union Street.
In the early 1960s he set up Pete Russell’s Hot Records Store in Market Avenue, in a shop on the outside of the Pannier Market building.
Then he opened Pete Russell’s Hi-Fi attic a few years later, moving to a separate home in New George Street.
“I started another business, Pete Russell’s Hi-Fi Attic in 1963 or 64.” The business later got a separate home in New George Street, above Woolworths.
He got rid of the record shop in 1987 and concentrated on selling music from the Hi-Fi attic premises. That continued until he sold the business in 1991.
Read more: http://www.plymouthherald.co.uk/Tributes-paid-Plymouth-record-store-owner-known/story-23011354-detail/story.html#ixzz3Ehcqdv25
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Chick Corea’s gadget bag and all that jazz
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.usatoday.com/story/tech/columnist/talkingtech/2014/09/28/chick-corea-packs-many-devices-for-tour/15684263/
** Chick Corea’s gadget bag and all that jazz
————————————————————
HOLLYWOOD — Jazz legend Chick Corea has been touring non-stop (http://chickcorea.com/concerts/) since March. He’s just returned from Peru, and this week he’ll be in New York City with his band, the Vigil. The pianist/composer is a long-time gadget geek and early adopter of infusing tech into music. And as a road warrior, he knows how to pack his tech to make every moment count in the skies.
THE BAG
Corea packs an iPhone, iPad, MacBook Air Retina, Bose noise canceling headphones, Amazon Kindle, Zoom H6 audio recorder and tiny Akai keyboard in his bag. When people are boarding the plane, “I pull out my iPhone and start reading.” It would be easier on the eyes to grab the iPad, he says, “but the phone’s in my pocket.”
Once the plane takes off, he goes for the iPad, where he likes to doodle using a paint program.
“You don’t have to be Picasso or Rembrandt to create something. The fun of it, the joy of creating is way high above anything else to do with the art form.”
The keyboard gets pulled out, usually in the hotel room, to write or to transcribe notes into his Sibelius music notation software to pass on to other musicians. “I try and use the downtime on the road to keep enhanced.”
chick_seat_BW
Jazz legend Chick Corea(Photo: Jefferson Graham)
PODCASTING
Corea recently began a new podcasting series, Music Magic, (http://chickcoreamusicworkshops.com/podcast/) offering backstage chats with musicians while on tour. Guests have included rocker John Mayer, banjo master and Corea collaborator Bela Fleck and Marcus Gilmore, the drummer for the Vigil. Stanley Clarke, Corea’s long-time bassist from Return to Forever, also will be a guest, with new episodes beginning in October.
The conversations are “what we talk about, what we are interested in…because these are the questions asked a lot.”
ONLINE WORKSHOPS
He started a series of online webinars, the Chick Corea Music Workshop (http://chickcoreamusicworkshops.com/) , to interact with musicians. The next one is scheduled for October.
“My basic intention for doing this is make myself available to the music community….I’m a perennial student. I call myself a teacher because they want me to call myself a teacher, but actually what I’m doing is I’m studying.”
SOCIAL MEDIA AND JAZZ
Jazz has historically been beloved by enthusiasts but often overlooked by pop culture. But with social media, jazz gets a more vocal following.
“It’s made music more accessible with YouTube and the ability to trade audio files. But it hasn’t made it more popular.” What has changed is interaction with fans. They want instant photos when he meets them after shows. “I love the interest but personally I’d rather just chat with a fan. The ability that we have to recall experiences just mentally is a world full of pictures if you wanna do it that way.” Corea isn’t anti-photography. He himself snaps away on his iPhone when he’s in concert, taking photos of some of the historical halls where he performs.
“I love to do that. I also love to walk out onto the stage when the audience is applauding, say hello and grab a photo. It’s fun.”
Follow Jefferson Graham (http://twitter.com/jeffersongraham) on Twitter.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=44b51c29e5) | 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=44b51c29e5&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Chick Corea’s gadget bag and all that jazz
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.usatoday.com/story/tech/columnist/talkingtech/2014/09/28/chick-corea-packs-many-devices-for-tour/15684263/
** Chick Corea’s gadget bag and all that jazz
————————————————————
HOLLYWOOD — Jazz legend Chick Corea has been touring non-stop (http://chickcorea.com/concerts/) since March. He’s just returned from Peru, and this week he’ll be in New York City with his band, the Vigil. The pianist/composer is a long-time gadget geek and early adopter of infusing tech into music. And as a road warrior, he knows how to pack his tech to make every moment count in the skies.
THE BAG
Corea packs an iPhone, iPad, MacBook Air Retina, Bose noise canceling headphones, Amazon Kindle, Zoom H6 audio recorder and tiny Akai keyboard in his bag. When people are boarding the plane, “I pull out my iPhone and start reading.” It would be easier on the eyes to grab the iPad, he says, “but the phone’s in my pocket.”
Once the plane takes off, he goes for the iPad, where he likes to doodle using a paint program.
“You don’t have to be Picasso or Rembrandt to create something. The fun of it, the joy of creating is way high above anything else to do with the art form.”
The keyboard gets pulled out, usually in the hotel room, to write or to transcribe notes into his Sibelius music notation software to pass on to other musicians. “I try and use the downtime on the road to keep enhanced.”
chick_seat_BW
Jazz legend Chick Corea(Photo: Jefferson Graham)
PODCASTING
Corea recently began a new podcasting series, Music Magic, (http://chickcoreamusicworkshops.com/podcast/) offering backstage chats with musicians while on tour. Guests have included rocker John Mayer, banjo master and Corea collaborator Bela Fleck and Marcus Gilmore, the drummer for the Vigil. Stanley Clarke, Corea’s long-time bassist from Return to Forever, also will be a guest, with new episodes beginning in October.
The conversations are “what we talk about, what we are interested in…because these are the questions asked a lot.”
ONLINE WORKSHOPS
He started a series of online webinars, the Chick Corea Music Workshop (http://chickcoreamusicworkshops.com/) , to interact with musicians. The next one is scheduled for October.
“My basic intention for doing this is make myself available to the music community….I’m a perennial student. I call myself a teacher because they want me to call myself a teacher, but actually what I’m doing is I’m studying.”
SOCIAL MEDIA AND JAZZ
Jazz has historically been beloved by enthusiasts but often overlooked by pop culture. But with social media, jazz gets a more vocal following.
“It’s made music more accessible with YouTube and the ability to trade audio files. But it hasn’t made it more popular.” What has changed is interaction with fans. They want instant photos when he meets them after shows. “I love the interest but personally I’d rather just chat with a fan. The ability that we have to recall experiences just mentally is a world full of pictures if you wanna do it that way.” Corea isn’t anti-photography. He himself snaps away on his iPhone when he’s in concert, taking photos of some of the historical halls where he performs.
“I love to do that. I also love to walk out onto the stage when the audience is applauding, say hello and grab a photo. It’s fun.”
Follow Jefferson Graham (http://twitter.com/jeffersongraham) on Twitter.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=44b51c29e5) | 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=44b51c29e5&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Chick Corea’s gadget bag and all that jazz
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.usatoday.com/story/tech/columnist/talkingtech/2014/09/28/chick-corea-packs-many-devices-for-tour/15684263/
** Chick Corea’s gadget bag and all that jazz
————————————————————
HOLLYWOOD — Jazz legend Chick Corea has been touring non-stop (http://chickcorea.com/concerts/) since March. He’s just returned from Peru, and this week he’ll be in New York City with his band, the Vigil. The pianist/composer is a long-time gadget geek and early adopter of infusing tech into music. And as a road warrior, he knows how to pack his tech to make every moment count in the skies.
THE BAG
Corea packs an iPhone, iPad, MacBook Air Retina, Bose noise canceling headphones, Amazon Kindle, Zoom H6 audio recorder and tiny Akai keyboard in his bag. When people are boarding the plane, “I pull out my iPhone and start reading.” It would be easier on the eyes to grab the iPad, he says, “but the phone’s in my pocket.”
Once the plane takes off, he goes for the iPad, where he likes to doodle using a paint program.
“You don’t have to be Picasso or Rembrandt to create something. The fun of it, the joy of creating is way high above anything else to do with the art form.”
The keyboard gets pulled out, usually in the hotel room, to write or to transcribe notes into his Sibelius music notation software to pass on to other musicians. “I try and use the downtime on the road to keep enhanced.”
chick_seat_BW
Jazz legend Chick Corea(Photo: Jefferson Graham)
PODCASTING
Corea recently began a new podcasting series, Music Magic, (http://chickcoreamusicworkshops.com/podcast/) offering backstage chats with musicians while on tour. Guests have included rocker John Mayer, banjo master and Corea collaborator Bela Fleck and Marcus Gilmore, the drummer for the Vigil. Stanley Clarke, Corea’s long-time bassist from Return to Forever, also will be a guest, with new episodes beginning in October.
The conversations are “what we talk about, what we are interested in…because these are the questions asked a lot.”
ONLINE WORKSHOPS
He started a series of online webinars, the Chick Corea Music Workshop (http://chickcoreamusicworkshops.com/) , to interact with musicians. The next one is scheduled for October.
“My basic intention for doing this is make myself available to the music community….I’m a perennial student. I call myself a teacher because they want me to call myself a teacher, but actually what I’m doing is I’m studying.”
SOCIAL MEDIA AND JAZZ
Jazz has historically been beloved by enthusiasts but often overlooked by pop culture. But with social media, jazz gets a more vocal following.
“It’s made music more accessible with YouTube and the ability to trade audio files. But it hasn’t made it more popular.” What has changed is interaction with fans. They want instant photos when he meets them after shows. “I love the interest but personally I’d rather just chat with a fan. The ability that we have to recall experiences just mentally is a world full of pictures if you wanna do it that way.” Corea isn’t anti-photography. He himself snaps away on his iPhone when he’s in concert, taking photos of some of the historical halls where he performs.
“I love to do that. I also love to walk out onto the stage when the audience is applauding, say hello and grab a photo. It’s fun.”
Follow Jefferson Graham (http://twitter.com/jeffersongraham) on Twitter.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=44b51c29e5) | 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=44b51c29e5&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Pressing plants feel the strain with vinyl records back in the groove – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/entertainment/music/pressing-plants-feel-the-strain-with-vinyl-records-back-in-the-groove/2014/09/25/41f6b22a-386d-11e4-8601-97ba88884ffd_story.html
** Pressing plants feel the strain with vinyl records back in the groove
————————————————————
A flourescent pink vinyl release of Joan Jett and the Blackhearts’ “Glorious Results of a Misspent Youth” being readied at United Record Pressing machines in Nashville. (Jay Millar)
By Mark Guarino September 26
The commercial revival of vinyl records is good thing for many people: Record labels, recording artists, audiophile collectors, independent record shops — all for whom the increase in sales each year is considered a jolt of life in what otherwise is considered a growing public disinterest in owning tangible music.
But for Matt Earley, more people wanting more vinyl records presents a problem: The six presses that make his records at Gotta Groove Records in Cleveland are more than 40 years old, which means extra shifts and increased production is a recipe for potential disaster, especially when orders are lined up for months.
“It keeps me up at night,” he says. “My biggest worry is what is going to break when, not if it will break. Everything breaks.”
So Early prepares by budgeting heavily, which he says is just the reality of operating a record-pressing plant. His is one of only about a dozen or so left in the United States that face similar challenges. Despite the increased public demand for vinyl records, spanning mass reissue campaigns of premium-quality vinyl by classic bands such as Pink Floyd to small seven-inch runs by local bands to sell at gigs, press operators say that profit margins are narrowing because of the increasedcosts involved in locating, refurbishing, installing, operating, and ultimately repairing machines that are no longer made but are pushed harder and faster than they were in their heyday.
“That old machinery will continue to run if you change the parts, but at what cost? If you run a press 24 hours, six or seven days a week, there is one rule of thumb: You are wearing the machine out twice as fast,” says Bob Roczynski, president of Record Products of America, a 38-year-old company in Hamden, Conn. that is one of the last in the United States that supplies machine parts to the existing plants in operation today.
The Gotta Groove Records plant in Cleveland. (Courtesy of Gotta Groove Records)
He says the current refurbished machine stock was originally designed to run eight to 10 hours each day for one shift. Today, many plants report that demand is forcing their machines to run more than three shifts up to six days each week.
“What’ll happen is companies will continue to push them as long as they are getting the volume of records they need and they’re making money,” he says. “They’re just going to have to keep putting money to keep those things running if they want to keep their doors open.”
Keeping up with the market
This is a boom time for vinyl, so the doors are off their hinges. Between 2007 and 2013, U.S. vinyl sales increased 517 percent to 6.1 million units, according to SoundScan, and that doesn’t include overseas demand, or sales made directly from record-label Web sites. While CD and digital music sales still dominate music sales, both have taken hits due to streaming; sales for digital decreased for the first time last year.
At Third Man Records in Nashville, vinyl is all they sell. In fact, “Lazaretto,” the current solo album by founder Jack White, set the U.S. record for the biggest-selling vinyl record of any year since Pearl Jam in 1994. The album’s sales hit 40,000 in just seven days in June. Ben Blackwell, in charge of overseeing Third Man’s vinyl production and distribution, says combined U.S. and overseas pressings have already topped 100,000 copies.
“The thing will not stop selling,” he says. “That record has been on the press since the beginning of May and it hasn’t come off the press since.”
White is an avowed vinyl fetishist: Most Third Man records receive special colored, or multicolored pressings; his newest is the ultimate feat. It includes two hidden tracks beneath the label that play at different speeds, one side plays from the inside to the outer rim, and it also features a hologram that appears when the needle is placed in the “dead wax” area.
To make that happen, the label tapped United Record Pressing in Nashville, one of the oldest record plants in the United States, dating back to 1949 — Vee Jay Records and Motown were among its earliest clients — and now the largest. This summer, the company announced a $5.5 million expansion, adding 16 to its current stock of 22 presses, which are currently running 24 hours a day, six days a week, producing up to 40,000 records per day. A new building had to be acquired to get the additional presses installed and operational, and once that happens — “as soon as possible,” promises Jay Miller, United’s marketing director — the company will double its production.
Jack White’s “Lazzaretto” being pressed at United Record Pressing in Nashvill. (Jay Millar)
“Market demand” is why United is investing in the plant, Miller says, as the company typically deals with a backlog of orders that can stretch back several months. “Right now we’re so bogged down and trying to keep everybody happy, so it was the only way we could keep up,” he says.
There have not been any new record presses manufactured since the early 1980s, and the cost to do so is prohibitive, most plant operators complain. Roczynski has calculated that one new machine would need a retail price of about $130,000. Others say that price could be double. “No one is going to pay it,” he says. Which means that current plant operators are left to hunt for “anything out there that is left in mothballs or storage or rusting away someplace.” The available stock of machines is grabbing “premium dollars” because it can be refurbished “for [a] fraction of the cost” of buying new.
That scenario has created a global treasure hunt for presses among the dwindling number of plants that vow to stay in business. United said its expansion was made possible because it had planned ahead, stockpiling old presses over several years.Other plants say word of mouth, odd luck, and a large bankroll have led them to their finds, usually abandoned presses left dormant once CDs took hold and became the dominant format.
“It’s just like anything else — the harder you look, the more you are willing to spend, the easier it becomes,” says Chad Kassem, the founder of Quality Record Pressings, a plant in Salina, Kan. that manufactures audiophile-quality vinyl for reissue campaigns for bands like Pink Floyd, The Doors, Jimi Hendrix, and many others.
Kassem has been operating a premium vinyl retail business called Acoustic Sounds since 1990, but in 2011 he started manufacturing his own records because he was tired of waiting in line four to eight weeks and not being in control of managing the quality of his product.
“I needed my records as soon as possible and I needed them the highest quality as possible,” he says. About $2 million of his own money is now invested in a 21,000-square-foot plant that was once a food storage facility. “A wise man would pause” at such an endeavor of retrofitting such a space for making vinyl records, he admits. “I’m just crazy.”
To locate the 10 record presses he now operates, Kassem searched both regionally and overseas and found many of his discoveries had already lapped the world, as far as South America and as close as Los Angeles. He says restoration costs totaled nearly $30,000 for each press. Then there are the infrastructure costs: cooling tanks, boilers, plumbing, and more. Today, his plant pumps out up to 6,000 records per day, over two shifts, five days a week.
A delicate balance
Once the machines are in place, learning how to operate and maintain them often requires coaxing older mechanics and engineers out of retirement for several months or more as consultants who can then transfer decades of experience to younger workers. Lack of apprenticeship in the early days of record pressing has led to this problem, as has the overall lack of skilled labor. However, most plants say once they find workers who can commit to the significant learning curve, they tend to stay.
“The majority of our [23] employees have been with us since the beginning,” says Earley, whose plant presses the ongoing catalog of Guided By Voices, the vinyl-centric Ohio band. “You have to find the right type of people who care about what they are doing and can go through many months of learning to try and do it right.”
The balance between increasing product demand and the bullwhipping of antiquated machinery is precarious and many say it is not yet known what impact vinyl’s popularity in future years will make on the ability of the plants to manufacture them.
“There’s a tipping point at some point, but I’m not sure who decides where that tipping point is,” says Blackwell.
In the meantime, most plant operators say they enjoy showing off their facilities because of a renewed interest by the public to see records roll off the presses. United, for example, holds Friday tours and bands often perform, or conduct photo shoots, on the plant floor.
“We are fans,” Kassem says of the appeal of his operation in Kansas. “I started this as a hobby and it’s still a hobby. We just tell people we’re storytellers.”
Guarino is a freelance writer.
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Pressing plants feel the strain with vinyl records back in the groove – The Washington Post
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.washingtonpost.com/entertainment/music/pressing-plants-feel-the-strain-with-vinyl-records-back-in-the-groove/2014/09/25/41f6b22a-386d-11e4-8601-97ba88884ffd_story.html
** Pressing plants feel the strain with vinyl records back in the groove
————————————————————
A flourescent pink vinyl release of Joan Jett and the Blackhearts’ “Glorious Results of a Misspent Youth” being readied at United Record Pressing machines in Nashville. (Jay Millar)
By Mark Guarino September 26
The commercial revival of vinyl records is good thing for many people: Record labels, recording artists, audiophile collectors, independent record shops — all for whom the increase in sales each year is considered a jolt of life in what otherwise is considered a growing public disinterest in owning tangible music.
But for Matt Earley, more people wanting more vinyl records presents a problem: The six presses that make his records at Gotta Groove Records in Cleveland are more than 40 years old, which means extra shifts and increased production is a recipe for potential disaster, especially when orders are lined up for months.
“It keeps me up at night,” he says. “My biggest worry is what is going to break when, not if it will break. Everything breaks.”
So Early prepares by budgeting heavily, which he says is just the reality of operating a record-pressing plant. His is one of only about a dozen or so left in the United States that face similar challenges. Despite the increased public demand for vinyl records, spanning mass reissue campaigns of premium-quality vinyl by classic bands such as Pink Floyd to small seven-inch runs by local bands to sell at gigs, press operators say that profit margins are narrowing because of the increasedcosts involved in locating, refurbishing, installing, operating, and ultimately repairing machines that are no longer made but are pushed harder and faster than they were in their heyday.
“That old machinery will continue to run if you change the parts, but at what cost? If you run a press 24 hours, six or seven days a week, there is one rule of thumb: You are wearing the machine out twice as fast,” says Bob Roczynski, president of Record Products of America, a 38-year-old company in Hamden, Conn. that is one of the last in the United States that supplies machine parts to the existing plants in operation today.
The Gotta Groove Records plant in Cleveland. (Courtesy of Gotta Groove Records)
He says the current refurbished machine stock was originally designed to run eight to 10 hours each day for one shift. Today, many plants report that demand is forcing their machines to run more than three shifts up to six days each week.
“What’ll happen is companies will continue to push them as long as they are getting the volume of records they need and they’re making money,” he says. “They’re just going to have to keep putting money to keep those things running if they want to keep their doors open.”
Keeping up with the market
This is a boom time for vinyl, so the doors are off their hinges. Between 2007 and 2013, U.S. vinyl sales increased 517 percent to 6.1 million units, according to SoundScan, and that doesn’t include overseas demand, or sales made directly from record-label Web sites. While CD and digital music sales still dominate music sales, both have taken hits due to streaming; sales for digital decreased for the first time last year.
At Third Man Records in Nashville, vinyl is all they sell. In fact, “Lazaretto,” the current solo album by founder Jack White, set the U.S. record for the biggest-selling vinyl record of any year since Pearl Jam in 1994. The album’s sales hit 40,000 in just seven days in June. Ben Blackwell, in charge of overseeing Third Man’s vinyl production and distribution, says combined U.S. and overseas pressings have already topped 100,000 copies.
“The thing will not stop selling,” he says. “That record has been on the press since the beginning of May and it hasn’t come off the press since.”
White is an avowed vinyl fetishist: Most Third Man records receive special colored, or multicolored pressings; his newest is the ultimate feat. It includes two hidden tracks beneath the label that play at different speeds, one side plays from the inside to the outer rim, and it also features a hologram that appears when the needle is placed in the “dead wax” area.
To make that happen, the label tapped United Record Pressing in Nashville, one of the oldest record plants in the United States, dating back to 1949 — Vee Jay Records and Motown were among its earliest clients — and now the largest. This summer, the company announced a $5.5 million expansion, adding 16 to its current stock of 22 presses, which are currently running 24 hours a day, six days a week, producing up to 40,000 records per day. A new building had to be acquired to get the additional presses installed and operational, and once that happens — “as soon as possible,” promises Jay Miller, United’s marketing director — the company will double its production.
Jack White’s “Lazzaretto” being pressed at United Record Pressing in Nashvill. (Jay Millar)
“Market demand” is why United is investing in the plant, Miller says, as the company typically deals with a backlog of orders that can stretch back several months. “Right now we’re so bogged down and trying to keep everybody happy, so it was the only way we could keep up,” he says.
There have not been any new record presses manufactured since the early 1980s, and the cost to do so is prohibitive, most plant operators complain. Roczynski has calculated that one new machine would need a retail price of about $130,000. Others say that price could be double. “No one is going to pay it,” he says. Which means that current plant operators are left to hunt for “anything out there that is left in mothballs or storage or rusting away someplace.” The available stock of machines is grabbing “premium dollars” because it can be refurbished “for [a] fraction of the cost” of buying new.
That scenario has created a global treasure hunt for presses among the dwindling number of plants that vow to stay in business. United said its expansion was made possible because it had planned ahead, stockpiling old presses over several years.Other plants say word of mouth, odd luck, and a large bankroll have led them to their finds, usually abandoned presses left dormant once CDs took hold and became the dominant format.
“It’s just like anything else — the harder you look, the more you are willing to spend, the easier it becomes,” says Chad Kassem, the founder of Quality Record Pressings, a plant in Salina, Kan. that manufactures audiophile-quality vinyl for reissue campaigns for bands like Pink Floyd, The Doors, Jimi Hendrix, and many others.
Kassem has been operating a premium vinyl retail business called Acoustic Sounds since 1990, but in 2011 he started manufacturing his own records because he was tired of waiting in line four to eight weeks and not being in control of managing the quality of his product.
“I needed my records as soon as possible and I needed them the highest quality as possible,” he says. About $2 million of his own money is now invested in a 21,000-square-foot plant that was once a food storage facility. “A wise man would pause” at such an endeavor of retrofitting such a space for making vinyl records, he admits. “I’m just crazy.”
To locate the 10 record presses he now operates, Kassem searched both regionally and overseas and found many of his discoveries had already lapped the world, as far as South America and as close as Los Angeles. He says restoration costs totaled nearly $30,000 for each press. Then there are the infrastructure costs: cooling tanks, boilers, plumbing, and more. Today, his plant pumps out up to 6,000 records per day, over two shifts, five days a week.
A delicate balance
Once the machines are in place, learning how to operate and maintain them often requires coaxing older mechanics and engineers out of retirement for several months or more as consultants who can then transfer decades of experience to younger workers. Lack of apprenticeship in the early days of record pressing has led to this problem, as has the overall lack of skilled labor. However, most plants say once they find workers who can commit to the significant learning curve, they tend to stay.
“The majority of our [23] employees have been with us since the beginning,” says Earley, whose plant presses the ongoing catalog of Guided By Voices, the vinyl-centric Ohio band. “You have to find the right type of people who care about what they are doing and can go through many months of learning to try and do it right.”
The balance between increasing product demand and the bullwhipping of antiquated machinery is precarious and many say it is not yet known what impact vinyl’s popularity in future years will make on the ability of the plants to manufacture them.
“There’s a tipping point at some point, but I’m not sure who decides where that tipping point is,” says Blackwell.
In the meantime, most plant operators say they enjoy showing off their facilities because of a renewed interest by the public to see records roll off the presses. United, for example, holds Friday tours and bands often perform, or conduct photo shoots, on the plant floor.
“We are fans,” Kassem says of the appeal of his operation in Kansas. “I started this as a hobby and it’s still a hobby. We just tell people we’re storytellers.”
Guarino is a freelance writer.
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Pressing plants feel the strain with vinyl records back in the groove – The Washington Post
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** Pressing plants feel the strain with vinyl records back in the groove
————————————————————
A flourescent pink vinyl release of Joan Jett and the Blackhearts’ “Glorious Results of a Misspent Youth” being readied at United Record Pressing machines in Nashville. (Jay Millar)
By Mark Guarino September 26
The commercial revival of vinyl records is good thing for many people: Record labels, recording artists, audiophile collectors, independent record shops — all for whom the increase in sales each year is considered a jolt of life in what otherwise is considered a growing public disinterest in owning tangible music.
But for Matt Earley, more people wanting more vinyl records presents a problem: The six presses that make his records at Gotta Groove Records in Cleveland are more than 40 years old, which means extra shifts and increased production is a recipe for potential disaster, especially when orders are lined up for months.
“It keeps me up at night,” he says. “My biggest worry is what is going to break when, not if it will break. Everything breaks.”
So Early prepares by budgeting heavily, which he says is just the reality of operating a record-pressing plant. His is one of only about a dozen or so left in the United States that face similar challenges. Despite the increased public demand for vinyl records, spanning mass reissue campaigns of premium-quality vinyl by classic bands such as Pink Floyd to small seven-inch runs by local bands to sell at gigs, press operators say that profit margins are narrowing because of the increasedcosts involved in locating, refurbishing, installing, operating, and ultimately repairing machines that are no longer made but are pushed harder and faster than they were in their heyday.
“That old machinery will continue to run if you change the parts, but at what cost? If you run a press 24 hours, six or seven days a week, there is one rule of thumb: You are wearing the machine out twice as fast,” says Bob Roczynski, president of Record Products of America, a 38-year-old company in Hamden, Conn. that is one of the last in the United States that supplies machine parts to the existing plants in operation today.
The Gotta Groove Records plant in Cleveland. (Courtesy of Gotta Groove Records)
He says the current refurbished machine stock was originally designed to run eight to 10 hours each day for one shift. Today, many plants report that demand is forcing their machines to run more than three shifts up to six days each week.
“What’ll happen is companies will continue to push them as long as they are getting the volume of records they need and they’re making money,” he says. “They’re just going to have to keep putting money to keep those things running if they want to keep their doors open.”
Keeping up with the market
This is a boom time for vinyl, so the doors are off their hinges. Between 2007 and 2013, U.S. vinyl sales increased 517 percent to 6.1 million units, according to SoundScan, and that doesn’t include overseas demand, or sales made directly from record-label Web sites. While CD and digital music sales still dominate music sales, both have taken hits due to streaming; sales for digital decreased for the first time last year.
At Third Man Records in Nashville, vinyl is all they sell. In fact, “Lazaretto,” the current solo album by founder Jack White, set the U.S. record for the biggest-selling vinyl record of any year since Pearl Jam in 1994. The album’s sales hit 40,000 in just seven days in June. Ben Blackwell, in charge of overseeing Third Man’s vinyl production and distribution, says combined U.S. and overseas pressings have already topped 100,000 copies.
“The thing will not stop selling,” he says. “That record has been on the press since the beginning of May and it hasn’t come off the press since.”
White is an avowed vinyl fetishist: Most Third Man records receive special colored, or multicolored pressings; his newest is the ultimate feat. It includes two hidden tracks beneath the label that play at different speeds, one side plays from the inside to the outer rim, and it also features a hologram that appears when the needle is placed in the “dead wax” area.
To make that happen, the label tapped United Record Pressing in Nashville, one of the oldest record plants in the United States, dating back to 1949 — Vee Jay Records and Motown were among its earliest clients — and now the largest. This summer, the company announced a $5.5 million expansion, adding 16 to its current stock of 22 presses, which are currently running 24 hours a day, six days a week, producing up to 40,000 records per day. A new building had to be acquired to get the additional presses installed and operational, and once that happens — “as soon as possible,” promises Jay Miller, United’s marketing director — the company will double its production.
Jack White’s “Lazzaretto” being pressed at United Record Pressing in Nashvill. (Jay Millar)
“Market demand” is why United is investing in the plant, Miller says, as the company typically deals with a backlog of orders that can stretch back several months. “Right now we’re so bogged down and trying to keep everybody happy, so it was the only way we could keep up,” he says.
There have not been any new record presses manufactured since the early 1980s, and the cost to do so is prohibitive, most plant operators complain. Roczynski has calculated that one new machine would need a retail price of about $130,000. Others say that price could be double. “No one is going to pay it,” he says. Which means that current plant operators are left to hunt for “anything out there that is left in mothballs or storage or rusting away someplace.” The available stock of machines is grabbing “premium dollars” because it can be refurbished “for [a] fraction of the cost” of buying new.
That scenario has created a global treasure hunt for presses among the dwindling number of plants that vow to stay in business. United said its expansion was made possible because it had planned ahead, stockpiling old presses over several years.Other plants say word of mouth, odd luck, and a large bankroll have led them to their finds, usually abandoned presses left dormant once CDs took hold and became the dominant format.
“It’s just like anything else — the harder you look, the more you are willing to spend, the easier it becomes,” says Chad Kassem, the founder of Quality Record Pressings, a plant in Salina, Kan. that manufactures audiophile-quality vinyl for reissue campaigns for bands like Pink Floyd, The Doors, Jimi Hendrix, and many others.
Kassem has been operating a premium vinyl retail business called Acoustic Sounds since 1990, but in 2011 he started manufacturing his own records because he was tired of waiting in line four to eight weeks and not being in control of managing the quality of his product.
“I needed my records as soon as possible and I needed them the highest quality as possible,” he says. About $2 million of his own money is now invested in a 21,000-square-foot plant that was once a food storage facility. “A wise man would pause” at such an endeavor of retrofitting such a space for making vinyl records, he admits. “I’m just crazy.”
To locate the 10 record presses he now operates, Kassem searched both regionally and overseas and found many of his discoveries had already lapped the world, as far as South America and as close as Los Angeles. He says restoration costs totaled nearly $30,000 for each press. Then there are the infrastructure costs: cooling tanks, boilers, plumbing, and more. Today, his plant pumps out up to 6,000 records per day, over two shifts, five days a week.
A delicate balance
Once the machines are in place, learning how to operate and maintain them often requires coaxing older mechanics and engineers out of retirement for several months or more as consultants who can then transfer decades of experience to younger workers. Lack of apprenticeship in the early days of record pressing has led to this problem, as has the overall lack of skilled labor. However, most plants say once they find workers who can commit to the significant learning curve, they tend to stay.
“The majority of our [23] employees have been with us since the beginning,” says Earley, whose plant presses the ongoing catalog of Guided By Voices, the vinyl-centric Ohio band. “You have to find the right type of people who care about what they are doing and can go through many months of learning to try and do it right.”
The balance between increasing product demand and the bullwhipping of antiquated machinery is precarious and many say it is not yet known what impact vinyl’s popularity in future years will make on the ability of the plants to manufacture them.
“There’s a tipping point at some point, but I’m not sure who decides where that tipping point is,” says Blackwell.
In the meantime, most plant operators say they enjoy showing off their facilities because of a renewed interest by the public to see records roll off the presses. United, for example, holds Friday tours and bands often perform, or conduct photo shoots, on the plant floor.
“We are fans,” Kassem says of the appeal of his operation in Kansas. “I started this as a hobby and it’s still a hobby. We just tell people we’re storytellers.”
Guarino is a freelance writer.
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Warwick, Ny 10990
USA
AOL.com Article – Urban Outfitters claims to be world’s top vinyl record store
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** Urban Outfitters claims to be world’s top vinyl record store
————————————————————
Vinyl records have seen a huge resurgence in recent years, and it might surprise you to learn which retailer is making the most from it.
BuzzFeed reports that the sometimes controversial clothing store chain Urban Outfitters claims to be the top retailer for vinyl. It quotes a spokesperson, who says, “Music is very, very important to the Urban customer… in fact, we are the world’s number one vinyl seller.”
Vinyl record sales have been a happy surprise for the music industry recently. According to Statista, sales were just under 1 million in 2007, and last year, they exceeded 6 million.
Target and Whole Foods also started stocking small amounts of vinyl last year, though they haven’t seen near the success Urban Outfitters has.
So why is vinyl booming at Urban Outfitters? Its key demographic grew up streaming music and is a far cry from the baby boomers who experienced vinyl in its heyday.
Well, Forbes writes, “Many who buy a vinyl album today likely also have quite a few collections in their iTunes library, but they are looking for the experience of buying, owning, and playing a record, something no digital file can replicate.”
And Time writes music stays in style longer than current fashion trends. Plus, “It doesn’t take up a whole lot of space in a store to hold a few hundred records, and the same customers who enjoy flipping through the albums are likely to be put in the mood for browsing other merchandise.”
Urban Outfitters also takes a pretty low-risk strategy to stocking the items as well. It essentially “rents” out shelf space to over 100 different record vendors as opposed to taking on the cost of the inventory themselves.
A blogger for Village Voice says the clothing store’s selection is actually pretty good and reasonably priced as well.
But not everyone buys that the resurgence in record shopping is about the music. A writer for Death and Taxes says”Vinyl is now primarily purchased as a fashion accessory, purchased not for the music it contains, but for the lifestyle it conveys.”
Last year, 6.1 million LPs were sold in the U.S., making it the best year for vinyl since 1991.
This video contains images from Getty Images.
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Copyright (C) 2014 All rights reserved.
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USA
AOL.com Article – Urban Outfitters claims to be world’s top vinyl record store
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** Urban Outfitters claims to be world’s top vinyl record store
————————————————————
Vinyl records have seen a huge resurgence in recent years, and it might surprise you to learn which retailer is making the most from it.
BuzzFeed reports that the sometimes controversial clothing store chain Urban Outfitters claims to be the top retailer for vinyl. It quotes a spokesperson, who says, “Music is very, very important to the Urban customer… in fact, we are the world’s number one vinyl seller.”
Vinyl record sales have been a happy surprise for the music industry recently. According to Statista, sales were just under 1 million in 2007, and last year, they exceeded 6 million.
Target and Whole Foods also started stocking small amounts of vinyl last year, though they haven’t seen near the success Urban Outfitters has.
So why is vinyl booming at Urban Outfitters? Its key demographic grew up streaming music and is a far cry from the baby boomers who experienced vinyl in its heyday.
Well, Forbes writes, “Many who buy a vinyl album today likely also have quite a few collections in their iTunes library, but they are looking for the experience of buying, owning, and playing a record, something no digital file can replicate.”
And Time writes music stays in style longer than current fashion trends. Plus, “It doesn’t take up a whole lot of space in a store to hold a few hundred records, and the same customers who enjoy flipping through the albums are likely to be put in the mood for browsing other merchandise.”
Urban Outfitters also takes a pretty low-risk strategy to stocking the items as well. It essentially “rents” out shelf space to over 100 different record vendors as opposed to taking on the cost of the inventory themselves.
A blogger for Village Voice says the clothing store’s selection is actually pretty good and reasonably priced as well.
But not everyone buys that the resurgence in record shopping is about the music. A writer for Death and Taxes says”Vinyl is now primarily purchased as a fashion accessory, purchased not for the music it contains, but for the lifestyle it conveys.”
Last year, 6.1 million LPs were sold in the U.S., making it the best year for vinyl since 1991.
This video contains images from Getty Images.
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Milton Cardona, Keeper of New York Salsa’s Beat, Dies at 69 – NYTimes.com
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http://www.nytimes.com/2014/09/27/arts/music/milton-cardona-keeper-of-new-york-salsas-beat-dies-at-69.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/09/27/arts/music/milton-cardona-keeper-of-new-york-salsas-beat-dies-at-69.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0)
** Milton Cardona, Keeper of New York Salsa’s Beat, Dies at 69
————————————————————
Photo
Milton Cardona performing in New York in 2003. Credit Jack Vartoogian/FrontRowPhotos
Milton Cardona, a Puerto Rican percussionist who was a mainstay of New York salsa, a studio musician on hundreds of albums and a Santeria priest who introduced sacred traditional rhythms to secular audiences, died on Sept. 19 in the Bronx. He was 69.
The cause was heart failure, said his wife, Bruni.
In Latin bands and at recording sessions led by David Byrne, Paul Simon, Herbie Hancock and many others, Mr. Cardona primarily played conga drums — generally not as a flashy soloist but as the kinetic foundation and spark of a percussion section. He was an authoritative advocate for some of Latin music’s deepest traditions; he was also a vital, innovative participant in many ambitious fusions.
Mr. Cardona worked with the trombonist and bandleader Willie Colón on and off through four decades and was a member of the singer Hector Lavoe’s band from 1974 to 1987. He also recorded two albums as a leader and led the Santeria group Eya Aranla.
Mr. Cardona was a santero, a priest of Santeria, the Afro-Caribbean religion rooted in the Yoruba culture of West Africa. Santeria invokes a pantheon of African deities with rhythms and songs that have filtered into the popular music of Latin America and the world. Mr. Cardona studied the Yoruba language to understand the traditional prayers he was singing. “I always said, ‘Why should I learn the prayer if I don’t know what it means?’ ” he explained in an interview with Drum magazine (http://www.drummagazine.com/hand-drum/post/milton-cardona-spirit-of-tumba-soul-of-nyc/P1/) .
The rhythms of Santeria are traditionally played on batá drums, a family of three hand drums. Mr. Cardona brought the batá and its rhythms out of Santeria ceremonies and into secular contexts. After he played batá on Mr. Colón’s 1973 album “Lo Mato,” the sound spread through 1970s salsa.
Mr. Cardona released the first studio recording of a bembé, a complete Santeria ceremony, in 1986 on the American Clave label. He also played drums and sang in Paul Simon’s 1998 Broadway musical, “The Capeman,” which was infused with elements of Santeria. In an email, Mr. Simon wrote, “I had already researched the melodies before I met Milton, but he brought them to life.”
Milton Cardona was born on Nov. 21, 1944, in Mayagüez, P.R., and moved with his family to the South Bronx when he was 5 years old. He studied violin and bass, but the music of the South Bronx, including street-corner Latin jams, led him toward percussion. He worked as a studio bassist and percussionist in the 1960s before joining Mr. Colón’s band.
Mr. Colón’s singers included Mr. Lavoe and later Rubén Blades. When Mr. Lavoe began leading his own band in 1974, Mr. Cardona joined him, while he continued to record with Mr. Colón and others.
“Milton was an authority on the proper execution and the history of the drums,” Mr. Colón wrote on his Facebook page. “But that did not get in the way of him being progressive and an innovator.”
Mr. Cardona formed Eya Aranla (http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/6206/releases/MOMA_1985_0060_59.pdf?2010) — the name means “drums and chants” in Yoruba — to perform the music of Santeria ceremonies in public. Kip Hanrahan, a producer and songwriter whose albums sought a far-reaching cross-cultural fusion, recorded Eya Aranla performing a full Santeria ceremony and released it on his American Clave label as “Bembé,” an album with the crisp detail of a pop studio recording.
Continue reading the main story
Continue reading the main story
“I remember Milton telling me he had to ask each deity for the permission to record and present the particular rhythms owned by, or partially defining, those deities to the secular outside world,” Mr. Hanrahan wrote in an email.
In 1999 American Clave released Mr. Cardona’s other solo album, “Cambucha,” which mingled Santeria music with rumba, jazz, doo-wop and more. The album’s title was also the nickname of Mr. Cardona’s daughter, Carmen; she survives him, as do his wife; two sons, Milton Jr. and Sergio; his sister, Milagros Cardona; and two grandchildren.
In the ’80s and ’90s Mr. Cardona worked with Mr. Byrne, appearing on his albums “Rei Momo” and “Uh-Oh.” In the early ’90s, he made a pair of jazz-fusion albums with an oud player from Lebanon, Rabih Abou-Khalil. He also had long-running associations with jazz musicians like the flutist Dave Valentin and the clarinetist and saxophonist Don Byron, and he worked with the celebrated Latin bandleader Tito Puente on albums including Mr. Puente’s 2000 collaboration with the pianist Eddie Palmieri, “Masterpiece/Obra Maestra,” which won the Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for best salsa album.
“I look at my instrument as wood and skin,” Mr. Cardona said in a 1991 interview. “They both have life, they both have a soul.”
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Milton Cardona, Keeper of New York Salsa’s Beat, Dies at 69 – NYTimes.com
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http://www.nytimes.com/2014/09/27/arts/music/milton-cardona-keeper-of-new-york-salsas-beat-dies-at-69.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/09/27/arts/music/milton-cardona-keeper-of-new-york-salsas-beat-dies-at-69.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0)
** Milton Cardona, Keeper of New York Salsa’s Beat, Dies at 69
————————————————————
Photo
Milton Cardona performing in New York in 2003. Credit Jack Vartoogian/FrontRowPhotos
Milton Cardona, a Puerto Rican percussionist who was a mainstay of New York salsa, a studio musician on hundreds of albums and a Santeria priest who introduced sacred traditional rhythms to secular audiences, died on Sept. 19 in the Bronx. He was 69.
The cause was heart failure, said his wife, Bruni.
In Latin bands and at recording sessions led by David Byrne, Paul Simon, Herbie Hancock and many others, Mr. Cardona primarily played conga drums — generally not as a flashy soloist but as the kinetic foundation and spark of a percussion section. He was an authoritative advocate for some of Latin music’s deepest traditions; he was also a vital, innovative participant in many ambitious fusions.
Mr. Cardona worked with the trombonist and bandleader Willie Colón on and off through four decades and was a member of the singer Hector Lavoe’s band from 1974 to 1987. He also recorded two albums as a leader and led the Santeria group Eya Aranla.
Mr. Cardona was a santero, a priest of Santeria, the Afro-Caribbean religion rooted in the Yoruba culture of West Africa. Santeria invokes a pantheon of African deities with rhythms and songs that have filtered into the popular music of Latin America and the world. Mr. Cardona studied the Yoruba language to understand the traditional prayers he was singing. “I always said, ‘Why should I learn the prayer if I don’t know what it means?’ ” he explained in an interview with Drum magazine (http://www.drummagazine.com/hand-drum/post/milton-cardona-spirit-of-tumba-soul-of-nyc/P1/) .
The rhythms of Santeria are traditionally played on batá drums, a family of three hand drums. Mr. Cardona brought the batá and its rhythms out of Santeria ceremonies and into secular contexts. After he played batá on Mr. Colón’s 1973 album “Lo Mato,” the sound spread through 1970s salsa.
Mr. Cardona released the first studio recording of a bembé, a complete Santeria ceremony, in 1986 on the American Clave label. He also played drums and sang in Paul Simon’s 1998 Broadway musical, “The Capeman,” which was infused with elements of Santeria. In an email, Mr. Simon wrote, “I had already researched the melodies before I met Milton, but he brought them to life.”
Milton Cardona was born on Nov. 21, 1944, in Mayagüez, P.R., and moved with his family to the South Bronx when he was 5 years old. He studied violin and bass, but the music of the South Bronx, including street-corner Latin jams, led him toward percussion. He worked as a studio bassist and percussionist in the 1960s before joining Mr. Colón’s band.
Mr. Colón’s singers included Mr. Lavoe and later Rubén Blades. When Mr. Lavoe began leading his own band in 1974, Mr. Cardona joined him, while he continued to record with Mr. Colón and others.
“Milton was an authority on the proper execution and the history of the drums,” Mr. Colón wrote on his Facebook page. “But that did not get in the way of him being progressive and an innovator.”
Mr. Cardona formed Eya Aranla (http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/6206/releases/MOMA_1985_0060_59.pdf?2010) — the name means “drums and chants” in Yoruba — to perform the music of Santeria ceremonies in public. Kip Hanrahan, a producer and songwriter whose albums sought a far-reaching cross-cultural fusion, recorded Eya Aranla performing a full Santeria ceremony and released it on his American Clave label as “Bembé,” an album with the crisp detail of a pop studio recording.
Continue reading the main story
Continue reading the main story
“I remember Milton telling me he had to ask each deity for the permission to record and present the particular rhythms owned by, or partially defining, those deities to the secular outside world,” Mr. Hanrahan wrote in an email.
In 1999 American Clave released Mr. Cardona’s other solo album, “Cambucha,” which mingled Santeria music with rumba, jazz, doo-wop and more. The album’s title was also the nickname of Mr. Cardona’s daughter, Carmen; she survives him, as do his wife; two sons, Milton Jr. and Sergio; his sister, Milagros Cardona; and two grandchildren.
In the ’80s and ’90s Mr. Cardona worked with Mr. Byrne, appearing on his albums “Rei Momo” and “Uh-Oh.” In the early ’90s, he made a pair of jazz-fusion albums with an oud player from Lebanon, Rabih Abou-Khalil. He also had long-running associations with jazz musicians like the flutist Dave Valentin and the clarinetist and saxophonist Don Byron, and he worked with the celebrated Latin bandleader Tito Puente on albums including Mr. Puente’s 2000 collaboration with the pianist Eddie Palmieri, “Masterpiece/Obra Maestra,” which won the Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for best salsa album.
“I look at my instrument as wood and skin,” Mr. Cardona said in a 1991 interview. “They both have life, they both have a soul.”
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Mahalia Jackson, Lead Belly, Paul Robeson, and Jazz: Our Newest Acquisitions | NLS Music Notes
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://blogs.loc.gov/nls-music-notes/2014/09/mahalia-jackson-lead-belly-paul-robeson-and-jazz-our-newest-acquisitions/
** Mahalia Jackson, Lead Belly, Paul Robeson, and Jazz: Our Newest Acquisitions
————————————————————
The NLS Music Section recently acquired audio materials produced bySmithsonian Folkways (http://www.folkways.si.edu/?loclr=blognls) .
I would like to introduce and expand upon four new audio titles that are now available to our patrons. We are excited about these titles because we have added a new braille element to some of our audio. Read more about our new Smithsonian Folkways acquisitions — and our process of adding braille — at this previous blog post (http://blogs.loc.gov/nls-music-notes/2014/09/do-you-have-music-for-listening/?loclr=blognls) . All accompanying liner notes with these titles are narrated on the recording — done by our in house recording studio — and, are available digitally on the cartridge itself or downloaded from BARD. Patrons may use personal braille aware devices to access the liner notes on their own, or we are always happy to send an embossed copy along with the recording as well.
http://www.loc.gov/pictures/resource/van.5a52172/?loclr=blognls
Portrait of Mahalia Jackson, with left hand resting on face.
http://www.loc.gov/resource/afc1985001.afc1985001_p006/?loclr=blognls
Photo of Lead Belly, seated with an accordion, 1942. Image is a contact sheet with four different poses.
I Sing Because I’m Happy – Mahalia Jackson. This gospel title contains songs performed by Mahalia Jackson, with interview material conducted by Jules Schwerin. It was originally produced in 1992 by Oxford University Press to accompany Schwerin’s book, Got to Tell It: Mahalia Jackson, Queen of Gospel. Book number, DBM 03638.
Bourgeois Blues – Lead Belly. One of my personal favorites (also seen spelled “Leadbelly”), commonly associated with playing the 12-string guitar, is showcased and discussed in this book with liner notes by another notable figure, Woody Guthrie. Book number,DBM 03641.
A History of Jazz: the New York Scene – edited by Samuel B. Charters. The title of this recording says it all; it is about Jazz, exciting! It is both a narrative and a musical experience. It begins with early acoustic recordings from 1914 and 1917. In 1920 American Popular Blues singer Mamie Smith – who sang with vernacular traditions from America’s past – paved the way for what the industry termed “race records.” You will hear Smith sing, “Crazy Blues,” the iconic song that made the industry take notice when it sold thousands of copies. Artist and Repertoire men were in business. The commercialization of music was taking shape. I find A History of Jazz’s publication date, 1961, compelling and historically significant. Through a reading of the liner notes, listeners experience the view of jazz at that time, as well as hear the music first hand. There is an abundance of information to learn here. Book number, DBM 03615.
http://www.loc.gov/pictures/resource/fsa.8b14917/
Photo of Paul Robeson, at the Watergate in Washington, DC, June 1942.
The Collector’s Paul Robeson. Using language straight from the publisher, “The distinction of Paul Robeson as a singer does not lie in the physical range of his voice, but in the range of feeling which moves the singer in his choice of songs…When asked to discuss himself, Robeson has frequently said that he feels that the songs he sings are more expressive of his exact feelings than anything he can articulate about himself in words. Robeson has sung to the world not for the sake of individual fame, but to communicate to the world through song.” Book number, DBM 03613.
I hope that you will check out these new selections, and enjoy them!
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5bae5f40ba) | 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=5bae5f40ba&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Mahalia Jackson, Lead Belly, Paul Robeson, and Jazz: Our Newest Acquisitions | NLS Music Notes
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://blogs.loc.gov/nls-music-notes/2014/09/mahalia-jackson-lead-belly-paul-robeson-and-jazz-our-newest-acquisitions/
** Mahalia Jackson, Lead Belly, Paul Robeson, and Jazz: Our Newest Acquisitions
————————————————————
The NLS Music Section recently acquired audio materials produced bySmithsonian Folkways (http://www.folkways.si.edu/?loclr=blognls) .
I would like to introduce and expand upon four new audio titles that are now available to our patrons. We are excited about these titles because we have added a new braille element to some of our audio. Read more about our new Smithsonian Folkways acquisitions — and our process of adding braille — at this previous blog post (http://blogs.loc.gov/nls-music-notes/2014/09/do-you-have-music-for-listening/?loclr=blognls) . All accompanying liner notes with these titles are narrated on the recording — done by our in house recording studio — and, are available digitally on the cartridge itself or downloaded from BARD. Patrons may use personal braille aware devices to access the liner notes on their own, or we are always happy to send an embossed copy along with the recording as well.
http://www.loc.gov/pictures/resource/van.5a52172/?loclr=blognls
Portrait of Mahalia Jackson, with left hand resting on face.
http://www.loc.gov/resource/afc1985001.afc1985001_p006/?loclr=blognls
Photo of Lead Belly, seated with an accordion, 1942. Image is a contact sheet with four different poses.
I Sing Because I’m Happy – Mahalia Jackson. This gospel title contains songs performed by Mahalia Jackson, with interview material conducted by Jules Schwerin. It was originally produced in 1992 by Oxford University Press to accompany Schwerin’s book, Got to Tell It: Mahalia Jackson, Queen of Gospel. Book number, DBM 03638.
Bourgeois Blues – Lead Belly. One of my personal favorites (also seen spelled “Leadbelly”), commonly associated with playing the 12-string guitar, is showcased and discussed in this book with liner notes by another notable figure, Woody Guthrie. Book number,DBM 03641.
A History of Jazz: the New York Scene – edited by Samuel B. Charters. The title of this recording says it all; it is about Jazz, exciting! It is both a narrative and a musical experience. It begins with early acoustic recordings from 1914 and 1917. In 1920 American Popular Blues singer Mamie Smith – who sang with vernacular traditions from America’s past – paved the way for what the industry termed “race records.” You will hear Smith sing, “Crazy Blues,” the iconic song that made the industry take notice when it sold thousands of copies. Artist and Repertoire men were in business. The commercialization of music was taking shape. I find A History of Jazz’s publication date, 1961, compelling and historically significant. Through a reading of the liner notes, listeners experience the view of jazz at that time, as well as hear the music first hand. There is an abundance of information to learn here. Book number, DBM 03615.
http://www.loc.gov/pictures/resource/fsa.8b14917/
Photo of Paul Robeson, at the Watergate in Washington, DC, June 1942.
The Collector’s Paul Robeson. Using language straight from the publisher, “The distinction of Paul Robeson as a singer does not lie in the physical range of his voice, but in the range of feeling which moves the singer in his choice of songs…When asked to discuss himself, Robeson has frequently said that he feels that the songs he sings are more expressive of his exact feelings than anything he can articulate about himself in words. Robeson has sung to the world not for the sake of individual fame, but to communicate to the world through song.” Book number, DBM 03613.
I hope that you will check out these new selections, and enjoy them!
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5bae5f40ba) | 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=5bae5f40ba&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
U.S. Music Sales Drop 5%, as Habits Shift Online – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/09/26/business/media/music-sales-drop-5-as-habits-shift-online.html
** U.S. Music Sales Drop 5%, as Habits Shift Online
————————————————————
As the music industry evolves, there has been no doubt that online streaming services like Spotify, Pandora and YouTube are growing fast, and generating more revenue for artists and record companies.
The question is whether that growth is enough to offset dropping sales of CDs and downloads. The latest report on music sales indicates that, at least so far, it is not.
According the Recording Industry Association of America, which collects sales numbers from the major record companies, just under $3.2 billion in music sales was recorded in the first half of 2014. That is down 4.9 percent from the same period in 2013, the association reported on Thursday. But a closer look at the numbers shows how much music consumption patterns are changing.
In the first six months of 2014, downloads and streaming together amounted to $2.2 billion — virtually unchanged from the same period last year. But within that total, the proportions changed. Last year, downloads were about 69 percent of this category, by revenue, with the rest made up by streaming; this year, downloads were only 60 percent.
Digital sales of all kinds now make up about 68 percent of total sales revenue for the recorded music industry. Streaming outlets, which include “on-demand” services like Spotify, Rhapsody and Google Play Music All Access; Internet radio like Pandora and iHeartRadio; and even video services that use music, are now 27 percent of the whole. According to the report, 7.8 million people in the United States paid for subscriptions to digital services (up from 6.1 million at the end of last year).
The drop in download sales has been a major worry in the music business. After rapid growth following the introduction of Apple’s iTunes store in 2003, download sales in recent years began to cool. Then, in 2013, theydropped precipitously (http://www.nytimes.com/2013/10/21/business/media/as-downloads-dip-music-executives-cast-a-wary-eye-on-streaming-services.html) , leading to fresh rounds of questions about whether streaming services like Spotify — which let people listen to millions of songs online, charging listeners for the access or making them listen to ads — were to blame.
Strict causality between the rise in streaming and the fall in downloads may be difficult to prove to a scientist’s satisfaction. But few music executives these days seem to dispute that people buy fewer songs when they can easily stream them online, and this shift is part of the reasoning behind recent deals like Apple’s $3 billion purchase of Beats (http://www.nytimes.com/2014/05/29/technology/apple-confirms-its-3-billion-deal-for-beats-electronics.html) .
Among physical formats, CD sales continue to plunge while vinyl records grow into a surprisingly robust niche. Sales of albums on CD fell 19 percent by revenue to $716 million, while LP sales grew 43 percent to $146 million. A decade ago, LP sales were barely significant. But with vinyl now firmly established as a premium-priced collector’s item and an audiophile favorite, they represent about 4.6 percent of the total.
The music industry also received some good news this week. On Wednesday, Moody’s issued a report about streaming music services in light of recent deals by technology giants like Apple’s Beats purchase; Google’s acquisition of the playlist service Songza (http://www.nytimes.com/2014/07/02/business/media/google-buys-songza-a-playlist-app-for-any-occasion.html) ; and Amazon’s newPrime Music (http://www.nytimes.com/2014/06/13/business/media/amazon-introduces-music-streaming-service.html) streaming service.
The ratings agency saw an overly crowded marketplace of streaming services, but concluded that all that competition is good for record companies, which charge the streaming outlets substantial licensing fees to use their songs.
“Technology companies’ deep pockets and intensified rivalry to attract and retain paying users within the respective ecosystems,” the report said, “is a credit positive for the content owners, providing a better return on their music catalogs.”
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
U.S. Music Sales Drop 5%, as Habits Shift Online – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/09/26/business/media/music-sales-drop-5-as-habits-shift-online.html
** U.S. Music Sales Drop 5%, as Habits Shift Online
————————————————————
As the music industry evolves, there has been no doubt that online streaming services like Spotify, Pandora and YouTube are growing fast, and generating more revenue for artists and record companies.
The question is whether that growth is enough to offset dropping sales of CDs and downloads. The latest report on music sales indicates that, at least so far, it is not.
According the Recording Industry Association of America, which collects sales numbers from the major record companies, just under $3.2 billion in music sales was recorded in the first half of 2014. That is down 4.9 percent from the same period in 2013, the association reported on Thursday. But a closer look at the numbers shows how much music consumption patterns are changing.
In the first six months of 2014, downloads and streaming together amounted to $2.2 billion — virtually unchanged from the same period last year. But within that total, the proportions changed. Last year, downloads were about 69 percent of this category, by revenue, with the rest made up by streaming; this year, downloads were only 60 percent.
Digital sales of all kinds now make up about 68 percent of total sales revenue for the recorded music industry. Streaming outlets, which include “on-demand” services like Spotify, Rhapsody and Google Play Music All Access; Internet radio like Pandora and iHeartRadio; and even video services that use music, are now 27 percent of the whole. According to the report, 7.8 million people in the United States paid for subscriptions to digital services (up from 6.1 million at the end of last year).
The drop in download sales has been a major worry in the music business. After rapid growth following the introduction of Apple’s iTunes store in 2003, download sales in recent years began to cool. Then, in 2013, theydropped precipitously (http://www.nytimes.com/2013/10/21/business/media/as-downloads-dip-music-executives-cast-a-wary-eye-on-streaming-services.html) , leading to fresh rounds of questions about whether streaming services like Spotify — which let people listen to millions of songs online, charging listeners for the access or making them listen to ads — were to blame.
Strict causality between the rise in streaming and the fall in downloads may be difficult to prove to a scientist’s satisfaction. But few music executives these days seem to dispute that people buy fewer songs when they can easily stream them online, and this shift is part of the reasoning behind recent deals like Apple’s $3 billion purchase of Beats (http://www.nytimes.com/2014/05/29/technology/apple-confirms-its-3-billion-deal-for-beats-electronics.html) .
Among physical formats, CD sales continue to plunge while vinyl records grow into a surprisingly robust niche. Sales of albums on CD fell 19 percent by revenue to $716 million, while LP sales grew 43 percent to $146 million. A decade ago, LP sales were barely significant. But with vinyl now firmly established as a premium-priced collector’s item and an audiophile favorite, they represent about 4.6 percent of the total.
The music industry also received some good news this week. On Wednesday, Moody’s issued a report about streaming music services in light of recent deals by technology giants like Apple’s Beats purchase; Google’s acquisition of the playlist service Songza (http://www.nytimes.com/2014/07/02/business/media/google-buys-songza-a-playlist-app-for-any-occasion.html) ; and Amazon’s newPrime Music (http://www.nytimes.com/2014/06/13/business/media/amazon-introduces-music-streaming-service.html) streaming service.
The ratings agency saw an overly crowded marketplace of streaming services, but concluded that all that competition is good for record companies, which charge the streaming outlets substantial licensing fees to use their songs.
“Technology companies’ deep pockets and intensified rivalry to attract and retain paying users within the respective ecosystems,” the report said, “is a credit positive for the content owners, providing a better return on their music catalogs.”
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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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‘Harlem Street Singer,’ Life Story of the Rev. Gary Davis – NYTimes.com
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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/09/26/movies/harlem-street-singer-life-story-of-the-rev-gary-davis.html?mabReward=RI%3A5&action=click&contentCollection=Music®ion=Footer&module=Recommendation&src=recg&pgtype=article (http://www.nytimes.com/2014/09/26/movies/harlem-street-singer-life-story-of-the-rev-gary-davis.html?mabReward=RI%3A5&action=click&contentCollection=Music®ion=Footer&module=Recommendation&src=recg&pgtype=article)
** ‘Harlem Street Singer,’ Life Story of the Rev. Gary Davis
————————————————————
Photo
The Rev. Gary Davis, whose life fills the documentary “Harlem Street Singer.” Credit Acoustic Traditions
HARLEM STREET SINGER
Opens on Friday
Directed by Simeon Hutner and Trevor Laurence
1 hour 18 minutes; not rated
A labor of love and respect, the documentary “Harlem Street Singer” chronicles the life of the Rev. Gary Davis (http://reverendgarydavis.com/) , the blind singer and guitarist who inspired and influenced a generation of folk musicians in the 1950s and 1960s.
Born in South Carolina in 1896, Davis, who taught himself to play guitar, was in a string band by his early teens and was a street musician in Durham, N.C., in the 1920s and ’30s. By the 1940s, he had become an ordained Baptist minister and moved to New York, playing on the streets of Harlem and preaching in storefront churches. Thanks to the folk revival movement, Davis’s circumstances eventually improved, and his songs, including “I Am the Light of This World,” (http://www.youtube.com/watch?v=c1SK3QTnGU8) “Death Don’t Have No Mercy” and “Samson and Delilah,” (http://www.youtube.com/watch?v=oBYb6N794AQ) became standards of blues, folk and rock.
Admittedly, the film, directed by Simeon Hutner and Trevor Laurence, has a hole at its center: a dearth of interviews with Davis, who died in 1972. It compensates with reminiscences by Bob Weir, David Bromberg, Happy Traum and other musicians who took lessons from Davis. Another student, the guitarist Woody Mann, not only performs songs Davis taught him, but he’s also a producer of the film.
The best material is footage of Davis’s opening-night performance at the1965 Newport Folk Festival (http://reverendgarydavis.com/newport.html) , better remembered as the one where Bob Dylan went electric. In Davis’s comments to the crowd, his virtuosic fingerpicking and his gruff, raw vocals (http://www.youtube.com/watch?v=5B4u0jjMoAA) , viewers are given a glimpse of a singular artist whose music reaches us still. DANIEL M. GOLD
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
‘Harlem Street Singer,’ Life Story of the Rev. Gary Davis – NYTimes.com
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http://www.nytimes.com/2014/09/26/movies/harlem-street-singer-life-story-of-the-rev-gary-davis.html?mabReward=RI%3A5&action=click&contentCollection=Music®ion=Footer&module=Recommendation&src=recg&pgtype=article (http://www.nytimes.com/2014/09/26/movies/harlem-street-singer-life-story-of-the-rev-gary-davis.html?mabReward=RI%3A5&action=click&contentCollection=Music®ion=Footer&module=Recommendation&src=recg&pgtype=article)
** ‘Harlem Street Singer,’ Life Story of the Rev. Gary Davis
————————————————————
Photo
The Rev. Gary Davis, whose life fills the documentary “Harlem Street Singer.” Credit Acoustic Traditions
HARLEM STREET SINGER
Opens on Friday
Directed by Simeon Hutner and Trevor Laurence
1 hour 18 minutes; not rated
A labor of love and respect, the documentary “Harlem Street Singer” chronicles the life of the Rev. Gary Davis (http://reverendgarydavis.com/) , the blind singer and guitarist who inspired and influenced a generation of folk musicians in the 1950s and 1960s.
Born in South Carolina in 1896, Davis, who taught himself to play guitar, was in a string band by his early teens and was a street musician in Durham, N.C., in the 1920s and ’30s. By the 1940s, he had become an ordained Baptist minister and moved to New York, playing on the streets of Harlem and preaching in storefront churches. Thanks to the folk revival movement, Davis’s circumstances eventually improved, and his songs, including “I Am the Light of This World,” (http://www.youtube.com/watch?v=c1SK3QTnGU8) “Death Don’t Have No Mercy” and “Samson and Delilah,” (http://www.youtube.com/watch?v=oBYb6N794AQ) became standards of blues, folk and rock.
Admittedly, the film, directed by Simeon Hutner and Trevor Laurence, has a hole at its center: a dearth of interviews with Davis, who died in 1972. It compensates with reminiscences by Bob Weir, David Bromberg, Happy Traum and other musicians who took lessons from Davis. Another student, the guitarist Woody Mann, not only performs songs Davis taught him, but he’s also a producer of the film.
The best material is footage of Davis’s opening-night performance at the1965 Newport Folk Festival (http://reverendgarydavis.com/newport.html) , better remembered as the one where Bob Dylan went electric. In Davis’s comments to the crowd, his virtuosic fingerpicking and his gruff, raw vocals (http://www.youtube.com/watch?v=5B4u0jjMoAA) , viewers are given a glimpse of a singular artist whose music reaches us still. DANIEL M. GOLD
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Kirk Lightsey Returns to the Village Vanguard After 25 Years – NYTimes.com
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http://www.nytimes.com/2014/09/26/arts/music/kirk-lightsey-returns-to-the-village-vanguard-after-25-years.html?emc=edit_tnt_20140925&nlid=16833052&tntemail0=y (http://www.nytimes.com/2014/09/26/arts/music/kirk-lightsey-returns-to-the-village-vanguard-after-25-years.html?emc=edit_tnt_20140925&nlid=16833052&tntemail0=y)
** Kirk Lightsey Returns to the Village Vanguard After 25 Years
————————————————————
Photo
Kirk Lightsey making a rare appearance in New York on Tuesday night at the Village Vanguard. Credit Michelle V. Agins/The New York Times
“Wow, it’s been so long since I’ve been in this place,” the pianist Kirk Lightsey said after taking the stage at the Village Vanguard on Tuesday night. Surveying the room, he chortled, wearing a look of beatific astonishment. He introduced the members of his quartet, and then restated the obvious: “I’m so happy to be back in town; I’m just giddy.”
Jazz has long held special provisions for its prodigal sons, and in a certain light Mr. Lightsey, 77, seems to fit that bill. Born and raised in Detroit, he made his mark in New York during the early 1980s, fast becoming a prominent sideman and an estimable solo artist (http://youtu.be/STxCW8NAGTk) . Then in 1992 he moved to Paris, effectively vanishing from the American scene.
With a few exceptions — notably a three-night stand at the Jazz Standard in 2006 — he hadn’t been back since. He last played the Village Vanguard more than 25 years ago, with the saxophonist David (Fathead) Newman. So although Mr. Lightsey has had a respectable career in Europe (http://youtu.be/4YlIBdxqjf4) , this week’s run suggested a comeback, a bit like the one made by Dexter Gordon, another of his former employers, in the mid-’70s.
Whatever you want to call it, the opening set on Tuesday was a genial depth charge, a distillation of what Mr. Lightsey’s New York fans have been missing. He’d enlisted several distinguished old colleagues — the guitarist Ed Cherry, the bassist Rufus Reid, the drummer Victor Lewis — and he led them with a light touch, putting well-placed trust in their cohesion. For a first set, it felt sturdy and assured, driven by a sense of play.
Mr. Lightsey has a dry, clear touch and an elegant way with chord voicings, which go hand in hand with his deep respect for melody. His recent repertory has included a handful of staples, including most of the tunes in this set. During “In Your Own Sweet Way,” the Dave Brubeck standard, he played a solo girded with block chords, quoting Wayne Shorter’s “One by One” as the lead-in to a drum break. He likewise modified “Pee Wee,” a shadowy waltz by Tony Williams, linking it to his own composition, “Heaven Dance (http://youtu.be/k2nswjpa-6M) .”
Noting that Tuesday would have been John Coltrane’s birthday, Mr. Lightsey also included “Equinox,” one of Coltrane’s key themes. Mr. Reid stamped its droning bass ostinato with a weighty authority, laying into an open string, while Mr. Lewis played a sly rhythmic game of tension and release. Mr. Lightsey soloed credibly on flute, but it was Mr. Cherry who lifted the tune, with a modern derivation of Wes Montgomery’s style.
The closer was “One Finger Snap (http://youtu.be/ukenGSVtryk) ,” by Herbie Hancock, and if Mr. Lightsey didn’t quite nail the tricky angularities of its melody, he didn’t let that slow him down. The quartet, swinging mightily, powered straight through the tune. And its leader was once again all smiles, as if there were no place else he’d rather be.
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Copyright (C) 2014 All rights reserved.
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Kirk Lightsey Returns to the Village Vanguard After 25 Years – NYTimes.com
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http://www.nytimes.com/2014/09/26/arts/music/kirk-lightsey-returns-to-the-village-vanguard-after-25-years.html?emc=edit_tnt_20140925&nlid=16833052&tntemail0=y (http://www.nytimes.com/2014/09/26/arts/music/kirk-lightsey-returns-to-the-village-vanguard-after-25-years.html?emc=edit_tnt_20140925&nlid=16833052&tntemail0=y)
** Kirk Lightsey Returns to the Village Vanguard After 25 Years
————————————————————
Photo
Kirk Lightsey making a rare appearance in New York on Tuesday night at the Village Vanguard. Credit Michelle V. Agins/The New York Times
“Wow, it’s been so long since I’ve been in this place,” the pianist Kirk Lightsey said after taking the stage at the Village Vanguard on Tuesday night. Surveying the room, he chortled, wearing a look of beatific astonishment. He introduced the members of his quartet, and then restated the obvious: “I’m so happy to be back in town; I’m just giddy.”
Jazz has long held special provisions for its prodigal sons, and in a certain light Mr. Lightsey, 77, seems to fit that bill. Born and raised in Detroit, he made his mark in New York during the early 1980s, fast becoming a prominent sideman and an estimable solo artist (http://youtu.be/STxCW8NAGTk) . Then in 1992 he moved to Paris, effectively vanishing from the American scene.
With a few exceptions — notably a three-night stand at the Jazz Standard in 2006 — he hadn’t been back since. He last played the Village Vanguard more than 25 years ago, with the saxophonist David (Fathead) Newman. So although Mr. Lightsey has had a respectable career in Europe (http://youtu.be/4YlIBdxqjf4) , this week’s run suggested a comeback, a bit like the one made by Dexter Gordon, another of his former employers, in the mid-’70s.
Whatever you want to call it, the opening set on Tuesday was a genial depth charge, a distillation of what Mr. Lightsey’s New York fans have been missing. He’d enlisted several distinguished old colleagues — the guitarist Ed Cherry, the bassist Rufus Reid, the drummer Victor Lewis — and he led them with a light touch, putting well-placed trust in their cohesion. For a first set, it felt sturdy and assured, driven by a sense of play.
Mr. Lightsey has a dry, clear touch and an elegant way with chord voicings, which go hand in hand with his deep respect for melody. His recent repertory has included a handful of staples, including most of the tunes in this set. During “In Your Own Sweet Way,” the Dave Brubeck standard, he played a solo girded with block chords, quoting Wayne Shorter’s “One by One” as the lead-in to a drum break. He likewise modified “Pee Wee,” a shadowy waltz by Tony Williams, linking it to his own composition, “Heaven Dance (http://youtu.be/k2nswjpa-6M) .”
Noting that Tuesday would have been John Coltrane’s birthday, Mr. Lightsey also included “Equinox,” one of Coltrane’s key themes. Mr. Reid stamped its droning bass ostinato with a weighty authority, laying into an open string, while Mr. Lewis played a sly rhythmic game of tension and release. Mr. Lightsey soloed credibly on flute, but it was Mr. Cherry who lifted the tune, with a modern derivation of Wes Montgomery’s style.
The closer was “One Finger Snap (http://youtu.be/ukenGSVtryk) ,” by Herbie Hancock, and if Mr. Lightsey didn’t quite nail the tricky angularities of its melody, he didn’t let that slow him down. The quartet, swinging mightily, powered straight through the tune. And its leader was once again all smiles, as if there were no place else he’d rather be.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=9db003a21c) | 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=9db003a21c&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
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Warwick, Ny 10990
USA
Talking to Justin Kauflin – NYTimes.com
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http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0)
** Talking to Justin Kauflin
————————————————————
Photo
Justin Kauflin Credit Tony Cenicola/The New York Times
“Dear Justin,” an elderly man recites, “challenges are a part of life, as you know. Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I learned. I believe in your talents and I believe in you.”
So begins the documentary “Keep on Keepin’ On,” Alan Hicks’s ode to the friendship between the prodigious jazz trumpeter Clark Terry, now 93, and the rising pianist Justin Kauflin, 28. The film opens Oct. 3.
The three men met when Mr. Kauflin and Mr. Hicks, himself a drummer, were enrolled in the jazz performance program at William Paterson University in Wayne, N.J., where Mr. Terry taught. The film was originally a tribute to Mr. Terry, who swung and bebopped with Count Basie and Duke Ellington, and imparted technique and wisdom to Quincy Jones and Miles Davis. But Mr. Hicks soon focused on mentor and protégé as they navigated a dimming world: Mr. Kauflin had been blind from a hereditary disorder since 11; Mr. Terry’s vision was failing from diabetes.
A couple of years into filming, Mr. Jones signed on as one of the film’s producers. Then his management team signed Mr. Kauflin. Touring gigs followed, with an album composed and performed by Mr. Kauflin, and produced by Mr. Jones, to be released in January. The documentary won awards at the Tribeca Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/t/tribeca_film_festival_nyc/index.html?inline=nyt-classifier) in April.
“Being around Clark has taught me how selfless he is, and how selfless a lot of these great jazz musicians are,” Mr. Kauflin said in an interview with Kathryn Shattuck in New York, where he’d traveled from his home in Virginia Beach, Va., with his guide dog, Candy, who has a star turn in the film. “Every student he’s worked with, from Quincy to Miles to Dianne Reeves to myself, he’s truly there to support and love and share his love for music. Having that makes me want to do so much better for him.” These are excerpts from their conversation.
Q. When did you start playing the piano?
A. At 9. I’d loved the piano since I was 2 and was happy that we finally found a teacher who was comfortable dealing with a visually impaired student. I say I loved the piano, but before I lost my sight it wasn’t my favorite thing to do. Basketball, video games, being a goofball, being a kid were. It shifted when I lost my sight.
You turned from classical music to jazz.
I auditioned to get into the Governor’s School for the Performing Arts [in Virginia]. They wisely chose to put me in the jazz department, mainly because in the classical department the sight reading requirements would have made things difficult. I fell in love pretty quickly with what I discovered in jazz, which was this incredible freedom of expression. You spend all this time learning theory and mechanics, and in classical music you aren’t really able to apply it. But in jazz, you can take that knowledge and actually use it.
How did you meet Clark?
When I got to William Paterson, Clark was losing his sight due to diabetes and Al thought it would be a good idea to bring me over to the house, as I was somebody who had dealt with the situation and could share my own experiences with Clark. I was there to console him a little bit.
Do you wear the good-luck socks that Clark gave you in the film?
Yeah, I do. But I make sure to tell people that they’ve been laundered.
How is it playing with him?
The band sounds O.K., and then when Clark picks up the horn and starts playing, the band sounds way better. When you’re playing with a master, they have a tendency to bring everybody up to their level.
What have you learned from Clark?
Obviously he taught me a great deal as far as the mechanics go. But the thing that has stood out to me is he is the consummate performer. Clark is just an absolute expert about making the band feel good and about making the whole audience just so happy to be there. It’s an art form. And I hope to try to be just a little bit like that.
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Copyright (C) 2014 All rights reserved.
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USA
Talking to Justin Kauflin – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0)
** Talking to Justin Kauflin
————————————————————
Photo
Justin Kauflin Credit Tony Cenicola/The New York Times
“Dear Justin,” an elderly man recites, “challenges are a part of life, as you know. Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I learned. I believe in your talents and I believe in you.”
So begins the documentary “Keep on Keepin’ On,” Alan Hicks’s ode to the friendship between the prodigious jazz trumpeter Clark Terry, now 93, and the rising pianist Justin Kauflin, 28. The film opens Oct. 3.
The three men met when Mr. Kauflin and Mr. Hicks, himself a drummer, were enrolled in the jazz performance program at William Paterson University in Wayne, N.J., where Mr. Terry taught. The film was originally a tribute to Mr. Terry, who swung and bebopped with Count Basie and Duke Ellington, and imparted technique and wisdom to Quincy Jones and Miles Davis. But Mr. Hicks soon focused on mentor and protégé as they navigated a dimming world: Mr. Kauflin had been blind from a hereditary disorder since 11; Mr. Terry’s vision was failing from diabetes.
A couple of years into filming, Mr. Jones signed on as one of the film’s producers. Then his management team signed Mr. Kauflin. Touring gigs followed, with an album composed and performed by Mr. Kauflin, and produced by Mr. Jones, to be released in January. The documentary won awards at the Tribeca Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/t/tribeca_film_festival_nyc/index.html?inline=nyt-classifier) in April.
“Being around Clark has taught me how selfless he is, and how selfless a lot of these great jazz musicians are,” Mr. Kauflin said in an interview with Kathryn Shattuck in New York, where he’d traveled from his home in Virginia Beach, Va., with his guide dog, Candy, who has a star turn in the film. “Every student he’s worked with, from Quincy to Miles to Dianne Reeves to myself, he’s truly there to support and love and share his love for music. Having that makes me want to do so much better for him.” These are excerpts from their conversation.
Q. When did you start playing the piano?
A. At 9. I’d loved the piano since I was 2 and was happy that we finally found a teacher who was comfortable dealing with a visually impaired student. I say I loved the piano, but before I lost my sight it wasn’t my favorite thing to do. Basketball, video games, being a goofball, being a kid were. It shifted when I lost my sight.
You turned from classical music to jazz.
I auditioned to get into the Governor’s School for the Performing Arts [in Virginia]. They wisely chose to put me in the jazz department, mainly because in the classical department the sight reading requirements would have made things difficult. I fell in love pretty quickly with what I discovered in jazz, which was this incredible freedom of expression. You spend all this time learning theory and mechanics, and in classical music you aren’t really able to apply it. But in jazz, you can take that knowledge and actually use it.
How did you meet Clark?
When I got to William Paterson, Clark was losing his sight due to diabetes and Al thought it would be a good idea to bring me over to the house, as I was somebody who had dealt with the situation and could share my own experiences with Clark. I was there to console him a little bit.
Do you wear the good-luck socks that Clark gave you in the film?
Yeah, I do. But I make sure to tell people that they’ve been laundered.
How is it playing with him?
The band sounds O.K., and then when Clark picks up the horn and starts playing, the band sounds way better. When you’re playing with a master, they have a tendency to bring everybody up to their level.
What have you learned from Clark?
Obviously he taught me a great deal as far as the mechanics go. But the thing that has stood out to me is he is the consummate performer. Clark is just an absolute expert about making the band feel good and about making the whole audience just so happy to be there. It’s an art form. And I hope to try to be just a little bit like that.
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=aa01afc8ae) | 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=aa01afc8ae&e=[UNIQID])
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Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Talking to Justin Kauflin – NYTimes.com
http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/09/28/movies/talking-to-justin-kauflin.html?emc=edit_tnt_20140926&nlid=16833052&tntemail0=y&_r=0)
** Talking to Justin Kauflin
————————————————————
Photo
Justin Kauflin Credit Tony Cenicola/The New York Times
“Dear Justin,” an elderly man recites, “challenges are a part of life, as you know. Your mind is a powerful asset. Use it for positive thoughts and you’ll learn what I learned. I believe in your talents and I believe in you.”
So begins the documentary “Keep on Keepin’ On,” Alan Hicks’s ode to the friendship between the prodigious jazz trumpeter Clark Terry, now 93, and the rising pianist Justin Kauflin, 28. The film opens Oct. 3.
The three men met when Mr. Kauflin and Mr. Hicks, himself a drummer, were enrolled in the jazz performance program at William Paterson University in Wayne, N.J., where Mr. Terry taught. The film was originally a tribute to Mr. Terry, who swung and bebopped with Count Basie and Duke Ellington, and imparted technique and wisdom to Quincy Jones and Miles Davis. But Mr. Hicks soon focused on mentor and protégé as they navigated a dimming world: Mr. Kauflin had been blind from a hereditary disorder since 11; Mr. Terry’s vision was failing from diabetes.
A couple of years into filming, Mr. Jones signed on as one of the film’s producers. Then his management team signed Mr. Kauflin. Touring gigs followed, with an album composed and performed by Mr. Kauflin, and produced by Mr. Jones, to be released in January. The documentary won awards at the Tribeca Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/t/tribeca_film_festival_nyc/index.html?inline=nyt-classifier) in April.
“Being around Clark has taught me how selfless he is, and how selfless a lot of these great jazz musicians are,” Mr. Kauflin said in an interview with Kathryn Shattuck in New York, where he’d traveled from his home in Virginia Beach, Va., with his guide dog, Candy, who has a star turn in the film. “Every student he’s worked with, from Quincy to Miles to Dianne Reeves to myself, he’s truly there to support and love and share his love for music. Having that makes me want to do so much better for him.” These are excerpts from their conversation.
Q. When did you start playing the piano?
A. At 9. I’d loved the piano since I was 2 and was happy that we finally found a teacher who was comfortable dealing with a visually impaired student. I say I loved the piano, but before I lost my sight it wasn’t my favorite thing to do. Basketball, video games, being a goofball, being a kid were. It shifted when I lost my sight.
You turned from classical music to jazz.
I auditioned to get into the Governor’s School for the Performing Arts [in Virginia]. They wisely chose to put me in the jazz department, mainly because in the classical department the sight reading requirements would have made things difficult. I fell in love pretty quickly with what I discovered in jazz, which was this incredible freedom of expression. You spend all this time learning theory and mechanics, and in classical music you aren’t really able to apply it. But in jazz, you can take that knowledge and actually use it.
How did you meet Clark?
When I got to William Paterson, Clark was losing his sight due to diabetes and Al thought it would be a good idea to bring me over to the house, as I was somebody who had dealt with the situation and could share my own experiences with Clark. I was there to console him a little bit.
Do you wear the good-luck socks that Clark gave you in the film?
Yeah, I do. But I make sure to tell people that they’ve been laundered.
How is it playing with him?
The band sounds O.K., and then when Clark picks up the horn and starts playing, the band sounds way better. When you’re playing with a master, they have a tendency to bring everybody up to their level.
What have you learned from Clark?
Obviously he taught me a great deal as far as the mechanics go. But the thing that has stood out to me is he is the consummate performer. Clark is just an absolute expert about making the band feel good and about making the whole audience just so happy to be there. It’s an art form. And I hope to try to be just a little bit like that.
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You Can Listen To John Peel ‘s Records
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** YOU CAN LISTEN TO JOHN PEEL ‘S RECORDS
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A new project allows you to listen to some of John Peel ‘s own records from the comfort of your own home. The John Peel Archive (http://www.johnpeelarchive.com/) have launched an online series of ‘Record Boxes’, which, looking at it, is basically a mixtape from your music nerd mate, covered in notes about the songs. With all the pictures of John Peel’s file cards, and his handwritten notes on the record sleeves (He wrote on the goddamn sleeves!), it’s a unique and informative insight into the great man’s own record collection.
The first ‘record box’ is curated by record producer Joe Boyd, who discovered Nick Drake, was there when Dylan went electric, and after watching the documentary, seems to have a story about absolutely everything that has happened in popular music since the ’60s. We think it’s worth taking a look: Joe Boyd’s record box (http://www.johnpeelarchive.com/joe-boyd/) .
[Source: TheFourOhFive (http://www.thefourohfive.com/) ]
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2014 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA