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The Indian who recorded South Africa’s greatest jazz musicians

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The Indian who recorded South Africa’s greatest jazz musicians
Rashid Vally’s As Shams Records produced discs by Dollar Brand, Pop Mohammad and a host of legends.
Nate Rabe · Yesterday · 07:44 pm (http://scroll.in/#!/?publisher=&title=)

Photo Credit:
The story of Mahatma Gandhi’s politicisation and early experiments with truth in South Africa are well known in India and elsewhere. But far less recognised is the role that South Asian musicians and others played in the development of South African music, especially jazz.

Rashid Vally is one of those. An Asian whose family operated a small general store in Cape Town, Vally attended the Central Indian High School, set up by the Indian Congress partly in response to the introduction of the Group Areas Act in 1950. His father opened a small café, which just happened to be below the law offices of Nelson Mandela. The future President of South Africa was a regular customer, as were many other leading lights of the country’s political and cultural world.

To indulge his son’s passion for music, Vally’s father allowed the boy to set up a small section where he sold and played jazz records from America. When he wasn’t off delivering groceries to his father’s customers, he became known as the kid who loved jazz. Eventually, his passion so consumed young Rashid that he began ordering records wholesale from the US; the café was transformed into Kohinoor Records, which exists even now.

Kohinoor and Vally became well known in the vibrant Cape Town music scene and Vally set up a record label, Soultown, to promote the music of local artists. One day, a slender handsome man walked into Kohinoor and approached Vally. He said he had heard of his Soultown recordings and that they were good. “Would you record me,” the man asked. The man was Dollar Brand (later known as Abdullah Ibrahim), who would go on to become South Africa’s most prominent jazz export. There began one of the most enduring relationships in South African music, with Vally releasing a whole series of records by Ibrahim and other outstanding musicians.

Ibrahim had a karate studio which he called As Shams (The Sun). Vally and Ibrahim agreed to call Rashid’s new label As Shams and had his brother-in-law design the now iconic label. Like the Sun Records on the other side of the world, in Memphis, Tennessee, Vally’s label played an absolutely crucial role in the development and preservation of South African jazz and popular music.

The late ’60s and early ’70s were terrible years for non-white South Africans. Recording music was a challenge as it was constantly interfered with by the authorities who were hypersensitive to any title or artist who was deemed to be hiding political messages in their music. Vally recalls how difficult it was in those years, when he would often have to work late at night, travel to the townships surround Cape Town and bring artists to the studio to record. Unlike other producers who seemed to be only concerned in the monetary value of a hit, Rashid Vally was always a deep lover of the music. He imposed no restrictions on the artists and was ready to link up with other bigger distributors to get the music out into the public.

It is hard to overestimate the role Vally has played in South African music. The list of artists (Pop Mohammad, Ibrahim, Bea Benjamin, Basil Coetzee just to name a few) and classic albums he has produced and distributed through his label stretches belief. The atmosphere and environment he created in the very dark days of apartheid, both in the studio and his humanity, are a contribution South Asians should not only be familiar with but take deep pride in.

The following clips review just a handful of the many classic and towering tracks Rashid Vally and As Shams Records had a hand in delivering to the world.

Abdullah Ibrahim aka Dollar Brand
Mannenberg

Mannenberg, the Soweto of Cape Town, was the township to which many thousands of people were moved from District 6 in the central part of the city after the enactment of the Group Areas Act which forcibly removed non-whites from the more developed parts of urban areas. The tune was recorded on an upright piano with tacks on the hammers to give it special tinny sound. An iconic song and melody, and probably one of the most seminal pieces in South African jazz, this was recorded in Cape Town and released on Vally’s As Shams label. The title of the song came to Ibrahim spontaneously, as it seemed to sum up the mood at the time. It was an instant hit, selling 50,000 copies in six months and becoming a sort of anti-apartheid anthem. According to Vally, “The youth in the township used to put words to the tune and it soon became a struggle song. Basil Coetzee and Robbie Jansen played it at almost all the UDF [United Democratic Front] rallies around the country.”

The track was also smuggled into Mandela’s prison cell on Robin Island, to be the first contact with music that Madiba had had for many years.

Bea Benjamin
Music

Bea Benjamin was a dedicated jazz musician, unrelenting in her commitment to spirit and music. She married Abdullah Ibrahim and moved into self-exile in Europe and New York in 1962. In Zurich, she and Ibrahim met Duke Ellington who not only championed Ibrahim but also arranged for Benjamin to sing with his orchestra, including at the Newport Jazz Festival in 1965. Ellington, in fact, asked her to join his band permanently but the challenges of managing Ibrahim’s career and raising children forced her to decline. In 1976, she returned to South Africa and recorded African Songbird, from which this moody evocative track in taken. Vally produced this masterpiece and released it on As Shams.

Dick Khoza
Chapita

Dick Khoza, a drummer, was from Malawi originally. But like so many others from the surrounding southern African countries found himself in South Africa seeking an opportunity and outlet for his creative energy. In the 1950s and ’60s he played with many South African musicians including Dudu Pakwana and Tete Mbambisa. In 1976, after the Soweto uprising, Khoza took a band into the studio and recorded Chapita, a monument to African funk. As Vally recalls, “the labels at that time were uninterested in jazz, just looking for a hit. I gave musicians complete freedom.”

The Beaters
Harari

The Beaters were South Africa’s first black rock ‘n roll band and toured extensively throughout the region. They had a particularly loyal fan base in neighbouring Zimbabwe (then Rhodesia) and eventually changed their name from the Beaters to Harari, in honour of the township around the capital of Salisbury. Of course, after independence in 1980, Harare was declared the capital of Zimbabwe. This cut is a sublime slice of ’70s funk (with echoes for WAR) and the standout song of this pioneering band.

Richard ‘Groove’ Holmes
Killer Joe

Richard Holmes was one of America’s great ambassadors of the Hammond B3 organ, who along with Jimmy McGriff and Jimmy Smith did so much to popularise the instrument in jazz and funk. A politically minded musician, Holmes travelled to apartheid South Africa in violation of the cultural boycott to record an album with South African jazzmen, including Pops Mohamed, called African Encounter. An obscure and rare recording, it was nevertheless As Shams (again) that released it!

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Copyright (C) 2014 All rights reserved.

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

The Indian who recorded South Africa’s greatest jazz musicians

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://scroll.in/article/675631/The-Indian-who-recorded-South-Africa’s-greatest-jazz-musicians (http://scroll.in/article/675631/The-Indian-who-recorded-South-Africa’s-greatest-jazz-musicians)

The Indian who recorded South Africa’s greatest jazz musicians
Rashid Vally’s As Shams Records produced discs by Dollar Brand, Pop Mohammad and a host of legends.
Nate Rabe · Yesterday · 07:44 pm (http://scroll.in/#!/?publisher=&title=)

Photo Credit:
The story of Mahatma Gandhi’s politicisation and early experiments with truth in South Africa are well known in India and elsewhere. But far less recognised is the role that South Asian musicians and others played in the development of South African music, especially jazz.

Rashid Vally is one of those. An Asian whose family operated a small general store in Cape Town, Vally attended the Central Indian High School, set up by the Indian Congress partly in response to the introduction of the Group Areas Act in 1950. His father opened a small café, which just happened to be below the law offices of Nelson Mandela. The future President of South Africa was a regular customer, as were many other leading lights of the country’s political and cultural world.

To indulge his son’s passion for music, Vally’s father allowed the boy to set up a small section where he sold and played jazz records from America. When he wasn’t off delivering groceries to his father’s customers, he became known as the kid who loved jazz. Eventually, his passion so consumed young Rashid that he began ordering records wholesale from the US; the café was transformed into Kohinoor Records, which exists even now.

Kohinoor and Vally became well known in the vibrant Cape Town music scene and Vally set up a record label, Soultown, to promote the music of local artists. One day, a slender handsome man walked into Kohinoor and approached Vally. He said he had heard of his Soultown recordings and that they were good. “Would you record me,” the man asked. The man was Dollar Brand (later known as Abdullah Ibrahim), who would go on to become South Africa’s most prominent jazz export. There began one of the most enduring relationships in South African music, with Vally releasing a whole series of records by Ibrahim and other outstanding musicians.

Ibrahim had a karate studio which he called As Shams (The Sun). Vally and Ibrahim agreed to call Rashid’s new label As Shams and had his brother-in-law design the now iconic label. Like the Sun Records on the other side of the world, in Memphis, Tennessee, Vally’s label played an absolutely crucial role in the development and preservation of South African jazz and popular music.

The late ’60s and early ’70s were terrible years for non-white South Africans. Recording music was a challenge as it was constantly interfered with by the authorities who were hypersensitive to any title or artist who was deemed to be hiding political messages in their music. Vally recalls how difficult it was in those years, when he would often have to work late at night, travel to the townships surround Cape Town and bring artists to the studio to record. Unlike other producers who seemed to be only concerned in the monetary value of a hit, Rashid Vally was always a deep lover of the music. He imposed no restrictions on the artists and was ready to link up with other bigger distributors to get the music out into the public.

It is hard to overestimate the role Vally has played in South African music. The list of artists (Pop Mohammad, Ibrahim, Bea Benjamin, Basil Coetzee just to name a few) and classic albums he has produced and distributed through his label stretches belief. The atmosphere and environment he created in the very dark days of apartheid, both in the studio and his humanity, are a contribution South Asians should not only be familiar with but take deep pride in.

The following clips review just a handful of the many classic and towering tracks Rashid Vally and As Shams Records had a hand in delivering to the world.

Abdullah Ibrahim aka Dollar Brand
Mannenberg

Mannenberg, the Soweto of Cape Town, was the township to which many thousands of people were moved from District 6 in the central part of the city after the enactment of the Group Areas Act which forcibly removed non-whites from the more developed parts of urban areas. The tune was recorded on an upright piano with tacks on the hammers to give it special tinny sound. An iconic song and melody, and probably one of the most seminal pieces in South African jazz, this was recorded in Cape Town and released on Vally’s As Shams label. The title of the song came to Ibrahim spontaneously, as it seemed to sum up the mood at the time. It was an instant hit, selling 50,000 copies in six months and becoming a sort of anti-apartheid anthem. According to Vally, “The youth in the township used to put words to the tune and it soon became a struggle song. Basil Coetzee and Robbie Jansen played it at almost all the UDF [United Democratic Front] rallies around the country.”

The track was also smuggled into Mandela’s prison cell on Robin Island, to be the first contact with music that Madiba had had for many years.

Bea Benjamin
Music

Bea Benjamin was a dedicated jazz musician, unrelenting in her commitment to spirit and music. She married Abdullah Ibrahim and moved into self-exile in Europe and New York in 1962. In Zurich, she and Ibrahim met Duke Ellington who not only championed Ibrahim but also arranged for Benjamin to sing with his orchestra, including at the Newport Jazz Festival in 1965. Ellington, in fact, asked her to join his band permanently but the challenges of managing Ibrahim’s career and raising children forced her to decline. In 1976, she returned to South Africa and recorded African Songbird, from which this moody evocative track in taken. Vally produced this masterpiece and released it on As Shams.

Dick Khoza
Chapita

Dick Khoza, a drummer, was from Malawi originally. But like so many others from the surrounding southern African countries found himself in South Africa seeking an opportunity and outlet for his creative energy. In the 1950s and ’60s he played with many South African musicians including Dudu Pakwana and Tete Mbambisa. In 1976, after the Soweto uprising, Khoza took a band into the studio and recorded Chapita, a monument to African funk. As Vally recalls, “the labels at that time were uninterested in jazz, just looking for a hit. I gave musicians complete freedom.”

The Beaters
Harari

The Beaters were South Africa’s first black rock ‘n roll band and toured extensively throughout the region. They had a particularly loyal fan base in neighbouring Zimbabwe (then Rhodesia) and eventually changed their name from the Beaters to Harari, in honour of the township around the capital of Salisbury. Of course, after independence in 1980, Harare was declared the capital of Zimbabwe. This cut is a sublime slice of ’70s funk (with echoes for WAR) and the standout song of this pioneering band.

Richard ‘Groove’ Holmes
Killer Joe

Richard Holmes was one of America’s great ambassadors of the Hammond B3 organ, who along with Jimmy McGriff and Jimmy Smith did so much to popularise the instrument in jazz and funk. A politically minded musician, Holmes travelled to apartheid South Africa in violation of the cultural boycott to record an album with South African jazzmen, including Pops Mohamed, called African Encounter. An obscure and rare recording, it was nevertheless As Shams (again) that released it!

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Copyright (C) 2014 All rights reserved.

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

The Indian who recorded South Africa’s greatest jazz musicians

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://scroll.in/article/675631/The-Indian-who-recorded-South-Africa’s-greatest-jazz-musicians (http://scroll.in/article/675631/The-Indian-who-recorded-South-Africa’s-greatest-jazz-musicians)

The Indian who recorded South Africa’s greatest jazz musicians
Rashid Vally’s As Shams Records produced discs by Dollar Brand, Pop Mohammad and a host of legends.
Nate Rabe · Yesterday · 07:44 pm (http://scroll.in/#!/?publisher=&title=)

Photo Credit:
The story of Mahatma Gandhi’s politicisation and early experiments with truth in South Africa are well known in India and elsewhere. But far less recognised is the role that South Asian musicians and others played in the development of South African music, especially jazz.

Rashid Vally is one of those. An Asian whose family operated a small general store in Cape Town, Vally attended the Central Indian High School, set up by the Indian Congress partly in response to the introduction of the Group Areas Act in 1950. His father opened a small café, which just happened to be below the law offices of Nelson Mandela. The future President of South Africa was a regular customer, as were many other leading lights of the country’s political and cultural world.

To indulge his son’s passion for music, Vally’s father allowed the boy to set up a small section where he sold and played jazz records from America. When he wasn’t off delivering groceries to his father’s customers, he became known as the kid who loved jazz. Eventually, his passion so consumed young Rashid that he began ordering records wholesale from the US; the café was transformed into Kohinoor Records, which exists even now.

Kohinoor and Vally became well known in the vibrant Cape Town music scene and Vally set up a record label, Soultown, to promote the music of local artists. One day, a slender handsome man walked into Kohinoor and approached Vally. He said he had heard of his Soultown recordings and that they were good. “Would you record me,” the man asked. The man was Dollar Brand (later known as Abdullah Ibrahim), who would go on to become South Africa’s most prominent jazz export. There began one of the most enduring relationships in South African music, with Vally releasing a whole series of records by Ibrahim and other outstanding musicians.

Ibrahim had a karate studio which he called As Shams (The Sun). Vally and Ibrahim agreed to call Rashid’s new label As Shams and had his brother-in-law design the now iconic label. Like the Sun Records on the other side of the world, in Memphis, Tennessee, Vally’s label played an absolutely crucial role in the development and preservation of South African jazz and popular music.

The late ’60s and early ’70s were terrible years for non-white South Africans. Recording music was a challenge as it was constantly interfered with by the authorities who were hypersensitive to any title or artist who was deemed to be hiding political messages in their music. Vally recalls how difficult it was in those years, when he would often have to work late at night, travel to the townships surround Cape Town and bring artists to the studio to record. Unlike other producers who seemed to be only concerned in the monetary value of a hit, Rashid Vally was always a deep lover of the music. He imposed no restrictions on the artists and was ready to link up with other bigger distributors to get the music out into the public.

It is hard to overestimate the role Vally has played in South African music. The list of artists (Pop Mohammad, Ibrahim, Bea Benjamin, Basil Coetzee just to name a few) and classic albums he has produced and distributed through his label stretches belief. The atmosphere and environment he created in the very dark days of apartheid, both in the studio and his humanity, are a contribution South Asians should not only be familiar with but take deep pride in.

The following clips review just a handful of the many classic and towering tracks Rashid Vally and As Shams Records had a hand in delivering to the world.

Abdullah Ibrahim aka Dollar Brand
Mannenberg

Mannenberg, the Soweto of Cape Town, was the township to which many thousands of people were moved from District 6 in the central part of the city after the enactment of the Group Areas Act which forcibly removed non-whites from the more developed parts of urban areas. The tune was recorded on an upright piano with tacks on the hammers to give it special tinny sound. An iconic song and melody, and probably one of the most seminal pieces in South African jazz, this was recorded in Cape Town and released on Vally’s As Shams label. The title of the song came to Ibrahim spontaneously, as it seemed to sum up the mood at the time. It was an instant hit, selling 50,000 copies in six months and becoming a sort of anti-apartheid anthem. According to Vally, “The youth in the township used to put words to the tune and it soon became a struggle song. Basil Coetzee and Robbie Jansen played it at almost all the UDF [United Democratic Front] rallies around the country.”

The track was also smuggled into Mandela’s prison cell on Robin Island, to be the first contact with music that Madiba had had for many years.

Bea Benjamin
Music

Bea Benjamin was a dedicated jazz musician, unrelenting in her commitment to spirit and music. She married Abdullah Ibrahim and moved into self-exile in Europe and New York in 1962. In Zurich, she and Ibrahim met Duke Ellington who not only championed Ibrahim but also arranged for Benjamin to sing with his orchestra, including at the Newport Jazz Festival in 1965. Ellington, in fact, asked her to join his band permanently but the challenges of managing Ibrahim’s career and raising children forced her to decline. In 1976, she returned to South Africa and recorded African Songbird, from which this moody evocative track in taken. Vally produced this masterpiece and released it on As Shams.

Dick Khoza
Chapita

Dick Khoza, a drummer, was from Malawi originally. But like so many others from the surrounding southern African countries found himself in South Africa seeking an opportunity and outlet for his creative energy. In the 1950s and ’60s he played with many South African musicians including Dudu Pakwana and Tete Mbambisa. In 1976, after the Soweto uprising, Khoza took a band into the studio and recorded Chapita, a monument to African funk. As Vally recalls, “the labels at that time were uninterested in jazz, just looking for a hit. I gave musicians complete freedom.”

The Beaters
Harari

The Beaters were South Africa’s first black rock ‘n roll band and toured extensively throughout the region. They had a particularly loyal fan base in neighbouring Zimbabwe (then Rhodesia) and eventually changed their name from the Beaters to Harari, in honour of the township around the capital of Salisbury. Of course, after independence in 1980, Harare was declared the capital of Zimbabwe. This cut is a sublime slice of ’70s funk (with echoes for WAR) and the standout song of this pioneering band.

Richard ‘Groove’ Holmes
Killer Joe

Richard Holmes was one of America’s great ambassadors of the Hammond B3 organ, who along with Jimmy McGriff and Jimmy Smith did so much to popularise the instrument in jazz and funk. A politically minded musician, Holmes travelled to apartheid South Africa in violation of the cultural boycott to record an album with South African jazzmen, including Pops Mohamed, called African Encounter. An obscure and rare recording, it was nevertheless As Shams (again) that released it!

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Copyright (C) 2014 All rights reserved.

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

Jim Henson-Chico Hamilton Drums West – YouTube

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“Drums West” cut-paper animation from Jim Henson. This newly rediscovered short was created in Jim’s home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

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Copyright (C) 2014 All rights reserved.

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

Jim Henson-Chico Hamilton Drums West – YouTube

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“Drums West” cut-paper animation from Jim Henson. This newly rediscovered short was created in Jim’s home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

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Copyright (C) 2014 All rights reserved.

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

Jim Henson-Chico Hamilton Drums West – YouTube

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https://www.youtube.com/watch?v=1KjJcsMf8OA

“Drums West” cut-paper animation from Jim Henson. This newly rediscovered short was created in Jim’s home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

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USA

Bruce Lundvall Creates Sunrise Senior Living Jazz Festival – NYTimes.com

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http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y (http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y)

** Bruce Lundvall Creates Sunrise Senior Living Jazz Festival
————————————————————

Photo
Bruce Lundvall, a past president of the jazz label Blue Note Records, in April at a Jazz Foundation of America event in New York. Credit Alan Gastelum

He was a regular sight in the jazz clubs of Manhattan. Tall gentleman in glasses. Pinstriped suit. Neatly trimmed white beard. Often seated with business associates, but quiet, eyes trained on the stage. This was Bruce Lundvall, president of Blue Note Records, checking up on the talent or taking stock of the scene.

A number of things have recently changed for Mr. Lundvall, 78, but not his evident passion for the music, nor the pride he takes in being associated with it. Since receiving a diagnosis of Parkinson’s disease within the last decade, he has ended his 25-year tenure at the helm of Blue Note, becoming a consultant and chairman emeritus.

And these days, it’s more of a production when he makes it out to a jazz club. Using a wheelchair, he attended a 75th-anniversary concert for the label (http://www.nytimes.com/2014/01/10/arts/music/celebrating-blue-note-records-at-town-hall.html) at Town Hall in January — but didn’t travel to Washington four months later for a gala at the Kennedy Center.

“My wife and my neurologist urged me not to go,” he said by telephone this week, “because it wouldn’t be safe.” In June, after several falls at his home in northern New Jersey, he moved into an assisted-living center, Brighton Gardens of Saddle River.

Now, true to form, he has organized a musical summit there: the Sunrise Senior Living Jazz Festival, to be held in an outdoor tent this Sunday from 2 to 8 p.m. Its lineup will feature some of the artists Mr. Lundvall cultivated at Blue Note, notably the singers Dianne Reeves and Norah Jones, the pianists Chucho Valdés and Bill Charlap, and the saxophonists Joe Lovano and Ravi Coltrane. Tickets are $79.67 ($158.34 for a V.I.P. package), with all proceeds benefiting the Michael J. Fox Foundation for Parkinson’s Research (https://www.michaeljfox.org/) .

The participation of these and other musicians, including the saxophonist Javon Jackson and the pianist Renee Rosnes, can be understood as a response to Mr. Lundvall’s dedication to his artists. Don Was, whosucceeded him as label president (http://www.nytimes.com/2012/05/03/arts/music/don-was-tries-to-revive-blue-note-records.html) in 2012, emphasized that point in an email. “I’ve been making records for 40 years and have never encountered a more beloved figure on the business side,” he wrote.

“When I started looking at the deals he’d made,” Mr. Was added, “it was clear that he’d always been the artist’s advocate: He was extremely generous to them and always on their side. The hallmark of his tenure is that he proved that you can do the right thing for the music and the musicians and still run a profitable company.”

Mr. Lundvall came to his profession as an amateur saxophonist and a die-hard fan, collecting 78 r.p.m. records and tuning in to Symphony Sid’s bebop-era radio show. He was an adolescent habitué of jazz clubs in New York and New Jersey and held an informal jazz salon in his attic in Bergen County, N.J., calling it Duke’s Club.

Early in “Bruce Lundvall: Playing by Ear (http://www.artistshare.com/v4/projects/experience/62/432/1/6) ,” an authorized biography by Dan Ouellette, published this year through ArtistShare, there’s a retelling of a conversation between a teenage Mr. Lundvall and his father, who was a mechanical engineer.
Continue reading the main story

“Bruce told him, ‘When I grow up, I want to be in the record business.’ The reply: ‘Son, you’ll have to choose — one or the other.’ ”

Mr. Lundvall, blithely ignoring that advice, brought his enthusiasms with him to Bucknell University in Pennsylvania, where he wrote about jazz for the college newspaper and hosted a weekly radio show. At one point, he visited the nearby Lewisburg Penitentiary, where the saxophonist Jimmy Heath was serving a sentence for drug possession; Mr. Heath had organized a prison big band, which Mr. Lundvall recorded and later played on his show.

After serving in the United States Army during the early stretch of the Cold War — he worked counterintelligence in Stuttgart, Germany — Mr. Lundvall talked his way into an entry-level job at Columbia Records. He remained there for more than 20 years, moving up the ranks to president, and signing not only jazz artists (like the saxophonists Dexter Gordon and Stan Getz) but also an upstart singer-songwriter named Willie Nelson.

Mr. Lundvall left Columbia in 1982 to start an imprint of Elektra Records, Elektra Musician, on which he released the self-titled debut album by Bobby McFerrin, along with albums by Rubén Blades and an array of jazz artists. Two years later, Mr. Lundvall moved to Blue Note, with the mission of revitalizing a storied label that had gone fallow.

His stewardship was steady and often inspired, with a trail of consequential signings, including those of pacesetters like the alto saxophonist Greg Osby, the singers Cassandra Wilson and Kurt Elling and the pianists Robert Glasper and Jason Moran.

One of his greatest successes was Norah Jones, whose 2002 debut album, “Come Away With Me,” won eight Grammy Awards and has sold well over 10 million copies in the United States alone. Hindsight has made the signing of Ms. Jones seem like a sure bet, but it was a leap of faith at the time, and Mr. Lundvall was its driving force.

“I don’t know where I would be in the world of music without Bruce as my friend and champion,” Ms. Jones said at the Kennedy Center in May. She’ll play a 20-minute set on Sunday afternoon, between performances by the Bill Charlap Trio and a Joe Lovano quartet.

Despite the all-star lineup, the festival, a 40-minute drive from Midtown Manhattan, has struggled with advance ticket sales. “We came very close to canceling it,” Mr. Lundvall said by phone this week. “It was on and off and on again in the same day.”

But the realization of the festival, whatever the turnout, will mean that Mr. Lundvall has managed, briefly, to bring the jazz scene to him. Not that he otherwise feels excluded, as he hastened to clarify. “I’m still part of the Blue Note family,” he said. “And I’m still in the music business. I love it. It’s like the mob: Once you’re in, you can’t get out.”

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Bruce Lundvall Creates Sunrise Senior Living Jazz Festival – NYTimes.com

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http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y (http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y)

** Bruce Lundvall Creates Sunrise Senior Living Jazz Festival
————————————————————

Photo
Bruce Lundvall, a past president of the jazz label Blue Note Records, in April at a Jazz Foundation of America event in New York. Credit Alan Gastelum

He was a regular sight in the jazz clubs of Manhattan. Tall gentleman in glasses. Pinstriped suit. Neatly trimmed white beard. Often seated with business associates, but quiet, eyes trained on the stage. This was Bruce Lundvall, president of Blue Note Records, checking up on the talent or taking stock of the scene.

A number of things have recently changed for Mr. Lundvall, 78, but not his evident passion for the music, nor the pride he takes in being associated with it. Since receiving a diagnosis of Parkinson’s disease within the last decade, he has ended his 25-year tenure at the helm of Blue Note, becoming a consultant and chairman emeritus.

And these days, it’s more of a production when he makes it out to a jazz club. Using a wheelchair, he attended a 75th-anniversary concert for the label (http://www.nytimes.com/2014/01/10/arts/music/celebrating-blue-note-records-at-town-hall.html) at Town Hall in January — but didn’t travel to Washington four months later for a gala at the Kennedy Center.

“My wife and my neurologist urged me not to go,” he said by telephone this week, “because it wouldn’t be safe.” In June, after several falls at his home in northern New Jersey, he moved into an assisted-living center, Brighton Gardens of Saddle River.

Now, true to form, he has organized a musical summit there: the Sunrise Senior Living Jazz Festival, to be held in an outdoor tent this Sunday from 2 to 8 p.m. Its lineup will feature some of the artists Mr. Lundvall cultivated at Blue Note, notably the singers Dianne Reeves and Norah Jones, the pianists Chucho Valdés and Bill Charlap, and the saxophonists Joe Lovano and Ravi Coltrane. Tickets are $79.67 ($158.34 for a V.I.P. package), with all proceeds benefiting the Michael J. Fox Foundation for Parkinson’s Research (https://www.michaeljfox.org/) .

The participation of these and other musicians, including the saxophonist Javon Jackson and the pianist Renee Rosnes, can be understood as a response to Mr. Lundvall’s dedication to his artists. Don Was, whosucceeded him as label president (http://www.nytimes.com/2012/05/03/arts/music/don-was-tries-to-revive-blue-note-records.html) in 2012, emphasized that point in an email. “I’ve been making records for 40 years and have never encountered a more beloved figure on the business side,” he wrote.

“When I started looking at the deals he’d made,” Mr. Was added, “it was clear that he’d always been the artist’s advocate: He was extremely generous to them and always on their side. The hallmark of his tenure is that he proved that you can do the right thing for the music and the musicians and still run a profitable company.”

Mr. Lundvall came to his profession as an amateur saxophonist and a die-hard fan, collecting 78 r.p.m. records and tuning in to Symphony Sid’s bebop-era radio show. He was an adolescent habitué of jazz clubs in New York and New Jersey and held an informal jazz salon in his attic in Bergen County, N.J., calling it Duke’s Club.

Early in “Bruce Lundvall: Playing by Ear (http://www.artistshare.com/v4/projects/experience/62/432/1/6) ,” an authorized biography by Dan Ouellette, published this year through ArtistShare, there’s a retelling of a conversation between a teenage Mr. Lundvall and his father, who was a mechanical engineer.
Continue reading the main story

“Bruce told him, ‘When I grow up, I want to be in the record business.’ The reply: ‘Son, you’ll have to choose — one or the other.’ ”

Mr. Lundvall, blithely ignoring that advice, brought his enthusiasms with him to Bucknell University in Pennsylvania, where he wrote about jazz for the college newspaper and hosted a weekly radio show. At one point, he visited the nearby Lewisburg Penitentiary, where the saxophonist Jimmy Heath was serving a sentence for drug possession; Mr. Heath had organized a prison big band, which Mr. Lundvall recorded and later played on his show.

After serving in the United States Army during the early stretch of the Cold War — he worked counterintelligence in Stuttgart, Germany — Mr. Lundvall talked his way into an entry-level job at Columbia Records. He remained there for more than 20 years, moving up the ranks to president, and signing not only jazz artists (like the saxophonists Dexter Gordon and Stan Getz) but also an upstart singer-songwriter named Willie Nelson.

Mr. Lundvall left Columbia in 1982 to start an imprint of Elektra Records, Elektra Musician, on which he released the self-titled debut album by Bobby McFerrin, along with albums by Rubén Blades and an array of jazz artists. Two years later, Mr. Lundvall moved to Blue Note, with the mission of revitalizing a storied label that had gone fallow.

His stewardship was steady and often inspired, with a trail of consequential signings, including those of pacesetters like the alto saxophonist Greg Osby, the singers Cassandra Wilson and Kurt Elling and the pianists Robert Glasper and Jason Moran.

One of his greatest successes was Norah Jones, whose 2002 debut album, “Come Away With Me,” won eight Grammy Awards and has sold well over 10 million copies in the United States alone. Hindsight has made the signing of Ms. Jones seem like a sure bet, but it was a leap of faith at the time, and Mr. Lundvall was its driving force.

“I don’t know where I would be in the world of music without Bruce as my friend and champion,” Ms. Jones said at the Kennedy Center in May. She’ll play a 20-minute set on Sunday afternoon, between performances by the Bill Charlap Trio and a Joe Lovano quartet.

Despite the all-star lineup, the festival, a 40-minute drive from Midtown Manhattan, has struggled with advance ticket sales. “We came very close to canceling it,” Mr. Lundvall said by phone this week. “It was on and off and on again in the same day.”

But the realization of the festival, whatever the turnout, will mean that Mr. Lundvall has managed, briefly, to bring the jazz scene to him. Not that he otherwise feels excluded, as he hastened to clarify. “I’m still part of the Blue Note family,” he said. “And I’m still in the music business. I love it. It’s like the mob: Once you’re in, you can’t get out.”

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Copyright (C) 2014 All rights reserved.

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

Bruce Lundvall Creates Sunrise Senior Living Jazz Festival – NYTimes.com

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y (http://www.nytimes.com/2014/08/23/arts/music/bruce-lundvall-creates-sunrise-senior-living-jazz-festival.html?emc=edit_tnt_20140822&nlid=16833052&tntemail0=y)

** Bruce Lundvall Creates Sunrise Senior Living Jazz Festival
————————————————————

Photo
Bruce Lundvall, a past president of the jazz label Blue Note Records, in April at a Jazz Foundation of America event in New York. Credit Alan Gastelum

He was a regular sight in the jazz clubs of Manhattan. Tall gentleman in glasses. Pinstriped suit. Neatly trimmed white beard. Often seated with business associates, but quiet, eyes trained on the stage. This was Bruce Lundvall, president of Blue Note Records, checking up on the talent or taking stock of the scene.

A number of things have recently changed for Mr. Lundvall, 78, but not his evident passion for the music, nor the pride he takes in being associated with it. Since receiving a diagnosis of Parkinson’s disease within the last decade, he has ended his 25-year tenure at the helm of Blue Note, becoming a consultant and chairman emeritus.

And these days, it’s more of a production when he makes it out to a jazz club. Using a wheelchair, he attended a 75th-anniversary concert for the label (http://www.nytimes.com/2014/01/10/arts/music/celebrating-blue-note-records-at-town-hall.html) at Town Hall in January — but didn’t travel to Washington four months later for a gala at the Kennedy Center.

“My wife and my neurologist urged me not to go,” he said by telephone this week, “because it wouldn’t be safe.” In June, after several falls at his home in northern New Jersey, he moved into an assisted-living center, Brighton Gardens of Saddle River.

Now, true to form, he has organized a musical summit there: the Sunrise Senior Living Jazz Festival, to be held in an outdoor tent this Sunday from 2 to 8 p.m. Its lineup will feature some of the artists Mr. Lundvall cultivated at Blue Note, notably the singers Dianne Reeves and Norah Jones, the pianists Chucho Valdés and Bill Charlap, and the saxophonists Joe Lovano and Ravi Coltrane. Tickets are $79.67 ($158.34 for a V.I.P. package), with all proceeds benefiting the Michael J. Fox Foundation for Parkinson’s Research (https://www.michaeljfox.org/) .

The participation of these and other musicians, including the saxophonist Javon Jackson and the pianist Renee Rosnes, can be understood as a response to Mr. Lundvall’s dedication to his artists. Don Was, whosucceeded him as label president (http://www.nytimes.com/2012/05/03/arts/music/don-was-tries-to-revive-blue-note-records.html) in 2012, emphasized that point in an email. “I’ve been making records for 40 years and have never encountered a more beloved figure on the business side,” he wrote.

“When I started looking at the deals he’d made,” Mr. Was added, “it was clear that he’d always been the artist’s advocate: He was extremely generous to them and always on their side. The hallmark of his tenure is that he proved that you can do the right thing for the music and the musicians and still run a profitable company.”

Mr. Lundvall came to his profession as an amateur saxophonist and a die-hard fan, collecting 78 r.p.m. records and tuning in to Symphony Sid’s bebop-era radio show. He was an adolescent habitué of jazz clubs in New York and New Jersey and held an informal jazz salon in his attic in Bergen County, N.J., calling it Duke’s Club.

Early in “Bruce Lundvall: Playing by Ear (http://www.artistshare.com/v4/projects/experience/62/432/1/6) ,” an authorized biography by Dan Ouellette, published this year through ArtistShare, there’s a retelling of a conversation between a teenage Mr. Lundvall and his father, who was a mechanical engineer.
Continue reading the main story

“Bruce told him, ‘When I grow up, I want to be in the record business.’ The reply: ‘Son, you’ll have to choose — one or the other.’ ”

Mr. Lundvall, blithely ignoring that advice, brought his enthusiasms with him to Bucknell University in Pennsylvania, where he wrote about jazz for the college newspaper and hosted a weekly radio show. At one point, he visited the nearby Lewisburg Penitentiary, where the saxophonist Jimmy Heath was serving a sentence for drug possession; Mr. Heath had organized a prison big band, which Mr. Lundvall recorded and later played on his show.

After serving in the United States Army during the early stretch of the Cold War — he worked counterintelligence in Stuttgart, Germany — Mr. Lundvall talked his way into an entry-level job at Columbia Records. He remained there for more than 20 years, moving up the ranks to president, and signing not only jazz artists (like the saxophonists Dexter Gordon and Stan Getz) but also an upstart singer-songwriter named Willie Nelson.

Mr. Lundvall left Columbia in 1982 to start an imprint of Elektra Records, Elektra Musician, on which he released the self-titled debut album by Bobby McFerrin, along with albums by Rubén Blades and an array of jazz artists. Two years later, Mr. Lundvall moved to Blue Note, with the mission of revitalizing a storied label that had gone fallow.

His stewardship was steady and often inspired, with a trail of consequential signings, including those of pacesetters like the alto saxophonist Greg Osby, the singers Cassandra Wilson and Kurt Elling and the pianists Robert Glasper and Jason Moran.

One of his greatest successes was Norah Jones, whose 2002 debut album, “Come Away With Me,” won eight Grammy Awards and has sold well over 10 million copies in the United States alone. Hindsight has made the signing of Ms. Jones seem like a sure bet, but it was a leap of faith at the time, and Mr. Lundvall was its driving force.

“I don’t know where I would be in the world of music without Bruce as my friend and champion,” Ms. Jones said at the Kennedy Center in May. She’ll play a 20-minute set on Sunday afternoon, between performances by the Bill Charlap Trio and a Joe Lovano quartet.

Despite the all-star lineup, the festival, a 40-minute drive from Midtown Manhattan, has struggled with advance ticket sales. “We came very close to canceling it,” Mr. Lundvall said by phone this week. “It was on and off and on again in the same day.”

But the realization of the festival, whatever the turnout, will mean that Mr. Lundvall has managed, briefly, to bring the jazz scene to him. Not that he otherwise feels excluded, as he hastened to clarify. “I’m still part of the Blue Note family,” he said. “And I’m still in the music business. I love it. It’s like the mob: Once you’re in, you can’t get out.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f9530d24ad) | 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=f9530d24ad&e=[UNIQID])

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N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones | NJ.com

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** N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones
————————————————————
bruce-lundvall-jazz-concert

SADDLE RIVER (http://nj.com/saddle-river) — By his own admission, his ears are easily his best asset.

Born in Englewood in 1935, Bruce Lundvall gained an appreciation for jazz music early in life.

But his parents weren’t thrilled, Lundvall says. “My dad wanted me to follow in his footsteps as a mechanical engineer.”

Lundvall had other plans. By the time he was 10 years old, he was a collector of swing era discs, including those by vibraphonist, pianist and percussionist Lionel Hampton. Lundvall would even trade in soda bottles to buy records.

And it was a borrowed Bud Powell record that got a preteen Lundvall hooked on bebop. “After that, I started buying every bebop record you can imagine,” he says. By 1950, the 15-year-old Lundvall grew more ambitious with his musical intake: He would ride Port Authority buses from Glen Ridge into New York to sneak into famed jazz clubs on West 52nd Street to hear legends “Dizzy” Gillespie and Charlie Parker.

“I used to tell my dad to take me to 52nd Street. … He thought I was nuts,” Lundvall says. Jazz was radical, especially to his father, who did not understand Lundvall’s attraction to a music genre whose contributors were mostly African American.

The early exposure, however, would prove beneficial. It helped Lundvall build a music career as a record label executive that spanned nearly half a century and resulted in his signing such musicians as Willie Nelson, Herbie Hancock, Dexter Gordon, James Taylor, Peter Tosh, Wynton Marsalis, Dianne Reeves, Rachelle Ferrell, Joe Lovano and Norah Jones.

Some of these acts — including Reeves, Lovano and Jones — will headline a benefit concert Aug. 24 at Brighton Gardens of Saddle River Sunrise Senior Living Community, where Lundvall now lives. The 78-year-old moved there in April because of issues with Parkinson’s disease; his wife, Kay, remains in their Wyckoff home.

Lundvall says he organized the event, which he named the Sunrise Senior Living Jazz Festival, because he wanted to bring jazz to the community. A portion of the proceeds from the event (the musicians all are donating their time) will go to the Michael J. Fox Foundation, an organization dedicated to finding a cure for Parkinson’s.

As he tells it, Lundvall narrowly avoided pursuing a career in engineering, instead, earning a bachelor’s degree in commerce and finance from Bucknell University. “When I was in high school, my dad didn’t like the idea of me pursuing a career in music. He would say, ‘You ought to be in a real business,'” Lundvall says. His father was also apprehensive of his son working closely with African-American musicians.

But as racial tensions eased and tolerance rose, his father relented.

On his first day of college, Lundvall met fellow student Michael Berniker, who would help him land his first position at Columbia Records and with whom he would later work with at EMI.

“I told them I’d work for nothing if they paid my bus fare into New York City,” Lundvall says. He accepted a position in marketing, hopeful it would someday find him working closely with artists.

Lundvall spent 21 years at Columbia Records, advancing from vice president of marketing (1969) to vice president and general manager of the label (1974) to president of the domestic division of CBS records (1976). As his titles changed, so too, did Columbia’s jazz roster, which was at its peak under his tenure.

In 1979, Lundvall organized Havana Jam — the first jazz concert in two decades to be held in Cuba, featuring American artists.

Through the years, he also worked closely with Miles Davis, who he says once told him, “If you ever need help with your black artists, call me.”

In 1982, he became president of the Elektra/Musician label and senior vice president of Elektra/Asylum. The move gained him the freedom to discover new talent.

By 1984, Lundvall had accepted an offer to revive the Blue Note jazz label for EMI and to create Mahattan, an East Coast-based pop music label. Lundvall signed Natalie Cole, Richard Marx and Robbie Neville to Manhattan. He re-established Blue Note as a credible jazz label, signing several of its early stars, including Dexter Gordon, Freddie Hubbard and Jimmy Smith.

One of his most memorable signings was that of Norah Jones, who, in her 2001 audition, sang Ella Fitzgerald’s “Spring Can Really Hang You Up the Most.”

“She was very shy,” Lundvall recalled at Brighton Gardens last week. “I asked her why she picked that song. She said she loved it and she’d been playing it for a long time.” Jones’ 2002 album, “Come Away With Me,” would earn her five Grammy awards, including Best New Artist, Album of the Year and Best Pop Vocal Album, as well as Record of the Year and Best Female Pop Vocal Performance for the single “Don’t Know Why.”

Lundvall’s family, including his wife of 54 years and sons Erik, Tor and Kurt, will be with him at the concert. While he admits the music business is not “easy for a marriage,” Lundvall remains close to Kay, who visits him weekly.

As he reflects on his many years in the record business, Lundvall says his life can be summed up in one word: music.

“Everything in my life is music. I have a one-track mind.”

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Copyright (C) 2014 All rights reserved.

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Warwick, Ny 10990
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N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones | NJ.com

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
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** N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones
————————————————————
bruce-lundvall-jazz-concert

SADDLE RIVER (http://nj.com/saddle-river) — By his own admission, his ears are easily his best asset.

Born in Englewood in 1935, Bruce Lundvall gained an appreciation for jazz music early in life.

But his parents weren’t thrilled, Lundvall says. “My dad wanted me to follow in his footsteps as a mechanical engineer.”

Lundvall had other plans. By the time he was 10 years old, he was a collector of swing era discs, including those by vibraphonist, pianist and percussionist Lionel Hampton. Lundvall would even trade in soda bottles to buy records.

And it was a borrowed Bud Powell record that got a preteen Lundvall hooked on bebop. “After that, I started buying every bebop record you can imagine,” he says. By 1950, the 15-year-old Lundvall grew more ambitious with his musical intake: He would ride Port Authority buses from Glen Ridge into New York to sneak into famed jazz clubs on West 52nd Street to hear legends “Dizzy” Gillespie and Charlie Parker.

“I used to tell my dad to take me to 52nd Street. … He thought I was nuts,” Lundvall says. Jazz was radical, especially to his father, who did not understand Lundvall’s attraction to a music genre whose contributors were mostly African American.

The early exposure, however, would prove beneficial. It helped Lundvall build a music career as a record label executive that spanned nearly half a century and resulted in his signing such musicians as Willie Nelson, Herbie Hancock, Dexter Gordon, James Taylor, Peter Tosh, Wynton Marsalis, Dianne Reeves, Rachelle Ferrell, Joe Lovano and Norah Jones.

Some of these acts — including Reeves, Lovano and Jones — will headline a benefit concert Aug. 24 at Brighton Gardens of Saddle River Sunrise Senior Living Community, where Lundvall now lives. The 78-year-old moved there in April because of issues with Parkinson’s disease; his wife, Kay, remains in their Wyckoff home.

Lundvall says he organized the event, which he named the Sunrise Senior Living Jazz Festival, because he wanted to bring jazz to the community. A portion of the proceeds from the event (the musicians all are donating their time) will go to the Michael J. Fox Foundation, an organization dedicated to finding a cure for Parkinson’s.

As he tells it, Lundvall narrowly avoided pursuing a career in engineering, instead, earning a bachelor’s degree in commerce and finance from Bucknell University. “When I was in high school, my dad didn’t like the idea of me pursuing a career in music. He would say, ‘You ought to be in a real business,'” Lundvall says. His father was also apprehensive of his son working closely with African-American musicians.

But as racial tensions eased and tolerance rose, his father relented.

On his first day of college, Lundvall met fellow student Michael Berniker, who would help him land his first position at Columbia Records and with whom he would later work with at EMI.

“I told them I’d work for nothing if they paid my bus fare into New York City,” Lundvall says. He accepted a position in marketing, hopeful it would someday find him working closely with artists.

Lundvall spent 21 years at Columbia Records, advancing from vice president of marketing (1969) to vice president and general manager of the label (1974) to president of the domestic division of CBS records (1976). As his titles changed, so too, did Columbia’s jazz roster, which was at its peak under his tenure.

In 1979, Lundvall organized Havana Jam — the first jazz concert in two decades to be held in Cuba, featuring American artists.

Through the years, he also worked closely with Miles Davis, who he says once told him, “If you ever need help with your black artists, call me.”

In 1982, he became president of the Elektra/Musician label and senior vice president of Elektra/Asylum. The move gained him the freedom to discover new talent.

By 1984, Lundvall had accepted an offer to revive the Blue Note jazz label for EMI and to create Mahattan, an East Coast-based pop music label. Lundvall signed Natalie Cole, Richard Marx and Robbie Neville to Manhattan. He re-established Blue Note as a credible jazz label, signing several of its early stars, including Dexter Gordon, Freddie Hubbard and Jimmy Smith.

One of his most memorable signings was that of Norah Jones, who, in her 2001 audition, sang Ella Fitzgerald’s “Spring Can Really Hang You Up the Most.”

“She was very shy,” Lundvall recalled at Brighton Gardens last week. “I asked her why she picked that song. She said she loved it and she’d been playing it for a long time.” Jones’ 2002 album, “Come Away With Me,” would earn her five Grammy awards, including Best New Artist, Album of the Year and Best Pop Vocal Album, as well as Record of the Year and Best Female Pop Vocal Performance for the single “Don’t Know Why.”

Lundvall’s family, including his wife of 54 years and sons Erik, Tor and Kurt, will be with him at the concert. While he admits the music business is not “easy for a marriage,” Lundvall remains close to Kay, who visits him weekly.

As he reflects on his many years in the record business, Lundvall says his life can be summed up in one word: music.

“Everything in my life is music. I have a one-track mind.”

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N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones | NJ.com

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** N.J. record exec stricken with Parkinson’s organizes benefit featuring Norah Jones
————————————————————
bruce-lundvall-jazz-concert

SADDLE RIVER (http://nj.com/saddle-river) — By his own admission, his ears are easily his best asset.

Born in Englewood in 1935, Bruce Lundvall gained an appreciation for jazz music early in life.

But his parents weren’t thrilled, Lundvall says. “My dad wanted me to follow in his footsteps as a mechanical engineer.”

Lundvall had other plans. By the time he was 10 years old, he was a collector of swing era discs, including those by vibraphonist, pianist and percussionist Lionel Hampton. Lundvall would even trade in soda bottles to buy records.

And it was a borrowed Bud Powell record that got a preteen Lundvall hooked on bebop. “After that, I started buying every bebop record you can imagine,” he says. By 1950, the 15-year-old Lundvall grew more ambitious with his musical intake: He would ride Port Authority buses from Glen Ridge into New York to sneak into famed jazz clubs on West 52nd Street to hear legends “Dizzy” Gillespie and Charlie Parker.

“I used to tell my dad to take me to 52nd Street. … He thought I was nuts,” Lundvall says. Jazz was radical, especially to his father, who did not understand Lundvall’s attraction to a music genre whose contributors were mostly African American.

The early exposure, however, would prove beneficial. It helped Lundvall build a music career as a record label executive that spanned nearly half a century and resulted in his signing such musicians as Willie Nelson, Herbie Hancock, Dexter Gordon, James Taylor, Peter Tosh, Wynton Marsalis, Dianne Reeves, Rachelle Ferrell, Joe Lovano and Norah Jones.

Some of these acts — including Reeves, Lovano and Jones — will headline a benefit concert Aug. 24 at Brighton Gardens of Saddle River Sunrise Senior Living Community, where Lundvall now lives. The 78-year-old moved there in April because of issues with Parkinson’s disease; his wife, Kay, remains in their Wyckoff home.

Lundvall says he organized the event, which he named the Sunrise Senior Living Jazz Festival, because he wanted to bring jazz to the community. A portion of the proceeds from the event (the musicians all are donating their time) will go to the Michael J. Fox Foundation, an organization dedicated to finding a cure for Parkinson’s.

As he tells it, Lundvall narrowly avoided pursuing a career in engineering, instead, earning a bachelor’s degree in commerce and finance from Bucknell University. “When I was in high school, my dad didn’t like the idea of me pursuing a career in music. He would say, ‘You ought to be in a real business,'” Lundvall says. His father was also apprehensive of his son working closely with African-American musicians.

But as racial tensions eased and tolerance rose, his father relented.

On his first day of college, Lundvall met fellow student Michael Berniker, who would help him land his first position at Columbia Records and with whom he would later work with at EMI.

“I told them I’d work for nothing if they paid my bus fare into New York City,” Lundvall says. He accepted a position in marketing, hopeful it would someday find him working closely with artists.

Lundvall spent 21 years at Columbia Records, advancing from vice president of marketing (1969) to vice president and general manager of the label (1974) to president of the domestic division of CBS records (1976). As his titles changed, so too, did Columbia’s jazz roster, which was at its peak under his tenure.

In 1979, Lundvall organized Havana Jam — the first jazz concert in two decades to be held in Cuba, featuring American artists.

Through the years, he also worked closely with Miles Davis, who he says once told him, “If you ever need help with your black artists, call me.”

In 1982, he became president of the Elektra/Musician label and senior vice president of Elektra/Asylum. The move gained him the freedom to discover new talent.

By 1984, Lundvall had accepted an offer to revive the Blue Note jazz label for EMI and to create Mahattan, an East Coast-based pop music label. Lundvall signed Natalie Cole, Richard Marx and Robbie Neville to Manhattan. He re-established Blue Note as a credible jazz label, signing several of its early stars, including Dexter Gordon, Freddie Hubbard and Jimmy Smith.

One of his most memorable signings was that of Norah Jones, who, in her 2001 audition, sang Ella Fitzgerald’s “Spring Can Really Hang You Up the Most.”

“She was very shy,” Lundvall recalled at Brighton Gardens last week. “I asked her why she picked that song. She said she loved it and she’d been playing it for a long time.” Jones’ 2002 album, “Come Away With Me,” would earn her five Grammy awards, including Best New Artist, Album of the Year and Best Pop Vocal Album, as well as Record of the Year and Best Female Pop Vocal Performance for the single “Don’t Know Why.”

Lundvall’s family, including his wife of 54 years and sons Erik, Tor and Kurt, will be with him at the concert. While he admits the music business is not “easy for a marriage,” Lundvall remains close to Kay, who visits him weekly.

As he reflects on his many years in the record business, Lundvall says his life can be summed up in one word: music.

“Everything in my life is music. I have a one-track mind.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f99daef506) | 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=f99daef506&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

Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River – Music – NorthJersey.com

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** Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River
————————————————————

2 p.m. SUNDAY, SADDLE RIVER

JAZZ FESTIVAL BENEFIT FOR PARKINSON’S

Bergen County resident Bruce Lundvall is bringing a big-name jazz festival to his Saddle River senior living community. Grammy Award-winning performers will include Norah Jones.

TELL ME MORE: Each of the musicians at the jazz festival has a connection to Lundvall, Blue Note Records chairman emeritus and former president of Columbia Records and Elektra Records. Along with Jones, festival musicians include Dianne Reeves (pictured), Ravi Coltrane, Chucho Valdes, Joe Lovano, Bill Charlap, Renee Rosnes and Bucky Pizzarelli. The hours of music will be played for an intimate crowd of a little more than 150 people, and the public is welcome to purchase tickets. Ticket holders will receive an autographed copy of Lundvall’s new book, “Bruce Lundvall: Playing by Ear,” and will have an opportunity to meet a few of the artists. Lundvall, who has Parkinson’s disease, is using the festival as a fundraiser as well; $50 from each ticket purchased will go to the Michael J. Fox Foundation. There will also be a silent auction of memorabilia from different artists to benefit the foundation.

DETAILS: Festival runs from 2 to 8 p.m. Brighton Gardens of Saddle River, 5 Boroline Road, 201-818-8680. Tickets are $150 plus tax on ticketbud.com (search “Sunrise Senior Living Jazz Festival”). There will be parking across the street with a free shuttle to Brighton Gardens.

— Kara Yorio

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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

Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River – Music – NorthJersey.com

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.northjersey.com/arts-and-entertainment/music/longtime-music-exec-and-bergen-resident-bruce-lundvall-brings-big-name-jazz-festival-to-saddle-river-1.1070884

** Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River
————————————————————

2 p.m. SUNDAY, SADDLE RIVER

JAZZ FESTIVAL BENEFIT FOR PARKINSON’S

Bergen County resident Bruce Lundvall is bringing a big-name jazz festival to his Saddle River senior living community. Grammy Award-winning performers will include Norah Jones.

TELL ME MORE: Each of the musicians at the jazz festival has a connection to Lundvall, Blue Note Records chairman emeritus and former president of Columbia Records and Elektra Records. Along with Jones, festival musicians include Dianne Reeves (pictured), Ravi Coltrane, Chucho Valdes, Joe Lovano, Bill Charlap, Renee Rosnes and Bucky Pizzarelli. The hours of music will be played for an intimate crowd of a little more than 150 people, and the public is welcome to purchase tickets. Ticket holders will receive an autographed copy of Lundvall’s new book, “Bruce Lundvall: Playing by Ear,” and will have an opportunity to meet a few of the artists. Lundvall, who has Parkinson’s disease, is using the festival as a fundraiser as well; $50 from each ticket purchased will go to the Michael J. Fox Foundation. There will also be a silent auction of memorabilia from different artists to benefit the foundation.

DETAILS: Festival runs from 2 to 8 p.m. Brighton Gardens of Saddle River, 5 Boroline Road, 201-818-8680. Tickets are $150 plus tax on ticketbud.com (search “Sunrise Senior Living Jazz Festival”). There will be parking across the street with a free shuttle to Brighton Gardens.

— Kara Yorio

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=13ec4f68b4) | 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=13ec4f68b4&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

Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River – Music – NorthJersey.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.northjersey.com/arts-and-entertainment/music/longtime-music-exec-and-bergen-resident-bruce-lundvall-brings-big-name-jazz-festival-to-saddle-river-1.1070884

** Longtime music exec and Bergen resident Bruce Lundvall brings big-name jazz festival to Saddle River
————————————————————

2 p.m. SUNDAY, SADDLE RIVER

JAZZ FESTIVAL BENEFIT FOR PARKINSON’S

Bergen County resident Bruce Lundvall is bringing a big-name jazz festival to his Saddle River senior living community. Grammy Award-winning performers will include Norah Jones.

TELL ME MORE: Each of the musicians at the jazz festival has a connection to Lundvall, Blue Note Records chairman emeritus and former president of Columbia Records and Elektra Records. Along with Jones, festival musicians include Dianne Reeves (pictured), Ravi Coltrane, Chucho Valdes, Joe Lovano, Bill Charlap, Renee Rosnes and Bucky Pizzarelli. The hours of music will be played for an intimate crowd of a little more than 150 people, and the public is welcome to purchase tickets. Ticket holders will receive an autographed copy of Lundvall’s new book, “Bruce Lundvall: Playing by Ear,” and will have an opportunity to meet a few of the artists. Lundvall, who has Parkinson’s disease, is using the festival as a fundraiser as well; $50 from each ticket purchased will go to the Michael J. Fox Foundation. There will also be a silent auction of memorabilia from different artists to benefit the foundation.

DETAILS: Festival runs from 2 to 8 p.m. Brighton Gardens of Saddle River, 5 Boroline Road, 201-818-8680. Tickets are $150 plus tax on ticketbud.com (search “Sunrise Senior Living Jazz Festival”). There will be parking across the street with a free shuttle to Brighton Gardens.

— Kara Yorio

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=13ec4f68b4) | 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=13ec4f68b4&e=[UNIQID])

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The 12 Best Record Stores In NYC: Gothamist

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** The 12 Best Record Stores In NYC
————————————————————

Record stores seem like a dying breed these days, with stalwarts like Sound Fix, Bleecker Bob’s and Kim’s Music & Video all shutting their doors over the past few years. But those who are still dedicated to vinyl and purchasing music from someplace that is not the Internet should not despair—this city’s record store scene is still (somewhat) thriving, with plenty of spectacular spots left where you can fight for that one pristine gem in the used $1 bin. Here are a few of our favorites; as always, leave yours in the comments.

082014_other.jpg Via Facebook (https://www.facebook.com/othermusicnyc/photos/a.487222669765.290920.329518529765/427131074765/?type=1&theater)

OTHER MUSIC (http://www.othermusic.com/) : Unlike the now-deceased Tower Records (http://gothamist.com/2006/12/24/goodbye_tower_r.php) that used to stand across the street, this 18-year-old record shop has managed to withstand the iTunes era thanks to its spectacular vinyl and CD collection, impressively organized by the store’s super-hip, super-knowledgeable staff. Though Other Music is small, you can find lots of good stuff here, with records boasting everything from indie rock to experimental jazz to obscure electronica and heavy metal, the more bizarre the better. As the name suggests, Other Music shies away from the more mainstream stuff, but they also sell a handful of used vinyl and more popular music, if that’s your thing.

Other Music is located at 15 East 4th Street between Astor Place and Broadway in NoHo (212-477-8150, othermusic.com).

082014_thething.jpg Via Yelp (http://www.yelp.com/biz_photos/the-thing-brooklyn#cWksma6AzL-DNwh2Fe5YBg)

THE THING: Good things come to those who dig at this massive Greenpoint music mound. The Thing is not built for efficiency—piles upon boxes upon shelves of records make up the shop’s 20,000+ inventory. Polka albums, jazz 45s, 80s glam rock, and white label hip-hop singles: it’s all here, but with no organization, no labeling, and no marked prices, which means that dedicated shoppers will spend hours or even days combing through the beautiful dusty chaos. The good news is that with enough effort you will strike gold, and when you bring your spoils to the counter the clerks eye the stack and just pick a reasonable price. (Expect to pay as little as $2/record.) Bring along gloves, a mask, and all the free time you’ve got. (Scott Heins)

The Thing is located at 1001 Manhattan Ave between Huron and Green Streets in Greenpoint, Brooklyn (718-349-8234).

082014_deadlydragon.jpg Via Facebook (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

DEADLY DRAGON SOUND SYSTEM (http://www.deadlydragonsound.com/) : Throw out that Bob MarleyLegend CD you’ve been using as a coaster and step into this tiny Chinatown record den, where you’ll find some of the best and rarest reggae, dancehall, and dub music on the planet. Deadly Dragon’s library of refined and rare Jamaican grooves includes a collection of out-of-print 7″ singles so regal it’d make King Tubby lay down his crown. What’s more,samples of almost every record in stock are posted on the Deadly Dragon website (http://deadlydragonsound.com/v3_records.php) , and the owners are always putting on DJ nights (https://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390) across the city. Even if you’ve never heard of Augustus Pablo, you’d be wise to stop in, spend a little cash, and keep on dubbing (https://www.youtube.com/watch?v=Clvb3YvdqPg) . (Scott Heins)

Deadly Dragon is located at 102-B Forsyth Street between Grand and Broome Streets on the Lower East Side (deadlydragonsound.com (http://www.deadlydragonsound.com/) ).

082014_blackgold.jpg Via Yelp (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

BLACK GOLD RECORDS: Stocked with antique doodads, taxidermy pigeons, coffee and pastries, Black Gold is more than just your average vinyl shop. Though there’s still plenty of that kind of thing here, with carefully curated old records stacked in delicate wooden crates, ripe for the picking. The vinyl is slightly pricey, but the albums are in good condition, and titles run the gamut from eclectic rock to esoteric experimental jazz. Even if the music’s not to your taste, the store’s oddball Victorian atmosphere is enough to keep you browsing, plus you can purchase coffee and bites from the likes of SCRATCHbread and other local food purveyors after flipping through the goods.

Black Gold is located at 461 Court Street between Luquer St and 4th Pl in Carroll Gardens, Brooklyn (347-227-8227, blackgoldbrooklyn.com (http://blackgoldbrooklyn.com/) ).

082014_coop87.jpg Via Facebook (https://www.facebook.com/175415712526474/photos/pb.175415712526474.-2207520000.1408570982./569558566445518/?type=3&theater)

CO-OP 87: This sliver of a shop doesn’t boast much in terms of space, but its teeming piles of mint-condition used records make it worth facing your claustrophobia. Most of Co-Op’s well-priced offerings stem from the days of yore, with plenty of rock, jazz, soul and other records from the ’60s, ’70s and 1980s on hand. Beyond the oldies, though, you can find tons of vinyl from local labels, along with curated contemporary goods from every genre imaginable.

Co-Op 87 is located at 87 Guernsey Street between Nassau and Norman Ave in Greenpoint, Brooklyn (347-294-4629).

082014_roughtrade.jpg Courtesy Scoboco’s flickr (https://www.flickr.com/photos/scottlynchnyc/11123803023/in/photolist-hWYp6i-hWXuJr-hWXRcj-hWYo2e-hWXBXA-hWYo8X-ciK6Fj-ciK8VE-o1NvvZ-nWYhRh-nGx5cp-nZ1LqZ-nGwoYq-nZ1XBM-nGwkX5-nGwkex-nGwteS-nYVauW-nGx7KR-nGwrZN-nZ1N7K-o1NhZX-nYV9Gd-nGwiCf-nYHC1H-nYHv58-nGwvKo-nYV2YJ-nWYqmN-nYUZfs-nYV8Q3-nYHF6R-nYHut8-nGvJkV-nWYuuY-nYTzYY-nGw3yC-o1MLJr-nGwURw-nYUSG7-nGwTRp-nYTTcf-nGxy4M-nWY5Ub-nWXXaU-nGwbRG-nYVgn7-nWY2Fh-nGxv1c-nWYLFW)

ROUGH TRADE (http://www.roughtradenyc.com/) : It’s more than rare for a record store to open while the rest of the city’s vinyl and CD shops quietly die, but Rough Trade is one such gem. The famed London transplant debuted its massive Williamsburg space back in November (http://gothamist.com/2013/11/24/williamsburgs_rough_trade.php#photo-1) , and has since earned a spot on the city’s finest record store list. Though you won’t find a lot of used vinyl here—stick with the aforementioned Co-Op 87 for that kind of thing—they do have a stellar, well-organized and clean collection of first-rate new stuff that you can score for a reasonable price. Bonus points for Rough Trade’s venue in the back, where you can hear local artists and traveling bands IRL.

Rough Trade is located at 64 North 9th Street between Wythe and Kent Aves in Williamsburg, Brooklyn (718-388-4111, roughtradenyc.com (http://www.roughtradenyc.com/) ).

082014_vinyl.jpg Via Yelp (http://www.yelp.com/biz_photos/turntable-lab-new-york-3#nfsbeyTKABiL3BqNqsv0Jg)

TURNTABLE LAB (http://turntablelab.com/) : Kiss your bank account goodbye and step into one of the most varied and visually dazzling music shops in the world. If you’re stumped by terms like “noise gate” and “low-pass filter” then Turntable Lab might not be the joint for you, but any honest list of NYC record shops has to give the East Village landmark its due. A trim yet perfectly-curated selection of indie rock, house, hip-hop, downtempo, and electro LPs and singles will greet you on the way in. Along the walls rest audiophile goodies like synthesizers, mixers, speakers, slipmats, pre-amps, headphones, needle cartridges, and, of course, hi-fi turntables of all vintages and varieties. Supported by a top-tier clientele of established working DJs and producers, the shop is not cheap—but then again buying quality only hurts once. (Scott Heins)

Turntable Lab is located at 120 East 7th Street between 1st Ave and Ave A in the East Village (212-677-0675, turntablelab.com (http://turntablelab.com/) ).

082014_records.jpg Via Yelp (http://www.yelp.com/biz_photos/academy-records-and-cds-new-york#JBg6DmrDb8TtVENuX4b-lg)

ACADEMY RECORDS & CDS (http://www.academy-records.com/) : Both Academy Records locations in Manhattan and their newly-relocated sister shop, the Academy Records Annex, offer up some of the best record-shopping vibes in the city. The Flatiron shop’s been in more or less the same spot since 1977, and it sticks to its old school roots—though you can score the usual rock and jazz music here, Academy Records is better known for its massive collection of classical music, available on vinyl and on CD. The East Village shop is only loosely affiliated with the flagship, though it also boasts an excellent (and massive) collection of used LPs and 45s, with more classic and contemporary rock on tap. And the Annex, which recently made the move (http://gothamist.com/2014/02/20/dumpster_full_of_vinyl.php#photo-1) from Williamsburg to Greenpoint, has a hefty collection of reasonably priced used and new records that run the genre gamut.

Academy Records & CDs is located at 2 West 18th St between Fifth and Sixth Aves (212-242-3000, academy-records.com (http://www.academy-records.com/) ).

082014_generation.jpg Via Facebook (https://www.facebook.com/generationrecords/photos/a.107772145936092.3909.103250583054915/419547704758533/?type=3&theater)

GENERATION RECORDS (http://www.generationrecords.com/) : Generation Records isn’t exactly the most wallet-friendly shop on this list, unless you’re used to routinely spending upwards of $15 on a record. Cruel financial thievery aside, though, this longstanding Greenwich Village store boasts a spectacular collection of new and used albums (the used LPs are particularly good if you’re on a budget), with plenty of excellent punk/rock/metal music from the 1970s, ’80s and ’90s, along with a whole bunch of new albums located in the store’s second level. Peruse for hours, and pretend you’re one with the cast of Empire Records until the staff kicks you out.

Generation Records is located at 210 Thompson Street between West 3rd and Bleecker Street in Greenwich Village (212) 254-1100,generationrecords.com (http://www.generationrecords.com/) ).

082014_earwax.jpg Via Facebook (https://www.facebook.com/EarwaxRecordsNYC/photos/pb.292081603948.-2207520000.1408572750./10152476817933949/?type=3&theater)

EARWAX RECORDS: Size isn’t everything. This Williamsburg staple had to slim down a bit after leaving Bedford Avenue, but Earwax’s selection remains truly sublime, especially if your taste traffics on the sonic road less traveled. A deep cache of afrobeat and Brazilian funk reissues is always on hand, and fans of ambient and electro will rejoice at the extensive Brainfeeder and Warp Records selections. Earwax’s inventory skews new; on more than one occasion I’ve heard, “Sorry, that’s on backorder” at Rough Trade, only to mosey into Earwax minutes later and find exactly what I need. Shelves of refurbished stereo receivers and turntables—some dating back to the ’70s—sit next to the register and might be the biggest draw of all; the prices are fair and good music deserves a good home system. (Scott Heins)

Earwax is located at 167 North 9th Street between Bedford and Driggs Aves in Williamsburg, Brooklyn (718-486-3771).

082014_permanent.jpg Via Facebook (https://www.facebook.com/permanentrecords/photos/a.10150641885069909.405042.126539994908/10150641885104909/?type=1&theater)

PERMANENT RECORDS: The bad news here is that Permanent Records isn’t all that permanent, at the moment, since the Greenpoint shop has been forced from its location and will be departing its space come September 30th. But that’s just all the more reason for you to stop by—here, helpful staff members will assist you in finding some of Permanent Records’s many high-quality, eclectic offerings, with plenty of well-organized new and used vinyl on hand for browsing.

Feel free to rifle through their $1 vinyl bin, bring your dog in for some first-rate music education and don’t worry about spending too much money, since everything here is priced for the budget-conscious. Best of all, though Permanent Records is leaving Greenpoint at the end of next month, they’ll be relocated to a still undisclosed spot in Brooklyn in the near future, so…there’s that.

Permanent Records is located at 181 Franklin Street between Green and Huron Streets in Greenpoint, Brooklyn (718-383-4083,permanentrecords.info (http://www.permanentrecords.info/) ).

082014_a1records.jpg Via Facebook (https://www.facebook.com/101092607186/photos/a.428869797186.231394.101092607186/10152083070652187/?type=1&theater)

A1 RECORDS: This East Village standby opened in 1996 after owner Isaac Kosman closed up his flea market stand in favor of permanent digs. A1 makes finding the city’s best soul, jazz, and funk records from around the world a painless (if cramped) affair. There’s a good chance you’ll be elbow-rubbing with some of hip-hop’s greatest producers as you comb through the supply of quintessentially cool vinyl. Fresh crates of vintage records arrive (and depart) daily, so there’s reason to make multiple visits each month if you’re trying to build up a solid home library.

A1’s prices are very fair, with many near-mint LPs marked at around $8. With a helpful and scholarly staff on site, you’re bound to have one of the best record-shopping experiences America has to offer in a shop that’s doing business for all the right reasons. (Scott Heins)

A1 is located at 439 East 6th Street between Ave A and 1st Ave in the East Village (212-473-2870, a1recordshop.com (http://www.a1recordshop.com/) ).

HONORABLE MENTIONS: Every record store in this city deserves a shoutout for surviving this long. A few favorites that didn’t make this list: Halcyon, Bleecker Street Records, Good Records, Human Head Records and Music Matters. Tell us what we’ve missed!

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f11afd5112) | 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=f11afd5112&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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

The 12 Best Record Stores In NYC: Gothamist

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://gothamist.com/2014/08/21/the_best_record_stores_in_nyc.php?utm_source=Gothamist+Daily&utm_campaign=118636f5fd-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_73240544d8-118636f5fd-747481 (http://gothamist.com/2014/08/21/the_best_record_stores_in_nyc.php?utm_source=Gothamist+Daily&utm_campaign=118636f5fd-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_73240544d8-118636f5fd-747481)

** The 12 Best Record Stores In NYC
————————————————————

Record stores seem like a dying breed these days, with stalwarts like Sound Fix, Bleecker Bob’s and Kim’s Music & Video all shutting their doors over the past few years. But those who are still dedicated to vinyl and purchasing music from someplace that is not the Internet should not despair—this city’s record store scene is still (somewhat) thriving, with plenty of spectacular spots left where you can fight for that one pristine gem in the used $1 bin. Here are a few of our favorites; as always, leave yours in the comments.

082014_other.jpg Via Facebook (https://www.facebook.com/othermusicnyc/photos/a.487222669765.290920.329518529765/427131074765/?type=1&theater)

OTHER MUSIC (http://www.othermusic.com/) : Unlike the now-deceased Tower Records (http://gothamist.com/2006/12/24/goodbye_tower_r.php) that used to stand across the street, this 18-year-old record shop has managed to withstand the iTunes era thanks to its spectacular vinyl and CD collection, impressively organized by the store’s super-hip, super-knowledgeable staff. Though Other Music is small, you can find lots of good stuff here, with records boasting everything from indie rock to experimental jazz to obscure electronica and heavy metal, the more bizarre the better. As the name suggests, Other Music shies away from the more mainstream stuff, but they also sell a handful of used vinyl and more popular music, if that’s your thing.

Other Music is located at 15 East 4th Street between Astor Place and Broadway in NoHo (212-477-8150, othermusic.com).

082014_thething.jpg Via Yelp (http://www.yelp.com/biz_photos/the-thing-brooklyn#cWksma6AzL-DNwh2Fe5YBg)

THE THING: Good things come to those who dig at this massive Greenpoint music mound. The Thing is not built for efficiency—piles upon boxes upon shelves of records make up the shop’s 20,000+ inventory. Polka albums, jazz 45s, 80s glam rock, and white label hip-hop singles: it’s all here, but with no organization, no labeling, and no marked prices, which means that dedicated shoppers will spend hours or even days combing through the beautiful dusty chaos. The good news is that with enough effort you will strike gold, and when you bring your spoils to the counter the clerks eye the stack and just pick a reasonable price. (Expect to pay as little as $2/record.) Bring along gloves, a mask, and all the free time you’ve got. (Scott Heins)

The Thing is located at 1001 Manhattan Ave between Huron and Green Streets in Greenpoint, Brooklyn (718-349-8234).

082014_deadlydragon.jpg Via Facebook (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

DEADLY DRAGON SOUND SYSTEM (http://www.deadlydragonsound.com/) : Throw out that Bob MarleyLegend CD you’ve been using as a coaster and step into this tiny Chinatown record den, where you’ll find some of the best and rarest reggae, dancehall, and dub music on the planet. Deadly Dragon’s library of refined and rare Jamaican grooves includes a collection of out-of-print 7″ singles so regal it’d make King Tubby lay down his crown. What’s more,samples of almost every record in stock are posted on the Deadly Dragon website (http://deadlydragonsound.com/v3_records.php) , and the owners are always putting on DJ nights (https://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390) across the city. Even if you’ve never heard of Augustus Pablo, you’d be wise to stop in, spend a little cash, and keep on dubbing (https://www.youtube.com/watch?v=Clvb3YvdqPg) . (Scott Heins)

Deadly Dragon is located at 102-B Forsyth Street between Grand and Broome Streets on the Lower East Side (deadlydragonsound.com (http://www.deadlydragonsound.com/) ).

082014_blackgold.jpg Via Yelp (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

BLACK GOLD RECORDS: Stocked with antique doodads, taxidermy pigeons, coffee and pastries, Black Gold is more than just your average vinyl shop. Though there’s still plenty of that kind of thing here, with carefully curated old records stacked in delicate wooden crates, ripe for the picking. The vinyl is slightly pricey, but the albums are in good condition, and titles run the gamut from eclectic rock to esoteric experimental jazz. Even if the music’s not to your taste, the store’s oddball Victorian atmosphere is enough to keep you browsing, plus you can purchase coffee and bites from the likes of SCRATCHbread and other local food purveyors after flipping through the goods.

Black Gold is located at 461 Court Street between Luquer St and 4th Pl in Carroll Gardens, Brooklyn (347-227-8227, blackgoldbrooklyn.com (http://blackgoldbrooklyn.com/) ).

082014_coop87.jpg Via Facebook (https://www.facebook.com/175415712526474/photos/pb.175415712526474.-2207520000.1408570982./569558566445518/?type=3&theater)

CO-OP 87: This sliver of a shop doesn’t boast much in terms of space, but its teeming piles of mint-condition used records make it worth facing your claustrophobia. Most of Co-Op’s well-priced offerings stem from the days of yore, with plenty of rock, jazz, soul and other records from the ’60s, ’70s and 1980s on hand. Beyond the oldies, though, you can find tons of vinyl from local labels, along with curated contemporary goods from every genre imaginable.

Co-Op 87 is located at 87 Guernsey Street between Nassau and Norman Ave in Greenpoint, Brooklyn (347-294-4629).

082014_roughtrade.jpg Courtesy Scoboco’s flickr (https://www.flickr.com/photos/scottlynchnyc/11123803023/in/photolist-hWYp6i-hWXuJr-hWXRcj-hWYo2e-hWXBXA-hWYo8X-ciK6Fj-ciK8VE-o1NvvZ-nWYhRh-nGx5cp-nZ1LqZ-nGwoYq-nZ1XBM-nGwkX5-nGwkex-nGwteS-nYVauW-nGx7KR-nGwrZN-nZ1N7K-o1NhZX-nYV9Gd-nGwiCf-nYHC1H-nYHv58-nGwvKo-nYV2YJ-nWYqmN-nYUZfs-nYV8Q3-nYHF6R-nYHut8-nGvJkV-nWYuuY-nYTzYY-nGw3yC-o1MLJr-nGwURw-nYUSG7-nGwTRp-nYTTcf-nGxy4M-nWY5Ub-nWXXaU-nGwbRG-nYVgn7-nWY2Fh-nGxv1c-nWYLFW)

ROUGH TRADE (http://www.roughtradenyc.com/) : It’s more than rare for a record store to open while the rest of the city’s vinyl and CD shops quietly die, but Rough Trade is one such gem. The famed London transplant debuted its massive Williamsburg space back in November (http://gothamist.com/2013/11/24/williamsburgs_rough_trade.php#photo-1) , and has since earned a spot on the city’s finest record store list. Though you won’t find a lot of used vinyl here—stick with the aforementioned Co-Op 87 for that kind of thing—they do have a stellar, well-organized and clean collection of first-rate new stuff that you can score for a reasonable price. Bonus points for Rough Trade’s venue in the back, where you can hear local artists and traveling bands IRL.

Rough Trade is located at 64 North 9th Street between Wythe and Kent Aves in Williamsburg, Brooklyn (718-388-4111, roughtradenyc.com (http://www.roughtradenyc.com/) ).

082014_vinyl.jpg Via Yelp (http://www.yelp.com/biz_photos/turntable-lab-new-york-3#nfsbeyTKABiL3BqNqsv0Jg)

TURNTABLE LAB (http://turntablelab.com/) : Kiss your bank account goodbye and step into one of the most varied and visually dazzling music shops in the world. If you’re stumped by terms like “noise gate” and “low-pass filter” then Turntable Lab might not be the joint for you, but any honest list of NYC record shops has to give the East Village landmark its due. A trim yet perfectly-curated selection of indie rock, house, hip-hop, downtempo, and electro LPs and singles will greet you on the way in. Along the walls rest audiophile goodies like synthesizers, mixers, speakers, slipmats, pre-amps, headphones, needle cartridges, and, of course, hi-fi turntables of all vintages and varieties. Supported by a top-tier clientele of established working DJs and producers, the shop is not cheap—but then again buying quality only hurts once. (Scott Heins)

Turntable Lab is located at 120 East 7th Street between 1st Ave and Ave A in the East Village (212-677-0675, turntablelab.com (http://turntablelab.com/) ).

082014_records.jpg Via Yelp (http://www.yelp.com/biz_photos/academy-records-and-cds-new-york#JBg6DmrDb8TtVENuX4b-lg)

ACADEMY RECORDS & CDS (http://www.academy-records.com/) : Both Academy Records locations in Manhattan and their newly-relocated sister shop, the Academy Records Annex, offer up some of the best record-shopping vibes in the city. The Flatiron shop’s been in more or less the same spot since 1977, and it sticks to its old school roots—though you can score the usual rock and jazz music here, Academy Records is better known for its massive collection of classical music, available on vinyl and on CD. The East Village shop is only loosely affiliated with the flagship, though it also boasts an excellent (and massive) collection of used LPs and 45s, with more classic and contemporary rock on tap. And the Annex, which recently made the move (http://gothamist.com/2014/02/20/dumpster_full_of_vinyl.php#photo-1) from Williamsburg to Greenpoint, has a hefty collection of reasonably priced used and new records that run the genre gamut.

Academy Records & CDs is located at 2 West 18th St between Fifth and Sixth Aves (212-242-3000, academy-records.com (http://www.academy-records.com/) ).

082014_generation.jpg Via Facebook (https://www.facebook.com/generationrecords/photos/a.107772145936092.3909.103250583054915/419547704758533/?type=3&theater)

GENERATION RECORDS (http://www.generationrecords.com/) : Generation Records isn’t exactly the most wallet-friendly shop on this list, unless you’re used to routinely spending upwards of $15 on a record. Cruel financial thievery aside, though, this longstanding Greenwich Village store boasts a spectacular collection of new and used albums (the used LPs are particularly good if you’re on a budget), with plenty of excellent punk/rock/metal music from the 1970s, ’80s and ’90s, along with a whole bunch of new albums located in the store’s second level. Peruse for hours, and pretend you’re one with the cast of Empire Records until the staff kicks you out.

Generation Records is located at 210 Thompson Street between West 3rd and Bleecker Street in Greenwich Village (212) 254-1100,generationrecords.com (http://www.generationrecords.com/) ).

082014_earwax.jpg Via Facebook (https://www.facebook.com/EarwaxRecordsNYC/photos/pb.292081603948.-2207520000.1408572750./10152476817933949/?type=3&theater)

EARWAX RECORDS: Size isn’t everything. This Williamsburg staple had to slim down a bit after leaving Bedford Avenue, but Earwax’s selection remains truly sublime, especially if your taste traffics on the sonic road less traveled. A deep cache of afrobeat and Brazilian funk reissues is always on hand, and fans of ambient and electro will rejoice at the extensive Brainfeeder and Warp Records selections. Earwax’s inventory skews new; on more than one occasion I’ve heard, “Sorry, that’s on backorder” at Rough Trade, only to mosey into Earwax minutes later and find exactly what I need. Shelves of refurbished stereo receivers and turntables—some dating back to the ’70s—sit next to the register and might be the biggest draw of all; the prices are fair and good music deserves a good home system. (Scott Heins)

Earwax is located at 167 North 9th Street between Bedford and Driggs Aves in Williamsburg, Brooklyn (718-486-3771).

082014_permanent.jpg Via Facebook (https://www.facebook.com/permanentrecords/photos/a.10150641885069909.405042.126539994908/10150641885104909/?type=1&theater)

PERMANENT RECORDS: The bad news here is that Permanent Records isn’t all that permanent, at the moment, since the Greenpoint shop has been forced from its location and will be departing its space come September 30th. But that’s just all the more reason for you to stop by—here, helpful staff members will assist you in finding some of Permanent Records’s many high-quality, eclectic offerings, with plenty of well-organized new and used vinyl on hand for browsing.

Feel free to rifle through their $1 vinyl bin, bring your dog in for some first-rate music education and don’t worry about spending too much money, since everything here is priced for the budget-conscious. Best of all, though Permanent Records is leaving Greenpoint at the end of next month, they’ll be relocated to a still undisclosed spot in Brooklyn in the near future, so…there’s that.

Permanent Records is located at 181 Franklin Street between Green and Huron Streets in Greenpoint, Brooklyn (718-383-4083,permanentrecords.info (http://www.permanentrecords.info/) ).

082014_a1records.jpg Via Facebook (https://www.facebook.com/101092607186/photos/a.428869797186.231394.101092607186/10152083070652187/?type=1&theater)

A1 RECORDS: This East Village standby opened in 1996 after owner Isaac Kosman closed up his flea market stand in favor of permanent digs. A1 makes finding the city’s best soul, jazz, and funk records from around the world a painless (if cramped) affair. There’s a good chance you’ll be elbow-rubbing with some of hip-hop’s greatest producers as you comb through the supply of quintessentially cool vinyl. Fresh crates of vintage records arrive (and depart) daily, so there’s reason to make multiple visits each month if you’re trying to build up a solid home library.

A1’s prices are very fair, with many near-mint LPs marked at around $8. With a helpful and scholarly staff on site, you’re bound to have one of the best record-shopping experiences America has to offer in a shop that’s doing business for all the right reasons. (Scott Heins)

A1 is located at 439 East 6th Street between Ave A and 1st Ave in the East Village (212-473-2870, a1recordshop.com (http://www.a1recordshop.com/) ).

HONORABLE MENTIONS: Every record store in this city deserves a shoutout for surviving this long. A few favorites that didn’t make this list: Halcyon, Bleecker Street Records, Good Records, Human Head Records and Music Matters. Tell us what we’ve missed!

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=f11afd5112) | 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=f11afd5112&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

The 12 Best Record Stores In NYC: Gothamist

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://gothamist.com/2014/08/21/the_best_record_stores_in_nyc.php?utm_source=Gothamist+Daily&utm_campaign=118636f5fd-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_73240544d8-118636f5fd-747481 (http://gothamist.com/2014/08/21/the_best_record_stores_in_nyc.php?utm_source=Gothamist+Daily&utm_campaign=118636f5fd-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_73240544d8-118636f5fd-747481)

** The 12 Best Record Stores In NYC
————————————————————

Record stores seem like a dying breed these days, with stalwarts like Sound Fix, Bleecker Bob’s and Kim’s Music & Video all shutting their doors over the past few years. But those who are still dedicated to vinyl and purchasing music from someplace that is not the Internet should not despair—this city’s record store scene is still (somewhat) thriving, with plenty of spectacular spots left where you can fight for that one pristine gem in the used $1 bin. Here are a few of our favorites; as always, leave yours in the comments.

082014_other.jpg Via Facebook (https://www.facebook.com/othermusicnyc/photos/a.487222669765.290920.329518529765/427131074765/?type=1&theater)

OTHER MUSIC (http://www.othermusic.com/) : Unlike the now-deceased Tower Records (http://gothamist.com/2006/12/24/goodbye_tower_r.php) that used to stand across the street, this 18-year-old record shop has managed to withstand the iTunes era thanks to its spectacular vinyl and CD collection, impressively organized by the store’s super-hip, super-knowledgeable staff. Though Other Music is small, you can find lots of good stuff here, with records boasting everything from indie rock to experimental jazz to obscure electronica and heavy metal, the more bizarre the better. As the name suggests, Other Music shies away from the more mainstream stuff, but they also sell a handful of used vinyl and more popular music, if that’s your thing.

Other Music is located at 15 East 4th Street between Astor Place and Broadway in NoHo (212-477-8150, othermusic.com).

082014_thething.jpg Via Yelp (http://www.yelp.com/biz_photos/the-thing-brooklyn#cWksma6AzL-DNwh2Fe5YBg)

THE THING: Good things come to those who dig at this massive Greenpoint music mound. The Thing is not built for efficiency—piles upon boxes upon shelves of records make up the shop’s 20,000+ inventory. Polka albums, jazz 45s, 80s glam rock, and white label hip-hop singles: it’s all here, but with no organization, no labeling, and no marked prices, which means that dedicated shoppers will spend hours or even days combing through the beautiful dusty chaos. The good news is that with enough effort you will strike gold, and when you bring your spoils to the counter the clerks eye the stack and just pick a reasonable price. (Expect to pay as little as $2/record.) Bring along gloves, a mask, and all the free time you’ve got. (Scott Heins)

The Thing is located at 1001 Manhattan Ave between Huron and Green Streets in Greenpoint, Brooklyn (718-349-8234).

082014_deadlydragon.jpg Via Facebook (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

DEADLY DRAGON SOUND SYSTEM (http://www.deadlydragonsound.com/) : Throw out that Bob MarleyLegend CD you’ve been using as a coaster and step into this tiny Chinatown record den, where you’ll find some of the best and rarest reggae, dancehall, and dub music on the planet. Deadly Dragon’s library of refined and rare Jamaican grooves includes a collection of out-of-print 7″ singles so regal it’d make King Tubby lay down his crown. What’s more,samples of almost every record in stock are posted on the Deadly Dragon website (http://deadlydragonsound.com/v3_records.php) , and the owners are always putting on DJ nights (https://www.facebook.com/pages/Deadly-Dragon-Sound-System/80795465390) across the city. Even if you’ve never heard of Augustus Pablo, you’d be wise to stop in, spend a little cash, and keep on dubbing (https://www.youtube.com/watch?v=Clvb3YvdqPg) . (Scott Heins)

Deadly Dragon is located at 102-B Forsyth Street between Grand and Broome Streets on the Lower East Side (deadlydragonsound.com (http://www.deadlydragonsound.com/) ).

082014_blackgold.jpg Via Yelp (https://www.facebook.com/80795465390/photos/pb.80795465390.-2207520000.1408570746./10150494755185391/?type=3&theater)

BLACK GOLD RECORDS: Stocked with antique doodads, taxidermy pigeons, coffee and pastries, Black Gold is more than just your average vinyl shop. Though there’s still plenty of that kind of thing here, with carefully curated old records stacked in delicate wooden crates, ripe for the picking. The vinyl is slightly pricey, but the albums are in good condition, and titles run the gamut from eclectic rock to esoteric experimental jazz. Even if the music’s not to your taste, the store’s oddball Victorian atmosphere is enough to keep you browsing, plus you can purchase coffee and bites from the likes of SCRATCHbread and other local food purveyors after flipping through the goods.

Black Gold is located at 461 Court Street between Luquer St and 4th Pl in Carroll Gardens, Brooklyn (347-227-8227, blackgoldbrooklyn.com (http://blackgoldbrooklyn.com/) ).

082014_coop87.jpg Via Facebook (https://www.facebook.com/175415712526474/photos/pb.175415712526474.-2207520000.1408570982./569558566445518/?type=3&theater)

CO-OP 87: This sliver of a shop doesn’t boast much in terms of space, but its teeming piles of mint-condition used records make it worth facing your claustrophobia. Most of Co-Op’s well-priced offerings stem from the days of yore, with plenty of rock, jazz, soul and other records from the ’60s, ’70s and 1980s on hand. Beyond the oldies, though, you can find tons of vinyl from local labels, along with curated contemporary goods from every genre imaginable.

Co-Op 87 is located at 87 Guernsey Street between Nassau and Norman Ave in Greenpoint, Brooklyn (347-294-4629).

082014_roughtrade.jpg Courtesy Scoboco’s flickr (https://www.flickr.com/photos/scottlynchnyc/11123803023/in/photolist-hWYp6i-hWXuJr-hWXRcj-hWYo2e-hWXBXA-hWYo8X-ciK6Fj-ciK8VE-o1NvvZ-nWYhRh-nGx5cp-nZ1LqZ-nGwoYq-nZ1XBM-nGwkX5-nGwkex-nGwteS-nYVauW-nGx7KR-nGwrZN-nZ1N7K-o1NhZX-nYV9Gd-nGwiCf-nYHC1H-nYHv58-nGwvKo-nYV2YJ-nWYqmN-nYUZfs-nYV8Q3-nYHF6R-nYHut8-nGvJkV-nWYuuY-nYTzYY-nGw3yC-o1MLJr-nGwURw-nYUSG7-nGwTRp-nYTTcf-nGxy4M-nWY5Ub-nWXXaU-nGwbRG-nYVgn7-nWY2Fh-nGxv1c-nWYLFW)

ROUGH TRADE (http://www.roughtradenyc.com/) : It’s more than rare for a record store to open while the rest of the city’s vinyl and CD shops quietly die, but Rough Trade is one such gem. The famed London transplant debuted its massive Williamsburg space back in November (http://gothamist.com/2013/11/24/williamsburgs_rough_trade.php#photo-1) , and has since earned a spot on the city’s finest record store list. Though you won’t find a lot of used vinyl here—stick with the aforementioned Co-Op 87 for that kind of thing—they do have a stellar, well-organized and clean collection of first-rate new stuff that you can score for a reasonable price. Bonus points for Rough Trade’s venue in the back, where you can hear local artists and traveling bands IRL.

Rough Trade is located at 64 North 9th Street between Wythe and Kent Aves in Williamsburg, Brooklyn (718-388-4111, roughtradenyc.com (http://www.roughtradenyc.com/) ).

082014_vinyl.jpg Via Yelp (http://www.yelp.com/biz_photos/turntable-lab-new-york-3#nfsbeyTKABiL3BqNqsv0Jg)

TURNTABLE LAB (http://turntablelab.com/) : Kiss your bank account goodbye and step into one of the most varied and visually dazzling music shops in the world. If you’re stumped by terms like “noise gate” and “low-pass filter” then Turntable Lab might not be the joint for you, but any honest list of NYC record shops has to give the East Village landmark its due. A trim yet perfectly-curated selection of indie rock, house, hip-hop, downtempo, and electro LPs and singles will greet you on the way in. Along the walls rest audiophile goodies like synthesizers, mixers, speakers, slipmats, pre-amps, headphones, needle cartridges, and, of course, hi-fi turntables of all vintages and varieties. Supported by a top-tier clientele of established working DJs and producers, the shop is not cheap—but then again buying quality only hurts once. (Scott Heins)

Turntable Lab is located at 120 East 7th Street between 1st Ave and Ave A in the East Village (212-677-0675, turntablelab.com (http://turntablelab.com/) ).

082014_records.jpg Via Yelp (http://www.yelp.com/biz_photos/academy-records-and-cds-new-york#JBg6DmrDb8TtVENuX4b-lg)

ACADEMY RECORDS & CDS (http://www.academy-records.com/) : Both Academy Records locations in Manhattan and their newly-relocated sister shop, the Academy Records Annex, offer up some of the best record-shopping vibes in the city. The Flatiron shop’s been in more or less the same spot since 1977, and it sticks to its old school roots—though you can score the usual rock and jazz music here, Academy Records is better known for its massive collection of classical music, available on vinyl and on CD. The East Village shop is only loosely affiliated with the flagship, though it also boasts an excellent (and massive) collection of used LPs and 45s, with more classic and contemporary rock on tap. And the Annex, which recently made the move (http://gothamist.com/2014/02/20/dumpster_full_of_vinyl.php#photo-1) from Williamsburg to Greenpoint, has a hefty collection of reasonably priced used and new records that run the genre gamut.

Academy Records & CDs is located at 2 West 18th St between Fifth and Sixth Aves (212-242-3000, academy-records.com (http://www.academy-records.com/) ).

082014_generation.jpg Via Facebook (https://www.facebook.com/generationrecords/photos/a.107772145936092.3909.103250583054915/419547704758533/?type=3&theater)

GENERATION RECORDS (http://www.generationrecords.com/) : Generation Records isn’t exactly the most wallet-friendly shop on this list, unless you’re used to routinely spending upwards of $15 on a record. Cruel financial thievery aside, though, this longstanding Greenwich Village store boasts a spectacular collection of new and used albums (the used LPs are particularly good if you’re on a budget), with plenty of excellent punk/rock/metal music from the 1970s, ’80s and ’90s, along with a whole bunch of new albums located in the store’s second level. Peruse for hours, and pretend you’re one with the cast of Empire Records until the staff kicks you out.

Generation Records is located at 210 Thompson Street between West 3rd and Bleecker Street in Greenwich Village (212) 254-1100,generationrecords.com (http://www.generationrecords.com/) ).

082014_earwax.jpg Via Facebook (https://www.facebook.com/EarwaxRecordsNYC/photos/pb.292081603948.-2207520000.1408572750./10152476817933949/?type=3&theater)

EARWAX RECORDS: Size isn’t everything. This Williamsburg staple had to slim down a bit after leaving Bedford Avenue, but Earwax’s selection remains truly sublime, especially if your taste traffics on the sonic road less traveled. A deep cache of afrobeat and Brazilian funk reissues is always on hand, and fans of ambient and electro will rejoice at the extensive Brainfeeder and Warp Records selections. Earwax’s inventory skews new; on more than one occasion I’ve heard, “Sorry, that’s on backorder” at Rough Trade, only to mosey into Earwax minutes later and find exactly what I need. Shelves of refurbished stereo receivers and turntables—some dating back to the ’70s—sit next to the register and might be the biggest draw of all; the prices are fair and good music deserves a good home system. (Scott Heins)

Earwax is located at 167 North 9th Street between Bedford and Driggs Aves in Williamsburg, Brooklyn (718-486-3771).

082014_permanent.jpg Via Facebook (https://www.facebook.com/permanentrecords/photos/a.10150641885069909.405042.126539994908/10150641885104909/?type=1&theater)

PERMANENT RECORDS: The bad news here is that Permanent Records isn’t all that permanent, at the moment, since the Greenpoint shop has been forced from its location and will be departing its space come September 30th. But that’s just all the more reason for you to stop by—here, helpful staff members will assist you in finding some of Permanent Records’s many high-quality, eclectic offerings, with plenty of well-organized new and used vinyl on hand for browsing.

Feel free to rifle through their $1 vinyl bin, bring your dog in for some first-rate music education and don’t worry about spending too much money, since everything here is priced for the budget-conscious. Best of all, though Permanent Records is leaving Greenpoint at the end of next month, they’ll be relocated to a still undisclosed spot in Brooklyn in the near future, so…there’s that.

Permanent Records is located at 181 Franklin Street between Green and Huron Streets in Greenpoint, Brooklyn (718-383-4083,permanentrecords.info (http://www.permanentrecords.info/) ).

082014_a1records.jpg Via Facebook (https://www.facebook.com/101092607186/photos/a.428869797186.231394.101092607186/10152083070652187/?type=1&theater)

A1 RECORDS: This East Village standby opened in 1996 after owner Isaac Kosman closed up his flea market stand in favor of permanent digs. A1 makes finding the city’s best soul, jazz, and funk records from around the world a painless (if cramped) affair. There’s a good chance you’ll be elbow-rubbing with some of hip-hop’s greatest producers as you comb through the supply of quintessentially cool vinyl. Fresh crates of vintage records arrive (and depart) daily, so there’s reason to make multiple visits each month if you’re trying to build up a solid home library.

A1’s prices are very fair, with many near-mint LPs marked at around $8. With a helpful and scholarly staff on site, you’re bound to have one of the best record-shopping experiences America has to offer in a shop that’s doing business for all the right reasons. (Scott Heins)

A1 is located at 439 East 6th Street between Ave A and 1st Ave in the East Village (212-473-2870, a1recordshop.com (http://www.a1recordshop.com/) ).

HONORABLE MENTIONS: Every record store in this city deserves a shoutout for surviving this long. A few favorites that didn’t make this list: Halcyon, Bleecker Street Records, Good Records, Human Head Records and Music Matters. Tell us what we’ve missed!

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Summer Salute to Charlie Parker – NYTimes.com

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http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0)

** Summer Salute to Charlie Parker
————————————————————

Weekend Miser

By A. C. LEE

It’s not impossible to imagine the jazz legend Charlie Parker putting the musical primitivism of punk rock into perspective with one of his eloquent and pungent zingers. On the other hand, were he here this weekend to see the AfroPunk Festival (http://afropunkfest.com/) , a free outdoor concert in Brooklyn, the Miser wonders whether he wouldn’t sense some common ground with acts like Meshell Ndegeocello, Shabazz Palaces or Valerie June, who also build vanguard sounds from blues roots.

Alas, free passes to AfroPunk are all gone. (Only “fast pass” tickets remain;one covering the whole weekend (http://afropunkfest.com/rsvp/) will set you back a fairly reasonable $40.) But you can still celebrate Parker’s legacy this weekend at the annualCharlie Parker Jazz Festival (http://www.cityparksfoundation.org/calendar/charlie-parker-jazz-festival/) .

Things kick off Friday night with a free lecture at the New School for Contemporary Music, on the intersection of jazz and Latin music. The talk, by Joe Conzo Sr., will review the contributions of musicians like Tito Puente and Parker’s close associate Dizzy Gillespie, and include rare live recordings of Parker performing with the Cuban bandleader Machito.

(Friday at 6:30; 55 West 13th Street, Greenwich Village; 212-229-5896;charlieparkerjazzfestival.com (http://charlieparkerjazzfestival.com/) .)

On Saturday, the roving festival moves uptown for a concert in Marcus Garvey Park in Harlem featuring the trumpeter Wallace Roney topping a bill that includes the singer Lionel Loueke, the saxophonist Melissa Aldana and the pianist Kris Bowers with the singer Chris Turner.

(Saturday at 3 p.m.; West 122nd Street at Mount Morris Park West; 212-860-1394.)

The festival concludes on Sunday with Kenny Barron, the pianist (and National Endowment for the Arts Jazz Master (http://arts.gov/honors/jazz/kenny-barron) ), taking the stage in Tompkins Square Park in the East Village, sharing the afternoon with groups led by the drummer Cindy Blackman Santana, the saxophonist Craig Handy and the singer Brianna Thomas.

(Sunday at 3 p.m.; Avenue A at East Seventh Street; 212-387-7684)

CATCHING A BUG

The Miser has always felt nostalgic about Volkswagens. He clocked countless childhood hours in his dad’s Beetle, the oily engine aroma wafting through the back seat’s frayed vinyl upholstery. And rumor had it that the teenage Miser occasionally got up to “Fast Times at Ridgemont High”-style shenanigans (http://youtu.be/uWiYphJUS7Q) in the backs of his pal’s VW vans.

If you happen to share the Miser’s fondness for VWs, consider a trip to Governors Island on Sunday for the Volkswagen Traffic Jam (http://nycvolkswagentrafficjam.com/) , an unofficial, enthusiast-organized gathering of classic rides, from bugs and buses to Things and Karmann Ghias. Spectators get in free and can cast a vote for their favorite vintage vehicle.

Catch an early ferry; on weekends, the first three from Manhattan and the first two from Brooklyn are free. The schedule and more information (http://www.govisland.com/html/visit/directions.shtml) are available at the Governors Island website.

(Sunday at 10 a.m.; govisland.com (http://govisland.com/) ; nycvolkswagentrafficjam.com (http://nycvolkswagentrafficjam.com/) .)

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Copyright (C) 2014 All rights reserved.

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

Summer Salute to Charlie Parker – NYTimes.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0)

** Summer Salute to Charlie Parker
————————————————————

Weekend Miser

By A. C. LEE

It’s not impossible to imagine the jazz legend Charlie Parker putting the musical primitivism of punk rock into perspective with one of his eloquent and pungent zingers. On the other hand, were he here this weekend to see the AfroPunk Festival (http://afropunkfest.com/) , a free outdoor concert in Brooklyn, the Miser wonders whether he wouldn’t sense some common ground with acts like Meshell Ndegeocello, Shabazz Palaces or Valerie June, who also build vanguard sounds from blues roots.

Alas, free passes to AfroPunk are all gone. (Only “fast pass” tickets remain;one covering the whole weekend (http://afropunkfest.com/rsvp/) will set you back a fairly reasonable $40.) But you can still celebrate Parker’s legacy this weekend at the annualCharlie Parker Jazz Festival (http://www.cityparksfoundation.org/calendar/charlie-parker-jazz-festival/) .

Things kick off Friday night with a free lecture at the New School for Contemporary Music, on the intersection of jazz and Latin music. The talk, by Joe Conzo Sr., will review the contributions of musicians like Tito Puente and Parker’s close associate Dizzy Gillespie, and include rare live recordings of Parker performing with the Cuban bandleader Machito.

(Friday at 6:30; 55 West 13th Street, Greenwich Village; 212-229-5896;charlieparkerjazzfestival.com (http://charlieparkerjazzfestival.com/) .)

On Saturday, the roving festival moves uptown for a concert in Marcus Garvey Park in Harlem featuring the trumpeter Wallace Roney topping a bill that includes the singer Lionel Loueke, the saxophonist Melissa Aldana and the pianist Kris Bowers with the singer Chris Turner.

(Saturday at 3 p.m.; West 122nd Street at Mount Morris Park West; 212-860-1394.)

The festival concludes on Sunday with Kenny Barron, the pianist (and National Endowment for the Arts Jazz Master (http://arts.gov/honors/jazz/kenny-barron) ), taking the stage in Tompkins Square Park in the East Village, sharing the afternoon with groups led by the drummer Cindy Blackman Santana, the saxophonist Craig Handy and the singer Brianna Thomas.

(Sunday at 3 p.m.; Avenue A at East Seventh Street; 212-387-7684)

CATCHING A BUG

The Miser has always felt nostalgic about Volkswagens. He clocked countless childhood hours in his dad’s Beetle, the oily engine aroma wafting through the back seat’s frayed vinyl upholstery. And rumor had it that the teenage Miser occasionally got up to “Fast Times at Ridgemont High”-style shenanigans (http://youtu.be/uWiYphJUS7Q) in the backs of his pal’s VW vans.

If you happen to share the Miser’s fondness for VWs, consider a trip to Governors Island on Sunday for the Volkswagen Traffic Jam (http://nycvolkswagentrafficjam.com/) , an unofficial, enthusiast-organized gathering of classic rides, from bugs and buses to Things and Karmann Ghias. Spectators get in free and can cast a vote for their favorite vintage vehicle.

Catch an early ferry; on weekends, the first three from Manhattan and the first two from Brooklyn are free. The schedule and more information (http://www.govisland.com/html/visit/directions.shtml) are available at the Governors Island website.

(Sunday at 10 a.m.; govisland.com (http://govisland.com/) ; nycvolkswagentrafficjam.com (http://nycvolkswagentrafficjam.com/) .)

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Copyright (C) 2014 All rights reserved.

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

Summer Salute to Charlie Parker – NYTimes.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/22/arts/music/summer-salute-to-charlie-parker.html?emc=edit_tnt_20140821&nlid=16833052&tntemail0=y&_r=0)

** Summer Salute to Charlie Parker
————————————————————

Weekend Miser

By A. C. LEE

It’s not impossible to imagine the jazz legend Charlie Parker putting the musical primitivism of punk rock into perspective with one of his eloquent and pungent zingers. On the other hand, were he here this weekend to see the AfroPunk Festival (http://afropunkfest.com/) , a free outdoor concert in Brooklyn, the Miser wonders whether he wouldn’t sense some common ground with acts like Meshell Ndegeocello, Shabazz Palaces or Valerie June, who also build vanguard sounds from blues roots.

Alas, free passes to AfroPunk are all gone. (Only “fast pass” tickets remain;one covering the whole weekend (http://afropunkfest.com/rsvp/) will set you back a fairly reasonable $40.) But you can still celebrate Parker’s legacy this weekend at the annualCharlie Parker Jazz Festival (http://www.cityparksfoundation.org/calendar/charlie-parker-jazz-festival/) .

Things kick off Friday night with a free lecture at the New School for Contemporary Music, on the intersection of jazz and Latin music. The talk, by Joe Conzo Sr., will review the contributions of musicians like Tito Puente and Parker’s close associate Dizzy Gillespie, and include rare live recordings of Parker performing with the Cuban bandleader Machito.

(Friday at 6:30; 55 West 13th Street, Greenwich Village; 212-229-5896;charlieparkerjazzfestival.com (http://charlieparkerjazzfestival.com/) .)

On Saturday, the roving festival moves uptown for a concert in Marcus Garvey Park in Harlem featuring the trumpeter Wallace Roney topping a bill that includes the singer Lionel Loueke, the saxophonist Melissa Aldana and the pianist Kris Bowers with the singer Chris Turner.

(Saturday at 3 p.m.; West 122nd Street at Mount Morris Park West; 212-860-1394.)

The festival concludes on Sunday with Kenny Barron, the pianist (and National Endowment for the Arts Jazz Master (http://arts.gov/honors/jazz/kenny-barron) ), taking the stage in Tompkins Square Park in the East Village, sharing the afternoon with groups led by the drummer Cindy Blackman Santana, the saxophonist Craig Handy and the singer Brianna Thomas.

(Sunday at 3 p.m.; Avenue A at East Seventh Street; 212-387-7684)

CATCHING A BUG

The Miser has always felt nostalgic about Volkswagens. He clocked countless childhood hours in his dad’s Beetle, the oily engine aroma wafting through the back seat’s frayed vinyl upholstery. And rumor had it that the teenage Miser occasionally got up to “Fast Times at Ridgemont High”-style shenanigans (http://youtu.be/uWiYphJUS7Q) in the backs of his pal’s VW vans.

If you happen to share the Miser’s fondness for VWs, consider a trip to Governors Island on Sunday for the Volkswagen Traffic Jam (http://nycvolkswagentrafficjam.com/) , an unofficial, enthusiast-organized gathering of classic rides, from bugs and buses to Things and Karmann Ghias. Spectators get in free and can cast a vote for their favorite vintage vehicle.

Catch an early ferry; on weekends, the first three from Manhattan and the first two from Brooklyn are free. The schedule and more information (http://www.govisland.com/html/visit/directions.shtml) are available at the Governors Island website.

(Sunday at 10 a.m.; govisland.com (http://govisland.com/) ; nycvolkswagentrafficjam.com (http://nycvolkswagentrafficjam.com/) .)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3b2245c78b) | 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=3b2245c78b&e=[UNIQID])

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Copyright (C) 2014 All rights reserved.

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

The second coming of Billy the Kid (w/ video) | Tampa Bay Times

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.tampabay.com/features/humaninterest/the-second-coming-of-billy-the-kid/2191119

** The second coming of Billy the Kid (w/ video)
————————————————————

TARPON SPRINGS —

Guy on the phone says to “Google ‘Billy the Kid’ Emerson. He’s old now, but he was really famous once. He lives here.” // So I Google. An African-American piano player born in Tarpon Springs, Emerson ended up at Sun Records in Memphis. Elvis recorded one of his songs. // Talk to Billy the Kid, implores the anonymous caller. What a story he must have to tell. // In the summer of 2012 I call him. Billy the Kid Emerson says: “I NEVER EVER TALK ABOUT THOSE DAYS” — those days when he played the devil’s music and knew Elvis. Now he listens only to spirituals. In fact, he’s been writing a suite of religious hymns he calls his masterpiece. // I suggest we do an interview at his house. // “I’m not looking for

glory,” he says. “But thank you for your interest.”

Click.

I’m stubborn. Why is this man so determined to avoid his fascinating past? Over the next year, he never answers my calls. He never answers my letters asking him to reconsider

On a hot afternoon in 2013, I knock on his door.

“Who are you?” he asks, peering through the crack. Looks me over. “I guess you can come on in.”

I sit on the couch in a cluttered room. The old man says again that he has no need for publicity. Really, it’s nobody’s business what he’s up to now. As for his past, “I don’t live in the world now. I live in God’s world.”

Unwittingly channeling Satan, I ask what happened when he lived in the secular world.

“I know what you WANT!” he explodes. “I could make $25,000 telling the world what I know about ELVIS. I’m not going to say a word about Elvis.”

Billy the Kid Emerson, I am learning quickly, can be as prickly as a crown of thorns.

“Do you go to church?” he asks when I phone him a few days later.

Sometimes.

“WHY SHOULD I TALK TO YOU? YOU’RE NOT EVEN HOLY!”

Perhaps we could go to lunch and talk about this.

“I CAN BUY MY OWN LUNCH!”

Well, it would be interesting to know more about …

“STOP STALKING ME!”

Jeremiah, the ornery Old Testament prophet, must have been a tough customer, too.

I write more letters that never draw a reply. I make more phone calls that never get answered. I’m licked. I’ll never write this one.

On a spring afternoon the phone rings. “This is the Rev. William Emerson,” says the voice on the line. “Are you the one who wanted to talk to me?”

Yes, let’s talk, Rev. Emerson.

“YOU’RE LATE BY AN HOUR,” he scolds when I show up. Actually, I’m on time. But no matter. One of the most complicated, mysterious men I may ever know has agreed to talk. I don’t argue.

I just listen to him tell the story of the second coming of Billy the Kid.

The Rev. William Emerson’s Tarpon Springs house is modest, small and dark because he shuts the shades against the drug dealers he says spy on him. About 20 neatly pressed suits hang in a closet above an intimidating collection of shoes, including one pair that might be made out of alligator.

On a table rest the booklets he churns out about the evils of secular music in church. I ask if he prefers gospel. “THERE IS NO SUCH THING AS GOSPEL MUSIC!” Lowering his voice, he quotes from the New Testament. “And he said unto them, ‘Go ye into all the world, and preach the gospel to every creature.’ That’s from Mark 16. Notice Jesus didn’t say SING THE GOSPEL. The Gospel is meant to be preached, not sung.”

A living-room loudspeaker props up the sagging keyboard of one piano. The other piano, out of tune, is still playable. A poster of Martin Luther King watches from the wall. Emerson’s hair is gone. So are his false teeth. Says somebody stole them.

Billy Emerson was born at midnight on Dec. 20, 1925, in the black section of the same Tarpon Springs neighborhood where he lives now.

His father, Antonio Emerson, was a sporadic presence. His mother, Esther Hannah, was everything. She was beautiful, kind — and what a glorious contralto singing voice. While she sewed, while she cooked, when she tucked her little boy into bed, she filled the house with song. He can still remember Love Lifted Me.

I was sinking deep in sin, far from the peaceful shore

Very deeply stained within, sinking to rise no more

But the Master of the sea heard my despairing cry,

Now safe am I

He sang at the Baptist church when he was 2 years old. Eventually Billy learned to play piano on his neighbor’s. He had a good ear and could remember lyrics.

He was a good athlete at all-black Union Academy in Tarpon Springs. He could hit a baseball, shoot a free throw, shed a tackle. He could run a sponge boat, but he was an even better musician. He could play the boogie-woogie, the blues, jazz.

He enlisted in the Navy in World War II and saw the world. On his return, he was hot to play the piano for a living. In St. Petersburg he performed at the famous Manhattan Casino, where every black superstar from James Brown to Fats Domino to Ray Charles came to play. When he sang in that powerful R&B voice, folks could hear him miles away. He and his band dressed like cowboys. That’s why he was Billy the Kid.

He ended up in New Orleans, where he met this younger guy who somehow seemed older, a good dresser, worldly, menacing. Ike Turner invited him to play piano in his band, the Kings of Rhythm. Ike was a big talker, a control freak, scary and as comfortable with a gun as he was with a guitar pick. To be fair, everybody in the band was armed. When cops raided a joint, Emerson remembers, “you could hear our knives clattering to the floor.”

He traveled with Ike — and this was years before Ike hooked up with Tina — and ended up at a little recording studio in Memphis run by a hillbilly named Sam Phillips who happened to love R&B. Little Milton and Junior Parker were on Phillips’ roster. So was the legendary Howlin’ Wolf.

Nobody Emerson knew well made much money at Sun — Phillips was a notoriously careless businessman — but Billy the Kid was young and excited, and felt like he had struck gold.

Visiting Emerson regularly, I never know which one I’m going to be dealing with. The friendly Emerson? The angry Emerson? The paranoid Emerson? Will he ever talk about Elvis?

Over a Greek salad at Costas in Tarpon, he casually mentions the young white boy, a truck driver or something, who walked through the door of Sun Records one day. “Good-looking, shy. He knew a lot of country tunes, but he really liked the blues.”

In 1953 Elvis booked the studio long enough to record the pretty balladThat’s When Your Heartaches Begin. Nothing happened with that tune. But Elvis came back on July 5, 1954, with a couple of side-burned guitar players and a drummer. Late at night, Elvis tried an old blues number, Arthur “Big Boy” Crudup’s That’s All Right Mama. The white boy almost burned down the house. Some people believe rock ‘n’ roll was born at that moment.

Competition was fierce at Sun. It wasn’t good enough to be good. Luck was just as important. Billy the Kid had recorded a new song that everybody thought had the potential to be a hit even on the white charts. But he had forgotten to stand in line when the luck was handed out.

You know what it takes, you got it, baby.

Don’t leave me here with these heartaches,

Only you and heaven knows about my troubles, troubles, troubles

When it rains, it really pours

“Sam Phillips thought it might be better for Elvis.”

Elvis recorded When It Rains, It Really Pours on Feb. 24, 1957. It’s on an album called Elvis for Everyone! Elvis sold millions of records, which meant Billy the Kid got royalties. But the song added to Elvis’ fame.

“Sam always said if he could find a white singer who sounded black, he’d make a million dollars. In fact, I TOLD HIM THAT, though he always took credit for it. Elvis was a nice boy, but I always wondered what would have happened if Sam had released my record as a single.”

But Billy the Kid, despite his understandable envy, liked Elvis. “He was a sweet boy. A bunch of bluesmen took him to a black nightclub, the Flamingo, in Memphis one night so he could learn how to dance. I think he was scared.”

Emerson didn’t quit. He sat at the piano and began working on a new song.

My girl is red hot

Your girl is doodly squat.

It was funny, a novelty song, but it swung. This time Sam Phillips gave Red Hot to an up-and-coming white singer named Billy Lee Riley. It was a hit, and once again Billy the Kid heard himself asking: “What about me?”

In his opinion, Sam promoted his white singers — Elvis, Johnny Cash, Roy Orbison and Jerry Lee Lewis — at the expense of black musicians. “Even now, I don’t like to talk about Sam Phillips,” Emerson says. “I don’t want to say something ugly. I don’t live in that world anymore.”

Emerson continued making a living, working at Chicago’s Chess Records, home of Muddy Waters, Willie Dixon, Bo Diddley and Chuck Berry. If someone was willing to pay, he played. He was on a bill with Little Richard. He played the organ on the Sonny Boy Williamson classic Help Me. Yeah, it’s the one Van Morrison eventually made famous for white audiences.

At least there were girls who wanted to break down his door. He married and divorced. A casual relationship with a fan in Baltimore produced a son. But all those girlfriends began to feel wrong. Singing Red Hot on a nightclub stage, admired by bosomy women, he began to feel the gates of hell opening below him and the rank breath of Satan on his neck.

His blues went deeper than women. He had male friends who acted like friends but who were really not. They took advantage of his kindness, played him for a sucker, tried to steal his job, took the food right out of his mouth.

Sometimes he thought about murder.

“Lord, have mercy.”

I’m at his house one day when the pumping bass from a passing car rumbles into his house. Usually he explodes in anger when he hears rap. But he ignores it because he’s talking about redemption. He remembers being saved in Chicago, 1980. “I started going to church again.” It was a Baptist church with an excellent choir whose specialty was old-time hymns that reminded him of his childhood. He began studying the Bible the way he had once studied the piano; sometimes he felt a little like the sinner Paul, who stopped killing Christians and began testifying.

He returned to Tarpon Springs, where his mama still lived, where he still owned property, including a building he eventually turned into a little church. He fell in love and married — a big church wedding and a fancy reception in Clearwater. Emerson, under the best circumstances, is seldom mellow. Within a year, they divorced.

Even in church, peace eluded him. The music was all wrong. Folk, rock, blues, jazz, hip-hop — in his opinion it sounded blasphemous. “You might as well curse in the face of Jesus,” he told anyone who would listen — even the pastors.

It was a hard sell. Many devout people, after all, enjoyed hearing contemporary music. For them, it helped connect their modern lives to the ancient Scripture.

“Little kids are shaking their behinds in the face of Jesus,” Emerson scolded the world.

About a decade ago, he sat before the keyboard in a cramped spare bedroom and tried a few chords. He liked the progression, continued. A voice radiating out of the sky entered him like a tongue of fire. In his mind, he had become a radio tuned to God.

The former ladies’ man began writing a new kind of music that was actually old. No more blues. No more R&B. Nothing that hinted at rock. He was writing “praise” music, the kind he had heard in black churches growing up, the music his mother had sung at the stove as she fried mullet for supper.

He wrote songs and threw songs out, kept tweaking and revising. In his little recording studio, he sat at the synthesizer and laid down a track of Hammond organ. He added horns and strings and drums. He wrote lyrics for a choir he imagined recording his songs one day, 10 perfect songs that glorified the Lord. People wondered, naturally, about his new work.

“I’m not ready for the world to hear this,” he told them with an edge in his voice. He sometimes added: “Forget what I wrote for Elvis. Forget what I recorded at Sun Records. My new music will be my masterpiece.”

One day I ask him to sit at the piano.

“Why?” he replies. It’s our usual chess match.

I tell him I want to see if his big hands can cover three octaves. He laughs because he knows I’m dying to hear him play. So he plays a quiet, hymnlike instrumental that turns into a second instrumental.

I know he doesn’t like to even think about the old secular music. But I ask him to play something anyway. He doesn’t shout at me. Instead he smiles and begins playing — and singing — a blues number he wrote decades ago. He stops and starts while trying to remember the lyrics. Finally gives up.

I tell him I’d love to hear some of his new hymns.

He’s not going to perform them on the piano, but he’ll let me hear the recordings. He hits a button on the CD player. The rhythms and the chord progressions coming out of the speaker sound like something from a time and place when the Holy Spirit filled black pews.

“Here’s the song where the choir will march into the church,” he explains, settling into a living room chair. It sounds lovely. He cues up another tune: “Here’s what you’ll hear after the choir sits down.”

Suddenly, he begins singing, first in a soft tenor, then breaking into a falsetto at the place the sopranos will come in.

Thank you Jesus for healing my heart.

He stops, eyes blazing.

“ARE YOU WRITING THAT DOWN? STOP IMMEDIATELY! THAT’S IT. I’M NOT GOING TO SING ANYMORE.”

As far as he knows, I might be like some of the other characters he met in his life — a ripoff artist. Maybe I’ll copyright the lyrics as my own. Maybe I was secretly recording the music.

Outside the house, after the latest emotional storm has passed, he pauses next to his Chevy Lumina, which looks almost new even though it’s nearly two decades old. He points out the dents and a cracked taillight — more evidence, he says, that drug dealers are intent on running him out of the neighborhood.

Two doors down is the Holy Praise Apostolic Church of Jesus, which he founded years ago. The white paint is cracked and weathered; boards are falling off the building like snow. A sign says services are held Sunday, Wednesday and Friday, but they haven’t been for more than a year.

Inside, things are in better shape. Pews have room for 24 souls and their Bibles. Closing his eyes, he can imagine them filled by women wearing their Sunday finery and smelling of talcum, and young boys wearing coats and ties and sitting without squirming next to their mamas. Perhaps someone in the flock will invite the preacher home after the service for chicken and dumplings, sweet potatoes, collards and two kinds of pie.

His dream: Go to Chicago to a church he knows that has a 60-voice choir. The choir will record his masterpiece, and he will sell the resulting CDs for $6 a pop. He’ll make enough money — he needs $50,000, by his reckoning — to renovate his church and chase the devil out of his sorry neighborhood once and for all.

At least that’s been the plan for two years.

In the meantime, he attends at least two religious services a week at the Sanctuary, a storefront church in his home county where attendees are young and old, black, white and Hispanic. Some folks speak in tongues. Others walk around the room with arms raised to the heavens. One just got out of prison. A few are porn addicts and fornicators.

Like the Rev. Emerson, they pray for salvation.

Emerson is fond of the white pastor, Ken Cook, a fire-and-brimstone Texan. Cook, 42, likes Emerson back but advises him to tone down his angry rhetoric “because it scares people away.”

“No matter what we think, WE CAN’T TAME THE FLESH,” the pastor declares, pacing the room. Some in his flock jump to their feet. Some weep. Others just respond with an “Amen.” Emerson stays seated but raises his arms and whispers “Yes!”

The pastor’s wife, Julie, plays the piano and sings in a gentle, lilting soprano. The songs about Jesus might be described as slightly New Age and slightly gospel. Church members sing along, clap and tap their feet. They love this music.

Not Emerson.

When the music begins, he sometimes removes his hat, places it firmly on his seat and hobbles into the lobby, where he doesn’t have to put up with it.

He doesn’t apologize to his pastor after the service, but he embraces him. They shake hands, exchange small talk. Emerson puts on his hat and heads for the door.

“My girl is red hot,” the preacher sings impishly, “your girl is diddly squat.”

Maybe Emerson has heard the preacher’s devilish little jest. Maybe he hasn’t. He limps out without turning around.

Contact Jeff Klinkenberg at (727) 893-8727 or klink@tampabay.com.

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** The second coming of Billy the Kid (w/ video)
————————————————————

TARPON SPRINGS —

Guy on the phone says to “Google ‘Billy the Kid’ Emerson. He’s old now, but he was really famous once. He lives here.” // So I Google. An African-American piano player born in Tarpon Springs, Emerson ended up at Sun Records in Memphis. Elvis recorded one of his songs. // Talk to Billy the Kid, implores the anonymous caller. What a story he must have to tell. // In the summer of 2012 I call him. Billy the Kid Emerson says: “I NEVER EVER TALK ABOUT THOSE DAYS” — those days when he played the devil’s music and knew Elvis. Now he listens only to spirituals. In fact, he’s been writing a suite of religious hymns he calls his masterpiece. // I suggest we do an interview at his house. // “I’m not looking for

glory,” he says. “But thank you for your interest.”

Click.

I’m stubborn. Why is this man so determined to avoid his fascinating past? Over the next year, he never answers my calls. He never answers my letters asking him to reconsider

On a hot afternoon in 2013, I knock on his door.

“Who are you?” he asks, peering through the crack. Looks me over. “I guess you can come on in.”

I sit on the couch in a cluttered room. The old man says again that he has no need for publicity. Really, it’s nobody’s business what he’s up to now. As for his past, “I don’t live in the world now. I live in God’s world.”

Unwittingly channeling Satan, I ask what happened when he lived in the secular world.

“I know what you WANT!” he explodes. “I could make $25,000 telling the world what I know about ELVIS. I’m not going to say a word about Elvis.”

Billy the Kid Emerson, I am learning quickly, can be as prickly as a crown of thorns.

“Do you go to church?” he asks when I phone him a few days later.

Sometimes.

“WHY SHOULD I TALK TO YOU? YOU’RE NOT EVEN HOLY!”

Perhaps we could go to lunch and talk about this.

“I CAN BUY MY OWN LUNCH!”

Well, it would be interesting to know more about …

“STOP STALKING ME!”

Jeremiah, the ornery Old Testament prophet, must have been a tough customer, too.

I write more letters that never draw a reply. I make more phone calls that never get answered. I’m licked. I’ll never write this one.

On a spring afternoon the phone rings. “This is the Rev. William Emerson,” says the voice on the line. “Are you the one who wanted to talk to me?”

Yes, let’s talk, Rev. Emerson.

“YOU’RE LATE BY AN HOUR,” he scolds when I show up. Actually, I’m on time. But no matter. One of the most complicated, mysterious men I may ever know has agreed to talk. I don’t argue.

I just listen to him tell the story of the second coming of Billy the Kid.

The Rev. William Emerson’s Tarpon Springs house is modest, small and dark because he shuts the shades against the drug dealers he says spy on him. About 20 neatly pressed suits hang in a closet above an intimidating collection of shoes, including one pair that might be made out of alligator.

On a table rest the booklets he churns out about the evils of secular music in church. I ask if he prefers gospel. “THERE IS NO SUCH THING AS GOSPEL MUSIC!” Lowering his voice, he quotes from the New Testament. “And he said unto them, ‘Go ye into all the world, and preach the gospel to every creature.’ That’s from Mark 16. Notice Jesus didn’t say SING THE GOSPEL. The Gospel is meant to be preached, not sung.”

A living-room loudspeaker props up the sagging keyboard of one piano. The other piano, out of tune, is still playable. A poster of Martin Luther King watches from the wall. Emerson’s hair is gone. So are his false teeth. Says somebody stole them.

Billy Emerson was born at midnight on Dec. 20, 1925, in the black section of the same Tarpon Springs neighborhood where he lives now.

His father, Antonio Emerson, was a sporadic presence. His mother, Esther Hannah, was everything. She was beautiful, kind — and what a glorious contralto singing voice. While she sewed, while she cooked, when she tucked her little boy into bed, she filled the house with song. He can still remember Love Lifted Me.

I was sinking deep in sin, far from the peaceful shore

Very deeply stained within, sinking to rise no more

But the Master of the sea heard my despairing cry,

Now safe am I

He sang at the Baptist church when he was 2 years old. Eventually Billy learned to play piano on his neighbor’s. He had a good ear and could remember lyrics.

He was a good athlete at all-black Union Academy in Tarpon Springs. He could hit a baseball, shoot a free throw, shed a tackle. He could run a sponge boat, but he was an even better musician. He could play the boogie-woogie, the blues, jazz.

He enlisted in the Navy in World War II and saw the world. On his return, he was hot to play the piano for a living. In St. Petersburg he performed at the famous Manhattan Casino, where every black superstar from James Brown to Fats Domino to Ray Charles came to play. When he sang in that powerful R&B voice, folks could hear him miles away. He and his band dressed like cowboys. That’s why he was Billy the Kid.

He ended up in New Orleans, where he met this younger guy who somehow seemed older, a good dresser, worldly, menacing. Ike Turner invited him to play piano in his band, the Kings of Rhythm. Ike was a big talker, a control freak, scary and as comfortable with a gun as he was with a guitar pick. To be fair, everybody in the band was armed. When cops raided a joint, Emerson remembers, “you could hear our knives clattering to the floor.”

He traveled with Ike — and this was years before Ike hooked up with Tina — and ended up at a little recording studio in Memphis run by a hillbilly named Sam Phillips who happened to love R&B. Little Milton and Junior Parker were on Phillips’ roster. So was the legendary Howlin’ Wolf.

Nobody Emerson knew well made much money at Sun — Phillips was a notoriously careless businessman — but Billy the Kid was young and excited, and felt like he had struck gold.

Visiting Emerson regularly, I never know which one I’m going to be dealing with. The friendly Emerson? The angry Emerson? The paranoid Emerson? Will he ever talk about Elvis?

Over a Greek salad at Costas in Tarpon, he casually mentions the young white boy, a truck driver or something, who walked through the door of Sun Records one day. “Good-looking, shy. He knew a lot of country tunes, but he really liked the blues.”

In 1953 Elvis booked the studio long enough to record the pretty balladThat’s When Your Heartaches Begin. Nothing happened with that tune. But Elvis came back on July 5, 1954, with a couple of side-burned guitar players and a drummer. Late at night, Elvis tried an old blues number, Arthur “Big Boy” Crudup’s That’s All Right Mama. The white boy almost burned down the house. Some people believe rock ‘n’ roll was born at that moment.

Competition was fierce at Sun. It wasn’t good enough to be good. Luck was just as important. Billy the Kid had recorded a new song that everybody thought had the potential to be a hit even on the white charts. But he had forgotten to stand in line when the luck was handed out.

You know what it takes, you got it, baby.

Don’t leave me here with these heartaches,

Only you and heaven knows about my troubles, troubles, troubles

When it rains, it really pours

“Sam Phillips thought it might be better for Elvis.”

Elvis recorded When It Rains, It Really Pours on Feb. 24, 1957. It’s on an album called Elvis for Everyone! Elvis sold millions of records, which meant Billy the Kid got royalties. But the song added to Elvis’ fame.

“Sam always said if he could find a white singer who sounded black, he’d make a million dollars. In fact, I TOLD HIM THAT, though he always took credit for it. Elvis was a nice boy, but I always wondered what would have happened if Sam had released my record as a single.”

But Billy the Kid, despite his understandable envy, liked Elvis. “He was a sweet boy. A bunch of bluesmen took him to a black nightclub, the Flamingo, in Memphis one night so he could learn how to dance. I think he was scared.”

Emerson didn’t quit. He sat at the piano and began working on a new song.

My girl is red hot

Your girl is doodly squat.

It was funny, a novelty song, but it swung. This time Sam Phillips gave Red Hot to an up-and-coming white singer named Billy Lee Riley. It was a hit, and once again Billy the Kid heard himself asking: “What about me?”

In his opinion, Sam promoted his white singers — Elvis, Johnny Cash, Roy Orbison and Jerry Lee Lewis — at the expense of black musicians. “Even now, I don’t like to talk about Sam Phillips,” Emerson says. “I don’t want to say something ugly. I don’t live in that world anymore.”

Emerson continued making a living, working at Chicago’s Chess Records, home of Muddy Waters, Willie Dixon, Bo Diddley and Chuck Berry. If someone was willing to pay, he played. He was on a bill with Little Richard. He played the organ on the Sonny Boy Williamson classic Help Me. Yeah, it’s the one Van Morrison eventually made famous for white audiences.

At least there were girls who wanted to break down his door. He married and divorced. A casual relationship with a fan in Baltimore produced a son. But all those girlfriends began to feel wrong. Singing Red Hot on a nightclub stage, admired by bosomy women, he began to feel the gates of hell opening below him and the rank breath of Satan on his neck.

His blues went deeper than women. He had male friends who acted like friends but who were really not. They took advantage of his kindness, played him for a sucker, tried to steal his job, took the food right out of his mouth.

Sometimes he thought about murder.

“Lord, have mercy.”

I’m at his house one day when the pumping bass from a passing car rumbles into his house. Usually he explodes in anger when he hears rap. But he ignores it because he’s talking about redemption. He remembers being saved in Chicago, 1980. “I started going to church again.” It was a Baptist church with an excellent choir whose specialty was old-time hymns that reminded him of his childhood. He began studying the Bible the way he had once studied the piano; sometimes he felt a little like the sinner Paul, who stopped killing Christians and began testifying.

He returned to Tarpon Springs, where his mama still lived, where he still owned property, including a building he eventually turned into a little church. He fell in love and married — a big church wedding and a fancy reception in Clearwater. Emerson, under the best circumstances, is seldom mellow. Within a year, they divorced.

Even in church, peace eluded him. The music was all wrong. Folk, rock, blues, jazz, hip-hop — in his opinion it sounded blasphemous. “You might as well curse in the face of Jesus,” he told anyone who would listen — even the pastors.

It was a hard sell. Many devout people, after all, enjoyed hearing contemporary music. For them, it helped connect their modern lives to the ancient Scripture.

“Little kids are shaking their behinds in the face of Jesus,” Emerson scolded the world.

About a decade ago, he sat before the keyboard in a cramped spare bedroom and tried a few chords. He liked the progression, continued. A voice radiating out of the sky entered him like a tongue of fire. In his mind, he had become a radio tuned to God.

The former ladies’ man began writing a new kind of music that was actually old. No more blues. No more R&B. Nothing that hinted at rock. He was writing “praise” music, the kind he had heard in black churches growing up, the music his mother had sung at the stove as she fried mullet for supper.

He wrote songs and threw songs out, kept tweaking and revising. In his little recording studio, he sat at the synthesizer and laid down a track of Hammond organ. He added horns and strings and drums. He wrote lyrics for a choir he imagined recording his songs one day, 10 perfect songs that glorified the Lord. People wondered, naturally, about his new work.

“I’m not ready for the world to hear this,” he told them with an edge in his voice. He sometimes added: “Forget what I wrote for Elvis. Forget what I recorded at Sun Records. My new music will be my masterpiece.”

One day I ask him to sit at the piano.

“Why?” he replies. It’s our usual chess match.

I tell him I want to see if his big hands can cover three octaves. He laughs because he knows I’m dying to hear him play. So he plays a quiet, hymnlike instrumental that turns into a second instrumental.

I know he doesn’t like to even think about the old secular music. But I ask him to play something anyway. He doesn’t shout at me. Instead he smiles and begins playing — and singing — a blues number he wrote decades ago. He stops and starts while trying to remember the lyrics. Finally gives up.

I tell him I’d love to hear some of his new hymns.

He’s not going to perform them on the piano, but he’ll let me hear the recordings. He hits a button on the CD player. The rhythms and the chord progressions coming out of the speaker sound like something from a time and place when the Holy Spirit filled black pews.

“Here’s the song where the choir will march into the church,” he explains, settling into a living room chair. It sounds lovely. He cues up another tune: “Here’s what you’ll hear after the choir sits down.”

Suddenly, he begins singing, first in a soft tenor, then breaking into a falsetto at the place the sopranos will come in.

Thank you Jesus for healing my heart.

He stops, eyes blazing.

“ARE YOU WRITING THAT DOWN? STOP IMMEDIATELY! THAT’S IT. I’M NOT GOING TO SING ANYMORE.”

As far as he knows, I might be like some of the other characters he met in his life — a ripoff artist. Maybe I’ll copyright the lyrics as my own. Maybe I was secretly recording the music.

Outside the house, after the latest emotional storm has passed, he pauses next to his Chevy Lumina, which looks almost new even though it’s nearly two decades old. He points out the dents and a cracked taillight — more evidence, he says, that drug dealers are intent on running him out of the neighborhood.

Two doors down is the Holy Praise Apostolic Church of Jesus, which he founded years ago. The white paint is cracked and weathered; boards are falling off the building like snow. A sign says services are held Sunday, Wednesday and Friday, but they haven’t been for more than a year.

Inside, things are in better shape. Pews have room for 24 souls and their Bibles. Closing his eyes, he can imagine them filled by women wearing their Sunday finery and smelling of talcum, and young boys wearing coats and ties and sitting without squirming next to their mamas. Perhaps someone in the flock will invite the preacher home after the service for chicken and dumplings, sweet potatoes, collards and two kinds of pie.

His dream: Go to Chicago to a church he knows that has a 60-voice choir. The choir will record his masterpiece, and he will sell the resulting CDs for $6 a pop. He’ll make enough money — he needs $50,000, by his reckoning — to renovate his church and chase the devil out of his sorry neighborhood once and for all.

At least that’s been the plan for two years.

In the meantime, he attends at least two religious services a week at the Sanctuary, a storefront church in his home county where attendees are young and old, black, white and Hispanic. Some folks speak in tongues. Others walk around the room with arms raised to the heavens. One just got out of prison. A few are porn addicts and fornicators.

Like the Rev. Emerson, they pray for salvation.

Emerson is fond of the white pastor, Ken Cook, a fire-and-brimstone Texan. Cook, 42, likes Emerson back but advises him to tone down his angry rhetoric “because it scares people away.”

“No matter what we think, WE CAN’T TAME THE FLESH,” the pastor declares, pacing the room. Some in his flock jump to their feet. Some weep. Others just respond with an “Amen.” Emerson stays seated but raises his arms and whispers “Yes!”

The pastor’s wife, Julie, plays the piano and sings in a gentle, lilting soprano. The songs about Jesus might be described as slightly New Age and slightly gospel. Church members sing along, clap and tap their feet. They love this music.

Not Emerson.

When the music begins, he sometimes removes his hat, places it firmly on his seat and hobbles into the lobby, where he doesn’t have to put up with it.

He doesn’t apologize to his pastor after the service, but he embraces him. They shake hands, exchange small talk. Emerson puts on his hat and heads for the door.

“My girl is red hot,” the preacher sings impishly, “your girl is diddly squat.”

Maybe Emerson has heard the preacher’s devilish little jest. Maybe he hasn’t. He limps out without turning around.

Contact Jeff Klinkenberg at (727) 893-8727 or klink@tampabay.com.

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The second coming of Billy the Kid (w/ video) | Tampa Bay Times

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** The second coming of Billy the Kid (w/ video)
————————————————————

TARPON SPRINGS —

Guy on the phone says to “Google ‘Billy the Kid’ Emerson. He’s old now, but he was really famous once. He lives here.” // So I Google. An African-American piano player born in Tarpon Springs, Emerson ended up at Sun Records in Memphis. Elvis recorded one of his songs. // Talk to Billy the Kid, implores the anonymous caller. What a story he must have to tell. // In the summer of 2012 I call him. Billy the Kid Emerson says: “I NEVER EVER TALK ABOUT THOSE DAYS” — those days when he played the devil’s music and knew Elvis. Now he listens only to spirituals. In fact, he’s been writing a suite of religious hymns he calls his masterpiece. // I suggest we do an interview at his house. // “I’m not looking for

glory,” he says. “But thank you for your interest.”

Click.

I’m stubborn. Why is this man so determined to avoid his fascinating past? Over the next year, he never answers my calls. He never answers my letters asking him to reconsider

On a hot afternoon in 2013, I knock on his door.

“Who are you?” he asks, peering through the crack. Looks me over. “I guess you can come on in.”

I sit on the couch in a cluttered room. The old man says again that he has no need for publicity. Really, it’s nobody’s business what he’s up to now. As for his past, “I don’t live in the world now. I live in God’s world.”

Unwittingly channeling Satan, I ask what happened when he lived in the secular world.

“I know what you WANT!” he explodes. “I could make $25,000 telling the world what I know about ELVIS. I’m not going to say a word about Elvis.”

Billy the Kid Emerson, I am learning quickly, can be as prickly as a crown of thorns.

“Do you go to church?” he asks when I phone him a few days later.

Sometimes.

“WHY SHOULD I TALK TO YOU? YOU’RE NOT EVEN HOLY!”

Perhaps we could go to lunch and talk about this.

“I CAN BUY MY OWN LUNCH!”

Well, it would be interesting to know more about …

“STOP STALKING ME!”

Jeremiah, the ornery Old Testament prophet, must have been a tough customer, too.

I write more letters that never draw a reply. I make more phone calls that never get answered. I’m licked. I’ll never write this one.

On a spring afternoon the phone rings. “This is the Rev. William Emerson,” says the voice on the line. “Are you the one who wanted to talk to me?”

Yes, let’s talk, Rev. Emerson.

“YOU’RE LATE BY AN HOUR,” he scolds when I show up. Actually, I’m on time. But no matter. One of the most complicated, mysterious men I may ever know has agreed to talk. I don’t argue.

I just listen to him tell the story of the second coming of Billy the Kid.

The Rev. William Emerson’s Tarpon Springs house is modest, small and dark because he shuts the shades against the drug dealers he says spy on him. About 20 neatly pressed suits hang in a closet above an intimidating collection of shoes, including one pair that might be made out of alligator.

On a table rest the booklets he churns out about the evils of secular music in church. I ask if he prefers gospel. “THERE IS NO SUCH THING AS GOSPEL MUSIC!” Lowering his voice, he quotes from the New Testament. “And he said unto them, ‘Go ye into all the world, and preach the gospel to every creature.’ That’s from Mark 16. Notice Jesus didn’t say SING THE GOSPEL. The Gospel is meant to be preached, not sung.”

A living-room loudspeaker props up the sagging keyboard of one piano. The other piano, out of tune, is still playable. A poster of Martin Luther King watches from the wall. Emerson’s hair is gone. So are his false teeth. Says somebody stole them.

Billy Emerson was born at midnight on Dec. 20, 1925, in the black section of the same Tarpon Springs neighborhood where he lives now.

His father, Antonio Emerson, was a sporadic presence. His mother, Esther Hannah, was everything. She was beautiful, kind — and what a glorious contralto singing voice. While she sewed, while she cooked, when she tucked her little boy into bed, she filled the house with song. He can still remember Love Lifted Me.

I was sinking deep in sin, far from the peaceful shore

Very deeply stained within, sinking to rise no more

But the Master of the sea heard my despairing cry,

Now safe am I

He sang at the Baptist church when he was 2 years old. Eventually Billy learned to play piano on his neighbor’s. He had a good ear and could remember lyrics.

He was a good athlete at all-black Union Academy in Tarpon Springs. He could hit a baseball, shoot a free throw, shed a tackle. He could run a sponge boat, but he was an even better musician. He could play the boogie-woogie, the blues, jazz.

He enlisted in the Navy in World War II and saw the world. On his return, he was hot to play the piano for a living. In St. Petersburg he performed at the famous Manhattan Casino, where every black superstar from James Brown to Fats Domino to Ray Charles came to play. When he sang in that powerful R&B voice, folks could hear him miles away. He and his band dressed like cowboys. That’s why he was Billy the Kid.

He ended up in New Orleans, where he met this younger guy who somehow seemed older, a good dresser, worldly, menacing. Ike Turner invited him to play piano in his band, the Kings of Rhythm. Ike was a big talker, a control freak, scary and as comfortable with a gun as he was with a guitar pick. To be fair, everybody in the band was armed. When cops raided a joint, Emerson remembers, “you could hear our knives clattering to the floor.”

He traveled with Ike — and this was years before Ike hooked up with Tina — and ended up at a little recording studio in Memphis run by a hillbilly named Sam Phillips who happened to love R&B. Little Milton and Junior Parker were on Phillips’ roster. So was the legendary Howlin’ Wolf.

Nobody Emerson knew well made much money at Sun — Phillips was a notoriously careless businessman — but Billy the Kid was young and excited, and felt like he had struck gold.

Visiting Emerson regularly, I never know which one I’m going to be dealing with. The friendly Emerson? The angry Emerson? The paranoid Emerson? Will he ever talk about Elvis?

Over a Greek salad at Costas in Tarpon, he casually mentions the young white boy, a truck driver or something, who walked through the door of Sun Records one day. “Good-looking, shy. He knew a lot of country tunes, but he really liked the blues.”

In 1953 Elvis booked the studio long enough to record the pretty balladThat’s When Your Heartaches Begin. Nothing happened with that tune. But Elvis came back on July 5, 1954, with a couple of side-burned guitar players and a drummer. Late at night, Elvis tried an old blues number, Arthur “Big Boy” Crudup’s That’s All Right Mama. The white boy almost burned down the house. Some people believe rock ‘n’ roll was born at that moment.

Competition was fierce at Sun. It wasn’t good enough to be good. Luck was just as important. Billy the Kid had recorded a new song that everybody thought had the potential to be a hit even on the white charts. But he had forgotten to stand in line when the luck was handed out.

You know what it takes, you got it, baby.

Don’t leave me here with these heartaches,

Only you and heaven knows about my troubles, troubles, troubles

When it rains, it really pours

“Sam Phillips thought it might be better for Elvis.”

Elvis recorded When It Rains, It Really Pours on Feb. 24, 1957. It’s on an album called Elvis for Everyone! Elvis sold millions of records, which meant Billy the Kid got royalties. But the song added to Elvis’ fame.

“Sam always said if he could find a white singer who sounded black, he’d make a million dollars. In fact, I TOLD HIM THAT, though he always took credit for it. Elvis was a nice boy, but I always wondered what would have happened if Sam had released my record as a single.”

But Billy the Kid, despite his understandable envy, liked Elvis. “He was a sweet boy. A bunch of bluesmen took him to a black nightclub, the Flamingo, in Memphis one night so he could learn how to dance. I think he was scared.”

Emerson didn’t quit. He sat at the piano and began working on a new song.

My girl is red hot

Your girl is doodly squat.

It was funny, a novelty song, but it swung. This time Sam Phillips gave Red Hot to an up-and-coming white singer named Billy Lee Riley. It was a hit, and once again Billy the Kid heard himself asking: “What about me?”

In his opinion, Sam promoted his white singers — Elvis, Johnny Cash, Roy Orbison and Jerry Lee Lewis — at the expense of black musicians. “Even now, I don’t like to talk about Sam Phillips,” Emerson says. “I don’t want to say something ugly. I don’t live in that world anymore.”

Emerson continued making a living, working at Chicago’s Chess Records, home of Muddy Waters, Willie Dixon, Bo Diddley and Chuck Berry. If someone was willing to pay, he played. He was on a bill with Little Richard. He played the organ on the Sonny Boy Williamson classic Help Me. Yeah, it’s the one Van Morrison eventually made famous for white audiences.

At least there were girls who wanted to break down his door. He married and divorced. A casual relationship with a fan in Baltimore produced a son. But all those girlfriends began to feel wrong. Singing Red Hot on a nightclub stage, admired by bosomy women, he began to feel the gates of hell opening below him and the rank breath of Satan on his neck.

His blues went deeper than women. He had male friends who acted like friends but who were really not. They took advantage of his kindness, played him for a sucker, tried to steal his job, took the food right out of his mouth.

Sometimes he thought about murder.

“Lord, have mercy.”

I’m at his house one day when the pumping bass from a passing car rumbles into his house. Usually he explodes in anger when he hears rap. But he ignores it because he’s talking about redemption. He remembers being saved in Chicago, 1980. “I started going to church again.” It was a Baptist church with an excellent choir whose specialty was old-time hymns that reminded him of his childhood. He began studying the Bible the way he had once studied the piano; sometimes he felt a little like the sinner Paul, who stopped killing Christians and began testifying.

He returned to Tarpon Springs, where his mama still lived, where he still owned property, including a building he eventually turned into a little church. He fell in love and married — a big church wedding and a fancy reception in Clearwater. Emerson, under the best circumstances, is seldom mellow. Within a year, they divorced.

Even in church, peace eluded him. The music was all wrong. Folk, rock, blues, jazz, hip-hop — in his opinion it sounded blasphemous. “You might as well curse in the face of Jesus,” he told anyone who would listen — even the pastors.

It was a hard sell. Many devout people, after all, enjoyed hearing contemporary music. For them, it helped connect their modern lives to the ancient Scripture.

“Little kids are shaking their behinds in the face of Jesus,” Emerson scolded the world.

About a decade ago, he sat before the keyboard in a cramped spare bedroom and tried a few chords. He liked the progression, continued. A voice radiating out of the sky entered him like a tongue of fire. In his mind, he had become a radio tuned to God.

The former ladies’ man began writing a new kind of music that was actually old. No more blues. No more R&B. Nothing that hinted at rock. He was writing “praise” music, the kind he had heard in black churches growing up, the music his mother had sung at the stove as she fried mullet for supper.

He wrote songs and threw songs out, kept tweaking and revising. In his little recording studio, he sat at the synthesizer and laid down a track of Hammond organ. He added horns and strings and drums. He wrote lyrics for a choir he imagined recording his songs one day, 10 perfect songs that glorified the Lord. People wondered, naturally, about his new work.

“I’m not ready for the world to hear this,” he told them with an edge in his voice. He sometimes added: “Forget what I wrote for Elvis. Forget what I recorded at Sun Records. My new music will be my masterpiece.”

One day I ask him to sit at the piano.

“Why?” he replies. It’s our usual chess match.

I tell him I want to see if his big hands can cover three octaves. He laughs because he knows I’m dying to hear him play. So he plays a quiet, hymnlike instrumental that turns into a second instrumental.

I know he doesn’t like to even think about the old secular music. But I ask him to play something anyway. He doesn’t shout at me. Instead he smiles and begins playing — and singing — a blues number he wrote decades ago. He stops and starts while trying to remember the lyrics. Finally gives up.

I tell him I’d love to hear some of his new hymns.

He’s not going to perform them on the piano, but he’ll let me hear the recordings. He hits a button on the CD player. The rhythms and the chord progressions coming out of the speaker sound like something from a time and place when the Holy Spirit filled black pews.

“Here’s the song where the choir will march into the church,” he explains, settling into a living room chair. It sounds lovely. He cues up another tune: “Here’s what you’ll hear after the choir sits down.”

Suddenly, he begins singing, first in a soft tenor, then breaking into a falsetto at the place the sopranos will come in.

Thank you Jesus for healing my heart.

He stops, eyes blazing.

“ARE YOU WRITING THAT DOWN? STOP IMMEDIATELY! THAT’S IT. I’M NOT GOING TO SING ANYMORE.”

As far as he knows, I might be like some of the other characters he met in his life — a ripoff artist. Maybe I’ll copyright the lyrics as my own. Maybe I was secretly recording the music.

Outside the house, after the latest emotional storm has passed, he pauses next to his Chevy Lumina, which looks almost new even though it’s nearly two decades old. He points out the dents and a cracked taillight — more evidence, he says, that drug dealers are intent on running him out of the neighborhood.

Two doors down is the Holy Praise Apostolic Church of Jesus, which he founded years ago. The white paint is cracked and weathered; boards are falling off the building like snow. A sign says services are held Sunday, Wednesday and Friday, but they haven’t been for more than a year.

Inside, things are in better shape. Pews have room for 24 souls and their Bibles. Closing his eyes, he can imagine them filled by women wearing their Sunday finery and smelling of talcum, and young boys wearing coats and ties and sitting without squirming next to their mamas. Perhaps someone in the flock will invite the preacher home after the service for chicken and dumplings, sweet potatoes, collards and two kinds of pie.

His dream: Go to Chicago to a church he knows that has a 60-voice choir. The choir will record his masterpiece, and he will sell the resulting CDs for $6 a pop. He’ll make enough money — he needs $50,000, by his reckoning — to renovate his church and chase the devil out of his sorry neighborhood once and for all.

At least that’s been the plan for two years.

In the meantime, he attends at least two religious services a week at the Sanctuary, a storefront church in his home county where attendees are young and old, black, white and Hispanic. Some folks speak in tongues. Others walk around the room with arms raised to the heavens. One just got out of prison. A few are porn addicts and fornicators.

Like the Rev. Emerson, they pray for salvation.

Emerson is fond of the white pastor, Ken Cook, a fire-and-brimstone Texan. Cook, 42, likes Emerson back but advises him to tone down his angry rhetoric “because it scares people away.”

“No matter what we think, WE CAN’T TAME THE FLESH,” the pastor declares, pacing the room. Some in his flock jump to their feet. Some weep. Others just respond with an “Amen.” Emerson stays seated but raises his arms and whispers “Yes!”

The pastor’s wife, Julie, plays the piano and sings in a gentle, lilting soprano. The songs about Jesus might be described as slightly New Age and slightly gospel. Church members sing along, clap and tap their feet. They love this music.

Not Emerson.

When the music begins, he sometimes removes his hat, places it firmly on his seat and hobbles into the lobby, where he doesn’t have to put up with it.

He doesn’t apologize to his pastor after the service, but he embraces him. They shake hands, exchange small talk. Emerson puts on his hat and heads for the door.

“My girl is red hot,” the preacher sings impishly, “your girl is diddly squat.”

Maybe Emerson has heard the preacher’s devilish little jest. Maybe he hasn’t. He limps out without turning around.

Contact Jeff Klinkenberg at (727) 893-8727 or klink@tampabay.com.

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“THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY”

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** “THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY” (http://jazzlives.wordpress.com/2014/08/20/the-music-never-dies-a-jazz-documentary/)
————————————————————
by jazzlives (http://jazzlives.wordpress.com/author/jazzlives/)

Readers of JAZZ LIVES know my interest in musicians who have not received their proper share of attention: recently I’ve been celebrating pianist Clarence Profit and trumpeter Spike Mackintosh.

But I know that there are many musicians, still on the scene, who have contributed a great deal to the music without getting their due. Worse, some of them — hardly known to the general public — have been taken advantage of by fellow musicians or people in “the music business.”

This situation may always be with us, beyond fixing until fairness and generosity are automatic responses, but a pair of filmmakers have documented some of these worthy musicians who have been treated unkindly. Their documentary film is THE MUSIC NEVER DIES. I had never heard of Jimmy Norman, composer of the song Time Is On My Side, but I had enjoyed TWENTY FEET FROM STARDOM — and I knew that some of the most influential creative people had never been known, paid appropriately, or taken seriously.

https://jazzlives.files.wordpress.com/2014/08/the-music-never-dies.jpg

I first heard of the film when a friend introduced me to Jason DeBose, a Californian now working in Finland, who has been working with the film’s director, the veteran artist and filmmaker Edward Hillel. I learned that the film “will tell the story of several legends of the art form as we catch up with them in their later years, where we find that even some in their seventies and eighties are still actively playing gigs all over the most jazz-loving cities of the United States.” Here (http://musicneverdiesmovie.com/crew/edward-hillel-director/) is a brief introduction to Hillel.​ And here (https://www.indiegogo.com/projects/the-music-never-dies-a-jazz-documentary/x/5795189) you can learn more about the film.

Jason and Edward have plans for the artists they are documenting and celebrating that go beyond simply completing and screening the film. Jason told me, “A large part of the funds we intend to raise will go toward a tour that we are now organizing for a group of the musicians that are the subject of our film,” a tour in countries deeply appreciative of American music but not necessarily aware of its true creators. Here (https://www.youtube.com/watch?v=QHUGoPcI6K4) is the film’s trailer. It certainly seems a heartfelt project, worth more than a quick look. And here is the film’s website (http://musicneverdiesmovie.com/) .

May your happiness increase!

jazzlives (http://jazzlives.wordpress.com/author/jazzlives/) | August 20, 2014 at 6:11 PM | Tags: Edward Hillel (http://jazzlives.wordpress.com/?tag=edward-hillel) , injustice (http://jazzlives.wordpress.com/?tag=injustice) , Jason DeBose (http://jazzlives.wordpress.com/?tag=jason-debose) , Jazz Lives (http://jazzlives.wordpress.com/?tag=jazz-lives) , Jimmy Norman (http://jazzlives.wordpress.com/?tag=jimmy-norman) , Michael Steinman (http://jazzlives.wordpress.com/?tag=michael-steinman) , Rolling Stones (http://jazzlives.wordpress.com/?tag=rolling-stones) , THE MUSIC NEVER DIES (http://jazzlives.wordpress.com/?tag=the-music-never-dies) , TWENTY FEET FROM STARDOM (http://jazzlives.wordpress.com/?tag=twenty-feet-from-stardom) | Categories: Awful Sad (http://jazzlives.wordpress.com/?cat=13687483) , It’s All True (http://jazzlives.wordpress.com/?cat=5778535) , Jazz Worth Reading (http://jazzlives.wordpress.com/?cat=15507377) , Pay Attention!
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Copyright (C) 2014 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

“THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY”

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

Respond to this post by replying above this line

** New post on JAZZ LIVES
————————————————————
http://jazzlives.wordpress.com/author/jazzlives/

** “THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY” (http://jazzlives.wordpress.com/2014/08/20/the-music-never-dies-a-jazz-documentary/)
————————————————————
by jazzlives (http://jazzlives.wordpress.com/author/jazzlives/)

Readers of JAZZ LIVES know my interest in musicians who have not received their proper share of attention: recently I’ve been celebrating pianist Clarence Profit and trumpeter Spike Mackintosh.

But I know that there are many musicians, still on the scene, who have contributed a great deal to the music without getting their due. Worse, some of them — hardly known to the general public — have been taken advantage of by fellow musicians or people in “the music business.”

This situation may always be with us, beyond fixing until fairness and generosity are automatic responses, but a pair of filmmakers have documented some of these worthy musicians who have been treated unkindly. Their documentary film is THE MUSIC NEVER DIES. I had never heard of Jimmy Norman, composer of the song Time Is On My Side, but I had enjoyed TWENTY FEET FROM STARDOM — and I knew that some of the most influential creative people had never been known, paid appropriately, or taken seriously.

https://jazzlives.files.wordpress.com/2014/08/the-music-never-dies.jpg

I first heard of the film when a friend introduced me to Jason DeBose, a Californian now working in Finland, who has been working with the film’s director, the veteran artist and filmmaker Edward Hillel. I learned that the film “will tell the story of several legends of the art form as we catch up with them in their later years, where we find that even some in their seventies and eighties are still actively playing gigs all over the most jazz-loving cities of the United States.” Here (http://musicneverdiesmovie.com/crew/edward-hillel-director/) is a brief introduction to Hillel.​ And here (https://www.indiegogo.com/projects/the-music-never-dies-a-jazz-documentary/x/5795189) you can learn more about the film.

Jason and Edward have plans for the artists they are documenting and celebrating that go beyond simply completing and screening the film. Jason told me, “A large part of the funds we intend to raise will go toward a tour that we are now organizing for a group of the musicians that are the subject of our film,” a tour in countries deeply appreciative of American music but not necessarily aware of its true creators. Here (https://www.youtube.com/watch?v=QHUGoPcI6K4) is the film’s trailer. It certainly seems a heartfelt project, worth more than a quick look. And here is the film’s website (http://musicneverdiesmovie.com/) .

May your happiness increase!

jazzlives (http://jazzlives.wordpress.com/author/jazzlives/) | August 20, 2014 at 6:11 PM | Tags: Edward Hillel (http://jazzlives.wordpress.com/?tag=edward-hillel) , injustice (http://jazzlives.wordpress.com/?tag=injustice) , Jason DeBose (http://jazzlives.wordpress.com/?tag=jason-debose) , Jazz Lives (http://jazzlives.wordpress.com/?tag=jazz-lives) , Jimmy Norman (http://jazzlives.wordpress.com/?tag=jimmy-norman) , Michael Steinman (http://jazzlives.wordpress.com/?tag=michael-steinman) , Rolling Stones (http://jazzlives.wordpress.com/?tag=rolling-stones) , THE MUSIC NEVER DIES (http://jazzlives.wordpress.com/?tag=the-music-never-dies) , TWENTY FEET FROM STARDOM (http://jazzlives.wordpress.com/?tag=twenty-feet-from-stardom) | Categories: Awful Sad (http://jazzlives.wordpress.com/?cat=13687483) , It’s All True (http://jazzlives.wordpress.com/?cat=5778535) , Jazz Worth Reading (http://jazzlives.wordpress.com/?cat=15507377) , Pay Attention!
(http://jazzlives.wordpress.com/?cat=39231) | URL: http://wp.me/pckf2-6Ub

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“THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY”

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** New post on JAZZ LIVES
————————————————————
http://jazzlives.wordpress.com/author/jazzlives/

** “THE MUSIC NEVER DIES: A JAZZ DOCUMENTARY” (http://jazzlives.wordpress.com/2014/08/20/the-music-never-dies-a-jazz-documentary/)
————————————————————
by jazzlives (http://jazzlives.wordpress.com/author/jazzlives/)

Readers of JAZZ LIVES know my interest in musicians who have not received their proper share of attention: recently I’ve been celebrating pianist Clarence Profit and trumpeter Spike Mackintosh.

But I know that there are many musicians, still on the scene, who have contributed a great deal to the music without getting their due. Worse, some of them — hardly known to the general public — have been taken advantage of by fellow musicians or people in “the music business.”

This situation may always be with us, beyond fixing until fairness and generosity are automatic responses, but a pair of filmmakers have documented some of these worthy musicians who have been treated unkindly. Their documentary film is THE MUSIC NEVER DIES. I had never heard of Jimmy Norman, composer of the song Time Is On My Side, but I had enjoyed TWENTY FEET FROM STARDOM — and I knew that some of the most influential creative people had never been known, paid appropriately, or taken seriously.

https://jazzlives.files.wordpress.com/2014/08/the-music-never-dies.jpg

I first heard of the film when a friend introduced me to Jason DeBose, a Californian now working in Finland, who has been working with the film’s director, the veteran artist and filmmaker Edward Hillel. I learned that the film “will tell the story of several legends of the art form as we catch up with them in their later years, where we find that even some in their seventies and eighties are still actively playing gigs all over the most jazz-loving cities of the United States.” Here (http://musicneverdiesmovie.com/crew/edward-hillel-director/) is a brief introduction to Hillel.​ And here (https://www.indiegogo.com/projects/the-music-never-dies-a-jazz-documentary/x/5795189) you can learn more about the film.

Jason and Edward have plans for the artists they are documenting and celebrating that go beyond simply completing and screening the film. Jason told me, “A large part of the funds we intend to raise will go toward a tour that we are now organizing for a group of the musicians that are the subject of our film,” a tour in countries deeply appreciative of American music but not necessarily aware of its true creators. Here (https://www.youtube.com/watch?v=QHUGoPcI6K4) is the film’s trailer. It certainly seems a heartfelt project, worth more than a quick look. And here is the film’s website (http://musicneverdiesmovie.com/) .

May your happiness increase!

jazzlives (http://jazzlives.wordpress.com/author/jazzlives/) | August 20, 2014 at 6:11 PM | Tags: Edward Hillel (http://jazzlives.wordpress.com/?tag=edward-hillel) , injustice (http://jazzlives.wordpress.com/?tag=injustice) , Jason DeBose (http://jazzlives.wordpress.com/?tag=jason-debose) , Jazz Lives (http://jazzlives.wordpress.com/?tag=jazz-lives) , Jimmy Norman (http://jazzlives.wordpress.com/?tag=jimmy-norman) , Michael Steinman (http://jazzlives.wordpress.com/?tag=michael-steinman) , Rolling Stones (http://jazzlives.wordpress.com/?tag=rolling-stones) , THE MUSIC NEVER DIES (http://jazzlives.wordpress.com/?tag=the-music-never-dies) , TWENTY FEET FROM STARDOM (http://jazzlives.wordpress.com/?tag=twenty-feet-from-stardom) | Categories: Awful Sad (http://jazzlives.wordpress.com/?cat=13687483) , It’s All True (http://jazzlives.wordpress.com/?cat=5778535) , Jazz Worth Reading (http://jazzlives.wordpress.com/?cat=15507377) , Pay Attention!
(http://jazzlives.wordpress.com/?cat=39231) | URL: http://wp.me/pckf2-6Ub

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The One LP Project A photographic study of an artist portrayed with a favorite recording

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Warwick, Ny 10990
USA

The One LP Project A photographic study of an artist portrayed with a favorite recording

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USA

The One LP Project A photographic study of an artist portrayed with a favorite recording

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John Blake Jr., Versatile Jazz Violinist, Dies at 67 – NYTimes.com

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http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0)

** John Blake Jr., Versatile Jazz Violinist, Dies at 67
————————————————————

Photo
John Blake Jr. taught at several music conservatories and mentored many musicians.

John Blake Jr., a jazz violinist who combined strong classical technique with the expressive power of African-American spirituals, folk music and blues, died on Friday in Philadelphia. He was 67.

The cause was complications of multiple myeloma, said Charlotte Blake Alston, his sister.

Mr. Blake was highly regarded for the energy and clarity of his playing, and for carving out a space for the violin in the realms of post-bop and jazz-funk.

Early in his career he worked with the avant-garde saxophonist Archie Shepp, appearing on his albums “The Cry of My People” and “Attica Blues.” He came to greater prominence in bands led by the saxophonist Grover Washington Jr. and the pianist McCoy Tyner. Both later appeared on Mr. Blake’s own albums; he released five on the Gramavision label, starting with “Maiden Dance” in 1984.

Reviewing him that year in The New York Times, Jon Pareles noted that “where some jazz violin solos could easily be played as horn lines, Mr. Blake deploys violinistic slides, tremolos and doublestops not as special effects, but as flexible, vocalistic shadings.”

John Edward Blake Jr. was born in Philadelphia on July 3, 1947, and began his training on violin at 9. He studied music at West Virginia University, after which did postgraduate work in Montreux, Switzerland, focusing partly on traditional East Indian music.

In addition to Ms. Alston, his sister, Mr. Blake, who lived in Philadelphia, is survived by his wife of 38 years, Barbara Irene Blake; a son, the drummer Johnathan Blake; two daughters, Beverly Woodson and Jennifer Watson; another sister, Vivian Blake Carson; two brothers, Alan and Elliot; and six grandchildren.

Mr. Blake taught at several music conservatories and mentored many musicians outside the classroom, including the prominent jazz violinist Regina Carter; he produced her 2010 album “Reverse Thread” (E1 Music).

Mr. Blake’s most recent release, also in 2010, was “Motherless Child” (ARC Music), an album of hymns and spirituals arranged for his quartet and the Howard University vocal jazz ensemble Afro Blue. Among its tracks is an instrumental version of the traditional spiritual “City Called Heaven,” with a stark, commanding prelude on solo violin.

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John Blake Jr., Versatile Jazz Violinist, Dies at 67 – NYTimes.com

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http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0)

** John Blake Jr., Versatile Jazz Violinist, Dies at 67
————————————————————

Photo
John Blake Jr. taught at several music conservatories and mentored many musicians.

John Blake Jr., a jazz violinist who combined strong classical technique with the expressive power of African-American spirituals, folk music and blues, died on Friday in Philadelphia. He was 67.

The cause was complications of multiple myeloma, said Charlotte Blake Alston, his sister.

Mr. Blake was highly regarded for the energy and clarity of his playing, and for carving out a space for the violin in the realms of post-bop and jazz-funk.

Early in his career he worked with the avant-garde saxophonist Archie Shepp, appearing on his albums “The Cry of My People” and “Attica Blues.” He came to greater prominence in bands led by the saxophonist Grover Washington Jr. and the pianist McCoy Tyner. Both later appeared on Mr. Blake’s own albums; he released five on the Gramavision label, starting with “Maiden Dance” in 1984.

Reviewing him that year in The New York Times, Jon Pareles noted that “where some jazz violin solos could easily be played as horn lines, Mr. Blake deploys violinistic slides, tremolos and doublestops not as special effects, but as flexible, vocalistic shadings.”

John Edward Blake Jr. was born in Philadelphia on July 3, 1947, and began his training on violin at 9. He studied music at West Virginia University, after which did postgraduate work in Montreux, Switzerland, focusing partly on traditional East Indian music.

In addition to Ms. Alston, his sister, Mr. Blake, who lived in Philadelphia, is survived by his wife of 38 years, Barbara Irene Blake; a son, the drummer Johnathan Blake; two daughters, Beverly Woodson and Jennifer Watson; another sister, Vivian Blake Carson; two brothers, Alan and Elliot; and six grandchildren.

Mr. Blake taught at several music conservatories and mentored many musicians outside the classroom, including the prominent jazz violinist Regina Carter; he produced her 2010 album “Reverse Thread” (E1 Music).

Mr. Blake’s most recent release, also in 2010, was “Motherless Child” (ARC Music), an album of hymns and spirituals arranged for his quartet and the Howard University vocal jazz ensemble Afro Blue. Among its tracks is an instrumental version of the traditional spiritual “City Called Heaven,” with a stark, commanding prelude on solo violin.

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John Blake Jr., Versatile Jazz Violinist, Dies at 67 – NYTimes.com

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0 (http://www.nytimes.com/2014/08/20/arts/music/john-blake-jr-versatile-jazz-violinist-dies-at-67.html?emc=edit_tnt_20140819&nlid=16833052&tntemail0=y&_r=0)

** John Blake Jr., Versatile Jazz Violinist, Dies at 67
————————————————————

Photo
John Blake Jr. taught at several music conservatories and mentored many musicians.

John Blake Jr., a jazz violinist who combined strong classical technique with the expressive power of African-American spirituals, folk music and blues, died on Friday in Philadelphia. He was 67.

The cause was complications of multiple myeloma, said Charlotte Blake Alston, his sister.

Mr. Blake was highly regarded for the energy and clarity of his playing, and for carving out a space for the violin in the realms of post-bop and jazz-funk.

Early in his career he worked with the avant-garde saxophonist Archie Shepp, appearing on his albums “The Cry of My People” and “Attica Blues.” He came to greater prominence in bands led by the saxophonist Grover Washington Jr. and the pianist McCoy Tyner. Both later appeared on Mr. Blake’s own albums; he released five on the Gramavision label, starting with “Maiden Dance” in 1984.

Reviewing him that year in The New York Times, Jon Pareles noted that “where some jazz violin solos could easily be played as horn lines, Mr. Blake deploys violinistic slides, tremolos and doublestops not as special effects, but as flexible, vocalistic shadings.”

John Edward Blake Jr. was born in Philadelphia on July 3, 1947, and began his training on violin at 9. He studied music at West Virginia University, after which did postgraduate work in Montreux, Switzerland, focusing partly on traditional East Indian music.

In addition to Ms. Alston, his sister, Mr. Blake, who lived in Philadelphia, is survived by his wife of 38 years, Barbara Irene Blake; a son, the drummer Johnathan Blake; two daughters, Beverly Woodson and Jennifer Watson; another sister, Vivian Blake Carson; two brothers, Alan and Elliot; and six grandchildren.

Mr. Blake taught at several music conservatories and mentored many musicians outside the classroom, including the prominent jazz violinist Regina Carter; he produced her 2010 album “Reverse Thread” (E1 Music).

Mr. Blake’s most recent release, also in 2010, was “Motherless Child” (ARC Music), an album of hymns and spirituals arranged for his quartet and the Howard University vocal jazz ensemble Afro Blue. Among its tracks is an instrumental version of the traditional spiritual “City Called Heaven,” with a stark, commanding prelude on solo violin.

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▶ Jazz and the Violin – John Blake with Billy Taylor – Work Song – YouTube

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https://www.youtube.com/watch?v=lOo6kLnmm (https://www.youtube.com/watch?v=lOo6kLnmmIY) IY (https://www.youtube.com/watch?v=lOo6kLnmmIY)

https://www.youtube.com/watch?v=lOo6kLnmmIY

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Copyright (C) 2014 All rights reserved.

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

▶ Jazz and the Violin – John Blake with Billy Taylor – Work Song – YouTube

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Dan DeLuca, Inquirer Music Critic

POSTED: TUESDAY, AUGUST 19, 2014, 10:50 AM

http://www.inquirer.com/

John Blake Jr., the Philadelphia jazz violinist and music educator who toured with Grover Washington Jr. and McCoy Tyner and taught generations of students at the Settlement Music School and University of the Arts, has died.

Blake, who was 67, died on Friday from complications of multiple myeloma according to his son, Johnathan Blake (https://www.facebook.com/blakedrumz?fref=ts) .

The jazz man grew up in South Philadelphia and studied violin and piano at Settlement, before graduating from West Virginia University with a music degree and going on to the Institute of Advanced Studies in Montreux, Switzerland. Returning home, he cut his teeth playing in orchestras and R & B groups, at churches and community centers and in small clubs in Philadelphia and Atlantic City.

By the late 1970s, he was backing saxophonist Washington in the studio and on the road, playing both keyboards and violin. He concentrated on the latter with pianist Tyner, who recorded two Blake compositions on his 1980 album,Horizon.

Starting with Maiden Dance in 1984, Blake recorded three albums as a leader in the 1980s. He was four times namedDownBeat’s Violinist Deserving Wider Recognition. He was nominated for a Grammy for Motherless Child, a 2010 gospel jazz collection featuring his jazz quartet and the Washington D.C. choir Afro Blue. That year, he was named a Pew Center for Arts & Heritage Fellow.

In a 2011 profile in Strings magazine, violinist Christian Howes called Blake “the patriarch today of jazz violin.” His students included Regina Carter, Jeremy Kittel of Turtle Island Quartet and Roots drummer Ahmir “Questlove” Thompson.

“He opened my eyes back then when I was 13 saying that music needs to cross boundaries and how I need to be well versed in many a genre not just one particular style of music,” Questlove wrote of Blake, who he called “Philadelphia legendary master musician and teacher,” on Facebook on Sunday. “Well John just wanna let you know that 13 year old kid heard you loud and clear and literally made a life for himself mixing things and people and objects and cultures and ideas. Thank you very much.”

Speaking of the sacred choral music that inspiredMotherless Child, Blake told Strings in 2011: “Over the years, I have seen music cross all kinds of barriers—rich, poor, young, old, race, language—and reach those who are sick and many who are healthy. Much of the early music developed by African-Americans was done in the midst of their suffering; whether you are talking about spirituals, blues, or jazz, the roots all go back to the lifestyles of the people from that period, their sufferings, joys, their hopes, and dreams.

“Through my music, I have been blessed and empowered to communicate because of the sacred ground I stand on to share my gift. Hopefully my listeners will be able to find something in the music that will lift them up and make them better in the moment and perhaps beyond.”

Blake is survived by his wife Barbara, son Johnathan, daughters Beverly Blake Woodson and Jennifer Blake Watson, sisters Vivian Carson and Charlotte Blake-Alston, and brothers Alan and Elliot Blake. There will be public viewing at Batchelor Brothers Funeral Service, 7112 N. Broad ST., Philadelphia, on Sunday from 1 to 3:30 p.m. The funeral will be held at Sharon Baptist Church, 3955 Conshohocken Ave. in Philadelphia on Monday August 25th. There will be a viewing at 9 a.m. and services start at 11 a.m.

Below, Blake performs for students at Settlement Music School.

Previously: Taylor Swift releases “Shake It Off,” announces new album (http://www.philly.com/philly/blogs/inthemix/Taylor-Swift-releases-Shake-It-Off-single-announces-new-album-1989.html) Follow In The Mix on Twitter (https://twitter.com/delucadan)

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About This Blog

Join Dan as he blogs about music and other forms of popular culture
Reach Dan at ddeluca@phillynews.com (mailto:ddeluca@phillynews.com) .

Dan DeLucaInquirer Music CriticArticles (http://www.philly.com/inquirer/columnists/dan_deluca) | Email (mailto:ddeluca@phillynews.com)
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John Blake Jr, Philadelphia jazz violinist and educator, dies

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** John Blake Jr, Philadelphia jazz violinist and educator, dies
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Dan DeLuca, Inquirer Music Critic

POSTED: TUESDAY, AUGUST 19, 2014, 10:50 AM

http://www.inquirer.com/

John Blake Jr., the Philadelphia jazz violinist and music educator who toured with Grover Washington Jr. and McCoy Tyner and taught generations of students at the Settlement Music School and University of the Arts, has died.

Blake, who was 67, died on Friday from complications of multiple myeloma according to his son, Johnathan Blake (https://www.facebook.com/blakedrumz?fref=ts) .

The jazz man grew up in South Philadelphia and studied violin and piano at Settlement, before graduating from West Virginia University with a music degree and going on to the Institute of Advanced Studies in Montreux, Switzerland. Returning home, he cut his teeth playing in orchestras and R & B groups, at churches and community centers and in small clubs in Philadelphia and Atlantic City.

By the late 1970s, he was backing saxophonist Washington in the studio and on the road, playing both keyboards and violin. He concentrated on the latter with pianist Tyner, who recorded two Blake compositions on his 1980 album,Horizon.

Starting with Maiden Dance in 1984, Blake recorded three albums as a leader in the 1980s. He was four times namedDownBeat’s Violinist Deserving Wider Recognition. He was nominated for a Grammy for Motherless Child, a 2010 gospel jazz collection featuring his jazz quartet and the Washington D.C. choir Afro Blue. That year, he was named a Pew Center for Arts & Heritage Fellow.

In a 2011 profile in Strings magazine, violinist Christian Howes called Blake “the patriarch today of jazz violin.” His students included Regina Carter, Jeremy Kittel of Turtle Island Quartet and Roots drummer Ahmir “Questlove” Thompson.

“He opened my eyes back then when I was 13 saying that music needs to cross boundaries and how I need to be well versed in many a genre not just one particular style of music,” Questlove wrote of Blake, who he called “Philadelphia legendary master musician and teacher,” on Facebook on Sunday. “Well John just wanna let you know that 13 year old kid heard you loud and clear and literally made a life for himself mixing things and people and objects and cultures and ideas. Thank you very much.”

Speaking of the sacred choral music that inspiredMotherless Child, Blake told Strings in 2011: “Over the years, I have seen music cross all kinds of barriers—rich, poor, young, old, race, language—and reach those who are sick and many who are healthy. Much of the early music developed by African-Americans was done in the midst of their suffering; whether you are talking about spirituals, blues, or jazz, the roots all go back to the lifestyles of the people from that period, their sufferings, joys, their hopes, and dreams.

“Through my music, I have been blessed and empowered to communicate because of the sacred ground I stand on to share my gift. Hopefully my listeners will be able to find something in the music that will lift them up and make them better in the moment and perhaps beyond.”

Blake is survived by his wife Barbara, son Johnathan, daughters Beverly Blake Woodson and Jennifer Blake Watson, sisters Vivian Carson and Charlotte Blake-Alston, and brothers Alan and Elliot Blake. There will be public viewing at Batchelor Brothers Funeral Service, 7112 N. Broad ST., Philadelphia, on Sunday from 1 to 3:30 p.m. The funeral will be held at Sharon Baptist Church, 3955 Conshohocken Ave. in Philadelphia on Monday August 25th. There will be a viewing at 9 a.m. and services start at 11 a.m.

Below, Blake performs for students at Settlement Music School.

Previously: Taylor Swift releases “Shake It Off,” announces new album (http://www.philly.com/philly/blogs/inthemix/Taylor-Swift-releases-Shake-It-Off-single-announces-new-album-1989.html) Follow In The Mix on Twitter (https://twitter.com/delucadan)

http://www.philly.com/inquirer/columnists/dan_deluca
Dan DeLucaInquirer Music CriticArticles (http://www.philly.com/inquirer/columnists/dan_deluca) | Email (mailto:ddeluca@phillynews.com)

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[?] (http://www.philly.com/philly/blogs/inthemix/John-Blake-Jr-Philadelphia-jazz-violinist-and-educator-dies.html#)

About This Blog

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John Blake Jr, Philadelphia jazz violinist and educator, dies

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** John Blake Jr, Philadelphia jazz violinist and educator, dies
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Dan DeLuca, Inquirer Music Critic

POSTED: TUESDAY, AUGUST 19, 2014, 10:50 AM

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John Blake Jr., the Philadelphia jazz violinist and music educator who toured with Grover Washington Jr. and McCoy Tyner and taught generations of students at the Settlement Music School and University of the Arts, has died.

Blake, who was 67, died on Friday from complications of multiple myeloma according to his son, Johnathan Blake (https://www.facebook.com/blakedrumz?fref=ts) .

The jazz man grew up in South Philadelphia and studied violin and piano at Settlement, before graduating from West Virginia University with a music degree and going on to the Institute of Advanced Studies in Montreux, Switzerland. Returning home, he cut his teeth playing in orchestras and R & B groups, at churches and community centers and in small clubs in Philadelphia and Atlantic City.

By the late 1970s, he was backing saxophonist Washington in the studio and on the road, playing both keyboards and violin. He concentrated on the latter with pianist Tyner, who recorded two Blake compositions on his 1980 album,Horizon.

Starting with Maiden Dance in 1984, Blake recorded three albums as a leader in the 1980s. He was four times namedDownBeat’s Violinist Deserving Wider Recognition. He was nominated for a Grammy for Motherless Child, a 2010 gospel jazz collection featuring his jazz quartet and the Washington D.C. choir Afro Blue. That year, he was named a Pew Center for Arts & Heritage Fellow.

In a 2011 profile in Strings magazine, violinist Christian Howes called Blake “the patriarch today of jazz violin.” His students included Regina Carter, Jeremy Kittel of Turtle Island Quartet and Roots drummer Ahmir “Questlove” Thompson.

“He opened my eyes back then when I was 13 saying that music needs to cross boundaries and how I need to be well versed in many a genre not just one particular style of music,” Questlove wrote of Blake, who he called “Philadelphia legendary master musician and teacher,” on Facebook on Sunday. “Well John just wanna let you know that 13 year old kid heard you loud and clear and literally made a life for himself mixing things and people and objects and cultures and ideas. Thank you very much.”

Speaking of the sacred choral music that inspiredMotherless Child, Blake told Strings in 2011: “Over the years, I have seen music cross all kinds of barriers—rich, poor, young, old, race, language—and reach those who are sick and many who are healthy. Much of the early music developed by African-Americans was done in the midst of their suffering; whether you are talking about spirituals, blues, or jazz, the roots all go back to the lifestyles of the people from that period, their sufferings, joys, their hopes, and dreams.

“Through my music, I have been blessed and empowered to communicate because of the sacred ground I stand on to share my gift. Hopefully my listeners will be able to find something in the music that will lift them up and make them better in the moment and perhaps beyond.”

Blake is survived by his wife Barbara, son Johnathan, daughters Beverly Blake Woodson and Jennifer Blake Watson, sisters Vivian Carson and Charlotte Blake-Alston, and brothers Alan and Elliot Blake. There will be public viewing at Batchelor Brothers Funeral Service, 7112 N. Broad ST., Philadelphia, on Sunday from 1 to 3:30 p.m. The funeral will be held at Sharon Baptist Church, 3955 Conshohocken Ave. in Philadelphia on Monday August 25th. There will be a viewing at 9 a.m. and services start at 11 a.m.

Below, Blake performs for students at Settlement Music School.

Previously: Taylor Swift releases “Shake It Off,” announces new album (http://www.philly.com/philly/blogs/inthemix/Taylor-Swift-releases-Shake-It-Off-single-announces-new-album-1989.html) Follow In The Mix on Twitter (https://twitter.com/delucadan)

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Things Found In Records

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And CDs too:

Over my 40+ years of collecting LPs and CDs I’ve come across all kinds of ephemera stuffed in and written on the front and backs of LP jackets and CD booklets.

So far no money or contraband, but every now and then you turn up an amusing gem like the below:

Watch this space for more amusing discoveries.

Jim Eigo

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