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Things Found In Records

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

Things Found In Records

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

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=5f4552de7d) | 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=5f4552de7d&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

Wally’s Cafe: The South End’s Relic Of America’s Jazz Age | ARTery

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://artery.wbur.org/2014/08/18/wallys-café (http://artery.wbur.org/2014/08/18/wallys-cafe)

** Wally’s Cafe: The South End’s Relic Of America’s Jazz Age
————————————————————
GWC & Common Thread, a group formed at Berklee, perform at Wally’s Cafe in March 2014. (Amy Gorel/WBUR)

BOSTON — The South End used to be the jazz haven of Boston. African-Americans began moving into the neighborhood during the first half of the 20th century, bringing with them a strong jazz influence that permeated the nightclubs and bars in the area. Wally’s Cafe (http://www.wallyscafe.com/) is one of the last relics of this era.

Heading down Mass. Ave. past the five-story Victorian brownstones, its easy-to-miss red door is tucked away behind the tall staircases that line the street. A small, black sign spells out “Wally’s Cafe” with carvings of jazz musician caricatures underneath. The brackets attaching the sign to the dark, brick brownstone discreetly form the shape of a saxophone.
http://media.wbur.org/wordpress/18/files/2014/08/Wallys_Entrance.jpg

Wally’s red door on the corner of Mass. Ave. and Columbus Ave., setting it apart from the rows of brownstones (Amy Gorel/WBUR)

Opening the door, you get a glimpse of what Joseph Walcott imagined when he opened the jazz club, formerly called Wally’s Paradise, in 1947—a venue that would feature the big names in jazz while offering a stage for local students to practice and learn their craft.

Today, though the venue has moved across the street to 427 Mass. Ave., it maintains its mission with daily afternoon jam sessions and performances from professionals or local students every night of the year. Things have changed a bit though.

An all-girl band is playing a jazz-funk fusion jam and no one is wearing a suit or feather in their hat. The band, GWC & Common Thread, with members hailing from countries around the world and states across the U.S., met at Berklee College of Music where they are currently studying. On Wednesday nights, they come down to Wally’s to play.

In a medley of constant improvisation, friends jump on stage adding an instrument to their existing ensemble including a vocalist and musicians playing a trombone, saxophone, the bongos, a keyboard, drums, bass and guitar. It’s a neverending song that floats across the changes throughout the night. People applaud from time to time as the music changes from upbeat funk to more somber jazz and soul.

The bar was empty until 9 p.m. sharp when it filled to near capacity, as it does most nights. The narrow venue packs strangers side by side at the small tables along the bar. The crowd mimics a college brochure—albeit with a wider age range. An evenly mixed black and white audience shows up, a mix that is unrivaled in this city. College students having a drink sit alongside middle-aged men who come in just to listen to the new acts. People dressed to the nines stop in the bar for a drink while on a date. Sixty people fill the dark, brick bar. A converted Pac Man game acts as a table in the corner.

Behind the bar is Frank Poindexter, tall and dressed with a neatly pressed button down shirt and nice slacks. He is the great grandson of Joseph Walcott, who immigrated to Boston from Barbados in 1910. In 1947, Mr. Walcott, known as Wally, opened Wally’s Paradise—the first jazz club in New England owned by an African-American.

The venue featured some of the greats—from Charlie Parker and Billie Holiday to Art Blakey. After the big band era died down, Wally brought in students from Berklee and other local music schools to keep the live performances going through the ‘60s and ‘70s, Poindexter says.
http://media.wbur.org/wordpress/18/files/2014/08/GWC-Band_2.jpg

Berklee formed GWC & Common Thread perform at Wally’s Cafe (Amy Gorel/WBUR)

Today, Wally’s is one of the oldest, continuously running jazz clubs in Boston. Frank and his two brothers now manage the bar, keeping the same ideas of providing students a stage to practice on while featuring some professional acts.

“It’s a training ground for musicians,” Poindexter says. “It’s a nice responsibility to have. It’s what we’ve been doing for a long time.”

Today, student groups playing at Wally’s mostly come from Berklee, Harvard and Boston University. Jazz is a great base line for students, he says. Learning jazz music gives students the ability to play other genres and it appeals to a lot of listeners.

“We’re about providing a floor for musicians and for other people to come and enjoy. For people to come and see these musicians progress in their craft,” he says.

It’s a whole new industry today, Poindexter says. They’ve had multiple recent Grammy winners come through the hall of Wally’s, from Esperanza Spalding to Jeff Bhasker, who wrote for Kanye West and Lady Gaga. But these aren’t the same type of professionals his grandfather would feature.
http://media.wbur.org/wordpress/18/files/2014/08/Wallysign.jpg

The sign outside of Wally’s Cafe, discreetly curved into the shape of a saxophone (Amy Gorel/WBUR)

Jazz clubs no longer line the blocks around the intersection of Columbus Avenue and Mass. Ave. But with Wally’s Cafe and The Beehive in the South End, The Regattabar in Cambridge, and Scullers Jazz Club in Allston, jazz is still part of Boston’s music scene.

This is just another “part of the evolving American story,” Poindexter says.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=15bbc90365) | 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=15bbc90365&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

Wally’s Cafe: The South End’s Relic Of America’s Jazz Age | ARTery

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://artery.wbur.org/2014/08/18/wallys-café (http://artery.wbur.org/2014/08/18/wallys-cafe)

** Wally’s Cafe: The South End’s Relic Of America’s Jazz Age
————————————————————
GWC & Common Thread, a group formed at Berklee, perform at Wally’s Cafe in March 2014. (Amy Gorel/WBUR)

BOSTON — The South End used to be the jazz haven of Boston. African-Americans began moving into the neighborhood during the first half of the 20th century, bringing with them a strong jazz influence that permeated the nightclubs and bars in the area. Wally’s Cafe (http://www.wallyscafe.com/) is one of the last relics of this era.

Heading down Mass. Ave. past the five-story Victorian brownstones, its easy-to-miss red door is tucked away behind the tall staircases that line the street. A small, black sign spells out “Wally’s Cafe” with carvings of jazz musician caricatures underneath. The brackets attaching the sign to the dark, brick brownstone discreetly form the shape of a saxophone.
http://media.wbur.org/wordpress/18/files/2014/08/Wallys_Entrance.jpg

Wally’s red door on the corner of Mass. Ave. and Columbus Ave., setting it apart from the rows of brownstones (Amy Gorel/WBUR)

Opening the door, you get a glimpse of what Joseph Walcott imagined when he opened the jazz club, formerly called Wally’s Paradise, in 1947—a venue that would feature the big names in jazz while offering a stage for local students to practice and learn their craft.

Today, though the venue has moved across the street to 427 Mass. Ave., it maintains its mission with daily afternoon jam sessions and performances from professionals or local students every night of the year. Things have changed a bit though.

An all-girl band is playing a jazz-funk fusion jam and no one is wearing a suit or feather in their hat. The band, GWC & Common Thread, with members hailing from countries around the world and states across the U.S., met at Berklee College of Music where they are currently studying. On Wednesday nights, they come down to Wally’s to play.

In a medley of constant improvisation, friends jump on stage adding an instrument to their existing ensemble including a vocalist and musicians playing a trombone, saxophone, the bongos, a keyboard, drums, bass and guitar. It’s a neverending song that floats across the changes throughout the night. People applaud from time to time as the music changes from upbeat funk to more somber jazz and soul.

The bar was empty until 9 p.m. sharp when it filled to near capacity, as it does most nights. The narrow venue packs strangers side by side at the small tables along the bar. The crowd mimics a college brochure—albeit with a wider age range. An evenly mixed black and white audience shows up, a mix that is unrivaled in this city. College students having a drink sit alongside middle-aged men who come in just to listen to the new acts. People dressed to the nines stop in the bar for a drink while on a date. Sixty people fill the dark, brick bar. A converted Pac Man game acts as a table in the corner.

Behind the bar is Frank Poindexter, tall and dressed with a neatly pressed button down shirt and nice slacks. He is the great grandson of Joseph Walcott, who immigrated to Boston from Barbados in 1910. In 1947, Mr. Walcott, known as Wally, opened Wally’s Paradise—the first jazz club in New England owned by an African-American.

The venue featured some of the greats—from Charlie Parker and Billie Holiday to Art Blakey. After the big band era died down, Wally brought in students from Berklee and other local music schools to keep the live performances going through the ‘60s and ‘70s, Poindexter says.
http://media.wbur.org/wordpress/18/files/2014/08/GWC-Band_2.jpg

Berklee formed GWC & Common Thread perform at Wally’s Cafe (Amy Gorel/WBUR)

Today, Wally’s is one of the oldest, continuously running jazz clubs in Boston. Frank and his two brothers now manage the bar, keeping the same ideas of providing students a stage to practice on while featuring some professional acts.

“It’s a training ground for musicians,” Poindexter says. “It’s a nice responsibility to have. It’s what we’ve been doing for a long time.”

Today, student groups playing at Wally’s mostly come from Berklee, Harvard and Boston University. Jazz is a great base line for students, he says. Learning jazz music gives students the ability to play other genres and it appeals to a lot of listeners.

“We’re about providing a floor for musicians and for other people to come and enjoy. For people to come and see these musicians progress in their craft,” he says.

It’s a whole new industry today, Poindexter says. They’ve had multiple recent Grammy winners come through the hall of Wally’s, from Esperanza Spalding to Jeff Bhasker, who wrote for Kanye West and Lady Gaga. But these aren’t the same type of professionals his grandfather would feature.
http://media.wbur.org/wordpress/18/files/2014/08/Wallysign.jpg

The sign outside of Wally’s Cafe, discreetly curved into the shape of a saxophone (Amy Gorel/WBUR)

Jazz clubs no longer line the blocks around the intersection of Columbus Avenue and Mass. Ave. But with Wally’s Cafe and The Beehive in the South End, The Regattabar in Cambridge, and Scullers Jazz Club in Allston, jazz is still part of Boston’s music scene.

This is just another “part of the evolving American story,” Poindexter says.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=15bbc90365) | 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=15bbc90365&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

Wally’s Cafe: The South End’s Relic Of America’s Jazz Age | ARTery

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://artery.wbur.org/2014/08/18/wallys-café (http://artery.wbur.org/2014/08/18/wallys-cafe)

** Wally’s Cafe: The South End’s Relic Of America’s Jazz Age
————————————————————
GWC & Common Thread, a group formed at Berklee, perform at Wally’s Cafe in March 2014. (Amy Gorel/WBUR)

BOSTON — The South End used to be the jazz haven of Boston. African-Americans began moving into the neighborhood during the first half of the 20th century, bringing with them a strong jazz influence that permeated the nightclubs and bars in the area. Wally’s Cafe (http://www.wallyscafe.com/) is one of the last relics of this era.

Heading down Mass. Ave. past the five-story Victorian brownstones, its easy-to-miss red door is tucked away behind the tall staircases that line the street. A small, black sign spells out “Wally’s Cafe” with carvings of jazz musician caricatures underneath. The brackets attaching the sign to the dark, brick brownstone discreetly form the shape of a saxophone.
http://media.wbur.org/wordpress/18/files/2014/08/Wallys_Entrance.jpg

Wally’s red door on the corner of Mass. Ave. and Columbus Ave., setting it apart from the rows of brownstones (Amy Gorel/WBUR)

Opening the door, you get a glimpse of what Joseph Walcott imagined when he opened the jazz club, formerly called Wally’s Paradise, in 1947—a venue that would feature the big names in jazz while offering a stage for local students to practice and learn their craft.

Today, though the venue has moved across the street to 427 Mass. Ave., it maintains its mission with daily afternoon jam sessions and performances from professionals or local students every night of the year. Things have changed a bit though.

An all-girl band is playing a jazz-funk fusion jam and no one is wearing a suit or feather in their hat. The band, GWC & Common Thread, with members hailing from countries around the world and states across the U.S., met at Berklee College of Music where they are currently studying. On Wednesday nights, they come down to Wally’s to play.

In a medley of constant improvisation, friends jump on stage adding an instrument to their existing ensemble including a vocalist and musicians playing a trombone, saxophone, the bongos, a keyboard, drums, bass and guitar. It’s a neverending song that floats across the changes throughout the night. People applaud from time to time as the music changes from upbeat funk to more somber jazz and soul.

The bar was empty until 9 p.m. sharp when it filled to near capacity, as it does most nights. The narrow venue packs strangers side by side at the small tables along the bar. The crowd mimics a college brochure—albeit with a wider age range. An evenly mixed black and white audience shows up, a mix that is unrivaled in this city. College students having a drink sit alongside middle-aged men who come in just to listen to the new acts. People dressed to the nines stop in the bar for a drink while on a date. Sixty people fill the dark, brick bar. A converted Pac Man game acts as a table in the corner.

Behind the bar is Frank Poindexter, tall and dressed with a neatly pressed button down shirt and nice slacks. He is the great grandson of Joseph Walcott, who immigrated to Boston from Barbados in 1910. In 1947, Mr. Walcott, known as Wally, opened Wally’s Paradise—the first jazz club in New England owned by an African-American.

The venue featured some of the greats—from Charlie Parker and Billie Holiday to Art Blakey. After the big band era died down, Wally brought in students from Berklee and other local music schools to keep the live performances going through the ‘60s and ‘70s, Poindexter says.
http://media.wbur.org/wordpress/18/files/2014/08/GWC-Band_2.jpg

Berklee formed GWC & Common Thread perform at Wally’s Cafe (Amy Gorel/WBUR)

Today, Wally’s is one of the oldest, continuously running jazz clubs in Boston. Frank and his two brothers now manage the bar, keeping the same ideas of providing students a stage to practice on while featuring some professional acts.

“It’s a training ground for musicians,” Poindexter says. “It’s a nice responsibility to have. It’s what we’ve been doing for a long time.”

Today, student groups playing at Wally’s mostly come from Berklee, Harvard and Boston University. Jazz is a great base line for students, he says. Learning jazz music gives students the ability to play other genres and it appeals to a lot of listeners.

“We’re about providing a floor for musicians and for other people to come and enjoy. For people to come and see these musicians progress in their craft,” he says.

It’s a whole new industry today, Poindexter says. They’ve had multiple recent Grammy winners come through the hall of Wally’s, from Esperanza Spalding to Jeff Bhasker, who wrote for Kanye West and Lady Gaga. But these aren’t the same type of professionals his grandfather would feature.
http://media.wbur.org/wordpress/18/files/2014/08/Wallysign.jpg

The sign outside of Wally’s Cafe, discreetly curved into the shape of a saxophone (Amy Gorel/WBUR)

Jazz clubs no longer line the blocks around the intersection of Columbus Avenue and Mass. Ave. But with Wally’s Cafe and The Beehive in the South End, The Regattabar in Cambridge, and Scullers Jazz Club in Allston, jazz is still part of Boston’s music scene.

This is just another “part of the evolving American story,” Poindexter says.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=15bbc90365) | 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=15bbc90365&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

“Paris Blues” available on home video for first time – Oakland Jazz music | Examiner.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.examiner.com/article/paris-blues-available-on-home-video-for-first-time?CID=examiner_alerts_article

** “Paris Blues” available on home video for first time
————————————————————

One of the best jazz (safari-reader://www.examiner.com/topic/jazz) -themed films ever made, “Paris Blues” (1961), is available for the first time in any home video (safari-reader://www.examiner.com/topic/home-video) format. Here’s what The New York Times had to say about the title.

“Paris Blues” is a small movie with large ambitions. The producer Sam Shaw conceived of it as a tribute to jazz (Duke Ellington’s music is pervasive; Louis Armstrong has a rambunctious cameo jamming and jiving), as well as a love letter to Paris and the ideals of the French Revolution. It was also a vehicle for its married co-stars, Paul Newman (safari-reader://www.examiner.com/topic/paul-newman) and Joanne Woodward, directed by their close associate Martin Ritt (“The Long, Hot Summer,” 1958).
Newman plays a brooding trombonist whose popular combo includes his fellow expatriate Mr. Poitier on sax. Ms. Woodward is a suburban divorcée in Paris on a vacation with her schoolteacher friend, Diahann Carroll. The four pair off predictably along racial lines, after Ms. Carroll rejects Newman’s crude advances and Ms. Woodward boldly throws herself at the trombonist. Newman is the diffident sex object whom she hopes to lure back home to Westchester County. Her overly optimistic sexual bravado, reinforced by several postcoital tiffs, makes for the movie’s most affecting performance: “You’re never going to forget me,” she warns him. Right.
Ms. Carroll, the only musician among the principals (and who soon starred in the Paris-set Broadway musical “No Strings”), barely deigns to keep time as the hepcats wail. She is, Mr. Poitier sarcastically notes midstroll around the Île de la Cité, “one of those socially conscious chicks.” Her function is to recruit his character into the battle for civil rights. Newman gets to play the self-indulgent artist. Ms. Carroll’s and Mr. Poitier’s characters are somewhat stilted grown-ups who deliver the movie’s didactic message: His character has experienced the French respect for American culture; now it’s time for him to reclaim his birthright and fight for respect back home.

High-Def Digest notes:

Ritt steers the movie in such a way that it develops the semblance of a plot, but really the film just becomes a collection of loosely connected moments that establish a thematic framework set around the pursuit of happiness, and how that, for good or bad, sometimes means not merely venturing off the beaten path, but actively avoiding it all together.
This notion of art and music as an indulgent stimulant that’s worthy of someone’s obsession (and even their dependence) is given credence in the film’s liveliest moment: when famed trumpeter Wild Man Moore – played by famed trumpeter Louis Armstrong – crashes Ram and Eddie’s club for a friendly, impromptu challenge/celebration of jazz and music itself. As if an appearance by Armstrong wasn’t enough, the film continues its exploration into the love of music by also featuring a score by the famed Duke Ellington (for which he received an Academy Award nomination).
Ellington’s score is another sign that “Paris Blues” may hold all the standard trappings of a romantic feature – having two of the most attractive male stars of the time in leading roles will do that for a picture – but it isn’t really interested in telling a conventional romance at all. This is a film that features characters who are in love with the idea of love, a construct that’s no less intangible than their seemingly impossible hopes and dreams.
In the end, “Paris Blues” suggests the truest love isn’t necessarily found in another person, but rather it is found in that which you simply cannot live without.

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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

“Paris Blues” available on home video for first time – Oakland Jazz music | Examiner.com

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.examiner.com/article/paris-blues-available-on-home-video-for-first-time?CID=examiner_alerts_article

** “Paris Blues” available on home video for first time
————————————————————

One of the best jazz (safari-reader://www.examiner.com/topic/jazz) -themed films ever made, “Paris Blues” (1961), is available for the first time in any home video (safari-reader://www.examiner.com/topic/home-video) format. Here’s what The New York Times had to say about the title.

“Paris Blues” is a small movie with large ambitions. The producer Sam Shaw conceived of it as a tribute to jazz (Duke Ellington’s music is pervasive; Louis Armstrong has a rambunctious cameo jamming and jiving), as well as a love letter to Paris and the ideals of the French Revolution. It was also a vehicle for its married co-stars, Paul Newman (safari-reader://www.examiner.com/topic/paul-newman) and Joanne Woodward, directed by their close associate Martin Ritt (“The Long, Hot Summer,” 1958).
Newman plays a brooding trombonist whose popular combo includes his fellow expatriate Mr. Poitier on sax. Ms. Woodward is a suburban divorcée in Paris on a vacation with her schoolteacher friend, Diahann Carroll. The four pair off predictably along racial lines, after Ms. Carroll rejects Newman’s crude advances and Ms. Woodward boldly throws herself at the trombonist. Newman is the diffident sex object whom she hopes to lure back home to Westchester County. Her overly optimistic sexual bravado, reinforced by several postcoital tiffs, makes for the movie’s most affecting performance: “You’re never going to forget me,” she warns him. Right.
Ms. Carroll, the only musician among the principals (and who soon starred in the Paris-set Broadway musical “No Strings”), barely deigns to keep time as the hepcats wail. She is, Mr. Poitier sarcastically notes midstroll around the Île de la Cité, “one of those socially conscious chicks.” Her function is to recruit his character into the battle for civil rights. Newman gets to play the self-indulgent artist. Ms. Carroll’s and Mr. Poitier’s characters are somewhat stilted grown-ups who deliver the movie’s didactic message: His character has experienced the French respect for American culture; now it’s time for him to reclaim his birthright and fight for respect back home.

High-Def Digest notes:

Ritt steers the movie in such a way that it develops the semblance of a plot, but really the film just becomes a collection of loosely connected moments that establish a thematic framework set around the pursuit of happiness, and how that, for good or bad, sometimes means not merely venturing off the beaten path, but actively avoiding it all together.
This notion of art and music as an indulgent stimulant that’s worthy of someone’s obsession (and even their dependence) is given credence in the film’s liveliest moment: when famed trumpeter Wild Man Moore – played by famed trumpeter Louis Armstrong – crashes Ram and Eddie’s club for a friendly, impromptu challenge/celebration of jazz and music itself. As if an appearance by Armstrong wasn’t enough, the film continues its exploration into the love of music by also featuring a score by the famed Duke Ellington (for which he received an Academy Award nomination).
Ellington’s score is another sign that “Paris Blues” may hold all the standard trappings of a romantic feature – having two of the most attractive male stars of the time in leading roles will do that for a picture – but it isn’t really interested in telling a conventional romance at all. This is a film that features characters who are in love with the idea of love, a construct that’s no less intangible than their seemingly impossible hopes and dreams.
In the end, “Paris Blues” suggests the truest love isn’t necessarily found in another person, but rather it is found in that which you simply cannot live without.

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“Paris Blues” available on home video for first time – Oakland Jazz music | Examiner.com

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** “Paris Blues” available on home video for first time
————————————————————

One of the best jazz (safari-reader://www.examiner.com/topic/jazz) -themed films ever made, “Paris Blues” (1961), is available for the first time in any home video (safari-reader://www.examiner.com/topic/home-video) format. Here’s what The New York Times had to say about the title.

“Paris Blues” is a small movie with large ambitions. The producer Sam Shaw conceived of it as a tribute to jazz (Duke Ellington’s music is pervasive; Louis Armstrong has a rambunctious cameo jamming and jiving), as well as a love letter to Paris and the ideals of the French Revolution. It was also a vehicle for its married co-stars, Paul Newman (safari-reader://www.examiner.com/topic/paul-newman) and Joanne Woodward, directed by their close associate Martin Ritt (“The Long, Hot Summer,” 1958).
Newman plays a brooding trombonist whose popular combo includes his fellow expatriate Mr. Poitier on sax. Ms. Woodward is a suburban divorcée in Paris on a vacation with her schoolteacher friend, Diahann Carroll. The four pair off predictably along racial lines, after Ms. Carroll rejects Newman’s crude advances and Ms. Woodward boldly throws herself at the trombonist. Newman is the diffident sex object whom she hopes to lure back home to Westchester County. Her overly optimistic sexual bravado, reinforced by several postcoital tiffs, makes for the movie’s most affecting performance: “You’re never going to forget me,” she warns him. Right.
Ms. Carroll, the only musician among the principals (and who soon starred in the Paris-set Broadway musical “No Strings”), barely deigns to keep time as the hepcats wail. She is, Mr. Poitier sarcastically notes midstroll around the Île de la Cité, “one of those socially conscious chicks.” Her function is to recruit his character into the battle for civil rights. Newman gets to play the self-indulgent artist. Ms. Carroll’s and Mr. Poitier’s characters are somewhat stilted grown-ups who deliver the movie’s didactic message: His character has experienced the French respect for American culture; now it’s time for him to reclaim his birthright and fight for respect back home.

High-Def Digest notes:

Ritt steers the movie in such a way that it develops the semblance of a plot, but really the film just becomes a collection of loosely connected moments that establish a thematic framework set around the pursuit of happiness, and how that, for good or bad, sometimes means not merely venturing off the beaten path, but actively avoiding it all together.
This notion of art and music as an indulgent stimulant that’s worthy of someone’s obsession (and even their dependence) is given credence in the film’s liveliest moment: when famed trumpeter Wild Man Moore – played by famed trumpeter Louis Armstrong – crashes Ram and Eddie’s club for a friendly, impromptu challenge/celebration of jazz and music itself. As if an appearance by Armstrong wasn’t enough, the film continues its exploration into the love of music by also featuring a score by the famed Duke Ellington (for which he received an Academy Award nomination).
Ellington’s score is another sign that “Paris Blues” may hold all the standard trappings of a romantic feature – having two of the most attractive male stars of the time in leading roles will do that for a picture – but it isn’t really interested in telling a conventional romance at all. This is a film that features characters who are in love with the idea of love, a construct that’s no less intangible than their seemingly impossible hopes and dreams.
In the end, “Paris Blues” suggests the truest love isn’t necessarily found in another person, but rather it is found in that which you simply cannot live without.

Want to keep up with the best in Bay Area jazz and blues?
Subscribe to me: Have our jazz and blues Examiner columns sent to your inbox. Click the SUBSCRIBE button on this page. It’s free. (And I won’t spam you or give out your information.) Bookmark me:http://www.examiner.com/jazz-music-in-oakland/brian-mccoy.CONTACT ME FOR YOUR JAZZ AND ARTS GRANT WRITING NEEDS

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Copyright (C) 2014 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight

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** Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight
————————————————————

**
————————————————————

Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and EMI – have been reduced to
NICK HASTED (http://www.independent.co.uk/biography/nick-hasted-8504698.html) Author Biography

Friday 15 August 2014

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The jazz label has changed since its inception 75 years ago. But it hasn’t lost touch with its roots.
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Blue Note, one of the greatest indie labels ever, was founded 75 years ago. What Motown was to soul, Blue Note was to jazz: synonymous with a sound it not only released, but defined. Its anniversary celebrations are therefore stretching through 2014, with November alone seeing the release of a lavishly illustrated book, Uncompromising Expression, a singles box-set and commemorative gigs. One-hundred key albums are also being reissued on vinyl and download.

But Blue Note now is not Blue Note then. The label founded in New York in 1939 by the Berlin émigré Alfred Lion out of a pure love for jazz ceased to be independent when he sold it in 1966, and closed in 1979. Revived by EMI in 1984, a corporate merger shunted it into the Universal Music Group in 2012. Its current roster includes Elvis Costello, Van Morrison, Norah Jones and Roseanne Cash, whose jazz credentials range from some to none.

But, somehow, Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and even EMI – have been reduced to. The Blue Note blowing out its birthday candles this year doesn’t feel like a fake.

Don Was, the former Was (Not Was) musician and Blue Note boss since 2011, believes its corporate present still connects to its past. “Alfred Lion and his partners wrote a manifesto in 1939,” he says. “They dedicated themselves to providing an avenue for artists to express themselves in uncompromised fashion. Alfred also had a sense that when you’re doing improvised music, you’re supposed to do it differently every time, and he mirrored that in the label.

“So for me, Van Morrison steppin’ up to the microphone and delivering a song is not that different to [saxophonist] Wayne Shorter doing it. They may use different modes, but I don’t think the label should discriminate on that level. I’m looking for an emotional impact, a unique point of view, and good groove. And that’s kind of it.”

Credit: (Getty Images)

The Lion “manifesto” Was refers to was more specific, committing Blue Note to “the uncompromised expression of hot jazz and swing”. Jazz styles changed, but the label gained its own, unmistakable look and sound. Lion produced sessions with a fan’s passionate instinct. His friend and fellow Berlin Jew Francis Wolff, who took “the last boat” from Nazi Germany to New York in September 1939, added his business sense and took evocative photographs in the studio.

Starting in 1956, Reid Miles wove strikingly stark, modern LP designs around these photos of working musicians. A current Blue Note artist, the intense and lyrical young trumpeter Ambrose Akinmusire, has recalled the importance of such pictures in his desire to play jazz. “When I look at those old photos of black guys in the 1950s and 1960s and the social problems they had to live through, and the pride and resilience on their faces,” he told Jazzwise magazine, “why wouldn’t I want to be connected to that?”

Equally crucial was the engineer Rudy Van Gelder’s precise and atmospheric recording of the music, initially in a studio in his parents’ New Jersey front room. “A Van Gelder piano chord is even more instantly identifiable than the style of the pianist who’s playing it,” Richard Cook wrote in Blue Note Records: The Biography.

This quartet’s tireless work was the recognisable frame around the “hard bop” style musicians such as the drummer Art Blakey and the pianist Horace Silver developed over dozens of Blue Note dates, returning elements of gospel and blues to jazz, and dominating it in the 1950s and early 1960s. A recent LP reissue, Silver’s Song for My Father, lets you admire Wolff’s warm cover photo of Silver’s dad as you listen to the music’s soulful, surprising ideas, and drop in to Blue Note’s complete, capacious world.

Alfred Lion retired in 1967, and Francis Wolff died in 1971. Without them Blue Note expired, out of touch and unmourned. But its peak years left behind a depth of affection which was, it turned out, only dormant. When the music business veteran Bruce Lundvall resurrected the label for EMI, his own love for its legacy helped shield it from harm.

His new signings included Norah Jones, whose 2002 debut album, Come Away with Me, sold 26 million copies. Jones wasn’t jazz, but she demanded to be on Blue Note. Her success has subsidised it ever since. “The patron saint of jazz for the last 10 years has been Norah Jones,” Was laughs. “Norah enabled a lot of cool music to be made. She’s the Medici of Blue Note jazz.”

Blue Note is no longer independent, nor solely a jazz label. It has survived by diluting what made it distinct. But the label still tends roots that Lion would recognise. The Robert Glasper Experiment’s album Black Radio (2012) was a Grammy-winning US bestseller, adding hip- hop and nu-soul singers such as Erykah Badu to the jazz keyboardist Glasper’s sound.

The powerhouse soul-jazz singer Gregory Porter, meanwhile, signed to Universal just before it acquired Blue Note, arriving by a corporate accident at his natural home.

“Robert Glasper is very much in the tradition of Blue Note jazz heroes,” Was believes. “If you go back to Herbie [Hancock] and Wayne [Shorter] in the 1960s, those guys were reflecting the times they lived in, and Robert does the same thing. He plays his life. So if he’s playing Thelonious Monk’s “Well, You Needn’t”, in his jazz stream of consciousness a J. Dilla rap record is going to make its way in, as it should. And Gregory’s sold 500,000 of his album, Liquid Spirit. He has transcended, at least financially, the parameters of jazz.

“Through all the different management regimes, people dug having Blue Note there,” Was concludes, considering the corporate survival of Lion’s proud little label.

“All Lucian Grainge, of Universal Music, has really said to me is, ‘Keep making tasteful records.’ That’s my directive, from the head. I haven’t had a problem.”

The next Blue Note reissues are out on LP and download on 25 August. ‘Uncompromising Expression’ is published by Thames and Hudson on 3 November. Blue Note release a box-set of that name the same day.

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Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight

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** Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight
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**
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Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and EMI – have been reduced to
NICK HASTED (http://www.independent.co.uk/biography/nick-hasted-8504698.html) Author Biography

Friday 15 August 2014

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The jazz label has changed since its inception 75 years ago. But it hasn’t lost touch with its roots.
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Blue Note, one of the greatest indie labels ever, was founded 75 years ago. What Motown was to soul, Blue Note was to jazz: synonymous with a sound it not only released, but defined. Its anniversary celebrations are therefore stretching through 2014, with November alone seeing the release of a lavishly illustrated book, Uncompromising Expression, a singles box-set and commemorative gigs. One-hundred key albums are also being reissued on vinyl and download.

But Blue Note now is not Blue Note then. The label founded in New York in 1939 by the Berlin émigré Alfred Lion out of a pure love for jazz ceased to be independent when he sold it in 1966, and closed in 1979. Revived by EMI in 1984, a corporate merger shunted it into the Universal Music Group in 2012. Its current roster includes Elvis Costello, Van Morrison, Norah Jones and Roseanne Cash, whose jazz credentials range from some to none.

But, somehow, Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and even EMI – have been reduced to. The Blue Note blowing out its birthday candles this year doesn’t feel like a fake.

Don Was, the former Was (Not Was) musician and Blue Note boss since 2011, believes its corporate present still connects to its past. “Alfred Lion and his partners wrote a manifesto in 1939,” he says. “They dedicated themselves to providing an avenue for artists to express themselves in uncompromised fashion. Alfred also had a sense that when you’re doing improvised music, you’re supposed to do it differently every time, and he mirrored that in the label.

“So for me, Van Morrison steppin’ up to the microphone and delivering a song is not that different to [saxophonist] Wayne Shorter doing it. They may use different modes, but I don’t think the label should discriminate on that level. I’m looking for an emotional impact, a unique point of view, and good groove. And that’s kind of it.”

Credit: (Getty Images)

The Lion “manifesto” Was refers to was more specific, committing Blue Note to “the uncompromised expression of hot jazz and swing”. Jazz styles changed, but the label gained its own, unmistakable look and sound. Lion produced sessions with a fan’s passionate instinct. His friend and fellow Berlin Jew Francis Wolff, who took “the last boat” from Nazi Germany to New York in September 1939, added his business sense and took evocative photographs in the studio.

Starting in 1956, Reid Miles wove strikingly stark, modern LP designs around these photos of working musicians. A current Blue Note artist, the intense and lyrical young trumpeter Ambrose Akinmusire, has recalled the importance of such pictures in his desire to play jazz. “When I look at those old photos of black guys in the 1950s and 1960s and the social problems they had to live through, and the pride and resilience on their faces,” he told Jazzwise magazine, “why wouldn’t I want to be connected to that?”

Equally crucial was the engineer Rudy Van Gelder’s precise and atmospheric recording of the music, initially in a studio in his parents’ New Jersey front room. “A Van Gelder piano chord is even more instantly identifiable than the style of the pianist who’s playing it,” Richard Cook wrote in Blue Note Records: The Biography.

This quartet’s tireless work was the recognisable frame around the “hard bop” style musicians such as the drummer Art Blakey and the pianist Horace Silver developed over dozens of Blue Note dates, returning elements of gospel and blues to jazz, and dominating it in the 1950s and early 1960s. A recent LP reissue, Silver’s Song for My Father, lets you admire Wolff’s warm cover photo of Silver’s dad as you listen to the music’s soulful, surprising ideas, and drop in to Blue Note’s complete, capacious world.

Alfred Lion retired in 1967, and Francis Wolff died in 1971. Without them Blue Note expired, out of touch and unmourned. But its peak years left behind a depth of affection which was, it turned out, only dormant. When the music business veteran Bruce Lundvall resurrected the label for EMI, his own love for its legacy helped shield it from harm.

His new signings included Norah Jones, whose 2002 debut album, Come Away with Me, sold 26 million copies. Jones wasn’t jazz, but she demanded to be on Blue Note. Her success has subsidised it ever since. “The patron saint of jazz for the last 10 years has been Norah Jones,” Was laughs. “Norah enabled a lot of cool music to be made. She’s the Medici of Blue Note jazz.”

Blue Note is no longer independent, nor solely a jazz label. It has survived by diluting what made it distinct. But the label still tends roots that Lion would recognise. The Robert Glasper Experiment’s album Black Radio (2012) was a Grammy-winning US bestseller, adding hip- hop and nu-soul singers such as Erykah Badu to the jazz keyboardist Glasper’s sound.

The powerhouse soul-jazz singer Gregory Porter, meanwhile, signed to Universal just before it acquired Blue Note, arriving by a corporate accident at his natural home.

“Robert Glasper is very much in the tradition of Blue Note jazz heroes,” Was believes. “If you go back to Herbie [Hancock] and Wayne [Shorter] in the 1960s, those guys were reflecting the times they lived in, and Robert does the same thing. He plays his life. So if he’s playing Thelonious Monk’s “Well, You Needn’t”, in his jazz stream of consciousness a J. Dilla rap record is going to make its way in, as it should. And Gregory’s sold 500,000 of his album, Liquid Spirit. He has transcended, at least financially, the parameters of jazz.

“Through all the different management regimes, people dug having Blue Note there,” Was concludes, considering the corporate survival of Lion’s proud little label.

“All Lucian Grainge, of Universal Music, has really said to me is, ‘Keep making tasteful records.’ That’s my directive, from the head. I haven’t had a problem.”

The next Blue Note reissues are out on LP and download on 25 August. ‘Uncompromising Expression’ is published by Thames and Hudson on 3 November. Blue Note release a box-set of that name the same day.

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Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight

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** Blue Note Records, ‘jazz’s Motown’, on celebrating 75 years in the limelight
————————————————————

**
————————————————————

Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and EMI – have been reduced to
NICK HASTED (http://www.independent.co.uk/biography/nick-hasted-8504698.html) Author Biography

Friday 15 August 2014

20
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The jazz label has changed since its inception 75 years ago. But it hasn’t lost touch with its roots.
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Blue Note, one of the greatest indie labels ever, was founded 75 years ago. What Motown was to soul, Blue Note was to jazz: synonymous with a sound it not only released, but defined. Its anniversary celebrations are therefore stretching through 2014, with November alone seeing the release of a lavishly illustrated book, Uncompromising Expression, a singles box-set and commemorative gigs. One-hundred key albums are also being reissued on vinyl and download.

But Blue Note now is not Blue Note then. The label founded in New York in 1939 by the Berlin émigré Alfred Lion out of a pure love for jazz ceased to be independent when he sold it in 1966, and closed in 1979. Revived by EMI in 1984, a corporate merger shunted it into the Universal Music Group in 2012. Its current roster includes Elvis Costello, Van Morrison, Norah Jones and Roseanne Cash, whose jazz credentials range from some to none.

But, somehow, Blue Note remains more than the shell of a name that other formerly legendary labels – Virgin, Island, Motown and even EMI – have been reduced to. The Blue Note blowing out its birthday candles this year doesn’t feel like a fake.

Don Was, the former Was (Not Was) musician and Blue Note boss since 2011, believes its corporate present still connects to its past. “Alfred Lion and his partners wrote a manifesto in 1939,” he says. “They dedicated themselves to providing an avenue for artists to express themselves in uncompromised fashion. Alfred also had a sense that when you’re doing improvised music, you’re supposed to do it differently every time, and he mirrored that in the label.

“So for me, Van Morrison steppin’ up to the microphone and delivering a song is not that different to [saxophonist] Wayne Shorter doing it. They may use different modes, but I don’t think the label should discriminate on that level. I’m looking for an emotional impact, a unique point of view, and good groove. And that’s kind of it.”

Credit: (Getty Images)

The Lion “manifesto” Was refers to was more specific, committing Blue Note to “the uncompromised expression of hot jazz and swing”. Jazz styles changed, but the label gained its own, unmistakable look and sound. Lion produced sessions with a fan’s passionate instinct. His friend and fellow Berlin Jew Francis Wolff, who took “the last boat” from Nazi Germany to New York in September 1939, added his business sense and took evocative photographs in the studio.

Starting in 1956, Reid Miles wove strikingly stark, modern LP designs around these photos of working musicians. A current Blue Note artist, the intense and lyrical young trumpeter Ambrose Akinmusire, has recalled the importance of such pictures in his desire to play jazz. “When I look at those old photos of black guys in the 1950s and 1960s and the social problems they had to live through, and the pride and resilience on their faces,” he told Jazzwise magazine, “why wouldn’t I want to be connected to that?”

Equally crucial was the engineer Rudy Van Gelder’s precise and atmospheric recording of the music, initially in a studio in his parents’ New Jersey front room. “A Van Gelder piano chord is even more instantly identifiable than the style of the pianist who’s playing it,” Richard Cook wrote in Blue Note Records: The Biography.

This quartet’s tireless work was the recognisable frame around the “hard bop” style musicians such as the drummer Art Blakey and the pianist Horace Silver developed over dozens of Blue Note dates, returning elements of gospel and blues to jazz, and dominating it in the 1950s and early 1960s. A recent LP reissue, Silver’s Song for My Father, lets you admire Wolff’s warm cover photo of Silver’s dad as you listen to the music’s soulful, surprising ideas, and drop in to Blue Note’s complete, capacious world.

Alfred Lion retired in 1967, and Francis Wolff died in 1971. Without them Blue Note expired, out of touch and unmourned. But its peak years left behind a depth of affection which was, it turned out, only dormant. When the music business veteran Bruce Lundvall resurrected the label for EMI, his own love for its legacy helped shield it from harm.

His new signings included Norah Jones, whose 2002 debut album, Come Away with Me, sold 26 million copies. Jones wasn’t jazz, but she demanded to be on Blue Note. Her success has subsidised it ever since. “The patron saint of jazz for the last 10 years has been Norah Jones,” Was laughs. “Norah enabled a lot of cool music to be made. She’s the Medici of Blue Note jazz.”

Blue Note is no longer independent, nor solely a jazz label. It has survived by diluting what made it distinct. But the label still tends roots that Lion would recognise. The Robert Glasper Experiment’s album Black Radio (2012) was a Grammy-winning US bestseller, adding hip- hop and nu-soul singers such as Erykah Badu to the jazz keyboardist Glasper’s sound.

The powerhouse soul-jazz singer Gregory Porter, meanwhile, signed to Universal just before it acquired Blue Note, arriving by a corporate accident at his natural home.

“Robert Glasper is very much in the tradition of Blue Note jazz heroes,” Was believes. “If you go back to Herbie [Hancock] and Wayne [Shorter] in the 1960s, those guys were reflecting the times they lived in, and Robert does the same thing. He plays his life. So if he’s playing Thelonious Monk’s “Well, You Needn’t”, in his jazz stream of consciousness a J. Dilla rap record is going to make its way in, as it should. And Gregory’s sold 500,000 of his album, Liquid Spirit. He has transcended, at least financially, the parameters of jazz.

“Through all the different management regimes, people dug having Blue Note there,” Was concludes, considering the corporate survival of Lion’s proud little label.

“All Lucian Grainge, of Universal Music, has really said to me is, ‘Keep making tasteful records.’ That’s my directive, from the head. I haven’t had a problem.”

The next Blue Note reissues are out on LP and download on 25 August. ‘Uncompromising Expression’ is published by Thames and Hudson on 3 November. Blue Note release a box-set of that name the same day.

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Let’s Give a Boost to American Jazz, Too – WSJ

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** Let’s Give a Boost to American Jazz, Too
————————————————————

Lawrence A. Johnson, a music critic who also runs a group of web-based classical-music sites, has had a corker of an idea: He’s launched a nonprofit foundation whose purpose is to boost the number of performances of American classical music.

Ellen Surrey

Not only will Mr. Johnson’s foundation commission new compositions and ensure that they get performed and recorded, but—even more interestingly—it will also make grants to musical ensembles and concert presenters that want to perform previously existing works by American composers.

“I’m starting this foundation because I feel American music is underrepresented in American concert halls,” Mr. Johnson said in an interview with Chicago Classical Review, one of his publications. “I think we have a real responsibility to present this music, and I believe many of these works would become standard repertory if audiences only had a chance to hear them.” Part of the problem, he explained, is that “nobody gets excited about doing a second or a third performance. Ninety percent of [new works] disappear.” Hence his plan to underwrite performances of pieces by such important but insufficiently known midcentury modernists as Paul Creston, David Diamond, Irving Fine, Walter Piston and William Schuman, who wrote accessible, impeccably well-made classical works that deserve a second hearing but simply don’t get played nowadays.

I couldn’t approve more. I have only one quibble, and it’s with the name of Mr. Johnson’s foundation, which he calls the American Music Project. Yes, it’s catchy and to the point. But I’m sure Mr. Johnson knows very well that the phrase “American music” doesn’t just mean “American classicalmusic.” As Virgil Thomson once observed, all you have to do to be an American composer is to be born in America, then write whatever you like. Classical and jazz, Broadway shows and bluegrass, hip-hop and zydeco: all fit comfortably under the vast umbrella that is “American music.” To suppose otherwise is to miss part of the point of what it means to live in what Paul Hindemith, the German composer who spent a productive decade living and working in Connecticut, wittily called “the land of limited impossibilities.”

So Mr. Johnson should change the name of his outfit to the American Classical Music Project, right? Maybe not. In fact, I have a better idea. Instead of coming up with a new name, I’d like to see him expand the range of the American Music Project’s activities. Not infinitely—money only stretches so far. But what he could do without altering the AMP beyond recognition is start making grants to composers, performers and presenters who are interested in large-scale jazz composition.

To this day, Duke Ellington is the only jazz composer who is also widely known for writing both large-scale works like “A Tone Parallel to Harlem” and “The Tattooed Bride” and multimovement instrumental suites like “Black, Brown and Beige” and “Such Sweet Thunder.” But he wasn’t the only one who tried his hand at it. After World War II, a considerable number of other jazz musicians started turning out large-scale instrumental pieces that had a scope and expressive weight comparable to that of the best contemporary classical music.

Some of these pieces, like Ralph Burns’s “Summer Sequence” (1946-48), Bill Holman’s “Quartet” (1956), J.J. Johnson’s “Poem for Brass” (1956), George Russell’s “All About Rosie” (1957), Eddie Sauter’s “Focus” (1961), Lalo Schifrin’s “The New Continent” (1962) and Bob Brookmeyer’s “Celebration” (1997), were recorded, but most of them were performed only once or twice, then forgotten. Yet the challenge of formal innovation continues to excite such important jazz composers as Mr. Holman, Darcy James Argue and Maria Schneider, all of whom write large-scale pieces for big band and other instrumental ensembles that are as deserving of attention as the works of their opposite numbers in the world of classical music.

When Aaron Copland, who was both fascinated and influenced by jazz, decided to spin off his posthumous royalties into the Aaron Copland Fund for Music, whose purpose is “to encourage and improve public knowledge and appreciation of contemporary American music,” he made a point of specifying in his will that the fund would support both classical music and jazz. Why, then, can’t the American Music Project do something broadly similar, specifically focusing on large-scale jazz composition?

Two of the members of the AMP’s advisory board, the composer William Bolcom and the conductor Leonard Slatkin, are conversant with both kinds of music. I’m sure they’d see the point of widening the scope of the American Music Project in a way that is compatible with Mr. Johnson’s stated mission of “supporting and underwriting performances of American classical music of the past.” So why not add jazz to the mix? I bet Messrs. Copland and Thomson—not to mention Leonard Bernstein and George Gershwin—would have approved.

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Let’s Give a Boost to American Jazz, Too – WSJ

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://online.wsj.com/articles/lets-give-a-boost-to-american-jazz-too-1408068284

** Let’s Give a Boost to American Jazz, Too
————————————————————

Lawrence A. Johnson, a music critic who also runs a group of web-based classical-music sites, has had a corker of an idea: He’s launched a nonprofit foundation whose purpose is to boost the number of performances of American classical music.

Ellen Surrey

Not only will Mr. Johnson’s foundation commission new compositions and ensure that they get performed and recorded, but—even more interestingly—it will also make grants to musical ensembles and concert presenters that want to perform previously existing works by American composers.

“I’m starting this foundation because I feel American music is underrepresented in American concert halls,” Mr. Johnson said in an interview with Chicago Classical Review, one of his publications. “I think we have a real responsibility to present this music, and I believe many of these works would become standard repertory if audiences only had a chance to hear them.” Part of the problem, he explained, is that “nobody gets excited about doing a second or a third performance. Ninety percent of [new works] disappear.” Hence his plan to underwrite performances of pieces by such important but insufficiently known midcentury modernists as Paul Creston, David Diamond, Irving Fine, Walter Piston and William Schuman, who wrote accessible, impeccably well-made classical works that deserve a second hearing but simply don’t get played nowadays.

I couldn’t approve more. I have only one quibble, and it’s with the name of Mr. Johnson’s foundation, which he calls the American Music Project. Yes, it’s catchy and to the point. But I’m sure Mr. Johnson knows very well that the phrase “American music” doesn’t just mean “American classicalmusic.” As Virgil Thomson once observed, all you have to do to be an American composer is to be born in America, then write whatever you like. Classical and jazz, Broadway shows and bluegrass, hip-hop and zydeco: all fit comfortably under the vast umbrella that is “American music.” To suppose otherwise is to miss part of the point of what it means to live in what Paul Hindemith, the German composer who spent a productive decade living and working in Connecticut, wittily called “the land of limited impossibilities.”

So Mr. Johnson should change the name of his outfit to the American Classical Music Project, right? Maybe not. In fact, I have a better idea. Instead of coming up with a new name, I’d like to see him expand the range of the American Music Project’s activities. Not infinitely—money only stretches so far. But what he could do without altering the AMP beyond recognition is start making grants to composers, performers and presenters who are interested in large-scale jazz composition.

To this day, Duke Ellington is the only jazz composer who is also widely known for writing both large-scale works like “A Tone Parallel to Harlem” and “The Tattooed Bride” and multimovement instrumental suites like “Black, Brown and Beige” and “Such Sweet Thunder.” But he wasn’t the only one who tried his hand at it. After World War II, a considerable number of other jazz musicians started turning out large-scale instrumental pieces that had a scope and expressive weight comparable to that of the best contemporary classical music.

Some of these pieces, like Ralph Burns’s “Summer Sequence” (1946-48), Bill Holman’s “Quartet” (1956), J.J. Johnson’s “Poem for Brass” (1956), George Russell’s “All About Rosie” (1957), Eddie Sauter’s “Focus” (1961), Lalo Schifrin’s “The New Continent” (1962) and Bob Brookmeyer’s “Celebration” (1997), were recorded, but most of them were performed only once or twice, then forgotten. Yet the challenge of formal innovation continues to excite such important jazz composers as Mr. Holman, Darcy James Argue and Maria Schneider, all of whom write large-scale pieces for big band and other instrumental ensembles that are as deserving of attention as the works of their opposite numbers in the world of classical music.

When Aaron Copland, who was both fascinated and influenced by jazz, decided to spin off his posthumous royalties into the Aaron Copland Fund for Music, whose purpose is “to encourage and improve public knowledge and appreciation of contemporary American music,” he made a point of specifying in his will that the fund would support both classical music and jazz. Why, then, can’t the American Music Project do something broadly similar, specifically focusing on large-scale jazz composition?

Two of the members of the AMP’s advisory board, the composer William Bolcom and the conductor Leonard Slatkin, are conversant with both kinds of music. I’m sure they’d see the point of widening the scope of the American Music Project in a way that is compatible with Mr. Johnson’s stated mission of “supporting and underwriting performances of American classical music of the past.” So why not add jazz to the mix? I bet Messrs. Copland and Thomson—not to mention Leonard Bernstein and George Gershwin—would have approved.

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Let’s Give a Boost to American Jazz, Too – WSJ

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** Let’s Give a Boost to American Jazz, Too
————————————————————

Lawrence A. Johnson, a music critic who also runs a group of web-based classical-music sites, has had a corker of an idea: He’s launched a nonprofit foundation whose purpose is to boost the number of performances of American classical music.

Ellen Surrey

Not only will Mr. Johnson’s foundation commission new compositions and ensure that they get performed and recorded, but—even more interestingly—it will also make grants to musical ensembles and concert presenters that want to perform previously existing works by American composers.

“I’m starting this foundation because I feel American music is underrepresented in American concert halls,” Mr. Johnson said in an interview with Chicago Classical Review, one of his publications. “I think we have a real responsibility to present this music, and I believe many of these works would become standard repertory if audiences only had a chance to hear them.” Part of the problem, he explained, is that “nobody gets excited about doing a second or a third performance. Ninety percent of [new works] disappear.” Hence his plan to underwrite performances of pieces by such important but insufficiently known midcentury modernists as Paul Creston, David Diamond, Irving Fine, Walter Piston and William Schuman, who wrote accessible, impeccably well-made classical works that deserve a second hearing but simply don’t get played nowadays.

I couldn’t approve more. I have only one quibble, and it’s with the name of Mr. Johnson’s foundation, which he calls the American Music Project. Yes, it’s catchy and to the point. But I’m sure Mr. Johnson knows very well that the phrase “American music” doesn’t just mean “American classicalmusic.” As Virgil Thomson once observed, all you have to do to be an American composer is to be born in America, then write whatever you like. Classical and jazz, Broadway shows and bluegrass, hip-hop and zydeco: all fit comfortably under the vast umbrella that is “American music.” To suppose otherwise is to miss part of the point of what it means to live in what Paul Hindemith, the German composer who spent a productive decade living and working in Connecticut, wittily called “the land of limited impossibilities.”

So Mr. Johnson should change the name of his outfit to the American Classical Music Project, right? Maybe not. In fact, I have a better idea. Instead of coming up with a new name, I’d like to see him expand the range of the American Music Project’s activities. Not infinitely—money only stretches so far. But what he could do without altering the AMP beyond recognition is start making grants to composers, performers and presenters who are interested in large-scale jazz composition.

To this day, Duke Ellington is the only jazz composer who is also widely known for writing both large-scale works like “A Tone Parallel to Harlem” and “The Tattooed Bride” and multimovement instrumental suites like “Black, Brown and Beige” and “Such Sweet Thunder.” But he wasn’t the only one who tried his hand at it. After World War II, a considerable number of other jazz musicians started turning out large-scale instrumental pieces that had a scope and expressive weight comparable to that of the best contemporary classical music.

Some of these pieces, like Ralph Burns’s “Summer Sequence” (1946-48), Bill Holman’s “Quartet” (1956), J.J. Johnson’s “Poem for Brass” (1956), George Russell’s “All About Rosie” (1957), Eddie Sauter’s “Focus” (1961), Lalo Schifrin’s “The New Continent” (1962) and Bob Brookmeyer’s “Celebration” (1997), were recorded, but most of them were performed only once or twice, then forgotten. Yet the challenge of formal innovation continues to excite such important jazz composers as Mr. Holman, Darcy James Argue and Maria Schneider, all of whom write large-scale pieces for big band and other instrumental ensembles that are as deserving of attention as the works of their opposite numbers in the world of classical music.

When Aaron Copland, who was both fascinated and influenced by jazz, decided to spin off his posthumous royalties into the Aaron Copland Fund for Music, whose purpose is “to encourage and improve public knowledge and appreciation of contemporary American music,” he made a point of specifying in his will that the fund would support both classical music and jazz. Why, then, can’t the American Music Project do something broadly similar, specifically focusing on large-scale jazz composition?

Two of the members of the AMP’s advisory board, the composer William Bolcom and the conductor Leonard Slatkin, are conversant with both kinds of music. I’m sure they’d see the point of widening the scope of the American Music Project in a way that is compatible with Mr. Johnson’s stated mission of “supporting and underwriting performances of American classical music of the past.” So why not add jazz to the mix? I bet Messrs. Copland and Thomson—not to mention Leonard Bernstein and George Gershwin—would have approved.

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The (almost) unknown art of Miles Davis | Dangerous Minds

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THE (ALMOST) UNKNOWN ART OF MILES DAVIS

08.15.2014
06:32 am

Topics:
Art (http://dangerousminds.net/categories/category/Art)

Tags:
Miles Davis (http://dangerousminds.net/tag/Miles-Davis)

Although his art would adorn one of his record releases from time to time, Miles Davis didn’t begin to draw and paint in earnest until he was in his mid-fifties, during the early 1980s and a period of musical inactivity. Miles being Miles, he didn’t merely dabble, but made creating art as much a part of his life as making music in his final decade. He was said to have worked obsessively each day on art when he wasn’t touring and he studied regularly with New York painter Jo Gelbard.

His style was a sharp, bold and masculine mixture of Kandinsky, Jean-Michel Basquiat, Picasso and African tribal art. I also find his work puts me in mind of the output of painter Phil Frost.

Davis’ paintings weren’t exhibited much during his lifetime, but since his death in 1991, his estate has mounted several traveling gallery and museum shows. Quincy Jones is known to own a number of Miles’ canvases. In 2013, Miles Davis: The Collected Artwork (http://www.amazon.com/gp/product/1608872238/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1608872238&linkCode=as2&tag=dangeminds-20&linkId=IPCQ3MMIXIWDTAA5) was published.

“I’ve been painting and sketching all my life. Also, for my tailor I used to draw my suits, ‘cause he couldn’t speak English.”

“It’s like therapy for me, and keeps my mind occupied with something positive when I’m not playing music.”

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The (almost) unknown art of Miles Davis | Dangerous Minds

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THE (ALMOST) UNKNOWN ART OF MILES DAVIS

08.15.2014
06:32 am

Topics:
Art (http://dangerousminds.net/categories/category/Art)

Tags:
Miles Davis (http://dangerousminds.net/tag/Miles-Davis)

Although his art would adorn one of his record releases from time to time, Miles Davis didn’t begin to draw and paint in earnest until he was in his mid-fifties, during the early 1980s and a period of musical inactivity. Miles being Miles, he didn’t merely dabble, but made creating art as much a part of his life as making music in his final decade. He was said to have worked obsessively each day on art when he wasn’t touring and he studied regularly with New York painter Jo Gelbard.

His style was a sharp, bold and masculine mixture of Kandinsky, Jean-Michel Basquiat, Picasso and African tribal art. I also find his work puts me in mind of the output of painter Phil Frost.

Davis’ paintings weren’t exhibited much during his lifetime, but since his death in 1991, his estate has mounted several traveling gallery and museum shows. Quincy Jones is known to own a number of Miles’ canvases. In 2013, Miles Davis: The Collected Artwork (http://www.amazon.com/gp/product/1608872238/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1608872238&linkCode=as2&tag=dangeminds-20&linkId=IPCQ3MMIXIWDTAA5) was published.

“I’ve been painting and sketching all my life. Also, for my tailor I used to draw my suits, ‘cause he couldn’t speak English.”

“It’s like therapy for me, and keeps my mind occupied with something positive when I’m not playing music.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=490e2018ae) | 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=490e2018ae&e=[UNIQID])

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The (almost) unknown art of Miles Davis | Dangerous Minds

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THE (ALMOST) UNKNOWN ART OF MILES DAVIS

08.15.2014
06:32 am

Topics:
Art (http://dangerousminds.net/categories/category/Art)

Tags:
Miles Davis (http://dangerousminds.net/tag/Miles-Davis)

Although his art would adorn one of his record releases from time to time, Miles Davis didn’t begin to draw and paint in earnest until he was in his mid-fifties, during the early 1980s and a period of musical inactivity. Miles being Miles, he didn’t merely dabble, but made creating art as much a part of his life as making music in his final decade. He was said to have worked obsessively each day on art when he wasn’t touring and he studied regularly with New York painter Jo Gelbard.

His style was a sharp, bold and masculine mixture of Kandinsky, Jean-Michel Basquiat, Picasso and African tribal art. I also find his work puts me in mind of the output of painter Phil Frost.

Davis’ paintings weren’t exhibited much during his lifetime, but since his death in 1991, his estate has mounted several traveling gallery and museum shows. Quincy Jones is known to own a number of Miles’ canvases. In 2013, Miles Davis: The Collected Artwork (http://www.amazon.com/gp/product/1608872238/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1608872238&linkCode=as2&tag=dangeminds-20&linkId=IPCQ3MMIXIWDTAA5) was published.

“I’ve been painting and sketching all my life. Also, for my tailor I used to draw my suits, ‘cause he couldn’t speak English.”

“It’s like therapy for me, and keeps my mind occupied with something positive when I’m not playing music.”

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=490e2018ae) | 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=490e2018ae&e=[UNIQID])

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At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents – NYTimes.com

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** At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents
————————————————————

Photo
The pianist Cecil Taylor, second from left, and District Attorney Kenneth P. Thompson of Brooklyn, third from left, on Tuesday. Credit Chester Higgins Jr./The New York Times

Cecil Taylor, the jazz pianist known for his wild improvisations (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) and free-form performances, was sitting next to the Brooklyn district attorney on Tuesday. The stated purpose was a news conference on the arrest of an acquaintance who was accused of bilking Mr. Taylor of $500,000 in prize money (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize) .

But Mr. Taylor did not want to talk about the case.

He wanted to talk about the quality of trees on the train ride between Tokyo and Kyoto, the Kabuki dancers he had once seen in a Balanchine ballet, the conductor Pierre Boulez.

As he riffed and the reporters, with their notepads and video cameras at the ready, tried to get a more linear response, the resulting give-and-take was a piece of performance art in itself. The money accompanied the Kyoto Prize, administered by Japan’s Inamori Foundation, which last year described him as “one of the most original pianists in the history of jazz,” praising his “distinctive musical constructions and percussive renditions.”

Mr. Taylor did not need a piano to display his talent for improvisation. He opened by humming before taking questions, most of them concerning the arrest of Noel Muir, who was charged with second-degree grand larceny.
Photo

Mr. Taylor performing at the JVC Jazz Festival concert in New York in 2008. He won the Kyoto Prize last year. Credit Jack Vartoogian/FrontRowPhotos

How did you know this man, Mr. Muir? one reporter asked.

“I don’t want to talk about that,” Mr. Taylor, 85, said.

How did you find out about the fraud? one asked.

“I had friends working on it; they’re here right now,” Mr. Taylor said. “I’ve had a good time in my life. Mostly I did because I asked my mother for piano lessons when I was 5, and she said, ‘I’ll think about it,’ ” Mr. Taylor said. That led to a lively tale, narrated in his growl of a voice, about his mother’s telling him he could be a doctor or a lawyer, rapping his knuckles when he first set his hand to the piano, then telling him he had to practice six days a week.

Mr. Muir was with you on the Kyoto trip? a reporter asked.

“Yes, but that wasn’t important,” Mr. Taylor said.

Asked about what receiving the award was like, Mr. Taylor said “it was a thrilling moment,” though he had also received a MacArthur fellowship and a Guggenheim fellowship, and then, suddenly, he was talking about playing a nine-foot Bösendorfer piano in the basement of — here a reporter’s notes got hazy, finishing with the quote, “I had fun.”

His opinion of Mr. Muir now?

“Nothing. Does not exist,” he said. “What is painful in your life if you have friends? That’s what friends are for. How unhappy he must be, but that’s on him.”

Prosecutors said that Mr. Muir, a contractor working on the Fort Greene brownstone next to Mr. Taylor’s, struck up a friendship.

Mr. Muir helped him prepare for the Kyoto trip last November. But before they left, Mr. Muir opened a Citibank account that he controlled, a law enforcement official said. The official said he then emailed the foundation, directing it to put the prize money into that account, which Mr. Muir said was named the Cecil Taylor Foundation; in fact, the name on the account was the defendant’s construction company. The account is now depleted. Mr. Muir took out some of the money in cash, and spent the rest on his construction business, the law enforcement official said.

Mr. Muir turned himself in on Tuesday; he had not been arraigned Tuesday afternoon. Mr. Muir’s lawyer declined to comment.

“It’s a strong case,” the district attorney, Kenneth P. Thompson, said Tuesday. “He should not have been ripped off, and we’re going to do something about it.”

Mr. Thompson’s office has also filed a civil-asset forfeiture proceeding against Mr. Muir to try to get the funds back. “We are determined to get every dime back for Mr. Taylor that was taken from him,” Mr. Thompson said.

As Mr. Taylor took questions, one reporter asked, “Are you performing?” Mr. Taylor said he had no performances scheduled at the moment. But on Tuesday, at least, Mr. Taylor could be seen in fine improvisational form on the 19th floor of the Kings County district attorney’s office.

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At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents – NYTimes.com

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http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html?emcp~%1F%40=&nlid=16833052&%D5I4N%91n%F0H%C0%DC%C8%5D%83Gs%C8%CA%05%A4%85%40PG%16%99Ew%00%07%81%C0%03y%A6%B1=&_r=0 (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html?emcp~%1F%40=&nlid=16833052&%D5I4N%91n%F0H%C0%DC%C8%5D%83Gs%C8%CA%05%A4%85%40PG%16%99Ew%00%07%81%C0%03y%A6%B1=&_r=0)

** At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents
————————————————————

Photo
The pianist Cecil Taylor, second from left, and District Attorney Kenneth P. Thompson of Brooklyn, third from left, on Tuesday. Credit Chester Higgins Jr./The New York Times

Cecil Taylor, the jazz pianist known for his wild improvisations (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) and free-form performances, was sitting next to the Brooklyn district attorney on Tuesday. The stated purpose was a news conference on the arrest of an acquaintance who was accused of bilking Mr. Taylor of $500,000 in prize money (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize) .

But Mr. Taylor did not want to talk about the case.

He wanted to talk about the quality of trees on the train ride between Tokyo and Kyoto, the Kabuki dancers he had once seen in a Balanchine ballet, the conductor Pierre Boulez.

As he riffed and the reporters, with their notepads and video cameras at the ready, tried to get a more linear response, the resulting give-and-take was a piece of performance art in itself. The money accompanied the Kyoto Prize, administered by Japan’s Inamori Foundation, which last year described him as “one of the most original pianists in the history of jazz,” praising his “distinctive musical constructions and percussive renditions.”

Mr. Taylor did not need a piano to display his talent for improvisation. He opened by humming before taking questions, most of them concerning the arrest of Noel Muir, who was charged with second-degree grand larceny.
Photo

Mr. Taylor performing at the JVC Jazz Festival concert in New York in 2008. He won the Kyoto Prize last year. Credit Jack Vartoogian/FrontRowPhotos

How did you know this man, Mr. Muir? one reporter asked.

“I don’t want to talk about that,” Mr. Taylor, 85, said.

How did you find out about the fraud? one asked.

“I had friends working on it; they’re here right now,” Mr. Taylor said. “I’ve had a good time in my life. Mostly I did because I asked my mother for piano lessons when I was 5, and she said, ‘I’ll think about it,’ ” Mr. Taylor said. That led to a lively tale, narrated in his growl of a voice, about his mother’s telling him he could be a doctor or a lawyer, rapping his knuckles when he first set his hand to the piano, then telling him he had to practice six days a week.

Mr. Muir was with you on the Kyoto trip? a reporter asked.

“Yes, but that wasn’t important,” Mr. Taylor said.

Asked about what receiving the award was like, Mr. Taylor said “it was a thrilling moment,” though he had also received a MacArthur fellowship and a Guggenheim fellowship, and then, suddenly, he was talking about playing a nine-foot Bösendorfer piano in the basement of — here a reporter’s notes got hazy, finishing with the quote, “I had fun.”

His opinion of Mr. Muir now?

“Nothing. Does not exist,” he said. “What is painful in your life if you have friends? That’s what friends are for. How unhappy he must be, but that’s on him.”

Prosecutors said that Mr. Muir, a contractor working on the Fort Greene brownstone next to Mr. Taylor’s, struck up a friendship.

Mr. Muir helped him prepare for the Kyoto trip last November. But before they left, Mr. Muir opened a Citibank account that he controlled, a law enforcement official said. The official said he then emailed the foundation, directing it to put the prize money into that account, which Mr. Muir said was named the Cecil Taylor Foundation; in fact, the name on the account was the defendant’s construction company. The account is now depleted. Mr. Muir took out some of the money in cash, and spent the rest on his construction business, the law enforcement official said.

Mr. Muir turned himself in on Tuesday; he had not been arraigned Tuesday afternoon. Mr. Muir’s lawyer declined to comment.

“It’s a strong case,” the district attorney, Kenneth P. Thompson, said Tuesday. “He should not have been ripped off, and we’re going to do something about it.”

Mr. Thompson’s office has also filed a civil-asset forfeiture proceeding against Mr. Muir to try to get the funds back. “We are determined to get every dime back for Mr. Taylor that was taken from him,” Mr. Thompson said.

As Mr. Taylor took questions, one reporter asked, “Are you performing?” Mr. Taylor said he had no performances scheduled at the moment. But on Tuesday, at least, Mr. Taylor could be seen in fine improvisational form on the 19th floor of the Kings County district attorney’s office.

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At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents – NYTimes.com

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http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html?emcp~%1F%40=&nlid=16833052&%D5I4N%91n%F0H%C0%DC%C8%5D%83Gs%C8%CA%05%A4%85%40PG%16%99Ew%00%07%81%C0%03y%A6%B1=&_r=0 (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html?emcp~%1F%40=&nlid=16833052&%D5I4N%91n%F0H%C0%DC%C8%5D%83Gs%C8%CA%05%A4%85%40PG%16%99Ew%00%07%81%C0%03y%A6%B1=&_r=0)

** At News Conference on His Stolen Prize Money, Pianist Shows Improv Talents
————————————————————

Photo
The pianist Cecil Taylor, second from left, and District Attorney Kenneth P. Thompson of Brooklyn, third from left, on Tuesday. Credit Chester Higgins Jr./The New York Times

Cecil Taylor, the jazz pianist known for his wild improvisations (http://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html) and free-form performances, was sitting next to the Brooklyn district attorney on Tuesday. The stated purpose was a news conference on the arrest of an acquaintance who was accused of bilking Mr. Taylor of $500,000 in prize money (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize) .

But Mr. Taylor did not want to talk about the case.

He wanted to talk about the quality of trees on the train ride between Tokyo and Kyoto, the Kabuki dancers he had once seen in a Balanchine ballet, the conductor Pierre Boulez.

As he riffed and the reporters, with their notepads and video cameras at the ready, tried to get a more linear response, the resulting give-and-take was a piece of performance art in itself. The money accompanied the Kyoto Prize, administered by Japan’s Inamori Foundation, which last year described him as “one of the most original pianists in the history of jazz,” praising his “distinctive musical constructions and percussive renditions.”

Mr. Taylor did not need a piano to display his talent for improvisation. He opened by humming before taking questions, most of them concerning the arrest of Noel Muir, who was charged with second-degree grand larceny.
Photo

Mr. Taylor performing at the JVC Jazz Festival concert in New York in 2008. He won the Kyoto Prize last year. Credit Jack Vartoogian/FrontRowPhotos

How did you know this man, Mr. Muir? one reporter asked.

“I don’t want to talk about that,” Mr. Taylor, 85, said.

How did you find out about the fraud? one asked.

“I had friends working on it; they’re here right now,” Mr. Taylor said. “I’ve had a good time in my life. Mostly I did because I asked my mother for piano lessons when I was 5, and she said, ‘I’ll think about it,’ ” Mr. Taylor said. That led to a lively tale, narrated in his growl of a voice, about his mother’s telling him he could be a doctor or a lawyer, rapping his knuckles when he first set his hand to the piano, then telling him he had to practice six days a week.

Mr. Muir was with you on the Kyoto trip? a reporter asked.

“Yes, but that wasn’t important,” Mr. Taylor said.

Asked about what receiving the award was like, Mr. Taylor said “it was a thrilling moment,” though he had also received a MacArthur fellowship and a Guggenheim fellowship, and then, suddenly, he was talking about playing a nine-foot Bösendorfer piano in the basement of — here a reporter’s notes got hazy, finishing with the quote, “I had fun.”

His opinion of Mr. Muir now?

“Nothing. Does not exist,” he said. “What is painful in your life if you have friends? That’s what friends are for. How unhappy he must be, but that’s on him.”

Prosecutors said that Mr. Muir, a contractor working on the Fort Greene brownstone next to Mr. Taylor’s, struck up a friendship.

Mr. Muir helped him prepare for the Kyoto trip last November. But before they left, Mr. Muir opened a Citibank account that he controlled, a law enforcement official said. The official said he then emailed the foundation, directing it to put the prize money into that account, which Mr. Muir said was named the Cecil Taylor Foundation; in fact, the name on the account was the defendant’s construction company. The account is now depleted. Mr. Muir took out some of the money in cash, and spent the rest on his construction business, the law enforcement official said.

Mr. Muir turned himself in on Tuesday; he had not been arraigned Tuesday afternoon. Mr. Muir’s lawyer declined to comment.

“It’s a strong case,” the district attorney, Kenneth P. Thompson, said Tuesday. “He should not have been ripped off, and we’re going to do something about it.”

Mr. Thompson’s office has also filed a civil-asset forfeiture proceeding against Mr. Muir to try to get the funds back. “We are determined to get every dime back for Mr. Taylor that was taken from him,” Mr. Thompson said.

As Mr. Taylor took questions, one reporter asked, “Are you performing?” Mr. Taylor said he had no performances scheduled at the moment. But on Tuesday, at least, Mr. Taylor could be seen in fine improvisational form on the 19th floor of the Kings County district attorney’s office.

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Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year | WEMU

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http://wemu.org/post/music-director-linda-yohn-wins-2014-national-jazz-programmer-year

** Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year
————————————————————
http://mediad.publicbroadcasting.net/p/wemu/files/201110/LindaYohn.jpg
89.1, WEMU’s Music Director, Linda Yohn, Wins National Jazz Programmer Of The Year For The Fifth Time

89.1 WEMU’s Music Director, Linda Yohn, was named ‘Jazz Programmer of the Year,’ in a major market Friday, August 8, at theJazzWeek Summit’s annual awards (http://www.jazzweek.com/blog/2014/08/2014-jazzweek-awards-presented-at-jazzweek-summit/) dinner in San Jose, CA. This is the fifth programmer of the year award for Yohn who was nominated in 2006 and 2008 and won four years in a row; 2009, 2010, 2011, and 2012. She was nominated again in 2013 and won again in 2014

WEMU was also one of six nominees for Jazz Station of the Year in a major market, but was a runner up to KSDS in San Diego. JazzWeek’s major market consists of 27 stations across the country.

JazzWeek, celebrating its 12th anniversary in this year, is the weekly online publication dedicated to jazz and jazz radio programming. Nominees are selected by JazzWeek subscribers, including: jazz radio programmers, jazz record company executives and independent jazz radio record promoters.

“It is touching, humbling and extremely gratifying to once again receive the JazzWeek ‘Programmer of the Year’ award for major markets” said Yohn. “However, I feel that the award does not belong to me only. I work with one of the finest, most passionate and deeply committed public broadcasting teams in the country. We are who we are because of who we serve – a discerning, supportive and perceptive audience. The WEMU listener knows good music and we must deliver it to them. To be recognized in such a fashion illustrates the unique and special nature of the communities WEMU serves.”

http://mediad.publicbroadcasting.net/p/wemu/files/201306/030910-Linda-Yohn-WEMU-01-thumb-450×299-39182.jpg

“Linda is an exceptional steward of the past, present and future of jazz,” said WEMU Program Director, Patrick Campion. “I’m honored to have her as a co-worker at WEMU and congratulate her on this well-deserved honor. Keeping jazz alive is an important part of the mission of WEMU and no one leads us to this goal better than Linda Yohn.”

In addition to serving as WEMU’s music director, Yohn also hosts 89.1 Jazz with Linda Yohn which airs on WEMU from 9:00 a.m. to 12:30 p.m. Monday through Friday.
* 89.1 WEMU is Eastern Michigan University’s public radio station, with a format of jazz and blues– that includes nine locally hosted programs – local news in addition to NPR news, information, and cultural programming. The station broadcasts to an eight county area that includes all or part of Washtenaw, Wayne, Oakland, Livingston, Jackson, Lenawee, Monroe, and Lucas (OH), webcasts live, twenty four hours a day at wemu.org, and via a free mobile app for iPhone and Android.

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Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year | WEMU

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://wemu.org/post/music-director-linda-yohn-wins-2014-national-jazz-programmer-year

** Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year
————————————————————
http://mediad.publicbroadcasting.net/p/wemu/files/201110/LindaYohn.jpg
89.1, WEMU’s Music Director, Linda Yohn, Wins National Jazz Programmer Of The Year For The Fifth Time

89.1 WEMU’s Music Director, Linda Yohn, was named ‘Jazz Programmer of the Year,’ in a major market Friday, August 8, at theJazzWeek Summit’s annual awards (http://www.jazzweek.com/blog/2014/08/2014-jazzweek-awards-presented-at-jazzweek-summit/) dinner in San Jose, CA. This is the fifth programmer of the year award for Yohn who was nominated in 2006 and 2008 and won four years in a row; 2009, 2010, 2011, and 2012. She was nominated again in 2013 and won again in 2014

WEMU was also one of six nominees for Jazz Station of the Year in a major market, but was a runner up to KSDS in San Diego. JazzWeek’s major market consists of 27 stations across the country.

JazzWeek, celebrating its 12th anniversary in this year, is the weekly online publication dedicated to jazz and jazz radio programming. Nominees are selected by JazzWeek subscribers, including: jazz radio programmers, jazz record company executives and independent jazz radio record promoters.

“It is touching, humbling and extremely gratifying to once again receive the JazzWeek ‘Programmer of the Year’ award for major markets” said Yohn. “However, I feel that the award does not belong to me only. I work with one of the finest, most passionate and deeply committed public broadcasting teams in the country. We are who we are because of who we serve – a discerning, supportive and perceptive audience. The WEMU listener knows good music and we must deliver it to them. To be recognized in such a fashion illustrates the unique and special nature of the communities WEMU serves.”

http://mediad.publicbroadcasting.net/p/wemu/files/201306/030910-Linda-Yohn-WEMU-01-thumb-450×299-39182.jpg

“Linda is an exceptional steward of the past, present and future of jazz,” said WEMU Program Director, Patrick Campion. “I’m honored to have her as a co-worker at WEMU and congratulate her on this well-deserved honor. Keeping jazz alive is an important part of the mission of WEMU and no one leads us to this goal better than Linda Yohn.”

In addition to serving as WEMU’s music director, Yohn also hosts 89.1 Jazz with Linda Yohn which airs on WEMU from 9:00 a.m. to 12:30 p.m. Monday through Friday.
* 89.1 WEMU is Eastern Michigan University’s public radio station, with a format of jazz and blues– that includes nine locally hosted programs – local news in addition to NPR news, information, and cultural programming. The station broadcasts to an eight county area that includes all or part of Washtenaw, Wayne, Oakland, Livingston, Jackson, Lenawee, Monroe, and Lucas (OH), webcasts live, twenty four hours a day at wemu.org, and via a free mobile app for iPhone and Android.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d8d8077ad4) | 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=d8d8077ad4&e=[UNIQID])

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Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year | WEMU

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://wemu.org/post/music-director-linda-yohn-wins-2014-national-jazz-programmer-year

** Music Director Linda Yohn Wins 2014 National Jazz Programmer Of The Year
————————————————————
http://mediad.publicbroadcasting.net/p/wemu/files/201110/LindaYohn.jpg
89.1, WEMU’s Music Director, Linda Yohn, Wins National Jazz Programmer Of The Year For The Fifth Time

89.1 WEMU’s Music Director, Linda Yohn, was named ‘Jazz Programmer of the Year,’ in a major market Friday, August 8, at theJazzWeek Summit’s annual awards (http://www.jazzweek.com/blog/2014/08/2014-jazzweek-awards-presented-at-jazzweek-summit/) dinner in San Jose, CA. This is the fifth programmer of the year award for Yohn who was nominated in 2006 and 2008 and won four years in a row; 2009, 2010, 2011, and 2012. She was nominated again in 2013 and won again in 2014

WEMU was also one of six nominees for Jazz Station of the Year in a major market, but was a runner up to KSDS in San Diego. JazzWeek’s major market consists of 27 stations across the country.

JazzWeek, celebrating its 12th anniversary in this year, is the weekly online publication dedicated to jazz and jazz radio programming. Nominees are selected by JazzWeek subscribers, including: jazz radio programmers, jazz record company executives and independent jazz radio record promoters.

“It is touching, humbling and extremely gratifying to once again receive the JazzWeek ‘Programmer of the Year’ award for major markets” said Yohn. “However, I feel that the award does not belong to me only. I work with one of the finest, most passionate and deeply committed public broadcasting teams in the country. We are who we are because of who we serve – a discerning, supportive and perceptive audience. The WEMU listener knows good music and we must deliver it to them. To be recognized in such a fashion illustrates the unique and special nature of the communities WEMU serves.”

http://mediad.publicbroadcasting.net/p/wemu/files/201306/030910-Linda-Yohn-WEMU-01-thumb-450×299-39182.jpg

“Linda is an exceptional steward of the past, present and future of jazz,” said WEMU Program Director, Patrick Campion. “I’m honored to have her as a co-worker at WEMU and congratulate her on this well-deserved honor. Keeping jazz alive is an important part of the mission of WEMU and no one leads us to this goal better than Linda Yohn.”

In addition to serving as WEMU’s music director, Yohn also hosts 89.1 Jazz with Linda Yohn which airs on WEMU from 9:00 a.m. to 12:30 p.m. Monday through Friday.
* 89.1 WEMU is Eastern Michigan University’s public radio station, with a format of jazz and blues– that includes nine locally hosted programs – local news in addition to NPR news, information, and cultural programming. The station broadcasts to an eight county area that includes all or part of Washtenaw, Wayne, Oakland, Livingston, Jackson, Lenawee, Monroe, and Lucas (OH), webcasts live, twenty four hours a day at wemu.org, and via a free mobile app for iPhone and Android.

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d8d8077ad4) | 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=d8d8077ad4&e=[UNIQID])

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Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities | Reuters

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http://www.reuters.com/article/2014/08/12/us-usa-crime-taylor-idUSKBN0GC1GA20140812?feedType=RSS

** Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities
————————————————————

(Reuters) – Jazz pianist Cecil Taylor was swindled out of a prize worth about $500,000 by a general contractor who befriended him while working on the house next door to Taylor’s in New York City, the prosecutor’s office said on Tuesday.

Noel Muir of Uniondale on New York’s Long Island, was awaiting arraignment on a charge of grand larceny in Brooklyn’s criminal court on Tuesday morning, and could not be reached for comment. If convicted, he faces up to 15 years in prison.

Taylor, who is known for his improvisational, percussive style at the keyboard, was awarded a prestigious Kyoto Prize by Japan’s Inamori Foundation in 2013 and was invited to Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) to collect his prize at a ceremony last November.

Noel Muir, a contractor who had done work for Taylor’s neighbor, came with him, according to a statement by the district attorney in Brooklyn.

While in Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) with the 85-year-old pianist, Muir, 54, provided the Inamori Foundation with the details of a bank account to which it could wire the prize money, the statement said.

Muir said the name on the account was The Cecil Taylor Foundation. A wire for $492,722.55 arrived in the account two weeks after the ceremony.

In fact, the account was under the name MCAI Construction (http://www.reuters.com/sectors/industries/overview?industryCode=46&lc=int_mb_1001) , Muir’s company, the prosecutor’s statement said, and since then the account has been depleted.

“The defendant befriended Mr. Taylor and won his trust,” Kenneth Thompson, the district attorney, said in a statement, “which later made it easier for him to allegedly swindle this vulnerable, elderly and great jazz musician.”

(Reporting by Jonathan Allen (http://blogs.reuters.com/search/journalist.php?edition=us&n=jonathan.allen&) ; Editing by Bill Trott (http://blogs.reuters.com/search/journalist.php?edition=us&n=bill.trott&) )

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Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities | Reuters

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http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.reuters.com/article/2014/08/12/us-usa-crime-taylor-idUSKBN0GC1GA20140812?feedType=RSS

** Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities
————————————————————

(Reuters) – Jazz pianist Cecil Taylor was swindled out of a prize worth about $500,000 by a general contractor who befriended him while working on the house next door to Taylor’s in New York City, the prosecutor’s office said on Tuesday.

Noel Muir of Uniondale on New York’s Long Island, was awaiting arraignment on a charge of grand larceny in Brooklyn’s criminal court on Tuesday morning, and could not be reached for comment. If convicted, he faces up to 15 years in prison.

Taylor, who is known for his improvisational, percussive style at the keyboard, was awarded a prestigious Kyoto Prize by Japan’s Inamori Foundation in 2013 and was invited to Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) to collect his prize at a ceremony last November.

Noel Muir, a contractor who had done work for Taylor’s neighbor, came with him, according to a statement by the district attorney in Brooklyn.

While in Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) with the 85-year-old pianist, Muir, 54, provided the Inamori Foundation with the details of a bank account to which it could wire the prize money, the statement said.

Muir said the name on the account was The Cecil Taylor Foundation. A wire for $492,722.55 arrived in the account two weeks after the ceremony.

In fact, the account was under the name MCAI Construction (http://www.reuters.com/sectors/industries/overview?industryCode=46&lc=int_mb_1001) , Muir’s company, the prosecutor’s statement said, and since then the account has been depleted.

“The defendant befriended Mr. Taylor and won his trust,” Kenneth Thompson, the district attorney, said in a statement, “which later made it easier for him to allegedly swindle this vulnerable, elderly and great jazz musician.”

(Reporting by Jonathan Allen (http://blogs.reuters.com/search/journalist.php?edition=us&n=jonathan.allen&) ; Editing by Bill Trott (http://blogs.reuters.com/search/journalist.php?edition=us&n=bill.trott&) )

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Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities | Reuters

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** Jazz pianist Cecil Taylor conned out of $500,000 prize: authorities
————————————————————

(Reuters) – Jazz pianist Cecil Taylor was swindled out of a prize worth about $500,000 by a general contractor who befriended him while working on the house next door to Taylor’s in New York City, the prosecutor’s office said on Tuesday.

Noel Muir of Uniondale on New York’s Long Island, was awaiting arraignment on a charge of grand larceny in Brooklyn’s criminal court on Tuesday morning, and could not be reached for comment. If convicted, he faces up to 15 years in prison.

Taylor, who is known for his improvisational, percussive style at the keyboard, was awarded a prestigious Kyoto Prize by Japan’s Inamori Foundation in 2013 and was invited to Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) to collect his prize at a ceremony last November.

Noel Muir, a contractor who had done work for Taylor’s neighbor, came with him, according to a statement by the district attorney in Brooklyn.

While in Japan (http://www.reuters.com/places/japan?lc=int_mb_1001) with the 85-year-old pianist, Muir, 54, provided the Inamori Foundation with the details of a bank account to which it could wire the prize money, the statement said.

Muir said the name on the account was The Cecil Taylor Foundation. A wire for $492,722.55 arrived in the account two weeks after the ceremony.

In fact, the account was under the name MCAI Construction (http://www.reuters.com/sectors/industries/overview?industryCode=46&lc=int_mb_1001) , Muir’s company, the prosecutor’s statement said, and since then the account has been depleted.

“The defendant befriended Mr. Taylor and won his trust,” Kenneth Thompson, the district attorney, said in a statement, “which later made it easier for him to allegedly swindle this vulnerable, elderly and great jazz musician.”

(Reporting by Jonathan Allen (http://blogs.reuters.com/search/journalist.php?edition=us&n=jonathan.allen&) ; Editing by Bill Trott (http://blogs.reuters.com/search/journalist.php?edition=us&n=bill.trott&) )

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halfprice_books_davenport_san_antonio

** JAZZ AND THE HUNT
————————————————————

By CARL GLATZEL, Editor

Never say never, or so I quickly learned one humid, summer afternoon at a used book store in southwest Houston.
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_wind_cover.jpg

Something In The Wind, 1969

I seldom get the opportunity to thumb through used record bins these days, so stumbling upon a collector’s item would almost seem out of the question. Defying all odds, I discovered something priceless — a worn-out LP copy of a 1969 The Winter Consort release, Something In The Wind. I know what you’re thinking — a dime a dozen. Well, this one was different. It was priced at only a dollar, hiding between tattered releases by Wendy (Walter) Carlos and Tony Orlando in a neglected clearance bin. Right off I was drawn to the brilliant green photo of Paul Winter on the cover, proudly standing in a forest, dwarfed by giant trees. Not unlike something out of the Jethro Tull catalog. Turning it over I noticed some scribbling on the back cover. I immediately jumped to conclusions, wondering why people are so careless with their music. Upon closer inspection I noticed it was a collection of autographs — each band member having signed their name and some including their respective
instrument. Included in this group was the remarkable, and long-deceased, sitarist Collin Walcott. The wheels in my head were spinning out of control. How did this end up here of all places and in my hands? I felt as if I just found the Holy Grail tucked away in a dumpster behind a Taco Bell. All this for a dollar? That’s all I needed, off I went. I think I skipped to the registered to purchase this small piece of jazz memorabilia.

Driving home with my treasure safely out of harm’s way, I wondered how many more gems might still be out there — wasting away in written-off clearance bins or dusty attics. There’s no telling, but one thing’s for certain — you don’t have a snowball’s chance in Hades of finding one without getting out there and looking under some rocks. Happy hunting!
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_back_cover.jpg

Something In The Wind, 1969 (signed back cover)

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Jazz and the Hunt | Jazz Sherpa

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halfprice_books_davenport_san_antonio

** JAZZ AND THE HUNT
————————————————————

By CARL GLATZEL, Editor

Never say never, or so I quickly learned one humid, summer afternoon at a used book store in southwest Houston.
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_wind_cover.jpg

Something In The Wind, 1969

I seldom get the opportunity to thumb through used record bins these days, so stumbling upon a collector’s item would almost seem out of the question. Defying all odds, I discovered something priceless — a worn-out LP copy of a 1969 The Winter Consort release, Something In The Wind. I know what you’re thinking — a dime a dozen. Well, this one was different. It was priced at only a dollar, hiding between tattered releases by Wendy (Walter) Carlos and Tony Orlando in a neglected clearance bin. Right off I was drawn to the brilliant green photo of Paul Winter on the cover, proudly standing in a forest, dwarfed by giant trees. Not unlike something out of the Jethro Tull catalog. Turning it over I noticed some scribbling on the back cover. I immediately jumped to conclusions, wondering why people are so careless with their music. Upon closer inspection I noticed it was a collection of autographs — each band member having signed their name and some including their respective
instrument. Included in this group was the remarkable, and long-deceased, sitarist Collin Walcott. The wheels in my head were spinning out of control. How did this end up here of all places and in my hands? I felt as if I just found the Holy Grail tucked away in a dumpster behind a Taco Bell. All this for a dollar? That’s all I needed, off I went. I think I skipped to the registered to purchase this small piece of jazz memorabilia.

Driving home with my treasure safely out of harm’s way, I wondered how many more gems might still be out there — wasting away in written-off clearance bins or dusty attics. There’s no telling, but one thing’s for certain — you don’t have a snowball’s chance in Hades of finding one without getting out there and looking under some rocks. Happy hunting!
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_back_cover.jpg

Something In The Wind, 1969 (signed back cover)

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Copyright (C) 2014 All rights reserved.

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Warwick, Ny 10990
USA

Jazz and the Hunt | Jazz Sherpa

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
https://jazzsherpa.wordpress.com/2014/08/06/jazz-and-the-hunt/

halfprice_books_davenport_san_antonio

** JAZZ AND THE HUNT
————————————————————

By CARL GLATZEL, Editor

Never say never, or so I quickly learned one humid, summer afternoon at a used book store in southwest Houston.
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_wind_cover.jpg

Something In The Wind, 1969

I seldom get the opportunity to thumb through used record bins these days, so stumbling upon a collector’s item would almost seem out of the question. Defying all odds, I discovered something priceless — a worn-out LP copy of a 1969 The Winter Consort release, Something In The Wind. I know what you’re thinking — a dime a dozen. Well, this one was different. It was priced at only a dollar, hiding between tattered releases by Wendy (Walter) Carlos and Tony Orlando in a neglected clearance bin. Right off I was drawn to the brilliant green photo of Paul Winter on the cover, proudly standing in a forest, dwarfed by giant trees. Not unlike something out of the Jethro Tull catalog. Turning it over I noticed some scribbling on the back cover. I immediately jumped to conclusions, wondering why people are so careless with their music. Upon closer inspection I noticed it was a collection of autographs — each band member having signed their name and some including their respective
instrument. Included in this group was the remarkable, and long-deceased, sitarist Collin Walcott. The wheels in my head were spinning out of control. How did this end up here of all places and in my hands? I felt as if I just found the Holy Grail tucked away in a dumpster behind a Taco Bell. All this for a dollar? That’s all I needed, off I went. I think I skipped to the registered to purchase this small piece of jazz memorabilia.

Driving home with my treasure safely out of harm’s way, I wondered how many more gems might still be out there — wasting away in written-off clearance bins or dusty attics. There’s no telling, but one thing’s for certain — you don’t have a snowball’s chance in Hades of finding one without getting out there and looking under some rocks. Happy hunting!
https://jazzsherpa.files.wordpress.com/2014/08/winter_consort_back_cover.jpg

Something In The Wind, 1969 (signed back cover)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=38e1c649fd) | 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=38e1c649fd&e=[UNIQID])

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Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100 – Forward.com

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** Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100
————————————————————

** Comedian Still Unrepentant Radical After All These Years
————————————————————

** By Jon Kalish (safari-reader://forward.com/authors/jon-kalish/)
————————————————————
Published August 12, 2014, issue of August 15, 2014 (http://forward.com/issues/2014-08-15/) .

It is the view of “Professor” Irwin Corey — the self-described “World’s Foremost Authority” on practically anything — that if a man lives to be 100, he has the right to recite a limerick about farting at his birthday party, even if it’s inside a synagogue.

So that’s what happened July 29, when Corey, frail but still freylekh,greeted scores of well-wishers at The Actors Temple, in Manhattan. That is, after all, the synagogue where Jack Benny, Milton Berle, Henny Youngman and two of the Three Stooges davened.

Because the Forward has a long, proud commitment to verse, we present the limerick here in its entirety:

There was a young girl from Sparta
Who was a magnificent farter
She could fart anything
From “God Save the King”
To Beethoven’s Moonlight Sonata.

The Professor, as he has come to be known during a decades-long showbiz career, wore his signature black tails, string tie and high-top black basketball sneakers. Fans and friends, many of them north of 90 themselves, snapped photos with their cell phones as he struggled to unwrap gifts.

At first, Corey, an avid left-winger and so-called “9/11 truther” who believes that the 2001 attack on the World Trade Center was an inside job, wore a baseball cap bearing such slogans as “9/11 was a psy-op” and “Uncle Sam is a big bully.” But he eventually replaced the cap when he was given a black one with the single word “However” embroidered on it. “However” has been Corey’s longtime catchword in his act of “double-talk and nonsensical observations,” as Manhattan Borough President Gale Brewer described his shtick in a July 29 proclamation.

Throughout the celebration, Corey cracked one-liners and spewed political slogans.

“Sometimes I forget what I’m talking about in the middle of a word!”

“Solomon had 700 wives. Each wife had sex every three years.”

“I’d rather be a son of a bitch than a son of a Bush.”

“The World’s Foremost Authority” informed the crowd surrounding his wheelchair that he had written to request a copy of the Declaration of Independence under the Freedom of Information Act. He held up a sheet of paper with heavily redacted text.

An outspoken anti-Zionist, Corey did not refer directly to the then ongoing war in Gaza that night at The Actors Temple. But he noted that “the Zionists” were using weapons that came from the United States.

“The Palestinians have lived there for 2,000 years,” he said, suddenly turning serious. “In 1914 there were 570,000 Arab Palestinians and only 80,000 Hebrews. It wasn’t a land without people or a people without land, because 570,000 are people.”

It was one of the few lines that night that won him no applause or reaction from the assembled throng.

Born into deep poverty on Manhattan’s Lower East Side, Corey was raised, along with his four siblings, as a ward of the Brooklyn Hebrew Orphan Asylum. His mother, who’d been abandoned by her husband, could not feed, clothe and shelter her own children, so she paid the group home $30 a month to care for them to prevent them from being put up for adoption.

Corey inhaled the radicalism in the air then. As a teen he rode the rails out to California, where he first began doing comedy. He eventually worked his way back to the East Coast during the Depression, taking jobs along the way with the Civilian Conservation Corps, a New Deal employment project.

According to a 2012 profile (http://www.huffingtonpost.com/myra-chanin/irwin-corey_b_1682599.html) in the Huffington Post, Corey met his wife, Fran Berman, at a Communist camp. They remained married for 70 years, until her death, in 2011. Asked by The Huffington Post for the secret to the success of their long partnership, he replied: “I wasn’t around that much. I was on the road half the time.” As for the Reds, Corey takes pains to note that he never renounced them — they rejected him. “They said I was an anarchist,” he told interviewer Myra Chanin.

Despite his politics, and despite being blackballed in the 1950s, Corey maintained close friendships with an impressively diverse range of fellow comics, from Republican Jackie Gleason, on whose variety show he appeared, to Lenny Bruce, whom he claims as a protégé. Mort Sahl, Dick Gregory and Don Rickles were among his friends. Corey was a performer in the late 1940s at soon-to-be famed venues such as the Hungry I Club, in San Francisco, and The Village Vanguard, in New York.

In his comedy act, Corey perfected the persona of a pompous pedagogue decked out in a seedy-looking tuxedo and high-top black Keds gym shoes. Standing at a podium with his hair askew and lecture notes in hand, Corey would stare at the sheaf of papers in apparent befuddlement, attempt to start, but then stop to gesticulate in amazement, or burst out laughing at some private joke. Finally, he’d launch into his lecture with his inevitable introductory word, “However!”

Inspired double-talk would quickly follow, such as: “Based on the state of inertia developing a centrifugal force which is used as a catalyst rather than a catalytic agent, which hastens a chain reaction and remains the same as the condition prior to its inception,” as Corey lectured during a2008 performance (https://www.youtube.com/watch?v=MxtN0xxzfsw) at the Cutting Room.

Corey has coined some striking aphorisms that have found their way into the general culture, not infrequently via other comics whom he claims copped his stuff. “You can get more with a kind word and a gun that you can with just a kind word,” he once gently advised some friends.

Among the bold-faced names in attendance at his 100th birthday were Kenny Kramer, the real-life person used by Jerry Seinfeld for the character “Kramer” on his TV series; comedian Gilbert Gottfried; Ervin Drake, who penned the Frank Sinatra hit “It Was a Very Good Year,” and the former late-late-night talk show host Joe Franklin. Franklin told the Forward, “I go back with Irwin Corey about 200 years, and I’ve been to many banquets, but I gotta tell you that in all modesty this is the most recent. Thank you very much.”

Corey has failing vision and hearing. His audiologist, Jeff Stegman, showed up and presented a gift of hearing aid batteries.

“He gave me some hearing aids that don’t understand English,” Corey cracked. “Do you think I’ll live long enough to use these?” he asked, pointing to the batteries.

Stegman said that Corey assumed for some reason that he could also repair his electric shaver. He’s been bringing it in to the audiology practice for repairs, the audiologist related, and the office has been happy to fix it.

Corey’s son, Richard Corey, got off a few lines of his own during his speech: His father, he noted, had recently been diagnosed with a severe case of hypochondria and had been prescribed a massive dose of placebo.

One of Corey’s middle-aged fans mentioned that his parents saw The Professor perform in Greenwich Village on a night they were to see a performance by Lenny Bruce. The comic could not do his act that night on account of his being arrested for obscenity.

“I got Lenny that gig,” Corey recalled.

When asked who his favorite comedians were, Corey cited Bruce along with Richard Pryor, Jonathan Winters and Dick Shawn. Your Forward correspondent inquired whether Corey was proud to be a Jew. He replied: “I’m not proud. I was born Jewish. Like homosexuals are born homosexual. It’s not a choice.”

Contact Jon Kalish at feedback@forward.com (mailto:feedback@forward.com)

** Top Stories
————————————————————

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Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100 – Forward.com

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http://forward.com/articles/203731/professor-irwin-corey-worlds-foremost-authority-go/

** Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100
————————————————————

** Comedian Still Unrepentant Radical After All These Years
————————————————————

** By Jon Kalish (safari-reader://forward.com/authors/jon-kalish/)
————————————————————
Published August 12, 2014, issue of August 15, 2014 (http://forward.com/issues/2014-08-15/) .

It is the view of “Professor” Irwin Corey — the self-described “World’s Foremost Authority” on practically anything — that if a man lives to be 100, he has the right to recite a limerick about farting at his birthday party, even if it’s inside a synagogue.

So that’s what happened July 29, when Corey, frail but still freylekh,greeted scores of well-wishers at The Actors Temple, in Manhattan. That is, after all, the synagogue where Jack Benny, Milton Berle, Henny Youngman and two of the Three Stooges davened.

Because the Forward has a long, proud commitment to verse, we present the limerick here in its entirety:

There was a young girl from Sparta
Who was a magnificent farter
She could fart anything
From “God Save the King”
To Beethoven’s Moonlight Sonata.

The Professor, as he has come to be known during a decades-long showbiz career, wore his signature black tails, string tie and high-top black basketball sneakers. Fans and friends, many of them north of 90 themselves, snapped photos with their cell phones as he struggled to unwrap gifts.

At first, Corey, an avid left-winger and so-called “9/11 truther” who believes that the 2001 attack on the World Trade Center was an inside job, wore a baseball cap bearing such slogans as “9/11 was a psy-op” and “Uncle Sam is a big bully.” But he eventually replaced the cap when he was given a black one with the single word “However” embroidered on it. “However” has been Corey’s longtime catchword in his act of “double-talk and nonsensical observations,” as Manhattan Borough President Gale Brewer described his shtick in a July 29 proclamation.

Throughout the celebration, Corey cracked one-liners and spewed political slogans.

“Sometimes I forget what I’m talking about in the middle of a word!”

“Solomon had 700 wives. Each wife had sex every three years.”

“I’d rather be a son of a bitch than a son of a Bush.”

“The World’s Foremost Authority” informed the crowd surrounding his wheelchair that he had written to request a copy of the Declaration of Independence under the Freedom of Information Act. He held up a sheet of paper with heavily redacted text.

An outspoken anti-Zionist, Corey did not refer directly to the then ongoing war in Gaza that night at The Actors Temple. But he noted that “the Zionists” were using weapons that came from the United States.

“The Palestinians have lived there for 2,000 years,” he said, suddenly turning serious. “In 1914 there were 570,000 Arab Palestinians and only 80,000 Hebrews. It wasn’t a land without people or a people without land, because 570,000 are people.”

It was one of the few lines that night that won him no applause or reaction from the assembled throng.

Born into deep poverty on Manhattan’s Lower East Side, Corey was raised, along with his four siblings, as a ward of the Brooklyn Hebrew Orphan Asylum. His mother, who’d been abandoned by her husband, could not feed, clothe and shelter her own children, so she paid the group home $30 a month to care for them to prevent them from being put up for adoption.

Corey inhaled the radicalism in the air then. As a teen he rode the rails out to California, where he first began doing comedy. He eventually worked his way back to the East Coast during the Depression, taking jobs along the way with the Civilian Conservation Corps, a New Deal employment project.

According to a 2012 profile (http://www.huffingtonpost.com/myra-chanin/irwin-corey_b_1682599.html) in the Huffington Post, Corey met his wife, Fran Berman, at a Communist camp. They remained married for 70 years, until her death, in 2011. Asked by The Huffington Post for the secret to the success of their long partnership, he replied: “I wasn’t around that much. I was on the road half the time.” As for the Reds, Corey takes pains to note that he never renounced them — they rejected him. “They said I was an anarchist,” he told interviewer Myra Chanin.

Despite his politics, and despite being blackballed in the 1950s, Corey maintained close friendships with an impressively diverse range of fellow comics, from Republican Jackie Gleason, on whose variety show he appeared, to Lenny Bruce, whom he claims as a protégé. Mort Sahl, Dick Gregory and Don Rickles were among his friends. Corey was a performer in the late 1940s at soon-to-be famed venues such as the Hungry I Club, in San Francisco, and The Village Vanguard, in New York.

In his comedy act, Corey perfected the persona of a pompous pedagogue decked out in a seedy-looking tuxedo and high-top black Keds gym shoes. Standing at a podium with his hair askew and lecture notes in hand, Corey would stare at the sheaf of papers in apparent befuddlement, attempt to start, but then stop to gesticulate in amazement, or burst out laughing at some private joke. Finally, he’d launch into his lecture with his inevitable introductory word, “However!”

Inspired double-talk would quickly follow, such as: “Based on the state of inertia developing a centrifugal force which is used as a catalyst rather than a catalytic agent, which hastens a chain reaction and remains the same as the condition prior to its inception,” as Corey lectured during a2008 performance (https://www.youtube.com/watch?v=MxtN0xxzfsw) at the Cutting Room.

Corey has coined some striking aphorisms that have found their way into the general culture, not infrequently via other comics whom he claims copped his stuff. “You can get more with a kind word and a gun that you can with just a kind word,” he once gently advised some friends.

Among the bold-faced names in attendance at his 100th birthday were Kenny Kramer, the real-life person used by Jerry Seinfeld for the character “Kramer” on his TV series; comedian Gilbert Gottfried; Ervin Drake, who penned the Frank Sinatra hit “It Was a Very Good Year,” and the former late-late-night talk show host Joe Franklin. Franklin told the Forward, “I go back with Irwin Corey about 200 years, and I’ve been to many banquets, but I gotta tell you that in all modesty this is the most recent. Thank you very much.”

Corey has failing vision and hearing. His audiologist, Jeff Stegman, showed up and presented a gift of hearing aid batteries.

“He gave me some hearing aids that don’t understand English,” Corey cracked. “Do you think I’ll live long enough to use these?” he asked, pointing to the batteries.

Stegman said that Corey assumed for some reason that he could also repair his electric shaver. He’s been bringing it in to the audiology practice for repairs, the audiologist related, and the office has been happy to fix it.

Corey’s son, Richard Corey, got off a few lines of his own during his speech: His father, he noted, had recently been diagnosed with a severe case of hypochondria and had been prescribed a massive dose of placebo.

One of Corey’s middle-aged fans mentioned that his parents saw The Professor perform in Greenwich Village on a night they were to see a performance by Lenny Bruce. The comic could not do his act that night on account of his being arrested for obscenity.

“I got Lenny that gig,” Corey recalled.

When asked who his favorite comedians were, Corey cited Bruce along with Richard Pryor, Jonathan Winters and Dick Shawn. Your Forward correspondent inquired whether Corey was proud to be a Jew. He replied: “I’m not proud. I was born Jewish. Like homosexuals are born homosexual. It’s not a choice.”

Contact Jon Kalish at feedback@forward.com (mailto:feedback@forward.com)

** Top Stories
————————————————————

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Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100 – Forward.com

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http://forward.com/articles/203731/professor-irwin-corey-worlds-foremost-authority-go/

** Professor Irwin Corey, ‘World’s Foremost Authority,’ Going Strong at 100
————————————————————

** Comedian Still Unrepentant Radical After All These Years
————————————————————

** By Jon Kalish (safari-reader://forward.com/authors/jon-kalish/)
————————————————————
Published August 12, 2014, issue of August 15, 2014 (http://forward.com/issues/2014-08-15/) .

It is the view of “Professor” Irwin Corey — the self-described “World’s Foremost Authority” on practically anything — that if a man lives to be 100, he has the right to recite a limerick about farting at his birthday party, even if it’s inside a synagogue.

So that’s what happened July 29, when Corey, frail but still freylekh,greeted scores of well-wishers at The Actors Temple, in Manhattan. That is, after all, the synagogue where Jack Benny, Milton Berle, Henny Youngman and two of the Three Stooges davened.

Because the Forward has a long, proud commitment to verse, we present the limerick here in its entirety:

There was a young girl from Sparta
Who was a magnificent farter
She could fart anything
From “God Save the King”
To Beethoven’s Moonlight Sonata.

The Professor, as he has come to be known during a decades-long showbiz career, wore his signature black tails, string tie and high-top black basketball sneakers. Fans and friends, many of them north of 90 themselves, snapped photos with their cell phones as he struggled to unwrap gifts.

At first, Corey, an avid left-winger and so-called “9/11 truther” who believes that the 2001 attack on the World Trade Center was an inside job, wore a baseball cap bearing such slogans as “9/11 was a psy-op” and “Uncle Sam is a big bully.” But he eventually replaced the cap when he was given a black one with the single word “However” embroidered on it. “However” has been Corey’s longtime catchword in his act of “double-talk and nonsensical observations,” as Manhattan Borough President Gale Brewer described his shtick in a July 29 proclamation.

Throughout the celebration, Corey cracked one-liners and spewed political slogans.

“Sometimes I forget what I’m talking about in the middle of a word!”

“Solomon had 700 wives. Each wife had sex every three years.”

“I’d rather be a son of a bitch than a son of a Bush.”

“The World’s Foremost Authority” informed the crowd surrounding his wheelchair that he had written to request a copy of the Declaration of Independence under the Freedom of Information Act. He held up a sheet of paper with heavily redacted text.

An outspoken anti-Zionist, Corey did not refer directly to the then ongoing war in Gaza that night at The Actors Temple. But he noted that “the Zionists” were using weapons that came from the United States.

“The Palestinians have lived there for 2,000 years,” he said, suddenly turning serious. “In 1914 there were 570,000 Arab Palestinians and only 80,000 Hebrews. It wasn’t a land without people or a people without land, because 570,000 are people.”

It was one of the few lines that night that won him no applause or reaction from the assembled throng.

Born into deep poverty on Manhattan’s Lower East Side, Corey was raised, along with his four siblings, as a ward of the Brooklyn Hebrew Orphan Asylum. His mother, who’d been abandoned by her husband, could not feed, clothe and shelter her own children, so she paid the group home $30 a month to care for them to prevent them from being put up for adoption.

Corey inhaled the radicalism in the air then. As a teen he rode the rails out to California, where he first began doing comedy. He eventually worked his way back to the East Coast during the Depression, taking jobs along the way with the Civilian Conservation Corps, a New Deal employment project.

According to a 2012 profile (http://www.huffingtonpost.com/myra-chanin/irwin-corey_b_1682599.html) in the Huffington Post, Corey met his wife, Fran Berman, at a Communist camp. They remained married for 70 years, until her death, in 2011. Asked by The Huffington Post for the secret to the success of their long partnership, he replied: “I wasn’t around that much. I was on the road half the time.” As for the Reds, Corey takes pains to note that he never renounced them — they rejected him. “They said I was an anarchist,” he told interviewer Myra Chanin.

Despite his politics, and despite being blackballed in the 1950s, Corey maintained close friendships with an impressively diverse range of fellow comics, from Republican Jackie Gleason, on whose variety show he appeared, to Lenny Bruce, whom he claims as a protégé. Mort Sahl, Dick Gregory and Don Rickles were among his friends. Corey was a performer in the late 1940s at soon-to-be famed venues such as the Hungry I Club, in San Francisco, and The Village Vanguard, in New York.

In his comedy act, Corey perfected the persona of a pompous pedagogue decked out in a seedy-looking tuxedo and high-top black Keds gym shoes. Standing at a podium with his hair askew and lecture notes in hand, Corey would stare at the sheaf of papers in apparent befuddlement, attempt to start, but then stop to gesticulate in amazement, or burst out laughing at some private joke. Finally, he’d launch into his lecture with his inevitable introductory word, “However!”

Inspired double-talk would quickly follow, such as: “Based on the state of inertia developing a centrifugal force which is used as a catalyst rather than a catalytic agent, which hastens a chain reaction and remains the same as the condition prior to its inception,” as Corey lectured during a2008 performance (https://www.youtube.com/watch?v=MxtN0xxzfsw) at the Cutting Room.

Corey has coined some striking aphorisms that have found their way into the general culture, not infrequently via other comics whom he claims copped his stuff. “You can get more with a kind word and a gun that you can with just a kind word,” he once gently advised some friends.

Among the bold-faced names in attendance at his 100th birthday were Kenny Kramer, the real-life person used by Jerry Seinfeld for the character “Kramer” on his TV series; comedian Gilbert Gottfried; Ervin Drake, who penned the Frank Sinatra hit “It Was a Very Good Year,” and the former late-late-night talk show host Joe Franklin. Franklin told the Forward, “I go back with Irwin Corey about 200 years, and I’ve been to many banquets, but I gotta tell you that in all modesty this is the most recent. Thank you very much.”

Corey has failing vision and hearing. His audiologist, Jeff Stegman, showed up and presented a gift of hearing aid batteries.

“He gave me some hearing aids that don’t understand English,” Corey cracked. “Do you think I’ll live long enough to use these?” he asked, pointing to the batteries.

Stegman said that Corey assumed for some reason that he could also repair his electric shaver. He’s been bringing it in to the audiology practice for repairs, the audiologist related, and the office has been happy to fix it.

Corey’s son, Richard Corey, got off a few lines of his own during his speech: His father, he noted, had recently been diagnosed with a severe case of hypochondria and had been prescribed a massive dose of placebo.

One of Corey’s middle-aged fans mentioned that his parents saw The Professor perform in Greenwich Village on a night they were to see a performance by Lenny Bruce. The comic could not do his act that night on account of his being arrested for obscenity.

“I got Lenny that gig,” Corey recalled.

When asked who his favorite comedians were, Corey cited Bruce along with Richard Pryor, Jonathan Winters and Dick Shawn. Your Forward correspondent inquired whether Corey was proud to be a Jew. He replied: “I’m not proud. I was born Jewish. Like homosexuals are born homosexual. It’s not a choice.”

Contact Jon Kalish at feedback@forward.com (mailto:feedback@forward.com)

** Top Stories
————————————————————

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Why Bashing Jazz Is Profitable – JazzWax

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29 (http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29)

** Why Bashing Jazz Is Profitable
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff663e970d-popup
Everyone wants to get in on the fun. Just over a week ago, the New Yorker (http://www.newyorker.com/humor/daily-shouts/sonny-rollins-words) created a fuss by recklessly fabricating negative quotes on jazz and falsely attributed them to Sonny Rollins. Days later, a disclaimer was added to let unsuspecting online readers know it was all in jest. Over the weekend, it was the Washington Post’s turn. In an online column entitled “All That Jazz Isn’t All That Great, (http://www.washingtonpost.com/news/opinions/wp/2014/08/08/all-that-jazz-isnt-all-that-great/) ” Justin Moyer, deputy editor of the paper’s online “Morning Mix,” wrote that jazz stinks because it’s too long and messes up perfectly good songs. At the column’s start, Moyer wrote, “Unlike a poorly received New Yorker piece purportedly written by jazz great Sonny Rollins, this is not satire.” Well, guess what? Turns out it was satire after all. [Above, Untitled, Harlem, New York; Gordon Parks,1948]

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff4efa970d-popup
As comments below Moyer’s column expressed outrage and derision, the deputy editor tried to clear the air by adding comments of his own, including this one: “This article was not intended as a serious analysis. To better understand the piece as parody, you should read an article I wrote back in 2012…” First readers were told the column should be taken seriously. Then readers were told way down below that it’s all a joke—with the odd caveat that they should have realized it was humor since Moyer has done this before “for another D.C. paper.”

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f1e970b-popup
Whatever you think of Moyer’s column, online media will likely continue to have fun at jazz’s expense for some time to come. Duping jazz and jazz fans is not only great sport but also works wonders for online traffic—the web’s equivalent of ratings. Nothing boosts page traffic like outrage, even if it has to be ginned up. After all, most jazz fans are sensitive, soulful and articulate. You just have to shine them on a bit to get the ball rolling. As we can see, fans grow irate, express themselves online and likely share the link of the offending column, which in turn drives up traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f4e970b-popup
Duping audiences into thinking that fake content is real isn’t new. The granddaddy of the gotcha gimmick dates back to Orson Welles’s War of the Worlds radio broadcast of 1938, when the drama’s news-bulletin tone convinced listeners that the planet was indeed being invaded by Martians. Today, the motive is the same (building an audience) except the execution is a little meaner and not nearly as entertaining. Shoving Sonny Rollins’ reputation down a flight of stairs for laughs triggered online outrage and links to the New Yorker’s send-up. The number of page-views for the column can only be imagined. Other media sites watched the dust-up with envy. After all, where there’s smoke, there’s traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a511f400a6970c-popup
Moyer was first to jump in post-New Yorker, articulating why jazz bores him to tears. He argued that Duke Ellington’s version of Take the A Trainwas short and sweet, so why did Charles Mingus and Eric Dolphy bother with an “overlong” version of the same song years later? He also wrote that many songs that jazz artists choose for improvisation were better in their original form, with the lyrics intact. And for good measure, Moyer called guitarist Wes Montgomery’s [above] playing “serviceable, forgettable and uncontroversial”—equating it to elevator music. Just kidding, Moyer said later.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd44647f970b-popup

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a511f408ef970c-popup
Faking-out passionate readers is a dangerous gambit. Once you’ve lost the trust of readers and engendered animosity, distaste lingers and credibility is difficult to earn back. Is a temporary spike in online traffic really worth that risk?

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b999e83a89) | 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=b999e83a89&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

Why Bashing Jazz Is Profitable – JazzWax

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29 (http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29)

** Why Bashing Jazz Is Profitable
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff663e970d-popup
Everyone wants to get in on the fun. Just over a week ago, the New Yorker (http://www.newyorker.com/humor/daily-shouts/sonny-rollins-words) created a fuss by recklessly fabricating negative quotes on jazz and falsely attributed them to Sonny Rollins. Days later, a disclaimer was added to let unsuspecting online readers know it was all in jest. Over the weekend, it was the Washington Post’s turn. In an online column entitled “All That Jazz Isn’t All That Great, (http://www.washingtonpost.com/news/opinions/wp/2014/08/08/all-that-jazz-isnt-all-that-great/) ” Justin Moyer, deputy editor of the paper’s online “Morning Mix,” wrote that jazz stinks because it’s too long and messes up perfectly good songs. At the column’s start, Moyer wrote, “Unlike a poorly received New Yorker piece purportedly written by jazz great Sonny Rollins, this is not satire.” Well, guess what? Turns out it was satire after all. [Above, Untitled, Harlem, New York; Gordon Parks,1948]

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff4efa970d-popup
As comments below Moyer’s column expressed outrage and derision, the deputy editor tried to clear the air by adding comments of his own, including this one: “This article was not intended as a serious analysis. To better understand the piece as parody, you should read an article I wrote back in 2012…” First readers were told the column should be taken seriously. Then readers were told way down below that it’s all a joke—with the odd caveat that they should have realized it was humor since Moyer has done this before “for another D.C. paper.”

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f1e970b-popup
Whatever you think of Moyer’s column, online media will likely continue to have fun at jazz’s expense for some time to come. Duping jazz and jazz fans is not only great sport but also works wonders for online traffic—the web’s equivalent of ratings. Nothing boosts page traffic like outrage, even if it has to be ginned up. After all, most jazz fans are sensitive, soulful and articulate. You just have to shine them on a bit to get the ball rolling. As we can see, fans grow irate, express themselves online and likely share the link of the offending column, which in turn drives up traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f4e970b-popup
Duping audiences into thinking that fake content is real isn’t new. The granddaddy of the gotcha gimmick dates back to Orson Welles’s War of the Worlds radio broadcast of 1938, when the drama’s news-bulletin tone convinced listeners that the planet was indeed being invaded by Martians. Today, the motive is the same (building an audience) except the execution is a little meaner and not nearly as entertaining. Shoving Sonny Rollins’ reputation down a flight of stairs for laughs triggered online outrage and links to the New Yorker’s send-up. The number of page-views for the column can only be imagined. Other media sites watched the dust-up with envy. After all, where there’s smoke, there’s traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a511f400a6970c-popup
Moyer was first to jump in post-New Yorker, articulating why jazz bores him to tears. He argued that Duke Ellington’s version of Take the A Trainwas short and sweet, so why did Charles Mingus and Eric Dolphy bother with an “overlong” version of the same song years later? He also wrote that many songs that jazz artists choose for improvisation were better in their original form, with the lyrics intact. And for good measure, Moyer called guitarist Wes Montgomery’s [above] playing “serviceable, forgettable and uncontroversial”—equating it to elevator music. Just kidding, Moyer said later.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd44647f970b-popup

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a511f408ef970c-popup
Faking-out passionate readers is a dangerous gambit. Once you’ve lost the trust of readers and engendered animosity, distaste lingers and credibility is difficult to earn back. Is a temporary spike in online traffic really worth that risk?

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=b999e83a89) | 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=b999e83a89&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

Why Bashing Jazz Is Profitable – JazzWax

http://www.jazzpromoservices.com/
http://twitter.com/#!/jazzpromo https://www.facebook.com/pages/Jazz-Promo-Services/216022288429676
http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29 (http://www.jazzwax.com/2014/08/why-bashing-jazz-is-profitable.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29)

** Why Bashing Jazz Is Profitable
————————————————————

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff663e970d-popup
Everyone wants to get in on the fun. Just over a week ago, the New Yorker (http://www.newyorker.com/humor/daily-shouts/sonny-rollins-words) created a fuss by recklessly fabricating negative quotes on jazz and falsely attributed them to Sonny Rollins. Days later, a disclaimer was added to let unsuspecting online readers know it was all in jest. Over the weekend, it was the Washington Post’s turn. In an online column entitled “All That Jazz Isn’t All That Great, (http://www.washingtonpost.com/news/opinions/wp/2014/08/08/all-that-jazz-isnt-all-that-great/) ” Justin Moyer, deputy editor of the paper’s online “Morning Mix,” wrote that jazz stinks because it’s too long and messes up perfectly good songs. At the column’s start, Moyer wrote, “Unlike a poorly received New Yorker piece purportedly written by jazz great Sonny Rollins, this is not satire.” Well, guess what? Turns out it was satire after all. [Above, Untitled, Harlem, New York; Gordon Parks,1948]

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a73dff4efa970d-popup
As comments below Moyer’s column expressed outrage and derision, the deputy editor tried to clear the air by adding comments of his own, including this one: “This article was not intended as a serious analysis. To better understand the piece as parody, you should read an article I wrote back in 2012…” First readers were told the column should be taken seriously. Then readers were told way down below that it’s all a joke—with the odd caveat that they should have realized it was humor since Moyer has done this before “for another D.C. paper.”

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f1e970b-popup
Whatever you think of Moyer’s column, online media will likely continue to have fun at jazz’s expense for some time to come. Duping jazz and jazz fans is not only great sport but also works wonders for online traffic—the web’s equivalent of ratings. Nothing boosts page traffic like outrage, even if it has to be ginned up. After all, most jazz fans are sensitive, soulful and articulate. You just have to shine them on a bit to get the ball rolling. As we can see, fans grow irate, express themselves online and likely share the link of the offending column, which in turn drives up traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a3fd445f4e970b-popup
Duping audiences into thinking that fake content is real isn’t new. The granddaddy of the gotcha gimmick dates back to Orson Welles’s War of the Worlds radio broadcast of 1938, when the drama’s news-bulletin tone convinced listeners that the planet was indeed being invaded by Martians. Today, the motive is the same (building an audience) except the execution is a little meaner and not nearly as entertaining. Shoving Sonny Rollins’ reputation down a flight of stairs for laughs triggered online outrage and links to the New Yorker’s send-up. The number of page-views for the column can only be imagined. Other media sites watched the dust-up with envy. After all, where there’s smoke, there’s traffic.

http://marcmyers.typepad.com/.a/6a00e008dca1f0883401a511f400a6970c-popup
Moyer was first to jump in post-New Yorker, articulating why jazz bores him to tears. He argued that Duke Ellington’s version of Take the A Trainwas short and sweet, so why did Charles Mingus and Eric Dolphy bother with an “overlong” version of the same song years later? He also wrote that many songs that jazz artists choose for improvisation were better in their original form, with the lyrics intact. And for good measure, Moyer called guitarist Wes Montgomery’s [above] playing “serviceable, forgettable and uncontroversial”—equating it to elevator music. Just kidding, Moyer said later.

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Faking-out passionate readers is a dangerous gambit. Once you’ve lost the trust of readers and engendered animosity, distaste lingers and credibility is difficult to earn back. Is a temporary spike in online traffic really worth that risk?

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▶ Conrad Janis Interview – Pt 3 – YouTube (Cast Member on Mork & Mindy & Jazz Trombonist)

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▶ Conrad Janis Interview – Pt 3 – YouTube (Cast Member on Mork & Mindy & Jazz Trombonist)

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▶ Conrad Janis Interview – Pt 3 – YouTube (Cast Member on Mork & Mindy & Jazz Trombonist)

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Acclaimed jazz guitarist, instructor Andre Bush dies at age 45 | Music | FresnoBee.com

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** Acclaimed jazz guitarist, instructor Andre Bush dies at age 45
————————————————————

Andre Bush was on a quest to realize his musical vision with a single instrument — the guitar. The longtime Fresno jazz guitarist and instructor recently had been working on new compositions with a guitar trio with that goal in mind.

Mr. Bush died unexpectedly Aug. 8 at the age of 45.

“He had a wide-eyed wonder for the beauty of guitars,” says Roger Perry, a friend and local musician who met Mr. Bush more than 30 years ago while working at Archer’s Music in the Tower District.

Perry was just a teenager at the time and Andre was 11 or 12.

“Even when he was a kid, he could play. He was not just good for a little kid, either. He could play,” Perry says.

Over the years, the Roosevelt School of the Arts graduate earned national acclaim for his skills as a studio musician and touring guitarist. His collaboration with singer Nnenna Freelon on the album “Blueprint of a Lady” earned him a Grammy nomination in 2005.

Just last year, music critic Scott Yanow cited Mr. Bush as one of the 342 most significant guitarists in jazz history in his book “The Great Jazz Guitarists: The Ultimate Guide.”

As an instructor, Mr. Bush released his own book/CD package “Modern Jazz Guitar Styles” through Mel Bay Publications in 2005.

He also taught theory, history and improvisation classes at The Jazzschool in Berkeley and recently had close to a dozen students at The Voice Shop in Fresno.

Before his death, he had interned as a counselor with Salvation Army Fresno ARC and was in the midst of writing “Art and Soul: Understanding Psyche and the Creative Process,” which focused on the psychology of creative development.

There is much to be missed from Mr. Bush’s passing, Perry says, including the sense of joy the guitarist seemed to get from music, whether he was teaching or playing.

“He got something from a song, more than he gave to it,” Perry says.

A celebration of Mr. Bush’s life will be held 2 p.m. Aug. 23 at the Belmont Country Club, 8253 E. Belmont Ave. A memorial concert is being planned for October.

Donations in Mr. Bush’s memory may be made to Jazz Fresno, the Sophia Bush college fund or a charity of choice.

Andre Bush

Born: June 3, 1969

Died: Aug. 8, 2014

Occupation: Musician, instructor

Survivors: Parents Celsa and Scott Shewan; daughter Sophia Bush; former wife Dawna Mickaels Bush and partner Kate McKnight

Services: A celebration of life will be held 2 p.m. Aug. 23 at the Belmont Country Club, 8253 E. Belmont Ave., Fresno

The reporter can be reached at (559) 441-6479, jtehee@fresnobee.com (mailto:jtehee@fresnobee.com) or @joshuatehee on Instagram and Twitter. Read his blog atwww.fresnobeehive.com (http://www.fresnobeehive.com/) .

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The Sam Lazar discography

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** New post on Crownpropeller’s Blog
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** The Sam Lazar discography (http://crownpropeller.wordpress.com/2014/08/10/the-sam-lazar-discography/)
————————————————————
by crownpropeller (http://crownpropeller.wordpress.com/author/crownpropeller/)

http://crownpropeller.files.wordpress.com/2014/08/lazar_red-e1407678384342.jpg

Sam Lazar

Organist Sam Lazar from St. Louis is a mysterious figure about whom not very much is known. His (very small) fame among jazz fans is based on the fact that guitarist Grant Green’s first recordings were done in groups led by Lazar.

Lazar, who was born around 1933, vanished from the scene at sometime in the early sixties and nobody seems to really know what became of him (and I am 99 percent sure that the – unsourced – stories about his later life in Lazar’s Wikipedia entry are bogus (so I do not link to that entry) – or are they?

Anyway, since I think it’s worth to listen to Lazar also if Green is not part of the proceedings, I decided to make an illustrated discography of Sam Lazar’s recorded works. (http://www.jazzdocumentation.ch/lazar/lazar.html) Some of the entrys are linked to audio files or youtube videos – just in case you want to lsiten to Lazar while studying him.

https://crownpropeller.files.wordpress.com/2014/08/lazar-ad.jpg

Enjoy!

crownpropeller (http://crownpropeller.wordpress.com/author/crownpropeller/) | August 10, 2014 at 1:53 pm | Tags: Bob Graf (http://crownpropeller.wordpress.com/?tag=bob-graf) , Cawthron (http://crownpropeller.wordpress.com/?tag=cawthron) , Chauncey Williams (http://crownpropeller.wordpress.com/?tag=chauncey-williams) ,George Eskridge (http://crownpropeller.wordpress.com/?tag=george-eskridge) , Grant Green (http://crownpropeller.wordpress.com/?tag=grant-green) , jazz (http://crownpropeller.wordpress.com/?tag=jazz) , Joe Diorio (http://crownpropeller.wordpress.com/?tag=joe-diorio) , Miller Brisker (http://crownpropeller.wordpress.com/?tag=miller-brisker) , Phillip Thomas (http://crownpropeller.wordpress.com/?tag=phillip-thomas) , Phillip Wilson (http://crownpropeller.wordpress.com/?tag=phillip-wilson) ,Sam Lazar (http://crownpropeller.wordpress.com/?tag=sam-lazar) , St. Louis (http://crownpropeller.wordpress.com/?tag=st-louis) , Uptown
(http://crownpropeller.wordpress.com/?tag=uptown) | Categories: 33 rpm (http://crownpropeller.wordpress.com/?cat=1906018) , 45 rpm (http://crownpropeller.wordpress.com/?cat=1203159) , Cawthron (http://crownpropeller.wordpress.com/?cat=22223793) , Discography (http://crownpropeller.wordpress.com/?cat=16413981) , Grant Green (http://crownpropeller.wordpress.com/?cat=1362610) , Sam Lazar (http://crownpropeller.wordpress.com/?cat=49725751) | URL: http://wp.me/pOgZZ-LX

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