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Elaine Stritch obituary | Stage | The Guardian

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** Elaine Stritch obituary
————————————————————
Elaine Stritch in 2002.
Elaine Stritch performing in 2002. ‘I love audiences. My God, the best friends in the world.’ Photograph: Tristram Kenton

During her seven decades as an actor and singer, Elaine Stritch, who has died aged 89, became indelibly associated with three songs written by her favourite collaborator, Stephen Sondheim. These numbers all featured in the Tony award-winning autobiographical one-woman show, Elaine Stritch at Liberty (2001), which she performed to great acclaim in the US and the UK. Each lyric captured key aspects of her career and personality.

I’m Still Here, from Sondheim’s 1971 musical Follies, was the defiant anthem of a showbiz trouper who had survived professional failures, private crises and changing fashions to remain in demand into old age. Although originally written for a character whom Stritch never played in a full theatrical version, Sondheim’s lines about the progress of an acting career – “First, you’re another / sloe-eyed vamp / Then someone’s mother / Then you’re camp / Then you career from career to career” – came increasingly to embody Stritch’s extraordinary durability and perseverance.

“It’s a song about hanging in there and being strong and not letting the world get the better of you,” she said when I interviewed her in 2007 for BBC Radio 4’s Front Row. Having first performed the lyric in middle age, she believed that only as an octogenarian did she mine all of the meaning in the words.

Stritch was prolifically employed in films and TV – including four seasons in Britain of the hit ITV sitcom Two’s Company (1975-79), with Donald Sinden, and an Emmy-winning role as the ancient but still dangerous mother of a central character in the comedy 30 Rock (2007-12). However, at her core she was always a creature of New York theatre in its mid-20th-century golden age; another song from Follies became the soundtrack for that slice of her life.

In Broadway Baby, a young woman dreams of theatrical fame: “Someday maybe / All my dreams will be repaid / Heck, I’d even play the maid / To be in a show.” Hearing her deliver this plea for a chance to become a star, the audience was movingly aware that Stritch had fulfilled her own dreams to such an extent that she was commonly known as the “first lady of Broadway”.
Donald Sinden Elaine Stritch Elaine Stritch and Donald Sinden in Two’s Company in 1975. Photograph: John Curtis/Rex Features

If so, she was perhaps a first lady from the Nancy Reagan mould: there could be a certain hauteur, edge and brittleness to Stritch that led some former colleagues to invoke the rhyme that her distinctive surname temptingly invited. Perhaps conscious of this strain in her make-up, she always said that her own favourite among Sondheim’s songs was The Ladies Who Lunch, from Company (1970). Stritch gained a Tony nomination for creating the role of Joanne, a waspish, snobbish, alcoholic socialite, whose big number in the show skewers the rich socialite wives and ex-wives of Manhattan meeting to bitch over lunch: “Another chance to disapprove / Another brilliant zinger / Another reason not to move / Another vodka stinger.”

The final line of that quatrain had special resonance for Stritch because, for the first 40 years or so of her career, she was an alcoholic. Sondheim, in his theatrical memoir Finishing the Hat (http://www.guardian.co.uk/books/2010/oct/29/stephen-sondheim-collected-lyrics-review) (2010), revealed that The Ladies Who Lunch was not only written for Stritch but inspired by her “acerbic delivery of self-assessment”.

George Furth (http://www.guardian.co.uk/film/2008/aug/15/television.theatre) , who wrote the story and spoken dialogue for Company, had witnessed an inebriated Stritch asking a bartender, “Just give me a bottle of vodka and a floorplan,” and this anecdote inspired the lyric. In later years, after she had become sober through rehab, she performed the song in cabaret with a wrenching emotional identification that seemed clearly to come from autobiographical flashbacks to the waste she had nearly made of her life.

Stritch was born in Detroit, Michigan, into a Roman Catholic family of Irish and Welsh descent; her uncle, Cardinal Samuel Stritch, was a leading American Catholic churchman. The family was wealthy, through her father’s position as an executive with the tyre company BF Goodrich. At one point in Elaine Stritch at Liberty (https://www.youtube.com/watch?v=15a5jz6J0lM) , she said to the audience, during a childhood anecdote: “My parents – let’s not go there.” Theatregoers in the era of misery memoirs assumed this to be an allusion to estrangement or even abuse but, questioned on this, Stritch insisted that the omission had the opposite motivation. She “so loved” George and Mildred Stritch – and had such gratitude for their financial and motivational support of her acting ambitions – that she “would find it impossible to talk about them on stage” without breaking down.

Her apprentice years in New York theatre included the feat of once being employed simultaneously in shows on Broadway and in Connecticut, her exit in the former allowing time to catch a train to make the later curtain for the latter.
Elaine Stritch at the Carlyle Hotel, Manhattan. Elaine Stritch at the Carlyle hotel, Manhattan. Photograph: Andrew Testa/Rex

Although that double booking suggests a cool head, Stritch suffered seriously from stage fright, believing that performers must feel fear: “If I see someone saying the rosary in the wings, I know they’ve got talent.” Stritch, however, turned not to prayer but booze. From her earliest successes – winning her first Tony nomination in 1956 for William Inge’s play Bus Stop – until the late 1980s, she would down a big drink before curtain, another in the interval and a third before delivering the climactic song (the so-called “11 o’clock number”) in a musical.

She believed that theatregoers would be unaware of her habit, although word got round among producers. When she was appearing in Los Angeles in the 1960s, a guard was placed outside her dressing room, charged to listen for the tell-tale pop of corks. This precaution was thwarted by Stritch striking a deal with a local liquor store to deliver gift-wrapped bottles of champagne with fake messages of encouragement from celebrities (“Have a great show! from Judy Garland. xx”). The alcohol cop at the theatre let through these presents, unaware that they were trick bottles fitted with a special soundless cork.

Despite this questionable preparation for going on stage, Stritch otherwise remained an impeccable professional, boasting of having only missed two shows through indisposition over seven decades. She carried on performing live, because, she said: “I love audiences. My God, the best friends in the world!” It was her fierce creed that, even in long runs, each performance must be as good as possible – “the audience out there are seeing the show for the first time” – and, ideally, different from its predecessors: “I work constantly on the lyric of a song. Every time, I’m trying to find something else in it.” Unlike many performers, she made a point of reading all her reviews, even hostile ones: “You can learn from what these cleverer people say about you.”

Her stage acclaim led to screen roles including the CBS sitcom My Sister Eileen (1960-61) and the movie A Farewell to Arms (1957), but her acting success for a long time ran ahead of personal fulfilment. Catholic morality had left its mark and Stritch recalled turning down a fling with Marlon Brando (http://www.theguardian.com/news/2004/jul/03/guardianobituaries.artsobituaries) as a young woman because she “wouldn’t have known how to sleep with him”. Her love life was also slowed down by a long pursuit of the actor Rock Hudson, who was at the time successfully concealing his homosexuality. She admitted to remaining a virgin until 30 and turning down opportunities to marry because the men, against Catholic doctrine, were divorcees.

As a result, she was 50 before making the major relationship of her life. After going to London in 1972 for the West End production of Company, she met and marriedJohn Bay (https://www.youtube.com/watch?v=5q1_-J9av5g) , an American actor and playwright whose family had founded a company popularising English muffins in the US. Stritch and Bay married – a section of her solo show dealt with the happiness of this union – and lived in London at the Savoy hotel. Spotting the opportunities of this sojourn, LWT, whose headquarters was within walking distance of the Savoy, cannily came up with Two’s Company.
Elaine Stritch with Noel Coward Elaine Stritch with Noël Coward, at the Broadhurst theatre, New York, in 1961. Photograph: John Lent/AP

As Sondheim had done with The Ladies Who Lunch, the writer Bill MacIlwraith sensibly created a role close to Stritch’s own persona: Dorothy McNab, a sharp-tongued and sassy American writer exiled in London. He maximised the potential culture clash by pairing the American big-mouth with Sinden’s stereotypically correct English butler.

Bay’s diagnosis with brain cancer and then his death in 1982 – and Stritch’s resultant comfort drinking – caused the first significant dip in her career when she returned to her home country as a widow. But, after dealing with her alcoholism and a subsequent diagnosis as a diabetic, she was increasingly recognised as comedy and musical royalty. Woody Allen cast her in September (1987) and Small Time Crooks (2000), while she served Sondheim again in concert stagings of Company (in 1993) and a revival of A Little Night Music (in 2010). In 1996, she gave a memorable portrayal of Claire, an unhappy and malicious alcoholic, in a production of Edward Albee’s family tragedy A Delicate Balance.

Her status as a Broadway great was confirmed by Elaine Stritch at Liberty. The script credit for this monologue with songs was “constructed by John Lahr and reconstructed by Elaine Stritch.” Lahr, a biographer and theatre critic, admitted in the liner notes for the CD recording of the show that there had been a lot of shouting matches during the creation of the show. He referred to “that ozone of anger and anxiety that is finally the Stritch climate”. Stritch, when I put this weather report to her, quibbled: “I think I have more humour in me than anger. But those two things are great bed-fellows, performance-wise.”

This feisty attitude on stage perhaps compensated for what she freely admitted was a technically imperfect singing voice: a documentary shot during rehearsals of Company catches her self-deprecatingly saying: “I’m just shouting.” But, like Sondheim, one of whose finest interpreters she certainly was, she understood that a song is a one-act play in musical form. “There were a lot of lyrics that I sang but didn’t understand,” she told me. “But I had this facade in performance of looking like I wrote the book.”

• Elaine Stritch, actor and singer, born 2 February 1925; died 17 July 2014

• From Sondheim to 30 Rock: Stritch’s career in clips (http://www.theguardian.com/stage/2014/jul/17/elaine-stritch-career-in-clips)
• Stritch interview: ‘I’m a do-it-myself kind of broad’ (http://www.theguardian.com/stage/2008/jul/16/theatre.broadway)
• In pictures: an incorrigible scene-stealer (http://www.theguardian.com/stage/gallery/2014/jul/17/elaine-stritch-a-brash-incorrigible-scene-stealer-in-pictures)

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July 19, 2014 / No Comments / More

‘What’s Up, Doc? The Animation Art of Chuck Jones’ – WSJ

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** The Man Behind the Looney Tunes
————————————————————

By 1953, nearly every Hollywood cartoon seemed to be about conflict: somebody was always chasing or hunting somebody else. But in Chuck Jones’s remarkable “Duck Amuck,” the confrontation was between Daffy Duck and the off-screen animator who controlled his pen-and-ink destiny. The brief, seven-minute piece continually broke through the cinematic “fourth wall” in a way no live-action film ever could, but at the time that was hardly a new idea: cartoon characters had been directly addressing movie audiences for years. What made “Duck Amuck” a classic was the degree to which Daffy—as directed by Jones, animated by Ken Harris and voiced by Mel Blanc—became such a believable character. No matter how many times his image was erased and redrawn, Daffy remained completely three-dimensional in a two-dimensional medium as he goes on an emotional journey through confusion, anger and, ultimately, resignation, in which he constantly bickers and bargains with his creator. Every aspect of
the film reminds us that Daffy is just a drawing, and yet, over the past 60 years, Daffy has become no less real to us than Clark Gable or Humphrey Bogart. With a less-believable star, the conceit of character vs. animator could have been a big snooze; instead, with this “despicable” fall guy of a leading man placed in the accomplished hands of Jones and company, “Duck Amuck” became a masterpiece of American film comedy.

Charles M. Jones (1912-2002) was, in fact, easily one of the greatest comedy directors in the history of motion pictures, indisputably on a par with Preston Sturges, Billy Wilder, Mel Brooks or Woody Allen. Jones’s role in the history of animation and film comedy is explored in a new exhibit, “What’s Up, Doc? The Animation Art of Chuck Jones,” which is opening Saturday at the Museum of the Moving Image. The exhibition, a co-production of the Smithsonian, the Academy of Motion Picture Arts and Sciences, the Chuck Jones Center for Creativity, and MoMI, will close in January and then tour the country through 2019. It includes more than 125 pieces of production artwork on display and 23 of Jones’s cartoons, some screened in two different film shows and others as part of the exhibit itself.

Even though Jones would never be as famous as the characters he directed or helped create—Bugs Bunny, Porky Pig, Elmer Fudd, the Roadrunner and Coyote, and Pepe Le Pew, among others—he came closer than any animated filmmaker (after Walt Disney) to attaining the name-above-the-title status of a Frank Capra, Alfred Hitchcock or Martin Scorsese. In 1996, the Motion Picture Academy presented Jones with an Honorary Academy Award—a lifetime-achievement award to add to the three Oscars he already won for best short.

In a sense, Jones is an even more distinctive stylist than any Hollywood feature director; you can quickly identify his work from just a single frame, the same way you can immediately distinguish between comic strips by George Harriman and Al Capp. Jones’s earliest directorial efforts, particularly those starring the talkative, rather phlegmatic mouse named “Sniffles,” show an ability to create a naturalistic, believable character—but little else. By World War II, however, Jones was in step with the rest of the studio in placing his characters in situations that were fast and funny.

Like Duke Ellington and Frank Sinatra, Jones was a visionary who brought a touch of the avant-garde to mainstream—he encouraged his animators and designers to push the limits of the animated medium and do things that had never been done before, with faster, razor-sharp timing and a bolder, more innovative look. He was miraculously subtle: “cartoon” implies the broadest possible action and situations, but Jones’s work was all about the tiniest of nuances. It isn’t just that Wile E. Coyote falls off a cliff in his Acme-aided efforts to catch the roadrunner, it’s the tiny, almost unnoticeable puff of smoke that appears at the bottom of the canyon that seals the deal.

Throughout the 1950s, Jones turned out classics with astonishing regularity, making the now-established Looney Tunes formulas work better than anyone else by continually turning them on their head: “One Froggy Evening” (1955) pivots around a frog who miraculously sings and dances; “What’s Opera, Doc?” (1957) overlays two sets of myths on top of each other: the pantheon of Norse-Germanic deities (as codified by Richard Wagner in his “Ring” cycle) and the equally well-known and oft-told rabbit-hunting framework (as codified by Tex Avery in the 1940 “A Wild Hare”). Thus Elmer in a viking helmet chases Bugs, who is disguised in drag as Wagner’s metal-bosomed Valkyrie Brünnhilde. When Elmer finally “kills the wabbit,” he is overcome with remorse and begins toting the lifeless carcass to Valhalla in a climax of “wabbiterdamewung.”

(Oddly, “Duck Amuck,” “One Froggy Evening” and “What’s Opera, Doc?” aren’t among Jones’s Oscar-winning efforts.)

It was, indeed, a twilight of the gods in the Hollywood studio system as the regime—for both live and animated film—was already being dismantled. Yet Jones went on to do some of his best work in the years that followed, including the two best adaptations of Dr. Seuss stories: “How the Grinch Stole Christmas” (1966) and “Horton Hears a Who” (1970). He lived to be an elder statesman, with a broad range of stylistic descendents not only in animation (the climatic scene in “Monsters, Inc.” is an homage to Jones’s 1952 “Feed the Kitty”), but feature films, television, theater and even music. Jones said over and over—to me and anyone else who ever knew him—that his characters embodied different aspects of himself: Bugs was the suave, cool customer he aspired to be, but Daffy more accurately embodied his real-life frustrations while the Coyote represented his perceived ineptitude with tools. In laying out his own foibles for the whole world to laugh at, Jones touched us in a way
that other directors could only dream about.

Mr. Friedwald writes the weekly Jazz Scene column for the Journal.

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July 19, 2014 / No Comments / More

Johnny Winter, Texas Blues Guitar Icon, Dead at 70 | Music News | Rolling Stone

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** Johnny Winter, Texas Blues Guitar Icon, Dead at 70
————————————————————
Johnny Winter

Johnny Winter, the Texas blues guitarist who added his own unique current of electricity to songs like “Highway 61 Revisited,” “Johnny B. Goode” and “Jumpin’ Jack Flash” in the late Sixties and throughout the Seventies, died Wednesday in his hotel room in Zurich, according to his publicist. He had been on tour in Europe and most recently had played in Wiesen, Austria. Winter was 70.

The Lion in Johnny Winter: A Tribute to the Guitar Icon (http://www.rollingstone.com/music/news/the-lion-in-johnny-winter-a-tribute-to-the-guitar-icon-20140717)

“His wife, family and bandmates are all saddened by the loss of one of the world’s finest guitarists,” a representative for Winter said in a statement. “An official statement with more details shall be issued at the appropriate time.”

Winter, along with his younger brother Edgar, rose to prominence in their early 20s and turned heads both for their musicianship and stark-white hair, a result of the musicians’ albinism.

The guitarist was born in Beaumont, Texas in 1944 and rose to prominence in his early 20s after a Rolling Stone cover story on Texas music in December 1968. “If you can imagine a 130-pound, cross-eyed albino with long fleecy hair playing some of the gutsiest, fluid blues guitar you ever heard, then enter Johnny Winter,” wrote Larry Sepulvado and John Burks in the issue. “At 16, [Mike] Bloomfield called him the best white blues guitarist he ever heard…. No doubt about it, the first name that comes to mind when you ask emigrant Texans about the good musicians that stayed back home is Winter’s.” The guitarist, who had previously played in a band with his younger brother Edgar (who scored a Seventies hit with “Frankenstein”), was playing in a trio at the time. After the article came out, Winter was offered several deals and eventually signed a reported $600,000 contract with Columbia.

Johnny Winter and the 100 Greatest Guitarists (http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/johnny-winter-20111122)

Although Winter had put out a debut LP in 1968, The Progressive Blues Experiment, which would reach Number 40 on the Top 200, his first release for Columbia in June of the following year, Johnny Winter, rose to Number 24 and featured Edgar on keyboards. He quickly released a follow-up in October, Second Winter. Both records featured a mix of originals and covers of songs by Chuck Berry, Bob Dylan, B.B. King, Sonny Boy Williamson and more. Between those two albums’ release, Winter played an hour-long noon set on the last day of Woodstock.

In his lifetime, the bluesman issued nearly 20 studio LPs. His most recent album,Roots, came out in 2011 and featured guests ranging from Warren Haynes to Edgar on songs by the likes of Elmore James and Jimmy Reed. A four-disc retrospective box set, True to the Blues: The Johnny Winter Story, was released in February 2014. Winter’s final album, Step Back, which features appearances by Eric Clapton, ZZ Top’s Billy Gibbons and Aerosmith’s Joe Perry, among others, is scheduled to come out on September 2nd.

100 Greatest Guitarist, David Fricke’s Picks: Johnny Winter (http://www.rollingstone.com/music/lists/100-greatest-guitarists-of-all-time-19691231/johnny-winter-20101202)

Outside of his own work, Winter produced three LPs for Muddy Waters in the late Seventies, earning three Grammys for his work with the blues legend.

“It’s a living music,” Winter once said of his chosen genre. “For me, blues is a necessity.”

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here (http://archive.rollingstone.com/)

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July 18, 2014 / No Comments / More

Living jazz legend Lionel Ferbos turns 103 today | wwltv.com New Orleans

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** Living jazz legend Lionel Ferbos turns 103 today
————————————————————

NEW ORLEANS – A living legend of the New Orleans music world turns 103 on Thursday – Lionel Ferbos, the city’s oldest living jazz musician, who was born July 17, 1911. As a trumpeter, he has performed all over the world and even now the family patriarch continues to inspire.
“I’m thankful that I lived to be this age because very few people see that,” he said this week in an interview.
Even fewer are playing the trumpet past the age of 100. Ferbos was performing regularly at the Palm Court Jazz Cafe on Decatur Street and even at the French Quarter Fest, Satchmo Summer Fest and Jazz and Heritage Festival, up to the age of 102.
He’s no longer able to hold a trumpet but he has inspired countless musicians over the year, from Irvin Mayfield to Troy “Trombone Shorty” Andrews.
“Practice, practice, practice” is his advice for up and coming musicians. “Do that and you’ll make friends all over the world.”
Ferbos has friends all over the world wishing him a happy birthday. His daughter Sylvia holds up a card signed by musicians in Japan and shows off the hundreds of birthday cards he has received from Europe, Asia and the United States, including one very special greeting – from President and Mrs. Obama.
“We extend our best wishes for a wonderful birthday and we hope you get to spend the day surrounded by loved ones,” reads the Obamas’ letter. “Your generation helped guide America through extraordinary and uncertain times, leaving an indelible mark on our nation. As you celebrate 103 years, we trust you reflect with great pride on your achievements and on contributions made over the course of your life.”
The only thing possibly nicer than that is to have the love and respect of his family.
“I watched my daddy from growing up and I know he was a hard worker. He’d play music every night for $1. Can you imagine that?” said his daughter Sylvia Schexnayder.
“I love my daddy with all my heart and he loves everybody. He never says anything bad about anybody,” she added. Ferbos and his wife, Marguerite, were married 75 years before she died in 2009.
A native of the city’s Seventh Ward, Ferbos performed since he was a teenager during the Great Depression. Since he suffered from asthma as a child, his parents would not let him take up a wind instrument. He said when he as 15, he saw an all-girl orchestra at the Orpheum Theater and argued that he ought to be able to do anything a girl could. He bought an old cornet from a pawn shop and began taking lessons.
His first professional music jobs were with society jazz bands at well-known venues such as the Pythian Roof Garden, Pelican Club, San Jacinto Hall, Autocrat Club, Southern Yacht Club and the New Orleans Country Club as well as smaller dance halls, clubs and churches.
In 1932, he joined Captain John Handy’s Louisiana Shakers and played the Astoria and toured the Gulf Coast. He later backed blues singer Mamie Smith while playing with the Fats Pichon Band.
During the Depression, he worked as a laborer in New Orleans City Park for the Works Progress Administration, then played first trumpet in the WPA jazz band.
This week, Ferbos himself became emotional when he reflected on his extraordinary life and friendships made in the music world.
“I want to thank everybody who has been veery nice to me,” he said, fighting back tears of happiness. “I have very good friends.”
Ferbos will celebrate with friends and fellow musicians Thursday night at the Palm Court.
If you would like to wish him a happy birthday you can mail him a card. His address is 5543 Press Drive, New Orleans, LA, 70126.

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July 18, 2014 / No Comments / More

An Appreciation: Charlie Haden Gave the Bass a Voice – WSJ

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** Giving the Bass a Voice
————————————————————

Charlie Haden, who died on Friday at age 76, was one of the most revered and influential acoustic jazz bassists of his generation, largely because he was incapable of being dull. Rooted in folk and country music, Haden combined earthy simplicity with an engaging storytelling style that inspired and propelled the music of dozens of artists, from saxophonist Ornette Coleman and pianist Keith Jarrett to drummer Ginger Baker and singer Norah Jones. His conversational approach to improvisation forged a new model for post-1960 jazz bassists, resulting in four Grammys.

The acoustic-jazz bassist in 2008 Getty Images

Haden’s arrival on the jazz scene in the late 1950s came just as the music was shifting. The surging appeal of R&B and rock began to marginalize jazz’s popularity while the simmering civil-rights movement motivated many jazz artists to use their art to express frustration with the slow pace of change. In the process, jazz became more spiritual and personal. In 1958, Haden teamed with Mr. Coleman, and the pair over the next two years recorded four landmark albums that codified free jazz, a movement based on brutish expressionism rather than formal music.

But Haden faced an uphill battle. To many longtime jazz fans, the acoustic bass was the art form’s least charismatic instrument and the hardest to hear. Unlike a trumpet, saxophone or drums, the bass toiled in the background as a metronome, while most bass solos were ponderous and dreary. Haden—like Charles Mingus, Paul Chambers and Scott LaFaro—looked for a new way to reposition the bass’s voice. Haden’s unusual family background and earthy attack set him apart.

“There was a folklike simplicity, primeval directness and unabashed honesty about Charlie’s playing,” said pianist Denny Zeitlin by phone. Mr. Zeitlin’s trio included Haden from 1964 to 1966. “He had an utter willingness to support anything I’d try, and his warm feel motivated me to experiment.”

Haden knew what was expected in terms of setting a tempo, but he also was entrepreneurial, constantly thinking ahead to transition improvised music into fine art. “When you’re a jazz pianist, you’re often hoping the bassist lays down a luxurious rhythmic carpet that you can walk and ride on,” said Mr. Zeitlin. “Charlie was a master of that. If I found an interesting new tangent while improvising, he’d be there with a countermelody. He was telepathic like that.”

In the late 1980s, Haden formed a trio with pianist Geri Allen and drummer Paul Motian. “Charlie’s sound was beautifully ancient and soulful,” Ms. Allen recalled in a weekend phone conversation. “He was able to express freedom within the pulse, and this approach was thoroughly innovative.”

Born in 1937 on his family’s farm in Shenandoah, Iowa, Haden could sing before he could talk. His parents had been longtime country-music entertainers, and Haden first sang harmony to his mother’s lullabies at 22 months. Weeks later, Haden began appearing on the family radio show as Cowboy Charlie, singing hymns and hillbilly music. His two older brothers and an older sister were already singing with the family, and later a younger brother and sister completed the group.

In 1951, the family moved to Omaha, Neb., where Haden’s father took him to hear a jazz concert. There, he identified with the folk qualities in the blues of Billie Holiday, Charlie Parker and Lester Young. But in 1952, when Haden was 15, he was diagnosed with bulbar polio—which affected the back of his neck and tongue—and was confined to his bed at home for nearly a year, spending his days hunting for jazz stations on the radio.

After Haden’s polio went into remission in 1953, he no longer was able to sing as well as before and began studying the bass. Influenced by the recordings of bassist Chambers, Haden worked on creating a big, woody sound. Captivated by the rhythmic playing of West Coast jazz pianist Hampton Hawes, Haden turned down a scholarship to Ohio’s Oberlin Conservatory in 1956 and instead attended the Westlake College of Modern Music in Los Angeles. While in Los Angeles, Haden met bassist Red Mitchell, who put him together with alto saxophonist Art Pepper and pianist Hawes.

Haden first heard Mr. Coleman in 1957, at The Haig in Los Angeles. As Haden told National Public Radio’s Amy Goodman in 2006: “Gerry Mulligan was playing there with his band, and this guy comes up to the stage and asks to sit in. They tell him to come up, and he got his alto. It was plastic—a white plastic alto saxophone. And he starts to play, and the whole room lit up for me. It was so brilliant. And as soon as he started to play [free improvisation], they asked him to stop. So he put the horn back in the case and started out the back door.”

Astonished by the freshness of Mr. Coleman’s style, Haden soon managed an introduction. Mr. Coleman invited Haden to play with him at his house for three days before they rehearsed with cornetist Don Cherry and drummer Billy Higgins. When Atlantic Records’ jazz chief Neshui Ertegun heard the quartet, he signed the group. Mr. Coleman and Haden made a series of groundbreaking albums for the label in 1959 and 1960—”The Shape of Jazz to Come,” “Change of the Century,” “This Is Our Music” and “Free Jazz.” On these recordings, Haden’s powerful sense of time, harmony and imagination are still evident, serving as a warm counterbalance to the surging urgency of the other instruments.

In the decades that followed, Haden played in dozens of free-jazz groups and traditional-jazz ensembles, including his Quartet West. He said he preferred working in duets so his bass could be heard. “When I play, it’s important for me to bring out the wood—like the tree of the bass. I like to sound like a rain forest,” he told a class of students in 2009.

“Whenever I played with Charlie, I always felt he was connected to a sacred source,” said Ms. Allen. “I grew to comprehend artistry through that experience, and I’m grateful to Charlie for helping to shape my journey as an artist.”

Mr. Myers, a frequent contributor to the Journal, writes daily about music atJazzWax.com (http://www.jazzwax.com/) .

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July 16, 2014 / No Comments / More

Jazz News No. 23/2014 (10 – 16 July 2014)

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10 – 16 July 2014

Ausgabe 23, 2014

We read the morning paper for you!

Dear colleagues and jazz friends,

Jazzinstitut’s JazzNews keeps you up-to-date with news of the jazz world, which we collect, summarize, and issue via e-mail about once a week. This service can also be accessed on our website ( www.jazzinstitut.de (http://www.jazzinstitut.de/) ), where it is updated on a daily basis. You’re invited to post comments on the entries there.

If you need bibliographies of the musicians named in our JazzNews, please click on our website’s Jazz Index page (http://jazzinstitut.de/Jazzindex/jazzindex.htm) . This is a bibliographical reference of jazz-related books, magazines, journals and other sources that you can access without charge. If you don’t find the name(s) you’re looking for, feel free to e-mail us! We will send you Jazz Indexdigests of articles about musicians as they make the news.

Now, have fun reading about the jazz week that was!

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10 July 2014

Dorothy Masuka / Fred Hersch

The 77-year-old South African singer Dorothy Masuka, born in Southern Rhodesia (now Zimbabwe), speaks about her music career, about the band Harlem Swingers, about the singer Dolly Rathebe, about her composition “Pata-Pata”, made famous by Miriam Makeba, about songs documenting life in segregated South Africa, political songs which eventually forced her into exile for more than 30 years, and about teaching students at Boston University ( Mail and Guardian (https://www.newsday.co.zw/2014/07/08/masuka-cant-stop-singing-thats-life/) , Zimbabwe). — Jeff Beaudoin talks to the pianistFred Hersch about changes in his pianistic style, about taking chances in his performances, about the music of Thelonious Monk, and about continuing taking lessons with his teacher of at least 34 years ( KMUW (http://kmuw.org/post/pianist-fred-hersch-continues-challenge-himself-audience) ).

11 July 2014

Marcus Miller / Charlie Parker

Tom Cumming talks to the bassist Marcus Miller about the basic origin of all American music as a fusion of traditions, about similarities of slapping the bass in a funk way and in the African Ghimbri way, about the importance of roots for African-Americans, about changes in his own musical approach over the years, and about the influence of Miles Davis on his musical aesthetic ( The Arts Desk (http://www.theartsdesk.com/new-music/10-questions-bassist-marcus-miller) ). — Chris Walker reflects about a party the legendary Charlie Parker took part in on 15 July 1952 at Zorthian Ranch, an artists’ commune in northern Los Angeles which ended in a jam session at which first a single woman performed a striptease while Charlie Parker played “Embraceable You”, which was followed by most of the guests, including many of the musicians, getting naked ( L.A. Weekly (http://laweekly.com/2014-07-10/news/the-wildest-party-in-la-history/) ). A recording of the session survived the years and
had been issued as a low-quality bootleg some years ago. Walker also describes how the tape recording survived and eventually was found and rescued by a “Bird Detective”, a Charlie Parker fanatic named John Burton. The “Embraceable You” part of the party can also be found on YouTube ( YouTube (http://www.youtube.com/watch?v=l1Mpxk83d1k) ).

12 July 2014

Regensburg / Hamburg (Germany)

Claudia Bockolt talks to the new mayor of Regensburg, Germany, about the jazz festival this weekend as well as about controversies between some of the jazz initiatives in his city, among them the Bavarian Jazzinstitut and the local jazz club, all of whom he plans to invite to a jazz summit hoping to solve the problems ( Mittelbayerische (http://www.mittelbayerische.de/nachrichten/kultur/artikel/joachim-wolbergs-ruft-zum-jazzgipfel/1089515/joachim-wolbergs-ruft-zum-jazzgipfel.html) ). A review of the festival weekend can be found in the Monday edition of the paper ( Mittelbayerische (http://www.mittelbayerische.de/index.cfm?pid=10067&pk=1092329) ). —Hamburg, Germany, will have a new jazz club in September, when the Cascada will offer sessions every Wednesday and concerts every Friday, replacing the Birdland which closed a year ago ( Die Welt (http://www.welt.de/print/die_welt/hamburg/article130073832/Das-Birdland-ist-tot-es-lebe-das-Cascadas.html) ).

13 July 2014

Joe Segal / Cemetery Space

Lloyd Sachs talks to the club owner Joe Segal (Jazz Showcase) who has been presenting jazz in Chicago for the last 67 years and now will be named NEA Jazz Master in January 2015 ( Washington Post (http://www.washingtonpost.com/entertainment/music/at-88-chicagos-music-legend-joe-segal-has-all-that-jazz/2014/07/10/36965624-fe1b-11e3-b1f4-8e77c632c07b_story.html) ). Segal is the second club owner after Lorraine Gordon of New York’s Village Vanguard to receive the award. He praises the quality of young performers but thinks that today’s jazz scene is lacking in innovation. At 88 he just started writing his memoirs. — The Woodlawn Cemetery in the Bronx has unveiled new burial plots close to its “Jazz Corner” where Miles Davis, Duke Ellington, Max Roach and other jazz musicians are buried to be sold to jazz fans who want “to spend eternity near their favorite players” ( New York Daily News
(http://www.nydailynews.com/new-york/bronx/fans-spend-eternity-jazz-greats-article-1.1863858) ).

14 July 2014

Arrangement

Jeff Sultanof sheds light on the problems working with original arrangements by some of the jazz greats of the past ( Do the Math (http://dothemath.typepad.com/dtm/jeff-sultanof.html) ). He explains the task of an editor who tries to publish new editions of historic arrangements and gives insight into some of the approaches he uses in order to get information about composers / arrangers. He also gives examples of his own corrections of wrong notes in historic scores. Sultanof discusses Charlie Parker’s string sessions and its different arrangers and how one can identify specific writers. He argues against arrangements which have all solos transcribed note-for-note (“How many students can actually play this?”) and criticizes those who transcribe an arrangement of a recording when the original score and parts exist. He discusses a possible publication of the manuscripts of Duke Ellington’s band book, concluding that original music should be made available for researchers and
students, but that editors of such publications need to be just as experienced as those of the great European classical composers.

15 July 2014

France / Uri Caine

In his Diary of Jazz, Karl Lippegaus reports about protests against changes in French radio programming which eventually would cut down the time for jazz, as well as about the closure of the Centre d’Information du Jazz, a national information and lobbying center for jazz ( Diary of Jazz (http://nrwjazz.net/diary_of_jazz/2014/diary_of_jazz5/diary_of_jazz5.html) ). Lippegaus talks to musicians and jazz experts from all over all of whom plead to save such important organizations for jazz in France, and he encourages his readers to sign a petition which has found more than 3,000 supporters already within 3 days ( Petition at change.org (http://www.change.org/fr/p%C3%A9titions/radio-france-minist%C3%A8re-de-la-culture-pr%C3%A9sidence-de-la-r%C3%A9publique-pour-le-maintien-du-bureau-du-jazz-%C3%A0-radio-france?recruiter=122176930&utm_campaign=twitter_link_action_box&utm_medium=twitter&utm_source=share_petition) ). — David Patrick Stearns talks to the pianist Uri Caine about his
jazz/gospel oratorio “The Passion of Octavius Catto” which will be premiered in Philadelphia on Sunday ( Philadelphia Inquirer (http://www.philly.com/philly/entertainment/20140715_Composer_Uri_Caine_finding_new_Philadelphia_roots.html) ). Caine explains what interested him in the commission about the 19th century abolitionist, and how the struggles of the civil rights movement had touched his own home when his father headed the American Civil Liberties Union in the 1970s, telephones were tapped and Caine Sr. had an FBI file. The premiere of the oratorio will be given by the Freedom Festival Community Choir which Caine Jr. sees as an especially intriguing aspect of the project, emphasizing “the communal aspect of making music”.

16 July 2014

… what else …

Don Cheadle’s crowdfunding efforts for his film on Miles Davis exceeded the target, receiving $335,766 from 1,984 funders ( Gulfnews (http://gulfnews.com/arts-entertainment/celebrity/hollywood/miles-davis-biopic-exceeds-crowdfunding-target-1.1358680) ). — Daniel Nagel talks to David Maier, the artistic director of the Jazz and Joy festival in Worms, Germany ( Regioactive (http://www.regioactive.de/interview/2014/07/11/interview-mit-david-maier-kuenstlerischer-leiter-des-jazz-joy-festivals-in-worms-cJfZ3MBxKZ-2.html) ). — The content of the home of the late pianist Marian McPartland is being sold in auction (Estate Sales (http://www.estatesales.net/estate-sales/NY/Port-Washington/11050/669141) ).

Obituaries

We read another obituary about the flutist Paul Horn who had died last week at the age of 84 ( New York Times (http://www.nytimes.com/2014/07/10/arts/music/paul-horn-a-founding-father-of-new-age-music-dies-at-84.html?_r=0) ). — We learned of the passing of the British saxophonist Kathy Stobart at the age of 89 ( The Independent (http://www.independent.co.uk/news/obituaries/kathy-stobart-saxophonist-who-played-with-humphrey-lyttelton-and-led-her-own-band-at-a-time-when-women-were-a-rarity-in-jazz-9595974.html?origin=internalSearch) , The Guardian (http://www.theguardian.com/music/2014/jul/08/kathy-stobart) ), the bassist Charlie Haden at the age of 76 ( Los Angeles Times (http://www.latimes.com/local/obituaries/la-me-charlie-haden-20140712-story.html) , New York Times (http://www.nytimes.com/2014/07/12/arts/music/charlie-haden-influential-jazz-bassist-is-dead-at-76.html) , San Francisco Chronicle
(http://www.sfgate.com/default/article/Skilled-jazz-bassist-Charlie-Haden-dies-at-76-5615965.php) , Variety (http://variety.com/2014/music/news/charlie-haden-legendary-jazz-bassist-dies-at-77-1201261391/) ,The Independent (http://www.independent.co.uk/news/world/americas/charlie-haden-pioneering-jazz-bassist-dies-at-76-9601848.html?origin=internalSearch) , Neue Zürcher Zeitung (http://www.nzz.ch/feuilleton/der-sanfte-rebell-1.18342202) , Die Zeit (http://www.zeit.de/kultur/musik/2014-07/tod-charlie-haden-jazz) , Spiegel Online (http://www.spiegel.de/kultur/musik/charlie-haden-nachruf-auf-den-jazz-bassisten-a-980716.html) , Die Welt (http://www.welt.de/kultur/pop/article130085731/Mit-jeder-Note-spielte-er-um-sein-Leben.html) ) Frankfurter Rundschau (http://www.fr-online.de/kultur/charlie-haden-im-namen-der-schoenheit-und-des–hoerens,1472786,27799484.html) , Hamburger Abendblatt
(http://www.abendblatt.de/kultur-live/article130122954/Ein-Leben-fuer-die-Schoenheit-der-Melodie.html) ), the club owner Lennie Sogoloff (Lennie’s on the Turnpike) at the age of 90 ( NEPR (http://nepr.net/music/2014/07/12/lennies-turnpike/) ), as well as the British critic and manager of the Marquee Club, John Gee, at the age of 86 ( The Guardian (http://www.theguardian.com/theguardian/2014/jul/09/john-gee-obituary/print) ).

Last Week at the Jazzinstitut

Last Wednesday we had another of our Darmstadt Music Talks, a series of public discussions about music and other arts. Last week’s topic was “Artists Colony 21 or: The Utopia of Art”. The location was the Osthang Project (http://www.osthang-project.org/) at Darmstadt’s historic Mathildenhöhe, a temporary architects’ colony, so-to-speak, which will also be the site for some projects of this year’s Ferienkurse für Neue Musik (Holiday Courses for Contemporary Music). Our guest of honor this time was the art historian Julia Bulk. The discussion between her, Thomas Schäfer of the Internationales Musikinstitut, Cord Meijering of the Akademie für Tonkunst, and Wolfram Knauer of the Jazzinstitut, the three municipal music institutions in our city, centered around utopian models in the arts and in literature, the need for spaces to be filled by contemporary art, and musical concepts that might constitute utopian ideals. A lengthy review of the evening can be found in our local
newspaper ( Darmstädter Echo (http://www.echo-online.de/freizeit/kunstkultur/musik/Brote-backen-und-den-Goettern-gefallen;art641,5215310) ).

We received a donation of about 50 historic Eastern European (Czech, Polish) jazz magazines which will find their place in our comprehensive periodical collection.

Otherwise, and like most Germans, we were quite busy with other stuff: We had to watch the World Cup, of course, and celebrate Germany winning the trophy last Sunday.

In between games we read … Kevin Whitehead’s “Warum Jazz? 111 gute Gründe”. The review of this and other books can be found on the book review page of our website (http://jazzinstitut.de/books/books-us.htm) .

About this mailing:

Older Jazz News issues can be accessed through our Website (www.jazzinstitut.de).
The Jazz News is being mailed in a German language edition as well. If you feel more comfortable with the German version, let us know by sending a mail.The newspaper articles summarized on this page have been archived in our digital archive. If you need the complete article of one of the notes on this page, write us an e-mail. You may also be interested in our Jazz-Index, the world’s largest computer-based bibliography on jazz, which lists books, jazz periodicals, but also essays from daily and weekly newspapers. You can order excerpts from our Jazz-Index on specific musicians for free by sending us a mail with the respective name(s). A short aside about the links on this page: Some of the linked articles cannot be read without prior registration; with many online newspapers older articles can only be accessed for a fee. Please bear in mind that the summaries and translation on this page are our summaries and translations. If you want to quote any of the articles listed here,
you should use the original sources.We send this newsletter to the following e-mail address: jim@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)

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July 16, 2014 / No Comments / More

Europe’s biggest counterfeit record pressing plant raided

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** EUROPE’S BIGGEST COUNTERFEIT RECORD PRESSING PLANT RAIDED
————————————————————
1 Star 2 Stars 3 Stars 4 Stars 5 Stars

http://www.vinyloftheday.com/wp-content/uploads/2014/07/vinyl_press.jpg

German police have discovered what they reckon to be one of the largest illegal pressing plants in Europe.

Several properties were raided in both Bavaria and Hessen after preliminary investigations led by anti-piracy organisation proMedia at the instigation of the German record industry trade group BVMI, with support from global trade body IFPI.

BVMI CEO Dr Florian Drücke said: “Thanks to the excellent preparatory work and above all the precise work of the prosecutor and police, this raid has enabled us to pull the plug on the largest-ever undercover pressing plant for music in Europe. The equipment found here demonstrates once again that this is not the work of petty criminals, but of professional organisations whose criminal activities inflict massive damage on artists and the recording industry”.

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July 15, 2014 / No Comments / More

Jazz Piano Workshop Berlin – LIVE 1965 – YouTube

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Jazz Piano Workshop Berlin – LIVE 1965 – Earl Hines, Teddy Wilson, Bill Evans, John Lewis, Lennie Tristano, Jackie Byard.

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July 15, 2014 / No Comments / More

Everybody Got Naked With Charlie “Bird” Parker at the Wildest Party in L.A. History | Features | Los Angeles | Los Angeles News and Events | LA Weekly

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** Everybody Got Naked With Charlie “Bird” Parker at the Wildest Party in L.A. History
————————————————————
By Chris Walker (http://www.laweekly.com/authors/chris-walker/) Tuesday, Jul 8 2014
Comments (5) (http://www.laweekly.com/2014-07-10/news/the-wildest-party-in-la-history/?showFullText=true#readerComments)
Charlie Parker, the party animal, on sax

PHOTO COURTESY OF THE WILLIAM P. GOTTLIEB COLLECTION (http://www.laweekly.com/los-angeles/ImageArchives?oid=4833588)

Charlie Parker, the party animal, on sax

Charlie “Bird” Parker has been called the greatest saxophonist who ever lived, a jazz legend who not only spearheaded the bebop movement but also laid the foundations of modern jazz.
“I think he’s the best musician of the 20th century. Every fragment of his music is worth studying to see what we can learn from him.” —John Burton

He was also a party animal.

In 1952, Los Angeles would play host to one of Parker’s wildest exploits. The New York–based musician was in L.A. for some club gigs, even as his health was rapidly declining — fat, and alternately strung out on heroin or in the throes of withdrawal, he nursed his pain with alcohol binges. He went hard until the end. When Parker died in 1955 from a bleeding ulcer and liver disease, the coroner estimated his body to be between 50 and 60 years of age. He was 34.
click to flip through (5)http://www.laweekly.com/imager/everybody-got-naked-with-charlie-bird-pa/b/original/4833307/9946/feature1-1_7-10-14.jpg
* PHOTO BY STAR FOREMAN
*

(http://www.laweekly.com/imager/bird-detective-john-burton/b/original/4833308/a11f/feature1-3_7-10-14.jpg) (http://www.laweekly.com/imager/the-zorthian-ranch-today/b/original/4833310/5f34/feature1-5_7-10-14.jpg) (http://www.laweekly.com/imager/zorthian-ranch-today/b/original/4833311/982c/feature1-6_7-10-14.jpg) (http://www.laweekly.com/imager/the-infamous-rocking-horse-which-proved-s/b/original/4833312/b0c0/feature1-7_7-10-14.jpg)

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** At Zorthian Ranch, a Return to Bohemia (http://www.laweekly.com/westcoastsound/2014/07/08/at-zorthian-ranch-a-return-to-bohemia)
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The parties Jirayr Zorthian threw at his ranch in the foothills of Altadena were invitation-only events, yet everybody in Los Angeles seemed to rub elbows there: Caltech physicists, modern artists, Pasadena bluebloods, jazz musicians, the famous and infamous, hipsters, hippies and hedonists of every stripe came to dance, drink and…
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** Lovecraft: Nightmare Suite (http://www.laweekly.com/2014-02-27/calendar/lovecraft-nightmare-suite/)
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** More About
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Charlie Parker (http://www.laweekly.com/los-angeles/ArticleArchives?tag=Charlie%20Parker)

Jirayr Zorthian (http://www.laweekly.com/los-angeles/ArticleArchives?tag=Jirayr%20Zorthian)

John Burton (http://www.laweekly.com/los-angeles/ArticleArchives?tag=John%20Burton)

Bebop (http://www.laweekly.com/los-angeles/ArticleArchives?tag=Bebop)

Jazz and Blues (http://www.laweekly.com/los-angeles/ArticleArchives?tag=Jazz%20and%20Blues)

But not even Parker could have anticipated what unfolded in the early hours of July 15 at Zorthian’s Ranch — an artists commune in the foothills above Altadena in northern Los Angeles.

That evening, the saxophonist was invited to perform at a party by the ranch’s eccentric owner, a bohemian sculptor named Jirayr Zorthian. Something of a legend himself, Zorthian was friends with everyone from Andy Warhol to Nobel Prize–winning physicist Richard Feynman, and the ranch, perched atop Fair Oaks Avenue, was his personal Utopia, with life-size art installations and recycled construction materials scattered across hillside chaparral. Still standing today, the place looks like a cross between an old Western movie set and a scene out of Alice in Wonderland.

See also: At Zorthian Ranch, a Return to Bohemia (http://www.laweekly.com/westcoastsound/2014/07/08/at-zorthian-ranch-a-return-to-bohemia)

It was the perfect stage for an all-out Charlie Parker bacchanal — a night when the jazz didn’t start till late but played long into the morning. A night when one beauty stripped, and then everybody else followed.

Sixty-two years later, they’d still be talking about it.

It was already midnight, the beginning of July 15, 1952, as the pickup truck carrying a half-dozen band members and a piano came grunting up Zorthian’s steep driveway. For the crowd gathered at the ranch — a collection of beatnik artists and intellectuals — it was a reassuring sight. Most had been waiting since 9 p.m. to hear Parker play, and they were relieved to know that the musicians had not reneged on the commitment.

Until they noticed that Parker wasn’t in the truck.

The outlook only dampened when the other musicians seemed confused. “You mean he’s not already here?” one asked.

No one had any idea where Parker was, which was not uncommon at the time. Deep into various addictions, Parker was becoming increasingly erratic, missing shows and pawning musical instruments to buy drugs. With no way of contacting him, the band knew it would be best to start without him.

So Zorthian directed everyone into his art studio, where he’d set up a stage. Inside, guests packed around the performers. The jerry-rigged wooden structure, which still stands today, is only about 20 feet by 50 feet — small enough that Zorthian’s son Alan, who currently owns the ranch, says that guests who couldn’t fit inside used to drink up on the roof.

The band played for an hour. Then, around 1 a.m., Parker suddenly arrived.

“Get onstage,” Zorthian implored.

“No, I think I’d rather go swimming,” Parker replied.

The band Parker had assembled was a virtual who’s who of the L.A. jazz scene in those days. Nineteen-year-old Frank Morgan, whose father ran a club on Central Avenue, was there to play second alto sax. Larance Marable, who died in 2012, was on drums. David Bryant was on bass, Amos Trice on piano. And Don Wilkerson, a Texas-style honker, was on tenor sax.

Up to that point, their performance had been relatively uneventful. With the appearance of their unpredictable ringleader, though, the evening transitioned into a different kind of party.

Cajoled by Zorthian, Parker finally started playing. That’s when a beautiful woman approached Zorthian and told him that if Parker asked nicely, she’d perform a striptease for the crowd.

When Parker heard this, he got on his knees, begging, “Please!'”

That did the trick. The woman climbed on top of an ornate rocking horse, carved and painted by Zorthian himself. She began swaying back and forth, back and forth, performing a slow, sensual striptease while Parker blew the notes to “Embraceable You.”

“Take it off!” people cried from the audience. “Take it off!”

From his vantage point onstage, Parker got so excited by the striptease that he dropped his pants. Then Zorthian tore off his shirt.

“And next thing you know,” Zorthian would later exult, “three-quarters of the party was naked!”

Jirayr Zorthian has been dead for 10 years, and the famous party at his house happened more than six decades ago. But the events of that night are far from apocryphal. A recording of Parker’s performance survives, and it’s clear enough that you can hear audience members yell, “Take it off.” There’s also a videotape of Zorthian later describing how it all went down. It’s a lot of documentation for a raucous party thrown long before the age of Instagram.

Blame (or credit) John Burton. A civil rights lawyer and a socialist, Burton ran for California governor in the 2003 recall election. His website boasts that he finished 14th in a field of 135, winning nearly 7,000 votes — not enough to beat Arnold Schwarzenegger or Arianna Huffington, but not too shabby.
“As soon as I got to the door, my clothes were taken away.” —Russ Freeman

Despite his political passions, the walls of Burton’s Pasadena office look more like the back room of Amoeba Records. They are plastered with jazz memorabilia: album covers, autographs and a large, framed photograph of his musical obsession, Charlie Parker.

Burton, 61, is among a small, dedicated community of Charlie Parker fanatics who spend their off hours tracking down artifacts and lost recordings of the late musician. Burton calls them “Bird Detectives,” referencing the saxophonists’ nickname.

Most of what they find isn’t worth much; the recordings are usually scratchy and low-fidelity. But it’s not about money, not for a true Parker devotee. It’s about the love of music, and the thrill of the chase.

Burton first got into Parker when he was in high school and noticed the musician’s name popping up in liner notes: Some, like the ones from musician Eddie Harris, called Parker their inspiration. Burton was intrigued. But when the young jazz fan heard his first Parker album, the saxophonist’s fast playing sounded jumbled — like confetti. It was only when a bunch of saxophone students in Pasadena explained Parker’s style that it grew on him.

Burton began following the 1970s Grammy-winning jazz group Supersax, which transcribed Parker’s solos and harmonized them. At slower speeds, Parker’s improvisations revealed perfect melodies, as if they’d been carefully composed. Burton became convinced that Parker was a genius, a musician who could improvise faster on his feet than anyone else. He’s been hooked ever since.

“I think he’s the best musician of the 20th century,” he says. “Every fragment of his music is worth studying to see what we can learn from him.”

Those fragments include bootleg recordings of Parker’s live performances. For many collectors, especially in jazz, where so much is improvised, live shows offer spontaneity, an honesty that can’t be captured in the studio. Part of Burton’s fever to find them is a question of what could still be out there; each bootleg of a Charlie Parker show might reveal a moment of brilliance never shown before or since.

“By finding these artifacts from Bird, I feel like I’m making a contribution,” he acknowledges.

Sixty years after Parker’s death, such artifacts have become extremely hard to find. Almost all of the good stuff has already been discovered and catalogued. That’s led to an unspoken competition among Bird Detectives to find any remaining treasures. They all know one another. And while they share some leads, they keep mum about others: No point in tipping off rivals to the next big find before it’s safely in hand. You never know what might show up when someone sorts through an old archive or cleans out a collection of boxes in an attic.

The 1952 party at Zorthian’s ranch is perhaps Burton’s greatest discovery. It also has sentimental value: The surviving reel-to-reel recording of the evening was his first Parker breakthrough.

“I mean, even how I found it is unusual,” Burton says. Behind his desk, he adjusts his bright red Hawaiian shirt into a comfortable position before leaning deep back into a swivel chair and closing his eyes. “It goes back to when I first started looking for Bird stuff in my 20s.”

Then a law student, Burton wanted to collect rare Parker recordings but didn’t know how. This was pre-Internet, and at any rate, the Bird Detectives never did get into message boards or chat rooms. They only had each other’s phone numbers, and would occasionally see one another at auctions for recently unearthed Parker collections.

So Burton wrote a letter to Stash Records, an imprint managed by real estate agent–turned–jazz collector Bernie Brightman. Brightman put him on the phone with the No. 1 Parker collector of the 1980s, a guy named Norman R. Saks.

Even then, Burton was familiar with the name. An investor who lived on Long Island, Saks was about as dedicated as Bird Detectives come. He’d gained acclaim among Parker devotees after coming across unreleased recordings made by Bob Redcross, who caught Parker playing tenor sax in a Chicago hotel room in 1943 — an extreme rarity, as Parker was an alto player. The acetate recordings were legitimized by the fact that they were still wrapped in 1943 issues of the Chicago Tribune. Saks later released a book, The Norman R. Saks Collection, an obsessive curation of Parker’s autographs, discography, concert posters and photographs.

Saks is a true obsessive. At one point, he admits to the Weekly, he even wore a hidden microphone under his coat to tape a record that someone had agreed to play for him. He didn’t want to sell it, he says; he just wanted the recording for his own personal collection.

He was definitely the right man to talk to Burton. When the law student got Saks on the phone, he pressed the veteran collector for tips on how to find rare Parker artifacts.

“Anytime you see a jazz band,” Saks told him, “ask the players about unreleased Bird recordings.”

Months passed. But in fall 1989, Burton finally tried out Saks’ advice — at Burton’s own father’s memorial. It was the first, and only, time it ever worked.

Gene Burton’s memorial was held at the Museum of Contemporary Art (Burton’s mother was on the board of trustees). Artists abounded. There was also a live jazz band.

Suddenly remembering Saks’ advice, Burton approached the band. “You wouldn’t know of any Bird recordings, would you?”

“Actually, yeah,” one member replied. “Go talk to Zorthian. He has one.”

“Zorthian, really?'”

The name came as a surprise. Not only was Jirayr Zorthian at that very memorial, but Burton knew him from his childhood years of going to Zorthian’s summer camp for kids. Zorthian used to drive down his steep and winding driveway in a large green school bus with the name “ZOR 2” painted on the front and pick up kids around Altadena.

“Back then, everyone knew him,” Burton says. At belly dancing nights at Pasadena’s Armenian-owned restaurant Burger Continental, Zorthian would dance with a full pitcher of beer balanced on his head … and it never fell. Later, the Dionysus of the Altadena foothills became known for a raucous Primavera party he threw each spring, complete with naked nymphs, in celebration of his birthday. (See “At Zorthian Ranch, a Return to Bohemia (http://www.laweekly.com/westcoastsound/2014/07/08/at-zorthian-ranch-a-return-to-bohemia) .”)

But that was the first Burton had heard of any connection between Zorthian and Charlie Parker. He immediately tracked down Zorthian, who confirmed he had a recording and agreed to share it.

The reel-to-reel was being safeguarded by Zorthian’s lawyer, George Hedges, who had recently transferred it to an audiocassette at USC. Burton made arrangements to pick up the cassette from Hedges the day after the memorial, then raced home to play it on his own stereo system. What he heard amazed him.

The sound was muffled and scratchy, as if the microphone had been kicked over on the floor. The bass was impossible to hear, and the horns sounded tinny.

But there was also no mistaking who was playing: Bird. And Burton knew how rare it was to hear him soloing outside of a club, in such a relaxed, party setting.

“I must have played it 12 times in a row, at least. Then I called Norman [Saks], who immediately asked me to play it for him over the phone. I put the receiver to the speaker, and he listened to it for about 30 minutes.”

Both men recognized two of the tracks from a previous bootleg, although it had never been confirmed where they were recorded. Now Burton knew they were from Zorthian’s Ranch, and there were six other tracks to accompany them.

In his first year as a Bird Detective, he had stumbled upon a major discovery.

Over the years, John Burton had Zorthian recount every detail of the party multiple times. He even filmed Zorthian narrating it on video and spent time fact-checking his tale. He knew what he had was huge: the only definitive account of what happened that night in Altadena.

The genesis of the party was a string of gigs Charlie Parker had lined up at the Tiffany Club in Los Angeles in June 1952. It was right around the time that Parker hooked up with a young Chet Baker, the masterful trumpet player who was just beginning to make a name for himself on the West Coast.

But while Baker was on the rise, Bird was fading. “I mean, he played well, because — I mean, hell — he was Charlie Parker,” Burton says. After 1949, though, he clearly was in decline.

In early July 1952, Zorthian was out one night in the city at a party with Julie McDonald. A fellow sculptor, McDonald hung out in the same bohemian circles as Zorthian. She also was a close friend of Parker’s — suspected by the Bird Detectives of having been the saxophonist’s “West Coast girlfriend.”

That night, Zorthian apparently decided the party they were at was kind of a drag. On his way out, he encountered a drunk Charlie Parker playing pingpong. Zorthian suggested they would all have more fun if they went up to his ranch, where they could go swimming.

“So they haul ass up Fair Oaks Avenue, onto Zorthian’s windy driveway to his ranch,” Burton says. The trio went skinny-dipping in Zorthian’s pool and horseback riding into the early hours.

Parker was in heaven. He told Zorthian, “You know, Jerry, I want to repay you by coming back here and doing a jam session.”

They picked July 14 — a Monday, because it was an off day for the jazz clubs.

Zorthian had a few stipulations. “OK, Charlie, let’s have you start playing at 9:30,” he told Parker. “And I want to make sure you don’t bring any of your junkie friends up here, all right?”

Parker agreed.

“So naturally the first people to show up on the 14th are Charlie’s junkie friends,” Burton says.

Parker’s groupies from the Central Avenue scene were almost certainly among those who helped get the naked party started. And after Parker, Zorthian and the majority of the guests took off their clothes, the playing really got raucous.

The recording, which was captured by Julie McDonald’s brother, goes on for another hour, at which point it was well past 2 a.m. There is slurring, whooping and yelling throughout, which is probably why guests’ ability to remember what happened gets hazy after the striptease.

Bird, though, must have sensed it was time to take flight. Following the slow and sexual “Embraceable You,” he and his band more than doubled the tempo in a blistering rendition of “Hot House,” answering the crowd’s screams and hollers note for note by tearing up and down the chord progression. Parker directed the madness by fluttering his solos above the erratic punches of Marable’s bass drum, and at times the band appeared on the verge of losing control.

But it didn’t. The musicians fed off the audience’s energy, reveling in the chaos, seeming not to care that some solos were sloppy and atonal. The evening was about capturing a feeling rather than impeccable playing, and when Morgan and Parker traded fours on “Cool Blues,” the crowd reacted in kind by punctuating their exchange with primal cheers. Afterward, when the notes of “Dance of the Infidels” filled the studio, the partygoers took their cue from the title and played the part. It’s no surprise that no one would notice, or care, that the microphone recording the show had been kicked over onto the floor.

When Zorthian recounted the tale to Burton, he would always embellish the scene by saying there was a guy there from Africa, visiting California for the first time. The man considered himself a cultural representative, on a mission to convince America that Africa wasn’t backward. “So when he saw a bunch of black guys getting naked on the stage,” Burton recalls, “he was so offended that he stormed out of the party!”

Indeed, not everyone in the audience was having it; among those who didn’t leave, Zorthian would estimate that one quarter cowered in a corner, unsure what to do with themselves or not drunk enough to join in.

Burton tracked down a few people who were actually there, in addition to Zorthian. One was Russ Freeman, a jazz pianist who died in 2002. In a conversation with Burton, he remembered “going up that long, windy driveway, and as soon as I got to the door, my clothes were taken away.”

Another was Clora Bryant, a trumpet player from the Central Avenue scene and, at the time, the girlfriend of tenor saxophonist Don Wilkerson. She told Burton, “I didn’t take my clothes off. But Don did. He had this style where he’d lean back and play, and he had a piece of his anatomy sticking straight up to the roof!”

Later, the party achieved such legendary status in the jazz community that even Thelonious Monk was jealous, asking Zorthian, “Wait — you were the guy who threw that naked party?!”

Of course, despite Burton’s research, the best proof of what happened that evening is the recording itself. Since Burton first heard the tape in 1989, Zorthian made multiple copies, and in the late 1990s, one version leaked and was released by an international record label called Rare Live Recordings. It became available on Amazon and through mail-order websites. Burton suspects it was leaked to the record label by a film crew working at Zorthian’s ranch.

After the leak, Zorthian gave the original to Burton for safekeeping.

“It was a shame, because the leaked version is really poorly done,” Burton says. “The audio is poor, the album art is generic and the liner notes are incorrect.”

Burton has decided to rectify things by releasing a version in a better format, more up to his standards. He’s working with audio technicians to remaster the reel-to-reel, bringing out the missing bass frequencies and cleaning some of the background noise. He hopes to have it ready by the end of this year. Done properly, the new release will immortalize what happened on that wild night in 1952.

For Burton, though, it’s just as much about cementing his legacy as a Bird Detective.

Some younger music lovers don’t even know who Charlie Parker was, but the Bird Detectives continue to search for the clues that their idol left behind. Only about 10 “true” Charlie Parker devotees are left these days, Saks says — or at least ones who “aren’t full of it.” And two of them are in Canada.

They continue to share some leads while guarding others. There are still some coveted artifacts and missing recordings out there, after all. The Holy Grail is the private reels of fellow sax player Dean Benedetti, since they capture Parker’s most inventive playing in his prime solo years, from 1944 to 1949. “It would be like the best wine you can ever have,” Saks says.

There’s always something out there, just beyond reach. Burton even believes there could be another tape of the Zorthian naked party.

“I’ve listened to enough bootlegs to suspect the one I have is dubbed, which means the original could still be out there somewhere,” he says, “… although I have no idea where it would be.”

The Bird Detectives will stay on the trail.

“We have to have every last scrap,” Saks says.

See also: At Zorthian Ranch, a Return to Bohemia (http://www.laweekly.com/westcoastsound/2014/07/08/at-zorthian-ranch-a-return-to-bohemia)

Editor’s note: An earlier version of this story posted online contained a few errors. Sixty years have passed since Parker’s death, not 50, and the piano carried up the hill was not a baby grand. Also, we misquoted Clora Bryant. The story has been changed to reflect her actual quote. We regret the errors.

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July 14, 2014 / No Comments / More

Amanda Petrusich’s Do Not Sell at Any Price reviewed by Sarah O’Holla.

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** Last Kind Words
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Amanda Petrusich. Author Amanda Petrusich.

Photo by Bret Stetka

The most important thing that collectors would want me to take away from reading Amanda Petrusich’s fascinating book Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78rpm Records (http://www.amazon.com/dp/1451667051/?tag=slatmaga-20) is that collecting 78s has no relationship to collecting LPs or 45s. If you own a rare LP, it is still comparably common, while a rare 78 might be the only one anywhere in the world. As Petrusich puts it, “The distinction is acute, comparable to collecting pebbles versus collecting diamonds.”
http://www.amazon.com/dp/1451667051/?tag=slatmaga-20

However, the entire time I was reading this captivating book, I couldn’t help but notice the similarities. And while the adrenaline rush that comes from holding a great record is definitely part of the appeal, it seems as though for most collectors it’s less about the score and more about the music. Petrusich describes collector John Heneghan’s experience of holding a rare record in great detail, but it’s “placing it on his turntable and releasing the needle into the groove” that leaves him “feeling transported, feeling changed.” I go through that exact same process and feel those exact same things every time I write a review for my blog My Husband’s Stupid Record Collection (http://alltherecords.tumblr.com/) , a collection that doesn’t include a single 78rpm record, so maybe this distinction isn’t so acute.

But the way that 78s are nothing like LPs has to do with the music recorded on them. 78s are often the only remaining example of a recorded song. Since metal masters were usually not made of 78 recordings, as Petrusich puts it, “if the records themselves break, or are crammed into a flood-prone basement, or tossed into a dumpster, then that particular song is gone, forever.” It took a couple of chapters to really sink in for me. But think about that for a second: There are amazing songs out there that no one living today has ever heard, or will ever hear.

Petrusich forced herself to “learn the language of criticism”—memorizing obscure labels even though it felt depressing and hollow.

Whether you’re already a 78 aficionado, a casual record collector, a crate-digger, or just someone like me who enjoys listening to music, you’re going to love this book. Learning about rare 78rpm records takes Petrusich on a journey well beyond junk shops and musty basements. What’s it like to navigate a giant flea market and interview ornery old men who have been collecting 78s since the 1950s? A highlight of the book is the moment when Petrusich learns how to scuba dive in order to hunt for 78s that may or may not be on the bottom of the Milwaukee River. She is not a thrill-seeker, and she realizes the time and money she will have to sacrifice just to learn how to scuba dive, but Petrusich gives in to the hope that whatever she finds might just be a little piece of lost history. Ultimately, this is an adventure story.

The world she wades into in this book is almost exclusively composed of men, and reading this account of American musical history from a woman’s perspective made me love it even more. Petrusich writes about her experiences as a woman working in the male-dominated field of music writing. I particularly related to her description of forcing herself to “learn the language of criticism”—memorizing models of guitars and obscure labels even though it felt depressing and hollow. She writes:

I was methodically teaching myself exactly how to miss the point. When I wondered whether I just listened differently—whether my experience of music was somehow more emotional, more divorced from its technical circumstances, more about the whole than its pieces—I chastised myself for being arrogant or stupid. (I blanched, in fact, at catching myself using a word as treacly as “emotional.”) And yet: I could love a record more than anything in the world and still not make myself recall its serial number.

In February, I started My Husband’s Stupid Record Collection, where I decided, as an average music listener and music fan, to go through each of the 1,500 or so records in my husband’s personal collection and write about each one. I’d never written about music before, so I just went with my gut and wrote stream-of-consciousness style about how the music was making me feel. I wasn’t following the rules about how you’re supposed to write about music, but people were connecting to it, and suddenly I had picked up thousands of readers. To my surprise, though, a small but very vocal group of women tried to shout me down (http://www.slate.com/blogs/xx_factor/2014/03/18/my_husband_s_stupid_record_collection_sarah_o_holla_reviews_music_nerd_husband.html) : What I was doing was sexist since I was writing about my husband’s record collection and not my own. I was making it harder for female cultural critics. The only reason men were reading it was because I came off as naive or stupid.

My writing wasn’t about the context or the history of the music because I didn’t know the context or history of the music. I was picking up the vocabulary of records (LP vs. EP vs. 45, gatefold, liner notes) as I went along, and I honestly have no interest in learning “the language of criticism.” Traditional music criticism doesn’t really resonate for me, so if I was going to write about records, it was going to come from a place that interested me: The way the music made me feel. Petrusich keeps coming back to this point in Do Not Sell at Any Price:

There’s no wrong way to enjoy music, and I understood that certain contextual or biographical details could help crystallize a bigger, richer picture of a song. But I continued to believe that the pathway that allowed human beings to appreciate and require music probably began in a more instinctual place (the heart, the stomach, the nether regions). Context was important, but it was never as essential—or as compelling—to me as the way my entire central nervous system involuntarily convulsed whenever Skip James opened his mouth.

I put a big star in the margin next to that paragraph. Petrusich was articulating my exact argument, and she was saying it about 78s. These obscure and precious songs are hard to get your hands on, and then it’s even harder to learn about the context behind them. And yet, whenever Petrusich put one on, she would have that same gut reaction that I had when I listened to Black Sabbath’s Paranoid (http://alltherecords.tumblr.com/post/83984052615/black-sabbath-paranoid-1970) or theBuzzcocks’ Singles Going Steady (http://alltherecords.tumblr.com/post/89267454904/buzzcocks-singles-going-steady-1979) : a natural high that came from a completely instinctual place. That’s what kept her hunting for these 78s; that’s what keeps all these fanatical collectors forever on the hunt; it’s what keeps me listening to and writing about music.

Petrusich eloquently balances her emotional reactions to the music she’s discovering on 78s and the history she’s learning. For example, there’s the Jazz Record Center, a long-defunct record store that once existed on West 47^th Street in Manhattan. Opened in the 1940s, it was one of the first places where 78rpm record collectors could meet and be outsiders together. She also writes about the legend of collector Harry Everett Smith, who compiled The Anthology of American Folk Music (http://www.amazon.com/dp/B000001DJU/?tag=slatmaga-20) , curated exclusively from his personal 78 collection. Known for chewing peyote, Smith was eventually appointed “Shaman in Residence” at the Naropa Institute, now Naropa University, in Boulder, Colorado.

Petrusich’s writing is elegant and witty; I laughed out loud several times and felt like Petrusich and I could be friends. And the next time I’m at a big rambling flea market or antique store, I’m going to know just where to look for an old 78; after reading this book, I might even know if it’s valuable or not. I’m not going to tell you how to do it, though. Pick up this book to find out, and maybe we’ll bump into each other wearing scuba gear at the bottom of the Milwaukee River.

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July 14, 2014 / No Comments / More

Lennie Sogoloff, 90; ran legendary jazz club Lennie’s-on-the-Turnpike – Metro – The Boston Globe

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** Lennie Sogoloff, 90; ran legendary jazz club Lennie’s-on-the-Turnpike
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Lennie Sogoloff turned Lennie’s-on-the-Turnpike in Peabody into a destination for musicians.

SAM HAMMAT/GLOBE STAFF/FILE 1971

Lennie Sogoloff turned Lennie’s-on-the-Turnpike in Peabody into a destination for musicians.

For a club that would become part of jazz history in Greater Boston, Lennie’s-on-the-Turnpike wasn’t much to look at when it opened in Peabody in the early 1950s on the stretch of Route 1 known as the Newburyport Turnpike.

“I used to describe it as ‘early ramshackle,’ ” Lennie Sogoloff, the proprietor and emcee, told the Globe in 1992.

In the hands of Mr. Sogoloff, who died of pneumonia Saturday in Marblehead at 90, the tiny roadhouse became a mansion of music, attracting the likes of Count Basie, Miles Davis, Duke Ellington, Bill Evans, and Dizzy Gillespie.

“Lennie’s-on-the-Turnpike is almost a monument,” said Fred Taylor, who ran Paul’s Mall and the Jazz Workshop on Boylston Street during the years when Mr. Sogoloff’s club forced ardent fans on some nights to choose between downtown Boston and Peabody. “He’ll long be remembered for that.”

The unlikeliest of shrines for jazz or anything else, Lennie’s-on-the-Turnpike prospered through Mr. Sogoloff’s precise ear for established and up-and-coming talent. His one-liners behind the bar and emceeing on the stage were part of the draw, too, along with the joint’s roast beef sandwiches and chili.

“Some clubs have something special, an ambience,” Mr. Sogoloff said in 1992. “Ours had an ambience.”

At the outset, Lennie’s-on-the-Turnpike had far more ambience than space. Before expanding to accommodate 200, “the place held only 56 customers — provided they sucked in their stomachs,” Globe music critic Ernie Santosuosso wrote in 1972 as Mr. Sogoloff prepared to close his business.

The first time drummer Buddy Rich walked in, he looked around and said: “This can’t be the main room.” Eyeing the club’s low ceiling, bandleader Stan Kenton quipped: “This is the first time I’ve ever played under a bed.” When singer Nina Simone complained about the lack of a private restroom, Mr. Sogoloff told her: “Just let me know when you have to go and I’ll clear everybody from the ladies’ room myself.”

Through the force of Mr. Sogoloff’s personality, and his business savvy, the club was a choice destination from its first years when the only music came from a jukebox he meticulously curated, to the end when he hosted newer jazz acts such as Gary Burton and Weather Report, blues artists Brownie McGhee and Sonny Terry, and pop music mainstays including Roberta Flack, Bette Midler, and the band America.

When Mr. Sogoloff booked America, he hired as the opening act a then-unknown Jay Leno, who called the experience “a life-changing moment.”

“Lennie gave me my big break when I was on the bill with strippers at the Two O’Clock Club and the Teddy Bear Lounge in the Combat Zone,” Leno told the Globe in 1983.

After learning Mr. Sogoloff had died, Leno said in a statement that “working at Lennie’s was my favorite time in my career.”

“For me, Lennie was show business . . . the only show business I knew in the Boston area,” Leno said. He did it for the love of the game. So many people in his shoes would automatically try to sign you to a long-term contract. Lennie just wanted to see people succeed. I would have worked for free.”

The youngest of six children, Leonard M. Sogoloff grew up in Peabody. After graduating from high school, he served in the Army during World War II.

When the war ended, he was a salesman for Columbia Records and a waiter when he and a friend rented what Mr. Sogoloff called a “story-and-a-half location” on Route 1 in the early 1950s.

“We opened it as a roadhouse,” he recalled in an interview posted on YouTube (http://www.youtube.com/watch?v=6B-eg_nFhvs) . “I filled the jukebox with jazz records.” The club, he said, became “as a unique location where one could hear jazz without paying any music charge. You could hear the best available jazz on a jukebox.”

Mr. Sogoloff “was the Google for jazz back then,” said his daughter Karen Gilman of Boston. “You went to Lennie’s and heard what was new and what was happening.”

One day in 1956 he was tending bar when Barbara Raby walked in. “When I looked at her, she had such a gorgeous face,” Mr. Sogoloff told the Globe in 2009. “It was love at first sight.”

“They were married within months after that, if not weeks,” Karen said.

By then Mr. Sogoloff had bought out his partner, and he brought in live acts a few years later. Lennie’s-on-the-Turnpike soon built a national reputation as he progressed from hiring local jazz musicians to booking top acts.

On the last weekend of May 1971, a few hours after pianist Earl “Fatha” Hines closed Saturday’s set, fire swept through the club. Within days Mr. Sogoloff reopened for a short stay at a Holiday Inn not far from the burned club. By the end of summer, he relocated to the Village Green Barn in Danvers, but a year later, a costly lease and mounting bills prompted him to close for good.

Although he kept a hand in music by producing shows occasionally, Mr. Sogoloff spent the next 20 years managing Empire Clothing in Salem. Long as fervent a sports fan as he was a jazz aficionado, Mr. Sogoloff also became a memorable mentor and Little League coach in Marblehead, where he lived with his family.

Even away from his club’s stage, Mr. Sogoloff “had a great sense of humor and his timing was impeccable with his lines,” said his son, Adam of Marblehead.

Perhaps to make up for all those long nights away when he ran his club, Mr. Sogoloff became much closer to his children in later years. “I feel like he offered all of us his unconditional love,” said his other daughter, Leanne Desjardins of Newport Center, Vt.

In addition to his three children, Mr. Sogoloff leaves a brother, Hyman of Peabody, and five grandchildren.

A memorial service will be held at 1:30 p.m. Tuesday in Stanetsky-Hymanson Memorial Chapel in Salem. Burial will be private and family and friends will gather again at 3 p.m. in the Frederick E. Berry Library and Learning Commons at Salem State University to celebrate Mr. Sogoloff’s life and musical legacy.

His wife, who died in 1993, went back to college while raising their children and became a special needs preschool teacher. She also was an activist in issues such as affordable housing.

In 2006, Mr. Sogoloff donated music memorabilia from his club to the archives at Salem State, which awarded him an honorary degree in recognition of his cultural contributions.

Three years later, he created a scholarship at the university in his wife’s name to support nontraditional female students, and Leno donated $100,000 from an appearance (http://www.boston.com/news/local/articles/2009/03/29/leno_to_honor_his_earliest_booster/?page=full) at the school for the fund.

In recent years, Mr. Sogoloff lived at Devereux House, a Marblehead nursing home, where he brought in musical acts to entertain residents. Still quick with an emcee’s quip, he leaned on his walker in 2011 and noted: “No one gets a standing ovation here — I mean, we can hardly get them to stand up half the time — but they listen well.”

Even at 87, he was still dreaming of the careers he helped shape and the musicians he once booked, the sounds of jazz floating through his dreams.

“Before I go to bed,” he told the Globe, “I feel I should pay a music charge.”
Bryan Marquard can be reached at bmarquard@globe.com (mailto:bmarquard@globe.com) .

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July 14, 2014 / No Comments / More

At 88, Chicago’s music legend Joe Segal has all that jazz – The Washington Post

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** At 88, Chicago’s music legend Joe Segal has all that jazz
————————————————————

CHICAGO — During his 67 years of presenting jazz in Chicago — that’s right, 67 — Joe Segal has booked and befriended any number of masters, including Dizzy Gillespie, Dexter Gordon and James Moody, all departed, and the still-thriving Benny Golson, Jimmy Heath and Ira Sullivan.

Now, the 88-year-old impresario of the Jazz Showcase is officially recognized as a master himself.

Segal was awarded the 2015 National Endowment for the Arts Jazz Masters Fellowship last month, as were three veteran musicians: California tenor-saxophonist Charles Lloyd, a popular player during the heyday of psychedelia who re-established himself after a long absence from the scene; tenor saxophonist George Coleman, a Memphis native who came to prominence with Miles Davis in the early ’60s, and keyboardist, bandleader and composer Carla Bley, known for her genre-crossing oratorio, “Escalator Over the Hill,” among other works.

The recipients, each of whom will receive $25,000, will be feted on April 20, 2015 — the week of Segal’s 89th birthday — at a ceremony and concert at Jazz at Lincoln Center in New York. Segal joins Lorraine Gordon, owner of New York’s vaunted Village Vanguard, as the only club owners to be recognized by the NEA. In 2010, Segal received a Jazz Hero award from the Jazz Journalists Association.

A Philadelphia native who became hooked on jazz when he was young via radio broadcast and live big-band performances, Segal first programmed jazz in 1947 as a student presenter at Roosevelt University in Chicago. This after making regular visits to area jazz clubs while stationed in downstate Champaign with the Air Force.

Jazz giants walked the earth back then, including Charlie Parker, Lester Young, Coleman Hawkins, Thelonious Monk and Dizzy Gillespie. Segal said the first time he heard Parker, the alto-saxophone legend who with trumpeter Gillespie invented the angular wide-open style called bebop, “I thought he was playing backwards.”

But as signified by the wall-length photo of “Bird” Parker that hangs behind the stage of the Jazz Showcase — and most of the artist photos and promotional posters that surround patrons — he lost his heart to bebop. Through all his years of presenting jazz, in dozens of locations following the end of the sessions at Roosevelt and in several “permanent” spots before his current one in the city’s South Loop, that has been the club’s defining sound. A large blowup of Duke Ellington reflects another area of his devotion.

“There are a lot of good young players around,” he said. “But there aren’t any innovators.”

An aficionado with little tolerance for modern styles, however mainstream they have become, Segal curses the advent of rock music. He has never tired of blaming Elvis and the Beatles for diminishing the following jazz once had. As for rap music’s popularity, don’t go there.

Even in a city with a jazz tradition as rich as Chicago’s, breaking even is the best the Jazz Showcase can hope for. How has Segal been able to keep the club going through tough economic times and periods when jazz artists were abandoning the form (or the country)?

The loyalty of his longtime musical attractions and audience regulars helped. So did the business acumen of his son Wayne, who has run the operation during the new millennium. But above all else, it has been Segal’s determination and willingness to occasionally compromise his personal standards that have kept things afloat.

“Joe has a real self-starter mind-set, which is very Chicago,” said Mike Reed, a musician and programmer who owns Constellation, a newish Windy City club that embraces cutting-edge artists of the sort Segal doesn’t enjoy. “He’s a lot like Bob Koester [whose independent Jazz Record Mart celebrated its 60th anniversary last year] in that way. These guys continue on in spite of the things in opposition to them.

“In a way, what Segal did at Roosevelt in starting his jazz series was very similar to what’s done by clubs on today’s indie scene. It’s the same DIY mentality.”

Segal recently embarked on writing a memoir. As many great flashes from the past as it is evoking — such as the annual birthday celebrations he shared at the club with the late tenor great Johnny Griffin (http://www.washingtonpost.com/wp-dyn/content/article/2008/07/25/AR2008072502400.html) , a Chicago native whose family catered the occasion — the book is also bringing back a few regrets.

“I didn’t realize what I had in the beginning,” he said. “If I had had the necessary monetary sense, I could have been Norman Granz or George Wein” — two of jazz’s great promoters.

And writing about so many friends who are no longer alive — and no longer drawing people to the Showcase — can’t be easy. “I’ve had feelings of guilt of making a living from their talent,” he said.

But in the end, such regrets pale in the face of his decades of bringing the greatest jazz artists to his adopted city, week in and week out, whatever rock revolution was being staged.

“I’m 88 as I start the book, and I have CRS,” he said, meaning he can’t remember stuff. “So don’t expect a lot of detailed information. There will be lots of stories. As far as I’m concerned, if I wasn’t there, it didn’t happen.”

Sachs, a writer based in Chicago, is working on a book about producer and singer-songwriter T Bone Burnett.

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July 13, 2014 / No Comments / More

Charlie Haden, Influential Jazz Bassist, Is Dead at 76 – NYTimes.com

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** Charlie Haden, Influential Jazz Bassist, Is Dead at 76
————————————————————

Photo
The seminal bassist Charlie Haden performing with his group Quartet West at the Blue Note in New York in 2006.Credit Michelle V. Agins/The New York Times

Charlie Haden, one of the most influential bassists in the history of jazz, died on Friday in Los Angeles. He was 76.

His death was confirmed by Ruth Cameron, his wife of 30 years. For the last several years he had been struggling with the degenerative effects of post-polio syndrome, related to the polio he contracted in his youth.

Mr. Haden had a deep, grounded way with the bass and a warm, softly resonant tone. His approach to harmony was deeply intuitive and sometimes deceivingly simple, always with a firm relationship to a piece’s chordal root. Along with his calm, unbudging rhythmic aplomb, this served him well in settings ranging from the ragged and intrepid to the satiny and refined. His own acclaimed bands, like the Liberation Music Orchestra and Quartet West, handily covered that stylistic expanse.

His jazz career crossed seven decades, with barely a moment of obscurity. He was in his early 20s in 1959, when, as a member of the Ornette Coleman Quartet, he helped set off a seismic disruption in jazz. Mr. Coleman, an alto saxophonist, had been developing a brazen, polytonal approach to improvisation — it would come to be known as free jazz — and in his band, which had no chordal instrument, Mr. Haden served as anchor and pivot. Mr. Coleman’s clarion cry, often entangled with that of the trumpeter Don Cherry, grabbed much of the attention, but Mr. Haden’s playing was just as crucial, for its feeling of unerring rightness in the face of an apparent ruckus.

In addition to Mr. Coleman, with whom he continued to play intermittently in the 1960s and ’70s (and later, in the occasional reunion), Mr. Haden worked with many principal figures of an emerging jazz avant-garde. For a decade starting in 1967, he was a member of a celebrated quartet led by the pianist Keith Jarrett, with Dewey Redman on saxophone and Paul Motian on drums.

The Liberation Music Orchestra, which released its debut album in 1969, was Mr. Haden’s large ensemble, and an expression of his left-leaning political ideals. The band, featuring compositions and arrangements by the pianist Carla Bley, mingled avant-garde wildness with the earnest immediacy of Latin American folk songs. Mr. Haden released each of the band’s four studio albums during Republican administrations; the most recent, in 2005, was “Not in Our Name,” a response to the war in Iraq.

Mr. Haden, who liked to say he was driven by concern for “the struggle of the poor people,” hardly restricted his opinions to the Liberation Music Orchestra. While playing a festival with Mr. Coleman in Lisbon, in 1971, he dedicated his “Song for Ché” to the black liberation movements of Mozambique and Angola, and was promptly jailed.

Charles Edward Haden was born in Shenandoah, Iowa, on Aug. 6, 1937, into a brood of musicians called the Haden Family. Prominent on the Midwestern country circuit in the ’30s and ’40s, the Haden Family had a radio show, on which Mr. Haden made frequent appearances as a yodeling toddler known as Cowboy Charlie.
Continue reading the main story

His own children are also accomplished musicians: His son, Josh Haden, is a singer-songwriter, and his triplet daughters, Petra, Rachel and Tanya Haden, have worked as the Haden Triplets. (In 2008 Mr. Haden released an album (http://www.nytimes.com/2008/09/21/arts/music/21chin.html) , “Rambling Boy,” credited to the Haden Family, featuring his children and a slew of guests in a rootsy style.) Mr. Haden is survived by his children, and by Ms. Cameron; by his brother, Carl Haden Jr., and his sister, Mary Davison; and by three grandchildren.

For a while after taking up the bass, Mr. Haden played only country music, notably as the house bassist on “Ozark Jubilee,” a network television variety show broadcast from Springfield, Mo. He stopped singing at 15 when he contracted bulbar polio, which affected nerves in his face and throat, threatening his ability even to speak.

One night in Omaha he saw a Jazz at the Philharmonic concert that featured the saxophonist Charlie Parker (http://topics.nytimes.com/top/reference/timestopics/people/p/charlie_parker/index.html?inline=nyt-per) , a trailblazing hero of bebop. “It was country music all the way for me until I heard Bird in 1951,” he said in an interview in 2008. He moved to Los Angeles, where he connected with the pianists Hampton Hawes and Paul Bley and the saxophonist Art Pepper before falling in with Mr. Coleman.

“People ask me how could I go from country to jazz,” Mr. Haden said. “It’s been a natural convergence for me.” His sensitive ear for pitch, sharply honed throughout a childhood of vocal harmonizing, perfectly suited the needs of Mr. Coleman’s music. “Lonely Woman,” their best-known piece of music together, essentially features a bass melody flowing beneath the plaintive main theme. And in “Ramblin’,” another early Coleman classic, Mr. Haden finishes a bass solo with a quotation of the Southern fiddle tune “Old Joe Clark.”

For all his affinities with the avant-garde, Mr. Haden was a lifelong proponent of melody, and he pursued that interest with often impeccable results. Quartet West, a longtime band with the tenor saxophonist Ernie Watts, the pianist Alan Broadbent and the drummer Larence Marable, applied a burnished touch to an old-Hollywood repertoire; its sound was lush, romantic and unabashedly tinted with nostalgia.

Mr. Haden also recorded albums with strings, including “American Dreams” (2002), and albums of duets with sensitive partners, notably the pianists Hank Jones and Kenny Barron and the guitarist Pat Metheny. The duo album he made with Mr. Metheny, “Beyond the Missouri Sky,” won Mr. Haden his first Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) in 1997. His two others were for albums of reimagined Latin American standards, “Nocturne” and “Land of the Sun.” Both featured the Cuban pianist Gonzalo Rubalcaba.

Mr. Haden, who founded the CalArts Jazz program in 1982 and taught generations of musicians there, was recognized as a National Endowment for the Arts Jazz Master in 2012. He received a lifetime achievement honor at last year’s Grammy Awards, though his health prevented him from attending the ceremony.

His most recent release is “Last Dance,” recorded with Mr. Jarrett in 2007 and released last month. At least one posthumous album has already been scheduled: a concert recording made in 1990 with the guitarist Jim Hall, who died last year.

At the heart of Mr. Haden’s artistic pursuits, even those that drew inspiration from sources far afield, was a conviction in a uniquely American expression. “The beauty of it is that this music is from the earth of the country,” he said. “The old hillbilly music, along with gospel and spirituals and blues and jazz.”

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July 12, 2014 / No Comments / More

Charlie Haden Dead: Veteran Jazz Bassist Dies at 77 | Billboard

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** Charlie Haden, Veteran Jazz Bassist, Dead at 77
————————————————————

Charlie Haden, one of the most influential bass players of his generation, has died after a prolonged illness, according to his family and his record label, ECM. Charles Edward Haden was born in Shenandoah, Iowa in 1937 and was raised in Springfield, MO. The youngest of four kids, Haden made his professional yodeling debut at the age of two as part of his family’s country music act, The Haden Family Band. As a teenager he lost his ability to sing due to polio, developed an interest in jazz and classical music, and began playing the double bass.

After moving to Los Angeles in 1957 and working with pianist Paul Bley, Haden joined Ornette Coleman’s iconic free jazz quartet, which caused quite a musical stir during their 1959 residency at the Five Spot Café in New York City. Haden made essential recordings with Ornette Coleman, trumpeter Don Cherry and original drummer Billy Higgins, including albums The Shape of Jazz To Come and Change Of The Century—his solos on tunes like “Lonely Woman” and “Ramblin'” are still remembered—and he also played on the influential Coleman LP, “This Is Our Music.”

Addiction to drugs compelled Haden to leave Coleman’s group in 1960. After his rehabilitation he returned to a prolific career as a sideman, eventually joining Keith Jarrett in 1967 as a member of Jarrett’s “American quartet” along with drummer Paul Motian and saxophonist Dewey Redman and recording nearly twenty albums with the band over a twelve-year period. Haden reunited with Jarrett in 2007, which resulted in “Jasmine,” a duet CD of standards, as well as the newly released companion piece “Last Dance.”

In 1969 Charlie Haden organized the large, experimental and politically outspoken group, The Liberation Music Orchestra with several fellow jazz rebels including Carla Bley, Michael Mantler, Roswell Rudd and Gato Barbieri. Their first album featured the famous Haden composition “Song For Che” as well as Ornette Coleman’s “War Orphans.” Haden led the Liberation Music Orchestra in various combinations over the years, with the most recent recording being 2005’s “Not In Our Name.” He also played and sang (along with Linda Ronstadt) on Carla Bley’s 1971 opus, “Escalator Over The Hill.”

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July 12, 2014 / No Comments / More

Estate Sale of Grammy Award Winning Jazz Great Marian McPartland Starts On 7/19/2014

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** Estate Sale of Grammy Award Winning Jazz Great Marian McPartland Starts On 7/19/2014
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We are honored to be able to offer for sale the contents of the home of renowned Grammy Award Winning Jazz Pianist Marian McPartland.

Contents include:

Painting by Jazz greats George Wettling, Pee Wee Russell, Bobby Haggart & Les McCann also art by Miro, Balliet, Meiersdorff, Kassel, Bruni Sablan and others. Also rare framed Lithograph poster of Bix Beiderbecke from the Estate of Artie Shaw.

Audio equipment includes Tandberg reel to reel TD20A SE, McIntosh Digital Amp MC7270, McIntosh AM/FM tuner MR7082, Denon direct drive turntable DP-59L, JSE Infinite Slope speakers, KEF 102 speakers & professional microphone stands.

Lots of CDs and pamphlets from Marian McParland’s weekly radio show, tons of Jazz LP’s, CD’s and cassettes of her music as well as other Jazz musicians. Signed LPs and books from famous authors and jazz greats to Marian. Personal candid and publicity photos including: Les Paul, Tony Bennett, Dizzy Gillespie, Eubie Blake, Chick Corea, Louis Armstrong, Art Tatum, Teddy Wilson, Billie Holiday, Bobby Short and others (some with original negatives) . Original hand written musical arrangements. Jazz posters.

Paul Hoeffler signed photographs of Duke Ellington, The Oscar Peterson Trio and Count Basie with Lester Young.

Turn of the century furniture including knotty pine farm table and bench and 6 Queen Anne dining room chairs. Early 1800’s Mahogany tilt and drop leaf tables, 1810 English pine Welsh cupboard, mahogany revolving bookcase & rattan den furniture. Pair of Baker end tables/might stands, sheet music cabinet & large outdoor antique converted carriage lamp.

Danbury Mint sterling silver set of Presidential ingots & wildlife coins.

Marion’s custom clothing worn during performances and MORE

Questions will be answered if you email Magicksales@verizon.net

Thanks for looking,

Helene at Magick Sales

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July 11, 2014 / No Comments / More

VENDOR UPDATE: The SECOND SATURDAY Record & CD Show, THIS Saturday JULY 12th, 10am-4pm, Wayne NJ, Print this for $1 off Admission

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The next SECOND SATURDAY RECORD & CD Show

This Saturday JULY 12th, 2014, 10am-4pm

10am-4pm Admssion Only: $6 (print this out for $1 off)
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11) Kenny & Rob (from NJ): RETURN. Lots of NEW LP’s in all Categories. 450 New CD’s. Also cool Beatle stuff!
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1. Power To The People – Rich Pagano
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Theatre Within’s Annual John Lennon Tribute is a charity event which has raised money to feed the hungry, fund after-school programs for homeless children and build music schools in the Third World.

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See VANILLA FUDGE on Tour:
ROCK’N’BLUES FEST 2014 TOUR

… with Mark, Vinny, and Carmine

Friday, August 1 – Theatre at Westbury in Westbury, New York
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See CHOCOLATE FUDGE & RAINBOWS:
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See Vince Martell Band:

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July 11, 2014 / No Comments / More

Fans Dying to Be Near Jazz Greats – YouTube

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** Fans Dying to Be Near Jazz Greats
————————————————————
(https://www.youtube.com/channel/UC52X5wxOL_s5yw0dQk7NtgA)
Associated Press (https://www.youtube.com/channel/UC52X5wxOL_s5yw0dQk7NtgA)
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So many jazz musicians and fans want to be buried near Duke Ellington, Miles Davis, and other jazz greats that The Woodlawn Cemetery in New York City is developing hundreds of new adjacent burial plots. (July 10)

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July 11, 2014 / No Comments / More

Clutch Cargo Opening Theme by Paul Horn- YouTube

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https://www.youtube.com/watch?v=z9ExD2DQMes&feature=kp (https://www.youtube.com/watch?v=z9ExD2DQMes&feature=kp)

The musical soundtrack to Clutch Cargo was, in its own way, as limited, and yet as inventive within those limitations, as the animation. Jazz musician Paul Horn (http://en.wikipedia.org/wiki/Paul_Horn_(jazz_musician)) provided a score using nothing more than bongos (http://en.wikipedia.org/wiki/Bongo_drum) , a vibraphone (http://en.wikipedia.org/wiki/Vibraphone) and a flute (http://en.wikipedia.org/wiki/Flute) .

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July 10, 2014 / No Comments / More

Clip Joint: “Classic Americana” | Theater PizzazzTheater Pizzazz

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** Clip Joint: “Classic Americana”
————————————————————

http://www.theaterpizzazz.com/wp-content/uploads/2014/07/get-attachment.aspx_1.jpeg

http://www.theaterpizzazz.com/wp-content/uploads/2014/07/get-attachment-1.aspx_.jpeg

NY Music Review By Peter Haas

http://www.theaterpizzazz.com/wp-content/uploads/2014/07/get-attachment-3.aspx_.jpeg“What is America to me?” Earl Robinson asked the question in the opening line of his song, “The House I Live In.” Answering it, in a Hollywood movie short, was the boyish, pre-Rat Pack Frank Sinatra. Other answers, in song and dance, came from Bing Crosby and Fred Astaire in patriotic clips from “Holiday Inn;” from the song, “If I Had a Hammer,” performed in dance-party style by Trini Lopez, and, in another, glitzy production number, by Debbie Reynolds. Who’s that cartoon character selling War Bonds? It’s Bugs Bunny! And there’s Broadway comedian Bobby Clark, in a TV production number of “The Tennessee Waltz.” His dance partner and solo singer: a youthful Julie Wilson.

http://www.theaterpizzazz.com/wp-content/uploads/2014/07/get-attachment-2.aspx_.jpegThese were among the many performers featured in some 50 film and television clips assembled by jazz critic and writer Will Friedwald for his new, imaginative, delightful series, “Clip Joint.” For one night, he pulls together musical numbers around the evening’s theme. June’s motif: America. Appearing, for example, were Pete Seeger and Judy Collins, seated across a table, singing “Turn, Turn, Turn;” the Glenn Miller Orchestra performing “American Patrol;” Irving Berlin, appearing on The Ed Sullivan Show and singing his “God Bless America,” backed by a chorus of what must have been every Boy Scout and Girl Scout in the country. There was Billie Holiday singing “Strange Fruit;” a young Ethel Waters in a production number of “Underneath the Harlem Moon” (with, in the background, a silent extra named Sammy Davis, Jr.); Tony Martin, in “The Big Store,” singing “Tenement Symphony,” in praise of N
ew York City’s multi-everything neighborhoods; in his huge back-up orchestra, Harpo and Chico Marx.

http://www.theaterpizzazz.com/wp-content/uploads/2014/07/get-attachment-4.aspx_.jpegThe clips, edited into one three-hour seamless show, included performances by Frankie Laine, Steve Martin, Nat King Cole, The Byrds, Spike Jones, the Beatles, and more. There was a multi-stage, large-cast production of “Ballad for Americans,” contrasted with a one-woman rendition of “Battle Hymn of the Republic” – the woman being a thin, frail but ever-moving Judy Garland.

Will Friedwald is still experimenting with the sessions. The next one is to be a “Tribute to All Music Francais: Chansons, Opera et Le Jazz Hot,” scheduled for – appropriately — July 14, Bastille Day. He promises a trim two hours, 6:30-8:30 PM. One drink minimum; $10 cover charge

The place: Bunga’s Den, 137 West 14^th Street (between Sixth and Seventh Avenues). The screening room, in the back, is small; reservations recommended. E-mail to Bob Levis, at levis4402@@yahoo.com.

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July 10, 2014 / No Comments / More

Louis Prima Jr. and the Witnesses perform live in-studio | WGN-TV Chicago

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Louis Prima Jr. and the Witnesses perform live in-studio

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July 9, 2014 / No Comments / More

The secret history of the jazz greats who were freemasons | Music | theguardian.com

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** The secret history of the jazz greats who were freemasons
————————————————————
Duke Ellington, bandleader, composer and freemason

When the City of London festival (http://www.colf.org/) found out about a long dormant masonic temple that had been uncovered next to Liverpool Street station (http://londonist.com/2009/12/in_pictures_the_masonic_temple_of_l.php) , it seemed obvious that this wonderfully opulent hall should be used as a one-off music venue. The only question was – what music should it host?

“The obvious choice would have been to host a Mozart recital, because everyone knows that Mozart was a freemason (https://www.youtube.com/watch?v=ddM7kJ9xQfA) ,” says Paul Gudgin, former director of the Edinburgh Fringe and now director of the City of London Festival. “But it just so happened that I was reading a biography of Duke Ellington which mentioned, in passing, his membership of a masonic lodge. I found it astonishing that such an anti-establishment figure turned out to be at the heart of an establishment organisation. And I thought it would be a perfect place to pay tribute.”
secret masonic hall, liverpool street, london The recently rediscovered masonic hall next to Liverpool Street, London.

This month, the City of London Festival will host two Duke Ellington tributes in this elaborate, neo-classical masonic temple (http://www.atlasobscura.com/places/masonic-lodge-of-the-andaz-hotel) , now in the basement of the Hyatt group’s Andaz hotel (http://www.colf.org/whats-on/79-artist/590-home) . Saxophonist Tommy Smith plays on 4 July (http://www.colf.org/whats-on/957-ellington-at-the-temple-2%20) , and pianist Julian Joseph on 11 July (http://www.colf.org/whats-on/960-julian-joseph-2) .

“It’s something of a badge of honour to hear that Ellington was a mason,” says Joseph. “Not only was he part of a musical elite, but he had managed to enter this secretive and powerful organisation, one that only the privileged few had access to.”

Start digging into the history of freemasonry and you discover that Ellington was just one of many renowned African-American musicians to be inducted into its mysterious world. He was joined by the likes of Nat King Cole (http://www.midnightfreemasons.org/2012/02/famous-freemason-nat-king-cole-escape_03.html) , WC Handy, Dizzy Gillespie, Count Basie, Lionel Hampton and Paul Robeson.

“Throughout history, freemasonry has attracted musicians,” says Martin Cherry, librarian at the Museum of Freemasonry in London. “Mozart is the obvious example, but in 18th-century London, a lodge was established called the Lodge of the Nine Muses (http://www.ninemuses.org.uk/) , which attracted a number of European musicians and artists, including JC Bach. For musicians and artists who were new to a city, the lodge would have been an opportunity to meet fellow artists and network with people with whom they may be able to find work.”

The same applied two centuries later, across the Atlantic. “Musicians often led an itinerant lifestyle,” says Cherry. “Belonging to an organisation that had lodges all over a country could help ease the slog of life on the road, particularly in such a vast country as the US.

“Freemasonry was also charitable towards its members when they fell on hard times, looking after them when they were sick or paying for their funeral. Mozart’s funeral, famously, was paid for by his lodge, and there’s evidence that freemasons paid for the funeral of the blues musician Mississippi Fred McDowell (http://www.roadfan.com/missfred.html) – there are images of his open coffin which show him wearing his masonic regalia.”

Many white jazz musicians and bandleaders were freemasons, including Glenn Miller, Paul Whiteman, George Gershwin and Irving Berlin, as were many country & western stars. But, like so much in American life, freemasonry was segregated, with American masonic lodges split along colour lines.

** Black freemasons: the sons of Prince Hall
————————————————————

Black freemasonry dates from before the American war of independence, when a freed black abolitionist and leather worker by the name of Prince Hall (1735-1807) was refused admittance to the St John’s masonic lodge in Boston, Massachusetts. Undaunted by the rebuff, Hall and 14 other free black men were initiated into freemasonry in 1775 by a British military lodge based in Boston.

In 1784, after the British had left America, the grand lodge of England issued Hall with a charter to set up an African lodge in Boston. It proved so popular that Prince Hall was granted the status of provincial grand master, allowing him to set up two further African masonic lodges in Philadelphia and Rhode Island.

Over the next two centuries, Prince Hall freemasonry snowballed across the United States, becoming the world’s largest fraternity for black men. By the middle of the 20th century there were lavish Prince Hall masonic temples around the country – from Los Angeles to Washington DC, from Seattle to Madison, Wisconsin.

“One of the attractions of Prince Hall freemasonry to African-Americans is that it is an organisation started by African-Americans in the 18th century for African-Americans,” says Cherry. “It has a history. And, like all freemasonry in America, it became very popular in the early 20th century, which was a time when Americans tended to join things.”

By 1900, Prince Hall masonry had become a forum for politicised African-Americans, with Booker T Washington (http://en.wikipedia.org/wiki/Booker_T._Washington) (1856-1915) and W.E.B. Du Bois (http://en.wikipedia.org/wiki/W._E._B._Du_Bois) (1868-1963) serving as active members. Throughout the 20th century, many key figures in the civil rights movement were attracted to freemasonry. The father of Martin Luther King Jr – Martin Luther King Sr (1900-84) – was a member of the 23rd lodge in Atlanta, Georgia. Medgar Evers, the National Association for the Advancement of Colored People (NAACP (http://www.naacp.org/) ) activist who was assassinated in 1963, was a 32nd-degree freemason in Ancient & Accepted Scottish Rite, Southern Jurisdiction. Alex Haley (1921-92), the writer of Roots and biographer of Malcolm X, was a 33rd-degree mason in the same order. Thurgood Marshall (1908-93), the first black member of the US supreme court, was supported by his Prince Hall lodge in Louisiana.
The comedian Richard Pryor (1940-2005) joined a lodge in Peoria, Illinois, while actor and activist Ossie Davis (1917-2005), Paul Robeson (1898-1976) and the boxer Sugar Ray Robinson (1921-89) were all active Prince Hall masons.

“Like all freemasonry, Prince Hall freemasonry does tend to have a middle-class appeal,” says Cherry. “The many Prince Hall visitors to the Masonic Library and Museum in London are often doctors, lawyers or skilled artisans, and a lot of them have a military background. Some join because their family were members; some think it’s a good way of networking. Some like the comradeship and the social aspects; others like the ritual and the regalia.”

As well as being a networking institution, freemasonry might also have had a philosophical appeal to many politicised African-Americans. The mysterious tenets of freemasonry include gnostic texts, references to ancient Egypt and alternative interpretations of the Bible. Prince Hall lodges thus became a forum where pre-Christian knowledge could mix freely with black liberation theories and remnants of African religions.

** Egyptology: the Sun Ra connection
————————————————————
Freemason and Egyptology fanatic Sun Ra plays cards with the overseer in the 1974 film Space is the Mason and Egyptology fanatic Sun Ra plays cards with the overseer in the 1974 film, Space is the Place

When the Afro-Guyanese historian George GM James (https://www.youtube.com/watch?v=8OloJIpf5jc) (a Prince Hall mason and professor at the University of Arkansas) wrote his influential 1954 book Stolen Legacy: Greek Philosophy Is Stolen Egyptian Philosophy, he made explicit the connections between freemasonry and Egyptology. For James, Egypt was “the cradle of the mysteries and of the masonic brotherhood”, while the Greek philosopher Socrates was merely a “master mason” and “a brother initiate of the Egyptian Mysteries”.

The most obvious musical manifestation of this is Sun Ra. Born Herman Sonny Blount in 1913, Sun Ra seems to have hidden in plain sight as a freemason throughout his career. He performed regularly at a masonic temple in his home town of Birmingham, Alabama, and – according to his biographer John Szwed – was a regular at Birmingham’s masonic library, one of the few places in the city where African-Americans had unlimited access to books. Indeed, Sun Ra’s trademark stage garb is based on masonic cloaks and aprons (his ceremonial robes in the 1974 film Space Is the Place (http://www.amazon.com/Sun-Ay%C3%A9-Aton-Interiors-Exteriors/dp/098458921X) were borrowed from a Prince Hall lodge in Oakland, California), while – as the writer Kodwo Eshun suggests – his obsession with Egyptology shares much with freemasonry.
Sun Ra in the film Space is the Place. Sun Ra in the film Space is the Place

“Although Sun Ra had links to the masons,” says Cherry, “there’s no evidence that he was ever a member of a particular Prince Hall lodge.” Cherry thinks it likely that Sun Ra was a member of a fraternal order called the Knights of Pythias (http://en.wikipedia.org/wiki/Knights_of_Pythias) , another secretive organisation who meet in lodges, and who also claim Louis Armstrong as a former member. Likewise, Dizzy Gillespie (http://www.amazon.com/To-Be-Not-Bop/dp/0816665478) is not listed as being a Prince Hall lodge member, but his autobiography talks about his fascination with freemasonry and his application to join a masonic lodge.

It appears that Prince Hall freemasonry’s popularity is past its peak, with the average age of members increasing rapidly (http://ndepth.newsok.com/black-history/freemasons/) and fewer young African-Americans joining. There are, however, numerous stories suggesting that the likes of Jay-Z, Nas and Kanye West are freemasons. Martin Cherry thinks we should take these stories with a pinch of salt.

“The internet is full of rumours about hip-hop artists who are freemasons,” says Cherry. “My favourite is that Lil’ Kim is a member of the Eastern Star, an order for the wives of freemasons. Most of these rumours are on anti-masonic sites or anti rap music sites that are trying to make connections between freemasonry, hip-hop and the occult.

“I’m sure that if any high-profile hip-hop artists had become freemasons, the lodge that initiated them would have made something of it,” he says. “Like when basketball star Shaquille O’Neal (http://freemasonsfordummies.blogspot.co.uk/2011/06/brother-shaquille-oneal.html) was made a mason at sight by the grand master of the Prince Hall grand lodge in Massachusetts.”

Shaq joins a noble lineage – not just George Washington and Oscar Wilde, or Mozart and Buzz Aldrin, but a list of African-American royalty that includes Sugar Ray Robinson and Don King, Paul Robeson and Duke Ellington.

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July 9, 2014 / No Comments / More

Opening the Vault on YouTube: 13,000 More Performance Clips – NYTimes.com

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** Opening the Vault on YouTube: 13,000 More Performance Clips
————————————————————

It’s something close to a music collector’s idea of heaven. Music Vault (http://www.musicvault.com/) , a company that was started in April as a division of Wolfgang’s Vault (http://www.wolfgangsvault.com/) , an online memorabilia shop, opened its expansive YouTube page on Tuesday. The site offers some 13,000 performance clips, which the company estimates to be roughly 2,000 hours of music.

It is organized to make it easy to sample the trove almost at random (using Music Vault’s own compilations – playlists like Best Live Music Performances, Legendary Drummers and Leading Ladies of Rock) or more singlemindedly (using the featured channels devoted to, for example, the Grateful Dead (https://www.youtube.com/user/gratefuldeadmv/playlists?sort=dd&shelf_id=10&view=50) , the Allman Brothers Band, Neil Young and Lynyrd Skynyrd). Both individual clips and full concerts are included.

Much of the music comes from archives that Wolfgang’s Vault has purchased over years, including the holdings of Bill Graham Presents (which include not only concerts from Graham’s own Fillmore East, Fillmore West and Winterland auditoriums, but also shows Graham produced around the country); King Biscuit Flower Hour; and the Newport Jazz and Woodstock festivals.

Given those sources, it should not be surprising that much of the material is classic rock, with clips from the Who (https://www.youtube.com/watch?v=FQ6EZpQw5Ag&list=PLhnmhDNF1JJgwcvV9zOXTa3WpCSRrvge5) at Tanglewood in 1970, a black-and-white clip ofElvis Costello (https://www.youtube.com/watch?v=aN5T8EJgbDs&list=PLhnmhDNF1JJhD3wmyCBpbO965KB8THNoH) at the Capitol Theater in Passaic, N.J., and Jefferson Airplane (https://www.youtube.com/watch?v=FGY19HqXKtk&list=PLhnmhDNF1JJjprAmjCLavOfBZxgBYxVE-) , filmed at Wally Heider Studios in 1970 prominently featured.

But you can also find jazz offerings, like Miles Davis at Tanglewood (https://www.youtube.com/watch?v=-vT1mMg8L_0&list=PLhnmhDNF1JJgwcvV9zOXTa3WpCSRrvge5) in 1970. There are also quite a few R&B classics, including a full James Brown (https://www.youtube.com/watch?v=hmRuwcW3T00) concert from the Ritz in 1986 (with, alas, a cheesy robot intro that was part of the show), and quite a few blues shows, including a 1991 Newport Jazz Festival show by John Lee Hooker (https://www.youtube.com/playlist?list=PL7Cx6HBM8Ex1__Uk6eg3D123jHYd16hS9) . A “New Music Discovery” playlist, assembled by Daytrotter and Paste magazine, offers recent concert clips by Rubblebucket, Ra Ra Rio, Dr. Dog and other indie performers.

All this is apparently just the start: the company said it would regularly update its playlists and features, and Bill Antonucci, the content editor at Music Vault, toldRolling Stone (http://www.rollingstone.com/music/news/music-vault-offers-more-than-13-000-live-videos-on-youtube-20140708) that Music Vault planned to expand its YouTube offerings. Meanwhile, there are a few notable gaps in the collection, but whoever programmed it has a sense of humor: there are, for example, no Beatles performances, but it you put Beatles in the search engine, you get a list of performances by Cheap Trick and the Monkees.

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July 8, 2014 / No Comments / More

Adoring Billy Eckstine: Portrait of a Jazz Legend and His Fans | LIFE.com

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** Adoring Billy Eckstine: Portrait of a Jazz Legend and His Fans
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1 of 2

Martha Holmes—The LIFE Picture Collection/Getty Images
Singer and bandleader Billy Eckstine gets a hug from an adoring fan after a show at the late, great New York City jazz club, Bop City, 1949.

2
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CELEBRITY
’40s

There was a time in the post-World War II era when William Clarence “Billy” Eckstine (http://www.vervemusicgroup.com/billyeckstine) (1914 – 1993) was, for millions of fans and peers around the world, one of the most influential singers and bandleaders of the age. Women and girls—and, no doubt, more than a few men and boys—swooned over him; young musicians wanted to dress, sound and look like him; music clubs and recording studios wanted to book him. The names of the vocalists and jazz legends who played in Eckstine’s big band, meanwhile, is a Who’s Who of early, mid-1940s bebop: Miles Davis (http://www.milesdavis.com/us/home) , Charlie Parker, Sarah Vaughan, Art Blakey, Dizzy Gillespie, Dexter Gordon and more.

All the more mysterious, then, why hearing Eckstine’s name—not to mention his music—in discussions of jazz greats is such a rarity today. After all, an artist who made an impact on giants ranging from Duke Ellington (http://www.pbs.org/jazz/biography/artist_id_ellington_duke.htm) (who played in Eckstine’s big band) to Quincy Jones (who looked up to him as “an idol”) deserves to be celebrated.

Here, on what would have been Billy Eckstine’s 100th birthday—he was born July 8, 1914, in Pittsburgh, Penn.—LIFE.com remembers the music pioneer and style icon with a marvelous Martha Holmes photo that both captures the man’s charisma and highlights the adoration he inspired in his fans.

Read more: Adoring Billy Eckstine: Portrait of a Jazz Legend and His Fans | LIFE.com (http://life.time.com/icons/billy-eckstine-portrait-of-a-jazz-legend/#ixzz36tGJ94Ei) http://life.time.com/icons/billy-eckstine-portrait-of-a-jazz-legend/#ixzz36tGJ94Ei

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July 8, 2014 / No Comments / More

Kathy Stobart 1925-2014 R.I.P. « thejazzbreakfast

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HOME (http://thejazzbreakfast.com/) › NEWS (http://thejazzbreakfast.com/category/news/) › KATHY STOBART 1925-2014 R.I.P.

** Kathy Stobart 1925-2014 R.I.P.
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BY PETER BACON (http://thejazzbreakfast.com/author/peterbacon/) on 7 JULY 2014 (http://thejazzbreakfast.com/2014/07/07/kathy-stobart-1925-2014-r-i-p/) • ( 1 (http://thejazzbreakfast.com/2014/07/07/kathy-stobart-1925-2014-r-i-p/#comments) )

stobart I didn’t have the right direction, in the first place. It was an unwise choice to go out playing Lennie Tristano things, because, unfortunately, I was sent out into the ballrooms with this kind of music.

Typically wry quote from the saxophonist Kathy Stobart who has died at the age of 89. Thanks to London Jazz (http://www.londonjazznews.com/) for pointing me in the direction of this brief autobiography (http://jazzpro.nationaljazzarchive.org.uk/interviews/kathy_stobart.htm) as told to Les Tomkins back in 1974. And here’s an album cover of Kathy and Humphrey Lyttelton.

** Humphrey Lyttelton (1/6) Band 1948-1983 -part one (of 6) (https://www.youtube.com/watch?v=Cjd3fOpmyeM)
————————————————————

Humphrey Lyttelton (tpt), John Barnes (sax), Roy Williams (tbn), Mick Pyne (piano), Adrian Macintosh (drums),Dave Green (bass), Wally Fawkes (clt), Bruce Turner (sax), Kathy Stobart (sax).

** Kathy Stobart – Arbeia (https://www.youtube.com/watch?v=RjBRofs8GRw)
————————————————————

Hard to find track from British saxophonist Kathy Stobart and featuring the late great Harry Beckett on trumpet

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July 7, 2014 / No Comments / More

Les Paul On Piano Jazz : NPR

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** Les Paul On Piano Jazz
————————————————————
July 03, 201411:04 AM ET

**
————————————————————
57 min 52 sec
*
* Download (http://pd.npr.org/anon.npr-mp3/npr/pj/2014/07/20140704_pj_01.mp3?dl=1)

Les Paul.

Les Paul.
Amy Sussman/Getty Images Entertainment

** Set List
————————————————————
* “Summertime” (George Gershwin)
* “‘Deed I Do” (Walter Hirsh, Fred Rose)
* “I Can’t Get Started” (Vernon Duke)
* “I Found a New Baby” (Jack Palmer, Spencer Williams)
* “Somewhere Over the Rainbow” (Harold Arlen)
* “Just One More Chance” (Les Paul)
* “How High the Moon” (Morgan Lewis)

A phenomenal guitarist and pioneering audio engineer, Les Paul (http://www.npr.org/templates/story/story.php?storyId=111845598) has been a major influence in 20th Century music, both as a performer and technical innovator. The guitar legend made a rare appearance on Piano Jazz, bringing with him his trio — Lou Paulo on guitar and Paul Nowinski on bass.

Paul’s jazz roots go back to the early 1930s, when he performed Eddie Lang- and Django Reinhardt (http://www.npr.org/templates/story/story.php?storyId=15404866) -style jazz on-air, during his evening radio show on WIND in Chicago.

In this program, recorded at Avatar Studios in 1999, Marian McPartland (http://www.npr.org/templates/story/story.php?storyId=15123605) makes it a quartet, and they perform jazz standards and reminisce on Paul’s long and illustrious career, including his early days as a country musician.

Originally recorded Jan. 28, 1999, at Avatar Studios, New York. Originally broadcast June 1, 1999.

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July 7, 2014 / No Comments / More

Joe Turner – Champion Jack Dupree – French TV 60s – YouTube

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A rare French TV gem from the Sixties featuring two greats: Joe Turner born in Baltimore, 3 Nov 1907 died in Montreuil, France, 21 July 1990 (not to be confused with his great blues singer namesake “Big” Joe Turner), a dazzling stride pianist who played with all the greats in Harlem during the Twenties, Louis Armstrong amongst them, and the great “Champion” Jack Dupree (1910 – 1992), the embodiment of of the New Orleans blues and boogie woogie pianist, a true barrelhouse “professor” and a great showman to boot as is amply evident. One can only marvel at the level of mass culture back then compared to now.
Joe Turner plays:
Keeping out of the Grass
Cloud Fifteen
Carolina Shout
St. Louis Blues
Champion Jack Dupree plays:
The Woman I Love
Diggin’ my potatoes
Chicken Baby
Pinetop’s Boogie Woogie

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July 7, 2014 / No Comments / More

Nat Hentoff Doc Review by John F. Goodman: Jazz Inside and Out

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** New post on Jazz Inside and Out
————————————————————
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** Nat Hentoff (http://jazzinsideandout.com/nat-hentoff/)
————————————————————
by jfgoods (http://jazzinsideandout.com/?author=1)

Nathan Irving Hentoff is 89, still writing occasionally about jazz and still producing controversy over his civil liberties positions. Nat is an institution in jazz. For over fifty years he wrote a column for the Village Voice, churned out liner notes, produced records, and always, always has conveyed his love of the music and its players.

http://jazzinsideandout.com/wp-content/uploads/2014/07/Nat-in-apartment.jpgNow he is the subject of a documentary, called The Pleasures of Being Out of Step (http://www.glendalenewspress.com/entertainment/andy-klein/la-et-mn-nat-hentoff-movie-review-20140704,0,288341.story) , presently showing in New York and Beverly Hills and hopefully in other venues. You can see a short trailer here (http://www.nytimes.com/movies/movie/476639/The-Pleasures-of-Being-Out-of-Step/trailers) . The film is a series of his life’s highlights with commentaries by Hentoff and others who know him, like his wife Margot, Stanley Crouch and Amiri Baraka. I’m not able to see this in Mexico, but if any of you do see it, please let me know your impressions.

To honor full disclosure, I should say that Nat was instrumental in helping me find a publisher for my book Mingus Speaks and gave it a favorable, if rambling, review (http://www.amazon.com/Mingus-Speaks-John-F-Goodman/dp/product-description/0520275233/ref=dp_proddesc_0?ie=UTF8&n=283155&s=books) .

It’s hard for me to read and accept much of the stuff he writes about Constitutional law in a host of publications (http://en.wikipedia.org/wiki/Nat_Hentoff) . Nat is a complicated cat who, as a senior fellow at the Cato Institute, defends the life of the fetus even as he proclaims individual freedoms. He supports Senator Rand Paul.

The other thing about Nat that irritates me from time to time is his writing style which can be grainy, pseudo-scholarly, ponderoso. Some of his liner notes are like that, and they tend to emphasize his personal involvement with the musicians rather than the listeners.

Still and all, throughout his long life Nat has been not just a critic but a fine chronicler of jazz music and its pleasures. No one has been more important in spreading the gospel.

jfgoods (http://jazzinsideandout.com/?author=1) | July 4, 2014 at 6:35 pm | Tags: jazz criticism (http://jazzinsideandout.com/?taxonomy=post_tag&term=jazz-criticism) , jazz critics (http://jazzinsideandout.com/?taxonomy=post_tag&term=jazz-critics) , Nat Hentoff (http://jazzinsideandout.com/?taxonomy=post_tag&term=nat-hentoff) , The Pleasures of Being Out of Step (http://jazzinsideandout.com/?taxonomy=post_tag&term=the-pleasures-of-being-out-of-step) | Categories: criticism (http://jazzinsideandout.com/?taxonomy=category&term=criticism) , education (http://jazzinsideandout.com/?taxonomy=category&term=education) , politics (http://jazzinsideandout.com/?taxonomy=category&term=politics) , st yles (http://jazzinsideandout.com/?taxonomy=category&term=st-yles) | URL:http://wp.me/p3O9Hp-94

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July 5, 2014 / No Comments / More

The Sad Roots of Jazz Video : Monumental Mysteries : Travel Channel

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** THE SAD ROOTS OF JAZZ
————————————————————

Did the mind of a schizophrenic really give birth to the jazz genre?
Monumental Mysteries (http://www.travelchannel.com/tv-shows/monumental-mysteries) | Thursdays @ 9|8c

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July 5, 2014 / No Comments / More

If Charlie Parker Was a Gunslinger,There’d Be a Whole Lot of Dead Copycats: The Gunslinger Guide to Miles Davis #25

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**
————————————————————

If Charlie Parker Was a Gunslinger, There’d Be a Whole Lot of Dead Copycats (http://tsutpen.blogspot.com/)

Containing Multitudes Since 2004

And, of course, that is what all of this is — all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs — that song, endlesly reincarnated — born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket ’88’, that Buick 6 — same journey, same miracle, same end and endlessness.”
— Nick Tosches, Where Dead Voices Gather

** The Gunslinger Guide to Miles Davis #25
————————————————————

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July 4, 2014 / No Comments / More

Frozen soundtrack is biggest-selling since Mamma Mia – Telegraph

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** Frozen soundtrack is biggest-selling since Mamma Mia
————————————————————
Frozen’s success continues with a double-platinum soundtrack

Disney’s phenomenally successful film, Frozen, has a showstopper musical centrepiece. Let It Go, performed by Idina Menzel, won the Oscar for Best Original Song and has inspired countless cover versions and homages online. (http://www.telegraph.co.uk/men/the-filter/virals/10922163/Let-It-Go-the-10-bestworst-Frozen-cover-versions.html) This week the entire original soundtrack has been certified double platinum, having sold over 600,000 copies.

The album is the biggest-selling film soundtrack since Mamma Mia!, and is on course to become the bestselling album of the year.

Let It Go has spent 28 consecutive weeks in the Top 40 of the UK Official Singles Chart, and is certified gold in its own right. The two official versions of the song have a combined total of nearly 500 million YouTube views, and four songs from the soundtrack are still in the Top 100 Official Singles Chart.

Ritch Sibthorpe, Managing Director of The Walt Disney Company, said: “Let It Go has become a true phenomenon and anthem for young families worldwide, evidenced by a rich outpouring of user generated content across social media.”

The news comes in the same week it emerged that Frozen characters Anna and Kristoff will appear in the ABC fantasy series Once Upon a Time in the autumn.

Frozen is the most successful Walt Disney Company film ever, and demand for mechandise has outstripped supply (http://www.telegraph.co.uk/culture/film/film-news/10757721/Frozen-merchandise-shortage-spells-trouble-for-parents.html) . It’s the highest-grossing animated picture of all time and the fifth highest-grossing film of any kind.

**
————————————————————

WATCH: Walt Disney Studios chairman Alan Horn discusses the billion-dollar success of Frozen (http://www.telegraph.co.uk/culture/disney/10782089/Disneys-Frozen-a-phenomenal-success.html)

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July 4, 2014 / No Comments / More

Frozen soundtrack is biggest-selling since Mamma Mia – Telegraph

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http://www.theblaze.com/stories/2014/07/02/he-starts-out-with-only-a-drill-carrot-and-mouthpiece-but-its-the-final-product-thats-leaving-people-in-disbelief/

** He Starts Out With Only a Drill, Carrot and Mouthpiece – but It’s the Final Product That’s Leaving People in Disbelief
————————————————————

An Australian musician walked into a TEDx Talk with a drill, carrot and mouthpiece — then succeeded in stunning the audience by using the items to create a makeshift clarinet.

In five mere minutes, Linsey Pollak transformed an ordinary carrot into a musical instrument and played it live. Footage of the performance was uploaded to YouTube early last month, but has only gained traction online in recent days.

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July 4, 2014 / No Comments / More

Australian Musician Linsey Pollak Fashions Clarinet Out of Carrot–Then Plays It

** He Starts Out With Only a Drill, Carrot and Mouthpiece – but It’s the Final Product That’s Leaving People in Disbelief
————————————————————

An Australian musician walked into a TEDx Talk with a drill, carrot and mouthpiece — then succeeded in stunning the audience by using the items to create a makeshift clarinet.

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July 3, 2014 / No Comments / More

25 Things I Want from an Online Music Service (and Almost Never Get) by Ted Gioia- The Daily Beast

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** 25 Things I Want from an Online Music Service (and Almost Never Get)
————————————————————
The music industry won’t recover from its woes until it stops treating songs like commodities. Here’s how to do it.

Web music services have been around for 15 years, but they still fail listeners in so many ways. I keep switching from provider to provider, hoping to find one that will meet even my basic needs. But they always fall short. And I know other listeners are just as frustrated as I am.

Just a few days ago, I signed up for Beats Music, hoping that this would be the answer. After all, Apple is paying $3 billion to acquire Beats Electronics (http://www.thedailybeast.com/articles/2014/05/12/apple-is-buying-beats-to-control-you.html) , and—so I surmised—wouldn’t shell out that kind of money for an inferior product. Would they?

I was wrong. My Beats experience has been just as frustrating as my previous forays into streaming and downloading. If Apple has that kind of money to spend, certainly they can do a better job than this. But 15 years after Napster, we are still in the Dark Ages of online music.

Here’s my list of 25 things I want from an online music service—and almost never get.

1. Allow me the option of making a cash payment directly to the recording artist. Many fans feel that streaming services give a raw deal to musicians, and want to make amends for using them. Make it easy for us to do so.

2. Let me give a rating to songs, and let me see the ratings other people give them.

3. Even better, let listeners add comments and engage in discussions about the music.

4. Let me know the names of all the musicians on the record.

5. When I do a search for “jazz,” don’t just give me results that have the word “jazz” in the song or album title.

6. For every song, put up a link to the artist’s home page.

7. Tell me the names of the composers as well as the performers. This is a mustfor classical music, and helpful in other genres.

8. Give me a better look at the album cover—not just a thumbnail photo. And allow me to see the back cover of the album, too.

9. How about letting me read the liner notes?

10. Even better, let me download the entire CD booklet as a pdf.

11. Let me do a search by musicians who aren’t the name recording artist. Believe it or not, some people want to hear albums that feature Bernard Purdie or Elvin Jones on drums, or some other illustrious “accompanist.”

12. Make it easy for me to find out what people are listening to in other parts of the world. Some of us want to follow Brazilian music, K-Pop, African music, or some other regional style, and you aren’t helping us.

13. Don’t force me to log in with my user name and password again and again, just because I closed the browser window.

14. Let me sort search results by genre.

15. Give me more genre and subgenre choices. Punk rock fans don’t always care about that old time rock ‘n’ roll. Fans of contemporary classical music don’t want to hear Pachelbel’s Canon.

16. Certainly you can tell me the length of tracks and albums.

17. Let me sort search results by release date.

18. If a supposedly new album is just a repackaging or rerelease of old material, let me know.

19. Make it easy for me to find the songs I listened to yesterday or last week or last month.

20. Tell me more about the recording artist. Labels will give you artist bios—with a quick copy and paste, you could provide that info to us, too!

21. If an artist has recorded the same song on multiple occasions, help me navigate through the various versions and figure out which is the hit single, and which the lousy live date with poor sonic fidelity.

22. Don’t force me to download an app to my phone before letting me listen to music on my desktop computer. (I’m talking to you, Beats!)

23. Make it easy for me to browse all the new releases—and not just the titles you want to promote.

24. Don’t just rely on algorithms. Hire real human curators who know about music to guide the listeners.

25. And last, but by no means least: give us better audio quality. Every other form of entertainment—TV, movies, video games, etc.—has improved the quality of the audience experience over the last two decades … except for digital music. A high end audio system from 50 years ago sounds better than your degraded, compressed product. Do something about it!

I’m convinced that many of the economic woes facing the music industry are due to the above limitations. The dominant music services act as if songs were commodities, more-or-less interchangeable digital files designed to be consumed and quickly forgotten. But if the sellers treat their products with such disdain and disrespect, why should consumers do otherwise? Give us something better, and you might be surprised by the results.

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July 2, 2014 / No Comments / More

John McClure Dies at 84; Produced Classic Records – NYTimes.com

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** John McClure Dies at 84; Produced Classic Records
————————————————————

Photo
John McClure, right, at work with Leonard Bernstein in the 1970s. The two men made about 200 recordings together.

John McClure, a producer and engineer who helped shape some of the most celebrated classical recordings of the 20th century, including acclaimed sessions with Bruno Walter, Igor Stravinsky (http://topics.nytimes.com/top/reference/timestopics/people/s/igor_stravinsky/index.html?inline=nyt-per) and Leonard Bernstein (http://topics.nytimes.com/top/reference/timestopics/people/b/leonard_bernstein/index.html?inline=nyt-per) , died on June 17 at his home in Belmont, Vt. He was 84.

His death, after a brief illness, was announced by his family.

Mr. McClure was neither a classically trained musician nor a formally trained technician. He studied piano at Oberlin College in the late 1940s but dropped out. He learned to operate a recording console at Columbia Records in the early 1950s and stayed.

“The impostor continues undiscovered,” he sometimes said to those close to him, a self-effacing wink at his lack of traditional qualifications.

Yet his skill was undeniable. Late in life, after a long run as director of Columbia Masterworks and a diverse freelance career that began in the early 1970s, he kept his Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) in a box in his barn in Vermont.

Mr. McClure’s career cut across genres. He made strong-selling recordings of the Mormon Tabernacle Choir; worked with Dave Brubeck, Joe Williams and other jazz artists; recorded Peter, Paul and Mary; and helped engineer the string parts for Pink Floyd (http://topics.nytimes.com/top/reference/timestopics/organizations/p/pink_floyd/index.html?inline=nyt-org) ’s 1979 concept double album, “The Wall.”

But he made his biggest mark in the classical world. He produced three records that won the Grammy for classical album of the year: “Stravinsky Conducts,” featuring the composer’s “Le Sacre du Printemps”and “Petrouchka,” which won in 1962; “Bernstein: Symphony No. 3 ‘Kaddish,’ ” which won in 1965; and “Mahler: Symphony No. 8: Symphony of a Thousand,” conducted by Bernstein, which won in 1968.

In 1986, his recording of Bernstein’s “West Side Story” score, conducted by the composer and featuring Kiri Te Kanawa as Maria, won the award for best cast show album.

Hans Fantel, a founding editor of Stereo Review, wrote in The New York Times in 1980 that Bernstein’s extensive Mahler recordings, produced by Mr. McClure, helped “American recording practices cut themselves loose from their own often limiting tradition.”

“Gradually, they veered toward a more romantic sound-ideal of tonic warmth, generous ambience and what one critic has characterized as ‘sonic bloom,’ ” Mr. Fantel added, calling Mr. McClure “just the man to provide the right sound.”

Some producers took pride in their ability to pick out the slightest imperfections in a performance, to hear better than the conductor or the musicians. Mr. McClure saw his role differently.

“I preferred that the artist be very much involved because I didn’t have that much faith in my musicianship,” he said in a 1997 interview with Michael Hobson, the owner of the audiophile company Classic Records. “I was not a trained conductor and I hadn’t studied conducting and I wanted their inputs very badly. I was afraid I’d miss something, so I always pushed my people to stay involved.”

John Taylor McClure was born on in June 28, 1929, in Rahway, N.J., and grew up in nearby Colonia. He was quick to learn piano pieces by ear as a boy but said he struggled whenever he “got to the hard part.” Decades later he insisted he had never mastered score reading.
Continue reading the main story

After dropping out of Oberlin, he attended New York University and the New School for Social Research (now the New School) but did not receive a degree. He worked in the merchant marine and took a string of other jobs, including installing high fidelity systems on the side, before gaining an entry-level position at the Carnegie Hall Recording Company in 1950. Within a few years he had become an engineer for Columbia Records, and by the late 1950s, as stereo recordings were on the rise, he moved to producing.

One of his early projects was an admired set of recordings of Beethoven’s symphonies with Bruno Walter, among the 20th century’s most distinguished conductors, who was then in the last years of his career. Made in Los Angeles, the records captured Walter conducting the Columbia Symphony Orchestra, an outfit put together for those sessions.

His work with Walter led to more than 30 recordings with Stravinsky.Mr. McClure’s appearance in a 1965 documentary about the composer, then in his 80s, made clear how influential he was. The aging Stravinsky was conducting, but it was Mr. McClure who demanded several retakes.

His most extensive production work was with Bernstein, with whom he made about 200 recordings over three decades. The first, of Shostakovich’s Fifth Symphony, was recorded in 1959 at Boston’s Symphony Hall just after Bernstein returned from touring Russia with the New York Philharmonic.

“The man is not long on patience and not stingy with blame,” Mr. McClure wrotein 1988, adding that he himself kept “coming back for more” because Bernstein was “unfailingly stimulating, educational, maddening and musically nutritious.”

Mr. McClure also worked with Aaron Copland, Isaac Stern, André Previn, Rudolf Serkin and others.

Survivors include Mr. McClure’s wife, Susan Presson, whom he married in 1991; three sons, Stuart, Hilary and Christopher; a daughter, Lauren McClure; a brother, Angus; and three grandchildren. Three previous marriages ended in divorce.

In an interview this week, the composer John Williams recalled seeing Mr. McClure as “this sort of a titan in the music world” when they first met in the ’70s.

Years later, Mr. McClure and Mr. Williams worked together on a series of recordings and television performances while Mr. Williams was the conductor of the Boston Pops in the 1980s and early ’90s. He said Mr. McClure was particularly good at managing delicate musical personalities and the tension they could stir.

“He was able to defuse things by finding humor or by causing everyone to see something larger than the moment,” Mr. Williams said. “Sometimes that was the music.”
Correction: July 2, 2014

An obituary last Wednesday about the classical-music producer and engineer John McClure referred incorrectly to a job he held before going to work for the Carnegie Hall Recording Company in 1950. He installed high fidelity systems, not stereo systems. (Home stereo systems were not widely available until almost a decade later.)

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July 2, 2014 / No Comments / More

A Special Invitation From MERCEDES ELLINGTON

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**
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THE DUKE ELLINGTON CENTER FOR THE ARTS

Please join host MERCEDES ELLINGTON
for a very special event at the world-famous Friar’s Club

Ellington, New York, and the Essence of Jazz

A Dynamic Talk with Surprising Images and Plenty of Music

Presented by Edward Green, Noted Composer and Jazz Scholar,
Professor at the Manhattan School of Music

JULY 31 from 6-8 pm – Friars Club
57 East 55^th St., New York
Meet and Greet with Light Refreshments and Q/A
SUGGESTED DONATION: $25

Due to very limited capacity, and Friars Club protocols, please
RSVP BY JULY 21 to: director@thedukeellingtoncenter.org (mailto:director@thedukeellingtoncenter.org)

You must be pre-registered to be admitted.
Please remit your fully tax-deductible donation to
The Duke Ellington Center for the Arts, a 501(c)3 Nonprofit, at PayPal (http://cts.vresp.com/c/?TheDukeEllingtonCent/8e69890c46/191c955846/19e06bd99b) : Use email address info@thedukeellingtoncenter.org (mailto:info@thedukeellingtoncenter.org)

Duke Ellington was America’s greatest composer – his music is also
bound upwith the energy of New York City – its dynamic life and nightlife.
Ellington’s music embodies, with verve and high style, the very essence of jazz music.

With surprising visual images and classic recordings of Ellington music
including “Harlem Air Shaft,” “Black and Tan Fantasy,” “The Mooche”
and the band’s theme, Billy Strayhorn’s “Take the A Train” you’ll learn
why Duke Ellington demonstrated more than anyone else in
American music – with depth and honest joy –what reality truly is.

The presentation is based on Aesthetic Realism (founded by Eli Siegel in1941), a key
tenet of which is: “In reality opposites are one; art shows this.” In this context,
Dr. Green shows how Ellington’s music is gutsy, raw, earthy – but likewise subtle,
sophisticated, and filled with the keenest intellect. Ellington makes opposites one;
together we hear in his music freedom and order, passion and control,
adventure and security – opposites which every person hopes can be one in their life.

The mission of THE DUKE ELLINGTON CENTER FOR THE ARTS is
to preserve, promote and further the music and philosophy
of this American genius through performance and education.

Please see us at www.thedukeellingtoncenter.org (http://cts.vresp.com/c/?TheDukeEllingtonCent/8e69890c46/191c955846/94124f4537) and Like us on Face Book: www.facebook.com/TheDukeEllingtonCenter (http://cts.vresp.com/c/?TheDukeEllingtonCent/8e69890c46/191c955846/63e6b7cbe0)
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THE DUKE ELLINGTON CENTER FOR THE ARTS

Your ongoing support and commitment to our mission is a
vital part of the work.
Please contribute via PayPal (http://cts.vresp.com/c/?TheDukeEllingtonCent/8e69890c46/191c955846/e0bb102919) and use email info@thedukeellingtoncenter.org (mailto:info@thedukeellingtoncenter.org)

YOUR DONATION IS FULLY TAX DEDUCTIBLE

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July 2, 2014 / No Comments / More

NAT HENTOFF:THE MOVIE

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Nice write up of the Hentoff film by Arnold J. Smith:

After my third viewing of the DVD I distilled a few “Hentoff-ian” notable simpatico to me quotables:

# [When something goes wrong] “I listen to jazz; that always gets me up.”

# [On his religious non-affiliation] “I’m a Jewish atheist; a special edition of the branch.”

# [When he first heard Artie Shaw’s “Nightmare” blaring out from a record store in Boston] “It was like a chazan (cantor) singing; a geschrei (scream).”

# [On being fired from Down Beat] “I believe it was because I hired a black secretary who turned out to be Egyptian.” (I used his temperance penchant as a template for my own story ideas for the mag.)

# [On jazz as a discipline] “It has immediacy.”

And finally quoting a mentor: “Take it easy; but take it!”

Read the full review Here:
http://jazzinsights.net (http://jazzinsights.net/)

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July 1, 2014 / No Comments / More

A Major Discovery — 149 Unknown Bob Dylan Acetates From His NYC Studio – Recordmecca

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** A MAJOR DISCOVERY — 149 UNKNOWN BOB DYLAN ACETATES FROM HIS NYC STUDIO
————————————————————

Treasure hunting.

It’s what I love most about my work as a music historian, collector and dealer. Nothing matches the rush of discovering something previously unknown and historically significant, which adds to the collective understanding of a great musical artist. And three months ago I made one of the great finds in a lifetime of looking. 149 unknown Bob Dylan acetate records, discs that Dylan himself used during the making of Nashville Skyline, Self Portrait and New Morning.

http://recordmecca.com/wp-content/uploads/2014/06/129-DYLAN-MAN-IN-ME-B-1Small.jpghttp://recordmecca.com/wp-content/uploads/2014/06/125-DYLAN-LIKE-A-ROLLING-STONE-CUT-1Small.jpg

It started with a referral from a friend. For everyone’s privacy, I won’t use names, but I was put in touch with a gentleman from the Northwest. His sister had recently died and he was the executor of her estate. She owned a building at 124 W.Houston Street in Greenwich Village and while selling off her personal items so the building could be put up for sale, he discovered two boxes labeled “Old Records” in a closet. The boxes were filled with 10″ and 12″ acetates; he had never seen an acetate before and while he recognized them as some sort of records, he didn’t really know what they were. Most had labels with Bob Dylan’s name, the address of Columbia Records, and a song title. He knew Dylan had rented the ground floor of the building in the late 60′s and early 70′s as a studio space, and theorized Dylan had either left them when he’d moved out, or thrown them away and his sister had rescued them from the trash (at the time Dylan rented the space, he lived two blocks
away at 94 McDougal St.) In either case, they had been sitting, boxed up in the closet, for more than forty years. He took two home with him, and eventually discovered what they were, and we were put in touch.
http://recordmecca.com/wp-content/uploads/2014/06/IMG_6524.jpg

The acetates were found in these boxes
http://recordmecca.com/wp-content/uploads/2014/06/Screen-Shot-2014-04-14-at-10.47.27-AM.png

124 W. Houston St. NYC Dylan’s studio was on the ground floor

After some discussion, I flew to New York to inspect and hopefully buy the collection. The executor didn’t have an inventory and wasn’t even sure that all the acetates were by Dylan, but I’m a fanatic Dylan collector and love rare records, so I made the trip. When I opened the boxes and took a quick look at the contents, I was blown away. They were indeed all by Dylan, all were in excellent condition, and many had handwritten notes on the sleeves. They all dated from the sessions for Dylan’s albums Nashville Skyline, Self Portrait and New Morning, about equally split between 10″ discs with a single song and 12″ discs with multiple songs. Though I couldn’t listen to them on site, I knew this was a major discovery, and made an offer for the collection more than double what I had expected to pay. The executor was thrilled and we quickly made a deal. He told me he’d found the boxes on his fourth (and final) pass through the building, in a small closet in a loft above the
bedroom, which he hadn’t noticed before. We took a moment to contemplate what might have happened if he hadn’t found them. The building would have sold, the new owners would have hired a crew to gut and renovate the place, and the boxes tossed into a dumpster from a third floor window. Phew.

I hand-carried the most interesting looking ones home, and had a friend ship the rest. Acetates (http://en.wikipedia.org/wiki/Acetate_disc) are individually cut on a lathe in real time, in a process that is basically the reverse of playing a record. A blank aluminum disc coated in lacquer is put on a turntable, and the master tape of a recording is played, the signal of which is sent to a heated needle which cuts a groove into into the revolving disc. Acetates are made so an artist or producer can listen to a recording that is a work-in-progress; they can be played on a regular turntable, but after 20 or 30 plays the sound quality begins to deteriorate. But the sound on a carefully preserved acetate can be incredible–it’s a first generation record made in real time directly from the master tape. And that was the case here.

http://recordmecca.com/wp-content/uploads/2014/06/Screen-Shot-2014-04-14-at-10.47.36-AM.pnghttp://recordmecca.com/wp-content/uploads/2014/06/Dylan-Houston-St.-Studio-article.jpg

Since these acetates were remarkably well preserved, it was important we document what was on them. After auditioning everything, my friend Zach Cowie made a high quality digital transfer of the most interesting discs. We photographed each disc to have a complete visual record, and inventoried everything. Then, with the help of friend and noted Dylan collector Arie De Reus, Zach and I began the exacting process of comparing the music on the acetates to the released versions of each song. We discovered many of the acetates were unreleased versions of songs, in some cases with different overdubs, sometimes without any overdubs, many with different mixes, different edits and in a few cases completely unreleased and unknown versions. There are outtakes too, including electric versions of Johnny Cash’s “Ring of Fire” and “Folsom Prison Blues” recorded during the Self Portrait sessions, and a gospel tinged version of “Tomorrow is Such a Long Time” recorded during the New
Morning sessions.

These 149 acetates provide a remarkable look into Dylan’s working process at the time. Dylan recorded Nashville Skyline in Nashville; Self Portrait in Nashville and New York and New Morning almost entirely in New York. Dylan’s producer at the time, Bob Johnston, worked out of Columbia Records’ Nashville studios. These acetates were for the most part cut in Nashville and sent by Johnston to Dylan in New York for his comments and approval. This kind of collection is very unusual; usually an artist and producer would make decisions about takes, mixes and overdubs while together in the studio. But Dylan was living in New York and Johnston headquartered in Nashville–so acetates were a simple way for Dylan to monitor what Johnston was doing.
http://recordmecca.com/wp-content/uploads/2014/06/35-DylanSmall.jpg

Bob Johnston’s handwritten sequence on sleeve
http://recordmecca.com/wp-content/uploads/2014/06/73-DylanSmall.jpg

Dylan makes changes to Johnston’s sequence and writes BLUE MOON.

On a number of sleeves, Bob Johnston has written sequences, timings and in a few cases instructions for remixes (Johnston confirmed for us that he’d had these acetates cut for Dylan, and which handwriting was his.) Dylan himself has made a number of notations about which versions he liked, which he didn’t and what he wanted changed. It’s clear these discs were the result of many discussions Dylan had with Johnston; he’d ask for changes, Johnston would have acetates of new mixes, versions or sequences made and send them to Dylan. While Dylan once claimed he made Self Portrait as an album his fans “couldn’t possibly like” he clearly spent a great deal of time refining and perfecting it. The Houston Street Studios acetates include probably ten different sequences of that album, and many different sequences for New Morning as well (including one version with only 10 songs.) These acetates were Dylan’s working tools, and it’s easy to understand why he didn’t keep them–they
were used to get the albums to the point where he felt they were finished and ready to release, but once the albums had been released, these became redundant.
http://recordmecca.com/wp-content/uploads/2014/06/4-Dylan-Small.jpg

Dylan doodles and makes notes about changes to songs for New Morning.
http://recordmecca.com/wp-content/uploads/2014/06/5-DylanSmall.jpg

New Morning acetate with unreleased gospel version of Tomorrow is a Long Time and Dylan’s handwritten notes.

The music on these acetates covers much of the same time period as last year’s exceptional Bootleg Series Vol. 10: Another Self Portrait (we’ve always loved Self Portrait and New Morning and it’s great to see these albums get their due as a result of the release of this great box set. Go buy it if you haven’t already.) We’ve provided transfers of all the music on these discs to Dylan’s office; the multi-track master tapes of these songs likely still exist in the Columbia Records tape library, but Bob Johnston’s original unused mixes may not exist elsewhere.

I’m keeping many of the acetates, but am offering some of these truly unique discs via Recordmecca (http://www.recordmecca.com/) . It’s been a remarkable experience to work with these discs, previously owned and used by Dylan himself, to create three of his classic albums.

Jeff Gold

June 30, 2014

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July 1, 2014 / No Comments / More

Teenie Hodges, Soul Guitarist and Songwriter, Dies at 68 – NYTimes.com

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** Teenie Hodges, Soul Guitarist and Songwriter, Dies at 68
————————————————————

Photo
Teenie Hodges at the House of Blues, New Orleans, in 2008. Credit Ebet Roberts

Teenie Hodges, a guitarist and songwriter whose lithe touch on songs by Al Green and others helped shape the sound of Memphis soul in the 1970s, died on Sunday in Dallas. He was 68.

The cause was complications of emphysema, his daughter Sheila said.

Along with his brothers Leroy, on bass guitar, and Charles, on organ, Mr. Hodges was part of the celebrated house band at Hi Records in Memphis starting in the late ’60s. Distinguishing themselves from the raw style of Stax, the city’s pre-eminent soul label at the time, Hi and the producer Willie Mitchell developed a jazzier and more languid approach that still had grit and rhythmic punch.

Mr. Hodges was crucial to that sound. His warm, loosely strummed chords and gently strutting funk on Mr. Green’s classic songs like “Let’s Stay Together” (https://www.youtube.com/watch?v=COiIC3A0ROM) and “Tired of Being Alone” made him a connoisseur’s favorite, and helped establish the Hi players as one of the premier studio teams in R&B, on par with the Funk Brothers at Motown, Stax’s regular group and the players at FAME Studios in Muscle Shoals, Ala.

Mr. Hodges was also a frequent songwriting collaborator of Mr. Green’s. Among the hits they wrote together are “Love and Happiness” (https://www.youtube.com/watch?v=sCXEtvbJkkY) and “Take Me to the River,” which has also been recorded by Talking Heads, Bryan Ferry, Etta James and many others.

The Hi band — which in addition to the Hodges brothers included the drummers Howard Grimes and Al Jackson — also played on records by Syl Johnson, Ann Peebles and O. V. Wright. In 1976 the group, under the name Hi Rhythm Section, made its own record, “On the Loose,” (http://www.allmusic.com/album/on-the-loose-mw0000608821) with the musicians also performing vocal parts, but it sold poorly.

Mabon Lewis Hodges was born on Nov. 16, 1945, in Germantown, Tenn., a suburb of Memphis. One of 12 children, he grew up adoring Delta blues, and by age 12 he was playing guitar in his father’s blues band, the Germantown Blue Dots. While still a teenager he was taken under the wing of Mr. Mitchell, then known as a trumpeter and bandleader with a sophisticated style and a contract with Hi Records.

Mr. Hodges — whose brothers gave him his nickname on account of his height — quickly became an in-demand guitarist in Memphis, playing on Sam and Dave’s “I Take What I Want,” (https://www.youtube.com/watch?v=IGybvvdMRr4&feature=kp) released by Stax in 1965. (Mr. Hodges also received a co-writing credit on that song, along with Stax’s house writers Isaac Hayes and David Porter.) By the late ’60s Mr. Mitchell had begun to devote himself to producing, with the Hi band taking shape around him.

The group remained intact through most of the ’70s, but began to splinter after Hi was sold in 1977. Around that time Mr. Green, the label’s star, abandoned secular music for gospel, although he reunited occasionally with Mr. Mitchell and the Hi band over the years. Mr. Mitchell died in 2010 (http://www.nytimes.com/2010/01/06/arts/music/06mitchell.html) .

Mr. Hodges and his brothers continued playing through the ’80s and ’90s with blues and R&B musicians like Albert Collins and Otis Clay. In 2006 Mr. Hodges reached a new audience when he was a featured performer on “The Greatest,” an acclaimed album recorded in Memphis by the indie-rock singer and songwriter Chan Marshall, who performs as Cat Power.

In addition to his daughter Sheila, Mr. Hodges’s survivors include five other daughters, Cheri, Velencia, Shonte, Tabitha and Inga; two sons, Reginald and Mabon II; and nine siblings, including Leroy and Charles. The popular rapper Drake, whose real name is Aubrey Graham, is a nephew of Mr. Hodges’s.

Decades after his recordings with Mr. Green, Mr. Hodges remained something of a hero to fellow musicians. Boo Mitchell, a grandson of Willie Mitchell who inherited his studio, recalled a recent recording session in which well-known players like Boz Scaggs, Spooner Oldham and Ray Parker Jr. all quizzed Mr. Hodges about guitar trivia on songs like “Love and Happiness” and reached for their smartphones to record his impromptu guitar lesson.

“That guitar at the beginning of ‘Love and Happiness’ — guitar players all over the world still try to play that riff,” Boo Mitchell said this week, “but nobody plays it like Teenie.”
Correction: June 26, 2014

An earlier version of this obituary misspelled the given names of two of Mr. Hodges’s daughters. They are Cheri and Velencia, not Sheri and Valencia.

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June 29, 2014 / No Comments / More

Joe Segal wins major jazz honor – chicagotribune.com

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** Joe Segal wins major jazz honor
————————————————————

* http://www.chicagotribune.com/entertainment/music/chi-joe-segal-jazz-masters-fellowship-20140625,0,4706924,print.column

0
*

Joe Segal

Joe Segal, the longtime owner of the Jazz Showcase club in Chicago. (Bob Fila / Chicago Tribune /February 19, 2007)
Howard Reich

10:17 a.m. CDT, June 25, 2014

Chicago jazz impresario Joe Segal, who has presented the music here since 1947, has won a National Endowment for the Arts Jazz Masters Fellowship, widely considered the nation’s highest jazz honor.

He joins a distinguished roster of this year’s winners: composer-keyboardist Carla Bley and saxophonists George Coleman and Charles Lloyd. Each winner will receive $25,000 and will be saluted at an awards ceremony at Jazz at Lincoln Center in New York on April 20, 2015.

“I’m very appreciative of it,” said Segal, 88, founder of the Jazz Showcase, at 806 S. Plymouth Court. “I’m glad they didn’t wait till I was gone.”
* HOWARD REICH
* http://www.chicagotribune.com/entertainment/columnists/reich/chi-howardreich-columnist,0,118975.columnist
* Bio (http://www.chicagotribune.com/entertainment/columnists/reich/chi-howardreich-columnist,0,4865148,bio.columnist) | E-mail (mailto:hreich@tribune.com) | Recent columns (http://www.chicagotribune.com/entertainment/columnists/reich/chi-howardreich-columnist,0,118975.columnist)
* RELATED
* http://www.chicagotribune.com/entertainment/columnists/reich/ct-ravi-coltrane-review-20140607,0,4773788.columnConcert review: Ravi Coltrane in top form at Showcase (http://www.chicagotribune.com/entertainment/columnists/reich/ct-ravi-coltrane-review-20140607,0,4773788.column)
* http://www.chicagotribune.com/entertainment/ct-summer-music-lollpalooza-grant-part-ravinia-chi-20140605,0,5712666.storyTribune summer music guide (http://www.chicagotribune.com/entertainment/ct-summer-music-lollpalooza-grant-part-ravinia-chi-20140605,0,5712666.story)

Did Segal ever think he’d be presenting jazz this long – and to this much acclaim?

“No,” said Segal. “If I would have thought what it was (about), I would have made money at it. I was just doing something, that’s all. It just sort of happened.

“I wish my mother was around to see it. She would have been very proud. She never really did figure out what I did for a living.”

What will Segal, who runs the club with son Wayne Segal, do with the money?
“We’ll put it right in our kitty,” he said. “We’ve got a lot of bills.”

Segal will be receiving the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which recognizes “an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz,” according to the NEA.

For more information, visit arts.gov (http://arts.gov/) .

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June 26, 2014 / No Comments / More

NEA Announces Lifetime Honors Recipients and 2015 Jazz Masters

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June 25, 2014
Contact: Liz Auclair, 202-682-5744, auclaire@arts.gov (mailto:auclaire@arts.gov)

NEA Announces
Lifetime Honors Recipients

$25,000 fellowships awarded to
13 master artists and advocates
in folk & traditional arts and jazz

Washington, DC—NEA Chairman Jane Chu announced today the latest recipients of the NEA National Heritage Fellowships and NEA Jazz Masters awards, the nation’s highest honors in the folk and traditional arts and jazz fields. These artists, musicians, culture bearers, and advocates have dedicated their lives to their art—mastering the artistic skills needed and preserving the cultural traditions while also using their own creativity to push the boundaries of their respective art forms.

Chu said, “Among these thirteen recipients of NEA National Heritage and Jazz Masters Fellowships there is a recurring theme. Starting at a young age, these individuals were exposed to the arts—whether it was in the home, as is the case with Vera Nakonechny whose fascination with her mother’s embroidery inspired her to seek out training when she was older—or in the neighborhood, as with George Coleman and Charles Lloyd’s exposure to jazz music in their hometown of Memphis. Today these artists’ passion for their art can be seen both in their long and dedicated careers and their willingness to share their knowledge with new audiences.”

NEA NATIONAL HERITAGE FELLOWSHIPS
The 2014 NEA National Heritage Fellows are recognized for their artistic excellence and efforts to conserve America’s culture for future generations. Click on each name for more information on the recipients, including bios, photos, audio samples, and more.
* Henry Arquette (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=a5e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Hogansburg, New York)—Mohawk basketmaker
* Manuel “Cowboy” Donley (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=a6e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Austin, Texas)—Tejano musician and singer
* Kevin Doyle (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=a7e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Barrington, Rhode Island)—Irish step dancer
* The Holmes Brothers (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=a8e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Rosedale, Maryland & Saluda, Virginia)—blues, gospel, and R&B band
* Yvonne Walker Keshick (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=a9e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Petoskey, Michigan)—Odawa quill worker
* Carolyn Mazloomi (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=aae7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) * (West Chester, Ohio)—quilting community advocate
* Vera Nakonechny (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=abe7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Philadelphia, Pennsylvania)—Ukrainian embroiderer and bead worker
* Singing & Praying Bands of Maryland and Delaware (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=ace7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Maryland and Delaware)—African-American religious singers
* Rufus White (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=ade7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Walthill, Nebraska)—Omaha traditional singer and drum group leader

*Carolyn Mazloomi is the recipient of the 2014 Bess Lomax Hawes NEA National Heritage Fellowship Award. The Bess Lomax Hawes Award recognizes an individual who has made a significant contribution to the preservation and awareness of cultural heritage.

The 2014 NEA National Heritage Fellows will be honored at an awards ceremony on Wednesday, September 17, 2014 and a concert at George Washington University’s Lisner Auditorium on Friday, September 19, 2014. Both events will be open to the public and the concert will be streamed live at arts.gov. More information, including how to obtain free tickets to the concert, will be available later this summer.

More information about the NEA National Heritage Fellowships (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=aee7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) .

NEA JAZZ MASTERS
The 2015 NEA Jazz Masters are recognized for their lifetime achievements and exceptional contributions to the advancement of jazz. Click on each name for more information on the recipients, including bios and selected discographies:
* Carla Bley (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=afe7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Willow, New York)—keyboardist, composer, arranger, bandleader
* George Coleman (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b0e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Jersey City, New Jersey)—saxophonist, composer, educator
* Charles Lloyd (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b1e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) (Santa Barbara, California)—saxophonist, flutist, composer
* Joe Segal (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b2e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) * (Chicago, Illinois)—jazz presenter and club owner

* Joe Segal is the recipient of the 2015 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz.

The NEA will honor the 2015 Jazz Masters at an awards ceremony and concert at Jazz at Lincoln Center on Monday, April 20, 2015. Please note the concert will take place in April to coincide with Jazz Appreciation Month. The concert will be streamed live on arts.gov and jalc.org/live. More information about the awards ceremony and concert will be released closer to the concert date.

More information about the NEA Jazz Masters (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b3e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) .

How to nominate a National Heritage Fellow or NEA Jazz Master
The NEA is currently accepting nominations for the 2015 NEA National Heritage Fellowships (deadline: July 17, 2014) and 2016 NEA Jazz Masters (deadline: December 31, 2014). Visitarts.gov/honors/heritage (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b4e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) and arts.gov/honors/jazz (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=b5e7e990-b8fb-e311-b26f-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) for more information and to submit a nomination.

About the National Endowment for the Arts
The National Endowment for the Artswas established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $5 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA at arts.gov.

About Jazz at Lincoln Center
The mission of Jazz at Lincoln Center is to entertain, enrich, and expand a global community for jazz through performance, education, and advocacy. We believe that jazz is a metaphor for democracy because jazz is improvisational. It celebrates personal freedom and encourages individual expression; jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others; and jazz is rooted in the blues, it inspires us to face adversity with persistent optimism. With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, educational, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, “The House of Swing”) and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Robert J. Appel, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl. Please visit us
at jalc.org (http://tracking.wordfly.com/click?sid=MzI1XzQxNzFfNTcxNDZfNzE1MQ&l=1014f580-6063-e311-a7e6-e41f1345a486&utm_source=wordfly&utm_medium=email&utm_campaign=PRNEAJM2015&utm_content=version_A) .

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Box Office Address & Hours

Broadway at 60th Street, Ground Floor

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Sun: 12pm–6pm
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Venue Address
Jazz at Lincoln Center’s Frederick P. Rose Hall
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Administrative Offices
3 Columbus Circle, 12th Floor
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June 25, 2014 / No Comments / More

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