• By Cathalena E. Burch Arizona Daily Star

• Dec 28, 2018 Updated 10 hrs ago

Yvonne Ervin, who launched the Tucson Jazz Festival and as founding director of the Tucson Jazz Society grew it to be the biggest jazz society in the country, died Wednesday night at the Mayo Clinic in Phoenix after suffering a heart attack after liver transplant surgery. She was 59.
Ervin had been hospitalized with hepatitis A since October and had been taken by ambulance to the Phoenix hospital last week to undergo the liver transplant, said her husband, Alan Hershowitz.
Ervin was the indefatigable force behind Tucson’s jazz music scene.
Her death comes two weeks before the start of the 2019 HSL Properties Tucson Jazz Festival on Jan. 11, a festival that she launched in 2015 after being approached by Tucson lawyer Elliot Glicksman and Tucson Mayor Jonathan Rothschild.
“From the get-go, the festival would never have happened without Yvonne Ervin,” Glicksman said Thursday. “Yvonne was the complete driving force to make it happen.”
Glicksman said it was Ervin’s deep ties to the jazz world far beyond her adopted Tucson hometown that made the festival a success from its inception. The festival broke even its first year and boasted sold-out concerts over the next three events. This year’s festival is Jan. 11-21.
“It’s going to leave a big void, one that hopefully people will pick up,” Rothschild said. “She’s going to be remembered, and we need to remember her, for the jazz scene in particular. In some ways she was one of a kind.”
Ervin’s love of jazz goes back to her childhood in Illinois, where she first played the clarinet before switching to alto saxophone and then tenor sax, said her husband.
“She got quite good at it. She was also just interested in the music itself and the people,” Hershowitz said.
Ervin was 21 when she left home to attend the University of Arizona in 1981. She double-majored in journalism and saxophone performance and went on to work as a reporter at the Arizona Daily Star before focusing her writing on jazz.
In a journalism career that spanned 30 years, she interviewed more than 150 jazz legends, and her work appeared in local media as well as national publications including Showtimes West, Down Beat and Music Hound’s Guide to Jazz. According to her online bio posted on her website (yvonneervin.com), 30 of her interviews are archived at the Library of Congress.
She was a founding member of the Jazz Journalists Association, where she served as vice president, and was active with the Tucson Jazz Institute and its fundraising arm, the Tucson Jazz Music Foundation.
“She was always attending the various festivals around the country, connecting with those who were coming to Tucson and looking for future guest artists,” said the foundation’s Krystyna Parafinczuk. “The loss is national because she was involved with everyone. And while you think jazz is a big community it’s actually small. She had the energy and the connections and understood how it operates.”
Ervin’s first stint in Tucson — she left for a dozen years beginning in 1998 — stretched 18 years and included landing the top job as the first executive director of the Tucson Jazz Society. Over nine years, she grew the organization from 500 members and a $50,000 budget to 2,100 members and a budget of $250,000 to support 42 concert productions a year. She was the society’s first paid employee, a job she landed after volunteering for eight years.
She also was marketing director for several years for the Tucson Symphony Orchestra and the statewide Arizona Dance Theatre before moving to New York.
But it was her love of and devotion to jazz that brought a smile to her face. As a performer in the all-woman ensemble Bitches Brew, which took its name from Miles Davis’s 1970 album, she earned a spot in the Tucson Musicians Hall of Fame.
Her work behind the scenes put Tucson on the jazz map, from her work with the Jazz Society to her work launching the binational “Jazz on the Border: The Mingus Project” festival in 1993 to honor Nogales, Arizona, native and jazz great Charles Mingus. That concert turned into the annual Charles Mingus Hometown Jazz Festival, which will be held on April 27 in Nogales.
“No one in Tucson has a more in-depth understanding of the jazz world as it is today,” said George Hanson, executive director of the Tucson Desert Song Festival, which has collaborated with Ervin’s Tucson Jazz Festival for the past three years.
“She’s very, very close to being irreplaceable. You could do a national search and find someone who would do half the amount she does for twice the money. She made Tucson’s cultural life richer and will be sorely missed.”
Ervin also partnered with the UA and UA Presents for the festival including bringing in rising star Trombone Shorty for this year’s festival. He will perform Jan. 18 at Centennial Hall.
“I can’t imagine not seeing her smiling face at future events,” said UA Presents marketing director Mario DiVetta. “All of us at UA Presents are grieving for the loss to the community and for her family.”
News of Ervin’s passing took her friends and colleagues around the country by surprise.
 

“I wish I could’ve said goodbye,” said Tucson comedian and writer Henry Barajas, who now lives in Los Angeles and wrote on Facebook that Ervin gave “me a job when I didn’t have one.”“She loved jazz. She loved the people that made it,” he said. “I hope that she’s up there listening to God’s impression of Louie. Rest in power, Yvonne.”
“Hard to fathom that my dear friend and colleague, Yvonne Ervin, passed this morning. She was a force for so much good in the music. … Yvonne enriched the lives of tens of thousands of jazz lovers and musicians, and she was an inspiration to me for the more than 20 years I have known her,” Daniel Atkinson, the jazz coordinator for the Athenaeum Music & Arts Library in San Diego, posted on Facebook. “Rest in peace, my friend, I am spinning Mingus’ ‘Goodbye Porkpie Hat’ for you and remembering all the projects and the music that we shared.”
Hershowitz said Ervin would want her legacy to be the educational opportunities that she promoted through the jazz festival and beyond.
“I think she would want the continuation of the great education and performing opportunities here and the development of so many fine jazz musicians,” he said.
“I think the educational aspect of it has always been extremely important to her. The jazz fest has always featured hometown kids done good.”
The Tucson Jazz Music Foundation on Thursday announced the creation of a memorial scholarship for girls in Ervin’s name.
“Empowering girls in jazz, and women in jazz, was a part of Yvonne’s ‘jazz mission’ and the FDN would like to annually remember and honor her through this memorial scholarship,” the foundation posted on Facebook.
In addition to her all-female jazz ensemble, Ervin also put together the Primavera Jazz Festival in the 1980s to celebrate women in the arts.
The foundation’s scholarship is open to girls 10 to 17. Applications are available through the foundation’s website, tjmfdn.org/scholarships
Hershowitz said memorial services will be announced later.
 

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https://www.newyorker.com/culture/2018-in-review/the-best-archival-jazz-releases-of-2018

The Best Archival Jazz Releases of 2018

Richard Brody
Even as the history of jazz advances through the work of new musicians, it deepens in the release of archival albums that illuminate previously hidden corners of the classic repertoire. The most noteworthy of 2018, “Miles Davis and John Coltrane—The Final Tour” (Sony/Columbia Legacy), features two of the twentieth century’s musical titans facing a crucial moment in musical history. After a prodigious yet fitful decade on the scene, Davis established himself, in 1955, with a new quintet featuring the yet-unheralded tenor-saxophonist Coltrane (like Davis, born in 1926), whose rapid musical advances were matched by the incomprehension of audiences and critics. Ready to launch his own quartet in 1960, Coltrane was persuaded by Davis to join him on one final European concert tour; the resulting music—long available on bootlegs, now largely (though not completely) collected in a four-disk set—rescues from obscurity a series of performances that are among the most daring and thrilling in the history of jazz. Davis’s solos here are bold, vigorous, and expansive, and they fill in a significant gap in his discography at a great moment in his career. (It had been a year since Davis had brought a small group into the studio and would be another year before he’d do so again.) Coltrane’s, however, are revolutionary. On the intimate scale, it’s the sideman overthrowing the leader’s preëminence and dominating the concerts, audibly shocking some in the audience and delighting others; on the grand scale, it’s a dramatic leap of jazz in the direction of complexity, vehemence, and self-excavation, a grand and joyful foreshadowing of what Coltrane would accomplish, with his own groups, when he got back to New York soon thereafter.

Frank Morgan plays at the Subterranean Club, in London, in 1990.
Photograph from Heritage Images / Getty
The story of Frank Morgan is painful to consider, and all the more so in relation to the vulnerable beauty of his music. Born in 1933, he was a prodigious alto saxophonist as a teen-ager and a rising star at twenty-two, burdened with sloganeering praise as “the second Charlie Parker.” He recorded one album, became addicted to heroin, and then spent the next thirty years in and out of prison and utterly outside of the music industry. But, upon his heralded return, in 1985, he played with uninhibited fluency, originality, and imagination. The release of “Montreal Memories” (HighNote), a live duet album featuring Morgan and the pianist George Cables, recorded at the Montreal Jazz Festival in 1989, highlights his agonizingly intimate artistry: blues-inflected, achingly melodic, punctuated by flurries of notes that are countable only by ears as sophisticated as his own. His style is based on Parker’s but is nonetheless utterly personal; his richly nuanced tone sounds decanted, a vintage treasure profoundly enriched by decades of painful experience. It’s easy to imagine that Morgan, if he’d have stayed in the music business from the late fifties onward, would have played with other innovators whose own careers were taking off at exactly the time that he left the scene, such as Davis, Coltrane, Thelonious Monk, and Art Blakey. In “Montreal Memories,” Morgan and Cables play a batch of compositions by or associated with Parker, several compositions of their own, and a poignant version of Wayne Shorter’s “Nefertiti” (recorded by the Miles Davis Quintet, featuring Shorter, in 1967) that suggests Morgan’s thwarted affinity for the musical changes that happened in his absence. (I’d recommend N. C. Heikin’s documentary, “Sound of Redemption: The Frank Morgan Story,” from 2014, as a useful source of information about Morgan’s life and music.)
I had long dreamed that rediscovered live recordings of the guitarist Grant Green would turn up; the dream became reality this year, with two album releases by Resonance Records, “Funk in France: From Paris to Antibes (1969-1970)” and “Slick!—Live at Oil Can Harry’s,” featuring performances from three concert tours that reveal rarely glimpsed aspects of Green’s art. Self-taught by listening to records (especially of Charlie Parker), Green offered long, horn-like solo lines of a subtle audacity, seemingly floating the harmonies with a fluidity that was as much at home in funky rhythm-and-blues-based sessions as in modernist contexts with such innovators as Larry Young, Tony Williams, and Sam Rivers. Green’s two new concert albums feature a trio, from 1969, that reclaims his copiously recorded style as an instant classicism; an electric quartet, from 1970, that reflects popular styles to which Green responds with new heat and energy; and a club date, from 1975, in which those styles are synthesized into a new tradition, with a new generation of musicians equally at home in jazz and rock. Green died of a heart attack in 1979, at the age of forty-three, and didn’t live to see these syntheses flourish and expand nor to carry them further himself.

Sonny Clark at Bell Studios in New York City in January, 1960.
Photograph by Charles Stewart / Time Records
In January, 1960, just a few weeks before the Davis and Coltrane concert tour, the twenty-eight-year-old pianist Sonny Clark, who’d been recording copiously for a few years, went into a New York studio with the bassist George Duvivier and the drummer Max Roach (one of the founders of modern jazz percussion in his work, from the mid-forties, with Charlie Parker and Dizzy Gillespie—and the teen-age Davis), under the auspices of the producer Bob Shad (who happens to be Judd Apatow’s grandfather) to record an album that, even from its most general contours, has the hallmarks of a significant personal achievement. This album, “Sonny Clark Trio—The 1960 Time Sessions” (Tompkins Square), features only original compositions by Clark (no show-tune standards or bebop anthems). In the trio format, Clark (who’d only recorded in that format once and used no originals) would have the overwhelming bulk of the solo space. Clark took full advantage of the situation to create a masterwork of balance and exuberance, with a mercurial lyricism inflected by the bebop heritage of virtuosity and the cultural heritage of the blues. Most of his documented improvisations come in the context of larger groups, from quartets to sextets, in which his solo time is brief and leaves listeners hungry for more. This recording highlights the ingenuity of a modest but unmistakable innovator. Also, the second disk, of alternate takes, offers some performances that sacrifice elegance for excitingly impulsive moments. Clark—who at the time of this session had already recorded with such essential modern musicians as Coltrane, Sonny Rollins, and Jackie McLean—died of an overdose in 1963, at the age of thirty-one. (Sam Stephenson writes movingly of Clark’s life in the book “Gene Smith’s Sink: A Wide-Angle View,” from 2017.)
The trumpeter Woody Shaw died too young, at the age of forty-four, in 1989, and, although he left a significant recorded legacy, the spate of live recordings that has emerged since his death has filled out the archive to include some of his more freewheeling performances. The new release, “Live in Bremen 1983” (Elemental Music), takes it a step further. The quartet format, with Shaw’s trumpet (and sometimes flugelhorn) as sole wind instrument, was something of an accident. The trombonist Steve Turre, a member of Shaw’s band, was absent from this concert, giving Shaw both a huge burden of solos and a vast musical canvas on which to create, aided greatly by the pianist Mulgrew Miller, the bassist Stafford James, and the drummer Tony Reedus. Shaw builds his solos gradually, holding ideas, motifs, and moods up to the light with contemplative energy that he unleashes in blasts of excitement and explosive bursts of notes that leap from the soundscape with the high-relief angularity of a cubistic extrusion. Particular thrills come from Shaw’s burst into double-time during Miller’s jauntily, lopingly polyrhythmic “Eastern Joy Dance,” his high-powered high-range effusions in “Pressing the Issue” (followed by a superb duet between Miller and Reedus), the exuberant cadenza-like fanfares of “400 Years Ago Tomorrow,” and the rocking rhythmic punctuations of Shaw’s undulating solo in “Sweet Love of Mine.” This new release offers the thrill of a still-young artist meeting the haphazard circumstances of a concert and seeming to expand his musical personality in real time—and the miracle that it was recorded.
There’s an ethical question at the root of one of the year’s best jazz releases. Nothing in the notes to “Jackie McLean Quartet—Montreal ’88” (Hi Hat) suggests that it’s authorized—no sourcing of the recording of the concert from the University of Québec (which, the notes say, was broadcast on the radio station CBC/CBOF-FM); there’s no acknowledgment or even mention of the McLean estate, the concert producers, the station’s engineers and managers, or anyone else who’s involved with the event and the recording. But for those who love McLean’s music, it’s essential listening; it captures his full, overtone-rich in-concert sound as well as his explosive solos, which, at times, reach a Dionysiac frenzy. McLean and Clark, born in 1931, and Green, born in 1935, reflect a fascinating current of jazz history. They were part of the rise, in the fifties, of so-called hard bop—a blues-oriented paring down of the intricacies of the music of Charlie Parker, Dizzy Gillespie, and Bud Powell—but, with its nudging and breaking of orthodoxies, that loose movement lent itself both to more popular forms of jazz and to the rarefied audacities of the avant-garde—sometimes in the work of the same musicians.
Like the release dates of movies, the release dates of music are often arbitrary. For instance, the Clark trio recording, recently released on CD, was issued in 2017 on vinyl (a format for which I have little nostalgia—see the recording engineer Rudy Van Gelder’s remarks on the subject). Similarly, there’s an extraordinary collection of reissues and rediscoveries, “Eric Dolphy—Musical Prophet: The Expanded 1963 New York Studio Sessions” (Resonance Records), that was issued on LP in November and will appear on CD in January. I’ll discuss it in detail then; for now, it’s worth mentioning that it features Woody Shaw in his first recording, at the age of eighteen.
 

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By Joe Bebco 23 hours ago

Yvonne C. Ervin, 59, died after liver transplant surgery on Wednesday night at the Mayo Clinic in Pheonix.
Originally from Illinois, she double majored in journalism and saxophone at the University of Arizona and stayed in the area to work at the Arizona Daily Star.

While still in her 20s she served as Vice President of the American Federation of Jazz Societies. She was also the Secretary of the Executive Board of the International Association of Jazz Educators. Since 1989 she has been the Executive Director of the Western Jazz Presenters Network, a coalition of 45 jazz festivals and venues in the West.
A certified fundraising executive, Ervin raised more than $10 million dollars for worthwhile organizations during her fundraising career. Working as a volunteer for eight of nine years as executive director of the Tucson Jazz Society (1989-1998) she grew the organization from 500 members with a $50,000 budget, to 2,100 members with a $250,000 budget sponsoring 42 concerts a year. During that time she was also the marketing director of the Tucson Symphony Orchestra, and for a year, marketing director of the Arizona Dance Theater. She helped establish Primavera: A Celebration of Women in the Arts, an all-women festival where she could often be heard on saxophone with her ensemble Bitches Brew. The group has been recognized by Tucson’s Musicians Hall of Fame. She also co-founded the bi-national Charles Mingus Hometown Music Festival.
She co-founded the Jazz Journalists Association and has long served as its Vice President. She has interviewed more than 150 jazz legends for numerous news outlets in Arizona and nationally. Many of her interviews have been archived by the Library of Congress. She hosted jazz radio programs for more than 20 years. She is also a notable photographer, something that gave her great pride. She has worked extensively as a presenter leading seminars on fundraising, audience development, and marketing for numerous institutions including the Kennedy Center.

In 1998 she moved to New York City where she held top development positions at several important community organizations fighting drug abuse and teen pregnancy. She also established herself with the regional jazz community before returning to Tucson in 2011. In 2014 she began working on the Tucson Jazz Festival, which held its inaugural event in January 2015.
Her current positions included; treasurer of the board of the Santa Cruz Alliance for the Arts, Executive Director of the Tucson Jazz Festival, editor of Hot House magazine, which serves the New York City area, Executive Director of the Western Jazz Presenters Network, Vice President of the Jazz Journalists Association, and other important roles on boards and behind the scenes.

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There was time not long ago when the vast majority of music blogs created just two pieces of content: Reviews and news. The reviews were written hurriedly by young critics trying to make their name by praising or trashing talent, while the news often amounted to little more than copy/pasted press releases tweaked just enough not to be outright plagiarism. Some of this content was good, but most was immediately disposable.
Some of those sites still exist today, but most have died due to an inability to grow their audience. If the content your creating is immediately disposable then the same can be said for your site. If, however, you can find a way to create unique content that no one else can offer then you may be able to set yourself apart.
To do this, we suggest telling more stories. Find an artist you believe in, regardless of popularity, and tell their story. Tell your story about telling their story. Tell the story of their fans and why they choose to care about this artist instead of the other million-plus in existence. Find an angle that interests you and shares it with the world. Take chances. Maybe what you uncover isn’t necessarily new or groundbreaking information, but as long as it is honest and well-written, it will entertain.
Maintain your archives, both public and private

Here’s a nightmare scenario most writers never consider: What happens to your content in the event a hacker attacks the site(s) where you contribute? What happens if the owner of that site suddenly loses interest in the publication and deletes it? What happens if for whatever reason your content disappears before you or anyone else thinks to save a copy elsewhere?
The answer is always the same: Your content is gone forever.
In 2019, there are no longer any acceptable excuses for failing to maintain a personal archive. Too many sites have gone under, and too many people have complained over social media about now permanently lost work for you to fall in line with those who the easily avoidable mistake of not keeping track of your work. After all, who else do you expect to do it? No one cares more about your career in writing than you, so you must be the one to look after and ensure its legacy.
In addition to saving your work offline, we also suggest you maintain a catalog of links to the currently active content you consider to be your ‘best’ work. Services like Contently make this easy and cost-effective. Again, there is no excuse for your archives being a mess. Get it together!
You need a website

Every time we create a post offering advice to individual professionals we make it a point to emphasize the need for a personal site. It doesn’t matter if you own a blog with a hundred contributors or you contribute to a hundred blogs, every single person trying to make it in the music business should have their website. The reasons why are as endless as your imagination, but the main reason is that you need a place where you and your work can be the focus of everyone’s attention. You need a place where your absolute best work is displayed, as well as a place where people can learn more about you and whether or not you are available for freelance work. A personal website can be anything you want it to be. Just make sure you have one.
 

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• Offering generous price breaks, discounts for multiple orders, first rate shipping at cost, and dedicated research service to Jazz collectors everywhere.

This is our latest version of the original mail order format “Record Store in an Envelope” concept. Designed for today’s online buyers of Jazz music LP’s and CD’s.
Many present day buyers were customers of my previous web sites, “JazzRecordScene” and “Cool School”, which were active sources of Jazz Music on LP from 2008-2012.
This collection (with more to be added in coming times) represents music acquired from Jazz Record Industry people, radio promotion, critics, producers, musicians and private collectors. Nearly all items are mint to near mint condition. Lesser quality records have been excluded.
*********************************************
All Jazz Records, is the new website for the world wide community of Jazz Music Collectors. Your “host with the most”,  Jeff Barr, genially known in the record collecting world as “The Vinyl Merchant of Jazzville”, now offers a very well cared for collection of LP’s and CDs, gathered from the jazz world’s cognoscenti, and available now to you.
In a period from 1973-2018 Barr estimates he’s sold over 168,000 LP’s records. Jeff was a jazz disk jockey in California and Washington D. C. from 1977-1990, as well as, a staff writer for Jazz Times, during those years. A friend to many modern jazz musicians, Jeff wrote dozens of liner notes for various jazz labels. He was an early associate in the beginning of VSOP Records (Very Special Old Phonography) and has produced a number of VSOP CDs through the years. His background in the jazz music world goes back to 1960, when after college, he worked in New York as a free lance publicist to Billy Mitchell, Al Grey, and other Birdland Stars! So he knows what he knows! You want to get hip, you dig! and you re-dig, you dig?
Referring to the items at hand, at this time we are not offering valuable 1st pressings in any amount, but for the avid listener, the historic collector, the sincere jazz enthusiast, we have an omnibus of jazz recordings gleaned from the most jazz astute sources.  Our pricing is based on past experience (selling similar items several to many times), One Of A Kind Condition, and long standing enthusiasm for world wide interest in Jazz, the art form, shared by so many of us! The provenance of the All Jazz Records collection comes from these basic sources:
1. Established musicians who never played records more than once, if at all
2. Record Reviewers/jazz critics, promoters, producers who seldom if ever played any of the records they got unless they were specifically interested.
3. Disc Jockey/Radio Station surplus of unplayed records, many sealed.
4. Records from private collectors with an emphasis on unused, unplayed records. And Many unused duplicates.
If a price you see here seems a bit of a stretch (we hope not), consider that it’s really mint*, really hard to find, and we’re ready to ship it to you on a day’s notice.   We have flexible discounts to pass on to the buyer of multiple items. We’re particularly pleased to offer expert careful record cleaning to any records that might need some sound improvement. A professional mix of de-greasers and surfactants is used to clean LPs, with a long in the tooth but still hard working VPI-17f vacuum, (a deep clean, tune up, and rinse is the procedure used). The difference between a clean used record and one that needs cleaning is simple, you can easily listen to and enjoy a clean used record, a used record that needs cleaning, you’re not going to listen.
The Order Process
At present we are not using a shopping cart, preferring to get back into an easy mode of receiving orders by e-mail (our order form), by fax, phone order (let’s chat), or email correspondence. Typically, you would fill out the order form, when I receive it, you will be invoiced for all items available plus shipping, and you can proceed with any payment method.
I ship promptly using good protective methods (sleeves separate from record in a poly-sleeve), double bubble wrap, and tight packaging.) We get consistently good feedback from e-bay customers for quick shipping, and careful handling
So to review the process by the numbers:

1. Download the Inventory PDF file.
2. Find the LP’s you wish to purchase and email your selections back to us, (the Item #, plus any other information you wish to send specific to the selection.
3. Fax or email your list back to Us.
4. We will verify that the inventory you requested is available, calculate the shipping, apply any appropriate discounts, then
5. We will Email or Fax back to you the Invoice, and a link for which to submit payment via Paypal or credit card. We accept International Money Orders, foreign bank drafts drawn on a U.S. Bank, and personal checks from United States residents. If you prefer some other method of payment process please indicate this to us in the correspondence, and
6. Upon receipt of payment we will ship out your order and send you the tracking information when available.

Applicable Discounts
Group A – Small Group Jazz
Records 1-1626 are considered better class collectibles and not discounted individually.
However, buyers who order multiple items from this group will get a discount when the total for all items are invoiced.  Discounts as high as 20% could be invoiced for multiple purchases from this group.
Group B – Small Group Jazz
Records 1627-2015 are discounted; Buy 2, get 3rd 50% off. Buy 5, get 6th free.
Example: if you used $20 average price, the total for 6 lp’s would be $90.00, or $15 each.
Records 2016 -2685 are discounted; Buy 2 from this group, get 3rd 50 % off. Buy, 5 get 6th free.
Example: if you use a $15 base price, 6 lp’s would be $70.00 or about $12 each.
Group C – Big Band Jazz
Records 2686-3280 are discounted; Buy 2, get 3rd at 50% off; Buy 5, get 6th free.
Group D – Male and Female Jazz Vocalists-
Records 3281-3708 are discounted; Buy 2, get 3rd 50 % off; Buy 4, get 5th free.
Jazz CD’S – Small Groups, Big Bands, Vocalists
Records 3709 -4667 are discounted; Buy 3, get 4th free; Buy 6, 20 % off.
Example: $15 each, subtotal $60, price adjusts to $48, $12 apiece.
Note – Reasonable counter offers will be considered.
 
SHIPPING-DOMESTIC AND INTERNATIONAL.

• USPS Media Mail – up to 4 lbs, $4.00. 1-5 records. After 4 pounds,  6 records Priority Rates apply.
• USPS First Class Air Mail -1 record, $15.00, each record thereafter $3. each. Up to 5
• Records (about $33). after 4 pounds, Priority Rates apply (about $42.00)
• Priority Rates, larger packages, Fed Ex shipping all available.

SPECIAL LP TO CD TRANSFER OFFER
Any LP can be legally duplicated on a one to one basis. It is illegal to make multiple copies of an LP. We use an analog system to copy an LP to CD. Using an upgraded VPI Scout turntable with a Denon 110 cartridge, the LP is recorded to CD by using a Panasonic PD 19 CD recorder. The sound is outrageously close to the source, and comes out high on the warmth scale.) The price is $15 for recording the CD, reproducing the cover art by color copy machine, and shipping. Price discounts for multiple copies. (3 for $40, 6 for $72). Not able to do large orders, unless time allowed for completion, so please contact us about your needs.
METHOD OF PAYMENT
Paypal, Credit Cards, checks drawn on a U. S. bank, cash, postal money orders, and international money orders.
 
* – No wear of any kind to the record surface, jackets have no edge wear, corner wear,  laminated wear. Provenance = Protection.
 

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Photograph: Courtesy the Cornelia Street Café
The Cornelia Street Café, a hub of the bohemian arts scene in Greenwich Village, has announced that it will close forever on January 2, 2019. The bistro’s trademark bright-red exterior has been part of the West Village’s rainbow since 1977, and the neighborhood will be less colorful without it.
Through the years, the Café has been a warm and inviting gathering place and incubator for songwriters, storytellers, theater-makers, musicians and visual artists. Eve Ensler’s game-changing The Vagina Monologues debuted in the venue’s cozy basement space in 1996. Tightrope walker Philippe Petit honed his juggling skills on a wire strung from trees. Suzanne Vega and the Roches performed there early in their careers; comedians including John Oliver, Amy Schumer and Hannibal Buress have worked out jokes there. To this day, the Café’s schedule remains packed with jazz shows, as well as burlesque and storytelling nights.
But like many of the horcrux-like spaces that preserve the Village’s soul, the Cornelia Street Café appears to have fallen victim to rising costs. In an interview last year, owner Robin Hirsch—one of the Café’s three original founders—noted that the space’s monthly rent has risen from $450 in 1977 to $33,000 today, a trend exacerbated when the building was purchased by landlord Mark Scharfman, who has a reputation for sharkishness. 
On the bright side, we’re sure this space will also be great as an ATM bank or pop-up nail salon or indefinitely empty storefront.
Adam is the Theater and Dance Editor and critic for Time Out New York and is the president of the New York Drama Critics’ Circle. Follow him on Twitter at @FeldmanAdam.

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Saxophone legend Archie Shepp was one of the top acts at this year’s EFG London Jazz FestivalGetty
Now in its 26th year, EFG London Jazz Festival remains the capital’s largest city-wide festival, with over 2,000 artists in more than 325 performances in concert halls, clubs, at family events, free concerts, films and talks, in over 70 venues across London. I noticed more of a mixed crowd at this year’s festival and was thrilled to see jazz veterans such as Archie Shepp and Stanley Clarke continuing to innovate by working with young emerging musicians. I also think that collaborations between young artists working in different musical genres is becoming increasingly common and is helping to shine a light on jazz. When Kendrick Lamar, one of the world’s hottest hip-h0p stars, works with brilliant young jazz composers and musicians like Robert Glasper and Kamasi Washington, younger audiences are going to notice.
Young Dutch funksters Jungle By Night at London’s Jazz Cafe 
We were blown away when we first heard Jungle by Night perform on a beach stage in Sines, Portugal at a world music festival in 2014. And four years on, this group of nine energetic young white guys from Amsterdam performed the most remarkable funk, a blend of afrobeat, hip-hop and soul to a packed house at Camden’s Jazz Cafe during the London jazz festival. Using sax, trombone,trumpet, guitar,keyboards, bass, drums and percussion, the band creates powerful, infectious and danceable music. Their latest album “Livingstone” was released at the Jazz Cafe that night and they’ll continue to tour it in Europe through February.
Sax Ruins performing at Cafe Oto
One of the great aspects of the London jazz festival is the chance to discover experimental music like Sax Ruins. This energetic Japanese duo was brought to Cafe Oto, an east end music venue, by the innovative young promoter Baba Yagas Hutwho present the best in avant garde music throughout the capital. Sax Ruins features one of Japan’s most innovative drummers Tatsuya Yoshida performing with saxophonist Ono Ryoko and the Cafe Oto gig was a rare live show for the duo who’ve been performing together since 2006. The big sound they produce from only two instruments is an incredible, enthralling blend of prog rock, free jazz, classical and punk.

Archie Shepp performing at London’s Jazz Festival in November 2018Andfotography.com/Paul Allen
From intimate venues to major halls, this year’s jazz festival included legends like Archie Shepp at the Barbican who performed arts songs and spirituals with a brilliant, specially assemble choir featuring Carleen Anderson, joined by singer pianist Amina Claudine Myers. Soulful saxophonist Archie Shepp who is in his eighties has been leading the avant-garde jazz scene since the 1960s when he recorded “Ascension” with John Coltrane and split a record “New Thing at Newport” (the first side featured Coltrane,  the reverse, Shepp). Today, Archie Shepp continues to experiment and work with younger musicians to keep things interesting. His admirable support act at the Barbican was Simon Purcell’s Red Circle, featuring vocalist Cleveland Watkiss who has been described by London’s Evening Standardas the “best male jazz singer in Britain.”
Stanley Clarke and the Headhunters at the Royal Festival Hall
Stanley Clarke, the Grammy award winning, legendary bass player and his versatile band, thrilled the audience at the Royal Festival Hall with loved pieces and brand new music. Known for his early work with greats like Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Gil Evans and Stan Getz, Stanley Clarke’s versatility enabled him to play with Chick Corea, guitarist Jeff Beck and The Police drummer, Stewart Copeland. His music has also been widely sampled by the likes of Jay-Z and the Beastie Boys and his career in film music includes the soundtrack for “Boyz N The Hood.” Stanley Clarke has also been a brilliant mentor for emerging artists like saxophonist Kamasi Washington, as well as his band’s current young members, keyboardist Cameron Graves, drummer Mike Mitchell and pianist Beka Gochiashvili, the latter of whom joined the band at 17 and 16 years old respectively. The gig at the Royal Festival Hall was ably supported by jazz-fusion band The Headhunters, the jazz-fusion band formed by Herbie Hancock in 1973, with the original members Bill Summers, Paul Jackson and Mike Clark still performing.
Toni Kofi and Byron Wallen in a tribute to Cannonball Adderley at the 606 Club during the London Jazz Festival
Saxophonist Tony Kofi and trumpeter Byron Wallen performed a lively tribute to hard bop legend Cannonball Adderley (also famous for his soul hit single “Mercy, Mercy Mercy“) at the 606 Club. Tony Kofi rose to fame with the UK’s Jazz Warriors Big Band in the late 1980s, has performed with high profile musicians like Courtney Pine and Harry Connick Jr. and continues to collect accolades and awards, including BBC Jazz Awards’ Best Instrumentalist. Versatile trumpeter Byron Wallen has played with top jazz and pop artists including George Benson, Chaka Khan,  Style Council and Cleveland Watkiss. Byron Wallen, Tony Kofi and his band were joined by vocalist Deelee Dube to perform an impressive range of Cannonball Adderley’s engaging music.
Saxophonist Grant Stewart performing with Nat Steele at Toulouse Lautrec jazz club
In south London at the Toulouse Lautrec jazz club, another tribute to a jazz great was easily one of top gigs of the festival. Canadian jazz saxophonist Grant Stewart was an excellent addition to vibraphonist Nat Steele‘s quartet who performed a fantastic gig featuring the music of Sonny Rollins. Their take on the classic 1956 Prestige album “Sonny Rollins with the Modern Jazz Quartet” was part of the annual Bopfest, focusing on the best in bebop, running alongside the London Jazz Festival. Grant Stewart’s tenor is tight, rich and his modern interpretation of bebop has often been compared to Sonny Rollins while Nat Steele has been described by Clark Tracey as “one of the best vibes players this country has ever produced.” Together, along with the admirable contributions from Gabriel Latchin, Dario di Lecce and Steve Brown, they performed one of the best gigs of London’s annual jazz festival.

Rothko + Jazz presented by Maris Briezkalns’ Latvian quintet at Kings PlaceAndfotography.com/Paul Allen
Kings Place, Central London’s newest public concert hall, is recognized for featuring experimental jazz. One of the most creative gigs in this year’s London jazz festival came from a Latvian quintet led by drummer Maris Briezkalns who presented “Rothko in Jazz.” Ten Latvian composers responded to abstract expressionist Mark Rothko’s late paintings by creating sometimes intense, sometimes upbeat tunes. While Rothko is known as an American artist, he was actually born and spent his childhood in Latvia. Thus the backdrop of projected Rothko paintings certainly added a fascinating dimension to the quintet’s performance.
 

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Dexter and Maxine Gordon in 1976. Ms. Gordon’s new book about her husband, “Sophisticated Giant,” ends up shining a light on her own work, too.Dexter Gordon Archive
In the 1970s, when she was in her 20s, Maxine Gordon had a revealing conversation with one of jazz’s most powerful impresarios. It was just a few years after she’d begun working as a producer and talent manager, and music had become her life.
In a recent interview, she recalled that the mogul had told her, “You have no future in this business.”
“I was like, ‘Oh, really? Why?’ Not that I cared,” she said. “And he said: ‘Because you like the musicians too much.’ I said, ‘So, we’re on one side and they’re on the other? I think I’ll stay with them.’”
There are many lessons to be learned from Ms. Gordon’s new book, “Sophisticated Giant: The Life and Legacy of Dexter Gordon,” a biography of her husband, the heroic bebop saxophonist, who died in 1990. One of them is what it means to stay by the musicians’ side. It’s a role that many have filled over the years — but one that’s rarely documented.
“Sophisticated Giant” is the product of decades of work and fulfills a promise Ms. Gordon, 68, made to her husband. If he was unable to complete an autobiography before his death, he had said, Maxine should go back to college and write his story. Ms. Gordon earned bachelor’s and master’s degrees and did graduate work at Columbia University’s Center for Jazz Studies.
She ended up writing a revealing, expertly researched history of Mr. Gordon’s life. But throughout its pages, we see Maxine Gordon almost as clearly as we see Dexter. And the telling is better for it.
The book signals a meaningful step forward in jazz scholarship by allowing us to see Maxine Gordon and women like her doing their work — the kind that has been done by essential figures off the bandstand to keep the jazz ecosystem healthy since its earliest years, typically without historical recognition.
Here she is, delving into her husband’s off-handed comments about his grandfather and coming away with the intriguing story of Capt. Edward L. Baker Jr., an African-American frontiersman and U.S. Army captain. There she is, convening a round table of Dexter’s old friends in Los Angeles, crosschecking the tales he used to tell about his childhood. Later in the book, Ms. Gordon doggedly investigates his run-ins with the law in the 1950s, when he was waylaid by a heroin addiction — a decade he refused to discuss.
Ms. Gordon was a back-room musicians’ champion even before she met her husband. Since his death, she has worked as a manager and consigliere to musicians including Louis Hayes, Bobby Hutcherson and Cedar Walton. “Nobody knows how to read a contract like Maxine,” said Farah Jasmine Griffin, a Columbia professor and friend of Ms. Gordon.
Drawing on her expertise, Ms. Gordon’s account of her husband’s early career includes some of the most incisive, unflinching criticisms of the midcentury music business on record. Explaining a system by which record executives swiped royalty rights from the musicians they employed, Ms. Gordon writes: “The confiscation of the music, the devaluation of their creativity, the notion that ‘spontaneous composition’ in jazz — improvisation — is inferior to the kind of composition that is done over long hours with pen and paper and the canard that players are not composers: All of this has plagued jazz history and caused economic hardship for musicians to this day.”
Lil Hardin Armstrong, Louis Armstrong’s second wife, played piano in his Hot Five and helped the band book gigs.Michael Ochs Archives/Getty Images

Lil Hardin Armstrong, Louis Armstrong’s second wife, played piano in his Hot Five and helped the band book gigs.Michael Ochs Archives/Getty Images
Along the way, “Sophisticated Giant” takes care to highlight the work of people like Hattie Gossett, a poet and performing artist who became a business associate and helped further Dexter Gordon’s career, and Helen Keane, who managed Bill Evans and mentored a young Ms. Gordon, encouraging her to face down industry sexism.
As some scholars have pointed out, being a jazz spouse often meant helping to book and manage an entire band (as Nellie Monk, Lucille Rollins, Dorthaan Kirk, Laurie Pepper and countless others did). But the story goes well beyond work performed by romantic partners. The life of Phoebe Jacobs, one of the great publicists and artist advocates in jazz, could fill volumes. Robin Bell-Stevens has spent decades as one of jazz’s most important behind-the-scenes figures — particularly in Harlem, where she now directs the Jazzmobile education program.
Greenwich Village’s jazz scene would have been a shadow of itself in the 1990s and 2000s without Wendy Cunningham and Lorraine Gordon (no relation), who ran its two most fabled clubs. Sue Mingus, like Maxine Gordon, has recovered the publishing rights to her husband Charles’s music, and elevated his reputation as one of jazz’s leading composers by organizing legacy ensembles — including the Mingus Big Band, which is now a decade into its weekly residency at Jazz Standard.
The history of unheralded characters who played critical roles as jazz organizers is as old as the music itself. When Louis Armstrong became the country’s most acclaimed musician in the late 1920s, his second wife, the pianist Lil Hardin Armstrong, was the one pulling him into the spotlight. She helped form the first groups that had his name atop the bill, including his landmark Hot Five, in which she played piano. To get gigs around Chicago, where they lived, she prepared scrapbooks full of rave reviews documenting his appearances as a side musician and took them around to club owners.
After the couple split, around 1930, the enterprising and well-educated Ms. Armstrong formed her own successful big band. The group’s relatively short life span suggests why a musician like Ms. Armstrong had such a well-developed set of business skills. “She could get anyone in her group because she was so respected as a musician. But they didn’t really promote her as a bandleader, so her bands weren’t as successful as male bandleaders’,” said Courtney Bryan, a New Orleans-based pianist and scholar.
Ms. Armstrong eventually stepped away from music, working for years as a clothier, restaurateur and teacher, though she eventually returned to performing. In this way, her story reflects that of another eminent 20th-century pianist, Mary Lou Williams, whose compositions, arrangements, piano virtuosity, organizing and mentorship made her one of the most versatile — and crucial — figures in jazz history.
An early collaborator with Duke Ellington and Andy Kirk (who made her his lead arranger), Ms. Williams was slow to take off as a solo act; again, presenters felt disinclined to promote a strong female instrumentalist. In the eyes of musicians, though, she was nonpareil. In the 1940s, Ms. Williams offered her Harlem apartment as a crash pad and a jam-session hub, as well as a safe haven for fellow players. In the 1950s, distressed with the jazz world, she converted to Catholicism and temporarily retired from the stage. But even in absentia, she supported the music by founding the Bel Canto Foundation, which raised money for struggling musicians. She funded it by running a thrift store.
“It was about community,” said Woody Shaw III, the recently appointed executive director of the Mary Lou Williams Foundation, who is also Maxine Gordon’s son. “There was a natural sharing of information, and Williams found herself often in a kind of matriarchal position. These men were younger than she was, and needed guidance and intervention — whether it was through her creating her own businesses and organizations that specifically accommodated the needs of musicians, or allowing them to stay in her home when they were having difficulties.”
Through his work with the foundation and with his own company, Moontrane Media Group, Mr. Shaw has himself become a crusader for artists’ rights, helping musicians claim copyrights and royalties for their work. Today, with jazz’s constricting gender roles slowly eroding onstage as well as off, Mr. Shaw describes himself as an inheritor of a mantle worn by figures like Mary Lou Williams and Maxine Gordon.
Mr. Shaw called himself an “amalgamation of these influences and values, over the generations.” He added: “I’m trying to help legendary musicians move into the 21st century, in terms of how they brand and market their legacies and tell their stories. And then there’s the question of, how do we help musicians gain a level of control over their economic and artistic destiny in this generation, a control that they didn’t have in the past?”
For all her devotion to the musicians she advises, Ms. Gordon describes this work in unsentimental terms. “It was a career that I did because people would ask me to do things that I didn’t know how to do, and I’d just find out how,” she said. “There’s improvisation in the way we do business. If something came up, we had to figure it out.”
Correction: December 26, 2018
An earlier version of this story misstated the year of Dexter Gordon’s death. He died in 1990, not 1987.
 

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TUESDAY 15TH JANUARY
THE BURT GOLDBLATT
JAZZ PHOTGRAPH ARCHIVE

VIEW CATALOGUE

Season’s greetings!
 
We have an exciting auction calendar coming up in 2019, starting off with a fascinating sale on January 15th. We’re proud to present a unique chance to purchase original negatives of some of the most iconic images in the history of Jazz music photography. For those with even a fleeting interest in jazz iconography, artist, photographer and record sleeve designer Burt Goldblattneeds no introduction. His intimate connection with the leading lights of Jazz, whom he photographed at close quarters for over 30 years, allowed him unparalleled access to a crucial period of modern music. His best shots showed the stars of day relaxed, at ease, enjoying themselves; far from the tired convention of the tortured jazzman, on the break of burnout. See Herbie Mann posing with an owl atop his flute (lot 48), Billie Holliday mugging for the camera (lot 24), Count Basie catching 40 winks (lot 37B), John Coltrane also catching 40 winks (lot 53A), a fresh faced Miles Davis at the start of it all (lot 76), and then slightly less fresh faced years later (lots 58 – 64). This is an unparalleled collection of images, with all of the big names represented; Coltrane, Charlie Parker, Holliday, Davis, Monk, Getz, Roach, Zoot Sims, Quincy Jones, Ornette Coleman, Louis Armstrong.
 
So, what does your winning bid buy you? You’ll take home the selection (as per the lot) of Goldblatt’s photographs in (generally) 6x6cm negative format and we will send a high resolution copy of the scanned image via WeTransfer. They’re perfect for blowing up and displaying, framing, t-shirts, whatever you will for your own personal use. Of course they won’t contain the watermark that you see on the pics now. We’ll be viewing the collection on the Monday before the sale but as ever we are happy to talk on the phone or via email about the auction.
 
Best regards
 
Karen, Paul, Adnan, Dan, Pat, Rebecca and Archie.

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Auction: Tuesday 15th January 2019, 11.00am
Venue: Omega Auctions, Sankey Valley Industrial Estate, Newton-Le-Willows, WA12 8DN
Viewing: Monday 14th January 11.00am – 5.00pm
Viewing: Tuesday 15th January 9.00am – 11.00am

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VIEW CATALOGUE

NOW ACCEPTING ENTRIES FOR FEBRUARY 2019 – APRIL 2019 SALES

AUCTION CALENDAR

TUESDAY 15TH JANUARY
THE BURT GOLDBLATT JAZZ PHOTOGRAPH ARCHIVE

TUESDAY 29TH JANUARY
VINYL RECORDS: SOUL, JAZZ & BLUES

TUESDAY 29TH JANUARY
THE GLAM COLLECTION (VINYL & MEMORABILIA)

SATURDAY 2ND MARCH
THE PETER HOOK SIGNATURE COLLECTION (JOY DIVISION)

TUESDAY 12TH MARCH
MUSIC MEMORABILIA

WEDNESDAY 13TH MARCH 
RARE & COLLECTABLE VINYL RECORDS

TUESDAY 12TH MARCH
THE BEATLES COLLECTION (VINYL & MEMORABILIA)

SATURDAY 13TH APRIL
LIVE FROM UTRECHT

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The Honeycombs, with Honey Lantree at center, in 1964
Honey Lantree, the drummer (and sometimes singer) for the British Invasion group The Honeycombs, died on Dec. 23, according to reports from Britain. The cause and place of death were not noted. Lantree, one of very few female drummers in the early days of rock ‘n’ roll, was 75.
The Honeycombs’ Joe Meek-produced single “Have I the Right?,” which peaked at # 1 in the U.K. (on the Pye label) and #5 in the United States (on the independent Interphon label) in late 1964, was the group’s only top 10 hit in either country. They placed three other singles on the charts in the U.K. and one other, “I Can’t Stop,” in the U.S. (Their self-titled debut album peaked at #147 in America.)
Its stomping 4/4 rhythm was a primary feature of “Have I the Right?” Although there was some controversy at the time over whether Lantree played on the recording in the studio, the group members insisted that she did.

Honey Lantree
Ann Margot Lantree was born in Hayes, Middlesex, England, on Aug. 28, 1943. She was an assistant to a hairdresser, Martin Murray, when the group formed in 1963. Originally called the Sheratons, the band also included Murray on rhythm guitar (replaced in 1964 by Peter Pye), Honey’s older brother, John Lantree, on bass, Dennis D’Ell as lead singer (he died in 2005), and Alan Ward on lead guitar.
Related: ‘Lost’ British Invasion hits of the ’60s 
The group auditioned for the famed producer Joe Meek (often called the “British Phil Spector”), who had previously produced the hit instrumental “Telstar” for the Tornados. Meek recorded the Honeycombs performing “Have I the Right?,” written by Ken Howard and Alan Blaikley, in his living room. Reportedly, the recording was speeded up slightly by Meek to give it a more rocking feel; the drums were augmented by the band members stomping their feet to give it a more pronounced beat. (The group also recorded a German-language version of the song.)

Howard and Blaikley became the band’s managers in the aftermath of “Have I the Right?” but were unable to sustain the momentum generated by the debut single. (Honey Lantree co-sang the lead on the group’s second-biggest U.K. hit, “That’s the Way.”)

Although the Honeycombs toured in several countries and appeared on major television programs in both England and the U.S., they began to splinter in 1966, with all but the Lantree siblings leaving the band. 

Honey and John Lantree formed a new Honeycombs but with success evading them, they split for good in 1967, following the suicide of Meek. Attempts by some members (including Honey) to re-form the band in the ’90s went nowhere.
 

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The legendary saxophonist and composer Wayne Shorter.
CBS News
One of the best things about jazz is that it’s never routine, and never settled. You could say the same about one of the genre’s most celebrated artists, the saxophonist and composer Wayne Shorter. His career has spanned six decades and earned him 11 Grammys. 
The 85-year-old saxophonist, who is also known as one of the world’s greatest composers, is part a prestigious group of artists who were celebrated at the Kennedy Center Honors earlier this month for their contributions to American culture. 
But Shorter shows no sign of slowing down.
When asked why he loves jazz so much, Shorter said, “Jazz is a fighter.  The word jazz means to me, ‘I dare you. Let’s jump into the unknown!'”
Shorter was always fascinated by the unknown. Growing up in Newark, New Jersey in the 1930s, he loved to draw comics and ditch school to watch sci-fi films at the local movie theater.  
When he was caught, the vice principal forced him into a music class. 
“So, as I was walking away from her classroom, what was happening to me was what some people call life change,” Shorter told “CBS This Morning” co-host Bianna Golodryga.
That change turned into a career. He joined Art Blakey and the Jazz Messengers in 1959.  
Art Blakey & The Jazz Messengers – Tokyo 1961 by Tadeus Jazz on YouTube
But he was frequently asked to join another group, with legendary trumpet player Miles Davis.
“The first job was at the Hollywood Bowl,” he recalled. “I walked into the dressing room – Miles was there, and he asked me, ‘Do you know my music?’ I said really quick, ‘Yea!’ He said, ‘Uh oh!'”
Miles Davis – Live In Rome 1969 Wayne Shorter Chick Corea Etc by YJ C on YouTube
The quintet would go on to become one of the most influential jazz groups ever assembled.  
Golodryga asked, “How much did you learn from [Davis], and how much did he learn from you?”
“We learned to leave each other alone,” Shorter replied. “When you play with Miles, you are on your own, and then it’s you who decides what to contribute.” 
Later, Shorter started the world’s first jazz fusion band, Weather Report: 
Weather Report – Birdland by jnerrot on YouTube
He also formed his own quartet (The Wayne Shorter Quartet), and collaborated with renowned musicians like Carlos Santana: 
Carlos Santana And Wayne Shorter – Apache (Live) – Supernatural Tour 2003 by Orbs2009 on YouTube
Burt his life has also been marred with tragedy. His second daughter passed away in her teens, and his wife and niece were later killed in the crash of TWA Flight 800 while on their way to visit him overseas.
“Her life was bigger than the accident,” Shorter said in 1996. 
He told Golodryga, “When my wife Anna Maria died, what I got from this was moving inside me. I was feeling her, feeling her say, ‘Go on, keep writing, keep playing, go on.'”
That’s exactly what he’s done.
2018 Kennedy Center honorees, front row from left, Wayne Shorter, Cher, Reba McEntire, Philip Glass; and back row from left, the co-creators of “Hamilton,” Thomas Kail, Lin-Manuel Miranda, Andy Blankenbuehler and Alex Lacamoire appear on stage during the 41st Annual Kennedy Center Honors at The Kennedy Center on Sunday, Dec. 2, 2018, in Washington.  Greg Allen
While he’s performed for large audiences around the world, one of his most memorable concerts was a more private gig: President Barack Obama’s 50th birthday.
“Before we played, Barack Obama, president, he introduced Herbie [Hancock] and myself, and he said that when he was in college, that we were the soundtrack of his life,” Shorter said.
Golodryga said, “That must have felt special.”
“Yeah!”
Now in his mid-80s, Shorter is diving even deeper into his Buddhist faith, and practices with his wife of nearly 20 years, Carolina. 
He’s also embarking on a new challenge: composing an opera with Esperanza Spalding, set to open in 2020.
Composer Wayne Shorter is preparing an opera he’s co-written with jazz bassist Esperanza Spalding. CBS News
Spalding was one of the artists who paid tribute to him at the recent Kennedy Center Honors, when she said. “Thank you for taking us beyond the known stratosphere.”
Golodryga asked, “You’re 85, you’re still working, your best work may still be yet to come. But what are you most proud of today?”
“Someone asked Duke Ellington, they said, ‘What’s your favorite song?’ He said, ‘The next one!'” Shorter laughed.       
      
See more on this year’s Kennedy Center Honorees: 

• Reba McEntire reflects on the tragedies and the triumphs of her 40-year career
• Cher, an American icon, explains why she isn’t the woman you see on stage
• Success for composer Philip Glass didn’t come quick
• The “Hamilton” team on crafting a revolutionary musical

      
Watch the Kennedy Center Honors December 26 at 8 p.m. ET / 7 p.m. CT on CBS  
 

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Derek Abella
When was the last time you saw a jazz musician electrify a crowd? For me it was a couple of weeks ago, during Esperanza Spalding’s exultant concert at Town Hall, in midtown Manhattan. Singing the deftly intricate songs from a new album, “12 Little Spells,” she was the picture of vital intensity well before the encore, when she re-emerged in a jumpsuit emblazoned with the catchphrase “Life Force.”
Ms. Spalding is exceptional in every sense of the word, but she’s also part of a cresting wave. The music we call jazz has been undergoing an explosion of creative possibilities, carried out by musicians with an impressive range of new skills and ideas. Some of them have found traction with impassioned young audiences, achieving a rare balance of popular success and critical approval — enough, in some corners, to bring talk of jazz’s new golden age.
I just wrote a book about jazz in the new century, so I might be waving that banner, too. The music’s plurality of style, embodied by Ms. Spalding and so many others, amounts to an extension of the jazz tradition rather than any kind of heretical crisis. The music is meant to evolve, and we’re in the midst of its most wildly adaptive, thrillingly unruly evolutionary phase in some 40 years.
So why do I balk whenever someone declares that jazz has entered another golden age? On some level it’s reflex: a resistance to hyperbole, and an awareness that whatever my convictions, we don’t have enough distance to see our moment with total clarity. On some level, too, it’s wariness about any exercise that weighs one era against another, brushing aside the broader context. 
But I have even more fundamental reservations. To declare a golden age is to freeze a moment in time, locking a gilded frame around its edges. It ends up crowning some figures and crowding out others, distorting a reality that’s far richer and messier in practice.
If you have even the most casual relationship with jazz, you’ve probably reckoned with this issue. Golden-age thinking feels woven into the fabric of the art form. Around this time 60 years ago, “The Golden Age of Jazz” was the theme of a landmark issue of Esquire, which gave us the Art Kane photograph known today as “A Great Day in Harlem.” Elsewhere in the issue, the novelist John Clellon Holmes assured the reader that “you are living in the most exciting, most creative, and perhaps most crucial age through which our native music has ever passed.”
His pronouncement is familiar and humbling — and hard to argue with, in historical terms. I’m in my early 40s, and like many jazz fans of my generation I spent a substantial portion of my early listening experience fighting the feeling that I’d missed out on all the good stuff. The music industry fed this perception with a steady outpouring of classic albums reissued on CD. And the jazz media seemed to present every emerging young face as a jazz-historical avatar: a new Miles, a new Ella, a new Billie.
We’re mostly beyond that mode of thinking, notwithstanding the occasional article hailing Kamasi Washington, a tenor saxophonist with a vaulting, athletic style, as some kind of spiritual successor to Pharoah Sanders. I’ve seen Mr. Washington a number of times, most recently raising the rafters at Brooklyn Steel, and I’d venture to say that few in the crowded room had any historical marker in mind; we were caught in an onrushing present tense.
One of this year’s most heralded jazz artists, the Chicago-based drummer Makaya McCraven, has made a point of pushing back against any reductive narrative of succession; he likes to emphasize the communal aspects of his art, and all the ways jazz history forms a continuum. This month he played a sold-out show in New York, to a standing audience that often hollered its approval. His band featured a few other breakout stars, like the British saxophonists Shabaka Hutchings and Nubya Garcia, and the whole evening registered as a triumph.
At one point I noticed Ravi Coltrane in the audience, watching intently. An excellent saxophonist and bandleader, he’s also the son of two jazz titans — the saxophonist John Coltrane and the harpist and keyboardist Alice Coltrane — and a cousin to the electronic music producer Flying Lotus, whose Brainfeeder label receives a lot of the credit for jazz’s latest spark with young audiences.
I called Ravi a few days after the show, to hear his impressions. “I felt a lot of pride, really,” he said. “There’s something very enduring about this music. I spent a lot of time watching my mother drag her harp onstage, playing in very similar environments, with a spiritual vibe moving through the room. It felt like a beautiful affirmation of what a lot of artists from that period did.”
Still, Ravi chuckled when I brought up the notion of a new golden age. “There will always be great players,” he said. “Sometimes the wave goes up, and we have what seems like an insurgency of new talent.” This is a great time for jazz, but it’s important to leave open the possibility that it can get even better.
Flashing back to that issue of Esquire, from January 1959, I often trip over an essay by Ralph Ellison, “Time Past.” A reflection on the glory days of Minton’s Playhouse in Harlem, which were then only a dozen or so years in the rearview, the essay rings in a nostalgic key. “It has been a long time now, and not many remember how it was in the old days,” Ellison begins, as if to evoke a crawl of covered wagons on the plains.
He was writing in a mild deadpan, but the pining was genuine. And it’s worth remembering what followed, as 1959 got underway. Albums like Miles Davis’s “Kind of Blue,” the Dave Brubeck Quartet’s “Time Out,” Charles Mingus’s “Mingus Ah Um”and Ornette Coleman’s “The Shape of Jazz to Come.”
It’s tempting to see those landmarks as a fulfillment of certain grand pronouncements. But the musicians weren’t setting out to justify the rhetoric of a golden age. Then as now, they were just pursuing their interests, filtering out distractions, doing the work. Their focus was pointed firmly on the road ahead.
Nate Chinen, the director of editorial content at WBGO and a former jazz critic for The Times, is the author of “Playing Changes: Jazz For the New Century.”
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John Thomas Williams, a spirited jazz pianist strongly influenced by Bud Powell and Horace Silver who recorded with the Stan Getz Quintet in the early 1950s before recording his two sole leadership albums for EmArcy in 1954 and ’55, died on December 15. He was 89.

Born in Windsor, Vt., Williams began as a church organist. In the mid-1940s, he joined the regional band of jazz violinist Mal Hallett, which brought him to New York. By the late 1940s, Williams was playing in saxophonist Johnny Bothwell’s band. In 1951 and ’52, he played baritone horn in an Army band during the Korean War. Discharged in 1953, Williams attended the Manhattan School of Music for a semester before touring and recording with Getz on his early Clef and Norgran recordings with trombonist Bob Brookmeyer. [Photo above, from left, of Bob Brookmeyer, Stan Getz, Frank Isola, John Williams and Teddy Kotick in 1953]

Williams also played piano on key recordings led by Med Flory, Nick Travis, Bill De Arango, Charlie Mariano and Cannonball Adderley, among others. But Williams was probably best known for his trio recordings as a leader on EmArcy. Today, these can be found on a single release here. Starting in the 1960s, Williams became a banker and eventually was named a city commissioner in Hollywood, Fla., before recording two final albums in the 1990s.

In tribute to John Thomas Williams, here are 10 terrific recordings that feature his piano:
Here’s Williams with Stan Getz in 1953 playing Have You Met Miss Jones… 
Here’s Williams with guitarist Sal Salvador in 1953 playing Gone With the Wind…
Here’s Williams in Med Flory’s big band in 1954 playing Med’s arrangement of Straight Ahead…
Here’s Williams with trumpeter Nick Travis in 1954 playing Nick’s Knacks with Al Cohn on tenor saxophone…
Nick’s Knacks
Here’s Williams with Cannonball Adderley in 1955 playing Willows…
Here’s the John Williams Trio, with Bill Anthony (b) and Frank Isola (d), in 1954 playing For Heaven’s Sake…
Here’s Williams in another trio setting with Bill Anthony (b) and Jack Edie (d) playing Like Someone in Love…
Here’s Williams with Chuck Andrus (b) and Frank Isola (d) playing Manteca…
Here’s Williams with Bill Anthony (b) and Frank Isola (d) playing Be Careful It’s My Heart…
And here’s Williams with the Stan Getz Quinetet in 1953 playing Pot Luck…
 

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Welcome to The Collectors, a series in which we profile the men behind impressive private collections, and reveal how you, too, can become an aficionado.
A record jacket measures 12 inches by 12 inches. A perfect square. Typical crates used for storage hold 50-60 albums, which weigh around 50 pounds. Extrapolate those numbers to a decent-sized collection — say, 500 to 1,000 volumes — and it’s plain to see that record collecting is a rather cumbersome hobby.
But Chris Manak, a Los Angeles DJ who goes by Peanut Butter Wolf, doesn’t have a decent-sized record collection. He has 100,000 of them.
Which begs a very obvious follow-up question: Where the hell does he keep it?
A very meticulously organized library in his garage, for starters. But he also recently moved one percent of his collection — roughly 8,000 albums — to a wooden shelving system behind the pine at modish bar Gold Line, his new establishment in Highland Park, where we recently paid him a visit to learn everything we could about his collection, from its origins to his most memorable finds to the proper care and feeding of rare vinyl.
The bar itself was inspired by traditional vinyl bars in Japan, and the records are organized by seven genres: rock and hip-hop at the front, soul and funk closer to the middle and electronic, jazz, reggae and “world” (which includes Latin and Afro rhythms) in the back room. “By the DJ area is all miscellaneous pulled from the seven genres,” says Chris. “We switch ’em every few weeks or so.”

Most nights, a guest DJ arrives, picks records from the stacks and places them in the DJ station to have them close at hand. If a record is played too frequently, it goes back to the stacks. “Because we don’t really have a dance floor, I’d prefer that the DJ plays the whole song,” he says. “DJing has gotten to the point with computers and everything, you can really load a bunch of songs in and quick mix, and songs just don’t breathe like they used to … here it’s more of just playing good music, or music you want to share with people.”
Chris also owns Stones Throw, the record label upstairs that he started in the ‘90s to support local producers. Chris started spinning at 14; he says the first album that made him want to become a DJ was Herbie Hancock’s Future Shock. Much of his early soul collection of 45s is housed at the entrance of the bar in a vintage jukebox that he purchased from the Record Parlor in Hollywood.
What makes Chris’s collection interesting is its breadth, from the random prog rock of Pictures to the nonsensical scats of Ata Ka. It’s music that’s familiar but different: great stuff you can socialize over, and maybe even dance to. Which — as a collector — is what you want.
Below, some helpful tips we picked up from Manak over the course of the afternoon we spent with him. Consider it essential reading for anyone who maintains or aspires to maintain a killer, showcase-worthy vinyl collection.

1. When selecting your sound system, make it about the music, not the tricks.
“These turntables we have are the Technics 1200s,” says Chris. “An audiophile would come in here and turn their nose up right away at that. With needles, generally the rule is the sharper the diamond, the better the sound quality. But it can ruin your records more, as well. The Shure ones that I have in here (44Gs) are $40 a needle, so it’s not gonna sound quite as good, but you can go like that over and over again and it’ll take a while before you hear it (the rasp). My mixer is a Bozak mixer. It doesn’t have a cross-fader or up and down — it’s just all knobs. These are the ones they used in the ‘70s; it’s a cleaner signal. When you have a cross-fader, you’re losing an extra generation of the sound.”
2. Don’t be too precious with your wax
While we were interviewing him, Chris literally used his white T-shirt to wipe some dust off of a record. The he used his fingernail to gently remove some glue. “I’m not too worried about fingerprints,” he says. “Technically, yeah; they have oil and it attracts dirt and whatever, but I’m not that anal about it.”
3. For that reason, focus your sights on cheap and used
“I buy used records because I like rare, old music that I don’t know about. The new records I do buy, or the new reissues, I treat ’em the same way, you know?” Chris says, “The original idea with the bar was, OK, nothing that’s worth more than $5 or $10, because people can steal ’em or whatever, or they’ll get ruined.” If you entertain a lot, this stance is a good position to take — although Chris does admit that his $10 rule for the bar “went out  the window quickly.”

4. Imperfections should be embraced
“Most of my favorite music is imperfect,” says Chris. He holds up Rainbows by Jade 4 U. “It says 7-inch version but it’s 12. So this is a misprint. It says there’s two songs on this side and one song on this side, but it’s opposite.”
5. You can identify a good record store by what’s in the stacks and how it’s priced
“If they just have really common stuff and it’s in a touristy neighborhood, it’s usually overpriced,” Chris says. “I don’t buy that many new records. They really vary from distributor to distributor, and from the label. When a label prices their record high to begin with as a wholesale, then the retail goes up exponentially. It used to be that people wouldn’t pay more than $10 for a used record. But now that new records are, on average, $20-30, that’s kind of the sweet spot for used records for people.”
6. Most of the time, you can judge a record by its cover
“Look at the back and you see the instrumentation and what year it was recorded, and you kind of get an idea [of the value]. It’s a little less risky.” Using James Mason’s album as an example, he says, “This came out in the ‘70s and was reissued in 1999, and it was probably reissued several times since then. But some of these reissues go for, like, $100 now.” Be mindful of whether a store is charging for a reissue or an original pressing, and use resources on the web to check up on the value of anything you’re thinking about splurging on.
7. That said, don’t get too caught up in the condition of the cover
“I don’t really get that caught up in album art, especially for the bar. That was kind of the irony: it’s harder to find records that are in worse condition these days, that cost less money, because it’s not worth people’s time to put them up,” he says. “Most of the records I’m buying are old records that are near-mint, or VJ plus, which is pretty much no crackle or anything like that. And I’m just gonna put ’em in this bar, and people are gonna play ’em over and over and ruin ’em. I almost wanted to buy records that weren’t in perfect shape, as far as the old ones.”
8. Definitely try before you buy, especially if it’s used
“I won’t even buy records unless the store has a listening station. There are rare ones that don’t, but that’ll usually be the only record store in town. In that case, you can look it up on YouTube and hear it.”

9. Organize your music by genre
It’s like organizing by mood, and makes it easier to find the right music for the vibe.
10. Consider using Discogs to keep track of your library so you don’t duplicate
“We cataloged them all through Discogs,” says Chris. “It’s this website for record collectors and record stores. Every record here is in our Discogs page. I have more records that are ready to come in here, but I have people inputting them in the Discogs and then putting these stickers on the back that say the genre.”
11. Don’t just go for the typical stuff
It’s when you branch out and leave your comfort zone that you find the real gold. While at Gold Line, we listened to Ata Ka, James Mason and Pictures, all of which were new to us. Remember: the ultimate goal of collecting records should be the discovery of something new from the past. It’s perhaps the only thing that the internet can’t find for you, music wise. And we think that’s a beautiful thing.
—
All photos by Neave Bozorgi for InsideHook
 

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By Jim Farber

Nancy Wilson in 2010. She performed American standards, jazz ballads and a variety of other numbers with a heightened sense of a song’s narrative.Chad Batka for The New York Times

Nancy Wilson in 2010. She performed American standards, jazz ballads and a variety of other numbers with a heightened sense of a song’s narrative.Chad Batka for The New York Times
Nancy Wilson, whose skilled and flexible approach to singing provided a key bridge between the sophisticated jazz-pop vocalists of the 1950s and the powerhouse pop-soul singers of the 1960s and ’70s, died Thursday at her home in Pioneertown, Calif. She was 81.
Ms. Wilson’s death, which came after a long illness, was confirmed by her manager, Devra Hall Levy.
In her long and celebrated career, Ms. Wilson performed American standards, jazz ballads, Broadway show tunes, R&B torch songs and middle-of-the-road pop pieces, all delivered with a heightened sense of a song’s narrative.
“I have a gift for telling stories, making them seem larger than life,” she told The Los Angeles Times in 1993. “I love the vignette, the plays within the song.”
Some of Ms. Wilson’s best-known recordings told tales of heartbreak, with attitude. A forerunner of the modern female empowerment singer, with the brassy inflections and biting inflections to fuel it, Ms. Wilson could infuse even the saddest song with a sense of strength.
In her canny signature piece from 1960, “Guess Who I Saw Today,” a woman baits her husband by dryly telling him a story in which he turns out to be the central villain. In her 1968 hit, “Face It Girl, It’s Over,” Ms. Wilson first seems to throw cold water in the face of a deluded woman who fails to notice her lover has lost interest in her. Only later does she reveal that she is the benighted woman scorned. The latter number, an epic soul blowout, became one of the singer’s biggest chart scores, making the Top 30 of Billboard’s Pop chart and Top 15 on its R&B list.
Her biggest hit came in 1964, when “(You Don’t Know) How Glad I Am,” a rapturous R&B ballad delivered with panache, reached No. 11 on Billboard’s Pop chart. A hardworking and highly efficient singer, Ms. Wilson released more than 70 albums in a recording career that lasted five decades. She won three Grammy Awards, one for Best Rhythm and Blues Recording for the 1964 album “How Glad I Am,” and two for Best Jazz Vocal Album, in 2005 and 2007.
For her lifelong work as an advocate of civil rights, which included marching in the 1965 protest in Selma, Ala., she received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in 1993, and an N.A.A.C.P. Hall of Fame Image Award in 1998. In 2005, she was inducted into the International Civil Rights: Walk of Fame at the Martin Luther King Jr. National Historic Site. In 1967, Ms. Wilson became one of the few African-Americans of the day to host a TV program, the Emmy-winning “Nancy Wilson Show” on NBC. “As an artist then, taking such a political stand came with professional risks,” she told the blog Jazz Wax in 2010. “But it had to be done.”
Nancy Wilson was born on Feb. 20, 1937, in Chillicothe, Ohio, the first of six children born to Olden Wilson, a supervisor at an iron foundry, and Lilian Ryan, a maid. Her father introduced her to records by mainly male artists, like Nat King Cole, Billy Eckstine and Jimmy Scott, when he sang with Lionel Hampton’s Big Band. “Much of my phrasing is so similar to Jimmy Scott’s,” she told the The Los Angeles Times.
From the age of 4, Ms. Wilson sang avidly, and by the time she was 10, she was the lead singer in the local choir. She had no formal training. “It’s all natural,” she told Jazz Wax.
As a teenager, Ms. Wilson became entranced by the female singers she heard on a local jukebox, especially Dinah Washington, whose ear for irony, and keen sense of drama, affected her deeply. “The general humor is a lot of Dinah,” the singer said of her style in an interview for the National Endowment for the Arts’s website in 2004. As the inspiration for her glamorous presentation, she cited Lena Horne.
At 15, while she was still a student at West High School in Columbus, Ohio, Ms. Wilson entered a talent contest held by the local television station WTVN, which led to a twice-weekly gig on its show “Skyline Melodies.” Until her graduation, she sang at nightclubs, sometimes with the 18-piece band Sir Raleigh Randolph and His Sultans of Swing.
Ms. Wilson spent one year at Central State College in Ohio before dropping out to pursue music full time. Still, she took care to hone her skills over a long period, touring continuously in the Midwest and Canada with Rusty Bryant’s Carolyn Club Big Band, with whom she cut her first recordings, for Dot Records. Seven years passed before she felt ready to move to New York in 1959.
She came armed with a mandate to achieve three goals: to get signed by a key jazz manager, John Levy, who worked with Cannonball Adderley and George Shearing; to be signed by Capitol Records, which was then known for singers like Nat King Cole and Peggy Lee; and to have her first album produced by David Cavanaugh, who worked with those singers.
Within five months she fulfilled all three goals, despite holding down a day job as a secretary at The New York Institute of Technology. A high-profile gig at the Blue Morocco club had led to the contract with Mr. Levy, who got her the label deal, which connected her with Mr. Cavanaugh to produce her debut in April 1960. With splashy arrangements by Billy May, the album, titled “Like in Love,” was pure jazz, though, in the style of the day, it passed as pop.
For an early album, “Nancy Wilson/Cannonball Adderley,” she paired with the titular saxophonist to create a jazz touchstone. Her style impressed the critics. Writing in Downbeat in 1965, Leonard Feather hailed her performance at the Shrine Auditorium in Los Angeles as an “extraordinary demonstration of the attainment, by a splendid singer, of an almost unprecedented mixture of commercial appeal, physical and music charm, and artistic integrity.”
Live performances, particularly in intimate nightclubs where audiences could see her gestures, became a hallmark. “Audiences want to see a song as well as hear it,” Ms. Wilson told Jazz Wax. “Part of what I do is in my body language, my hands, my arms. You miss a lot by just hearing my voice.”
At the same time, Ms. Wilson worked tirelessly in the studio, releasing three albums in a single year during her prime. She also made many guest appearances on TV shows, singing on variety programs (like “The Ed Sullivan Show” and “The Tonight Show”) and acting in hit series (like “I Spy” and “Room 222”). She used her high profile to break down racial stereotypes. “That’s what I loved about doing ‘The Carol Burnett Show,’” she told Jazz Wax. “I didn’t have to play ‘black characters.’ I could just do comedy, which I loved.”
Over the years, Ms. Wilson’s music moved with the times. She cut songs written by the Beatles and Stevie Wonder on her 1966 album “A Touch of Today,” and later incorporated disco and modern R&B styles before moving back to jazz on her later albums, culminating in 2006’s “Turned to Blue.”
Throughout her career, Ms. Wilson kept the focus on music rather than celebrity, while making sure to carve out time for her private life. She married the drummer Kenny Dennis in 1960, divorcing him a decade later. In 1973, she married Wiley Burton, a Presbyterian minister with whom she remained until his death in 2008.
She is survived by her three children, Kacy Dennis, Sheryl Burton and Samantha Burton; two sisters, Karen Davis and Brenda Vann; and five grandchildren.
Ms. Wilson remained proud of her holistic approach to music, preferring to call herself a “song stylist” rather than a follower of any genre. “I don’t put labels on it, I just sing,” she told The Los Angeles Times. “It’s all in the ear of the listener. Let them decide.”
Matt Stevens contributed reporting.
 
 

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Broadway composer Frank Loesser wrote the song for him and his wife and musical partner Lynn to perform at a party. 
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Who doesn’t love a festive holiday tradition? The Christmas tree has been trimmed, stockings have been hung, the elf is sitting on his shelf and, once again, people are debating whether “Baby, It’s Cold Outside” is a song about rape. Every December, the Internet serves up a fresh batch of hot takes about Frank Loesser’s 1944 jazz standard, a classic recipe for clickbait controversy that’s guaranteed to draw a crowd. Dozens of articles are published each year. 
Every so often an exceptionally fiery opinion — like that the song played a “pivotal role in the rise of Islamic Fundamentalism” — surfaces, but the vast majority recycle the same handful of points and counterpoints, with the occasional timely news peg (like the #MeToo movement) thrown in to bring the debate up to date. Some radio stations have even opted to ban the song over the controversy, a decision which, in turn, fuels the fight even further. Here’s a look back at when and how the “Baby, It’s Cold Outside” rape debate became an even bigger holiday tradition.
Composed in 1944, Loesser originally wrote “Baby, It’s Cold Outside” as a playful call-and-response duet for him and his wife to perform at their housewarming party while their guests were preparing to bid them goodnight. In 1948, the song was recorded for the musical Neptune’s Daughter; in the score, the male and female parts are labeled “the Wolf” and “the Mouse,” respectively. The premise is that the Wolf and the Mouse have gone on a date, and after having a nightcap back at his house, she’s making her excuses to leave, while he’s urging her to stay. 
“I really can’t stay,” the Mouse sings. “But, baby, it’s cold outside,” he replies. Every excuse the Mouse offers to say goodnight — “my mother will worry,” “my father will be pacing the floor” — the Wolf counters. “I’ll hold your hands they’re just like ice,” he sings, and then later, “Listen to the fireplace roar.” At times, the Mouse doesn’t resist his temptations, agreeing to “just half a drink more,” but for every inch she gives, he takes two. Does she want to stay, but is playing hard to get? Or is she succumbing to his unrelenting persistence against her true desires, an experience many women can relate to?
For most of the duet’s history, the only controversy was whether it was fair to call it a Christmas song, considering the lyrics don’t have anything to do with the holidays at all. A search of the New York Public Library’s archives (which, in fairness, is incomplete) reveals that the phrase “Baby, It’s Cold Outside” most commonly appears in headlines about freezing temperatures and winter fashions, and not articles parsing its lyrical content. 
While it’s impossible to say for certain when listeners first noticed that the back and forth sounded kind of creepy, the earliest known article on the subject was published in 2004 by Canada’s National Post. 
“Baby, It’s Cold Outside has a lovely melody but it’s an ode to statutory rape,” read the December 20th, 2004 story, written by Rob McKenzie and Joe Bodolai for their regular humor column, “Post Mortem.” “In sum, the man gets the girl drunk amid her protestations so he can take advantage of her.”
According to the National Post, the article was meant to be a “tongue-in-cheek,” “throwaway joke” poking fun at political correctness, ending with a demand that “all radio stations and malls … please stop playing this song.” The article’s points are, ironically, the same as those being argued in earnest now, though the shift didn’t happen overnight. In a 2005 post on his personal blog, freelance writer Drew Mackiewrote that “Baby, It’s Cold Outside” was about the “warm embrace of semi-consensual” date rape, but like the two National Post writers, his tone is more joking than sincere. 
A 2006 Livejournal entry written by a guy named Brad Hicks — who “achieved limited notoriety” for operating an early Internet bulletin board — waxes on for seven paragraphs (not including the quoted lyrics) about how the song’s “amusingly rendered seduction” used to be a “prosecutable crime” in some states.
“How certain can she be that a guy who hasn’t taken ‘no’ for an answer will draw the line at verbal persuasion? … The song title, and repeated line, suggests that she’s in substantial danger if she says no,” Hicks wrote, though he ultimately concluded that he still liked the song as a “very sexy” domination-submission fantasy. 
The “Baby, It’s Cold Outside” controversy really took off in 2007, thanks to the emergence of social media sites like Facebook, Twitter and Tumblr, which revolutionized content distribution on a mass scale. In December of that year, the popular humor website Funny or Die released a parody video that went viral for it’s “dark reimagining” of the song’s lyrics, including a scene where the creepy dude drags his terrified-looking date back to his bedroom. 
The popularity of the video led to more serious analysis of the song’s lyrical content by feminist writers. Most of these earnest parsings concluded that the song was basically a celebration of boundary-crossing sexual coercion, but there was the occasional unexpected counterpoint. In a Persephone Magazine article from 2010, blogger Slay Belle argues that the song is actually about “the desires even good girls have” and the Mouse’s internal struggle over whether she should “push the bounds of acceptability” and stay the night. 
“Her beau in his repeated refrain … is offering her the excuses she needs to stay without guilt,” Slay Belle writes.
One frequently quoted article, written in 2016 by a former teacher and jazz enthusiast, parsed “Baby, It’s Cold Outside” in the context of the time it was written. While the line “What’s in this drink?” was interpreted by some as the Wolf plying the Mouse with alcohol in order to take advantage of her, the blogger wrote that it “was a stock joke at the time” and “the punchline was invariably that there’s actually pretty much nothing in the drink, not even a significant amount of alcohol.”
These few original perspectives have advanced the debate over the rapiness of “Baby, It’s Cold Outside,” but they are just a tiny fraction of the articles that appear every year. In more recent years, the controversy has expanded well beyond the blogosphere and gone mainstream, with traditional news outlets like the Wall Street Journal weighing in as if this is a brand new controversy to emerge out of the post-Trump era. Clearly, they are wrong — but 14 years later, it stands to wonder if this controversy is as persistent as its male paramour, and never ever going to give up.
 

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Big Daddy’s has been serving Long Islanders the food of New Orleans and the American South since 1993, and it’s a bona fide local favorite. Every Sunday during brunch, they feature live jazz and blues music in a fun and casual setting. The menu has plenty of Cajun, Creole, and barbecue delights — dishes such as blackened gator with pineapple habanero sauce, Crab Cake Benedict, and meaty, satisfying gumbo that’s packed with tasso ham, andouille sausage, and smoked turkey. The best part is that all entrees come with a complimentary cocktail, so you can get your Mimosa or Bloody Mary fix at no extra charge.
Jerry’s Bar
Philadelphia, Pennsylvania
Jerry’s Bar/Facebook
Jerry’s Bar is the kind of place you wish was your neighborhood spot. With the combination of laid-back vibes, great cocktails, a solid beer selection, and really tasty food, it’s no wonder that this Northern Liberties restaurant is so popular. Make sure to snag a reservation for their Sunday jazz brunch so you don’t have to wait long for a table. Inside you’ll find small plates like a Pecan Sticky Bun and Smoked Salmon Flatbread with dill cream cheese. There are plenty of classic egg dishes and sandwiches like a taylor ham sandwich (or pork roll, depending on where you’re from), the Brunch Burger topped with aged cheddar, bacon, and egg, and their take on the Impossible Burger, which is served with caramelized onions, Jersey tomato, and avocado.
The Lambs Club
New York City, New York
The Lambs Club/Facebook
This glamorous NYC classic is tucked inside The Chatwal Hotel, which is an elegant respite from the hectic hustle of Midtown Manhattan. Every Saturday and Sunday, The Lambs Club hosts a festive jazz brunch that will transport you back to old New York. The menu from chefs Geoffrey Zakarian and Galen Zamarra elevates modern American cuisine with thoughtful preparations and the highest quality ingredients. Classics like Buttermilk Pancakes and Egg White Frittata with Avocado, Leeks, and Ricotta Salata will please traditional cravings, while those who want to sample The Lambs Club’s more unique offerings will love the House Cured Smoked Arctic Char or Eggs en Cocotte with San Marzano Tomato, Spanish Capers, Pecorino, and Fennel. Splurge on the Lobster Fra Diavolo Bloody Mary to make it a morning to remember.
Geraldine’s
Austin, Texas
Geraldines/Facebook
Perched on the fourth floor of the Kimpton Hotel Van Zandt, Geraldine’s is an elegant and lively place to grab your favorite weekend meal. You can choose between two live music brunches — Super Soul on Saturday and jazz on Sunday. Contemporary Austin fare makes up the menu, so expect dishes like a Masa Pancake, Short Rib Quesadilla, and a Texas Farm Omelet stuffed with ham, onion, and burrata. Cocktails from Caitlyn Jackson aren’t to be missed. You could opt for a lighter brunch libation from Geraldine’s spritz menu, or go for a signature like the Brewed Looks Like a Latte, made with whiskey, macadamia nut liqueur, creme de menthe, cold brew, bitters, and orange zest.
Jaya at The Setai
Miami, Florida

Set in one of the most beautiful rooms in Miami, Jaya at The Setai is a fabulous place to dine when visiting South Beach. Their modern pan-Asian menu, helmed by executive chef Vijayudu Veena, is rich and flavorful with dishes from Thailand, Vietnam, India, China, and Japan. Their jazz brunch buffet is an extravagant culinary experience that pairs live music with a sumptuous spread fit for a sultan. The buffet includes a raw bar, Pad Thai, fried rice, curries, a carving station, butter chicken, salads, dim sum, and a grand dessert spread. Wash it all down with bottomless Louis Roederer Champagne and Bloody Marys.
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Tom Oren, 24, of Tel Aviv. With his finish at the Thelonious Monk Institute of Jazz’s gala, he will receive a $25,000 prize and a recording contract with the Concord Music Group.Steve Mundinger/Thelonious Monk Institute of Jazz
Jazz’s most influential showcase of rising talent, the Thelonious Monk International Jazz Competition, returned on Monday from a hiatus, crowning the 24-year-old Israeli pianist Tom Oren as this year’s winner.
Mr. Oren’s first-place finish — part of the Thelonious Monk Institute of Jazz’s gala at the Kennedy Center in Washington — includes a $25,000 prize and a recording contract with the Concord Music Group.
He bested two other finalists, Isaiah Thompson of West Orange, N.J., who took second place, and Maxime Sanchez of Toulouse, France. They had been selected from a field of 13 semifinalists during a qualifying round on Sunday.
This week’s contest represented its 29th and final edition using Thelonious Monk’s name. Starting next year, the organization will become the Herbie Hancock Institute; the competition, which it runs, will take Mr. Hancock’s name as well. (He is the institute’s chairman.)
“The Monk family requested that they would like to use the name in other directions, and we decided that we would abide by their wishes,” Thomas R. Carter, the institute’s president, said in an interview. “All the programs that are currently in place will continue.”
The drummer T.S. Monk, the son of the institute’s famed namesake, did not respond to an email requesting comment. He has been a ubiquitous presence at Monk competitions, but did not attend this year’s event.
The Monk institute started the competition in 1987, and for its first three years it focused on rising pianists. Starting in 1990, it began to highlight a different instrument each year; it has since helped to catapult the careers of prominent young vocalists, saxophonists, trumpeters, drummers and more.
The institute had not held a gala since 2015. Mr. Carter attributed this to the institute’s recent focus on International Jazz Day, an initiative it began in 2011, and the difficulty of arts fund-raising at a time when natural disasters have put an added burden on humanitarian philanthropy.
Mr. Oren, a native of Tel Aviv, is very much a product of jazz’s educational establishment. He attended the Thelma Yellin High School of the Arts in Givatayim, Israel, and the Israel Conservatory of Music in Tel Aviv, as well as the Rimon School of Jazz and Contemporary Music in Ramat HaSharon and the Arison Campus of the Arts in Tel Aviv. He came to the United States in 2012 to attend Berklee College of Music in Boston on a four-year scholarship.
On Monday, joined by the competition’s house combo of Rodney Whitaker on bass and Carl Allen on drums, he performed renditions of “Just One of Those Things,” a Cole Porter standard, and “Just as Though You Were Here,” a less-cited entry in the jazz songbook.
In addition to the competition’s final round, the gala on Monday included performances from a variety of jazz stars, as well as a tribute to Aretha Franklin, a longtime supporter of the institute, who died in August.
The vocalist Dee Dee Bridgewater, a member of the advisory board, received the institute’s Maria Fisher Founder’s Award.
 

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https://variety.com/2018/tv/news/jazz-musician-actor-psychologist-roger-v-burton-dead-death-dies-1203080352/

Jazz Musician and Actor Roger V. Burton Dies at 90

By MARGEAUX SIPPELL

Jazz musician, television actor and developmental research psychologist Roger V. Burton died Nov. 30 at his home in Santa Monica. He was 90 years old.
Burton began as a professional jazz trombonist at the age of 11, playing in big bands and on studio film soundtracks. Earning himself the nickname “Schoolboy” for doing homework between set breaks, he started college at University of Southern California at the age of 16 and graduated with a BA and BM in music, as well as an MA in Sciences.
His musical history includes playing with Nat King Cole, Peggy Lee, Andre Previn, Johnny Ray, Frankie Laine, the Lennie Niehaus Octet, The Ink Spots, the Chuck Cabot Band, and the Dick Pierce Band. He was a regular on Ernst Gold studio recordings for films as well as The Hoagy Carmichael Show on NBC.
After taking lessons from friend and jazz legend Charles Mingus, Burton switched to the bass and began playing in smaller combos. However, this would not be Burton’s last career change, as he went on to study psychology at Harvard University after writing a response to a study that claimed musicians were irresponsible. In 1967 he worked with Swiss child developmental psychologist Jean Piaget, and later with John Whiting.
 
For the last few decades of his life, Burton changed careers yet again to become a television actor. He played Philips on Fox’s “The Cool Kids,” Zach Galifianakis’ father-in-law on “Baskets” and had roles on “Shameless,” “The Clapper,” “My Name is Earl,” “Fargo,” “Super Clyde,” “American Body Shop,” “Monk,” “House,” “The George Lopez Show,” and “Up All Night,” and appeared on “America Idol,” “Good Morning America,” and “The Tonight Show.” He also starred in upcoming short film “Old Guy” alongside Peri Gilpin (“Frasier”), produced by his daughters’ film company Five Sisters Productions.
Ten years ago, he and his late wife, novelist Gabrielle Burton, climbed to the base camp of Mt. Kilimanjaro at 80 years old.
Burton is survived by his daughters, Maria, Jennifer, Ursula, Gabrielle, and Charity, his sons-in-law, David Mathieson, Aniruddh Patel, Graeme Boone, Darin Henry, Steve Duron, his sister JoDe Kielhofer, nieces, nephews, and his eight grandchildren.
 
 
 

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