Specializing in Media Campaigns for the Music Community, Artists, Labels, Venues and Events

slide

EDDY DAVIS 1940-2020

EDDY DAVIS 1940-2020


jazzLogo.jpg

April 8, 2020

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Banjo Virtuoso
EDDY DAVIS
1940-2020

Eddy Davis at ScienSonic Laboratories

shem.gif
Eddy Davis 
I’ve just lost one of the dearest friends I’ve ever had in music. Eddy Davis was a highly significant and influential presence in my life. He was a fiercely individualistic performer… a veteran of the old Chicago days when music was hot, joyful, exuberant and unselfconscious. A character and a curmudgeon, who could hold court for hours after the gig. And a loving mentor who helped younger musicians like myself learn and grow in this music.

I had only played with Eddy a handful of times when he called me in late 1998 to say that he was forming a new band to fill a weekly Wednesday spot at the Cajun on 8thAvenue. He wanted me to play lead on C melody saxophone, in a little group with two reeds, and no drums. This by itself gives a clue to what an original thinker he was.

I already knew that Eddy was a proficient and highly individualistic stylist on the banjo, who sounded like no one else. What I didn’t know, but soon found out, was that this man was also a walking repository of many hundreds if not thousands of tunes of every description, ranging far beyond the standard repertoire… with a fascinating background story at the ready for nearly every one. I quickly learned that he was also a prolific and idiosyncratic composer himself, with a wonderfully philosophical work ethic: write original music every day, keep what works, and throw the rest away without a backward glance. 

Eddy was also what used to be called a “character”: affable, opinionated, hilarious, and irascible all in one, and above all highly passionate about music. What I learned over the ensuing 7 ½ years in Eddy’s little band, I cannot begin to describe. I came to refer to those regular Wed. sessions as my “doctor’s appointment” — for they fixed whatever ailed me, and provided the perfect antidote to the ills of the world, and of the music scene. Over the years we were graced with the presence of some very distinguished musicians who came by and sat in with us, including Harry Allen, Joe Muranyi, Bob Barnard, Howard Johnson, and Barry Harris.

Eddy was generous with his strong opinions, with his knowledge and experience, and with his encouragement. But he was a generous soul in other ways as well. When he heard that I was building a studio (my “Laboratory”), he had me come by the apartment and started giving me things out of his closets. A Roland 24-track recorder… three vintage microphones… instruments… things that I treasure, and use every single day of my life. When my father turned 75, Eddy came out to New Jersey and played for him, and wouldn’t take a dime for it.

When I got the call today that Eddy had passed — another victim of this horrible virus that is ruining so many lives, and our musical life as well — I hung up the phone and just cried. Later I went out to my Laboratory, and kissed every single thing there that he had given to me. How cruel to lose such an irreplaceable person… killed by an enemy, as my brother commented, that is neither visible nor sentient.

One night at the Cajun stands out in my memory, and seems particularly relevant today. It was the night after the last disaster that changed New York forever: the World Trade Center attack. There was a pall over the city, the air was full of dust, and there was a frightful, lingering smell. “What am I doing here?” I thought. “This is crazy.” But somehow we all made our way to the nearly empty club. We were in a state of shock; nobody knew what to say. I wondered if we would even be able to play. We took the stage, looked at each other, and counted off a tune. The instant the first note sounded, I was overcome with emotion and my face was full of tears. Suddenly I understood exactly why we were there, why it was so important that we play this music. We played our hearts out that night — for ourselves, for our city, and for a single table of bewildered tourists, stranded in town by these incomprehensible events. They were so grateful for the music, so comforted by it. 

The simple comfort of live music has been taken from us now. We must bear this loss, and those that will surely follow, alone… shut away in our homes. I know that when the awful burden of this terrible time has finally been lifted, when we can share music, life, and love again, it will feel like that night at the Cajun. My eyes will fill, my heart will sing, and the joy that Eddy Davis gave me will be with me every time I lift the horn to my face, for as long as I live.
Scott Robinson

This E Mail is being sent by:
 
Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail:
 jim@jazzpromoservices.com
 Web Site: www.jazzpromoservices.com/
 
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
 
CHECK OUT OUR NEW YOUTUBE VIDEO
HERE

 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

FOR YOUR VIEWING PLEASURE: Mambo Italiano – Renato Carosone – YouTube

FOR YOUR VIEWING PLEASURE: Mambo Italiano – Renato Carosone – YouTube


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.youtube.com/watch?v=y1FS4CMhrr0

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Judge Dismisses Case Against Universal Music Over Losses in 2008 Fire – The New York Times

Judge Dismisses Case Against Universal Music Over Losses in 2008 Fire – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/04/06/arts/music/universal-music-fire-lawsuit.html?mc_cid=503072a1fe
 

Judge Dismisses Case Against Universal Music Over Losses in 2008 Fire

A group of high-profile musicians and estates had sued the Universal Music Group over a fire that destroyed thousands of archived recordings.

By Ben Sisario

April 6, 2020

 

Smoke rose from the backlot of Universal Studios on June 1, 2008, in Universal City, Calif. Smoke rose from the backlot of Universal Studios on June 1, 2008, in Universal City, Calif.Gabriel Bouys/Agence France-Presse — Getty Images

A federal judge in Los Angeles has dismissed a lawsuit brought by several musicians and estates last year, following a New York Times Magazine articleabout a fire that destroyed huge numbers of original recordings.

The Times Magazine reported that the fire, on a Hollywood backlot in 2008, destroyed over 100,000 audio recordings containing as many as 500,000 songs controlled by the Universal Music Group, the world’s biggest recorded music company.

Among the artists that had lost “single and album masters” in the fire, according to the article, were Tom Petty, Tupac Shakur and Steve Earle, as well as the bands Soundgarden and Hole. Representatives of those artists or their estates sued Universal in June, arguing that the company had been negligent in protecting their tapes and that the company had a duty to share with artists any income it received from an insurance settlement over the fire.

Since the case was filed, all plaintiffs had dropped out except Jane Petty, a former wife of Mr. Petty, who said she had an interest in his recordings through a divorce agreement. On Monday, Judge John A. Kronstadt of the United States District Court in Los Angeles dismissed Ms. Petty’s claims.

The dismissal was made “without prejudice,” giving Ms. Petty the ability to refile her case. But Judge Kronstadt’s 28-page ruling found her claims legally deficient, and in one crucial passage said that MCA — Mr. Petty’s former record label, which is now part of Universal — owned the rights to his original recordings, known as masters. Since Mr. Petty did not own them, the judge ruled, Ms. Petty could not sue under a claim for “bailment,” or safekeeping.

A lawyer for Ms. Petty did not immediately respond to emails seeking comment on Monday.

Universal has long maintained that the Times Magazine article, by Jody Rosen, exaggerated the extent of the damage in the fire, and in a statement on Monday called the original piece and a follow-up article “stunning in their overstatement and inaccuracy.”

In a statement, Jake Silverstein, the editor of the Times Magazine, said: “We stand by Jody Rosen’s reporting. This ruling does not refute or question the veracity of what we reported: that, contrary to UMG’s continued effort to downplay the event, thousands of recordings were lost in the 2008 fire.”

Ben Sisario covers the music industry for The New York Times. @sisario

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

The Staying Inside Guide: Jazz Performances That Stand the Test of Time By Will Friedwald  – WSJ

The Staying Inside Guide: Jazz Performances That Stand the Test of Time By Will Friedwald  – WSJ


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.wsj.com/articles/the-staying-inside-guide-jazz-performances-that-stand-the-test-of-time-11586290752
 

The Staying Inside Guide: Jazz Performances That Stand the Test of Time

From the 1940s, ’50s and ’60s, they capture not only the sounds and sights of jazz, but—more important—its feeling and deep inner essence.

By 

Will Friedwald 

April 7, 2020 4:19 pm ET

Miles Davis in a publicity shot for ‘The Sound of Miles Davis’

Photo: Everett Collection / Everett Collection

To fully enjoy both the spontaneity and the intimacy of jazz, you have to be—as the musical “Hamilton” would say—in the room where it happens. Obviously, that’s a challenge these days, when neither musicians nor listeners get around much anymore. So it’s reassuring to remember that over nearly all of jazz’s century-plus history, film and video have played a vital role in both documenting and disseminating the music. Here is a short list of classic videos, all readily available on YouTube and other platforms, that brilliantly and excitingly capture not only the sound of jazz and the sight of it, but—more important—its feeling and deep inner essence.

“Jammin’ the Blues”(1944)

If you can watch only one jazz film ever, let this be it. In August 1944, the budding jazz impresario Norman Granz (who had just produced the first Jazz at the Philharmonic concert) assembled an outstanding band that was built around the tenor saxophone colossus Lester Young and also included trumpeter Harry “Sweets” Edison and saxophonist Illinois Jacquet, instructing them to play two blues (one slow and one fast) and a standard (“On the Sunny Side of the Street”). The results were remarkable, not only for the amazing playing of Young, but for the artful way in which they were captured by director and veteran Life magazine photographer Gjon Mili—from the opening visual, a seemingly abstract image of concentric circles that turn out to be the top of Young’s signature porkpie hat, to the way he transmutes a repeated phrase of the blues played by Edison into multiple images of the trumpeter. It’s hard to think of any musical film that’s as much of a treat for the eyes as this one.

Count Basie and Pee Wee Russell in ‘The Sound of Jazz’ 

Photo: Courtesy Everett Collection

“The Sound of Jazz”(1957)

Jazz’s finest hour on television. Robert Herridge produced this exuberant live show for the CBS series “The Seven Lively Arts,” and hired Nat Hentoff and Whitney Balliett as consultants to pick the talent and the tunes. To give a vivid picture of both the diversity and the overall continuity of the music, they focused on the blues, the traditional and the modern, the up- and the down-tempo, the sung and the swung, played by a wide variety of the best musicians then active. The emphasis was on Count Basie, with many storied veterans of his band as well as sympathetic modernists like Thelonious Monk, Gerry Mulligan and Jimmy Giuffre. Young’s unexpected and exquisite improvisation on his longtime partner Billie Holiday’s epic nine-minute reading of “Fine and Mellow” is one that music students have been memorizing ever since. Herridge and director Jack Smight achieve the stated objective better than anyone has before or since, to capture the energy and the feeling of live jazz and improvisation with the television camera. Through masterful staging and rhythmic editing, soloists like Coleman Hawkins, Ben Webster and Roy Eldridge are endowed with a commanding visual presence that’s equal parts Shakespearean orator and heavyweight prizefighter. 

“The Sound of Miles Davis”(1959) 

While Miles Davis was in the middle of recording “Kind of Blue,” the most celebrated jazz album of all time, the already iconic trumpeter and trendsetter took time off to perform some music from it on CBS TV. The first part features Davis’s legendary 1959 sextet, co-starring saxophonists John Coltrane and Cannonball Adderley; the second spotlights the collaboration of Davis and arranger-composer-conductor Gil Evans in three big-band numbers from the 1957 “Miles Ahead” album. Kudos to producer and host Herridge, who obviously was well aware of how important this music would be to history. This is the only time Davis’s legendary sextet and his collaboration with Evans were ever filmed, and we’re doubly lucky that the staging and photography of Herridge and his crew are at the same consistently high level as the music.

Frank Sinatra and Ella Fitzgerald in ‘Frank Sinatra: A Man and His Music + Ella + Jobim’ 

Photo: Everett Collection

“Frank Sinatra: A Man and His Music + Ella + Jobim”(1967)

This third of five annual Sinatra specials found the greatest of American male singers sharing the stage with two giants of music who inspired him to reach a pinnacle beyond even his usual Olympian heights. The three numbers with Brazilian maestro Antônio Carlos Jobim were an amazing change of pace for the Chairman and representative of a classic album, while the extended duet section with Ella Fitzgerald, which climaxes in “The Lady is a Tramp,” is a tantalizing promise of the greatest album Sinatra was never able to make—his long-desired collaboration project with the First Lady of Song.

—Mr. Friedwald writes about music and popular culture for the Journal.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Celebrated Singer-Songwriter John Prine Has Died at 73 – The New York Times

Celebrated Singer-Songwriter John Prine Has Died at 73 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/aponline/2020/04/07/us/ap-us-obit-john-prine.html
 

Celebrated Singer-Songwriter John Prine Has Died at 73

By The Associated Press

April 7, 2020

 

John Prine, the ingenious singer-songwriter who explored the heartbreaks, indignities and absurdities of everyday life in “Angel from Montgomery,” “Sam Stone,” “Hello in There” and scores of other indelible tunes, died Tuesday at the age of 73. 

His family announced his death from complications from the coronavirus; he died at Vanderbilt University Medical Center in Nashville, Tennessee.

His wife Fiona said last month that she had tested positive for COVID-19 and she has since recovered, but her husband was hospitalized on March 26 with coronavirus symptoms. He was put on a ventilator and remained in the intensive care unit for several days.

Winner of a lifetime achievement Grammy earlier this year, Prine was a virtuoso of the soul, if not the body. He sang his conversational lyrics in a voice roughened by a hard-luck life, particularly after throat cancer left him with a disfigured jaw. 

He joked that he fumbled so often on the guitar, taught to him as a teenager by his older brother, that people thought he was inventing a new style. But his open-heartedness, eye for detail and sharp and surreal humor brought him the highest admiration from critics, from such peers as Bob Dylan and Kris Kristofferson, and from such younger stars as Jason Isbell and Kacey Musgraves, who even named a song after him.

In 2017, Rolling Stone proclaimed him “The Mark Twain of American songwriting.”

Prine began playing as a young Army veteran who invented songs to fight boredom while delivering the U.S. mail in Maywood, Illinois. He and his friend, folk singer Steve Goodman, were still polishing their skills at the Old Town School of Folk Music when Kristofferson, a rising star at the time, heard them sing one night in Chicago, and invited them to share his stage in New York City. The late film critic Roger Ebert, then with the Chicago Sun-Times, also saw one of his shows and declared him an “extraordinary new composer.”

Suddenly noticed by America’s most popular folk, rock and country singers, Prine signed with Atlantic Records and released his first album in 1971. 

“I was really into writing about characters, givin’ ‘em names,” Prine said, reminiscing about his long career in a January 2016 public television interview that was posted on his website. 

“You just sit and look around you. You don’t have to make up stuff. If you just try to take down the bare description of what’s going on, and not try to over-describe something, then it leaves space for the reader or the listener to fill in their experience with it, and they become part of it.”

He was among the many promoted as a “New Dylan” and among the few to survive it and find his own way. Few songwriters could equal his wordplay, his empathy or his imagination.

“I try to look through someone else’s eyes,” he told Ebert in 1970. His characters were common people and confirmed eccentrics, facing the frustrations and pleasures anyone could relate to. “Sam Stone” traces the decline of a drug-addicted Vietnam veteran through the eyes of his little girl. “Donald and Lydia” tells of a tryst between a shy Army private and small-town girl, both vainly searching for “love hidden deep in your heart:” 

They made love in the mountains, they made love in the streams

they made love in the valleys, they made love in their dreams.

But when they were finished, there was nothing to say,

‘cause mostly they made love from ten miles away.

“He writes beautiful songs,” Dylan once told MTV producer Bill Flanagan. “I remember when Kris Kristofferson first brought him on the scene. All that stuff about Sam Stone the soldier-junkie-daddy, and Donald and Lydia, where people make love from ten miles away — nobody but Prine could write like that.”

Prine’s mischief shined in songs like “Illegal Smile,” which he swore wasn’t about marijuana; “Spanish Pipedream,” about a topless waitress with “something up her sleeve;” and “Dear Abby,” in which Prine imagines the advice columnist getting fed up with whiners and hypochondriacs. 

“You have no complaint,” his Abby writes back:

You are what you are and you ain’t what you ain’t

so listen up Buster, and listen up good

stop wishin’ for bad luck and knocking on wood!”

Prine was never a major commercial success, but performed for more than four decades, often selling his records at club appearances where he mentored rising country and bluegrass musicians. 

“I felt like I was going door to door meeting the people and cleaning their carpets and selling them a record,” he joked in a 1995 Associated Press interview.

Many others adopted his songs. Bonnie Raitt made a signature tune out of “Angel from Montgomery,” about the stifled dreams of a lonely housewife, and performed it at the 2020 Grammys ceremony. Bette Midler recorded “Hello in There,” Prine’s poignant take on old age. Prine wrote “Unwed Fathers” for Tammy Wynette, and “Love Is on a Roll” for Don Williams. 

Others who covered Prine’s music included Joan Baez, Johnny Cash, John Denver, the Everly Brothers, Carly Simon, George Strait, Miranda Lambert, Norah Jones and Old Crow Medicine Show. 

Prine himself regarded Dylan and Cash as key influences, bridges between folk and country whose duet on Dylan’s country rock album “Nashville Skyline” made Prine feel there was a place for him in contemporary music. Though mostly raised in Maywood, he spent summers in Paradise, Kentucky, and felt so great an affinity to his family’s roots there he would call himself “pure Kentuckian.”

Prine was married three times, and appreciated a relationship that lasted. In 1999, he and Iris DeMent shared vocals on the classic title track of his album “In Spite of Ourselves,” a ribald tribute to an old married couple.

In spite of ourselves we’ll end up a-sittin’ on a rainbow

Against all odds, honey we’re the big door-prize

We’re gonna spite our noses right off of our faces

There won’t be nothin’ but big ol’ hearts dancin’ in our eyes

Prine preferred songs about feelings to topical music, but he did respond at times to the day’s headlines. Prine’s parents had moved to suburban Chicago from Paradise, a coal town ravaged by strip mining that inspired one of his most cutting protest songs, “Paradise.” It appeared on his first album, along with “Your Flag Decal Won’t Get You Into Heaven Anymore,” which criticized what he saw as false patriotism surrounding the Vietnam War. 

Many years later, as President George W. Bush sent soldiers to war, Prine had a song for that, too. In “Some Humans Ain’t Human,” he wrote: “You’re feeling your freedom, and the world’s off your back, some cowboy from Texas, starts his own war in Iraq.”

Prine’s off-hand charisma made him a natural for movies. He appeared in the John Mellencamp film “Falling From Grace,” and in Billy Bob Thornton’s “Daddy and Them.” His other Grammy Awards include Best Contemporary Folk Recording for his 1991 album “The Missing Years,” with guest vocalists including Raitt, Tom Petty, Bruce Springsteen and Phil Everly. He won Best Traditional Folk Album in 2004 for “Beautiful Dreamer.” 

Prine didn’t let illness stop him from performing or recording. In 2013, long after surviving throat cancer, he was diagnosed with an unrelated and operable form of lung cancer, but he bounced back from that, too, often sharing the stage with DeMent and other younger artists. On the playful talking blues “When I Get to Heaven,” from the 2018 album “The Tree of Forgiveness,” he vowed to have the last laugh for all eternity. 

When I get to heaven, I’m gonna shake God’s hand

Thank him for more blessings than one man can stand

Then I’m gonna get a guitar and start a rock-n-roll band

Check into a swell hotel; ain’t the afterlife grand?

His survived by his wife, Fiona, two sons Jack and Tommy, his stepson Jody and three grandchildren. 

___

AP Entertainment Writer Kristin M. Hall contributed to this report from Nashville, Tennessee.

Tune up your Times experience.

Tune up your Times experience.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

how many can you relate to

how many can you relate to


jazzLogo.jpg

shem.gif
 
shem.gif

how many can you relate to

 *   I used to spin that toilet paper like I was on Wheel of Fortune. Now I turn it like I’m cracking a safe.
 *   I need to practice social-distancing from the refrigerator.
 *   Still haven’t decided where to go for Easter —– The Living Room or The Bedroom
 *   PSA: every few days try your jeans on just to make sure they fit. Pajamas will have you believe all is well in the kingdom.
 *   I don’t think anyone expected that when we changed the clocks we’d go from Standard Time to the Twilight Zone
 *   This morning I saw a neighbor talking to her cat. It was obvious she thought her cat understood her. I came into my house, told my dog….. we laughed a lot.
 *   So, after this quarantine…..will the producers of My 600 Pound Life just find me or do I find them?
 *   Day 5 of Homeschooling: One of these little monsters called in a bomb threat.
 *   I’m so excited — it’s time to take out the garbage. What should I wear?
 *   I hope the weather is good tomorrow for my trip to Puerto Backyarda. I’m getting tired of Los Livingroom.
 *   Classified Ad: Single man with toilet paper seeks woman with hand sanitizer for good clean fun.
 *   Better 6 feet apart than 6 feet under

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Hal Willner Dead: ‘SNL’ Music Mainstay, Record Producer Had COVID-19 – Variety

Hal Willner Dead: ‘SNL’ Music Mainstay, Record Producer Had COVID-19 – Variety


jazzLogo.jpg

shem.gif
 
shem.gif

https://variety.com/2020/music/obituaries-people-news/hal-willner-dead-dies-music-producer-saturday-night-live-1234573202/?fbclid=IwAR1oCcUqCH3dZ4Jmf1RvkO7HlV-xvabCzcf3Rx0OH9ztobdvU6aqY_cLtSA
 

Hal Willner, Music Producer and ‘SNL’ Veteran, Dies of Coronavirus at 64

Chris WillmanApril 7, 2020 12:04pm PT

Hal Willner dead
Clarence Williams/Getty Images

Hal Willner, a record producer famed for his left-of-center tribute albums and concerts, and as the long-time sketch music producer for “Saturday Night Live,” has died of complications related to the coronavirus, Variety has confirmed. He was 64.

On his Twitter account, the producer had alluded to having been diagnosed in a March 28 tweet, which included a map of coronavirus outbreaks across the United States with the New York area as a red epicenter. He described himself in the tweet as “in bed on upper west side” and said, “I always wanted to have a number one, but not this.”

“Pure Arch Oboler with Serling added,” Willner additionally wrote, apparently comparing the coronavirus to something out of Oboler’s classic “Lights Out” horror radio show or Serling’s “Twilight Zone” — just the kind of references that friends would have expected from Willner, who had a century’s worth of culture, pop and otherwise, at his command.

Among the artists for whom Willner produced albums were Marianne Faithfull (recently diagnosed with her own bout of COVID-19), Laurie Anderson, Lou Reed (including his final major studio release, “Ecstasy”) and Lucinda Williams.

He had been involved with “SNL,” as the man behind the music skits, since 1980. But Saturday wasn’t the only night of the week he was associated with; Willner was the music coordinator on the Lorne Michael executive-produced “Sunday Night” (also known as “Night Music”), an eclectic weekly music series hosted by David Sanborn for two seasons in 1988-90, one of them on NBC and one in syndication.

But he remains perhaps best or most fondly remembered for the full-length salutes he helmed, like 1988’s “Stay Awake: Various Interpretations of Music from Vintage Disney Films,” which had artists as disparate as Ringo Starr, Michael Stipe, Bonnie Raitt, the Replacements, Yma Sumac, Ken Nordine, Harry Nilsson, Tom Waits and his beloved Sun Ra covering classic songs from Disney’s golden age in either faithful or deeply eccentric renditions.

Prior to the Disney collection, he produced “Amarcord Nino Rota” in 1981, “That’s The Way I Feel Now: A Tribute to Thelonious Monk” in 1984 and “Lost in the Stars: The Music of Kurt Weill” a year later, employing guests ranging from Deborah Harry to Wynton and Bradford Marsalis and John Zorn. In 1992, he followed these sets with “Weird Nightmare: Meditations on Mingus,” a mostly instrumental salute to the jazz legend that also included vocal interpretations of his work from Elvis Costello, Henry Rollins, Dr. John, Leonard Cohen and Chuck D.

“He gets musicians together who wouldn’t get together,” NRBQ’s Terry Adams told the New York Times in a profile of Willner. “And it always works.”

“It’s not any kind of radical thinking,” Willner said in that same story. “That’s what we had growing up. Bill Graham would have Led Zeppelin preceded by the Bonzo Dog Band and Rahsaan Roland Kirk on the same show. How many people saw Patti LaBelle opening for Richard Pryor? So it’s just continuing a philosophy from that point of view. But people don’t do that anymore.”

His last major compilations came in 2006 and again in 2013 in the form of pirate-themed “Rogues Gallery” albums, which featured Bono, Nick Cave, Richard Thompson, Sting, Bryan Ferry, John C. Reilly, and the pairings of Michael Stipe with Courtney Love and Patti Smith with Johnny Depp.

Willner had been at work for years on a T. Rex tribute album, with tracks already in the can by U2 and others, that is yet to be released.

In later years, as major-label support for such unusual projects waned, most of his tributes took the form of concerts, including all-star salutes to Leonard Cohen in Canada and a 2001 tribute to “Harry Smith’s Anthology of Folk Music” in Los Angeles.

In October 2018 Willner was the subject of his own tribute show, which took place at a small venue in Brooklyn. The concert, covered by Variety, featured guests including Laurie Anderson and David Johansen, with taped salutes from Cave, guitarist Bill Frisell and singer Diamanda Galas.

Making self-effacing reference to how commercially questionable some of his passionate pursuits had been, Willner joked to the crowd saluting him that “I’ve spent the last 40 years as a producer creating things that would make sure this didn’t happen.”

In the Times’ 2017 profile, Willner lamented changes he saw in the passionate connections people felt with the strange and wonderful fringes of culture.

“Weird isn’t in right now,” he said. ““I don’t know what inspires people now,” he said. “Maybe they don’t need to be inspired in that way. Do these last two generations have heroes? I’m not sure they do. I go to Avenue A now and listen to what people are talking about, and it isn’t culture. When John Lennon died I couldn’t go to work for two days. I wonder if they have someone that they look at like that — an author, a poet, whatever. Those are people who made us what we are. … But then again, were we right?”

The final tweet on Willner’s account was in support of another coronavirus sufferer, John Prine. “Sending love to John Prine who is in critical condition with COVID-19,” he wrote. “John is a music giant. His songs are as good as it gets and he’s a spellbinding performer. Send good thoughts his way. ‘I sound like that old guy down the street that doesn’t chase you out of his apple tree.’”

 

Want to read more articles like this one?

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Mingus Fingers

Mingus Fingers


jazzLogo.jpg

shem.gif
 
shem.gif

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

R.I.P. Onaje Allan Gumbs

R.I.P. Onaje Allan Gumbs


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.facebook.com/onajeallangumbs

Will Post Obit When It’s Published

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

‘NYC’s Tin Pan Alley: The Birthplace of America’s Music Industry’ Webinar

‘NYC’s Tin Pan Alley: The Birthplace of America’s Music Industry’ Webinar


jazzLogo.jpg

April 6, 2020

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Tuesday April 7, 6:00PM-7:30PM

for more information (and to access) click here:

shem.gif

If you walked over right now to the Manhattan intersection of West 28th Street and Broadway, what would you hear? Unfortunately, like too many streets in NYC these days, probably only construction and car horns. But over 100 years ago, you would have been greeted with something else entirely: a cacophony of sounds from aspiring composers, singing and banging away on the piano, from the sidewalk to walk-up music studios. This is the story of one neighborhood in New York that transformed the city into the songwriting and music publishing capital of the world — a role it still maintains over a century later.
 

Join New York Adventure Club as we shine a spotlight on the former New York City neighborhood of Tin Pan Alley, the birthplace of the American music industry, which produced some of the most prolific songwriters of the early 20th century.
 

Led by award-winning author Will Friedwald, who is widely considered one of the nation’s most prolific music writers, our virtual journey down Tin Pan Alley will include:

 

The origin story of Tin Pan Alley, and how a stretch of West 28th Street in Manhattan became the home for independent music publishers and songwriters from around the world.
 

The evolution of the American music business, from the early days where songwriters were largely anonymous, to the mid-1960s when The Beatles and Bob Dylan changed the fundamental business model, to today’s ‘360’ management deals.
 

The music styles that converged in the former neighborhood, including jazz & blues from New Orleans, cowboy songs from the American West, and theatrical scores from the theatres in Europe.

Stories about the early music legends, such as Irving Berlin, Richard Rodgers, and Cole Porter.

Rare and vintage audio & video clips of the legendary Tin Pan Alley songwriters in action, such as Johnny Green playing “Body and Soul and Harold Arlen singing “Stormy Weather — none of which can be found online.

Afterward, we’ll have a Q&A with Will — any and all questions about Tin Pan Alley are welcomed and encouraged!

 

See you there!

 

*Once registered, you will receive a separate, automated email containing the link to join this webinar*

**For the best possible viewing experience, please ensure you’re using the latest version of your internet browser — Chrome and Firefox are the most compatible. Exact technical requirements and a webinar user guide will be shared in the automated confirmation email upon registration.
 

***A full replay will be available after the experience for all registered guests

This E Mail is being sent by:
 
Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677
E-Mail:
 jim@jazzpromoservices.com
 Web Site: www.jazzpromoservices.com/
 
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
 
CHECK OUT OUR NEW YOUTUBE VIDEO
HERE

 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Bill Withers, Ellis Marsalis and other music legends embody so much that we’ve lost (opinion) – CNN

Bill Withers, Ellis Marsalis and other music legends embody so much that we’ve lost (opinion) – CNN


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.cnn.com/2020/04/03/opinions/bill-withers-ellis-marsalis-music-world-covid-19-losses-seymour/index.html
 

Covid-19 is ravaging the music world

Gene Seymour is a film critic who has written about music, movies and culture for The New York Times, Newsday, Entertainment Weekly and The Washington Post. Follow him on Twitter @GeneSeymour. The opinions expressed in this commentary are solely those of the author. View more opinion at CNN.

(CNN) — A dispiriting couple of weeks in the lives of music fans have now climaxed with the death of Bill Withers, whose lean, leathery-tough vocals on such pop classics as “Ain’t No Sunshine,” “Use Me,” “Just the Two of Us” and “Lean on Me” were deeply woven into the soundtracks of several generations’ lives. 

Gene Seymour
Withers died Monday at 81 of what his family has described as “heart complications.” His death has not been linked to the Covid-19 virus. But his loss, coming at about the same time that “Lean on Me” has resurfaced as a global anthem of collective will during the coronavirus pandemic, nonetheless feels like another in an already seemingly relentless series of recent body blows to the music world. 
Among the casualties: Adam Schlesinger, Fountains of Wayne founding member, lead vocalist and songwriter; Joe Diffie, Grammy-winning country-music singer; Alan Merrill, best known for writing Joan Jett’s 1980s anthem, “I Love Rock and Roll;” Manu Dibango, a Cameroon saxophonist whose riffs on the hit 1972 dance tune, “Soul Makossa,” helped spearhead worldwide interest in African pop; and Aurlus Mabelle, the Congolese song-and-dance man dubbed king of the eclectic blend of black pop genres known as “soukous.” 
Joe Diffie is gone, but Billy Bob will always love Charlene
Of all music genres, however, it is jazz that’s been struck especially hard and deep by Covid-19. Four musicians of varied ages have died in the last few weeks from the disease, the most recent of which are Ellis Marsalis and Bucky Pizzarelli, two master instrumentalists who found widespread fame relatively late in their storied careers and also passed their legacies on to their children. 
Marsalis, who was 85, was a fixture in his native New Orleans as a pianist doggedly advancing the cause of bop and other post-1940s jazz music in a city more inclined to embrace the pre-swing era of the 1920s. Over time, Marsalis’ commitment, chops and reputation as a music educator won him respect and affection from the musical cognoscenti of his hometown. 
Of Marsalis’ many prominent students, including Terrence Blanchard and Harry Connick Jr., the most celebrated were four of his six sons. The achievements of Branford, Wynton, Delfeayo and Jason Marsalis were considerable enough to transform the Marsalises into the unofficial royal family of jazz. Along with their dad, they also were staunch and at times acerbic defenders of jazz tradition which by the time Branford and Wynton became breakout stars in the early 1980s, also encompassed the kind of hard bop music their father continued to play into his 70s and 80s. 
Ellis Marsalis is joined by two of his sons, Branford (left) and Wynton.

Ellis Marsalis is joined by two of his sons, Branford (left) and Wynton.

Bucky Pizzarelli, who died at 94, was a buoyantly lyrical guitarist who spent most of his early career as a session musician working in recording studios and with such bands as Benny Goodman’s and the Tonight Show’s NBC Orchestra. He became a fixture in New York nightclubs, playing in several small ensembles with such musicians as saxophonists Zoot Sims and Bud Freeman and violinists Joe Venuti and Stephane Grappelli. 
Most noteworthy of these professional affiliations was the one he shared with his son John, whose performances with his father, beginning in 1980 when John was 20, were also a kind of apprenticeship, enabling eventual renown in his own right as a guitarist and singer. Indeed, John Pizzarelli’s fame reached the point that his dad proudly and happily played a supporting role in his son’s own high-profile gigs. 
What made the deaths of these two father figures in jazz especially poignant was that they continued to play, teach and inspire deep into their senior years with the possibility of having even more to contribute to the music through the growth of their students.
Pianist Mike Longo, whose coronavirus-related death at 83 came March 22, was, along with Marsalis, a pianist and educator of comparable gifts and influence. His glittering resumé, including providing backup to saxophonist Coleman Hawkins and singer Nancy Wilson (among others), is dominated by his longtime association with trumpet great Dizzy Gillespie, who tapped him to be his musical director and arranger in 1966 and continued to work with him, formally and informally, until Gillespie’s death in 1992. 
Legendary jazz trumpeter Wallace Roney dies of complications from coronavirus
Besides his work as a writer, arranger and teacher, Longo directed the New York State of the Art Jazz Ensemble, which he founded in 1998. He continued to perform music until almost the end of his life. 
Wallace Roney’s death this past week at 59, hit the global jazz family especially hard because it came as he was building upon an already formidable reputation as a trumpeter, bandleader and composer. Along with Marsalis’ two elder sons, Branford and Wynton, Roney was considered a prominent member of the so-called “young lions” at or near their 20s in the 1980s who were out to retrieve acoustic jazz music’s once prominent place in the American mainstream. 
With his smoky blue tone, slippery timing and cagey dynamics, Roney was perceived at the outset as little more than a Miles Davis clone. Indeed, the usually truculent Davis enthusiastically declared Roney his protégé. Those listening closer, however, would hear other influences, from Clark Terry to Freddie Hubbard, filtering through Roney’s playing. Over decades, Roney’s voice would achieve a gritty agility and pensive romanticism that belonged to him and him alone. His intelligent and at times startling negotiations between jazz’s past and present implied a future of greater glories — now shockingly, painfully made inaccessible by pandemic. 

No one knows how long this coronavirus siege will last, or who else we may lose. But one can hope that the spaces left open by these musicians’ deaths will be occupied over time not only with fresh new voices, but with a wider, deeper appreciation of how jazz nurtures and nourishes many lives at once — maybe even your own, if you let it.

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Bill Withers ‎– Still Bill (Documentary) – YouTube

Bill Withers ‎– Still Bill (Documentary) – YouTube


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.youtube.com/watch?v=Wdizl63aols

Bill Withers was one of the singular musical artists of the 1970s; an African-American singer/songwriter, Withers embraced elements of soul and funk in some of this hits (most notably “Use Me”), but he also drew from gospel (“Lean on Me”), jazz (“Just the Two Of Us”), country (“Who Is He and What Is He to You”), and contemporary folk (“Ain’t No Sunshine” and “Grandma’s Hands”), and his music was marked by a simple but expressive emotional outlook and a warm sincerity in both his vocals and his songwriting. Withers was a major star in the 1970s, but by 1985 he’d grown tired of battling record companies for control of his music and wanted to step away from the footlights to live a quieter life with his family. Withers has rarely performed in public since, despite a continued interest in his music and the respect of his peers. Filmmakers Alex Vlack and Damani Baker are a pair of music fans who persuaded Withers to talk about his life and career on camera, and STILL BILL is a documentary that offers an intimate portrait of a reclusive artist, as well as interviews and performances from musicians who love and respect his work. STILL BILL received its world premiere at the 2009 South by Southwest Film Festival.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Soundbreaking: Stories from the Cutting Edge of Recorded Music

Soundbreaking: Stories from the Cutting Edge of Recorded Music


jazzLogo.jpg

shem.gif
 
shem.gif

The eight-part series explores the art of music recording, and offers a behind-the-scenes look at the birth of brand new sounds.
http://www.pbs.org/soundbreaking/home/?utm_source=youtube


 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Soundbreaking: Stories from the Cutting Edge of Recorded Music

Soundbreaking: Stories from the Cutting Edge of Recorded Music


jazzLogo.jpg

shem.gif
 
shem.gif

The eight-part series explores the art of music recording, and offers a behind-the-scenes look at the birth of brand new sounds.
http://www.pbs.org/soundbreaking/home/?utm_source=youtube


 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Bill Withers, Hall of Fame Soul Singer, Dead at 81 – Rolling Stone

Bill Withers, Hall of Fame Soul Singer, Dead at 81 – Rolling Stone


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.rollingstone.com/music/music-news/bill-withers-obituary-977929/
 

Bill Withers, Hall of Fame Soul Singer, Dead at 81

 

Grammy-winning mellifluous vocalist behind “Lean on Me,” “Lovely Day,” and “Ain’t No Sunshine” succumbs to heart complications

By 

Andy Greene

 

 

 

  •  
  •  
  •  
UNSPECIFIED - JANUARY 01:  Photo of Bill WITHERS; Posed portrait of Bill Withers  (Photo by Gilles Petard/Redferns)

Bill Withers, the mellifluous vocalist behind “Lean on Me,” “Lovely Day” and “Ain’t No Sunshine,” has died at age 81.

Gilles Petard/Redferns/Getty Images

Bill Withers, the soul legend who penned timeless songs like “Lean on Me,” “Lovely Day,” and “Ain’t No Sunshine,” died Monday from heart complications in Los Angeles. He was 81.

“We are devastated by the loss of our beloved, devoted husband and father,” his family said in a statement. “A solitary man with a heart driven to connect to the world at large, with his poetry and music, he spoke honestly to people and connected them to each other. As private a life as he lived close to intimate family and friends, his music forever belongs to the world. In this difficult time, we pray his music offers comfort and entertainment as fans hold tight to loved ones.”

The three-time Grammy winner released just eight albums before walking away from the spotlight in 1985, but he left an incredible mark on the music community and the world at large. Songs like “Lean On Me,” “Grandma’s Hands,” “Use Me,” “Ain’t No Sunshine,” and “Lovely Day” are embedded in the culture and have been covered countless times. While many of Withers’ biggest songs were recorded in the Seventies, they have proven to be timeless hits. “Lean on Me” emerged once again in recent weeks as an anthem of hope and solidarity in the time of COVID-19.

 

    TOP ARTICLES1/5READ MOREHEAR OLD CROW MEDICINE SHOW MAKE ‘NASHVILLE RISING’ A UNIVERSAL RALLYING CRY

RELATED

Bill Withers 1973

Flashback: Bill Withers Performs ‘Grandma’s Hands’ at the BBC in 1973
Bill Withers: 10 Essential Songs

 

“He’s the last African-American Everyman,” Questlove told Rolling Stonein 2015. “Jordan’s vertical jump has to be higher than everyone. Michael Jackson has to defy gravity. On the other side of the coin, we’re often viewed as primitive animals. We rarely land in the middle. Bill Withers is the closest thing black people have to a Bruce Springsteen.”

Withers was born July 4th, 1938, and grew up in Slab Fork, West Virginia, in the final years of the Great Depression. He was the youngest of six kids and struggled to fit in, largely due to his speech impediment. “When you stutter,” he told Rolling Stone, “people tend to disregard you.” He also had to endure incredible racism in the Jim Crow South. “One of the first things I learned, when I was around four,” he said, “was that if you make a mistake and go into a white women’s bathroom, they’re going to kill your father.”

He joined the Navy after high school and worked as a milkman in Santa Clara County, California, after he left the service. He later worked at an aircraft-parts factory. Music played a small role in his life until he visited a nightclub in Oakland where Lou Rawls was booked to perform. “He was late, and the manager was pacing back and forth,” Withers said. “I remember him saying, ‘I’m paying this guy $2,000 a week, and he can’t show up on time.’ I was making $3 an hour, looking for friendly women, but nobody found me interesting. Then Rawls walked in, and all these women are talking to him.”

That was all it took. He soon bought a cheap guitar at a pawn shop, taught himself to play, and began writing songs between shifts at the factory. A demo tape got into the hands of Clarence Avant, an executive at Sussex Records, and Withers was soon called into the studio to record an album with producer Booker T. Jones, bassist Donald “Duck” Dunn, and Stephen Stills on guitar. One of the first songs they cut, “Ain’t No Sunshine,” was a tale of lost love that Withers wrote after watching the 1962 Jack Lemmon-Lee Remick movie Days of Wine and Roses on television.

 

The album they recorded at that session, 1971’s Just As I Am, became an enormous hit and turned Withers into a star overnight. He followed it up with 1972’s Still Bill, which became an even bigger hit thanks to the leadoff single, “Lean on Me.”

Withers wrote the song shortly after learning to play the piano, but didn’t think much of it. His label disagreed, and it became a worldwide smash. “I try not to be too analytical about it because it wouldn’t be magic anymore,” Withers told Rolling Stone in 2015. “I didn’t change fingers; I just went one, two, three, four, up and down the piano. Lot of children come up and say, ‘That’s the first song I learned to play,’ and I’m thinking, ‘Don’t congratulate yourself; that’s pretty easy.’ You could make a tool and play that.”

 

The 7 Best Kinds of Whiskey That Belong on Everyone’s Bar Cart
Our complete guide to whiskey, including the best bottles to buy right now.
Ad By SPY 
See More

 

 

But fame didn’t agree with him. He hated life on the road, his marriage to TV star Denise Nicholas became fodder for the tabloids, and his distrust of businessmen made him unwilling to work with a manager. “Early on, I had a manager for a couple of months, and it felt like getting a gasoline enema,” he said. “Nobody had my interest at heart. I felt like a pawn. I like being my own man.”

He was able to assert his independence and craft his own music on Sussex, but things grew complicated once the tiny label started to go bankrupt. He was working on a new album when he learned Sussex no longer had the ability to pay him. In a moment of rage, he erased the entire album. “I was socialized in the military,” he said. “When some guy is smushing my face down, it doesn’t go down well. Since I was self-contained and had no manager, my solution was to erase the album. I don’t even know which one it was, but it’s gone.”

 

When Sussex Records finally went bankrupt in 1975, he moved over to Columbia Records. It only added to his misery. “I met my A&R guy, and the first thing he said to me was, ‘I don’t like your music or any black music, period,’” Withers said. “I am proud of myself because I did not hit him. I met another executive who was looking at a photo of the Four Tops in a magazine. He actually said to me, ‘Look at these ugly niggers.’”

He recorded five records for Columbia and scored radio hits with “Lovely Day” and “Just the Two of Us,” but his heart was no longer in the work. During one particular low point, the label asked him to record a cover of Elvis Presley’s “In the Ghetto.” When he refused, relations with the label grew even more sour. “I was not allowed in the studio,” he said. “People say my career was 15 years, but it was eight years. I was not allowed in the studio from 1978 through 1985.”

His final album was 1985’s Watching You Watching Me. “They made me record that album at some guy’s home studio,” he said. “This stark-naked five-year-old girl was running around the house, and they said to her, ‘We’re busy. Go play with Bill.’ Now, I’m this big black guy and they’re sending a little naked white girl over to play with me! I said, ‘I gotta get out of here. I can’t take this shit!’”

 

The album was a commercial disappointment, and he retired from recording and even performing live, though in 2004 he made a rare exception for the 40th birthday party of Detroit Pistons owner Tom Gores. “His wife kept calling,” he said. “She said it was only for 150 people, but I kept refusing. Then the [money] got so high that my nose started to bleed.”

The private gig found Withers and his band performing around 10 songs, with the crowd joining in for “Lean on Me.” It would be his last concert. Smart real-estate investments and royalties from his old records meant that money was rarely a problem. A comeback tour could have netted him a fortune, but he simply had no interest. “What else do I need to buy?” he asked Rolling Stone. “I’m just so fortunate. I’ve got a nice wife, man, who treats me like gold. I don’t deserve her. My wife dotes on me. I’m very pleased with my life how it is. This business came to me in my thirties. I was socialized as a regular guy. I never felt like I owned it or it owned me.”

 

Oh Snap! Up to 50% Off
Best. Day. Ever. Score amazing deals from your favorite Sephora brands — today only.
Ad by Sephora 
See More

 

As the decades ticked by, many fans forgot that Withers was even alive, which he found hysterical. “One Sunday morning I was at Roscoe’s Chicken and Waffles,” he told Rolling Stone. “These church ladies were sitting in the booth next to mine. They were talking about this Bill Withers song they sang in church that morning. I got up on my elbow, leaned into their booth and said, ‘Ladies, it’s odd you should mention that because I’m Bill Withers.’ This lady said, ‘You ain’t no Bill Withers. You’re too light-skinned to be Bill Withers!’”

In 2015, he made a rare public appearance when he was inducted into the Rock and Roll Hall of Fame. “I still have to process this,” he said shortly after learning the news. “You know that Billy Joel line, ‘Hot funk, cool punk, even if it’s old junk, it’s still rock & roll to me?’ I’m happy to represent the old-junk category.”

Looking back decades later, Withers was still amazed at his success at a relatively late age in his life. “Imagine 40,000 people at a stadium watching a football game,” he told Rolling Stone. “About 10,000 of them think they can play quarterback. Three of them probably could. I guess I was one of those three.”

Volume 0%

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Bucky Pizzarelli, Master of the Jazz Guitar, Is Dead at 94 – The New York Times

Bucky Pizzarelli, Master of the Jazz Guitar, Is Dead at 94 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/04/02/arts/music/bucky-pizzarelli-dead-coronavirus.html?searchResultPosition=2
 

Bucky Pizzarelli, Master of the Jazz Guitar, Is Dead at 94

After years as a relatively anonymous session musician, Mr. Pizzarelli, who has died of the coronavirus, became a mainstay of the New York jazz scene.

 

The guitarist Bucky Pizzarelli with the bassist Jerry Bruno in 2011. He was among the few guitarists of his day to play an instrument with seven strings rather than the customary six. The guitarist Bucky Pizzarelli with the bassist Jerry Bruno in 2011. He was among the few guitarists of his day to play an instrument with seven strings rather than the customary six.Credit…Susan Stava for The New York Times

By Peter Keepnews

  • April 2, 2020Updated 5:15 p.m. ET
    •  
    •  
    •  
    • 41

This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.

Bucky Pizzarelli, who after many years as a respected but relatively anonymous session guitarist became a mainstay of the New York jazz scene in the 1970s, died on Wednesday in Saddle River, N.J. He was 94.

The guitarist and singer John Pizzarelli, his son and frequent musical associate, said the cause was the coronavirus.

A master of the subtle art of rhythm guitar as well as a gifted soloist, Mr. Pizzarelli was sought after for recording sessions in the 1950s and ’60s and can be heard on hundreds of records in various genres, although he was often uncredited. He also toured with Benny Goodman and was a longtime member of the “Tonight Show” orchestra. But he was little known to all but the most knowledgeable jazz fans until he was in his 40s.

ADVERTISEMENT

Continue reading the main story

When Johnny Carson moved “The Tonight Show” to California from New York in 1972, Mr. Pizzarelli stayed behind. He explained at the time that he did not want to uproot his four school-age children from their New Jersey home. Freed of the responsibilities of a regular job, he began performing more frequently in New York nightclubs.

Among those clubs was a Midtown Manhattan spot appropriately named the Guitar, where he had already attracted attention in a duo with his fellow guitarist George Barnes in 1970. Reviewing one of their first performances, John S. Wilson of The New York Times wrote: “This is a brilliant and unique team. Mr. Barnes and Mr. Pizzarelli can be dazzling and they can be sensuously brooding. They sparkle with excitement, leap with joy or relax with a warm romantic glow.”

After Mr. Pizzarelli and Mr. Barnes parted ways in 1972, Mr. Pizzarelli began performing and recording in a variety of high-profile settings: unaccompanied, as the leader of small groups, as a sideman with leading jazz musicians like the saxophonists Zoot Sims and Bud Freeman and the violinists Stéphane Grappelli and Joe Venuti.

In 1980 he began performing with a new duo partner: his son John, 20 years old at the time, who went on to become a jazz star in his own right. “That’s where he got his baptism of fire,” Mr. Pizzarelli told an interviewer in 1997. “With me giving him dirty looks when he played a wrong chord.”

Image

Mr. Pizzarelli with his son John at Feinstein’s at the Regency in Manhattan. They began performing together in 1980, when John was 20. Mr. Pizzarelli with his son John at Feinstein’s at the Regency in Manhattan. They began performing together in 1980, when John was 20.Credit…Heidi Schumann for The New York Times

The two Pizzarellis would perform and record together many times over the years, often joined by Mr. Pizzarelli’s other son, Martin, a bassist, and the vocalist Jessica Molaskey, John’s wife. John Pizzarelli once described them as “the von Trapp family on martinis.” As John’s star ascended, he frequently employed his father as a sideman.

ADVERTISEMENT

Continue reading the main story

Mr. Pizzarelli’s sons survive him, as do his wife, Ruth (Litchult) Pizzarelli; two daughters, Anne Hymes and Mary Pizzarelli; and four grandchildren.

Latest Updates: Coronavirus Outbreak

See more updates
Updated 7m ago
More live coverage: Markets New York

Mr. Pizzarelli was among the few guitarists (his son was another; George van Eps is believed to have been the first) to play an instrument with seven strings rather than the customary six. The extra string, tuned to a low A, enabled him to provide his own bass line, an important advantage when he played unaccompanied or in a duo setting.

John Paul Pizzarelli was born on Jan. 9, 1926, in Paterson, N.J., where his parents, John and Amelia (DiDomenico) Pizzarelli, owned a grocery store. Two uncles, Pete and Bobby Domenick, played guitar and banjo professionally, and his uncle Bobby taught him some musical rudiments.

Sign up to receive our daily Coronavirus Briefing, an informed guide with the latest developments and expert advice.
Sign Up

His unlikely nickname was bestowed on him by his father, who as a teenager had decided to explore the Wild West he knew only from movies and spent some time as a ranch hand in Odessa, Texas. He returned to New Jersey with a lot of memories and a lingering love for the West that would lead him to nickname his young son Buckskin. Shortened to Bucky, the name stuck.

Mr. Pizzarelli began his professional career in his teens, touring with the singer Vaughn Monroe, best known for his hit “Racing With the Moon.” After serving two years in the Army, he rejoined the Monroe band in 1946 and remained until it broke up in 1953.

ADVERTISEMENT

Continue reading the main story

There followed a brief tenure with the popular instrumental group the Three Suns, a year with the singer Kate Smith’s television show and a long stint as a first-call studio musician. In addition to recording with singers like Frank Sinatra and Sarah Vaughan, he played on commercial jingles and numerous pop records, including Ben E. King’s “Stand by Me” and a string of hits by Dion and the Belmonts.

Image

Mr. Pizzarelli in 1970. He continued to perform into his 90s, even after a stroke and pneumonia led to several hospitalizations. Mr. Pizzarelli in 1970. He continued to perform into his 90s, even after a stroke and pneumonia led to several hospitalizations.Credit…David Redfern/Redferns

He also became a staff musician at NBC, where starting in 1964 he was a member of the “Tonight Show” ensemble, led at the time by Skitch Henderson and later by Doc Severinsen. (He also worked for a while in the band the drummer Bobby Rosengarden led for Johnny Carson’s ABC competitor Dick Cavett.)

In 1966 Mr. Pizzarelli began his long association with Benny Goodman, which lasted until Mr. Goodman’s death in 1986. He worked frequently in New York with small groups led by Mr. Goodman and took part in four European tours with him in the 1970s.

Mr. Pizzarelli continued to perform into his 90s, even after a stroke and pneumonia led to several hospitalizations in 2015 and 2016 and left him debilitated. “I don’t remember any of it,” he said later. “I never knew it until it was over.”

Friends and family members wondered if he would ever play again. But he recovered, and by the end of 2016 he was back in action.

ADVERTISEMENT

Continue reading the main story

Reviewing a June 2017 performance at the Jazz Showcase in Chicago, Howard Reich of The Chicago Tribune praised Mr. Pizzarelli’s “uncommonly sweet and delicate tone” and “disarmingly straightforward approach to melodic line.” “Even at his exalted age,” Mr. Reich noted, “Pizzarelli brought considerable craft to his solos, dispatching practically every note with heightened care.”

The guitarist Ed Laub, who studied with Mr. Pizzarelli in the 1960s and went on to perform with him, summarized Mr. Pizzarelli’s philosophy in an interview with Inside Jersey magazine in 2016: “It’s about making beautiful music. It’s not about grandstanding. And that’s what his whole personality is about.”

Correction: April 2, 2020

Because of an editing error, an earlier version of a picture caption with this obituary misstated the year a photo of Mr. Pizzarelli was taken. It was 1970, not 2001.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Legendary guitarist Bucky Pizzarelli dies at 94 – NJArts.net

Legendary guitarist Bucky Pizzarelli dies at 94 – NJArts.net


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.njarts.net/music/legendary-guitarist-bucky-pizzarelli-dies-at-94/
 

Legendary guitarist Bucky Pizzarelli dies at 94

By: JAY LUSTIG | 10 hours ago

Bucky Pizzarelli dies

BUCKY PIZZARELLI, 1926-2020

Bucky Pizzarelli — the legendary jazz and pop guitarist who was a lifelong New Jersey resident and a member of the New Jersey Hall of Fame — has died at the age of 94.

He was a longtime mainstay of the state’s music scene — for many years, his afternoon sets were highlights of the Morristown Jazz and Blues Festival — but he was also world-renowned for his smooth, fluid, tasteful playing. He performed at the White House for presidents Reagan and Clinton, and in Johnny Carson’s “Tonight Show” band, and worked with Frank Sinatra, Les Paul, Benny Goodman, Miles Davis, Sarah Vaughan, Tony Bennett, Dizzy Gillespie, Nat King Cole and countless others.

As a session musician, he played on hits ranging from Ray Charles’ “Georgia on My Mind” to Bryan Hyland’s “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini,” and he also performed on Paul McCartney’s 2012 standards album, Kisses on the Bottom.

He has been battling several serious health problem in recent years. His cause of death was not immediately announced.

He was born in Paterson as John Pizzarelli — his father gave him the nickname Bucky — and served in the army during World War II. After the war, he became a professional musician and moved with his wife, Ruth, to Clifton and then Saddle River.

From left, Martin Pizzarelli, Bucky Pizzarelli and John PIzzarelli Jr.

Their son, John Pizzarelli Jr., also became a well known guitarist, as well as a singer, and another son, Martin, is a professional bassist who has often worked with both.

One of Bucky’s last recordings was on Stanley Jordan’s 2011 album Friends, which featured collaborations with various artists.

“To me Bucky Pizzarelli is a jazz icon,” said Jordan, at the time. “I play jazz guitar, but Bucky Pizzarelli is one of the creators of the genre. I can hear so much history in his notes, and yet his sound is always fresh.”

After his death, Janis Siegel of The Manhattan Transfer posted on Facebook: “We say a reluctant goodbye to the great guitarist Bucky Pizzarelli this evening. Rest in power dear man. I had the great pleasure of recording a bit with him and he was the sweetest and most generous man.”

“I’m so sad to learn that we have lost one of the giants of the music world. … He captivated everyone not only with his impeccable 7-string guitar playing, but with his wonderful personality and great sense of humor,” posted Morristown Jazz and Blues Festival producer Don Jay Smith on Facebook.

CONTRIBUTE TO NJARTS.NET

Since launching in September 2014, NJArts.net has become one of the most important media outlets for the Garden State arts scene. And it has always offered its content without a subscription fee, or a paywall. Its continued existence, though, depends on support from members of that scene, and the state’s arts lovers. Please consider making a contribution of $10, or any other amount, to NJArts.net via PayPal, or by sending a check made out to NJ Arts Daily to 11 Skytop Terrace, Montclair, NJ 07043.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Jazz Great Ellis Marsalis Jr. Dead at 85; Fought Virus – NBC4 Washington

Jazz Great Ellis Marsalis Jr. Dead at 85; Fought Virus – NBC4 Washington


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nbcwashington.com/news/health/new-orleans-jazz-patriarch-ellis-marsalis-dead-at-85/2261400/
 

Son: Jazz Great Ellis Marsalis Jr. Dead at 85; Fought Virus

New Orleans Mayor LaToya Campbell announced Marsalis’ death in a news release

By Janet Mcconnaughey and Rebecca Santana • Published April 1, 2020•Updated 36 mins ago

FILE - This April 28, 2019 file photo shows Ellis Marsalis during the New Orleans Jazz & Heritage Festival in New Orleans. (AP Photo/Sophia Germer, File)
AP Photo/Sophia Germer, File

This April 28, 2019 file photo shows Ellis Marsalis during the New Orleans Jazz & Heritage Festival in New Orleans.

Ellis Marsalis Jr., the jazz pianist, teacher and patriarch of a New Orleans musical clan, died late Wednesday after battling pneumonia brought on by the new coronavirus, leaving six sons and a deep legacy. He was 85.

“My dad was a giant of a musician and teacher, but an even greater father. He poured everything he had into making us the best of what we could be,” Branford said. 

Four of the jazz patriarch’s six sons are musicians: Wynton, trumpeter, is America’s most prominent jazz spokesman as artistic director of jazz at New York’s Lincoln Center. Branford, saxophonist, led The Tonight Show band and toured with Sting. Delfeayo, a trombonist, is a prominent recording producer and performer. And Jason, a percussionist, has made a name for himself with his own band and as an accompanist. Ellis III, who decided music wasn’t his gig, is a photographer-poet in Baltimore.

“Pneumonia was the actual thing that caused his demise. But it was pneumonia brought on by COVID-19,” Ellis Marsalis III confirmed in an Associated Press phone interview.

He said he drove Sunday from Baltimore to be with his father, who was hospitalized Saturday in Louisiana, which has been hit hard by the outbreak.Others in the family spent time with him, too.

“He went out the way he lived: embracing reality,” Wynton tweeted, alongside pictures of his father. 

Branford’s statement included a text he said he got from Harvard Law Professor David Wilkins: “We can all marvel at the sheer audacity of a man who believed he could teach his black boys to be excellent in a world that denied that very possibility, and then watch them go on to redefine what excellence means for all time.”

In a statement, Mayor LaToya Cantrell said of the man who continued to perform regularly until December: “Ellis Marsalis was a legend. He was the prototype of what we mean when we talk about New Orleans jazz. He was a teacher, a father, and an icon — and words aren’t sufficient to describe the art, the joy and the wonder he showed the world.”

Because Marsalis opted to stay in New Orleans for most of his career, his reputation was limited until his sons became famous and brought him the spotlight, along with new recording contracts and headliner performances on television and tour.

“He was like the coach of jazz. He put on the sweatshirt, blew the whistle and made these guys work,” said Nick Spitzer, host of public radio’s American Routes and a Tulane University anthropology professor.

The Marsalis “family band” seldom played together when the boys were younger but went on tour in 2003 in a spinoff of a family celebration, which became a PBS special when the elder Marsalis retired from teaching at the University of New Orleans.

Harry Connick Jr., one of his students at the New Orleans Center for the Creative Arts, was a guest. He’s one of many now-famous jazz musicians who passed through Marsalis’ classrooms. Others include trumpeters Nicholas Payton and Terence Blanchard, saxophonists Donald Harrison and Victor Goines, and bassist Reginald Veal.

Marsalis was born in New Orleans, son of the operator of a hotel where he met touring black musicians who couldn’t stay at the segregated downtown hotels where they performed. He played saxophone in high school; he also played piano by the time he went to Dillard University.

Although New Orleans was steeped in traditional jazz, and rock ‘n’ roll was the new sound in the 1950s, Marsalis preferred bebop and modern jazz.

Spitzer described Marsalis as a “modernist in a town of traditionalists.”

“His great love was jazz a la bebop — he was a lover of Thelonious Monk and the idea that bebop was a music of freedom. But when he had to feed his family, he played R&B and soul and rock ‘n’ roll on Bourbon Street,” Spitzer said.

The musician’s college quartet included drummer Ed Blackwell, clarinetist Alvin Batiste and saxophonist Harold Battiste, playing modern.

Ornette Coleman was in town at the time. In 1956, when Coleman headed to California, Marsalis and the others went along, but after a few months Marsalis returned home. He told the New Orleans Times-Picayune years later, when he and Coleman were old men, that he never figured out what a pianist could do behind the free form of Coleman’s jazz.

Back in New Orleans, Marsalis joined the Marine Corps and was assigned to accompany soloists on the service’s weekly TV programs on CBS in New York. There, he said, he learned to handle all kinds of music styles.

Returning home, he worked at the Playboy Club and ventured into running his own club, which went bust. In 1967 trumpeter Al Hirt hired him. When not on Bourbon Street, Hirt’s band appeared on national TV — headline shows on The Tonight Show and The Ed Sullivan Show, among others.

Marsalis got into education about the same time, teaching improvisation at Xavier University in New Orleans. In the mid-1970s, he joined the faculty at the New Orleans magnet high school and influenced a new generation of jazz musicians.

When asked how he could teach something as free-wheeling as jazz improvisation, Marsalis once said, “We don’t teach jazz, we teach students.”

In 1986 he moved to Virginia Commonwealth University in Richmond. In 1989, the University of New Orleans lured him back to set up a jazz studies program.

Marsalis retired from UNO in 2001 but continued performing, particularly at Snug Harbor, a small club that anchored the city’s contemporary jazz scene — frequently backing young promising musicians.

His melodic style, with running improvisations in the right hand, has been described variously as romantic, contemporary, or simply “Louisiana jazz.” He was always on acoustic piano, never electric, and even in interpreting old standards there’s a clear link to the driving bebop chords and rhythms of his early years.

He founded a record company, ELM, but his recording was limited until his sons became famous. After that he joined them and others on mainstream labels and headlined his own releases, many full of his own compositions.

He often played at the New Orleans Jazz and Heritage Festival. And for more than three decades he played two 75-minute sets every Friday night at Snug Harbor until he decided it was exhausting. Even then, he still performed on occasion as a special guest.

On Wednesday night, Ellis III recalled how his father taught him the meaning of integrity before he even knew the word.

He and Delfeayo, neither of them yet 10, had gone to hear their father play at a club. Only one man — sleeping and drunk — was in the audience for the second set. The boys asked why they couldn’t leave.

“He looked at us and said, ‘I can’t leave. I have a gig.’ While he’s playing, he said, ‘A gig is a deal. I’m paid to play this set. I’m going to play this set. It doesn’t matter that nobody’s here.’ ”

Marsalis’ wife, Dolores, died in 2017. He is survived by his sons Branford, Wynton, Ellis III, Delfeayo, Mboya and Jason.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Wallace Roney, Jazz Trumpet Virtuoso, Is Dead at 59 – The New York Times

Wallace Roney, Jazz Trumpet Virtuoso, Is Dead at 59 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/03/31/arts/music/wallace-roney-dead-coronavirus.html
 

Wallace Roney, Jazz Trumpet Virtuoso, Is Dead at 59

Initially dismissed by many as a clone of Miles Davis, Mr. Roney, who has died of coronavirus complications, emerged as a major musician in his own right.

By Giovanni Russonello

Updated April 1, 2020, 10:07 a.m. ET

Wallace Roney performing in 2014 at the Charlie Parker Jazz Festival at Marcus Garvey Park in Manhattan. He recorded nearly 20 albums as a bandleader.
Wallace Roney performing in 2014 at the Charlie Parker Jazz Festival at Marcus Garvey Park in Manhattan. He recorded nearly 20 albums as a bandleader.Credit…Tina Fineberg for The New York Times

Giovanni Russonello

By Giovanni Russonello

  • Published March 31, 2020Updated April 1, 2020, 10:07 a.m. ET
    •  
    •  
    •  

This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.

Wallace Roney, a virtuoso trumpeter whose term as Miles Davis’s only true protégé opened onto a prominent career in jazz, died on Tuesday in Paterson, N.J. He was 59.

The cause was complications of the coronavirus, his fiancée, Dawn Jones, said.

By the time he linked up with Davis, Mr. Roney was already a leading voice in what came to be called the Young Lions movement, a coterie of young musicians devoted to bringing jazz back into line with its midcentury sound. And he was already associated — sometimes distressingly so — with Davis’s legacy. Many dismissed him as a musical clone: ravishingly talented but lacking the necessary distance from his idol to claim creative agency.

Yet as his career went on, Mr. Roney managed to neutralize most of those criticisms. His nuanced understanding of Davis’s playing — its harmonic and rhythmic wirings as well as its smoldering tone — was only part of a vast musical ken. His own style bespoke an investment in the entire lineage of jazz trumpet playing.

ADVERTISEMENT

Continue reading the main story

Most of the ideas in Mr. Roney’s compositions began at the center of jazz’s mainstream language and cut a path outward, often by way of funk, hip-hop, pop, Brazilian or Afro-Caribbean music.

Mr. Roney made nearly 20 albums as a bandleader, including three for Warner Bros. at the peak of the Young Lions era, all grounded in his unshakable linguistic command and his appetite for harmonic adventure. His recordings for Muse in the late 1980s and early ’90s — especially his 1987 debut, “Verses” — featured a mix of A-list jazz musicians from Mr. Roney’s generation and the one before, and they established him as a premier young bandleader.

In his New York Times review of a 1988 concert by the drummer Tony Williams’s quintet, Jon Pareles singled out Mr. Roney as “the standout soloist, bitingly articulate at fast tempos and lucidly melodic in gentler passages.”

Latest Updates: Coronavirus Outbreak

See more updates
Updated 1h ago
More live coverage: Markets New York

Profiling Mr. Roney in The Washington Post in 1987, James McBride — who later became a prizewinning novelist — declared: “His name is Wallace Roney III. He is 27 years old. He is from Washington, and he is one of the best jazz trumpet players in the world.”

The two albums that Mr. Roney released in the early 2000s, immediately after leaving Warner Bros., were among his most memorable, and more formally ambitious than his early work. They represented a flush of creativity after years of frustration under contract to a label that often imposed unwelcome creative demands.

ADVERTISEMENT

Continue reading the main story

On “No Room for Argument” (2000), released on Stretch Records, Mr. Roney struck a nimble balance between historical reverence and futurist adventure, pairing a synthesizer with a Fender Rhodes electric piano and, at one point, mashing up parts of John Coltrane’s “A Love Supreme” with Davis’s “Filles de Kilimanjaro.” Its follow-up, “Prototype” (2004), for High Note, featured different sorts of homage: separate reworkings of the titular OutKast ballad and Al Green’s “Let’s Stay Together.”

Mr. Roney won a Grammy in 1994 for his participation in “A Tribute to Miles,” filling the trumpet chair alongside the four supporting members of Davis’s second great quintet: Tony Williams, Wayne Shorter, Herbie Hancock and Ron Carter. All were younger than Davis — and indeed, throughout the latter half of his career, Davis worked almost exclusively with junior musicians. But before meeting Mr. Roney, he had never agreed to mentor another trumpet player.

Struck by Mr. Roney’s performance at a 1983 tribute concert at Radio City Music Hall, Davis invited the young trumpeter to join him at his home in Manhattan the next day. A close friendship blossomed between the 23-year-old upstart and the ailing elder, one that culminated in a momentous performance at the 1991 Montreux Jazz Festival, just months before Davis’s death. It was the only time Davis publicly revisited material from his back catalog.

With Quincy Jones conducting, the two trumpeters stood shoulder to shoulder in what would become a timeless piece of postclassic jazz iconography. Davis, wizened and wire-thin, hunched over a music stand alongside his burly young protégé, who picked up the slack whenever his idol missed a note.

Sign up to receive our daily Coronavirus Briefing, an informed guide with the latest developments and expert advice.
Sign Up

“A lot of people like to say, ‘Yeah, well, I hung with Miles, but we never talked about music,’” Mr. Roney said in a 2016 interview. “Well, guess what? I did. I loved him because of his music, and he talked to me about music all the time. You definitely had to earn Miles Davis’s respect, and not everybody could do that.”

ADVERTISEMENT

Continue reading the main story

Mr. Roney remembered that Davis — whose birthday was just one day apart from his — had once told him, “You look at me just like how I used to look at Dizzy,” referring to his own mentor Dizzy Gillespie.

 

Wallace Roney III was born on May 25, 1960, in Philadelphia, to Roberta Sherman, a homemaker, and Wallace Roney Jr., a U.S. Marshal and vice president of the American Federation of Government Employees. His parents divorced when he was young, and he lived for a time with his grandmother, Rosezell Roney.

In his teens, he lived with his father in Washington, enrolling in the Duke Ellington School of the Arts. His father’s friends were not professional musicians, but they had an abiding devotion to jazz. Mr. Roney often recalled that they would hold listening parties at which each person would listen closely to a different instrument as a track played, and then would compare notes.

The immersion in a music-loving family gave Mr. Roney a head start — but he was also loaded with preternatural talent. He had perfect pitch, and he impressed his father by teaching himself the basics of the trumpet using the family’s horn, which had been lying around unused. At 12, he became the youngest member of the Philadelphia Brass, a professional classical quintet.

By his midteens, he was already making trips to New York to perform. In his city debut, in 1976, he played at Ali’s Alley, a loft space in SoHo.

“As soon as Mr. Roney commenced to swing, the noise level in the club immediately dropped off, and those in the middle of conversations or laughing and joking turned their attention to the bandstand,” the critic Stanley Crouch later wrote of that show for a profile in The New York Times in 2000. In the youthful trumpeter’s playing, Mr. Crouch wrote, “the passion for jazz was so thorough that the atmosphere inside the club was completely rearranged.”

ADVERTISEMENT

Continue reading the main story

“At the end of the tune, the room took on a crazily jubilant mood, and the clapping wouldn’t stop,” Mr. Crouch added.

In addition to his fiancée, a vocalist and educator whom he had known since high school, and his grandmother Rosezell, Mr. Roney is survived by his sister, Crystal Roney; a brother, the saxophonist Antoine Roney; two half sisters, April Petus and Marla Majett; a half brother, Michael Majett; a son, Wallace Vernell Roney, a trumpeter now on the rise on the New York scene; and a daughter, Barbara Roney. His marriage to Geri Allen, a noted pianist and frequent musical collaborator during Mr. Roney’s early career, ended in divorce.

In both 1979 and 1980, Mr. Roney won DownBeat magazine’s award for best young jazz musician of the year. A decade later, he pulled off a similar double victory: He was voted trumpeter to watch in back-to-back DownBeat critics’ polls in 1989 and 1990.

He attended both Howard University and Berklee College of Music before moving to New York City to pursue a career.

After years of lean times (jazz in particular was in a commercial slump for much of the 1980s), he received two separate calls within the same month inviting him to join the bands of Tony Williams and Art Blakey, both pre-eminent elder drummers. He spent years in both ensembles before his solo career took off.

Even in later years, Mr. Roney continued to balance his devotion to the greats of jazz’s past with an urge to make his own way. In 2014, he starred in the public debut of “Universe,” a large-ensemble suite that the saxophonist Wayne Shorter wrote for Davis in the late 1960s, but that had never been performed.

ADVERTISEMENT

Continue reading the main story

“I see my music as an extension of ‘Nefertiti,’ ‘A Love Supreme,’ Tony Williams’s Lifetime, Herbie’s sextet and Miles’ last band,” Mr. Roney said in a 2004 interview with JazzTimes.

“You could look at it as if Lifetime had a gig one night, and Miles sat in, and Wayne came and played, and Herbie played and wrote some arrangements, and Joe Zawinul came and sat in too, and Ron and Me’shell Ndegeocello played bass, and Prince, Sly Stone, Bennie Maupin and Mos Def dropped by,” he said. “That’s part of what I’m doing.”

He added: “The other part is updating it with stuff that I hear today, the new synthesizers and the new sounds that appeal to me. I bring all those elements together and still try to play what I consider straight-ahead, innovative music.”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Edward Tarr, Renowned Trumpeter Who Delved Into Past, Dies at 83 – The New York Times

Edward Tarr, Renowned Trumpeter Who Delved Into Past, Dies at 83 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/03/30/arts/music/edward-tarr-dead.html?mc_cid=f1480e1e46
 

Edward Tarr, Renowned Trumpeter Who Delved Into Past, Dies at 83

Mr. Tarr was a scholar, teacher and performer who helped revive the natural trumpet, a sweet-sounding, valveless version of the modern instrument.

By Corinna da Fonseca-Wollheim

March 30, 2020

 

Edward Tarr in an undated photo. He was a virtuoso on the trumpet but also a scholar and champion of the early, valveless version of the instrument. Edward Tarr in an undated photo. He was a virtuoso on the trumpet but also a scholar and champion of the early, valveless version of the instrument.via Tarr family

Edward H. Tarr, a trumpeter and musicologist who became one of the world’s eminent authorities on the instrument, resuscitating long-forgotten repertory and leading the way in historically informed performances of baroque and romantic brass music, died on March 24 in Germany. He was 83.

The cause was complications of heart surgery, his wife, Irmtraud Tarr, said. He died in a hospital near Rheinfelden, the town in southwestern Germany where he lived.

Mr. Tarr left his mark on every aspect of the trumpet world. As a player he set new standards of lyricism on an instrument long associated with military bravado. As a scholar he hunted for rarities in European archives and created performance editions of hundreds of newly discovered works. He advised instrument makers, curated a trumpet museum, wrote seminal books, edited historical treatises and taught players who went on to become leading concert artists.

For a brief period Mr. Tarr dipped into the European avant-garde. He commissioned a work for trumpet and tape, “Morceau de Concert,” from the Argentine-born German composer Mauricio Kagel, and he is among the dedicatees of “Spiral,” by the modernist Karlheinz Stockhausen. Mr. Tarr in 1970 was one of 20 musicians who took turns performing that piece a total of 1,300 times inside the German pavilion at the World Expo in Osaka, Japan.

Mr. Tarr’s lasting passion was the recognition of the natural trumpet as a key to unlocking lost sound worlds. That early version of the trumpet — the kind that Bach and other Baroque composers wrote for — lacked the valves that the modern counterpart has. Those valves lend playability, power and range. Mr. Tarr willfully embraced the difficulty of playing without the improvements.

“Before Ed we tended to think that they must have been vile-sounding things,” the British trumpeter John Wallace, in a phone interview, said of period brass instruments. “Because of him we came to understand that playing on the real, the natural, instruments was actually essential to understanding baroque and classical music to the full.”

Mr. Tarr embraced the dual role of the scholar-performer, immersing himself in theoretical texts from the 17th and 18th centuries in order to shape his playing. The musicologist Steven Plank said that Mr. Tarr’s trademark expressivity and elegant phrasing were rooted in historical ideals.

“There’s a kind of vocality that comes along with period tonguings, which he was very adept with,” Professor Plank said. “He was strong in articulating the idea — and this is something period sources make clear — that the trumpet is of two natures, one being the martial instrument of war and the other actually a very sweet and lyrical instrument.”

video from the 1980s shows Mr. Tarr playing Bach’s Brandenburg Concerto No. 2 on a modern instrument. His tone is radiant yet sufficiently slender to mesh equitably with the solo oboe and violin.

Edward Hankins Tarr was born on June 15, 1936, in Norwich, Conn. His father, Donald Tarr, was a Methodist minister; his mother Ruth (Wilkinson) Tarr was a teacher who led and sang in a choir. He was 6 when his class was introduced to various musical instruments. He later told his wife that when the teacher held up a trumpet, his own hand rose up as if by reflex, and he blurted out, “That’s mine!”

Mr. Tarr received a bachelor of arts degree from Oberlin College in 1957 and a master’s in trumpet performance from Northwestern University in 1959. His main teachers, Roger Voisin of the Boston Symphony Orchestra and Adolph Herseth of the Chicago Symphony Orchestra, represented the brilliant and muscular American brass sound that was the envy of orchestras around the world.

Mr. Tarr in 1959 obtained a scholarship to travel to Basel, to study with the musicologist and early music specialist Leo Schrade. The move marked a pivot toward the past, and Europe, that would shape the rest of his life.

He earned a Ph.D in musicology from the University of Hamburg in 1987. By then he had already established himself as an authority on historical trumpet playing; he would go on to publish more than 70 articles in the New Grove Dictionary of Music and Musicians. His book “The Trumpet,” published in German in 1977 and in English in 1988, became the definitive guide to the instrument’s history.

Landmarks in Mr. Tarr’s reconstruction of that history included his editing of the first critical edition of a youthful work for trumpet and orchestra by Verdi. The score, which assigns to the instrument all the melodic panache of an opera singer, was discovered in 1996 inside the upholstery of a chair in the composer’s hometown, Busseto, Italy.

Research in Portugal in the 1970s yielded the glittering music for trumpet ensembles of the Charamela Real, or royal stables. Mr. Tarr edited and published those discoveries and assembled period brass players from across Europe to play them.

Mr. Tarr taught trumpet at the Basel Music Academy from 1972 to 2001. He also served on the faculties of the conservatories of Cologne, Karlsruhe and Frankfurt in Germany and Lucerne, Switzerland, and acted as visiting faculty member at universities in Europe and America.

From 1985 to 2004 he was the director of the Trumpet Museum in Bad Säckingen, Germany, near the Swiss border. He settled in Rheinfelden, a nearby village, with his second wife, the concert organist and psychologist Irmtraud Tarr, who became his duo partner beginning in 1980.

His first marriage, to Madeleine Fiorese, ended in divorce. He is survived by two children from that marriage, Natalie, and Philip, a virologist and baroque timpanist, as well as four grandchildren.

The Tarrs had also taken in a young man, Jörg Richter, who was mute and autistic. Ms. Tarr coaxed him back to speech, and Mr. Tarr taught him to carve trumpet mouthpieces out of wood, which are now much sought after by players.

Tune up your Times experience.

Tune up your Times experience.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Jazz legend Wallace Roney dies from COVID-19 complications

Jazz legend Wallace Roney dies from COVID-19 complications


jazzLogo.jpg

shem.gif
 
shem.gif

R.I.P. Wallane Roney

———- Forwarded message ———
From: Howard Mandel <jazzmandel@gmail.com>
Date: Tue, Mar 31, 2020 at 2:10 PM
Subject: Re: [jazz-research] Wallace Roney, R.I.P.
To: <jazz-research@groups.io>

I just learned this here, too. I’m sure there will be outpourings of grief. Wallace had a lot to say, and carried information especially from Miles Davis that no one else that I know has (maybe Marcus Miller). I have a not-great Wallace story, but will save it for another time. I’m sorry he’s gone, biggest loss to the jazz world so far from the virus.

-=-=-=-=-=-=-=-=-=-=-=-
Groups.io Links: You receive all messages sent to this group.

View/Reply Online (#37117): https://groups.io/g/jazz-research/message/37117
Mute This Topic: https://groups.io/mt/72682732/979551
-=-=-
The jazz-research list was established in 1998 and is supported by the generous financial contributions of its members: https://www.paypal.me/jazzresearch/10
-=-=-
Group Owner: jazz-research+owner@groups.io
Unsubscribe: https://groups.io/g/jazz-research/leave/2220311/358073559/xyzzy  [jim@jazzpromoservices.com]
-=-=-=-=-=-=-=-=-=-=-=-

— 

Jim Eigo

Jazz Promo Services

272 State Route 94 South #1

Warwick, NY 10990

Ph: 845-986-1677 / Fax: 845-986-1699

Cell / text: 917-755-8960

Skype: jazzpromo

jim@jazzpromoservices.com

www.jazzpromoservices.com

“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

NARAS VOTING MEMBER SINCE 1994

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

R.I.P. Wallane Roney

R.I.P. Wallane Roney


jazzLogo.jpg

shem.gif
 
shem.gif

R.I.P. Wallane Roney

———- Forwarded message ———
From: Howard Mandel <jazzmandel@gmail.com>
Date: Tue, Mar 31, 2020 at 2:10 PM
Subject: Re: [jazz-research] Wallace Roney, R.I.P.
To: <jazz-research@groups.io>

I just learned this here, too. I’m sure there will be outpourings of grief. Wallace had a lot to say, and carried information especially from Miles Davis that no one else that I know has (maybe Marcus Miller). I have a not-great Wallace story, but will save it for another time. I’m sorry he’s gone, biggest loss to the jazz world so far from the virus.

-=-=-=-=-=-=-=-=-=-=-=-
Groups.io Links: You receive all messages sent to this group.

View/Reply Online (#37117): https://groups.io/g/jazz-research/message/37117
Mute This Topic: https://groups.io/mt/72682732/979551
-=-=-
The jazz-research list was established in 1998 and is supported by the generous financial contributions of its members: https://www.paypal.me/jazzresearch/10
-=-=-
Group Owner: jazz-research+owner@groups.io
Unsubscribe: https://groups.io/g/jazz-research/leave/2220311/358073559/xyzzy  [jim@jazzpromoservices.com]
-=-=-=-=-=-=-=-=-=-=-=-

— 

Jim Eigo

Jazz Promo Services

272 State Route 94 South #1

Warwick, NY 10990

Ph: 845-986-1677 / Fax: 845-986-1699

Cell / text: 917-755-8960

Skype: jazzpromo

jim@jazzpromoservices.com

www.jazzpromoservices.com

“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

NARAS VOTING MEMBER SINCE 1994

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

An Open Letter to Dr. Anthony Fauci Asking for Passover Seder Advice – McSweeney’s Internet Tendency

An Open Letter to Dr. Anthony Fauci Asking for Passover Seder Advice – McSweeney’s Internet Tendency


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.mcsweeneys.net/articles/an-open-letter-to-dr-anthony-fauci-asking-for-passover-seder-advice
 

An Open Letter to Dr. Anthony Fauci Asking for Passover Seder Advice

by Jackie Pick

Dear Dr. Fauci,

I’m really sorry to bother you, it’s just that I’m hosting a virtual Seder this year and I want to make sure everything is kosher. I mean, this night will be different from all other nights, mostly because I’m not even sure what night it is anymore. You too, probably, but for different reasons. You’re busy saving the world on four hours of sleep (Dayenu, am I right?), and I’m busy watching C-SPAN, eating Lucky Charms by the fistful, and not bothering to change from my daytime athleisure wear to my nighttime athleisure wear.

This is all just to say that not only are you our country’s best hope and conveyor of concise medical information, but you’re also America’s zayde, trustworthy and sage.

I’ve checked the CDC website and none of this is on there, so if you have a few minutes to answer these questions, I’d be grateful:

  • How do I disinfect a Seder plate?
  • How many extra handwashing steps should I add to the Seder? I mean, there are two already built-in. Should I add more, possibly ratcheting the evening up to seven hours, or should we just hold the whole thing over the sink?
  • Because this debate will come up (it’s the nature of the beast): Would wandering in the desert be advisable at this time? That is assuming there is manna from heaven and/or Amazon Prime, enough water and shelter, and we keep six feet away from other wanderers.
  • We’re forbidden from eating things like leavened wheat, barley, rye, oats, or spelt. Unfortunately, the only thing left at Costco yesterday was a 50-pound sack of spelt. I’ll obviously hold off on eating it until after the holiday but need to know what is the LD50 on spelt?
  • I’d love to be sure I’m coronavirus-free before asking my husband and kids to the table, but the only tests I can get my hands on are an expired ClearBlue Easy and a gently used Cologuard. Which do you think would reassure my family more?
  • My Uncle Murray insists on tweeting that Manischewitz cures coronavirus. In case the president sees this, please tell him it’s not true. Also that he shouldn’t retweet it, no matter how tempted he is by Uncle Murray’s use of all-caps.
  • When the Treasury sends everyone some “Corona cash,” would you mind bundling that with a Xanax prescription for parents? You see, we’ve been e-learning these last few eternal days, and if we have to hear one more question — never mind four questions — a great cry will go out over all the land, such as never has been heard before, and never will be heard again.
  • Can the president use the Defense Production Act to have gefilte fish factories converted to make… literally anything else?
  • Does opening the door for Elijah violate the “no more than ten people” gathering rule?
  • Instead of sending the kids on a search for the hidden afikomen, can I send them on a search around town for a megapack of Charmin Ultra, even if it means they miss some of the Seder? Not your area of expertise, but I trust your judgment on these matters.
  • I’ve been carb-loading ever since we started sheltering in place. Will the charoset act like my own personal digestive mortar? Or will it put me on the express chariot to the hoop?
  • Where can I find Kosher for Passover matzah? I know this is another question outside your field, but maybe you can ask that fucker Steve Mnuchin. He’s probably got an entire pallet hidden in his basement lair next to a golden calf.
  • Our local dispensary is an essential business. Can I go there for the requisite “bitter herb?”
  • I know you’re unable to state for sure, but based on your experience, do you think “Next Year in Jerusalem” — politics aside — is feasible? Or should it be changed to “Next Year via FaceTime”?

Thank you, Dr. Fauci, for leading us through this. When this is all over, please come for dinner. Hope you like spelt.

— Jackie

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Birth of Western Swing, Death of Milton Brown: The Austin Chronicle

Birth of Western Swing, Death of Milton Brown: The Austin Chronicle


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.austinchronicle.com/music/2020-03-27/birth-of-western-swing-death-of-milton-brown/
 

Birth of Western Swing, Death of Milton Brown

Chapter excerpt from the new book by ATX music historians Michael Corcoran and Tim Kerr spotlights the debt that the kings of country swing, Bob Wills’ Texas Playboys, owed to Texan Milton Brown and his Musical Brownies

By Michael CorcoranFri., March 27, 2020

 

Painting by Tim Kerr

[Ghost Notes] Pioneering Spirits of Texas Music (TCU Press) teams local music scholar Michael Corcoran with fellow Austinite, pioneering punk musician, illustrator, and music scholar Tim Kerr. The DIY pairing first collaborated on two murals in the Red River cultural district in 2018. The book is a continuation of Corcoran’s 2017 book All Over the Map: True Heroes of Texas Music (UNT Press), lending greater context to the stories of the Twenties gospel singers Washington Phillips, Arizona Dranes, and Blind Willie Johnson; the Gant Family of Thirties folk singers; Forties R&B piano greats Charles Brown and Amos Milburn; Fifties Austin label Domino Records; and more. New subjects include Roky Erickson, Camilo Cantu, Sippie Wallace, Sonny Curtis, Jimmy Bowen, the D.O.C., Moon Mullican, Rupert Neve, and Don Robey. [Ghost Notes] contains 15 full-page color paintings from Kerr, as well as several B&W sketches throughout. – Raoul Hernandez


“It’s the same ol’ tune, fiddle and guitar, where do we take it from here?” sang an ol’ honky-tonk hero in the Seventies, but back in the early Thirties, Milton Brown and Bob Wills were thinking the same thing. The singer and the fiddler worked together less than two years in the Light Crust Doughboys, but what they started afterwards, when they kept adding instruments and improvisation, came to be called Western swing.

Although Wills earned the “King of Western Swing” tag with four decades of dance hall-filling dominance to make cowboy jazz a Texas tradition, the innovator was Brown, whose Musical Brownies were the prototype Western swing band in 1932. Four years later he’d be dead and his former partner would carry the torch with an “Ah-ha!” holler. 

Brown’s smooth vocals brought the city to the country and, with the addition of pianist Fred “Papa” Calhoun, the Brownies converted the string band into a dance outfit, mixing the previously disparate styles of jazz, country, blues, and pop to fill the floors. The 2/4 “Milton Brown Beat” revolved around the mighty strike hand of tenor banjoist Ocie Stoddard, who was followed closely by standup bassist Wanna Coffman and Milton’s little brother Derwood Brown on heavy rhythm guitar. Fiddler Jesse Ashlock handled the melody, while Calhoun brought such an air of improvisation that he was nicknamed “Papa” by Brown in reference to legendary jazz pianist Earl “Fatha” Hines.

The Musical Brownies would first record in April 1934, a year and a half before Wills & the Texas Playboys. And yet Wills was called “the first great amalgamator of American music” when he and the Playboys were inducted into the Rock & Roll Hall of Fame in 1999. Milton Brown is not even in the Country Music Hall of Fame!

Milton led the band for only four years, during the Depression, but he knew how to get the people to come out. The Musical Brownies were easily the most popular dance band in Texas in the early Thirties. But they almost never played out of state, except to record in Chicago and New Orleans.

In Cary Ginelli’s oral history Milton Brown and the Founding of Western Swing(University of Illinois Press 1994), Calhoun recalls being dragged out to Crystal Springs Dance Pavilion, four miles northwest of Fort Worth, on a snowy Thursday night in late ’32 and being impressed by the turnout of hundreds for Milton and the boys. Billed as “the Colonel from Kentucky” (though he was from Chico, TX), Calhoun played solo jazz piano on KTAT, so he was known to the Brownies, but nobody played keyboards with a string band back then. Milton removed the cover of the house piano and called Calhoun up to sit in on “Nobody’s Sweetheart,” and the pianist jammed for the entire set. During intermission he was asked to join the Brownies.

They had found something special, but Brown was not done assembling his dream lineup. He hired classically trained Cecil Brower to play twin fiddle – a new concept – with Ashlock at first, then Cliff Bruner. In late ’34 came steel guitar genius Bob Dunn, who started off as a Hawaiian-style player, then found greater satisfaction emulating the sliding trombone of Vernon’s Jack Teagarden. But how could Dunn’s guitar, a Martin acoustic laid flat and played with a steel bar, be heard over this hot band? With “Taking Off,” recorded in Chicago in January 1935, Dunn had the distinction of being the first to record an electric guitar, played through a magnetic mic in the soundhole. 

Brown developed the idea to play a jazz/pop repertoire with country music instrumentation, but Wills went bigger, adding drummer Smokey Dacus in 1935, then a horn section soon after. Wills and his 13-piece orchestra, with Brown’s replacement Tommy Duncan on vocals, did not see themselves as competing with the Musical Brownies as much as with national swing orchestras on tour. Filling every square of air in the enormous dance halls and ballrooms of Texas and Oklahoma, the Texas Playboys eventually outdrew Tommy Dorsey and Harry James. Like Milton, Bob could always get the top players, including slidemaster Leon McCauliffe, whose 1936 recording of “Steel Guitar Rag” was every bit as influential as Dunn’s ground-breaking work.

Wills is still the king because in April 1936, Milton Brown crashed his new Pontiac Silver Streak into a telephone pole on the Jacksboro Highway and was dead at 33. Band members surmised, because they’d seen him do it before, that Brown fell asleep at the wheel (which would make a good name for a modern Western swing outfit.) His passenger, 16-year-old aspiring singer Katy Prehoditch, was killed instantly in the 3am crash. The recently divorced Brown died six days later of pneumonia while still in the hospital. His ex-wife Mary Helen married Bob Wills in 1938. 

Milton and the Musical Brownies left a rich recorded legacy: 16 sides for Bluebird in 1934, and over 100 for Decca, recorded in the 15 months before Brown’s death. But live is where they really took off, with the dancers spurring them on. It’s lucky for fans of Texas string band dance music that Wills and the Playboys were there to “take it away.” There was an abundance of overshadowing, but if the Texas Playboys weren’t so thrilling for so long, Brown’s vision wouldn’t have gone as far.

Everybody wanted that swing, pioneered by the Fletcher Henderson Orchestra of the Twenties, with Louis Armstrong’s trumpet peppering the beat. In the Thirties, Georgia-born Henderson sold arrangements to Benny Goodman, who took swing to new heights of popularity. Jazz-minded rural musicians wanted to play “that hokum,” too, and the Musical Brownies showed that Texas audiences also wanted to dance to it, just like the Yankee swells did at Roseland Ballroom.

The old Texas dance halls, built by Czech and German immigrants in the years between the Civil War and World War I, were ready-made for this new exciting string band swing. The venues were so cavernous that bands had to use more instrumentation, because if there’s a word to describe what makes Texas music special, it’s “dancing.” The beat had to break through the chatter to give a template of movement to those out on the floor. It was a formula later followed by Cliff Bruner’s Texas Wanderers (featuring Moon Mullican on piano and Leo Raley on electric mandolin) and the Leon “Pappy” Selph’s Blue Ridge Playboys (Floyd Tillman, Ted Daffan), both from Houston, and San Antonio’s Adolph Hofner & the Pearl Wranglers. “Although I never had the pleasure of knowing Milton Brown, he and his band were my big inspiration,” Hofner told an interviewer. “They played jazz then, the same as New Orleans jazz, but without the horns. They did it with strings.” Even with his unfortunate first name, Hofner had the distinction of being the longest-tenured Western swing bandleader, mixing cowboy jazz with polka music from the late Thirties until the early Nineties. 

Brown and Wills met at a house party in Fort Worth in 1930 and joined forces, each bringing their own guitar player (Herman Arnspiger and Derwood Brown) to play Eagles Hall in Fort Worth as the Wills Fiddle Band. The quartet added Sleepy Johnson on banjo, and became the Aladdin Laddies when the Aladdin Lamp Company sponsored their WBAP radio show in the summer of 1930. After that deal expired, they shilled for Burrus’ Light Crust Dough, first on KFJZ, then the more powerful WBAP. In the early years of radio, record labels thought airplay would actually hurt sales and forbade most of their ’78s to be played, so almost all of the music on radio was from live performances.

Brown and Wills recorded only one ’78 together, as the Fort Worth Doughboys, for Victor in Dallas on Feb. 9, 1932. But Brown original “Sunbonnet Sue” and a cover of “Nancy Jane” by the Famous Hokum Boys (featuring Big Bill Broonzy and Georgia Tom Dorsey) didn’t further their career. Seven months later, Milton was no longer working with Bob, who left the Doughboys 11 months after that. Wills initially moved to Waco, where he called his band the Playboys, but the jilted Burrus Mills general manager W. Lee “Pappy” O’Daniel, who would go on to become Texas governor in 1939 and U.S. Senator in 1941 (defeating Lyndon Baines Johnson), did everything in his power to drive Wills out of the state. O’Daniel sued Wills in Oct. 1933 for billing his band “formerly of the Light Crust Doughboys” and lost, but kept appealing the decision. While based first in Oklahoma City and then Tulsa, the Playboys added “Texas” to their name and became the swingingest country band in the land over the next 30 plus years.

Sometimes what you go out and accomplish on your own surpasses the benefits of collaboration. Even if everyone has forgotten. Milton Brown was the Edison of Western swing and yet, perhaps because he was a singer, not an instrumentalist, he’s not suitably honored today for his mammoth musical innovations. He fell asleep at the wheel and has been unjustifiably slept on ever since, rating just a passing mention in the Ken Burns Country doc on PBS. But Bob Wills went to his grave in 1975 knowing that, at least in the beginning, his Texas Playboys followed what the Musical Brownies were laying down.


Order Ghost Notes: Pioneering Spirits of Texas Music directly from the distributor by calling 1-800-826-8911 or from Amazon.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Much-admired Chicago trumpter-composer Bob Ojeda has died at age 78 – Chicago Tribune

Much-admired Chicago trumpter-composer Bob Ojeda has died at age 78 – Chicago Tribune


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.chicagotribune.com/entertainment/music/howard-reich/ct-ent-bob-ojeda-obit-0330-20200329-js5dpck3ancmdgo2dkcdris7s4-story.html
 

Chicago trumpeter Bob Ojeda dies at 78. He was a renaissance man of jazz

Howard Reich

Chicago Tribune |

Mar 29, 2020 | 9:23 AM 

There wasn’t much in jazz that Bob Ojeda couldn’t do.

A masterful trumpeter, inventive arranger, creative composer and mentor to uncounted musicians, the Chicago artist was revered by peers and sought out by some of the greatest names in the art form.

Singers Sarah Vaughan, Carmen McRae, Peggy Lee and Lena Horne – among many others – turned to him to write arrangements and orchestrations. Bandleaders Dizzy Gillespie, Stan Kenton, Lionel Hampton and Benny Carter featured him in their trumpet sections. And after Count Basie died in 1984, Ojeda toured and recorded with the Count Basie Orchestra from 1985 to 2001, writing arrangements for that propulsive swing machine. 

Ojeda, 78, died March 26 at Elmhurst Hospital of pulmonary problems as a result of multiple surgeries, said Gil Ojeda, his brother. 

“He was just a wonderfully thoughtful and melodic improviser,” said Chicago trombonist Russ Phillips, a longtime colleague and friend. 

“He wasn’t a high-note player, but he could read anything. He was a complete player.

“I’ve played a lot of his charts over the years – they’re uniquely his, and they’re quite typically challenging but very rewarding.

“The things that make him a unique and wonderful improviser also make his arrangements unique. He brings that quirky quality to his arrangements – like maybe a hip little countermelody that’s some other tune.”

Stylistically, “He was the quintessential bop and post-bop guy,” said Chicago saxophonist Eric Schneider, referring to bebop, a virtuosic, mid-20th century idiom conceived by Charlie Parker and Gillespie. 

“Bob was a very serious player,” added Schneider. “To him, the music was serious – it could be solemn, but it wasn’t somber. Whenever he’d play, I’d hear a twinkle in his eye.”

Born Sept. 1, 1941 in Austin, Texas, Ojeda moved with his family a couple months later to Chicago, where he grew up. As a teenager he was consumed with music.

“He would go around to the (jazz) clubs when he was underage,” said Gil Ojeda. “He and a friend organized a band in the neighborhood when he was 15. He was already doing orchestration and arranging at that time.”

Bob Ojeda attended Farragut High School, but “when he was 16, he just said he wasn’t learning anything there,” said Gil Ojeda. 

As the emerging musician approached 18, Kenton – whose orchestra was one of the most ambitious, idiosyncratic and famous in jazz – recruited him.

“Stan was in town and said: ‘Bob, we’re down a horn player – are you interested in coming with us?’” said Gil Ojeda.

“They called my dad at around midnight: ‘Mr. Ojeda, we want your son to go with us tomorrow morning,’” Kenton told the elder Ojeda.

Thus began Ojeda’s whirlwind career. “By the age of 21, he had traveled almost all over the world,” said Gil Ojeda.

In the 1970s, as youth-oriented rock music overwhelmed jazz in the marketplace, Ojeda moved to Los Angeles, where he wrote arrangements for singers and composed for jingles, TV and film. He played trumpet in the rock musical “Hair” in the early 1970s and performed with the Rolling Stones in 1975, according to his website. In the 1980s, he was a staff arranger for Johnny Carson’s “The Tonight Show.” 

And though much earlier he’d had it with living out of a suitcase, he couldn’t resist the opportunity to join the Basie Orchestra in 1985, touring more than 40 weeks a year with the band and accompanying stars such as Frank Sinatra. 

For the past couple decades, Ojeda again was a significant presence in Chicago jazz.

Chicago singer-bandleader Petra van Nuis remembered first hearing him at the since-shuttered Chambers in Niles, around 2004 or 2005. 

“I was so taken with him the first night I heard him, I went up and asked how/what he practiced,” said van Nuis in an email.

“He said he liked to play along with the TV as it provided quickly changing tunes in different keys/styles/time signatures.”

Van Nuis invited Ojeda to join her Recession Seven band in 2013, the authority and musicality of his work evident to anyone lucky enough to have heard him in this setting.

“It was still Bob, but it was more filtered through Roy Eldridge than through Clifford (Brown),” said Recession Seven bandmate Schneider, meaning that Ojeda was slightly retooling his sound and style to reflect the band’s earlier period repertoire.

Ojeda’s work as orchestrator reached thousands of listeners when Chicago singer Joan Curto hired him to write scores for three massive Auditorium Theatre shows she organized: “Cole Porter 125 – A Birthday Celebration” (2016), “Ella & Lena: The Ladies and Their Music” (2017) and “Chicago Celebrates Sondheim!” (2019).

“I asked several musicians I respected a lot: Who did the best charts and orchestrations in the city of Chicago?” said Curto. “And unanimously, it was Bob Ojeda.

“He was invaluable to us. He could tell us how a song would work: How many horns, how many strings, did we need percussion? He was the leader in those decisions.”

Ojeda also was deeply involved in nurturing new generations of musicians, partly through his work with the jazz competition of the Luminarts Cultural Foundation at the Union League Club of Chicago. 

“That was one thing he really appreciated – the idea of reaching out to young players,” said Gil Ojeda.

Said trombonist Phillips, “We’re all just brokenhearted.”

In addition to Gil Ojeda, Bob Ojeda’s survivors include siblings Liz, Ron and David Ojeda, and sister Gloria Koller. 

A public memorial service will be planned after the coronavirus restrictions end, said Gil Ojeda.

Howard Reich is a Tribune critic.

hreich@chicagotribune.com

https://www.youtube.com/watch?v=PeMTHaXUc8A

Bob Ojeda documentary

Howard Reich

Howard Reich is the Tribune’s Emmy-winning arts critic; author of six books, including “The Art of Inventing Hope: Intimate Conversations with Elie Wiesel”; and writer-producer of three documentaries. He holds two honorary doctoral degrees and served on the Pulitzer music jury four times, including for the first jazz winner, “Blood on the Fields.”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Influential composer Krzysztof Penderecki dies aged 86 | Music | The Guardian

Influential composer Krzysztof Penderecki dies aged 86 | Music | The Guardian


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.theguardian.com/music/2020/mar/29/composer-krzysztof-penderecki-dies-aged-86?mc_cid=1e7e8f7865
 

Influential composer Krzysztof Penderecki dies aged 86

Polish musician won numerous awards, scored The Exorcist, and was admired by rock stars

Last modified on Mon 30 Mar 2020 03.57 EDT

 

Krzysztof Penderecki at the Kraków opera house in 2008. Krzysztof Penderecki at the Kraków opera house in 2008. Photograph: Jacek Bednarczyk/EPA

Leading composer and conductor Krzysztof Penderecki has died at the age of 86 after a long illness, his family announced this morning.

The Polish-born Penderecki was a major figure in contemporary music whose compositions reached millions through celebrated film scores, which included for William Friedkin’s The Exorcist, Stanley Kubrick’s The Shining and David Lynch’s Wild at Heart.

Penderecki’s stated aim as an avant-gardist in the early 1960s was to “liberate sound beyond all tradition”, and his emotionally charged experimental 1960 work Threnody to the Victims of Hiroshima, for 52 strings, brought him to international attention and acclaim when he was only 26. Over a long career he has also written operas, choral works and concertos, and won multiple awards, including four Grammys, most recently for best choral performance in 2016.

 

 

One of his best known fans is Radiohead’s Jonny Greenwood, who collaborated with the composer in 2012. “His pieces make such wonderful sounds,” said Greenwood. “I think a lot of people might think his work is stridently dissonant or painful on the ears. But because of the complexity of what’s happening – particularly in pieces such as Threnody and Polymorphia, and how the sounds are bouncing around the concert hall, it becomes a very beautiful experience when you’re there. It’s not like listening to feedback, and it’s not dissonant. It’s something else. It’s a celebration of so many people making music together and it’s like – wow, you’re watching that happen.”

Penderecki had been tested for coronavirus after his carer was diagnosed with the illness, but the composer’s result was negative, his daughter Beata Penderecka said.

America faces an epic choice…

… in the coming year, and the results will define the country for a generation. These are perilous times. Over the last three years, much of what the Guardian holds dear has been threatened – democracy, civility, truth. This US administration is establishing new norms of behaviour. Anger and cruelty disfigure public discourse and lying is commonplace. Truth is being chased away. But with your help we can continue to put it center stage.

Rampant disinformation, partisan news sources and social media’s tsunami of fake news is no basis on which to inform the American public in 2020. The need for a robust, independent press has never been greater, and with your support we can continue to provide fact-based reporting that offers public scrutiny and oversight. You’ve read more than 16 articles in the last four months. Our journalism is free and open for all, but it’s made possible thanks to the support we receive from readers like you across America in all 50 states.

Our journalism relies on our readers’ generosity – your financial support has meant we can keep investigating, disentangling and interrogating. It has protected our independence, which has never been so critical. We are so grateful. 

We hope you will consider supporting us today. We need your support to keep delivering quality journalism that’s open and independent. Every reader contribution, however big or small, is so valuable. Support the Guardian from as little as $1 – it only takes a minute. Thank you.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Swamp Dogg – Please Let Me Go Round Again (feat. John Prine) (Official Audio) – YouTube

Swamp Dogg – Please Let Me Go Round Again (feat. John Prine) (Official Audio) – YouTube


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.rollingstone.com/music/music-news/john-prine-covid-19-symptoms-974909/

John Prine Hospitalized With COVID-19 Symptoms: ‘His Situation Is Critical’

“John was hospitalized on Thursday,” family says in statement. “He was intubated Saturday evening, and continues to receive care”


 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Mike Longo, Jazz Pianist, Composer and Educator, Dies at 83 – The New York Times

Mike Longo, Jazz Pianist, Composer and Educator, Dies at 83 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/03/28/arts/music/mike-longo-dead.html
 

Mike Longo, Jazz Pianist, Composer and Educator, Dies at 83

By Steve Smith

March 28, 2020

Best known for his long association with Dizzy Gillespie, Mr. Longo, who died of the coronavirus, also led a big band and promoted the work of other musicians.

 

Mike Longo performing with the Dizzy Gillespie Big Band at the Tivoli Concert Hall in Copenhagen in 1968. Mr. Longo’s association with Gillespie began in 1966 and endured until shortly before Gillespie’s death in 1993. Mike Longo performing with the Dizzy Gillespie Big Band at the Tivoli Concert Hall in Copenhagen in 1968. Mr. Longo’s association with Gillespie began in 1966 and endured until shortly before Gillespie’s death in 1993.Jan Persson/Getty Images

Mike Longo, a jazz pianist, composer and educator best known for his long association with the trumpeter Dizzy Gillespie, died on March 22 in Manhattan. He was 83.

The cause was from the coronavirus, Dorothy Longo, his wife of 32 years, said.

As a musician and a composer, said Matthew Snyder, who had studied composition with Mr. Longo and played baritone saxophone with the big band he led, the New York State of the Art Jazz Ensemble, Mr. Longo “was simultaneously very earthy and also had the highest possible level of harmony and melodicism and complexity in his musical conception.”

As an educator, Mr. Longo wrote 10 books and produced four DVDs, espousing concepts he had refined while working with Mr. Gillespie. He also advocated tirelessly for other artists, engaging them for concerts and releasing their recordings on CAP (Consolidated Artists Productions), which he had established as a publishing company in 1970 and a record label in 1981.

“He took on other artists because he wanted them to have a forum to produce their own music and express their creativity,” Ms. Longo said in an email. “CAP is an umbrella organization whereby musicians produced and owned their own product, but if Mike chose to take them on, because of his reputation, he was able to get airplay and distribution.”

Born into a musical household, Mr. Longo played his first nightclub date, with the alto saxophonist Cannonball Adderley, while still in high school. After arriving in New York in 1960, he found work supporting musicians like the trumpeter Red Allen and the tenor saxophonist Coleman Hawkins at the Metropole, a Manhattan nightclub. A year later, he moved to Toronto to study with the pianist Oscar Peterson.

Returning to New York in 1962, Mr. Longo became an in-demand accompanist for singers including Nancy Wilson, Gloria Lynne and Joe Williams. In 1965 he led a house band at the New York nightclub Embers West, where he performed with a wide range of luminaries. A year later, Mr. Gillespie engaged him as his musical director and arranger, an association that would endure until 1975, and informally until shortly before Mr. Gillespie’s death in 1993.

Mr. Longo went on to perform and record solo, in duos and trios, and with the New York State of the Art Jazz Ensemble, which he founded in 1998.

“Mike’s book was roughly split between his arrangements of other tunes and his original tunes,” Mr. Snyder said of Mr. Longo’s repertoire, “and it was obvious it was all the same thing for him; even his arrangements were recompositions.”

 

Mr. Longo was still with Mr. Gillespie when he released the album “Matrix” in 1972. He would continue to perform and would record prolifically as a bandleader, arranger and composer after leaving Mr. Gillespie’s band in 1975. Mr. Longo was still with Mr. Gillespie when he released the album “Matrix” in 1972. He would continue to perform and would record prolifically as a bandleader, arranger and composer after leaving Mr. Gillespie’s band in 1975.

Michael Joseph Longo was born on March 19, 1937, in Cincinnati, to Michael Anthony Longo and Elvira Margaret (Vitello) Longo. He began to study piano with his mother, a homemaker who sang and played the piano and the organ, at age 3, starting formal lessons a year later. The family moved to Fort Lauderdale, Fla., where Mr. Longo’s father established a successful business supplying produce to stores and to restaurants while also leading bands in which he played bass.

Mr. Longo’s father hired Mr. Adderley, who was black, to play in his band at a time when racial mixing was uncommon and potentially perilous. Mr. Adderley in turn took young Mr. Longo under his wing, engaging him for church performances and, on one occasion, an engagement at Porky’s Hideaway, a Fort Lauderdale jazz club.

Mr. Longo studied classical piano at Western Kentucky University, graduating in 1959 with a B.A. in music. Offered a scholarship by the jazz magazine DownBeat, he opted instead to pursue his education on the road with a small combo, the Salt City Six, and then in New York. His studies with Mr. Peterson in Toronto, Mr. Longo recalled in a 2006 interview with the website All About Jazz, taught him “how to play piano and how to be a jazz pianist — textures, voicings, touch, time, conception, tone on the instrument.”

Mr. Longo studied composition privately with Hall Overton from 1970 to 1972 and worked prolifically as a bandleader, arranger and composer after leaving Mr. Gillespie’s employ. But his association with Mr. Gillespie would dominate much of his professional career, even offering him the opportunity to compose an orchestral work, “A World of Gillespie” (1980), which Mr. Gillespie performed with the Detroit Symphony Orchestra.

In addition to his wife, Mr. Longo is survived by a sister, Ellen.

Like Mr. Gillespie, Mr. Longo embraced the Baha’i faith, a religion that espouses the unity of all people and finds truth in multiple faith traditions. In 2004, he began leading weekly concerts at the New York City Baha’i Center in Greenwich Village. The last concert was on March 10.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Media Funhouse

Media Funhouse


jazzLogo.jpg

shem.gif
 
shem.gif

http://mediafunhouse.blogspot.com/
 

Media Funhouse

The blog for the cult Manhattan cable-access TV show that offers viewers the best in “everything from high art to low trash… and back again!” Find links to rare footage, original reviews, and reflections on pop culture and arthouse cinema.

The Milligan in his prime.

When I interviewed Unkle Ken Russell (his chosen social media handle) in 2008, I asked him a question that couldn’t be “illustrated” by the film in question, because it was under lock and key at that time on the BFI website. That film, the 1959 TV short “Portrait of a Goon” with Spike Milligan, is now available in various places online, and so I can return to the discussion about Unkle Ken, “the Richard Lester style,” and the one and only Spike Milligan.

 

Let me preface this discussion by noting my deep admiration for Lester — the two Beatles films, The Knack…The Bed Sitting Room (a dazzlingly, wonderfully weird end-of-the-world comedy based on a Milligan play), and Petulia are all seminal films of the Sixties. Although his visual/editing style, which is credited as being the “beginning of the modern music video” (since Soundies were probably the first Golden Age music videos), was not as original as it seemed in 1964. Tracing influences is something I love to do on the Funhouse TV show and on this blog, so I once again want to “follow the trail” of a style back to its inception.

 

The Goons: Sellers, Milligan, Secombe

The “Richard Lester style” seemed to appear on the scene full-blown in the Beatles’ big-screen debut, the comedy A Hard Day’s Night (1964). Lester was not unfamiliar with madcap anarchy— his first big-screen comedy was the 1959 short “The Running Jumping & Standing Still Film,” starring two of the three stars of the milestone radio comedy show, “The Goon Show,” Spike Milligan and Peter Sellers. The film was scripted by Milligan, Sellers, Mario Fabrizi, and “Dick” Lester, and is now credited as being directed by Lester and Sellers, along with the performance artist-inventor Bruce Lacey (who was profiled in a short made in 1962 called “The Preservation Man” by none other than… Unkle Ken!).

 

John Lennon was reportedly very happy Lester got the assignment to direct the Fabs’ first feature, because of his love of the Goons and his familiarity with Lester’s short. One other, sorta important figure in the Beatles’ career had an intersection with the Goons — their 1962 LP “Bridge on the River Wye” was produced by some guy named George Martin. (The cast on the LP included two younger Goon fans, Jonathan Miller and Peter Cook.)

 

 

Lester’s approach in Hard Day’s Night was what was later called “an inventory of effects” (in another context, by Marshall McLuhan). Jumpcuts, oblique angles, sped-up and slowed-down action, breaking the axis (and the fourth wall). He certainly would’ve been familiar with silent comedy (the wellspring for visual invention), avant-garde shorts, Golden Age cartoons (esp. the Looney Tunes ones), and chaotic features like Hellzapoppin’ (1941).

 

“… Standing Still Film” has a much simpler approach. All the bits take place in a field and are filmed in long shot. The only two disjunctive techniques used are speeding up the film (from silent comedy; often confused with the way the films look when shown at sound speed) and a soundtrack that clashed with what is happening onscreen (loud bird chirping noises especially seem to have come out of the avant-garde playbook). The paucity of means — the film was made for just 75 pounds — surely led to the simple, anarchic (yet simplistic on a visual level) style of the short.

 

 

 

There is one element that connects this rather “flatly” shot short to the full-blown flowerings of the Lester style with the Beatles, namely the wild imagination (and surprisingly tight scripting) of Spike Milligan, who was cited by all the important U.K. comedians of the Sixties (and many of the Seventies) as a key influence. And yes, Spike was admired and loved by hoards of British musicians as well. 

The setting of moments like the “Can’t Buy Me Love” scene —an open field — retains the “foolish behavior in open spaces” concept of “Standing Still.” This concept was openly stolen by “Laugh-In,” which, in its earliest episodes, actually had recreations of “Standing Still” gags, including a character being summoned to the camera, whereupon he is punched in the face by a hand in a boxing glove.

 

Milligan was one of two comedians who suffered for his brilliance by being “put away” for a time (the other being Jonathan Winters). At its best, his humor was absurd, non-linear and, most important, it was fast — to the extent that, even if it was scripted, it seemed ad-libbed. It’s no wonder that any filmmaker who tried to adapt his work for film and television felt they had to work in a similar groove.

 

To provide some background for the Lester/Goon connection, here is one of the surviving episodes of the TV series “A Show Called Fred” from 1956, which starred Sellers and Milligan among others (for whatever reason, the third Goon, Harry Secombe, was not included in any of the non-Goon-titled endeavors by Spike and Peter; contracts reportedly held him back, since he was a professional singer when not Goon-ing). The show is directed by one “Dick” Lester. (Born in Philly in 1932, he moved to England in 1953.)
 

 

“Fred” isn’t as miraculously weird as “The Goon Show,” but it does show Spike and company crafting a program that plays with the medium. The camera pulls back to reveal the studio during certain sketches, with other BBC cameras in view and crew members standing around. At one point (starting at 14:25) a sketch called “The Count of Monte Carlo” explodes into a weird journey one character takes off the set and around the studio, ending up in a BBC cafeteria (or a set intended to be a cafeteria).

 

To provide some context for this weirdness, we should note that other experimental humor was being presented at this time, but it was independent of Spike and he was independent of it. In America, Ernie Kovacs had been playing with the medium for several years by ’56 (but none of his work was seen in the U.K.). A closer (geographically) connection was that the Theater of the Absurd (which “A Show Named Fred” is very close to, in terms of its constant commenting on itself) had begun in earnest in 1950 France (with Ionesco’s The Bald Soprano).

 

Waiting for Godot premiered in England in 1955, but Spike’s cousin in surreal absurdity, Eugene Ionesco, didn’t have a breakthrough on the British stage until 1960, when Orson Welles staged Rhinoceros with Olivier in the lead.

 

Here is Spike’s Cathode Ray of the Absurd:

 

 

 

 

Back to Lester and the Goons: “Running Jumping…” was first shown in the U.S. in November 1959. A month later, on Dec. 6, another Milligan movie appeared, Unkle Ken’s promotional short “Portrait of a Goon,” produced for the culture program “Monitor.” The proximity of the projects makes it unlikely that either director saw the other’s work, and yet both films have an identical pace and rhythm (that of the Milligan).

 

 

The most interesting thing about comparing the Russell short and Hard Day’s Night is that they both contain jumpcuts, a technical “mistake” that became de rigueur in modernist cinema after Godard’s Breathless (1960) hit cinemas. Russell couldn’t have seen the film when he made his short. (Godard’s debut feature was released in December of 1960 in the U.K.) Certainly Ken had seen the “trick films” that grew out of Melies’ work, though, where magical images were achieved via jarring edits that severed the rules of continuity in time and space. (For his part, Lester used some of Godard’s techniques in his 1965 comedy The Knack and How to Get It.)

 

When I interviewed Unkle Ken, he was directing the off-off-Broadway show Mindgame by Anthony Horowitz at the SoHo Playhouse. At one point the Playhouse had been the Thalia Soho, which had screened a program of Russell shorts, including “Portrait of a Goon.” I was thus inspired to ask him about the short and “the Richard Lester style.”

 

 

 

 

I am very happy that the BFI finally took the short out from under lock and key and put it on their social media accounts, which led to a fan posting it on YouTube.

 

 

 

 

So, on the list of things comedic that Spike had a hand in originating, let us now add the “Richard Lester style.”

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

When TV’s Gomer Pyle Sang ‘Blowin’ in the Wind’ | Best Classic Bands

When TV’s Gomer Pyle Sang ‘Blowin’ in the Wind’ | Best Classic Bands


jazzLogo.jpg

shem.gif
 
shem.gif

https://bestclassicbands.com/gomer-pyle-blowin-in-the-wind-1-8-20/
 

In the final season of Gomer Pyle, U.S.M.C., in an episode called “Flower Power,” which ran on March 28, 1969, the Marine appeared in a scene with several hippies, including Rob Reiner, just 21 years-old when he filmed it, and actress Leigh French.

During a key period of the Vietnam War era, the military man and the young people find common ground in Bob Dylan’s “Blowin’ in the Wind.”
 

https://www.youtube.com/watch?v=HJ4–fWQDtw&feature=emb_logo

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Jazz and Copyright Law – The Syncopated Times

Jazz and Copyright Law – The Syncopated Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.rollingstone.com/music/music-news/live-from-our-living-rooms-jazz-festival-bill-frisell-chick-corea-christian-mcbride-973795/
 

Bill Frisell, Chick Corea, Christian McBride Slated for Virtual Jazz Fest

All-star lineup of performers will livestream sets as part of Live From Our Living Rooms, with proceeds going to New York musicians who have lost work due to the pandemic

March 27, 2020 11:42AM ET

The first jazz festival of the quarantine era will take place next week.

An impressive lineup of A-list names in the genre will come together virtually for Live From Our Living Rooms, an online music festival and fundraiser. Guitarist Bill Frisell, pianist Chick Corea, bassist Christian McBride, vocalist Becca Stevens and many others will livestream performances from their homes, raising money for New York musicians facing canceled shows due to the COVID-19 crisis.

Running from April 1st through April 7th, the festival will feature two nightly performances, as well as a master class and child-friendly show each day. Others scheduled to participate are the husband-and-wife duos of Joe Lovano and Judi Silvano, Linda May Han Oh and Fabian Almazan, and Antonio Sanchez and Thana Alexa, as well as saxophonist Dave Liebman, guitarist Julian Lage and many more.

The festival is the brainchild of Alexa, fellow vocalist Sirintip (who performs under her first name only), and saxophonist Owen Broder, all of whom will perform as part of Live From Our Living Rooms. Their partner in the event is MusicTalks, a nonprofit that presents chamber music in salon-style settings.

Top articles2/5READ MOREPrimavera Sound 2020 Postponed to August Due to Coronavirus Concerns

“Our inspiration to organize the Live From Our Living Rooms Festival and Fundraiser was to enable artists to collaborate from a distance with the purpose of collectively generating support for the NYC music community we deeply care about,” Alexa, Sirintip and Broder said in an email. “During a crisis that has affected us all globally, it is more important than ever to have a platform that fosters creative exchange and a way to stay connected and inspired through music.”

Popular on Rolling Stone

 

Next Up

Trent Harmon Advice On How A Performance Blunder Turned Into A Learning Moment

01:19

 

Proceeds from the festival will benefit the New York City Musicians COVID-19 Emergency Relief Fund. Musicians who have lost work due to the pandemic can apply for emergency relief via Living From Our Living Rooms, and grants will be distributed in April.

Various participants have weighed in about the importance of the festival’s cause.

“We are so proud to be a part of Live From Our Living Rooms Festival and Fundraiser to elevate the spirits and raise some well-needed funds for the inspired amazing musicians, within the Jazz Community we live in,” write Joe Lovano and Judi Silvano.

Other musicians emphasized the importance of supporting musicians in New York, a city that’s been the epicenter of the jazz world for roughly a century. “It’s paramount to keep the vibrant fabric of the NYC music community as inspired and connected as possible during these extremely challenging times,” Antonio Sanchez says.

“A main function of our music scene and us as musicians during these days is to encourage creativity and keep spirits up,” Chick Corea adds. “I cut my teeth in music in New York City from 1959 through 1975. New York City is still the hub of music and art for the planet. I’m happy to donate toward this fundraiser for currently New York-based musicians. We must keep the music fires burning brightly!”

Pianist Fabian Almazan stresses how vital it is for musicians to stay connected with their audience during the coronavirus crisis. “The world is collectively facing an indescribably daunting challenge and we need the emotional outlet that music provides to guide us,” he says. “The economic stability of artists is challenging in the best of times and now that we cannot travel to audiences around the world, it only feels right to be part of this online festival.”

For more information on the fest, visit the Live From Our Living Rooms website.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Bill Frisell, Chick Corea, and More to Appear at Virtual Jazz Fest – Rolling Stone

Bill Frisell, Chick Corea, and More to Appear at Virtual Jazz Fest – Rolling Stone


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.rollingstone.com/music/music-news/live-from-our-living-rooms-jazz-festival-bill-frisell-chick-corea-christian-mcbride-973795/
 

Bill Frisell, Chick Corea, Christian McBride Slated for Virtual Jazz Fest

All-star lineup of performers will livestream sets as part of Live From Our Living Rooms, with proceeds going to New York musicians who have lost work due to the pandemic

March 27, 2020 11:42AM ET

The first jazz festival of the quarantine era will take place next week.

An impressive lineup of A-list names in the genre will come together virtually for Live From Our Living Rooms, an online music festival and fundraiser. Guitarist Bill Frisell, pianist Chick Corea, bassist Christian McBride, vocalist Becca Stevens and many others will livestream performances from their homes, raising money for New York musicians facing canceled shows due to the COVID-19 crisis.

Running from April 1st through April 7th, the festival will feature two nightly performances, as well as a master class and child-friendly show each day. Others scheduled to participate are the husband-and-wife duos of Joe Lovano and Judi Silvano, Linda May Han Oh and Fabian Almazan, and Antonio Sanchez and Thana Alexa, as well as saxophonist Dave Liebman, guitarist Julian Lage and many more.

The festival is the brainchild of Alexa, fellow vocalist Sirintip (who performs under her first name only), and saxophonist Owen Broder, all of whom will perform as part of Live From Our Living Rooms. Their partner in the event is MusicTalks, a nonprofit that presents chamber music in salon-style settings.

Top articles2/5READ MOREPrimavera Sound 2020 Postponed to August Due to Coronavirus Concerns

“Our inspiration to organize the Live From Our Living Rooms Festival and Fundraiser was to enable artists to collaborate from a distance with the purpose of collectively generating support for the NYC music community we deeply care about,” Alexa, Sirintip and Broder said in an email. “During a crisis that has affected us all globally, it is more important than ever to have a platform that fosters creative exchange and a way to stay connected and inspired through music.”

Popular on Rolling Stone

 

Next Up

Trent Harmon Advice On How A Performance Blunder Turned Into A Learning Moment

01:19

 

Proceeds from the festival will benefit the New York City Musicians COVID-19 Emergency Relief Fund. Musicians who have lost work due to the pandemic can apply for emergency relief via Living From Our Living Rooms, and grants will be distributed in April.

Various participants have weighed in about the importance of the festival’s cause.

“We are so proud to be a part of Live From Our Living Rooms Festival and Fundraiser to elevate the spirits and raise some well-needed funds for the inspired amazing musicians, within the Jazz Community we live in,” write Joe Lovano and Judi Silvano.

Other musicians emphasized the importance of supporting musicians in New York, a city that’s been the epicenter of the jazz world for roughly a century. “It’s paramount to keep the vibrant fabric of the NYC music community as inspired and connected as possible during these extremely challenging times,” Antonio Sanchez says.

“A main function of our music scene and us as musicians during these days is to encourage creativity and keep spirits up,” Chick Corea adds. “I cut my teeth in music in New York City from 1959 through 1975. New York City is still the hub of music and art for the planet. I’m happy to donate toward this fundraiser for currently New York-based musicians. We must keep the music fires burning brightly!”

Pianist Fabian Almazan stresses how vital it is for musicians to stay connected with their audience during the coronavirus crisis. “The world is collectively facing an indescribably daunting challenge and we need the emotional outlet that music provides to guide us,” he says. “The economic stability of artists is challenging in the best of times and now that we cannot travel to audiences around the world, it only feels right to be part of this online festival.”

For more information on the fest, visit the Live From Our Living Rooms website.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Jazz Meets Rock in an Intoxicating Potion – WSJ

Jazz Meets Rock in an Intoxicating Potion – WSJ


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.wsj.com/articles/jazz-meets-rock-in-an-intoxicating-potion-11585334217
 

Jazz Meets Rock in an Intoxicating Potion

Miles Davis’s ‘Bitches Brew’ pioneered jazz fusion.

By 

John Edward Hasse 

March 27, 2020 2:36 pm ET

Miles Davis performing live onstage c. 1961/62

Photo: Redferns

Fifty years ago this month, Columbia Records issued Miles Davis’s churning “Bitches Brew,” confronting two genres of music and crystallizing a third, jazz-rock fusion. It was a potent cauldron: a quicksilver leader and 12 younger musicians improvising over rock and funk rhythms, semi-jams as long as 27 minutes, cutting-edge editing techniques, and a dreamlike Afro-futurist cover. Bold, transformative and bestselling, this double record marked a milestone for Davis and American music. 

Most innovative artists make their breakthroughs in their 20s and spend the rest of their careers exploring and burnishing their new approach. Like Picasso, Stravinsky and Frank Lloyd Wright, Davis—subject of a recent PBS/BBC documentary—repeatedly shed his style to create a new paradigm. “Isn’t it great that you can experience surprise through music?” the influential trumpeter mused to writer Kiyoshi Koyama for a set of abandoned liner notes…to what album, it’s not clear.

Davis started his career in the 1940s playing bebop, innovated a counter-bop style known as cool jazz, then became a mainstay of earthy hard bop. In the late 1950s he pioneered a modal approach in jazz, and in the 1960s he stretched further away from jazz’s conventional approach to harmony. 

In 1969, two decades after making his innovative “Birth of the Cool” recordings, and one decade after his landmark “Kind of Blue” album, the ever-restless Davis was experimenting with such electronic instruments as electric piano and electric bass and adopting groove—the rhythmic architecture or “feel” of a tune—instead of harmony, as an organizing principle.

The young audience for jazz had been shrinking as both rock and soul music drew listeners in droves. With big ears and eyes, the 43-year-old Davis was digging such acts as Sly and the Family Stone and Jimi Hendrix, intrigued by their electronics, rhythms, fashion, youth appeal and popular success.

In August 1969—just after the Woodstock Festival—Davis assembled his band for three daily sessions in which there were no separate takes, just a continuous run of the tape recorder. The players, each tightly miked, sat around Davis, who pointed at a player to start or stop. “I told the musicians that they could do anything they wanted, play anything they heard…,” said Davis to writer Quincy Troupe, “so that’s what they did.” 

The recording doubled most instruments: two players each on keyboards, reeds, bass, drums and percussion. As well as one guitar and, on two tracks, a third keyboard. His stunningly gifted sidemen included electric pianists Chick Corea, Larry Young and Joe Zawinul, soprano saxophonist Wayne Shorter, bass clarinetist Bennie Maupin, bassist Dave Holland, drummers Jack DeJohnette and Lenny White, and guitarist John McLaughlin.

The album takes you on a trip to unexpected, even mysterious places. With its layers of rhythm, collective improvisation and hard-to-detect song structures, it is always unpredictable. And it rewards relistening. 

The title track—with echoing trumpet, thrashing drums and dense rhythms—is dark, multilayered and abstract. “Spanish Key” has some of Davis’s and Mr. McLaughlin’s best playing on the album. Wayne Shorter’s “Sanctuary” is as close as the album gets to a ballad, the lonely, pensive sound of Davis’s trumpet hovering over the rhythm section, alternately quiet, busy and loud. The least outré cut, “Miles Runs the Voodoo Down,” has Davis soloing dramatically over a one-chord vamp and a James-Brown-like funky bass-and-drums dance groove. 

Whether in a studio, nightclub or concert hall, jazz’s ethos was real-time recording. This album made a radical departure from that norm. With Davis’s approval, producer Teo Macero added echo and delay and—like tape loops and cinematic jump cuts—cut and reordered passages to produce a remarkable instance of studio art. “I had carte blanche to work with the material,” Macero told Wire magazine writer Joel Lewis. Credited only as producer, Macero was also a kind of co-composer. Without the undersung Macero, there would be no “Bitches Brew.” 

The album sparked an uproar, much as another Columbia Records artist, Bob Dylan, had when he went electric in 1965. Davis’s turn to electronics, distortion and rock beats scandalized his old-guard fan base.

But “Bitches Brew” vaulted him into the youth market and such rock venues as the Fillmore, which paid handsomely. The players on the project—a wag called them “sons of ‘Bitches Brew’”—went on to power such fusion bands as Weather Report, Return to Forever, the Headhunters and the Mahavishnu Orchestra.

If you come to this album anew from such acoustic Davis recordings as “Porgy and Bess,” you may have to listen with a radically different sensibility. If you approach via rock or soul music, you’ll have to suspend any expectation of lyrics, brevity or true lead guitar. Whatever your listening experience, you’ll find “Bitches Brew” bracing. 

A half century on, “Bitches Brew” continues to fizz and fascinate.

—Mr. Hasse is curator emeritus of American music at the Smithsonian Institution. His books include “Beyond Category: The Life and Genius of Duke Ellington” (Da Capo) and “Discover Jazz” (Pearson).

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

The ‘Blurred Lines’ Case Scared Songwriters. But Its Time May Be Up. – The New York Times

The ‘Blurred Lines’ Case Scared Songwriters. But Its Time May Be Up. – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/03/24/arts/music/blurred-lines-led-zeppelin-copyright.html?campaign_id=53
 

The ‘Blurred Lines’ Case Scared Songwriters. But Its Time May Be Up.

By Ben Sisario

March 24, 2020

Decisions in copyright cases involving Led Zeppelin and Katy Perry suggest the open season on lawsuits could be coming to a close.

 

The Led Zeppelin frontman Robert Plant last year. A court of appeals upheld a jury’s verdict that Led Zeppelin’s “Stairway to Heaven” didn’t copy Spirit’s “Taurus.” The case has big implications for music copyright lawsuits. The Led Zeppelin frontman Robert Plant last year. A court of appeals upheld a jury’s verdict that Led Zeppelin’s “Stairway to Heaven” didn’t copy Spirit’s “Taurus.” The case has big implications for music copyright lawsuits.Helle Arensbak/EPA, via Shutterstock

In the five years since a federal jury decided that Robin Thicke’s hit song “Blurred Lines” had copied Marvin Gaye’s disco-era standard “Got to Give It Up,” the music industry has been in an anxious state about copyright.

That case and others raised serious questions about the legal protections available for music: When does homage become plagiarism? When does a common chord progression become one songwriter’s property? Songwriters and producers worried that their next hit could make them the target of a lawsuit.

But the tide may be changing, after two court decisions this month addressed important aspects of how copyright applies to music — and, in many cases, may make it more difficult to prove that one song copied another.

As Christine Lepera, a lawyer for Katy Perry in a recent copyright suit, put it: “The ‘Blurred Lines’ curse — its chilling effect — has been lifted.”

The catalyst is Led Zeppelin, which was accused of borrowing the pastoral opening to its 1971 classic-rock odyssey “Stairway to Heaven” from a lesser-known song, “Taurus” by the band Spirit; the two songs share a similar chord sequence and a bass line that descends along a chromatic scale. Led Zeppelin prevailed at trial, and this month the United States Court of Appeals for the Ninth Circuit upheld the jury’s verdict.

 

In a surprise decision, a judge threw out a jury&rsquo;s verdict that Katy Perry&rsquo;s &ldquo;Dark Horse&rdquo; borrowed from a Christian rap song. In a surprise decision, a judge threw out a jury’s verdict that Katy Perry’s “Dark Horse” borrowed from a Christian rap song.Daniel Pockett/Getty Images

In a footnote to its 73-page decision, the Ninth Circuit — which heard the appeal “en banc,” or as a full panel of 11 judges — also explained what constitutes illegal copying when it comes to works that involve generic or commonplace elements. In those cases, the judges said, only a minimal, or “thin,” level of copyright applies, and a plaintiff must show that a work is “virtually identical” to a defendant’s.

The author of the panel’s majority opinion, Judge M. Margaret McKeown, gave no specifics about what kinds of works may apply, just that they must be virtually identical “if the range of protectable expression is narrow.” But lawyers, and at least one judge, seized on that statement as applying to brief musical passages that may recycle common chords or melodies — exactly the situation with Perry’s hit “Dark Horse,” which a jury last summer found had infringed on an eight-note instrumental pattern in a Christian rap song.

Just a week after the Led Zeppelin decision, the judge in Perry’s case, Christina A. Snyder of Federal District Court in Los Angeles, cited the Ninth Circuit’s footnote in a ruling that threw out the “Dark Horse” jury’s verdict — and, with it, a $2.8 million damages award. Those eight notes were “not a particularly unique or rare combination,” Judge Snyder wrote, and therefore could not be protected by copyright. (Lawyers for the plaintiff, Marcus Gray, who performs under the name Flame, have said they will appeal.)

As many litigators and legal scholars see it, these decisions have quickly reset the balance of power in music copyright cases. Since “Blurred Lines,” a series of lawsuits have focused on short phrases or chunks of generic musical elements in combination; those cases may now be harder for plaintiffs to win.

 

The case involving “Blurred Lines,” by Robin Thicke, set off a string of copyright lawsuits. The case involving “Blurred Lines,” by Robin Thicke, set off a string of copyright lawsuits.Bryan Bedder/Getty Images North America

“Before Led Zeppelin’s en banc ruling, plaintiffs were on a roll,” said Joseph P. Fishman, an associate professor at the Vanderbilt Law School in Nashville. “That string of events built a narrative that successful musicians really needed to be worried about being sued. Now, with the Katy Perry verdict being thrown out only a week after the big Led Zeppelin decision, that narrative may change.”

The two decisions addressed what has become a key question as more copyright suits have focused on song fragments: what is original about them — and thus can be copyrighted — and what are basic building blocks that cannot be owned by any songwriter?

The next beneficiary may be Ed Sheeran, whose “Thinking Out Loud,” which won the Grammy for song of the year in 2016, was accused of copying another Marvin Gaye classic, “Let’s Get It On.”

As with “Stairway,” the “Thinking Out Loud” suit includes the accusation of a common chord progression — one that a musicologist who analyzed the songs on Sheeran’s behalf said is so ordinary that it appears in at least two elementary guitar instruction books.

Sheeran’s case was set to go to trial last fall in New York, but the judge paused the case pending the outcome of the Led Zeppelin appeal.

For years, lawyers have complained that the complexities of music have made judges reluctant to dismiss cases before they reach a jury. And juries struggle with the job of separating what aspects of a song are protected by copyright from those that aren’t, said Christopher J. Buccafusco, a professor at Cardozo Law School.

“Juries are often told, essentially, ‘Listen to this song — but only listen to the original parts,’” Professor Buccafusco said. “How do you do that?”

As much as the music industry has obsessed over the “Blurred Lines” case, the issue has been controversial for decades.

 

A suit involving Ed Sheeran was delayed until after the Led Zeppelin case was resolved. A suit involving Ed Sheeran was delayed until after the Led Zeppelin case was resolved.Luca Piergiovanni/EPA, via Shutterstock

“Jurisprudence in this area went off the rails as early as 1946, when the Second Circuit established that a jury of ‘lay listeners,’ rather than judges informed by expert testimony, ultimately decides questions of infringement liability,” said Charles Cronin, a visiting scholar at George Washington University Law School, referring to a famous case — famous to copyright lawyers, anyway — that involved Cole Porter’s “Don’t Fence Me In.”

By more strictly defining what can and cannot be copyrighted in musical fragments, the Led Zeppelin and Perry decisions may give judges more leeway to dismiss cases before they ever reach a jury, said Professor Fishman, of Vanderbilt.

Not all lawyers agree with that interpretation. Richard S. Busch, who won the “Blurred Lines” case for Gaye’s children, said that the “virtually identical” standard mentioned by the Ninth Circuit does not apply to music, in part because, he said, the cases cited in Judge McKeown’s footnote involved computer operating systems and the design of children’s dolls — but not music.

“Thin copyright might apply to a doll or a painting because, for example, there are just so many ways to paint a tomato,” Busch said. “Creative choices are limited. It has never applied to music because there are literally an infinite number of creative choices in creating a song.”

But other litigators said they are already expecting more difficulties in bringing music copyright cases.

Sam P. Israel, who represented a musician who sued Carrie Underwood (the case was withdrawn), called the Ninth Circuit’s decision on Led Zeppelin “deadly” for potential plaintiffs, suggesting that the pendulum had swung far.

“It’s going to have a chilling effect,” he said, “on people who want to bring a complaint.”

Music and Copyright Cases

Ben Sisario covers the music industry for The New York Times. @sisario

  1. TV, movies, pop music and more.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

2020’s National Recording Registry Entries Range From Dr. Dre To Mister Rogers : NPR

2020’s National Recording Registry Entries Range From Dr. Dre To Mister Rogers : NPR


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.npr.org/2020/03/25/821390228/national-recording-registry-announces-2020-entries-from-dr-dre-to-mister-rogers
 

National Recording Registry Announces 2020 Entries, From Dr. Dre To Mister Rogers

March 25, 202012:37 PM ET

Dr. Dre’s The Chronic was one of this year’s 25 additions to the Library of Congress’ National Recording Registry, alongside the theme song to Mister Rogers’ Neighborhood and music by Tina Turner.

Mike Coppola/Getty Images

Updated March 25, 3:11 p.m. ET.

The National Recording Registry was founded in 2000 by the Library of Congress to showcase the breadth and depth of American sound. Every year, 25 recordings are picked to be preserved for posterity.

This year, Librarian of Congress Carla Hayden called the selections “the ultimate stay at home playlist.” The entries, culled from a list of over 800 possibilities, include the original cast recording of the 1964 musical Fiddler on the Roofstarring Zero Mostel; the 1978 disco classic “Y.M.C.A.“; Tina Turner’s 1984 pop hit “Private Dancer“; and a 1951 broadcast of a nail-biter of a baseball game between the Brooklyn Dodgers and the New York Giants, with Jackie Robinson at bat. They go all the way back to a ferocious 1927 spoken-word recording made by Italian Americans in response to the execution of anarchists Nicola Sacco and Bartolomeo Vanzetti, and all the way up to a contemporary rap classic: Dr. Dre’s The Chronic, from 1992.

But the most comforting recording in this year’s list is indisputably the theme song to the beloved PBS children’s show, Mister Rogers’ Neighborhood.

 

 

YouTube

Here’s the full list of the 25 recordings:

  1. “Whispering” (single), Paul Whiteman and his Orchestra (1920)
  2. “Protesta per Sacco e Vanzetti,” Compagnia Columbia; “Sacco e Vanzetti,” Raoul Romito (1927)
  3. “La Chicharronera” (single), Narciso Martinez and Santiago Almeida (1936)
  4. “Arch Oboler’s Plays” episode “The Bathysphere.” (Nov. 18, 1939)
  5. “Me and My Chauffeur Blues” (single), Memphis Minnie (1941)
  6. The 1951 National League tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)
  7. Puccini’s Tosca (album), Maria Callas, Giuseppe di Stefano, Angelo Mercuriali, Tito Gobbi, Melchiorre Luise, Dario Caselli, Victor de Sabata (1953)
  8. “Hello Muddah, Hello Fadduh” (single), Allan Sherman (1963)
  9. WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy assassination, Boston Symphony Orchestra (1963)
  10. Fiddler on the Roof (album), original Broadway cast (1964)
  11. “Make the World Go Away” (single), Eddy Arnold (1965)
  12. Hiromi Lorraine Sakata Collection of Afghan Traditional Music (1966-67; 1971-73)
  13. “Wichita Lineman” (single), Glen Campbell (1968)
  14. Dusty in Memphis (album), Dusty Springfield (1969)
  15. Mister Rogers Sings 21 Favorite Songs From Mister Rogers’ Neighborhood(album), Fred Rogers (1973)
  16. Cheap Trick at Budokan (album), Cheap Trick (1978)
  17. Holst: Suite No. 1 in E-Flat, Suite No. 2 in F / Handel: Music for the Royal Fireworks / Bach: Fantasia in G (Special Edition Audiophile Pressing album), Frederick Fennell and the Cleveland Symphonic Winds (1978)
  18. “Y.M.C.A.” (single), Village People (1978)
  19. A Feather on the Breath of God (album), Gothic Voices; Christopher Page, conductor; Hildegard von Bingen, composer (1982)
  20. Private Dancer (album), Tina Turner (1984)
  21. Ven Conmigo (album), Selena (1990)
  22. The Chronic (album), Dr. Dre (1992)
  23. “I Will Always Love You” (single), Whitney Houston (1992)
  24. Concert in the Garden (album), Maria Schneider Orchestra (2004)
  25. Percussion Concerto (album), Colin Currie (2008)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

‘social distancing’ rules applied to iconic album covers

‘social distancing’ rules applied to iconic album covers


jazzLogo.jpg

shem.gif
 
shem.gif

 

https://www.designboom.com/design/social-distancing-album-covers-the-beatles-abbey-road-activista-03-24-2020/
 

‘social distancing’ applied to iconic album covers like the beatles’ abbey road

creative duo paco conde and beto fernandez have reimagined photographyfrom a series of album sleeves to reflect the realities of social distancing.the project, called ‘6 feet covers’, features iconic artwork including the beatles’ ‘abbey road’ cover and blondie’s 1976 debut album.

'social distancing' applied to iconic album covers like the beatles' abbey road

images courtesy of paco conde and beto fernandez / activista via 6 feet covers

the abbey road cover now sees band members george harrison, paul mccartney, ringo starr and john lennon separated by lengths as they cross the street. meanwhile, other covers show members of blondie, u2, ramones and queen, all keeping a safe distance from each other.

social distancing applied to iconic album covers including the beatles' abbey road

conde and fernandez have created a dedicated site that allows visitors to see ‘before’ and ‘after’ versions of the art. the hope is that the message of social distancing will mobilize people to take a moment and think about the consequences of getting to close one another during the coronavirus pandemic.

social distancing applied to iconic album covers including the beatles' abbey road

the idea is to maintain a distance between you and other people — meaning to stay at home, and minimize contact with people as much as possible. avoid public transportation whenever possible, limit nonessential travel, and work from home.

social distancing applied to iconic album covers including the beatles' abbey road

‘as creators, we have always used our ideas to help brands provoke real change,’ conde said in an interview with adage. ‘now more than ever, all of us need to use our talent, skills, experience resources or expertise to help beat coronavirus and its consequences. it shouldn’t be a trend, but an obligation.’

social distancing applied to iconic album covers including the beatles' abbey road

art director paco conde and copywriter beto fernandez are the co-founders of socially-minded creative shop activista in LA. together, they have executed campaigns for brands including absolut, dove and burger king. they have also been recognized by adage and the cannes report amongst the most awarded creative directors in the world.

'social distancing' applied to iconic album covers like the beatles' abbey road

'social distancing' applied to iconic album covers like the beatles' abbey road

'social distancing' applied to iconic album covers like the beatles' abbey road

'social distancing' applied to iconic album covers like the beatles' abbey road

project info

company: activista
project: 6 feet covers

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Manu Dibango – Soul Makossa (Full Album) – YouTube

Manu Dibango – Soul Makossa (Full Album) – YouTube


jazzLogo.jpg

shem.gif
 
shem.gif

When this record came out back in 1972 I was working for Cox Records Flatbush & 7th Ave right next door to the John’s Bargain Store right by the 7th Ave subway entrance.

The Soul Makossa was a dance hit so the DJs were coming in asking for it.

The record wasn’t commercially available in the States so bootlegs for the 45 were going for $25 back then.

R.I.P. Manu Dibango

https://www.youtube.com/watch?v=4-pkgVyhIuU

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Aurlus Mabele, Congolese King of Soukous Music, Dies at 66 – The New York Times

Aurlus Mabele, Congolese King of Soukous Music, Dies at 66 – The New York Times


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.nytimes.com/2020/03/23/world/africa/aurlus-mabele-dead-coronavirus.html?action=click
 

Aurlus Mabele, Congolese King of Soukous Music, Dies at 66

By Abdi Latif Dahir

March 23, 2020

His up-tempo hits and high-wattage performances were highlighted by spectacular dance moves. He contracted the coronavirus and died in Paris.

 

An album cover by Aurlus Mabele and his band Loketo. The band thrived on soukous, which blends traditional African and Caribbean rhythms with pop and soul. The word soukous is derived from &ldquo;secouer,&rdquo; which means &ldquo;to shake&rdquo; in French. An album cover by Aurlus Mabele and his band Loketo. The band thrived on soukous, which blends traditional African and Caribbean rhythms with pop and soul. The word soukous is derived from “secouer,” which means “to shake” in French.

Aurlus Mabele, the Congolese singer who was called “the king of soukous,” the energetic dance hall music that blends traditional African and Caribbean rhythms with pop and soul, died on Thursday in Paris. He was 66.

His death, at a hospital, was confirmed by his daughter, the singer Liza Monet, who said her father had contracted the coronavirus. He had had a stroke a few years ago and had been in fragile health.

The coronavirus pandemic has continued to surge in France, with more than 16,000 cases and almost 700 deaths as of Monday.

Mr. Mabele rose to fame across Africa in the 1970s and ’80s with his up-tempo hits and high-wattage performances highlighted by spectacular dance moves. In his early 20s he founded the musical group Les Ndimbola Lokole in Brazzaville, the capital of the Republic of Congo, gaining popularity with recordings of songs like “Waka Waka” and “Zebola.”

After moving to France in the 1980s, he helped start the band Loketo, which means “hips” in Lingala, the language spoken in parts of both the Republic of Congo and the Democratic Republic of Congo. As the group’s lead singer, Mr. Mabele worked alongside the renowned guitarist Diblo Dibala.

The band thrived on developing and playing soukous, a modern variation of the Congolese rumba music. The word soukous is derived from the French word “secouer,” which means “to shake,” and as Mr. Mabele’s band Loketo gained fame, the genre took hold in dance halls around the world, including in France.

Before breaking up in the 1990s, the band recorded bouncy songs like “Extra Ball,” “Douce Isabelle” and “Choc a Distance” and sold millions of albums worldwide. The group toured Africa, Europe, the Caribbean and the United States.

Performing in Lower Manhattan at the club S.O.B.’s (for Sound of Brazil) in 1989, Loketo “did what it does best: packed the dance floor,” Peter Watrous wrote in his review in The New York Times.

“And while the show had its visual side — two women came out and invited audience members to bump and grind onstage with them — it was the intense interlocking of instruments, feeding off Diblo’s guitar figures, that kept the music effective,” Mr. Watrous added. “Like a mosaic, each little part contributed to a bright, gleaming whole that added up to a wicked dance machine.”

Mr. Mabele was born Aurélien Miatsonama on Oct. 24, 1953, in Brazzaville. In addition to Ms. Monet (who was born Alexandra Marie), his survivors include 12 other children.

His death drew messages of condolence from around the world. Mav Cacharel, a member of Loketo, said on Facebook, “May the peace and protection of the Lord remain in us.”

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

Saxophonist Manu Dibango dies in France of COVID-19 | Euronews

Saxophonist Manu Dibango dies in France of COVID-19 | Euronews


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.euronews.com/2020/03/24/saxophonist-manu-dibango-dies-in-france-of-covid-19
 

Saxophonist Manu Dibango dies in France of COVID-19

•  last updated: 24/03/2020 – 10:56

Saxophonist Manu Dibango dies in France of COVID-19
Copyright  Sia Kambou/AFP

Iconic Cameroonian saxophonist Manu Dibango has died aged 86 from complications due to COVID-19.

“His funeral service will be held in strict privacy, and a tribute to his memory will be organised when possible,” a message posted to his official Facebook account read.

The Afro-jazz artist created the famous world music tune “Soul Makossa”. He then reportedly sued Michael Jackson for taking one of the tune’s lines “mama say mama sa mama coosa” for a track on his “Thriller” album.

According to AFP, a financial agreement was eventually settled over the use of the line in the Jackson song “Wanna be starting something”.

The line also appears in the Rihanna song “Please don’t stop the music”.

Dibango was born in 1933 in Douala, Cameroon. He moved to France in 1949 where he discovered jazz music.

Just last week, a message on his Facebook said that he was recovering from the virus.

“He can’t wait to meet you again soon, and in those troubled times we all go through, wants you to take very good care of yourselves,” the message read.

 

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

slide

HERBIE MANN Kabuki Rock w/Eric Weissberg – YouTube

HERBIE MANN Kabuki Rock w/Eric Weissberg – YouTube


jazzLogo.jpg

shem.gif
 
shem.gif

https://www.youtube.com/watch?v=bwDanuvqQF0

Kabuki Rock

Bass – Miroslav VitousRon CarterGuitar – Eric WeissbergRichie Resnicoff*, Sonny SharrockWritten-By – William S. Fischer

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO
 


Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2020 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990

Add us to your address book

Call Now Button