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‘Jazz was the catalyst for change’: Jim Marshall’s images of 60s festivals

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https://www.theguardian.com/artanddesign/2016/sep/03/jazz-festival-rock-jim-marshall-photographer-monterey-newport

Photography (https://www.theguardian.com/artanddesign/photography)
The Observer (http://observer.theguardian.com/)

** ‘Jazz was the catalyst for change’: Jim Marshall’s images of 60s festivals
————————————————————

Photographer Jim Marshall is known for iconic images of 60s rock stars. But his first great portraits were of the giants of jazz, captured on the eve of the civil rights era

Miles Davis in conversation with actor Steve McQueen, backstage at the 1963 Monterey jazz festival. Photograph: © Jim Marshall Photography LLC

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September 5, 2016 / No Comments / More

Charles Davis obituary | Music | The Guardian

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https://www.theguardian.com/music/2016/jul/27/charles-davis-obituary

Charles Davis obituary
By Peter Vacher

Charles Davis said he was ‘brought up on Basie and Ellington’

The saxophonist Charles Davis, who has died aged 83, forged his bracing, bebop tenor saxophone style in Chicago’s clubs and jam sessions, but it was only when he began to specialise on the more cumbersome baritone that he found his true voice and gained wider international recognition.

It was his instrumental command and solo fluency on baritone that brought Davis several recording opportunities and led band leaders as varied as the trumpeter Clark Terry (https://www.theguardian.com/music/2015/feb/22/clark-terry) and jazz mystic Sun Ra to recruit him for their touring orchestras. It also led to Davis combining with Gary Smulyan and Ronnie Cuber in the memorable Three Baritone Saxophone Band which played Ronnie Scott’s in 1998 – my own first encounter with the majesty of his playing.

Latterly, Davis had returned to the tenor saxophone as his main instrument, fronting his own quartet and playing with the all-star Jimmy Heath big band while still taking the occasional tour with Marshall Allen’s Sun Ra Arkestra.

Davis was born in Goodman, Mississippi, during a period of marked African- American repression and unrest, to Lindsey Davis and his wife, Vernell (nee Coleman). By 1936 he had relocated with his mother to Chicago’s South Side, then the destination of choice for black southerners seeking a better life.

Initially Davis was sent away to St Benedict’s, a Catholic boarding school in Milwaukee, before entering the celebrated DuSable high school in Chicago in 1949. There he came under the eagle eye of Captain Walter Dyett, whose music instruction had been crucial in shaping the careers of many African-American musicians and entertainers including Dinah Washington and Nat Cole. Davis said he was “brought up on Basie and Ellington”, and recalled his mother taking him to see all the great black bands of the day at the city’s Regal theater, citing her enthusiasm for Louis Jordan and Lionel Hampton, while he stayed starry-eyed at the sight of the bebop pioneer Charlie Parker with Jay McShann’s band in 1942.

“I remember him playing a solo and it brought down the house,” he told me in 2008. Davis also studied formally at the Chicago School of Music for three years and received private tuition from John Hauser from 1951 onwards.

Charles Davis Quintet – For us – Jamboree, Barcelona (https://www.youtube.com/watch?v=DI55PihrCH0)

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Having already worked with the organist Brother Jack McDuff, Davis was called by a local bandleader, Al Smith, in 1956 to back the singer Billie Holiday at Budland in Chicago, alongside the featured tenor saxophonist and former Ellington star Ben Webster. This prestigious job lasted two months, after which Davis went on the road with the New Orleans R&B singer Clarence “Frogman” Henry. As a result he gained his first glimpse of New York. “He was a protege of Fats Domino,” Davis recalled. He then spent the next two years touring and recording with Washington, then riding high, in a band stuffed with graduates of DuSable and run by the tenor saxophonist Eddie Chamblee.

It was during this time that he started collaborating with Sun Ra (formerly Sonny Blount) – he told me that they shared a common interest in bebop. He was in and out of the space man’s ensemble ever after, appearing in London with the band (now under the saxophonist Allen’s direction) and broadcasting on the BBC as recently as in June 2014.

By 1959, Davis had relocated permanently to New York, then as now the jazz musicians’ mecca, and formed an enduring association with the innovative hard-bop trumpeter Kenny Dorham, their quintets gaining lengthy residencies and recording regularly. When I asked him which musicians he missed most, it was Dorham, who died in 1972, who came to mind instantly.

In what was both a halcyon period for modern jazz in New York and for Davis personally, he began to play or record with every soloist of consequence, including John Coltrane, Philly Joe Jones and Dizzy Gillespie, while taking extended European tours with the Thad Jones/Mel Lewis Orchestra, the Clark Terry Big Bad Band (playing London memorably in 1977) and with Abdullah Ibrahim in both Europe and Africa, and making an array of solo appearances at international festivals and clubs. He also formed many short-lived combos to play club dates in New York, one critic describing him as “getting a gurgling, darkly tinged sound” on the baritone.

“The most impressive of the handful of important new baritone saxophonists who have come to prominence during the 1960s,” according to the critic Leonard Feather, Davis won the DownBeat International Jazz Critics Poll for baritone saxophone in 1964. Jazz (https://www.theguardian.com/music/jazz) performance was, he said, “a way of life. You can’t fake your way through it.”

Davis is survived by the children and grandchildren from his first marriage, which ended in divorce. His second wife, Lori Davis (nee Samet), died in 2012. His final recording, issued in 2014, was named For the Love of Lori.

• Charles Davis, jazz saxophonist, composer and educator, born 20 May 1933; died 15 July 2016

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September 4, 2016 / No Comments / More

Charles Davis obituary | Music | The Guardian

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https://www.theguardian.com/music/2016/jul/27/charles-davis-obituary

Charles Davis obituary
By Peter Vacher

Charles Davis said he was ‘brought up on Basie and Ellington’

Charles Davis Quintet – For us – Jamboree, Barcelona (https://www.youtube.com/watch?v=DI55PihrCH0)

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• Charles Davis, jazz saxophonist, composer and educator, born 20 May 1933; died 15 July 2016

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September 4, 2016 / No Comments / More

Watch: Record Shopping with Sheila Jordan – YouTube

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September 1, 2016 / No Comments / More

Watch: Record Shopping with Sheila Jordan – YouTube

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September 1, 2016 / No Comments / More

Jazz saxophonist Bob Kindred dead at age 76 | KRBD

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http://www.krbd.org/2016/08/24/jazz-saxophonist-bob-kindred-dead-at-age-76/

Jazz saxophonist Bob Kindred dead at age 76

by Maria Dudzak (http://www.krbd.org/author/mariad/)

Bob Kindred

Jazz saxophonist Bob Kindred died August 15th in Nashville, Tennessee. He was 76. Kindred was well known in the Ketchikan jazz community, performing at First City Players Jazz and Cabaret Festival for more than a dozen years. Several Ketchikanites who knew Kindred shared their memories of him.

Bob Kindred was best known as a tenor saxophone player, but his first instrument was the clarinet. His father did not want him to pursue a career in music, so Kindred studied business and had a successful business career. At the age of 30, he heard Phil Woods in concert and decided to take up playing again. He studied with Woods for several years. At a time when the popularity of big band music was fading, Kindred was able to succeed, playing with the Glenn Miller and Woody Herman tribute bands, among others.
Since the early ‘90s, local theater group, First City Players, has held jazz and cabaret workshops. Elizabeth Nelson, Artistic Director of First City Players, says Anne Phillips was brought in about 1999 or 2000 to conduct vocal workshops. Phillips was married to Kindred at the time, and suggested he come the next year to conduct instrumental workshops. Nelson says the instrumental workshops lasted only a few years, but Kindred continued to return, backing vocalists.
“It was an astounding thing to listen to. When he was at his best, to sing with him, it was really having a conversation. It was just a musical conversation and he would listen to every single way you would inflect a lyric and he could answer that back sensitively. Really just beautiful in that way.”

Nelson says during jazz and cabaret week, guest artists visit the local elementary schools.
“He could be so much fun. He could make the kids laugh. The last day, when we do the concert for the school, we always bring our guest artists in, so Bob would be part of that, and would just make the kids giggle with the sounds he could make through his saxophone and then they would just be rapt when he would play.”
In 2010, guest artists Bob Kindred, Anne Phillips, Paul Meyers and Matt Perri were recognized as honorary citizens of Ketchikan for their work in the schools and contributions to the jazz community. The proclamation was signed by City Mayor Lew Williams III.
Baritone saxophonist Lynn Caldwell recalls first meeting Kindred. Caldwell was in his garage playing when there was a knock on the door at about 9 pm.
http://krbd-org.s3.amazonaws.com/wp-content/uploads/2016/08/Proclamation-e1472075468761.jpg
A copy of the proclamation honoring Jazz and Cabaret Week and guest artists.
“He said, ‘I heard some baritone sax in here. Are you kidding me?’ Those were his exact words. ‘Are you kidding me?’ He was truly blown away by the fact that he comes to Ketchikan, he’s living right there, no clue at all there was even a baritone sax player in town.”
Kindred was staying at a bed and breakfast across the street and had heard Caldwell playing. They became fast friends and played together often, Kindred on the tenor saxophone, and Caldwell on the baritone. Caldwell says he had never played with a professional musician before, and learned a lot from Kindred.
“He taught me so much about the instrument – about mouth pieces, about reeds, about breath control. He couldn’t practice for me, and I was still being lazy about learning scales and chords, but it really improved my playing. Particularly the sound. That’s all I really cared about anyway. I loved the sound of the baritone.”
Caldwell says Kindred had cancer about 20 years ago and wasn’t expected to live more than 10 years. He says Kindred had many other health issues, made worse by a drinking problem and bad habits.
“He didn’t complain much. A lot of people didn’t even know those things about him. But it seems like it was such a waste for this great man to not be able to make more of a contribution than he was by getting his life under control.”
Trumpet player Dale Curtis met Bob Kindred and Anne Phillips at the Fairbanks Summer Arts Festival. When they came to Ketchikan, Curtis played with Kindred in the Jazz and Cabaret Festival band. They also would just get together to play.
“I’ve been playing my whole life, and I’ve got a lot of professional experience, and I know a lot of tunes, and so does he. We’d just get together and play these tunes that we both know, and we both had such a similar style. For me it was really easy, phrasing, and I kind of knew what he was going to do. It made it easy.”
In 2011, Curtis recorded an album “Bridge to Nowhere,” at Bennett Studios in New Jersey. The members of the Dale Curtis Quintet were Curtis, guitarist Paul Meyers, bass player Christian Fabian, drummer Ed Littlefield, and Kindred on saxophone and clarinet.
“He asked me if he could do this song called ‘Tenderly’ by himself. So I let him do that and I’m glad I did because it’s just amazing, his approach to that. Such a beautiful player and beautiful guy. He will be missed.”
(music under)
“He was always so gracious and so kind to other musicians. A good man.”
Kindred lived in New York for many years but moved to Nashville about two years ago. Curtis says he spoke with Kindred about a month ago and, despite his health problems, Kindred continued playing and was still booking gigs.

Bob Kindred Memorial
Honoring the life and music of Bob Kindred (1940-2016)
With The Steve LaSpina Trio, Ron Affif, Matthew Fries, and all who would like to sit-in.   
Sunday Brunch
October 2, 2016
12:30 – 3:30 pm   
Café Loup 105 West 13th St. NYC

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September 1, 2016 / No Comments / More

Jazz saxophonist Bob Kindred dead at age 76 | KRBD

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http://www.krbd.org/2016/08/24/jazz-saxophonist-bob-kindred-dead-at-age-76/

Jazz saxophonist Bob Kindred dead at age 76

by Maria Dudzak (http://www.krbd.org/author/mariad/)

Bob Kindred

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September 1, 2016 / No Comments / More

Bucky Pizzeria w/special guests- YouTube

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Les Paul, Tal Farlow, Bucky Pizzarelli (4 of 4) – C Jam Blues
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August 30, 2016 / No Comments / More

Bucky Pizzeria w/special guests- YouTube

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Les Paul, Tal Farlow, Bucky Pizzarelli (4 of 4) – C Jam Blues
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Bucky Pizzeria w/special guests- YouTube

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Les Paul, Tal Farlow, Bucky Pizzarelli (4 of 4) – C Jam Blues
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August 30, 2016 / No Comments / More

How a Court Decision on Remastering Could Disrupt Copyright Law

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http://www.digitalmusicnews.com/2016/08/29/decision-remastering-disrupt-copyright/

How a Court Decision on Remastering Could Completely Change Copyright Law

Record companies and recording artists should take heed – according to at least one federal judge, sound engineers are performing copyrightable work when they digitally remaster old recordings.

Michael Poster (http://www.digitalmusicnews.com/author/mposter/) August 29, 2016

The following guest post comes from Michelman & Robinson attorney Michael Poster, as well as Victor Sapphire, Joshua Blechner. Michelman is one of two firms originally launching class action lawsuits against Spotify for failure to pay mechanical licenses.
A Federal District Court in California has determined (http://www.digitalmusicnews.com/2016/06/02/cbs-wins-lawsuit-over-pre-1972-songs/) that remastered versions of pre-1972 recordings are entitled to federal copyright protection separate from the original recording. The Court found that there was enough originality in the remastering process for a remastered digital version of a pre-1972 recording to be copyrightable as a “derivative work.”
The case in question is ABS Entertainment Inc. v. CBS Corp. et al., case number 2:15-cv- 06257, in the U.S. District Court for the Central District of California. CBS, one of the largest radio operators in the country, is one of several companies to be sued in recent years for refusing to pay royalties to the owners of pre-1972 recordings. This has long been a legal gray area because songs recorded prior to 1972 are protected by a patchwork of state laws rather than federal copyright law.
As such, this decision was probably intended to clarify a murky corner of the music copyright landscape. However, the significant implications of this decision generate a host of new questions regarding the future of music copyright law.
The Curious Case of Pre-1972 Sound Recordings
The Sound Recording Act of 1971 (Pub. L. No. 92-140, 85 Stat. 391) (the “Act”) granted new copyright protection to sound recordings made after February 15, 1972, separate from the underlying compositions which had long received copyright protection (see 17 U.S.C. §§ 101, 102). Following passage of the Act, post-1972 sound recording copyright holders were required to grant a compulsory license for the performance of these recordings (see 17 U.S.C. § 114). However, there were no royalties payable for the use of these recordings in terrestrial radio. Later changes to U.S. copyright law resulted in royalties for compulsory licenses for performances via satellite radio, Internet-based webcasting, and certain other streaming uses.
Pre-1972 sound recordings were not granted federal protection nor were they included in the compulsory license scheme. Instead, these recordings were only protected under non-uniform state laws. In California, for example, these rights are protected by Cal. Civ. Code § 980(a)(2), which protects an exclusive public performance right in the sound recordings. The implication is that radio stations that broadcast pre-1972 songs without permission could be liable for copyright infringement under state law.
In ABS Entertainment Inc. v. CBS Corp, CBS Radio was sued by four record companies in relation to 175 songs for violation of California copyrights.
(1) ABS Entertainment, Inc. (“ABS”), the owner of sound recordings made by Al Green, Willie Mitchell, Ace Cannon, and Otis Clay;
(2) Barnaby Records, Inc. (“Barnaby”) the owner of sound recordings made by Andy Williams, Johnny Tillotson, The Everly Brothers, Lenny Welch, Ray Stevens, and The Chordettes;
(3) Brunswick Record Corporation (“Brunswick”), the owner of sound recordings made by Jackie Wilson, The Chi-Lites, The Lost Generation, The Young-Holy Unlimited, and Tyrone Davis; and
(4) Malaco, Inc. (“Malaco”), the owner of sound recordings made by King Floyd, Mahalia Jackson, and The Cellos.
A Question of Originality
CBS argued that it was not performing the plaintiffs’ pre-1972 sound recordings, but rather post-1972 remastered digital versions of these recordings. These remastered versions, according to CBS, were separately copyrightable works created after 1972 and were therefore subject to the compulsory licensing system created under the Act (and therefore not subject to state law protections).
The court framed the central questions of the case as “whether a sound engineer’s remastering of a pre-1972 sound recording – through subjectively and artistically altering the work’s timbre, spatial imagery, sound balance, and loudness range, but otherwise leaving the work unedited – is entitled to federal copyright protection.”
To resolve this dispute, the Court relied on bedrock principles of copyright law. “The sine qua non of copyright is originality.” (Feist Publications, Inc. v. Rural Tel. Serv. Co., 499 U.S. 340, 345, 111 S. Ct. 1282, 1287, 113 L. Ed. 2d 358 (1991)). The degree of creativity need only be “minimal” or “extremely low; even a slight amount will suffice.” Id. The requisite originality does not increase when the new copyrightable work is derivative of a pre-existing work (see Schrock v. Learning Curve Int’l, Inc., 586 F.3d 513, 521 (7th Cir. 2009) (holding that “the originality requirement for derivative works is not more demanding than the originality requirement for other works”).
However, “the variation from the original must be sufficient to render the derivative work distinguishable from its prior work in a [] meaningful manner (Mass. Museum of Contemporary Art Found., Inc. v. Buchel, 593 F.3d 38, 65 (1st Cir. 2010) (internal quotations omitted)).
To ascertain “whether a derivative work meets copyright law’s fundamental requirement of originality,” the Ninth Circuit requires a showing that: “(1) the original aspects of a derivative work must be more than trivial and (2) the original aspects of a derivative work must reflect the degree to which it relies on preexisting material and must not in any way affect the scope of any copyright protection in that preexisting material.” (U.S. Auto Parts Network, Inc. v. Parts Geek, LLC, 692 F.3d 1009, 1016 (9th Cir 2012)). “In some cases, the editing of a previously recorded work may in itself involve such originality as to command copyright, as where it involves such acts as equalizing, changing the highs and lows, providing more bass and treble, adding echo, or abridging by making discretionary and not obvious internal cuts.” (Pryor v. Jean, No. CV 13-02867 DDP (AJWx), 2014 WL 5023088 at *4 (C.D. Cal. Oct. 8, 2014) (quoting 1 Melville B. Nimmer and David Nimmer, Nimmer on
Copyright § 2.10[A][2][b])).
The focus of the Court’s analysis of originality was United States Copyright Office’s Circular No. 56, Copyright Registration for Sound Recordings (“Circular 56”), which details derivative works for sound recordings. The pamphlet notes, in part, that “The preexisting recorded sounds must have been rearranged, remixed, or otherwise altered in sequence or character, or there must be some additional new sounds. Further, the new or revised sounds must contain at least a minimum amount of original sound recording authorship,” and “Mechanical changes or processes applied to a sound recording, such as a change in format, declicking, and noise reduction, generally do not represent enough original authorship to be registered.”
Significant Alterations
Plaintiffs focused their argument on the language requiring a minimum amount of original authorship. CBS focused instead on the fact that sound recordings can be altered in character. Based on this phrase, CBS argued that the sound recordings they broadcast were not the original pre-1972 recordings, but were in fact post-1972 remastered recordings that were entitled to post-1972 federal copyright protection. The remastered recording, CBS argued, were altered in character enough to be considered a derivative work.
To bolster their argument, CBS introduced evidence that the recordings played on air were actually not pre-1972 recordings. They introduced expert testimony from a sound engineer that worked on remastering some of the songs as well as a forensic audiologist. The sound engineer explained that each remastering has its own unique take on the original song, including making “significant and noticeable alterations and modifications to the acoustic properties of the recordings.”
The forensic audiologist agreed that remastering does involve a level of creativity that creates new works. He examined 57 works that CBS had saved on their server of the actual recordings they broadcast. He found that each one of them differed from the original sound recordings by “ timbre, spatial imagery, sound balance, and loudness range.” In fact, he found that CBS had at times even played different remastered recordings of the same songs.
The court also knocked Plaintiffs’ expert’s method of examining the recordings “by performing waveform and spectral analysis, as well as critically listening to them – a technique which is unexplained in Mr. Geluso’s declaration but appears to involve listening while also paying attention.” Plaintiffs’ expert seemed to switch methodology mid-testing and could not provide concrete examples during his deposition. The court found that his methodology was not scientific and he could not be considered an adequate expert.
Without the benefit of their expert, plaintiffs were unable to show a genuine issue of material fact so as to block summary judgment. The court also noted that the Plaintiffs’ expert agreed with CBS’s expert that the “remastering process requires subjective choices, involving matters of taste, which alter perceptible aspects of a sound recording.” Plaintiffs even agreed “that a sound engineer’s choices made during the remastering process are creative and subjective.”
The Court decided the case on summary judgment without oral argument, ultimately siding with CBS that the remastering was unique enough to warrant new copyright protection under the post-1972 regime. “For example, for Ace Cannon’s “Tuff,” Dr. Begault found that the CBS version had additional reverberation, was played in a different musical key and at a faster tempo, and differed in the musical performance. Additionally, many of the remastered versions included different channel assignments and adjustments in equalization.”
The court did caution, however, that the ultimate rights do sit with the holder of the copyright in a sound recording. This means the copyright holder has the control when having a work remastered to restrict and maintain the copyright of the remastered version of the song.
A New Frontier
This decision raises many questions, and the music industry will no doubt keep a close eye on this case (should it be appealed), as well as matters in other jurisdictions. For instance, does this mean that copyright holders of sound recordings can extend their copyrights indefinitely by simply remastering the recordings at some point before the works become public domain?
Similarly, does this decision present a defense to accused infringers that the alleged infringement involved a “recording” that was actually a remastered work, and thus there is no standing to sue? Moreover, it raises fundamental questions about whether mastering or remastering engineers can be considered “authors,” raising issues about joint ownership, licensing authority and other concerns.
In addition, the implications of the decision may affect the exercise of termination rights regarding sound recordings (which has not been tested in the courts to date) since the remastering of a sound recording may call into question the date of the copyright (which affects the timing of termination rights) and the scope of the termination.
Cases currently pending could test this unique theory: CBS has filed a summary judgment motion in another case brought by ABS and the three other plaintiffs in the Southern District of New York. The same plaintiffs also have suits pending against iHeartMedia and Cumulus Media.
Some critics are already weighing in that this federal decision offers a playbook for radio companies regarding how to publicly perform older sound recordings without liability. The true impact of this ruling remains to be seen. For example, when is remastering sufficient to constitute creative authorship?
Different courts are likely to approach this question from contrasting perspectives. Finally, record producers and studio engineers now have stronger footing with regard to any efforts to share in SoundExchange income, because they may assert that they are involved in the “performance.”
/* Revive Adserver Javascript Tag v3.0.2 */ /* * The backup image section of this tag has been generated for use on a * non-SSL page. If this tag is to be placed on an SSL page, change the * ‘http://72.52.81.231/revive/www/delivery/…’ * to * ‘https://72.52.81.231/revive/www/delivery/…’ * * This noscript section of this tag only shows image banners. There * is no width or height in these banners, so if you want these tags to * allocate space for the ad before it shows, you will need to add this * information to the [] tag. * * If you do not want to deal with the intricities of the noscript * section, delete the tag (from … to ). On * average, the noscript tag is called from less than 1% of internet * users. */ +What If ISP’s Are Responsible For Most Copyright Infringement?!
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How a Court Decision on Remastering Could Disrupt Copyright Law

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http://www.digitalmusicnews.com/2016/08/29/decision-remastering-disrupt-copyright/

How a Court Decision on Remastering Could Completely Change Copyright Law

Record companies and recording artists should take heed – according to at least one federal judge, sound engineers are performing copyrightable work when they digitally remaster old recordings.

Michael Poster (http://www.digitalmusicnews.com/author/mposter/) August 29, 2016

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How a Court Decision on Remastering Could Disrupt Copyright Law

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http://www.digitalmusicnews.com/2016/08/29/decision-remastering-disrupt-copyright/

How a Court Decision on Remastering Could Completely Change Copyright Law

Record companies and recording artists should take heed – according to at least one federal judge, sound engineers are performing copyrightable work when they digitally remaster old recordings.

Michael Poster (http://www.digitalmusicnews.com/author/mposter/) August 29, 2016

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Juan Gabriel, superstar Mexican singer and songwriter, dies at 66 – LA Times

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http://www.latimes.com/local/obituaries/la-me-juan-gabriel-20160828-snap-story.html?mc_cid=d9d2c42bb3

Juan Gabriel, superstar Mexican singer and songwriter, dies at 66

By Kate Linthicum

Juan Gabriel, the beloved top-selling Mexican singer who wooed crowds on both sides of the border with ballads of love and heartbreak for more than four decades, died Sunday at his home in Santa Monica.
Juan Gabriel, who had suffered from health problems in recent years, died of natural causes, according to the Los Angeles County Coroner. He was 66.
The flamboyant performer’s sudden death spurred an outpouring of grief across Mexico, with back-to-back television tributes to Juan Gabriel replacing regularly scheduled programming and the Mexican government offering to host an event honoring the singer at the national opera house in Mexico City.
“A voice and talent that represented Mexico,” Mexican President Enrique Pena Nieto wrote of Juan Gabriel on Twitter. “His music is a legacy for the world.”

News of Juan Gabriel’s death also rippled across Los Angeles Sunday, where Spanish-language radio stations played his songs and fans mourned over text messages and social media.
“If you live in a Mexican family, you know about Juan Gabriel,” said Joanna Franco, 25, of the South Bay, who said her mother used to put on Juan Gabriel’s albums as she cleaned the house. “He’s a staple. One of the legends.”
http://www.latimes.com/local/lanow/la-me-juan-gabriel-retrospective-20160828-snap-story.html
The ballad of Juan Gabriel (http://www.latimes.com/local/lanow/la-me-juan-gabriel-retrospective-20160828-snap-story.html)
Sent to live at an orphanage at age four, Juan Gabriel’s rags-to-riches story was as well-known as his glittery outfits and his unrelentingly romantic lyrics.
It was not uncommon for fans to cry at his shows, which sometimes stretched as long as five hours.
Sporting a perfectly coiffed pompadour — and sometimes a flowing cape — Juan Gabriel was known for his epic stage performances, where he was often accompanied by an orchestra, dancers and dozens of mariachis dressed in tight jackets and sombreros.
Juan Gabriel was in the middle of a tour and performed for the last time on Friday night, in front of thousands of fans at the Forum in Inglewood, a testament to his popularity among Spanish speakers outside of Mexico.
Adriana Peña, a Burbank homemaker, said Juan Gabriel was the first musician she ever saw in concert, alongside her mother at the age of seven or eight. She remembers being in awe of the flamboyant singer.
“He was very humble — but he put on a great show,” she said. “He was like the Michael Jackson of Mexico.”

Born Alberto Aguilera Valadez in Parácuaro, Michoacán, but better known by his stage name, Juan Gabriel spent most of his final decades living in the United States. But unlike other Latin music stars, such as Enrique Iglesias or Marc Anthony, he shied away from recording music in English and fiercely guarded his Mexican identity.
“American music has infiltrated the entire world enough as it is,” he told a Times reporter in 1999. “Mexican music must be defended with vigilance.… My thoughts, my feelings, my spirit, they are all in Spanish.”
Juan Gabriel was born in 1950, the youngest of 10 children. He said his first memory in life was of his mother leaving him at an orphanage in the border city of Juarez.
“You don’t know the word for ‘abandon’ at that age,” he told The Times. “But you know what is happening. You know you want to be with your mother, and she is not there.”
As a teenager, Juan Gabriel wrote songs in his head and sang them as he sold tortillas in the street. His voice turned heads, and soon he moved to Mexico City, where he scored his first recording contract. In 1971 he released his first gold record, “No Tengo Dinero” (I’ve Got No Money).
Juan Gabriel went on to become the best-selling artist in Mexican history, writing more than 1,000 songs for himself and other performers in a variety of styles that stretched from rock to disco and ranchera.Gabriel also dabbled in acting. But he is best remembered for his ballads, such as Querida (“My Dear”), a 1984 love letter to a former lover considered by many fans to be his greatest hit.
“Look at my loneliness,” he sings in Spanish, his voice quivering. “I want to see light in my house again.”
Juan Gabriel credited his simple, soulful lyrics with his upbringing.
“I compose songs with a lot of simplicity because my school has been the streets and people have been my books,” he said after his induction into the Billboard Latin Music Hall of Fame.
His songs were soundtracks for the lives of generations of Mexicans and Mexican-Americans.
http://www.latimes.com/local/lanow/la-me-ln-juan-gabriel-reax-20160828-snap-story.html
‘No, that can’t be true’: Angelenos react to the death of Mexican crooner Juan Gabriel (http://www.latimes.com/local/lanow/la-me-ln-juan-gabriel-reax-20160828-snap-story.html)
“I think all of us, Mexican or not, have scenes in our lives linked to Juan Gabriel’s songs,” Mexican journalist Peniley Ramirez wrote on Twitter. She said she remembered singing his songs in her house while she was pregnant.
Frank Marez, an Arroyo Grande resident who was in Los Angeles on Sunday for a Dodgers game, said Juan Gabriel made him proud to be Mexican-American.
“You knew a Juan Gabriel song when you heard it,” he said. “It’s hard when one of yours is gone.”
Although he continued to perform, Juan Gabriel suffered from health problems in recent years. In 2014, he was hospitalized with pneumonia after a Las Vegas show. Juan Gabriel, who had four children, never married.
His colorful outfits and flamboyant dance moves drew speculation about his sexuality, but Juan Gabriel preferred to remain coy on the issue.
He was never coy when talking about music. At lunch with a Times reporter in Malibu in 1999, he said he wouldn’t care if he lost all his money.
Making music is all he needed to be happy, he said.
“To make it, you have to be fully alive,” he said. “I do my best to do that. I enjoy every moment, because I believe that once we die, that’s it. We’re not coming back. Lovers come back. Styles come back. But time? It never comes back.”
Times staff writers Matt Stevens and Emily Alpert Reyes and Cecilia Sanchez of The Times’ Mexico City bureau contributed to this report.

As news of Juan Gabriel’s death spread, fans gathered Monday at the Malinow and Silverman Mortuary in Los Angeles to pay tribute to the singer.

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August 30, 2016 / No Comments / More

Juan Gabriel, superstar Mexican singer and songwriter, dies at 66 – LA Times

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http://www.latimes.com/local/obituaries/la-me-juan-gabriel-20160828-snap-story.html?mc_cid=d9d2c42bb3

Juan Gabriel, superstar Mexican singer and songwriter, dies at 66

By Kate Linthicum

As news of Juan Gabriel’s death spread, fans gathered Monday at the Malinow and Silverman Mortuary in Los Angeles to pay tribute to the singer.

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August 30, 2016 / No Comments / More

Juan Gabriel, superstar Mexican singer and songwriter, dies at 66 – LA Times

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http://www.latimes.com/local/obituaries/la-me-juan-gabriel-20160828-snap-story.html?mc_cid=d9d2c42bb3

Juan Gabriel, superstar Mexican singer and songwriter, dies at 66

By Kate Linthicum

As news of Juan Gabriel’s death spread, fans gathered Monday at the Malinow and Silverman Mortuary in Los Angeles to pay tribute to the singer.

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Tom Reney Jazz Blog: Louis Smith, R.I.P.

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http://nepr.net/music/2016/08/23/louis-smith-r-i-p/

With the recent deaths of Bobby Hutcherson, Toots Thielemans, and Rudy Van Gelder, the passing on August 20 of Louis Smith has gone almost completely unreported beyond a notice in the Ann Arbor News and a fine tribute on Facebook by Randy Napoleon. Here’s my appreciation of the Memphis-born trumpet legend who released a pair of great sessions for Blue Notein the fifties, and in more recent years a dozen select dates for Steeplechase.

—
Tom Reney

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CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100
Lulu and Louis Smith in 2008; photo by Alan Warren, Ann Arbor News
Louis Smith, R.I.P.
A TRUMPET LEGEND WITH A CALLING TO TEACH
by: Tom Reney (http://nepr.net/music/author/tom-reney/)
AUGUST 23, 2016
Louis Smith died on August 20 at age 85. Smith was in the front ranks of modern jazz players who emerged from Memphis in the 1950s, though his 1931 birth year made him slightly older than most of the players he was showcased with on the 1959 album Young Men From Memphis. The United Artists release marked the virtual recording debut of his cousin, 21-year-old Booker Little, and 22-year-old Frank Strozier, and it was among the earliest recordings by Calvin Newborn, Phineas Newborn, Jr., and George Coleman.

Louis Smith – Tribute to Brownie (https://www.youtube.com/watch?v=w15w2hKlfGI)

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By 1959, Smith already had two outstanding Blue Note releases to his credit, Here Comes Louis Smith and Smithville; the former was recorded in 1957 for Transition Records but released on Blue Note. It featured Cannonball Adderley under the nom de disque, Buckshot Le Funke, a name that Branford Marsalis revived as an album title in 1994. Smith made his devotion to Clifford Brown evident right out of the gate as Hear Comes opens with “Tribute to Brownie.” He was the lone trumpeter on Kenny Burrell’s marathon blowing session, Blue Lights, Volumes 1 and 2, and his confident attack and melodic conception made him an ideal choice as Donald Byrd’s successor in Horace Silver’s popular quintet. For 50 years, Smith fans were frustrated by the lack of studio recordings by Silver during the trumpeter’s tenure, but in 2008 Blue Note released Horace Silver’s Newport ’58, a performance that confirmed how perfectly placed he was in the group.

HORACE SILVER, Señor Blues (https://www.youtube.com/watch?v=ecmtVVRXVvM)

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Notwithstanding his promising start on the hotly competitive New York scene, Smith left after three months with Silver to begin a career as a teacher, first in the public schools in Atlanta, then on to his alma mater Tennessee State University, and finally to the University of Michigan, where he taught music and served as band director. He moved to Ann Arbor around 1968, and was associated with both the university and a junior high school in town. He went nearly 20 years between his early sessions and the resumption of his recording career with Steeplechase Records in 1978. Just Friends was his first release for the Danish jazz label, and it reunited him with Memphis colleagues George Coleman, Jamil Nasser, and Harold Mabern. It was followed by Prancin’, which marked a reunion between Smith and Junior Cook, his front-line mate in Silver’s quintet. They were back together again in 1991 for Strike Up the Band and this thrilling take on “Lover.”

Louis Smith Strike Up The Band Lover (https://www.youtube.com/watch?v=Vro2iiNiWSU)

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Throughout the nineties, Smith made one fine album after another (12 altogether for Steeplechase), all distinguished by his mellifluous tone and accurate pitch. My favorites include The Very Thought of You, a marvelously intuitive duo session with Chicago piano legend Jodie Christian. and Once in a While, which features guitarist Doug Raney. Recorded in 1998, it appears to be Smith’s only outing with a guitarist as his front-line partner. Sadly, Doug preceded Louis in passing earlier this year on May 1 at age 59. (YouTube doesn’t have anything posted by Raney and Smith together but there’s plenty by the guitarist, including duo sessions with his legendary father Jimmy, and this 1996 recording of “Giant Steps.”)

DOUG RANEY QUARTET Giant Steps (https://www.youtube.com/watch?v=j4fcl_XJ48E)

0:02 / 7:40

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As an almost complete absence of obituaries indicates, Smith was largely unknown to American audiences beyond Ann Arbor, but he’s left a substantial legacy. Randy Napoleon (https://www.facebook.com/randy.napoleon.7) , who plays guitar with Freddy Cole’s quartet, was 14 when he first encountered Smith in the Ann Arbor public schools and continued his studies with him at Michigan. He told me, “Louis was truly a great role model. The essence of class and good taste! I’ll never forget him.” Napolean teaches at Michigan State; his recent release for Mack Avenue, Soon, features drummer Gregory Hutchinson and his Michigan State colleagues trumpeter Etienne Charles and bassist Rodney Whitaker. Here’s a taste with reflections by the guitarist on the “Rodney-Hutch groove.”

“Soon” by Randy Napoleon (https://www.youtube.com/watch?v=ydgn9JI-rAs)

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Napolean wrote movingly of Smith as both a teacher and player on Facebook. “He made it clear that musical freedom in Jazz comes from absorption of fundamentals. His advice to me that first year was, ‘Randy! Chunk Chunk Chunk (Freddie Green)’ and ‘Randy! Too loud!!!’ He was never harsh, always kind, but he wouldn’t let his students get away with any foolishness musical or otherwise. Mr. Smith impressed upon us the importance of taste and editing in music. He exemplified this in his person as well as his playing. His playing is focused and clear with no gimmicks or fluff. These days, I’m a teacher. I start my sophomore improv class with Mr. Smith’s solo on ‘Au Privave’ from the record Smithville. As usual, there isn’t a note or ornament out of place; this is a model of how to play Bebop.”

Louis Smith – Au Privave (https://www.youtube.com/watch?v=arMqBbSm1QY)

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References

1. http://www.youtube.com/watch?v=w15w2hKlfGI
2. http://www.youtube.com/watch?v=ecmtVVRXVvM
3. http://www.youtube.com/watch?v=Vro2iiNiWSU
4. http://www.youtube.com/watch?v=j4fcl_XJ48E
5. http://www.youtube.com/watch?v=ydgn9JI-rAs
6. http://www.youtube.com/watch?v=arMqBbSm1QY

August 30, 2016 / No Comments / More

Tom Reney Jazz Blog: Louis Smith, R.I.P.

http://www.jazzpromoservices.com/

http://nepr.net/music/2016/08/23/louis-smith-r-i-p/

—
Tom Reney

Jazz à la Mode
blogs/podcasts http://nepr.net/jazz-la-mode/

WFCR
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1525 Main Street
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tr@nepr.net (mailto:tr@nepr.net)
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Louis Smith – Tribute to Brownie (https://www.youtube.com/watch?v=w15w2hKlfGI)

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HORACE SILVER, Señor Blues (https://www.youtube.com/watch?v=ecmtVVRXVvM)

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Louis Smith Strike Up The Band Lover (https://www.youtube.com/watch?v=Vro2iiNiWSU)

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DOUG RANEY QUARTET Giant Steps (https://www.youtube.com/watch?v=j4fcl_XJ48E)

0:02 / 7:40

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“Soon” by Randy Napoleon (https://www.youtube.com/watch?v=ydgn9JI-rAs)

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Louis Smith – Au Privave (https://www.youtube.com/watch?v=arMqBbSm1QY)

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References

August 30, 2016 / No Comments / More

Tom Reney Jazz Blog: Louis Smith, R.I.P.

http://www.jazzpromoservices.com/

http://nepr.net/music/2016/08/23/louis-smith-r-i-p/

—
Tom Reney

Jazz à la Mode
blogs/podcasts http://nepr.net/jazz-la-mode/

WFCR
New England Public Radio
1525 Main Street
Springfield, MA 01103

tr@nepr.net (mailto:tr@nepr.net)
www.nepr.net

Louis Smith – Tribute to Brownie (https://www.youtube.com/watch?v=w15w2hKlfGI)

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[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.

HORACE SILVER, Señor Blues (https://www.youtube.com/watch?v=ecmtVVRXVvM)

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Louis Smith Strike Up The Band Lover (https://www.youtube.com/watch?v=Vro2iiNiWSU)

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DOUG RANEY QUARTET Giant Steps (https://www.youtube.com/watch?v=j4fcl_XJ48E)

0:02 / 7:40

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“Soon” by Randy Napoleon (https://www.youtube.com/watch?v=ydgn9JI-rAs)

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Louis Smith – Au Privave (https://www.youtube.com/watch?v=arMqBbSm1QY)

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

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References

August 30, 2016 / No Comments / More

David Honeyboy Edwards, Delta Bluesman, Dies at 96 – The New York Times

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http://www.nytimes.com/2011/08/30/arts/music/david-honeyboy-edwards-delta-bluesman-dies-at-96.html

David Honeyboy Edwards, Delta Bluesman, Dies at 96

By BILL FRISKICS-WARRE AUG. 29, 2011

David Honeyboy Edwards performing in New York in 1991. Jack Vartoogian/FrontRowPhotos

David Honeyboy Edwards (http://www.youtube.com/watch?v=TRgg_9TmI-w) , believed to have been the oldest surviving member of the first generation of Delta blues singers, died on Monday at his home in Chicago. He was 96.
His death was announced by his manager, Michael Frank.

Mr. Edwards’s career spanned nearly the entire recorded history of the blues, from its early years in the Mississippi Delta to its migration to the nightclubs of Chicago and its emergence as an international phenomenon.

Over eight decades Mr. Edwards (http://davidhoneyboyedwards.com/) knew or played with virtually every major figure who worked in the idiom, including Charley Patton, Muddy Waters and Howlin’ Wolf. He was probably best known, though, as the last living link to Robert Johnson, widely hailed as the King of the Delta Blues. The two traveled together, performing on street corners and at picnics, dances and fish fries during the 1930s.

“We would walk through the country with our guitars on our shoulders, stop at people’s houses, play a little music, walk on,” Mr. Edwards said in an interview with the blues historian Robert Palmer, recalling his peripatetic years with Johnson. “We could hitchhike, transfer from truck to truck, or, if we couldn’t catch one of them, we’d go to the train yard, ’cause the railroad was all through that part of the country then.” He added, “Man, we played for a lot of peoples.”

Mr. Edwards had earlier apprenticed with the country bluesman Big Joe Williams. Unlike Williams and many of his other peers, however, Mr. Edwards did not record commercially until after World War II. Field recordings he made for the Library of Congress under the supervision of the folklorist Alan Lomax in 1942 are the only documents of Mr. Edwards’s music from his years in the Delta.

Citing the interplay between his coarse, keening vocals and his syncopated “talking” guitar on recordings like “Wind Howling Blues,” many historians regard these performances as classic examples of the deep, down-home blues that shaped rhythm and blues and rock ’n’ roll.

Mr. Edwards was especially renowned for his intricate fingerpicking and his slashing bottleneck-slide guitar work. Though he played in much the same traditional style throughout his career, he also enjoyed the distinction of being one of the first Delta blues musicians to perform with a saxophonist and drummer.

David Edwards was born June 28, 1915, in Shaw, Miss., in the Delta region. His parents, who worked as sharecroppers, gave him the nickname Honey, which later became Honeyboy. His mother played the guitar; his father, a fiddler and guitarist, performed at local social events. Mr. Edwards’s father bought him his first guitar and taught him to play traditional folk ballads.
His first real exposure to the blues came in 1929, when the celebrated country bluesman Tommy Johnson came to pick cotton at Wildwood Plantation, the farm near Greenwood where the Edwards family lived at the time.

“They’d pick cotton all through the day, and at night they’d sit around and play the guitars,” Mr. Edwards recalled in his autobiography, “The World Don’t Owe Me Nothing” (Chicago Review Press, 1997). “Drinking that white whiskey, that moonshine, I’d just sit and look at them. I’d say, ‘I wish I could play.’ ”

After spending the better part of two decades as an itinerant musician, Mr. Edwards made Chicago his permanent home in the 1950s. He performed frequently in its clubs and at the open-air market on Maxwell Street, but he recorded only sporadically during his first years there, notably for the independent Artist and Chess labels.

Mr. Edwards achieved new popularity during the blues revival of the 1960s. Near the end of the decade he appeared with Willie Dixon and Buddy Guy on sessions that produced both volumes of the album “Blues Jam in Chicago” by the British rock band Fleetwood Mac.

In 1972 Mr. Edwards met Mr. Frank, a blues aficionado and harmonica player, who would be his booking agent, manager and collaborator, on both stage and record, for the rest of his life.
Mr. Edwards was elected to the Blues Hall of Fame in 1996 and named a National Heritage Fellow by the National Endowment for the Arts in 2002. In 2007 he appeared as himself in the movie “Walk Hard: The Dewey Cox Story.”

Survivors include a daughter, a stepdaughter and several grandchildren.

Mr. Edwards won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) in 2008 for the album “Last of the Great Mississippi Delta Bluesmen: Live in Dallas,” a collaboration with Henry Townsend, Pinetop Perkins (who died in March) and Robert Lockwood Jr., and a lifetime achievement Grammy in 2010.

He was still playing as many as 100 shows a year when he stopped touring, in 2008, and he continued to perform occasionally until this year (http://www.youtube.com/watch?v=1fKMQlYN_TQ) . His last appearance was at a blues festival in Clarksdale, Miss., in April.

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David Honeyboy Edwards, Delta Bluesman, Dies at 96 – The New York Times

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http://www.nytimes.com/2011/08/30/arts/music/david-honeyboy-edwards-delta-bluesman-dies-at-96.html

David Honeyboy Edwards, Delta Bluesman, Dies at 96

By BILL FRISKICS-WARRE AUG. 29, 2011

David Honeyboy Edwards performing in New York in 1991. Jack Vartoogian/FrontRowPhotos

Survivors include a daughter, a stepdaughter and several grandchildren.

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David Honeyboy Edwards, Delta Bluesman, Dies at 96 – The New York Times

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http://www.nytimes.com/2011/08/30/arts/music/david-honeyboy-edwards-delta-bluesman-dies-at-96.html

David Honeyboy Edwards, Delta Bluesman, Dies at 96

By BILL FRISKICS-WARRE AUG. 29, 2011

David Honeyboy Edwards performing in New York in 1991. Jack Vartoogian/FrontRowPhotos

Survivors include a daughter, a stepdaughter and several grandchildren.

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Claude Bolling “The Madison Time” (CA-121) Very Rare 16mm Scopitone Classic Dance! – YouTube

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Claude Bolling “The Madison Time” (CA-121) Very Rare 16mm Scopitone Classic Dance! – YouTube

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https://www.youtube.com/watch?v=Z2plpuIme_s

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Claude Bolling “The Madison Time” (CA-121) Very Rare 16mm Scopitone Classic Dance! – YouTube

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The Original (https://www.youtube.com/watch?v=owDVtMG0YrQ)

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Local jazz legend Louis Smith remembered for deep love of music | MLive.com

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http://www.mlive.com/news/ann-arbor/index.ssf/2016/08/local_jazz_legend_louis_smith.html

Local jazz legend Louis Smith remembered for deep love of music

By Martin Slagter | mslagter@mlive.com (http://connect.mlive.com/staff/mslagter/posts.html)

ANN ARBOR, MI – Whether it was playing with jazz giants like Cannonball Adderly and Horace Silver, Motown artists like The Temptations and Marvin Gaye or instructing children at Ann Arbor Public Schools, Louis Smith was always surrounded by music.

That is ultimately how Smith — who recorded with Blue Note Records — will be remembered, WEMU Music Director Linda Yohn said.

Smith, who died on Aug. 20, leaves behind a legacy embedded in performing, teaching and appreciating music, Yohn said.

“He never practiced false modesty – he was proud of his accomplishments but he didn’t brag about them,” said Yohn, who has been at WEMU for 29 years. “He would also always share with you what he was working on and how he was learning and growing. He was an example of how we all should live.”

Smith was born May 20, 1931, in Memphis, to Walter Smith and Betty Little-Smith. Although his father was an ice delivery man, he instilled a love of music in Louis at a young age, purchasing an old used trumpet and he would practice playing his every day after school.

His father would take him to the famous Beale Street for nightly jam sessions where Louis would spend a great deal of time watching, listening and sitting in with the great jazz and blues musicians of the time.

Music would remain at the center of Smith’s life after graduating from Manassas High School in 1948, where he was a member of the Manassas High School Rhythm Bombers.

He went on to attend Tennessee State University, where he was a member of the Tennessee State Collegians, and performed at Carnegie Hall with Lionel Hampton, Billy Eckstein and Sarah Vaughn. Smith graduated from Tennessee State with a Bachelor of Science in Music and was drafted into the United States Army where he played in the Special Services Band.

In 1955, following his tour of duty, Smith decided to pursue a more stable career as an educator in Atlanta. Since then he went on to teach music as a band director at Tennessee State University, Kentucky State University and the University of Michigan, where he served as the Director of Jazz Bands from 1971 to 1987.

Smith also served as a music teacher, and band instructor with Ann Arbor Public Schools from 1968 to 1993.

Yohn said it was difficult to separate Smith’s life as a musician from his life as an educator, because the two almost always went hand in hand.

“I think it’s really hard, as his career rolled on, to separate the teacher from the performer and recording artist,” she said. “I recall hearing Louis in concert and you would be so entertained, but you would also learn something because he had a really comfortable way of sharing information about his music. Whether it was about the song structure, a story about a song’s composer or something from his life that inspired a song, you ended up learning something even if you didn’t intend to.”

He signed his first recording contract with titan jazz label Blue Note Records in 1957, releasing “Here Comes Louis Smith,” which featured Adderley. Shortly after the release of his second album, “Smithville,” he joined the Horace Silver Quintet, in 1958.

Smith’s daughter Edwaa Smith was born Aug. 2, 1962. In 1968, while teaching music and band at Forsythe Junior High School in Ann Arbor, he met teaching colleague, Harriet L. Halpern, aka Lulu. The couple eventually married in 1976.

Smith performed as a staff musician with Motown Records, traveled and recorded with greats such as the Temptations and Marvin Gaye and Ashford and Simpson. He was featured on the classic R&B recordings like “Papa was a Rolling Stone,” and “What’s Going On.”

In 1978, Louis signed his next recording contract with Steeplechase Records, where he released a total of 12 albums. He performed at the Montreux (Switzerland) and Nice (France) jazz festivals and the International Detroit Jazz Festival for 25 consecutive years. He is a former president of the Michigan Chapter of the International Association Jazz Educators and was in charge of adjudications for the Montreux-Detroit Jazz Festival.

Smith performed in live concerts at numerous venues including Carnegie Hall and the Birdland, as well as the Newport Jazz Festival, Grande Parade du Jazz, St. Petersburg, Moscow and the Netherlands. In 2005 while vacationing in Hilton Head, Virginia, Louis suffered a massive stroke leaving him partially paralyzed and aphasic. The stroke forced his career as a musician and educator to come to an end.

Ultimately, Yohn said, he’ll be remembered as a man who passed on a love of music to everyone he encountered in one way or another.
“Honesty, integrity, truth, strength and responsibility are some of the things that I recall hearing from everybody who studied with Louis Smith,” Yohn said. “He is just so important, not only for his musicianship, but in making sure he gave life lessons to those who studied with him.”

Smith is survived by his wife Harriet L. Smith (Lulu); daughter, Edwaa Smith; son, Michael D. Collins, Sr.; grandson, Maurice Cumberbatch; grandson, Michael D. Collins, Jr.; granddaughter, Tiffany Collins; and great-granddaughters, Louise “Lulu” Collins and Alexia Cumberbatch.

Smith’s family will receive friends from 4 to 8 p.m. on Monday, Aug. 29, 2016, at the Nie Family Funeral Home, 2400 Carpenter Road, Ann Arbor, MI. A funeral service will take place at 11 a.m. on Tuesday, Aug. 30, at the funeral home, with visitation one hour prior.

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August 28, 2016 / No Comments / More