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How Rudy Van Gelder Shaped the Sound of Jazz as We Know It – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/27/arts/music/rudy-van-gelder-essential-recordings.html?emc=edit_tnt_20160826

How Rudy Van Gelder Shaped the Sound of Jazz as We Know It
By NATE CHINEN (http://www.nytimes.com/by/nate-chinen) AUG. 26, 2016

Rudy Van Gelder, in 1988. He remained active in engineering, bringing his hand to “Chemistry,” an album released this summer, by the tenor saxophonist Houston Person and the bassist Ron Carter. James Estrin/The New York Times
When a musical hero of towering influence dies, the urge is to go straight to the tape: recordings, footage, a captured moment that stands in for the unwieldy fullness of a life.
This commemorative twitch — wearily familiar in our year of losses, from David Bowie (http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html?_r=0) to Prince (http://www.nytimes.com/2016/04/22/arts/music/prince-dead.html) to, just last week, the vibraphonist Bobby Hutcherson (http://www.nytimes.com/2016/08/17/arts/music/bobby-hutcherson-dies-jazz.html) — is especially well suited to the memory of Rudy Van Gelder, whose legend was shaped within the confines of his recording studio. Mr. Van Gelder, who died on Thursday at 91 (http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html) , was the most revered recording engineer in jazz — the man behind the curtain on thousands of albums and the chief architect of the storied “Blue Note sound.” He shaped the way we hear the music and the way we want it to be heard.
So it’s natural, now, to look for some trace of Mr. Van Gelder in the brilliant recordings he made, either at his first home studio in Hackensack, N.J., or at his second, in nearby Englewood Cliffs. It’s natural, and it’s also maddening, because so much of what he did was intangible. You hear it, you feel it, but his signature was etched in invisible ink. What is it, exactly, that you’re listening for? Naturalism? Warmth? The sound of a room?
“Some musicians sounded more real on your recordings than they would in a club,” the pianist and writer Ben Sidran ventured in 1985 in a rare interview with Mr. Van Gelder, who seemed to agree. He replied, “A great photographer will really create his image, and not just capture a particular situation.”
In that light, here’s a small assortment of images — just a few personal favorites from Mr. Van Gelder’s oceanic body of work.
Continue reading the main story
The first comes from “Blue Train,” the 1958 album by the saxophonist John Coltrane. Mr. Van Gelder’s more celebrated work with Coltrane came later, with “A Love Supreme,” on the Impulse! label. But what you hear on “Moment’s Notice,” which was taped to two-track mono, shows how he could evoke a band’s sound in physical space. Notice the transition between solos, especially from Lee Morgan’s swashbuckling trumpet to Paul Chambers’s bowed bass.
“Moment’s Notice,” by Coltrane:

It so happens that Mr. Van Gelder died on Wayne Shorter’s 83rd birthday. That coincidence sent me immediately to my vinyl reissue of “Speak No Evil,” which Mr. Shorter recorded in 1964. (It was released on Blue Note in 1966.) One thing I’ve always loved about the sound of this track is the way that Herbie Hancock’s piano (silvery, crisp) plays against Elvin Jones’s drums and cymbals (earthy, dark), while perfectly supporting the horns.
“Speak No Evil,” by Mr. Shorter:

“Ready, Rudy?” was something jazz musicians routinely said from Mr. Van Gelder’s studio floor, and the phrase became a kind of an in-joke, the title of a tune by Duke Pearson. Here, on the first track of “Relaxin’ With the Miles Davis Quintet,” we hear a less standard but more famous bit of studio chatter, as Davis rasps, “I’ll play it and tell you what it is later.” That offhandedness provides much of the charm of these sessions, for Prestige; Coltrane even begins his tenor-saxophone solo away from the microphone, as if stepping up to the plate.
“If I Were a Bell,” by the Miles Davis Quintet:

Mr. Van Gelder was also the sonic mastermind behind CTI Records, Creed Taylor’s stylish crossover label. The sound of these albums was warm and luxurious, and while there are many tracks to choose from, my instinctual pick would be the title track of “Red Clay,” the hit 1970 album by the trumpeter Freddie Hubbard. It has a jumping-out-of-your-speakers tenor saxophone solo by Joe Henderson, along with a neon-funky rhythm section: Mr. Hancock on electric piano, Ron Carter on electric bass, Lenny White on drums.
“Red Clay,” by Mr. Hubbard:

The enormity of Mr. Van Gelder’s midcentury output can make it easy to forget how active he remained in our own time. (One of his most recent credits is “Chemistry,” by the tenor saxophonist Houston Person and Mr. Carter — an album released this summer.) Christian Scott was a firebrand trumpeter still in his mid-20s when he recorded his second album, “Yesterday You Said Tomorrow,” at Mr. Van Gelder’s studio in 2010. “Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution)” is a politically charged track from the album, and its sound — that mix of electric guitar and tambourine — feels both raw and refined.
“Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution),” by Mr. Scott:

Finally, another sentimental offering. Many of Mr. Hutcherson’s finest recordings were made with Mr. Van Gelder behind the controls. “Out to Lunch,” the 1964 album by the multireedist Eric Dolphy, is full of these moments. Listen to how well the recording captures Mr. Hutcherson’s muted clangs and chiming overtones — along with the bleats, harrumphs and gargles of Mr. Dolphy’s bass clarinet, and the deep gravitas of Richard Davis’s bass. There’s a quintet on this track, but on some level you’d have to credit Mr. Van Gelder as an essential member of the band.
“Hat and Beard,” by Mr. Dolphy:

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6597cc1b63) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6597cc1b63&e=[UNIQID])

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Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
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How Rudy Van Gelder Shaped the Sound of Jazz as We Know It – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/27/arts/music/rudy-van-gelder-essential-recordings.html?emc=edit_tnt_20160826

How Rudy Van Gelder Shaped the Sound of Jazz as We Know It
By NATE CHINEN (http://www.nytimes.com/by/nate-chinen) AUG. 26, 2016

Rudy Van Gelder, in 1988. He remained active in engineering, bringing his hand to “Chemistry,” an album released this summer, by the tenor saxophonist Houston Person and the bassist Ron Carter. James Estrin/The New York Times
When a musical hero of towering influence dies, the urge is to go straight to the tape: recordings, footage, a captured moment that stands in for the unwieldy fullness of a life.
This commemorative twitch — wearily familiar in our year of losses, from David Bowie (http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html?_r=0) to Prince (http://www.nytimes.com/2016/04/22/arts/music/prince-dead.html) to, just last week, the vibraphonist Bobby Hutcherson (http://www.nytimes.com/2016/08/17/arts/music/bobby-hutcherson-dies-jazz.html) — is especially well suited to the memory of Rudy Van Gelder, whose legend was shaped within the confines of his recording studio. Mr. Van Gelder, who died on Thursday at 91 (http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html) , was the most revered recording engineer in jazz — the man behind the curtain on thousands of albums and the chief architect of the storied “Blue Note sound.” He shaped the way we hear the music and the way we want it to be heard.
So it’s natural, now, to look for some trace of Mr. Van Gelder in the brilliant recordings he made, either at his first home studio in Hackensack, N.J., or at his second, in nearby Englewood Cliffs. It’s natural, and it’s also maddening, because so much of what he did was intangible. You hear it, you feel it, but his signature was etched in invisible ink. What is it, exactly, that you’re listening for? Naturalism? Warmth? The sound of a room?
“Some musicians sounded more real on your recordings than they would in a club,” the pianist and writer Ben Sidran ventured in 1985 in a rare interview with Mr. Van Gelder, who seemed to agree. He replied, “A great photographer will really create his image, and not just capture a particular situation.”
In that light, here’s a small assortment of images — just a few personal favorites from Mr. Van Gelder’s oceanic body of work.
Continue reading the main story
The first comes from “Blue Train,” the 1958 album by the saxophonist John Coltrane. Mr. Van Gelder’s more celebrated work with Coltrane came later, with “A Love Supreme,” on the Impulse! label. But what you hear on “Moment’s Notice,” which was taped to two-track mono, shows how he could evoke a band’s sound in physical space. Notice the transition between solos, especially from Lee Morgan’s swashbuckling trumpet to Paul Chambers’s bowed bass.
“Moment’s Notice,” by Coltrane:

It so happens that Mr. Van Gelder died on Wayne Shorter’s 83rd birthday. That coincidence sent me immediately to my vinyl reissue of “Speak No Evil,” which Mr. Shorter recorded in 1964. (It was released on Blue Note in 1966.) One thing I’ve always loved about the sound of this track is the way that Herbie Hancock’s piano (silvery, crisp) plays against Elvin Jones’s drums and cymbals (earthy, dark), while perfectly supporting the horns.
“Speak No Evil,” by Mr. Shorter:

“Ready, Rudy?” was something jazz musicians routinely said from Mr. Van Gelder’s studio floor, and the phrase became a kind of an in-joke, the title of a tune by Duke Pearson. Here, on the first track of “Relaxin’ With the Miles Davis Quintet,” we hear a less standard but more famous bit of studio chatter, as Davis rasps, “I’ll play it and tell you what it is later.” That offhandedness provides much of the charm of these sessions, for Prestige; Coltrane even begins his tenor-saxophone solo away from the microphone, as if stepping up to the plate.
“If I Were a Bell,” by the Miles Davis Quintet:

Mr. Van Gelder was also the sonic mastermind behind CTI Records, Creed Taylor’s stylish crossover label. The sound of these albums was warm and luxurious, and while there are many tracks to choose from, my instinctual pick would be the title track of “Red Clay,” the hit 1970 album by the trumpeter Freddie Hubbard. It has a jumping-out-of-your-speakers tenor saxophone solo by Joe Henderson, along with a neon-funky rhythm section: Mr. Hancock on electric piano, Ron Carter on electric bass, Lenny White on drums.
“Red Clay,” by Mr. Hubbard:

The enormity of Mr. Van Gelder’s midcentury output can make it easy to forget how active he remained in our own time. (One of his most recent credits is “Chemistry,” by the tenor saxophonist Houston Person and Mr. Carter — an album released this summer.) Christian Scott was a firebrand trumpeter still in his mid-20s when he recorded his second album, “Yesterday You Said Tomorrow,” at Mr. Van Gelder’s studio in 2010. “Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution)” is a politically charged track from the album, and its sound — that mix of electric guitar and tambourine — feels both raw and refined.
“Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution),” by Mr. Scott:

Finally, another sentimental offering. Many of Mr. Hutcherson’s finest recordings were made with Mr. Van Gelder behind the controls. “Out to Lunch,” the 1964 album by the multireedist Eric Dolphy, is full of these moments. Listen to how well the recording captures Mr. Hutcherson’s muted clangs and chiming overtones — along with the bleats, harrumphs and gargles of Mr. Dolphy’s bass clarinet, and the deep gravitas of Richard Davis’s bass. There’s a quintet on this track, but on some level you’d have to credit Mr. Van Gelder as an essential member of the band.
“Hat and Beard,” by Mr. Dolphy:

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6597cc1b63) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6597cc1b63&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
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How Rudy Van Gelder Shaped the Sound of Jazz as We Know It – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/27/arts/music/rudy-van-gelder-essential-recordings.html?emc=edit_tnt_20160826

How Rudy Van Gelder Shaped the Sound of Jazz as We Know It
By NATE CHINEN (http://www.nytimes.com/by/nate-chinen) AUG. 26, 2016

Rudy Van Gelder, in 1988. He remained active in engineering, bringing his hand to “Chemistry,” an album released this summer, by the tenor saxophonist Houston Person and the bassist Ron Carter. James Estrin/The New York Times
When a musical hero of towering influence dies, the urge is to go straight to the tape: recordings, footage, a captured moment that stands in for the unwieldy fullness of a life.
This commemorative twitch — wearily familiar in our year of losses, from David Bowie (http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html?_r=0) to Prince (http://www.nytimes.com/2016/04/22/arts/music/prince-dead.html) to, just last week, the vibraphonist Bobby Hutcherson (http://www.nytimes.com/2016/08/17/arts/music/bobby-hutcherson-dies-jazz.html) — is especially well suited to the memory of Rudy Van Gelder, whose legend was shaped within the confines of his recording studio. Mr. Van Gelder, who died on Thursday at 91 (http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html) , was the most revered recording engineer in jazz — the man behind the curtain on thousands of albums and the chief architect of the storied “Blue Note sound.” He shaped the way we hear the music and the way we want it to be heard.
So it’s natural, now, to look for some trace of Mr. Van Gelder in the brilliant recordings he made, either at his first home studio in Hackensack, N.J., or at his second, in nearby Englewood Cliffs. It’s natural, and it’s also maddening, because so much of what he did was intangible. You hear it, you feel it, but his signature was etched in invisible ink. What is it, exactly, that you’re listening for? Naturalism? Warmth? The sound of a room?
“Some musicians sounded more real on your recordings than they would in a club,” the pianist and writer Ben Sidran ventured in 1985 in a rare interview with Mr. Van Gelder, who seemed to agree. He replied, “A great photographer will really create his image, and not just capture a particular situation.”
In that light, here’s a small assortment of images — just a few personal favorites from Mr. Van Gelder’s oceanic body of work.
Continue reading the main story
The first comes from “Blue Train,” the 1958 album by the saxophonist John Coltrane. Mr. Van Gelder’s more celebrated work with Coltrane came later, with “A Love Supreme,” on the Impulse! label. But what you hear on “Moment’s Notice,” which was taped to two-track mono, shows how he could evoke a band’s sound in physical space. Notice the transition between solos, especially from Lee Morgan’s swashbuckling trumpet to Paul Chambers’s bowed bass.
“Moment’s Notice,” by Coltrane:

It so happens that Mr. Van Gelder died on Wayne Shorter’s 83rd birthday. That coincidence sent me immediately to my vinyl reissue of “Speak No Evil,” which Mr. Shorter recorded in 1964. (It was released on Blue Note in 1966.) One thing I’ve always loved about the sound of this track is the way that Herbie Hancock’s piano (silvery, crisp) plays against Elvin Jones’s drums and cymbals (earthy, dark), while perfectly supporting the horns.
“Speak No Evil,” by Mr. Shorter:

“Ready, Rudy?” was something jazz musicians routinely said from Mr. Van Gelder’s studio floor, and the phrase became a kind of an in-joke, the title of a tune by Duke Pearson. Here, on the first track of “Relaxin’ With the Miles Davis Quintet,” we hear a less standard but more famous bit of studio chatter, as Davis rasps, “I’ll play it and tell you what it is later.” That offhandedness provides much of the charm of these sessions, for Prestige; Coltrane even begins his tenor-saxophone solo away from the microphone, as if stepping up to the plate.
“If I Were a Bell,” by the Miles Davis Quintet:

Mr. Van Gelder was also the sonic mastermind behind CTI Records, Creed Taylor’s stylish crossover label. The sound of these albums was warm and luxurious, and while there are many tracks to choose from, my instinctual pick would be the title track of “Red Clay,” the hit 1970 album by the trumpeter Freddie Hubbard. It has a jumping-out-of-your-speakers tenor saxophone solo by Joe Henderson, along with a neon-funky rhythm section: Mr. Hancock on electric piano, Ron Carter on electric bass, Lenny White on drums.
“Red Clay,” by Mr. Hubbard:

The enormity of Mr. Van Gelder’s midcentury output can make it easy to forget how active he remained in our own time. (One of his most recent credits is “Chemistry,” by the tenor saxophonist Houston Person and Mr. Carter — an album released this summer.) Christian Scott was a firebrand trumpeter still in his mid-20s when he recorded his second album, “Yesterday You Said Tomorrow,” at Mr. Van Gelder’s studio in 2010. “Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution)” is a politically charged track from the album, and its sound — that mix of electric guitar and tambourine — feels both raw and refined.
“Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution),” by Mr. Scott:

Finally, another sentimental offering. Many of Mr. Hutcherson’s finest recordings were made with Mr. Van Gelder behind the controls. “Out to Lunch,” the 1964 album by the multireedist Eric Dolphy, is full of these moments. Listen to how well the recording captures Mr. Hutcherson’s muted clangs and chiming overtones — along with the bleats, harrumphs and gargles of Mr. Dolphy’s bass clarinet, and the deep gravitas of Richard Davis’s bass. There’s a quintet on this track, but on some level you’d have to credit Mr. Van Gelder as an essential member of the band.
“Hat and Beard,” by Mr. Dolphy:

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6597cc1b63) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6597cc1b63&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
slide

How Rudy Van Gelder Shaped the Sound of Jazz as We Know It – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/27/arts/music/rudy-van-gelder-essential-recordings.html?emc=edit_tnt_20160826

How Rudy Van Gelder Shaped the Sound of Jazz as We Know It
By NATE CHINEN (http://www.nytimes.com/by/nate-chinen) AUG. 26, 2016

Rudy Van Gelder, in 1988. He remained active in engineering, bringing his hand to “Chemistry,” an album released this summer, by the tenor saxophonist Houston Person and the bassist Ron Carter. James Estrin/The New York Times
When a musical hero of towering influence dies, the urge is to go straight to the tape: recordings, footage, a captured moment that stands in for the unwieldy fullness of a life.
This commemorative twitch — wearily familiar in our year of losses, from David Bowie (http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html?_r=0) to Prince (http://www.nytimes.com/2016/04/22/arts/music/prince-dead.html) to, just last week, the vibraphonist Bobby Hutcherson (http://www.nytimes.com/2016/08/17/arts/music/bobby-hutcherson-dies-jazz.html) — is especially well suited to the memory of Rudy Van Gelder, whose legend was shaped within the confines of his recording studio. Mr. Van Gelder, who died on Thursday at 91 (http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html) , was the most revered recording engineer in jazz — the man behind the curtain on thousands of albums and the chief architect of the storied “Blue Note sound.” He shaped the way we hear the music and the way we want it to be heard.
So it’s natural, now, to look for some trace of Mr. Van Gelder in the brilliant recordings he made, either at his first home studio in Hackensack, N.J., or at his second, in nearby Englewood Cliffs. It’s natural, and it’s also maddening, because so much of what he did was intangible. You hear it, you feel it, but his signature was etched in invisible ink. What is it, exactly, that you’re listening for? Naturalism? Warmth? The sound of a room?
“Some musicians sounded more real on your recordings than they would in a club,” the pianist and writer Ben Sidran ventured in 1985 in a rare interview with Mr. Van Gelder, who seemed to agree. He replied, “A great photographer will really create his image, and not just capture a particular situation.”
In that light, here’s a small assortment of images — just a few personal favorites from Mr. Van Gelder’s oceanic body of work.
Continue reading the main story
The first comes from “Blue Train,” the 1958 album by the saxophonist John Coltrane. Mr. Van Gelder’s more celebrated work with Coltrane came later, with “A Love Supreme,” on the Impulse! label. But what you hear on “Moment’s Notice,” which was taped to two-track mono, shows how he could evoke a band’s sound in physical space. Notice the transition between solos, especially from Lee Morgan’s swashbuckling trumpet to Paul Chambers’s bowed bass.
“Moment’s Notice,” by Coltrane:

It so happens that Mr. Van Gelder died on Wayne Shorter’s 83rd birthday. That coincidence sent me immediately to my vinyl reissue of “Speak No Evil,” which Mr. Shorter recorded in 1964. (It was released on Blue Note in 1966.) One thing I’ve always loved about the sound of this track is the way that Herbie Hancock’s piano (silvery, crisp) plays against Elvin Jones’s drums and cymbals (earthy, dark), while perfectly supporting the horns.
“Speak No Evil,” by Mr. Shorter:

“Ready, Rudy?” was something jazz musicians routinely said from Mr. Van Gelder’s studio floor, and the phrase became a kind of an in-joke, the title of a tune by Duke Pearson. Here, on the first track of “Relaxin’ With the Miles Davis Quintet,” we hear a less standard but more famous bit of studio chatter, as Davis rasps, “I’ll play it and tell you what it is later.” That offhandedness provides much of the charm of these sessions, for Prestige; Coltrane even begins his tenor-saxophone solo away from the microphone, as if stepping up to the plate.
“If I Were a Bell,” by the Miles Davis Quintet:

Mr. Van Gelder was also the sonic mastermind behind CTI Records, Creed Taylor’s stylish crossover label. The sound of these albums was warm and luxurious, and while there are many tracks to choose from, my instinctual pick would be the title track of “Red Clay,” the hit 1970 album by the trumpeter Freddie Hubbard. It has a jumping-out-of-your-speakers tenor saxophone solo by Joe Henderson, along with a neon-funky rhythm section: Mr. Hancock on electric piano, Ron Carter on electric bass, Lenny White on drums.
“Red Clay,” by Mr. Hubbard:

The enormity of Mr. Van Gelder’s midcentury output can make it easy to forget how active he remained in our own time. (One of his most recent credits is “Chemistry,” by the tenor saxophonist Houston Person and Mr. Carter — an album released this summer.) Christian Scott was a firebrand trumpeter still in his mid-20s when he recorded his second album, “Yesterday You Said Tomorrow,” at Mr. Van Gelder’s studio in 2010. “Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution)” is a politically charged track from the album, and its sound — that mix of electric guitar and tambourine — feels both raw and refined.
“Jenacide (the Inevitable Rise and Fall of the Bloodless Revolution),” by Mr. Scott:

Finally, another sentimental offering. Many of Mr. Hutcherson’s finest recordings were made with Mr. Van Gelder behind the controls. “Out to Lunch,” the 1964 album by the multireedist Eric Dolphy, is full of these moments. Listen to how well the recording captures Mr. Hutcherson’s muted clangs and chiming overtones — along with the bleats, harrumphs and gargles of Mr. Dolphy’s bass clarinet, and the deep gravitas of Richard Davis’s bass. There’s a quintet on this track, but on some level you’d have to credit Mr. Van Gelder as an essential member of the band.
“Hat and Beard,” by Mr. Dolphy:

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Interview With Rudy Van Gelder – Blue Note Perfect Takes (2004) – YouTube

http://www.jazzpromoservices.com/

https://www.youtube.com/watch?v=BpmA2VcpP0w

Rudy Van Gelder is interviewed by producer Michael Cuscuna, during which he reminisces about the early days of Blue Note, the legends with whom he has worked, and his legacy as the greatest jazz recording engineer of all time.

https://www.youtube.com/watch?v=BpmA2VcpP0w

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Interview With Rudy Van Gelder – Blue Note Perfect Takes (2004) – YouTube

http://www.jazzpromoservices.com/

https://www.youtube.com/watch?v=BpmA2VcpP0w

Rudy Van Gelder is interviewed by producer Michael Cuscuna, during which he reminisces about the early days of Blue Note, the legends with whom he has worked, and his legacy as the greatest jazz recording engineer of all time.

https://www.youtube.com/watch?v=BpmA2VcpP0w

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Interview With Rudy Van Gelder – Blue Note Perfect Takes (2004) – YouTube

http://www.jazzpromoservices.com/

https://www.youtube.com/watch?v=BpmA2VcpP0w

Rudy Van Gelder is interviewed by producer Michael Cuscuna, during which he reminisces about the early days of Blue Note, the legends with whom he has worked, and his legacy as the greatest jazz recording engineer of all time.

https://www.youtube.com/watch?v=BpmA2VcpP0w

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Interview With Rudy Van Gelder – Blue Note Perfect Takes (2004) – YouTube

http://www.jazzpromoservices.com/

https://www.youtube.com/watch?v=BpmA2VcpP0w

Rudy Van Gelder is interviewed by producer Michael Cuscuna, during which he reminisces about the early days of Blue Note, the legends with whom he has worked, and his legacy as the greatest jazz recording engineer of all time.

https://www.youtube.com/watch?v=BpmA2VcpP0w

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html?action=click

Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91

Rudy Van Gelder in 1988 at the home studio that he designed himself in Englewood Cliffs, N.J. James Estrin/The New York Times

Rudy Van Gelder, an audio engineer whose work with Miles Davis (https://www.milesdavis.com/) , John Coltrane (http://www.johncoltrane.com/) and numerous other musicians helped define the sound of jazz on record, died on Thursday at his home, which doubled as his studio, in Englewood Cliffs, N.J. He was 91.

His death was confirmed by his assistant, Maureen Sickler.

Mr. Van Gelder, as he took pains to explain to interviewers, was an engineer and not a producer. He was not in charge of the sessions he recorded; he did not hire the musicians or play any role in choosing the repertoire. But he had the final say in what the records sounded like, and he was, in the view of countless producers, musicians and listeners, better at that than anyone.
The many albums he engineered for Blue Note, Prestige, Impulse and other labels in the 1950s and ’60s included acknowledged classics like Coltrane’s “A Love Supreme,” Davis’s “Walkin’,” Herbie Hancock’s “Maiden Voyage,” Sonny Rollins’s “Saxophone Colossus” and Horace Silver’s “Song for My Father.”

In the 1970s he worked primarily for CTI Records, the most commercially successful jazz label of the period, where his discography included hit albums like Esther Phillips’s “What a Diff’rence a Day Makes” and Grover Washington Jr.’s “Mister Magic.”

“I think I’ve been associated with more records, technically, than anybody else in the history of the record business,” Mr. Van Gelder told The New York Times in 1988.

Mr. Van Gelder was reluctant to reveal too many specifics about his recording techniques. But he was clear about his goal: He wanted, he told Marc Myers of the website JazzWax (http://www.jazzwax.com/2012/02/interview-rudy-van-gelder-part-1.html) in 2012, “to get electronics to accurately capture the human spirit,” and to make the records he engineered sound “as warm and as realistic as possible.”

Comparing Mr. Van Gelder’s approach to that of other engineers in the journal Current Musicology in 2001, Dan Skea observed, “Whereas earlier jazz recordings seemed to come at the listener from a distance, Van Gelder found ways to approach and capture the music at closer range, and to more clearly convey jazz’s characteristic sense of immediacy.”

Mr. Van Gelder himself put it this way: “When people talk about my albums, they often say the music has ‘space.’ I tried to reproduce a sense of space in the overall sound picture.”

He added: “I used specific microphones located in places that allowed the musicians to sound as though they were playing from different locations in the room, which in reality they were. This created a sensation of dimension and depth.”

He also prided himself on being at the cutting edge of recording technology. He was one of the first engineers in the United States to use the state-of-the-art microphones made by the German company Neumann (because, he said, a Neumann “could capture sounds that other microphones couldn’t”). He was early to embrace magnetic recording tape and then digital recording.
Rudolph Van Gelder was born in Jersey City on Nov. 2, 1924. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women’s clothing store in Passaic, N.J.

He became interested in jazz at an early age — he played trumpet, although by his own account not well — while developing a parallel passion for sound technology. When he was 12 he acquired a home recording device that included a turntable and discs. In high school he became a ham radio operator.

But he did not originally think he could make a living as a recording engineer, and attended the Pennsylvania College of Optometry in Philadelphia. “I felt that studying optometry would give me the mental discipline I needed and a steady income after I graduated,” he later recalled.

For more than a decade he was an optometrist by day and a recording engineer in his spare time.

He originally worked out of a studio in his parents’ living room in Hackensack, N.J. Not until 1959 — by which time he had already engineered some of the most celebrated recordings in jazz history — could he afford to make engineering his full-time occupation, shifting his base of operations to an elaborate home studio that he designed himself in Englewood Cliffs.

“I never made much money while practicing optometry after college,” he said in the JazzWax interview. “I made more from making records. But everything I made as an optometrist went into new recording equipment and, eventually, into building my studio in Englewood Cliffs from the ground up.”

In 1952, after he had been recording 78-r.p.m. discs of local musicians and singers for several years, he attracted the attention of Alfred Lion of Blue Note Records (http://www.bluenote.com/) , the leading jazz label of the day. Mr. Lion began using him regularly, and other record companies quickly followed suit.

Mr. Van Gelder was known not just for his skill as an engineer but also for his fastidiousness, as exemplified by his insistence on wearing gloves while working. “I was the guy doing everything — setting up the chairs, running the floor cables, setting the microphones, working the console,” he explained in 2012. “I didn’t want to handle all of my fine, expensive equipment with dirty hands.”
Unlike many audio engineers, Mr. Van Gelder was involved in every aspect of making records, from preparation to mastering, the final stage in the process, in which the music on tape was transferred to disc for record-plant pressing. “I always wanted to be in control of the entire recording chain,” he said. “Why not? It had my name on it.”

In 1999 he began remastering many of his Blue Note sessions for CD; the results were released to much fanfare as the Rudy Van Gelder Editions. He later did the same for his Prestige and CTI recordings.
Mr. Van Gelder was married twice; both marriages ended with his wives’ deaths. He is survived by a brother, Leon.

He was named a National Endowment for the Arts Jazz Master in 2009 and received lifetime achievement awards from the Recording Academy in 2012 and the Audio Engineering Society in 2013.
When he learned that he would be honored by the N.E.A. at a ceremony in New York, Mr. Van Gelder said in a statement, “I thought of all the great jazz musicians I’ve recorded through the years, how lucky I’ve been that the producers I worked with had enough faith in me to bring those musicians to me to record.”

And then, he added, “I thought, ‘I’ll have to get a suit.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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

Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
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Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html?action=click

Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91

Rudy Van Gelder in 1988 at the home studio that he designed himself in Englewood Cliffs, N.J. James Estrin/The New York Times

Rudy Van Gelder, an audio engineer whose work with Miles Davis (https://www.milesdavis.com/) , John Coltrane (http://www.johncoltrane.com/) and numerous other musicians helped define the sound of jazz on record, died on Thursday at his home, which doubled as his studio, in Englewood Cliffs, N.J. He was 91.

His death was confirmed by his assistant, Maureen Sickler.

Mr. Van Gelder, as he took pains to explain to interviewers, was an engineer and not a producer. He was not in charge of the sessions he recorded; he did not hire the musicians or play any role in choosing the repertoire. But he had the final say in what the records sounded like, and he was, in the view of countless producers, musicians and listeners, better at that than anyone.
The many albums he engineered for Blue Note, Prestige, Impulse and other labels in the 1950s and ’60s included acknowledged classics like Coltrane’s “A Love Supreme,” Davis’s “Walkin’,” Herbie Hancock’s “Maiden Voyage,” Sonny Rollins’s “Saxophone Colossus” and Horace Silver’s “Song for My Father.”

In the 1970s he worked primarily for CTI Records, the most commercially successful jazz label of the period, where his discography included hit albums like Esther Phillips’s “What a Diff’rence a Day Makes” and Grover Washington Jr.’s “Mister Magic.”

“I think I’ve been associated with more records, technically, than anybody else in the history of the record business,” Mr. Van Gelder told The New York Times in 1988.

Mr. Van Gelder was reluctant to reveal too many specifics about his recording techniques. But he was clear about his goal: He wanted, he told Marc Myers of the website JazzWax (http://www.jazzwax.com/2012/02/interview-rudy-van-gelder-part-1.html) in 2012, “to get electronics to accurately capture the human spirit,” and to make the records he engineered sound “as warm and as realistic as possible.”

Comparing Mr. Van Gelder’s approach to that of other engineers in the journal Current Musicology in 2001, Dan Skea observed, “Whereas earlier jazz recordings seemed to come at the listener from a distance, Van Gelder found ways to approach and capture the music at closer range, and to more clearly convey jazz’s characteristic sense of immediacy.”

Mr. Van Gelder himself put it this way: “When people talk about my albums, they often say the music has ‘space.’ I tried to reproduce a sense of space in the overall sound picture.”

He added: “I used specific microphones located in places that allowed the musicians to sound as though they were playing from different locations in the room, which in reality they were. This created a sensation of dimension and depth.”

He also prided himself on being at the cutting edge of recording technology. He was one of the first engineers in the United States to use the state-of-the-art microphones made by the German company Neumann (because, he said, a Neumann “could capture sounds that other microphones couldn’t”). He was early to embrace magnetic recording tape and then digital recording.
Rudolph Van Gelder was born in Jersey City on Nov. 2, 1924. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women’s clothing store in Passaic, N.J.

He became interested in jazz at an early age — he played trumpet, although by his own account not well — while developing a parallel passion for sound technology. When he was 12 he acquired a home recording device that included a turntable and discs. In high school he became a ham radio operator.

But he did not originally think he could make a living as a recording engineer, and attended the Pennsylvania College of Optometry in Philadelphia. “I felt that studying optometry would give me the mental discipline I needed and a steady income after I graduated,” he later recalled.

For more than a decade he was an optometrist by day and a recording engineer in his spare time.

He originally worked out of a studio in his parents’ living room in Hackensack, N.J. Not until 1959 — by which time he had already engineered some of the most celebrated recordings in jazz history — could he afford to make engineering his full-time occupation, shifting his base of operations to an elaborate home studio that he designed himself in Englewood Cliffs.

“I never made much money while practicing optometry after college,” he said in the JazzWax interview. “I made more from making records. But everything I made as an optometrist went into new recording equipment and, eventually, into building my studio in Englewood Cliffs from the ground up.”

In 1952, after he had been recording 78-r.p.m. discs of local musicians and singers for several years, he attracted the attention of Alfred Lion of Blue Note Records (http://www.bluenote.com/) , the leading jazz label of the day. Mr. Lion began using him regularly, and other record companies quickly followed suit.

Mr. Van Gelder was known not just for his skill as an engineer but also for his fastidiousness, as exemplified by his insistence on wearing gloves while working. “I was the guy doing everything — setting up the chairs, running the floor cables, setting the microphones, working the console,” he explained in 2012. “I didn’t want to handle all of my fine, expensive equipment with dirty hands.”
Unlike many audio engineers, Mr. Van Gelder was involved in every aspect of making records, from preparation to mastering, the final stage in the process, in which the music on tape was transferred to disc for record-plant pressing. “I always wanted to be in control of the entire recording chain,” he said. “Why not? It had my name on it.”

In 1999 he began remastering many of his Blue Note sessions for CD; the results were released to much fanfare as the Rudy Van Gelder Editions. He later did the same for his Prestige and CTI recordings.
Mr. Van Gelder was married twice; both marriages ended with his wives’ deaths. He is survived by a brother, Leon.

He was named a National Endowment for the Arts Jazz Master in 2009 and received lifetime achievement awards from the Recording Academy in 2012 and the Audio Engineering Society in 2013.
When he learned that he would be honored by the N.E.A. at a ceremony in New York, Mr. Van Gelder said in a statement, “I thought of all the great jazz musicians I’ve recorded through the years, how lucky I’ve been that the producers I worked with had enough faith in me to bring those musicians to me to record.”

And then, he added, “I thought, ‘I’ll have to get a suit.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=9c58b3ecb6) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=9c58b3ecb6&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
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Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html?action=click

Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91

Rudy Van Gelder in 1988 at the home studio that he designed himself in Englewood Cliffs, N.J. James Estrin/The New York Times

Rudy Van Gelder, an audio engineer whose work with Miles Davis (https://www.milesdavis.com/) , John Coltrane (http://www.johncoltrane.com/) and numerous other musicians helped define the sound of jazz on record, died on Thursday at his home, which doubled as his studio, in Englewood Cliffs, N.J. He was 91.

His death was confirmed by his assistant, Maureen Sickler.

Mr. Van Gelder, as he took pains to explain to interviewers, was an engineer and not a producer. He was not in charge of the sessions he recorded; he did not hire the musicians or play any role in choosing the repertoire. But he had the final say in what the records sounded like, and he was, in the view of countless producers, musicians and listeners, better at that than anyone.
The many albums he engineered for Blue Note, Prestige, Impulse and other labels in the 1950s and ’60s included acknowledged classics like Coltrane’s “A Love Supreme,” Davis’s “Walkin’,” Herbie Hancock’s “Maiden Voyage,” Sonny Rollins’s “Saxophone Colossus” and Horace Silver’s “Song for My Father.”

In the 1970s he worked primarily for CTI Records, the most commercially successful jazz label of the period, where his discography included hit albums like Esther Phillips’s “What a Diff’rence a Day Makes” and Grover Washington Jr.’s “Mister Magic.”

“I think I’ve been associated with more records, technically, than anybody else in the history of the record business,” Mr. Van Gelder told The New York Times in 1988.

Mr. Van Gelder was reluctant to reveal too many specifics about his recording techniques. But he was clear about his goal: He wanted, he told Marc Myers of the website JazzWax (http://www.jazzwax.com/2012/02/interview-rudy-van-gelder-part-1.html) in 2012, “to get electronics to accurately capture the human spirit,” and to make the records he engineered sound “as warm and as realistic as possible.”

Comparing Mr. Van Gelder’s approach to that of other engineers in the journal Current Musicology in 2001, Dan Skea observed, “Whereas earlier jazz recordings seemed to come at the listener from a distance, Van Gelder found ways to approach and capture the music at closer range, and to more clearly convey jazz’s characteristic sense of immediacy.”

Mr. Van Gelder himself put it this way: “When people talk about my albums, they often say the music has ‘space.’ I tried to reproduce a sense of space in the overall sound picture.”

He added: “I used specific microphones located in places that allowed the musicians to sound as though they were playing from different locations in the room, which in reality they were. This created a sensation of dimension and depth.”

He also prided himself on being at the cutting edge of recording technology. He was one of the first engineers in the United States to use the state-of-the-art microphones made by the German company Neumann (because, he said, a Neumann “could capture sounds that other microphones couldn’t”). He was early to embrace magnetic recording tape and then digital recording.
Rudolph Van Gelder was born in Jersey City on Nov. 2, 1924. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women’s clothing store in Passaic, N.J.

He became interested in jazz at an early age — he played trumpet, although by his own account not well — while developing a parallel passion for sound technology. When he was 12 he acquired a home recording device that included a turntable and discs. In high school he became a ham radio operator.

But he did not originally think he could make a living as a recording engineer, and attended the Pennsylvania College of Optometry in Philadelphia. “I felt that studying optometry would give me the mental discipline I needed and a steady income after I graduated,” he later recalled.

For more than a decade he was an optometrist by day and a recording engineer in his spare time.

He originally worked out of a studio in his parents’ living room in Hackensack, N.J. Not until 1959 — by which time he had already engineered some of the most celebrated recordings in jazz history — could he afford to make engineering his full-time occupation, shifting his base of operations to an elaborate home studio that he designed himself in Englewood Cliffs.

“I never made much money while practicing optometry after college,” he said in the JazzWax interview. “I made more from making records. But everything I made as an optometrist went into new recording equipment and, eventually, into building my studio in Englewood Cliffs from the ground up.”

In 1952, after he had been recording 78-r.p.m. discs of local musicians and singers for several years, he attracted the attention of Alfred Lion of Blue Note Records (http://www.bluenote.com/) , the leading jazz label of the day. Mr. Lion began using him regularly, and other record companies quickly followed suit.

Mr. Van Gelder was known not just for his skill as an engineer but also for his fastidiousness, as exemplified by his insistence on wearing gloves while working. “I was the guy doing everything — setting up the chairs, running the floor cables, setting the microphones, working the console,” he explained in 2012. “I didn’t want to handle all of my fine, expensive equipment with dirty hands.”
Unlike many audio engineers, Mr. Van Gelder was involved in every aspect of making records, from preparation to mastering, the final stage in the process, in which the music on tape was transferred to disc for record-plant pressing. “I always wanted to be in control of the entire recording chain,” he said. “Why not? It had my name on it.”

In 1999 he began remastering many of his Blue Note sessions for CD; the results were released to much fanfare as the Rudy Van Gelder Editions. He later did the same for his Prestige and CTI recordings.
Mr. Van Gelder was married twice; both marriages ended with his wives’ deaths. He is survived by a brother, Leon.

He was named a National Endowment for the Arts Jazz Master in 2009 and received lifetime achievement awards from the Recording Academy in 2012 and the Audio Engineering Society in 2013.
When he learned that he would be honored by the N.E.A. at a ceremony in New York, Mr. Van Gelder said in a statement, “I thought of all the great jazz musicians I’ve recorded through the years, how lucky I’ve been that the producers I worked with had enough faith in me to bring those musicians to me to record.”

And then, he added, “I thought, ‘I’ll have to get a suit.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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August 26, 2016 / No Comments / More
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Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html?action=click

Rudy Van Gelder, Audio Engineer Who Helped Define Sound of Jazz on Record, Dies at 91

Rudy Van Gelder in 1988 at the home studio that he designed himself in Englewood Cliffs, N.J. James Estrin/The New York Times

Rudy Van Gelder, an audio engineer whose work with Miles Davis (https://www.milesdavis.com/) , John Coltrane (http://www.johncoltrane.com/) and numerous other musicians helped define the sound of jazz on record, died on Thursday at his home, which doubled as his studio, in Englewood Cliffs, N.J. He was 91.

His death was confirmed by his assistant, Maureen Sickler.

Mr. Van Gelder, as he took pains to explain to interviewers, was an engineer and not a producer. He was not in charge of the sessions he recorded; he did not hire the musicians or play any role in choosing the repertoire. But he had the final say in what the records sounded like, and he was, in the view of countless producers, musicians and listeners, better at that than anyone.
The many albums he engineered for Blue Note, Prestige, Impulse and other labels in the 1950s and ’60s included acknowledged classics like Coltrane’s “A Love Supreme,” Davis’s “Walkin’,” Herbie Hancock’s “Maiden Voyage,” Sonny Rollins’s “Saxophone Colossus” and Horace Silver’s “Song for My Father.”

In the 1970s he worked primarily for CTI Records, the most commercially successful jazz label of the period, where his discography included hit albums like Esther Phillips’s “What a Diff’rence a Day Makes” and Grover Washington Jr.’s “Mister Magic.”

“I think I’ve been associated with more records, technically, than anybody else in the history of the record business,” Mr. Van Gelder told The New York Times in 1988.

Mr. Van Gelder was reluctant to reveal too many specifics about his recording techniques. But he was clear about his goal: He wanted, he told Marc Myers of the website JazzWax (http://www.jazzwax.com/2012/02/interview-rudy-van-gelder-part-1.html) in 2012, “to get electronics to accurately capture the human spirit,” and to make the records he engineered sound “as warm and as realistic as possible.”

Comparing Mr. Van Gelder’s approach to that of other engineers in the journal Current Musicology in 2001, Dan Skea observed, “Whereas earlier jazz recordings seemed to come at the listener from a distance, Van Gelder found ways to approach and capture the music at closer range, and to more clearly convey jazz’s characteristic sense of immediacy.”

Mr. Van Gelder himself put it this way: “When people talk about my albums, they often say the music has ‘space.’ I tried to reproduce a sense of space in the overall sound picture.”

He added: “I used specific microphones located in places that allowed the musicians to sound as though they were playing from different locations in the room, which in reality they were. This created a sensation of dimension and depth.”

He also prided himself on being at the cutting edge of recording technology. He was one of the first engineers in the United States to use the state-of-the-art microphones made by the German company Neumann (because, he said, a Neumann “could capture sounds that other microphones couldn’t”). He was early to embrace magnetic recording tape and then digital recording.
Rudolph Van Gelder was born in Jersey City on Nov. 2, 1924. His parents, Louis Van Gelder and the former Sarah Cohen, ran a women’s clothing store in Passaic, N.J.

He became interested in jazz at an early age — he played trumpet, although by his own account not well — while developing a parallel passion for sound technology. When he was 12 he acquired a home recording device that included a turntable and discs. In high school he became a ham radio operator.

But he did not originally think he could make a living as a recording engineer, and attended the Pennsylvania College of Optometry in Philadelphia. “I felt that studying optometry would give me the mental discipline I needed and a steady income after I graduated,” he later recalled.

For more than a decade he was an optometrist by day and a recording engineer in his spare time.

He originally worked out of a studio in his parents’ living room in Hackensack, N.J. Not until 1959 — by which time he had already engineered some of the most celebrated recordings in jazz history — could he afford to make engineering his full-time occupation, shifting his base of operations to an elaborate home studio that he designed himself in Englewood Cliffs.

“I never made much money while practicing optometry after college,” he said in the JazzWax interview. “I made more from making records. But everything I made as an optometrist went into new recording equipment and, eventually, into building my studio in Englewood Cliffs from the ground up.”

In 1952, after he had been recording 78-r.p.m. discs of local musicians and singers for several years, he attracted the attention of Alfred Lion of Blue Note Records (http://www.bluenote.com/) , the leading jazz label of the day. Mr. Lion began using him regularly, and other record companies quickly followed suit.

Mr. Van Gelder was known not just for his skill as an engineer but also for his fastidiousness, as exemplified by his insistence on wearing gloves while working. “I was the guy doing everything — setting up the chairs, running the floor cables, setting the microphones, working the console,” he explained in 2012. “I didn’t want to handle all of my fine, expensive equipment with dirty hands.”
Unlike many audio engineers, Mr. Van Gelder was involved in every aspect of making records, from preparation to mastering, the final stage in the process, in which the music on tape was transferred to disc for record-plant pressing. “I always wanted to be in control of the entire recording chain,” he said. “Why not? It had my name on it.”

In 1999 he began remastering many of his Blue Note sessions for CD; the results were released to much fanfare as the Rudy Van Gelder Editions. He later did the same for his Prestige and CTI recordings.
Mr. Van Gelder was married twice; both marriages ended with his wives’ deaths. He is survived by a brother, Leon.

He was named a National Endowment for the Arts Jazz Master in 2009 and received lifetime achievement awards from the Recording Academy in 2012 and the Audio Engineering Society in 2013.
When he learned that he would be honored by the N.E.A. at a ceremony in New York, Mr. Van Gelder said in a statement, “I thought of all the great jazz musicians I’ve recorded through the years, how lucky I’ve been that the producers I worked with had enough faith in me to bring those musicians to me to record.”

And then, he added, “I thought, ‘I’ll have to get a suit.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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

Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2016 / No Comments / More
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Pioneering jazz recording engineer Rudy Van Gelder dies at 91

http://www.jazzpromoservices.com/

http://www.factmag.com/2016/08/25/rudy-van-gelder-jazz-dies/

Legendary jazz recording engineer Rudy Van Gelder dies at 91

The man behind many jazz greats has passed away.

Jazz engineer Rudy Van Gelder has died at age 91. He recorded with legendary artists like John Coltrane, Miles Davis, Thelonious Monk and more and an impressive majority of the Blue Note Records catalog. He was viewed by some as the most important jazz engineer of all time. He also worked with Prestige Records and Savoy Records.

Rudy Van Gelder has died, at 91. Truly sad news for the world of recorded music, jazz first and foremost. #RIP (https://twitter.com/hashtag/RIP?src=hash) #RVG (https://twitter.com/hashtag/RVG?src=hash) pic.twitter.com/VfpdVEVgkR (https://t.co/VfpdVEVgkR)
— Nate Chinen (@natechinen) August 25, 2016 (https://twitter.com/natechinen/status/768866236696436736)

One of Van Gelder’s biggest contributions to the genre was recording Coltrane’s definitive A Love Supreme (http://www.nj.com/inside-jersey/index.ssf/2014/11/50_years_ago_john_coltrane_recorded_a_love_supreme_in_englewood_cliffs.html) over 50 years ago in December of 1965. It was recorded in Englewood Cliffs, New Jersey, the state that Van Gelder called home and carved out a special place for jazz by working out of his own studios, his first being a special control room designed and built by his parents in their Hackensack, NJ home in 1946.

The studio was immortalized in the mid-1950s by Monk’s song ‘Hackensack’. Listen to the track below.
https://www.youtube.com/watch?v=V3NKHCkwKjc

https://www.youtube.com/watch?v=V3NKHCkwKjc

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
slide

Pioneering jazz recording engineer Rudy Van Gelder dies at 91

http://www.jazzpromoservices.com/

http://www.factmag.com/2016/08/25/rudy-van-gelder-jazz-dies/

Legendary jazz recording engineer Rudy Van Gelder dies at 91

The man behind many jazz greats has passed away.

Jazz engineer Rudy Van Gelder has died at age 91. He recorded with legendary artists like John Coltrane, Miles Davis, Thelonious Monk and more and an impressive majority of the Blue Note Records catalog. He was viewed by some as the most important jazz engineer of all time. He also worked with Prestige Records and Savoy Records.

Rudy Van Gelder has died, at 91. Truly sad news for the world of recorded music, jazz first and foremost. #RIP (https://twitter.com/hashtag/RIP?src=hash) #RVG (https://twitter.com/hashtag/RVG?src=hash) pic.twitter.com/VfpdVEVgkR (https://t.co/VfpdVEVgkR)
— Nate Chinen (@natechinen) August 25, 2016 (https://twitter.com/natechinen/status/768866236696436736)

One of Van Gelder’s biggest contributions to the genre was recording Coltrane’s definitive A Love Supreme (http://www.nj.com/inside-jersey/index.ssf/2014/11/50_years_ago_john_coltrane_recorded_a_love_supreme_in_englewood_cliffs.html) over 50 years ago in December of 1965. It was recorded in Englewood Cliffs, New Jersey, the state that Van Gelder called home and carved out a special place for jazz by working out of his own studios, his first being a special control room designed and built by his parents in their Hackensack, NJ home in 1946.

The studio was immortalized in the mid-1950s by Monk’s song ‘Hackensack’. Listen to the track below.
https://www.youtube.com/watch?v=V3NKHCkwKjc

https://www.youtube.com/watch?v=V3NKHCkwKjc

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4f340b82f7) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4f340b82f7&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
slide

Pioneering jazz recording engineer Rudy Van Gelder dies at 91

http://www.jazzpromoservices.com/

http://www.factmag.com/2016/08/25/rudy-van-gelder-jazz-dies/

Legendary jazz recording engineer Rudy Van Gelder dies at 91

The man behind many jazz greats has passed away.

Jazz engineer Rudy Van Gelder has died at age 91. He recorded with legendary artists like John Coltrane, Miles Davis, Thelonious Monk and more and an impressive majority of the Blue Note Records catalog. He was viewed by some as the most important jazz engineer of all time. He also worked with Prestige Records and Savoy Records.

Rudy Van Gelder has died, at 91. Truly sad news for the world of recorded music, jazz first and foremost. #RIP (https://twitter.com/hashtag/RIP?src=hash) #RVG (https://twitter.com/hashtag/RVG?src=hash) pic.twitter.com/VfpdVEVgkR (https://t.co/VfpdVEVgkR)
— Nate Chinen (@natechinen) August 25, 2016 (https://twitter.com/natechinen/status/768866236696436736)

One of Van Gelder’s biggest contributions to the genre was recording Coltrane’s definitive A Love Supreme (http://www.nj.com/inside-jersey/index.ssf/2014/11/50_years_ago_john_coltrane_recorded_a_love_supreme_in_englewood_cliffs.html) over 50 years ago in December of 1965. It was recorded in Englewood Cliffs, New Jersey, the state that Van Gelder called home and carved out a special place for jazz by working out of his own studios, his first being a special control room designed and built by his parents in their Hackensack, NJ home in 1946.

The studio was immortalized in the mid-1950s by Monk’s song ‘Hackensack’. Listen to the track below.
https://www.youtube.com/watch?v=V3NKHCkwKjc

https://www.youtube.com/watch?v=V3NKHCkwKjc

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4f340b82f7) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4f340b82f7&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
slide

Pioneering jazz recording engineer Rudy Van Gelder dies at 91

http://www.jazzpromoservices.com/

http://www.factmag.com/2016/08/25/rudy-van-gelder-jazz-dies/

Legendary jazz recording engineer Rudy Van Gelder dies at 91

The man behind many jazz greats has passed away.

Jazz engineer Rudy Van Gelder has died at age 91. He recorded with legendary artists like John Coltrane, Miles Davis, Thelonious Monk and more and an impressive majority of the Blue Note Records catalog. He was viewed by some as the most important jazz engineer of all time. He also worked with Prestige Records and Savoy Records.

Rudy Van Gelder has died, at 91. Truly sad news for the world of recorded music, jazz first and foremost. #RIP (https://twitter.com/hashtag/RIP?src=hash) #RVG (https://twitter.com/hashtag/RVG?src=hash) pic.twitter.com/VfpdVEVgkR (https://t.co/VfpdVEVgkR)
— Nate Chinen (@natechinen) August 25, 2016 (https://twitter.com/natechinen/status/768866236696436736)

One of Van Gelder’s biggest contributions to the genre was recording Coltrane’s definitive A Love Supreme (http://www.nj.com/inside-jersey/index.ssf/2014/11/50_years_ago_john_coltrane_recorded_a_love_supreme_in_englewood_cliffs.html) over 50 years ago in December of 1965. It was recorded in Englewood Cliffs, New Jersey, the state that Van Gelder called home and carved out a special place for jazz by working out of his own studios, his first being a special control room designed and built by his parents in their Hackensack, NJ home in 1946.

The studio was immortalized in the mid-1950s by Monk’s song ‘Hackensack’. Listen to the track below.
https://www.youtube.com/watch?v=V3NKHCkwKjc

https://www.youtube.com/watch?v=V3NKHCkwKjc

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4f340b82f7) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4f340b82f7&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
slide

RUDY VAN GELDER 1924-2016

http://www.jazzpromoservices.com/

Just posted on the JPL List…

And Facebook too
https://www.facebook.com/search/top/?q=rudy%20van%20gelder

On 8/25/16, 1:48 PM, “Derrick Lucas” wrote:

According to family and Resonance Producer Zev Feldman the legendary
engineer has just passed away

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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August 25, 2016 / No Comments / More
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RUDY VAN GELDER 1924-2016

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Just posted on the JPL List…

And Facebook too
https://www.facebook.com/search/top/?q=rudy%20van%20gelder

On 8/25/16, 1:48 PM, “Derrick Lucas” wrote:

According to family and Resonance Producer Zev Feldman the legendary
engineer has just passed away

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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August 25, 2016 / No Comments / More
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RUDY VAN GELDER 1924-2016

http://www.jazzpromoservices.com/

Just posted on the JPL List…

And Facebook too
https://www.facebook.com/search/top/?q=rudy%20van%20gelder

On 8/25/16, 1:48 PM, “Derrick Lucas” wrote:

According to family and Resonance Producer Zev Feldman the legendary
engineer has just passed away

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
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RUDY VAN GELDER 1924-2016

http://www.jazzpromoservices.com/

Just posted on the JPL List…

And Facebook too
https://www.facebook.com/search/top/?q=rudy%20van%20gelder

On 8/25/16, 1:48 PM, “Derrick Lucas” wrote:

According to family and Resonance Producer Zev Feldman the legendary
engineer has just passed away

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0500ef6b39) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0500ef6b39&e=[UNIQID])

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269 State Route 94 South
Warwick, Ny 10990
USA

August 25, 2016 / No Comments / More
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DEREK SMITH Obituary – New York, NY | New York Times

http://www.jazzpromoservices.com/

http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152

DEREK SMITH
Obituary

Renowned jazz pianist, husband, father and grandfather. Originally from England, he began his career at the age of 14 on VE Day. In 1957 he immigrated to the United States, building a career that spanned seven decades. His immense talent earned the respect and admiration of everyone who knew him. Playing with every big name in show business, and performing with every major player on the jazz scene, he will be remembered as one of the jazz greats.
– See more at: http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152 – sthash.jexWdjxq.dpuf (http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152#sthash.jexWdjxq.dpuf)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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269 State Route 94 South
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USA

August 23, 2016 / No Comments / More
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DEREK SMITH Obituary – New York, NY | New York Times

http://www.jazzpromoservices.com/

http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152

DEREK SMITH
Obituary

Renowned jazz pianist, husband, father and grandfather. Originally from England, he began his career at the age of 14 on VE Day. In 1957 he immigrated to the United States, building a career that spanned seven decades. His immense talent earned the respect and admiration of everyone who knew him. Playing with every big name in show business, and performing with every major player on the jazz scene, he will be remembered as one of the jazz greats.
– See more at: http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152 – sthash.jexWdjxq.dpuf (http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152#sthash.jexWdjxq.dpuf)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
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USA

August 23, 2016 / No Comments / More
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DEREK SMITH Obituary – New York, NY | New York Times

http://www.jazzpromoservices.com/

http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152

DEREK SMITH
Obituary

Renowned jazz pianist, husband, father and grandfather. Originally from England, he began his career at the age of 14 on VE Day. In 1957 he immigrated to the United States, building a career that spanned seven decades. His immense talent earned the respect and admiration of everyone who knew him. Playing with every big name in show business, and performing with every major player on the jazz scene, he will be remembered as one of the jazz greats.
– See more at: http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152 – sthash.jexWdjxq.dpuf (http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152#sthash.jexWdjxq.dpuf)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c260442b4c) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=c260442b4c&e=[UNIQID])

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Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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DEREK SMITH Obituary – New York, NY | New York Times

http://www.jazzpromoservices.com/

http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152

DEREK SMITH
Obituary

Renowned jazz pianist, husband, father and grandfather. Originally from England, he began his career at the age of 14 on VE Day. In 1957 he immigrated to the United States, building a career that spanned seven decades. His immense talent earned the respect and admiration of everyone who knew him. Playing with every big name in show business, and performing with every major player on the jazz scene, he will be remembered as one of the jazz greats.
– See more at: http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152 – sthash.jexWdjxq.dpuf (http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=181137152#sthash.jexWdjxq.dpuf)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=c260442b4c) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=c260442b4c&e=[UNIQID])

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269 State Route 94 South
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August 23, 2016 / No Comments / More
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Discovering Xylophone Rags at the Library | In The Muse: Performing Arts Blog

http://www.jazzpromoservices.com/

http://blogs.loc.gov/music/2016/08/discovering-xylophone-rags-at-the-library/?loclr=eapab

Discovering Xylophone Rags at the Library

The following blog is a guest post by Marcia McCants, a summer intern in the Music Division’s Concert Office. McCants is a rising senior at James Madison University where she is majoring in music.

New musical styles and genres, as well as instrument timbres, emerged in the 1920s and 1930s. The xylophone gained prominence during this period, specifically through the performance of rags. Most people consider the xylophone an orchestral instrument, one that is primarily in the background or associated with certain types of folk music. One of the earliest uses of the xylophone in an orchestral work was in Saint-Saens’ Danse macabre, op. 40 (http://lccn.loc.gov/m55000370?loclr=blogmus) (1874). After this point, other composers began including the instrument in their orchestrations. Thanks to two major pioneers of this instrument however, the xylophone became a stand-alone concert instrument and was thrust into the forefront of some jazz and big band ensembles as the featured instrument.
A noted pioneer of xylophone as a solo instrument was George Hamilton Green (1893-1970). Green began recording rags on xylophone in 1917 under Edison records. He typically performed with his brother Joe in a trio called the All Star Trio, or with Joe and a jazz band. Green developed his own distinctive sound on the instrument, as his technique and playing style earned him recognition as one of the top xylophonists on the concert circuit. He performed for radio broadcasts and in concerts that featured ragtime music at the heyday of its popularity. The Library of Congress National Jukebox (http://www.loc.gov/jukebox/recordings/detail/id/7694?loclr=blogmus) contains many of Green’s performances with his All Star Trio. Without Green’s influence on rag music, the xylophone would not have the extensive repertoire it has today.

[All Star trio, a musical combo consisting of Wheeler Wadsworth, Victor Arden, & George Hamilton Green (baseball)], 1919, Bain News Service, George Grantham Bain Collection, Library of Congress Prints and Photographs Division.

In England and Paris a performer known as Teddy Brown (1900-1946) developed a large following through his work in nightclubs. He was a contemporary of Green and in the 1930s advanced the notion of the xylophone as a featured instrument. He led his own band from the xylophone, primarily playing rags. Brown brought a new level of showmanship to performing on the xylophone. With his technical skills, he was known to switch from playing with both hands to playing with just one, while maintaining the style and time of the rag. He would then switch back seamlessly. Brown’s technique is considered one of the best among xylophonists, though he is no longer a mainstream figure in music history.

Green and Brown paved the way for future xylophonists, such as Evelyn Glennie and Bob Becker, the latter of whom helped revive the art of the xylophone rag years after Green and Brown had died. The influence of early xylophone masters on the percussion world and on ragtime performance is significant and worth exploring.

The Library holds a film, called Elstree Calling (http://www.loc.gov/item/jots.200015209/?loclr=blogmus) , that features Teddy Brown and his xylophone playing. To understand more about ragtime music, the Ragtime collection (http://www.loc.gov/collections/ragtime/about-this-collection/?loclr=blogmus) is a good place to start. Sheet music, sound recordings, and films are available for perusal through that collection. Also, check out Music for the Nation: American Sheet Music, ca. 1870 to 1885 collection (http://www.loc.gov/collection/american-sheet-music-1870-to-1885/about-this-collection/?loclr=blogmus) , which contains over 47,000 pieces of sheet music.

References
Percussive Arts Society. (n.d.). Percussive Arts Society: George Hamilton Green (1893-1970). Retrieved from http://www.pas.org/resources/research/GerhardtCylinder/CylinderRecordings/GeorgeHamiltonGreen.aspx
Vienna Symphonic Library. (2016). Vienna Symphonic Library: Xylophone history. Retrieved from https://vsl.co.at/en/Xylophone/History
Wright, J. (2007). Teddy Brown. Retrieved from http://www.jabw.demon.co.uk/tbrown1.htm

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0b5b246041) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0b5b246041&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Discovering Xylophone Rags at the Library | In The Muse: Performing Arts Blog

http://www.jazzpromoservices.com/

http://blogs.loc.gov/music/2016/08/discovering-xylophone-rags-at-the-library/?loclr=eapab

Discovering Xylophone Rags at the Library

The following blog is a guest post by Marcia McCants, a summer intern in the Music Division’s Concert Office. McCants is a rising senior at James Madison University where she is majoring in music.

New musical styles and genres, as well as instrument timbres, emerged in the 1920s and 1930s. The xylophone gained prominence during this period, specifically through the performance of rags. Most people consider the xylophone an orchestral instrument, one that is primarily in the background or associated with certain types of folk music. One of the earliest uses of the xylophone in an orchestral work was in Saint-Saens’ Danse macabre, op. 40 (http://lccn.loc.gov/m55000370?loclr=blogmus) (1874). After this point, other composers began including the instrument in their orchestrations. Thanks to two major pioneers of this instrument however, the xylophone became a stand-alone concert instrument and was thrust into the forefront of some jazz and big band ensembles as the featured instrument.
A noted pioneer of xylophone as a solo instrument was George Hamilton Green (1893-1970). Green began recording rags on xylophone in 1917 under Edison records. He typically performed with his brother Joe in a trio called the All Star Trio, or with Joe and a jazz band. Green developed his own distinctive sound on the instrument, as his technique and playing style earned him recognition as one of the top xylophonists on the concert circuit. He performed for radio broadcasts and in concerts that featured ragtime music at the heyday of its popularity. The Library of Congress National Jukebox (http://www.loc.gov/jukebox/recordings/detail/id/7694?loclr=blogmus) contains many of Green’s performances with his All Star Trio. Without Green’s influence on rag music, the xylophone would not have the extensive repertoire it has today.

[All Star trio, a musical combo consisting of Wheeler Wadsworth, Victor Arden, & George Hamilton Green (baseball)], 1919, Bain News Service, George Grantham Bain Collection, Library of Congress Prints and Photographs Division.

In England and Paris a performer known as Teddy Brown (1900-1946) developed a large following through his work in nightclubs. He was a contemporary of Green and in the 1930s advanced the notion of the xylophone as a featured instrument. He led his own band from the xylophone, primarily playing rags. Brown brought a new level of showmanship to performing on the xylophone. With his technical skills, he was known to switch from playing with both hands to playing with just one, while maintaining the style and time of the rag. He would then switch back seamlessly. Brown’s technique is considered one of the best among xylophonists, though he is no longer a mainstream figure in music history.

Green and Brown paved the way for future xylophonists, such as Evelyn Glennie and Bob Becker, the latter of whom helped revive the art of the xylophone rag years after Green and Brown had died. The influence of early xylophone masters on the percussion world and on ragtime performance is significant and worth exploring.

The Library holds a film, called Elstree Calling (http://www.loc.gov/item/jots.200015209/?loclr=blogmus) , that features Teddy Brown and his xylophone playing. To understand more about ragtime music, the Ragtime collection (http://www.loc.gov/collections/ragtime/about-this-collection/?loclr=blogmus) is a good place to start. Sheet music, sound recordings, and films are available for perusal through that collection. Also, check out Music for the Nation: American Sheet Music, ca. 1870 to 1885 collection (http://www.loc.gov/collection/american-sheet-music-1870-to-1885/about-this-collection/?loclr=blogmus) , which contains over 47,000 pieces of sheet music.

References
Percussive Arts Society. (n.d.). Percussive Arts Society: George Hamilton Green (1893-1970). Retrieved from http://www.pas.org/resources/research/GerhardtCylinder/CylinderRecordings/GeorgeHamiltonGreen.aspx
Vienna Symphonic Library. (2016). Vienna Symphonic Library: Xylophone history. Retrieved from https://vsl.co.at/en/Xylophone/History
Wright, J. (2007). Teddy Brown. Retrieved from http://www.jabw.demon.co.uk/tbrown1.htm

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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August 23, 2016 / No Comments / More
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Discovering Xylophone Rags at the Library | In The Muse: Performing Arts Blog

http://www.jazzpromoservices.com/

http://blogs.loc.gov/music/2016/08/discovering-xylophone-rags-at-the-library/?loclr=eapab

Discovering Xylophone Rags at the Library

The following blog is a guest post by Marcia McCants, a summer intern in the Music Division’s Concert Office. McCants is a rising senior at James Madison University where she is majoring in music.

New musical styles and genres, as well as instrument timbres, emerged in the 1920s and 1930s. The xylophone gained prominence during this period, specifically through the performance of rags. Most people consider the xylophone an orchestral instrument, one that is primarily in the background or associated with certain types of folk music. One of the earliest uses of the xylophone in an orchestral work was in Saint-Saens’ Danse macabre, op. 40 (http://lccn.loc.gov/m55000370?loclr=blogmus) (1874). After this point, other composers began including the instrument in their orchestrations. Thanks to two major pioneers of this instrument however, the xylophone became a stand-alone concert instrument and was thrust into the forefront of some jazz and big band ensembles as the featured instrument.
A noted pioneer of xylophone as a solo instrument was George Hamilton Green (1893-1970). Green began recording rags on xylophone in 1917 under Edison records. He typically performed with his brother Joe in a trio called the All Star Trio, or with Joe and a jazz band. Green developed his own distinctive sound on the instrument, as his technique and playing style earned him recognition as one of the top xylophonists on the concert circuit. He performed for radio broadcasts and in concerts that featured ragtime music at the heyday of its popularity. The Library of Congress National Jukebox (http://www.loc.gov/jukebox/recordings/detail/id/7694?loclr=blogmus) contains many of Green’s performances with his All Star Trio. Without Green’s influence on rag music, the xylophone would not have the extensive repertoire it has today.

[All Star trio, a musical combo consisting of Wheeler Wadsworth, Victor Arden, & George Hamilton Green (baseball)], 1919, Bain News Service, George Grantham Bain Collection, Library of Congress Prints and Photographs Division.

In England and Paris a performer known as Teddy Brown (1900-1946) developed a large following through his work in nightclubs. He was a contemporary of Green and in the 1930s advanced the notion of the xylophone as a featured instrument. He led his own band from the xylophone, primarily playing rags. Brown brought a new level of showmanship to performing on the xylophone. With his technical skills, he was known to switch from playing with both hands to playing with just one, while maintaining the style and time of the rag. He would then switch back seamlessly. Brown’s technique is considered one of the best among xylophonists, though he is no longer a mainstream figure in music history.

Green and Brown paved the way for future xylophonists, such as Evelyn Glennie and Bob Becker, the latter of whom helped revive the art of the xylophone rag years after Green and Brown had died. The influence of early xylophone masters on the percussion world and on ragtime performance is significant and worth exploring.

The Library holds a film, called Elstree Calling (http://www.loc.gov/item/jots.200015209/?loclr=blogmus) , that features Teddy Brown and his xylophone playing. To understand more about ragtime music, the Ragtime collection (http://www.loc.gov/collections/ragtime/about-this-collection/?loclr=blogmus) is a good place to start. Sheet music, sound recordings, and films are available for perusal through that collection. Also, check out Music for the Nation: American Sheet Music, ca. 1870 to 1885 collection (http://www.loc.gov/collection/american-sheet-music-1870-to-1885/about-this-collection/?loclr=blogmus) , which contains over 47,000 pieces of sheet music.

References
Percussive Arts Society. (n.d.). Percussive Arts Society: George Hamilton Green (1893-1970). Retrieved from http://www.pas.org/resources/research/GerhardtCylinder/CylinderRecordings/GeorgeHamiltonGreen.aspx
Vienna Symphonic Library. (2016). Vienna Symphonic Library: Xylophone history. Retrieved from https://vsl.co.at/en/Xylophone/History
Wright, J. (2007). Teddy Brown. Retrieved from http://www.jabw.demon.co.uk/tbrown1.htm

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0b5b246041) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0b5b246041&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Discovering Xylophone Rags at the Library | In The Muse: Performing Arts Blog

http://www.jazzpromoservices.com/

http://blogs.loc.gov/music/2016/08/discovering-xylophone-rags-at-the-library/?loclr=eapab

Discovering Xylophone Rags at the Library

The following blog is a guest post by Marcia McCants, a summer intern in the Music Division’s Concert Office. McCants is a rising senior at James Madison University where she is majoring in music.

New musical styles and genres, as well as instrument timbres, emerged in the 1920s and 1930s. The xylophone gained prominence during this period, specifically through the performance of rags. Most people consider the xylophone an orchestral instrument, one that is primarily in the background or associated with certain types of folk music. One of the earliest uses of the xylophone in an orchestral work was in Saint-Saens’ Danse macabre, op. 40 (http://lccn.loc.gov/m55000370?loclr=blogmus) (1874). After this point, other composers began including the instrument in their orchestrations. Thanks to two major pioneers of this instrument however, the xylophone became a stand-alone concert instrument and was thrust into the forefront of some jazz and big band ensembles as the featured instrument.
A noted pioneer of xylophone as a solo instrument was George Hamilton Green (1893-1970). Green began recording rags on xylophone in 1917 under Edison records. He typically performed with his brother Joe in a trio called the All Star Trio, or with Joe and a jazz band. Green developed his own distinctive sound on the instrument, as his technique and playing style earned him recognition as one of the top xylophonists on the concert circuit. He performed for radio broadcasts and in concerts that featured ragtime music at the heyday of its popularity. The Library of Congress National Jukebox (http://www.loc.gov/jukebox/recordings/detail/id/7694?loclr=blogmus) contains many of Green’s performances with his All Star Trio. Without Green’s influence on rag music, the xylophone would not have the extensive repertoire it has today.

[All Star trio, a musical combo consisting of Wheeler Wadsworth, Victor Arden, & George Hamilton Green (baseball)], 1919, Bain News Service, George Grantham Bain Collection, Library of Congress Prints and Photographs Division.

In England and Paris a performer known as Teddy Brown (1900-1946) developed a large following through his work in nightclubs. He was a contemporary of Green and in the 1930s advanced the notion of the xylophone as a featured instrument. He led his own band from the xylophone, primarily playing rags. Brown brought a new level of showmanship to performing on the xylophone. With his technical skills, he was known to switch from playing with both hands to playing with just one, while maintaining the style and time of the rag. He would then switch back seamlessly. Brown’s technique is considered one of the best among xylophonists, though he is no longer a mainstream figure in music history.

Green and Brown paved the way for future xylophonists, such as Evelyn Glennie and Bob Becker, the latter of whom helped revive the art of the xylophone rag years after Green and Brown had died. The influence of early xylophone masters on the percussion world and on ragtime performance is significant and worth exploring.

The Library holds a film, called Elstree Calling (http://www.loc.gov/item/jots.200015209/?loclr=blogmus) , that features Teddy Brown and his xylophone playing. To understand more about ragtime music, the Ragtime collection (http://www.loc.gov/collections/ragtime/about-this-collection/?loclr=blogmus) is a good place to start. Sheet music, sound recordings, and films are available for perusal through that collection. Also, check out Music for the Nation: American Sheet Music, ca. 1870 to 1885 collection (http://www.loc.gov/collection/american-sheet-music-1870-to-1885/about-this-collection/?loclr=blogmus) , which contains over 47,000 pieces of sheet music.

References
Percussive Arts Society. (n.d.). Percussive Arts Society: George Hamilton Green (1893-1970). Retrieved from http://www.pas.org/resources/research/GerhardtCylinder/CylinderRecordings/GeorgeHamiltonGreen.aspx
Vienna Symphonic Library. (2016). Vienna Symphonic Library: Xylophone history. Retrieved from https://vsl.co.at/en/Xylophone/History
Wright, J. (2007). Teddy Brown. Retrieved from http://www.jabw.demon.co.uk/tbrown1.htm

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0b5b246041) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0b5b246041&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Irving Fields, Composer Who Infused Songs With Latin Rhythms, Dies at 101 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/23/arts/music/irving-fields-dead.html?_r=0

Irving Fields, Composer Who Infused Songs With Latin Rhythms, Dies at 101
By JOSEPH BERGER (http://www.nytimes.com/by/joseph-berger) AUG. 22, 2016

Irving Fields performing at Nino’s Tuscany Steakhouse in 2004. Hiroko Masuike for The New York Times

There was a time in the middle of the last century when piano-playing children in certain quarters of the Bronx and Brooklyn were often asked to entertain guests with a song called“Miami Beach Rhumba,” (https://www.youtube.com/watch?v=qkDAAi-JTzI) an improbable combination of zesty Latin dance rhythms and musical inflections born of the shtetls and ghettos of Eastern Europe.

The composer of that song was Irving Fields, who died on Saturday at 101 at his home in Manhattan, and his career was as improbable as his songs.

In his younger days, Mr. Fields specialized in Latinizing standards. He and a trio started with an album for Decca Records called “Bagels and Bongos,” (https://www.youtube.com/watch?v=OIs-rShGQAs) which whimsically transformed melancholy Yiddish chestnuts like “Raisins and Almonds” and “My Yiddishe Momme” into cha-chas or mambos.

When the album sold tens of thousands of copies, he recorded a sequel and then moved on to Latinizing Italian standards (“Pizza and Bongos” (https://www.youtube.com/watch?v=0UUD5E5itDY) ), Hawaiian melodies (“Bikinis and Bongos”) and French songs (“Champagne and Bongos”).

He also composed songs, the most famous of which was “Miami Beach Rhumba,” a 1946 number about a traveler who starts out for Havana and ends up in the Jewish Riviera of the song’s title.

With lyrics by Albert Gamse — “I’ll save Havana for mañana” was one line — it became a staple of 1950s and ’60s bar mitzvahs. The Latin bandleader Xavier Cugat turned it into a hit in 1947, and Tito Puente recorded it as well. Fifty years later, Woody Allen used it in his film “Deconstructing Harry.” (John Camacho is also credited with a hand in the composing.)

Other Fields collaborations included “Managua, Nicaragua,” a hit for Guy Lombardo, and “Chantez, Chantez,” a sprightly melody that Dinah Shore recorded in 1957.

Yet in the last decades of his life he was better known as a New York City lounge pianist (http://www.nytimes.com/2004/12/25/nyregion/whats-a-showman-to-do-at-89-play-on.html) , still performing as recently as March at spots near his Central Park South home, like the dining room of the Park Lane Hotel, the Oak Room at the Plaza Hotel and Nino’s Tuscany Steakhouse. Though he sometimes played to near-empty rooms or ones with distracted customers, he was a restless man who could not stop working.

“I love what I do, and the piano is my best friend,” he told an interviewer.

Though depending on a walker to get around, his fingers hobbled by arthritis, he continued to find his way to the keyboard, stylish in a blue blazer and pocket square, his customary two-olive vodka martini perched on top of the piano. (He also liked to keep a pile of fliers there, with titles like “Secrets for Longevity” and tips like “Eat four hours before bedtime (you’ll digest better).”)
Mr. Fields could play almost any request, especially if it was for a Gershwin, Kern, Rodgers or Porter tune. If a woman said she was from Texas, he would run off a medley that might start with “The Yellow Rose of Texas.”

In his younger days, Mr. Fields specialized in Latinizing standards. In the album “Bagels and Bongos,” (https://www.youtube.com/watch?v=OIs-rShGQAs) whimsically melancholy Yiddish chestnuts were transformed into cha-chas or mambos. Decca Records
“People ask me, ‘How do you remember so many notes?’” he once said. “It just comes to me. It’s like God is in my mind.”
He even became something of a phenomenon among the internet generation, when, by his account, at a fan’s request, he took 15 minutes to compose “YouTube Dot Com Theme Song. (https://www.youtube.com/watch?v=gxkuYeERt1c) ” It has had close to 900,000 views.

Mr. Fields was born Yitzhak Schwartz on Aug. 4, 1915, on the Lower East Side of Manhattan, the youngest of six children (all of whom lived into their 90s). He grew up there and in Coney Island and Bensonhurst in Brooklyn.

His father, Max, a carpenter who sang in local choirs, was from Pinsk in Belarus, and his mother, Eva, was from Minsk, also in Belarus; he once wrote a song playing with the cities’ rhyming names.
Pressured to start taking piano lessons at 8 years old, he found repeating scales monotonous but later credited the exercises with sharpening his playing and making it seem more casual.

He also sang in a choir behind the famous cantor Yossele Rosenblatt, and began pecking out popular songs and Yiddish vaudeville tunes. While still a teenager, he put together a band that was hired to play parties. He also took piano jobs on cruise ships headed for Havana and San Juan, engendering a passion for Latin music.

Mr. Fields and groups of various sizes played the Manhattan clubs that were a hallmark of swank 1940s and ‘50s night life, places like the Copacabana, the Latin Quarter, El Morocco and the Mermaid Room. He remembered Ava Gardner dancing barefoot to his Latin songs and Edward G. Robinson asking him to play Viennese waltzes. As television infiltrated more American households, he appeared on shows hosted by Milton Berle, Jackie Gleason and Kate Smith.

In his telling, his late-in-life lounge career had many origins. In one story, the hotelier Leona Helmsley, who had heard him play “I’m Just Wild About Harry” — she had been married to the real estate magnate Harry Helmsley — told him, “I’ll break your fingers if you don’t become my house pianist.” He soon began playing the Park Lane.

Mr. Fields is survived by his wife, Ruth, who confirmed his death, along with a son, Mark; a daughter, Diane Shaffran; a stepdaughter, Penny Dechowitz; a stepson, Peter Dechowitz; seven grandchildren; and two great-grandchildren.

He and Ruth, 14 years his junior, lived for the last half century in a tidy apartment that did not have a piano. On those occasions when he needed to play for a visitor, as he did when a New York Times reporter showed up (http://www.nytimes.com/2015/05/02/nyregion/lounge-performer-nearing-100-has-88-keys-to-the-good-life.html) in May 2015, he would take an elevator upstairs to a neighbor’s apartment.

“You think I need to practice — at my age?” he said.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6e0fb8b79b) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6e0fb8b79b&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Irving Fields, Composer Who Infused Songs With Latin Rhythms, Dies at 101 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/23/arts/music/irving-fields-dead.html?_r=0

Irving Fields, Composer Who Infused Songs With Latin Rhythms, Dies at 101
By JOSEPH BERGER (http://www.nytimes.com/by/joseph-berger) AUG. 22, 2016

Irving Fields performing at Nino’s Tuscany Steakhouse in 2004. Hiroko Masuike for The New York Times

There was a time in the middle of the last century when piano-playing children in certain quarters of the Bronx and Brooklyn were often asked to entertain guests with a song called“Miami Beach Rhumba,” (https://www.youtube.com/watch?v=qkDAAi-JTzI) an improbable combination of zesty Latin dance rhythms and musical inflections born of the shtetls and ghettos of Eastern Europe.

The composer of that song was Irving Fields, who died on Saturday at 101 at his home in Manhattan, and his career was as improbable as his songs.

In his younger days, Mr. Fields specialized in Latinizing standards. He and a trio started with an album for Decca Records called “Bagels and Bongos,” (https://www.youtube.com/watch?v=OIs-rShGQAs) which whimsically transformed melancholy Yiddish chestnuts like “Raisins and Almonds” and “My Yiddishe Momme” into cha-chas or mambos.

When the album sold tens of thousands of copies, he recorded a sequel and then moved on to Latinizing Italian standards (“Pizza and Bongos” (https://www.youtube.com/watch?v=0UUD5E5itDY) ), Hawaiian melodies (“Bikinis and Bongos”) and French songs (“Champagne and Bongos”).

He also composed songs, the most famous of which was “Miami Beach Rhumba,” a 1946 number about a traveler who starts out for Havana and ends up in the Jewish Riviera of the song’s title.

With lyrics by Albert Gamse — “I’ll save Havana for mañana” was one line — it became a staple of 1950s and ’60s bar mitzvahs. The Latin bandleader Xavier Cugat turned it into a hit in 1947, and Tito Puente recorded it as well. Fifty years later, Woody Allen used it in his film “Deconstructing Harry.” (John Camacho is also credited with a hand in the composing.)

Other Fields collaborations included “Managua, Nicaragua,” a hit for Guy Lombardo, and “Chantez, Chantez,” a sprightly melody that Dinah Shore recorded in 1957.

Yet in the last decades of his life he was better known as a New York City lounge pianist (http://www.nytimes.com/2004/12/25/nyregion/whats-a-showman-to-do-at-89-play-on.html) , still performing as recently as March at spots near his Central Park South home, like the dining room of the Park Lane Hotel, the Oak Room at the Plaza Hotel and Nino’s Tuscany Steakhouse. Though he sometimes played to near-empty rooms or ones with distracted customers, he was a restless man who could not stop working.

“I love what I do, and the piano is my best friend,” he told an interviewer.

Though depending on a walker to get around, his fingers hobbled by arthritis, he continued to find his way to the keyboard, stylish in a blue blazer and pocket square, his customary two-olive vodka martini perched on top of the piano. (He also liked to keep a pile of fliers there, with titles like “Secrets for Longevity” and tips like “Eat four hours before bedtime (you’ll digest better).”)
Mr. Fields could play almost any request, especially if it was for a Gershwin, Kern, Rodgers or Porter tune. If a woman said she was from Texas, he would run off a medley that might start with “The Yellow Rose of Texas.”

In his younger days, Mr. Fields specialized in Latinizing standards. In the album “Bagels and Bongos,” (https://www.youtube.com/watch?v=OIs-rShGQAs) whimsically melancholy Yiddish chestnuts were transformed into cha-chas or mambos. Decca Records
“People ask me, ‘How do you remember so many notes?’” he once said. “It just comes to me. It’s like God is in my mind.”
He even became something of a phenomenon among the internet generation, when, by his account, at a fan’s request, he took 15 minutes to compose “YouTube Dot Com Theme Song. (https://www.youtube.com/watch?v=gxkuYeERt1c) ” It has had close to 900,000 views.

Mr. Fields was born Yitzhak Schwartz on Aug. 4, 1915, on the Lower East Side of Manhattan, the youngest of six children (all of whom lived into their 90s). He grew up there and in Coney Island and Bensonhurst in Brooklyn.

His father, Max, a carpenter who sang in local choirs, was from Pinsk in Belarus, and his mother, Eva, was from Minsk, also in Belarus; he once wrote a song playing with the cities’ rhyming names.
Pressured to start taking piano lessons at 8 years old, he found repeating scales monotonous but later credited the exercises with sharpening his playing and making it seem more casual.

He also sang in a choir behind the famous cantor Yossele Rosenblatt, and began pecking out popular songs and Yiddish vaudeville tunes. While still a teenager, he put together a band that was hired to play parties. He also took piano jobs on cruise ships headed for Havana and San Juan, engendering a passion for Latin music.

Mr. Fields and groups of various sizes played the Manhattan clubs that were a hallmark of swank 1940s and ‘50s night life, places like the Copacabana, the Latin Quarter, El Morocco and the Mermaid Room. He remembered Ava Gardner dancing barefoot to his Latin songs and Edward G. Robinson asking him to play Viennese waltzes. As television infiltrated more American households, he appeared on shows hosted by Milton Berle, Jackie Gleason and Kate Smith.

In his telling, his late-in-life lounge career had many origins. In one story, the hotelier Leona Helmsley, who had heard him play “I’m Just Wild About Harry” — she had been married to the real estate magnate Harry Helmsley — told him, “I’ll break your fingers if you don’t become my house pianist.” He soon began playing the Park Lane.

Mr. Fields is survived by his wife, Ruth, who confirmed his death, along with a son, Mark; a daughter, Diane Shaffran; a stepdaughter, Penny Dechowitz; a stepson, Peter Dechowitz; seven grandchildren; and two great-grandchildren.

He and Ruth, 14 years his junior, lived for the last half century in a tidy apartment that did not have a piano. On those occasions when he needed to play for a visitor, as he did when a New York Times reporter showed up (http://www.nytimes.com/2015/05/02/nyregion/lounge-performer-nearing-100-has-88-keys-to-the-good-life.html) in May 2015, he would take an elevator upstairs to a neighbor’s apartment.

“You think I need to practice — at my age?” he said.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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August 23, 2016 / No Comments / More
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The Extraordinary Career of David Amram | MusicWorld | BMI.com

http://www.jazzpromoservices.com/

http://www.bmi.com/news/entry/the_extraordinary_career_of_david_amram

“I was brought up on both the treasures of great European master composers and the genius of the jazz innovators.”

The Extraordinary Career of David Amram

Posted in MusicWorld (http://www.bmi.com/news#filter=.musicworld) on August 18, 2016 by Steve Chagollan

David Amram might be the most accomplished composer of our times with the least amount of recognition. This is a man who has worked with so many 20th century icons that first names aren’t necessary: Bernstein, Copland, Monk, Gillespie, Mingus, Kerouac, Dylan and Seeger, just to name a few. His roster of collaborators suggests a highly eclectic approach to the arts, with an emphasis on melding the spontaneity of jazz and the lyricism of folk with the structure and tradition of classical music.

During his long and storied career, Amram has witnessed, and taken part in, several tectonic changes in music and culture: the rise and fall of the Beat Generation, the ascendance of jazz as a countercultural art form before rock ’n’ roll superseded it, and collaborations with directors like John Frankenheimer and Elia Kazan when Hollywood was moving towards a new form of personal expression. All the while his prolific work for the concert hall was never limited by popular trends.

“I’ve been very lucky,” Amram says about his longevity. “And also, struggling to survive and do what we love to do — that sense of challenge — is so absorbing that you don’t have a chance to age properly; you don’t have that luxury in your schedule. Self-pity, despair, narcissism and careerism are not only disgusting for other people to be around, but I think they’re bad for your health. Also, I have great kids and a good little grandson. That makes you realize you’re part of the whole picture of life, and that life goes on with or without you.”

Amram, who has written more than 100 orchestral and chamber works and continues to be busy as a musician and lecturer, is celebrating the 50th anniversary as the first-ever Composer in Residence for the New York Philharmonic. It was a year-long post he accepted in 1966 when Leonard Bernstein, already a living legend at the time, was the music director and principle conductor for the orchestra. Bernstein also hand-picked Amram for the inaugural position after being considered among 100 candidates by the orchestra’s foundation. Unbeknownst to Amram, who thought he had a snowball’s chance in hell of being chosen due to his unorthodox educational background, Bernstein had become quite familiar with his work, including the scores for Splendor in the Grass (1960) and The Manchurian Candidate (1962), his original music for Joseph Papp’s Shakespeare in the Park and an opera that was televised on ABC in 1965, The Final Ingredient, An Opera for the Holocaust.

“I never really received a grant because I never did the things that you were supposed to do to be a classical composer in this country,” recalls Amram, who nevertheless spent time studying at the Oberlin Conservatory of Music and the Manhattan School of Music. “I knew that to become a composer you had to go to one school or another school that the New York Times’ arts section deemed as fashionable. The manager of the Philharmonic pointed out to me that in my interview I not only mentioned Bach and Beethoven but also Dizzy Gillespie, Thelonious Monk, Billie Holiday, Benny Goodman, Bix Beiderbecke, King Oliver and John Coltrane. He said, ‘You equate barroom entertainers with the treasures of European culture.’ And I said I was brought up on both — the treasures of those great European master composers and the genius of the jazz innovators.”

Bernstein, however, heard something in Amram’s work that spoke to him, including the jazz and Latin elements in his movie scores that reflected Bernstein’s own sensibilities in such works as West Side Story as well as the conductor/composer’s sole suite of music written specifically for the big screen, On the Waterfront. Amram adds that Bernstein taught him he was part of a continuum. “He said, ‘Your job as a composer is not just to please yourself, you are supposed to add something to the repertoire.’ He also said, ‘You have to be an ambassador for music and to bring that to young people.’ He didn’t say, ‘You have to sell that to young people or make it relevant to young people by adding synthesizers or setting guitars on fire.’ He wasn’t into being a fashionista or being trendy. He was interested in quality.”

As a player, Amram is best known for mastering the French horn, which he studied with the late Gunther Schuller (http://www.bmi.com/news/entry/a_conversation_with_gunther_schuller) — who, like Amram, straddled both the classical and jazz worlds. He was also one of the first serious musicians to incorporate literature into their performances. He was instrumental in creating the first-ever Jazz/Poetry readings in New York with Jack Kerouac, with whom he collaborated for more than 12 years, including writing the music for Kerouac’s experimental short Pull My Daisy (1959). And in 1965, he wrote the music for the cantata, Let Us Remember, by the Harlem poet Langston Hughes. He has also incorporated Native American idioms in his music, as well as other indigenous folk traditions.

In fact, there are few disciplines in the arts that Amram has not been exposed to first hand. Beyond his operatic, symphonic and chamber works, he has written three memoirs: Nine Lives of a Musical Cat (2009), Collaborating with Kerouac (2005) and Vibrations (2001), about which the Boston Globe called him “the Renaissance man of American music.”

Although Amram has been a veritable chameleon as an artist, some things have remained constant during the course of his career. He says he’s been with the same publisher for 53 years, and has been a BMI member dating back to the ’50s. He cites Oliver Daniel, who was in charge of BMI’s classical music department at the time, as an inspiration and a source of encouragement. “BMI was a godsend in my life,” he says. “So many of the people with BMI — the songwriters, the jazz players, the classical composers — were actually able to get an advance when they were barely squeaking by just by signing. At the time that was a huge thing. And they have stood by me all the years I’ve been doing this. They also give young classical composers some hope that they can exist on the face of the earth.”

In the meantime, Amram’s schedule continues to be crammed with activity. He was in Texas performing and also conducting an orchestra at the Kerrville Festival of the Arts over Memorial Day weekend, and recently addressed 1,000 French horn players at an international symposium in Ithaca, NY, before honoring his old friend Pete Seeger at the Tarrytown Music Hall in Tarrytown, NY. He’s also working on two other music commissions, as well as a fourth memoir with the working title, The Next 80 Years.

All the while, his mission statement has always remained the same. “The organic, defining principle of creating something of lasting value and re-nourishing the soil from whence the fruits of your labor come is the way I’ve tried to live my life,” he says. “As Dizzy Gillespie told me, ‘Time to put something back into the pot.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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

Copyright (C) 2016 All rights reserved.

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269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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The Extraordinary Career of David Amram | MusicWorld | BMI.com

http://www.jazzpromoservices.com/

http://www.bmi.com/news/entry/the_extraordinary_career_of_david_amram

“I was brought up on both the treasures of great European master composers and the genius of the jazz innovators.”

The Extraordinary Career of David Amram

Posted in MusicWorld (http://www.bmi.com/news#filter=.musicworld) on August 18, 2016 by Steve Chagollan

David Amram might be the most accomplished composer of our times with the least amount of recognition. This is a man who has worked with so many 20th century icons that first names aren’t necessary: Bernstein, Copland, Monk, Gillespie, Mingus, Kerouac, Dylan and Seeger, just to name a few. His roster of collaborators suggests a highly eclectic approach to the arts, with an emphasis on melding the spontaneity of jazz and the lyricism of folk with the structure and tradition of classical music.

During his long and storied career, Amram has witnessed, and taken part in, several tectonic changes in music and culture: the rise and fall of the Beat Generation, the ascendance of jazz as a countercultural art form before rock ’n’ roll superseded it, and collaborations with directors like John Frankenheimer and Elia Kazan when Hollywood was moving towards a new form of personal expression. All the while his prolific work for the concert hall was never limited by popular trends.

“I’ve been very lucky,” Amram says about his longevity. “And also, struggling to survive and do what we love to do — that sense of challenge — is so absorbing that you don’t have a chance to age properly; you don’t have that luxury in your schedule. Self-pity, despair, narcissism and careerism are not only disgusting for other people to be around, but I think they’re bad for your health. Also, I have great kids and a good little grandson. That makes you realize you’re part of the whole picture of life, and that life goes on with or without you.”

Amram, who has written more than 100 orchestral and chamber works and continues to be busy as a musician and lecturer, is celebrating the 50th anniversary as the first-ever Composer in Residence for the New York Philharmonic. It was a year-long post he accepted in 1966 when Leonard Bernstein, already a living legend at the time, was the music director and principle conductor for the orchestra. Bernstein also hand-picked Amram for the inaugural position after being considered among 100 candidates by the orchestra’s foundation. Unbeknownst to Amram, who thought he had a snowball’s chance in hell of being chosen due to his unorthodox educational background, Bernstein had become quite familiar with his work, including the scores for Splendor in the Grass (1960) and The Manchurian Candidate (1962), his original music for Joseph Papp’s Shakespeare in the Park and an opera that was televised on ABC in 1965, The Final Ingredient, An Opera for the Holocaust.

“I never really received a grant because I never did the things that you were supposed to do to be a classical composer in this country,” recalls Amram, who nevertheless spent time studying at the Oberlin Conservatory of Music and the Manhattan School of Music. “I knew that to become a composer you had to go to one school or another school that the New York Times’ arts section deemed as fashionable. The manager of the Philharmonic pointed out to me that in my interview I not only mentioned Bach and Beethoven but also Dizzy Gillespie, Thelonious Monk, Billie Holiday, Benny Goodman, Bix Beiderbecke, King Oliver and John Coltrane. He said, ‘You equate barroom entertainers with the treasures of European culture.’ And I said I was brought up on both — the treasures of those great European master composers and the genius of the jazz innovators.”

Bernstein, however, heard something in Amram’s work that spoke to him, including the jazz and Latin elements in his movie scores that reflected Bernstein’s own sensibilities in such works as West Side Story as well as the conductor/composer’s sole suite of music written specifically for the big screen, On the Waterfront. Amram adds that Bernstein taught him he was part of a continuum. “He said, ‘Your job as a composer is not just to please yourself, you are supposed to add something to the repertoire.’ He also said, ‘You have to be an ambassador for music and to bring that to young people.’ He didn’t say, ‘You have to sell that to young people or make it relevant to young people by adding synthesizers or setting guitars on fire.’ He wasn’t into being a fashionista or being trendy. He was interested in quality.”

As a player, Amram is best known for mastering the French horn, which he studied with the late Gunther Schuller (http://www.bmi.com/news/entry/a_conversation_with_gunther_schuller) — who, like Amram, straddled both the classical and jazz worlds. He was also one of the first serious musicians to incorporate literature into their performances. He was instrumental in creating the first-ever Jazz/Poetry readings in New York with Jack Kerouac, with whom he collaborated for more than 12 years, including writing the music for Kerouac’s experimental short Pull My Daisy (1959). And in 1965, he wrote the music for the cantata, Let Us Remember, by the Harlem poet Langston Hughes. He has also incorporated Native American idioms in his music, as well as other indigenous folk traditions.

In fact, there are few disciplines in the arts that Amram has not been exposed to first hand. Beyond his operatic, symphonic and chamber works, he has written three memoirs: Nine Lives of a Musical Cat (2009), Collaborating with Kerouac (2005) and Vibrations (2001), about which the Boston Globe called him “the Renaissance man of American music.”

Although Amram has been a veritable chameleon as an artist, some things have remained constant during the course of his career. He says he’s been with the same publisher for 53 years, and has been a BMI member dating back to the ’50s. He cites Oliver Daniel, who was in charge of BMI’s classical music department at the time, as an inspiration and a source of encouragement. “BMI was a godsend in my life,” he says. “So many of the people with BMI — the songwriters, the jazz players, the classical composers — were actually able to get an advance when they were barely squeaking by just by signing. At the time that was a huge thing. And they have stood by me all the years I’ve been doing this. They also give young classical composers some hope that they can exist on the face of the earth.”

In the meantime, Amram’s schedule continues to be crammed with activity. He was in Texas performing and also conducting an orchestra at the Kerrville Festival of the Arts over Memorial Day weekend, and recently addressed 1,000 French horn players at an international symposium in Ithaca, NY, before honoring his old friend Pete Seeger at the Tarrytown Music Hall in Tarrytown, NY. He’s also working on two other music commissions, as well as a fourth memoir with the working title, The Next 80 Years.

All the while, his mission statement has always remained the same. “The organic, defining principle of creating something of lasting value and re-nourishing the soil from whence the fruits of your labor come is the way I’ve tried to live my life,” he says. “As Dizzy Gillespie told me, ‘Time to put something back into the pot.’”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=21258ed7b4) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=21258ed7b4&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Remembering Louis Smith, Ann Arbor Trumpeter And Educator | WEMU

http://www.jazzpromoservices.com/

http://wemu.org/post/remembering-louis-smith-ann-arbor-trumpeter-and-educator#stream/0

Remembering Louis Smith, Ann Arbor Trumpeter And Educator
By LINDA YOHN (http://wemu.org/people/linda-yohn) • AUG 21, 2016

Many factors have shaped jazz in Ann Arbor, but trumpeter and educator Louis Smith has to be at the top of the list for modern jazz and education. Sean Dobbins, Rick Roe, Justin Walter and Ingrid Racine will testify to his grace, wisdom, strength and total honesty as a teacher. He encouraged a professional attitude and exponential musical growth from middle school students. His students could play rings around others years older!
break
Jazz fans recognized the presence of mastery when Louis put his horn to his lips whether to play lightning speed bebop or a languid, loving ballad. Louis represented Ann Arbor around the globe through his recordings for Steeplechase Records and participation at International Association Of Jazz Educator Conferences. Even with these accomplishments, I remember that Louis Smith was taking trumpet lessons after retirement from the Ann Arbor Public Schools. He wanted to improve his “long tones” and strengthen his embouchure. His presence on the bandstand was warm, inclusive and intelligent. He never talked down to you. Yet, you always learned something from Louis Smith and Louis was always learning more about his craft.
break
Even after his stroke, Louis continued to learn and share life lessons. His determination to live with dignity, purpose and creativity continued with great support from his generous, supportive wife Lulu and the University Of Michigan Aphasia team. Louis and Lulu attended UMS, Kerrytown and Detroit Jazz Festival events after his stroke. If Louis couldn’t play with his former bravado, he could listen and love the music along with others. And, without fail, the concert host would acknowledge the presence of greatness in the house: Louis Smith. Louis, who was always attired in first-class style, would then raise his big hand, wave, grin and make eye contact with music friends. Despite aphasia, Louis Smith communicated.
break
Louis’ legacy lives on with his legion of students, his impressive Blue Note and Steeplechase Records, his contributions to jazz education on a national level and his beautiful smile that included twinkling eyes. I’ll never forget him. If you ever met him or spent time with him, you’ll agree with me. If you haven’t heard his music, youtube has many classic Blue Note sessions available. Listen and learn why trumpeters such as ‪Nicholas Payton (http://4/) and Brian Lynch count Louis Smith as a significant influence. His influence on jazz in Ann Arbor was beyond significant. It was penultimate. Thank you Louis Smith, for a musical life very well lived.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4aa88bec04) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4aa88bec04&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Remembering Louis Smith, Ann Arbor Trumpeter And Educator | WEMU

http://www.jazzpromoservices.com/

http://wemu.org/post/remembering-louis-smith-ann-arbor-trumpeter-and-educator#stream/0

Remembering Louis Smith, Ann Arbor Trumpeter And Educator
By LINDA YOHN (http://wemu.org/people/linda-yohn) • AUG 21, 2016

Many factors have shaped jazz in Ann Arbor, but trumpeter and educator Louis Smith has to be at the top of the list for modern jazz and education. Sean Dobbins, Rick Roe, Justin Walter and Ingrid Racine will testify to his grace, wisdom, strength and total honesty as a teacher. He encouraged a professional attitude and exponential musical growth from middle school students. His students could play rings around others years older!
break
Jazz fans recognized the presence of mastery when Louis put his horn to his lips whether to play lightning speed bebop or a languid, loving ballad. Louis represented Ann Arbor around the globe through his recordings for Steeplechase Records and participation at International Association Of Jazz Educator Conferences. Even with these accomplishments, I remember that Louis Smith was taking trumpet lessons after retirement from the Ann Arbor Public Schools. He wanted to improve his “long tones” and strengthen his embouchure. His presence on the bandstand was warm, inclusive and intelligent. He never talked down to you. Yet, you always learned something from Louis Smith and Louis was always learning more about his craft.
break
Even after his stroke, Louis continued to learn and share life lessons. His determination to live with dignity, purpose and creativity continued with great support from his generous, supportive wife Lulu and the University Of Michigan Aphasia team. Louis and Lulu attended UMS, Kerrytown and Detroit Jazz Festival events after his stroke. If Louis couldn’t play with his former bravado, he could listen and love the music along with others. And, without fail, the concert host would acknowledge the presence of greatness in the house: Louis Smith. Louis, who was always attired in first-class style, would then raise his big hand, wave, grin and make eye contact with music friends. Despite aphasia, Louis Smith communicated.
break
Louis’ legacy lives on with his legion of students, his impressive Blue Note and Steeplechase Records, his contributions to jazz education on a national level and his beautiful smile that included twinkling eyes. I’ll never forget him. If you ever met him or spent time with him, you’ll agree with me. If you haven’t heard his music, youtube has many classic Blue Note sessions available. Listen and learn why trumpeters such as ‪Nicholas Payton (http://4/) and Brian Lynch count Louis Smith as a significant influence. His influence on jazz in Ann Arbor was beyond significant. It was penultimate. Thank you Louis Smith, for a musical life very well lived.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4aa88bec04) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=4aa88bec04&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Lounge Jazz

http://www.jazzpromoservices.com/

Thanks to Marc Myers for sharing this pic…

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=39385cdbe9) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=39385cdbe9&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Lounge Jazz

http://www.jazzpromoservices.com/

Thanks to Marc Myers for sharing this pic…

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=39385cdbe9) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=39385cdbe9&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 23, 2016 / No Comments / More
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Toots Thielemans, Jazz Harmonica Player, Is Dead at 94 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/23/arts/music/toots-thielemans-jazz-harmonica-player-is-dead.html?emc=edit_tnt_20160822

Toots Thielemans, Jazz Harmonica Player, Is Dead at 94
By PETER KEEPNEWSAUG. 22, 2016

Toots Thielemans in New York in 2008. The jazz harmonica player first garnered widespread international attention by playing guitar and whistling in unison. Nicholas Roberts for The New York Times

Toots Thielemans, one of the only musicians to have a successful career as a jazz harmonica player, died on Monday in Brussels. He was 94.

The death was confirmed by Mr. Thielemans’s agency (http://www.tootsthielemans.com/) , which did not specify a cause. Mr. Thielemans, who retired in 2014 for health reasons, had been hospitalized recently with a broken arm.
That Mr. Thielemans played jazz on the harmonica was unusual enough. Even more unusual was how he first gained international attention: by playing guitar and whistling (http://timesmachine.nytimes.com/timesmachine/1968/10/16/88969666.html) in unison.
He introduced this approach in 1961 on his recording of the wistful but jaunty jazz waltz “Bluesette,” which he wrote.

The record became an international hit, and the song was his signature. It also became a jazz standard, recorded by numerous instrumentalists, among them Chet Atkins, Tito Puente (http://www.nytimes.com/2000/06/02/arts/tito-puente-famed-master-of-latin-music-is-dead-at-77.html) and Mr. Thielemans himself, who went on to record it several more times. It was also recorded, with lyrics by Norman Gimbel, by Sarah Vaughan (http://www.nytimes.com/1990/04/05/obituaries/sarah-vaughan-divine-one-of-jazz-singing-is-dead-at-66.html) and other singers.

But his distinctive sound on the chromatic harmonica was Mr. Thielemans’s primary claim to fame and, especially, to fortune.

Although his name was well known in the jazz world — he performed with greats like Ella Fitzgerald, Benny Goodman and Charlie Parker — it was relatively unknown to the general public; his playing, on the other hand, was virtually ubiquitous.

It can be heard on the soundtracks of movies like “Midnight Cowboy” and “The Getaway.” It was featured in television commercials and on records by, among many others, Ms. Fitzgerald (http://www.nytimes.com/1996/06/16/nyregion/ella-fitzgerald-the-voice-of-jazz-dies-at-79.html) , Paul Simon, Billy Joel, Dizzy Gillespie (http://www.nytimes.com/learning/general/onthisday/bday/1021.html) and Quincy Jones, who once called Mr. Thielemans “one of the greatest musicians of our time.” For more than four decades, it has been heard in the opening theme music of “Sesame Street.”

Jean-Baptiste Frédéric Isidore Thielemans was born on April 29, 1922, in Brussels, where his parents owned a cafe. He offered various explanations over the years for how he came to be known as Toots, sometimes saying he chose the name himself and at others saying it was given to him; whatever the truth, the name was apparently borrowed from two American jazz musicians, Nuncio Mondello (http://www.nytimes.com/1992/11/17/obituaries/toots-mondello-dies-swing-saxophonist-81.html) and Salvador Camarata (http://www.nytimes.com/2005/04/19/arts/music/salvador-camarata-91-music-arranger-is-dead.html) , who both went by Toots.

Musically inclined from an early age, he began playing the accordion at 3 and took up the harmonica in his teens. A few years later, inspired by Django Reinhardt, a fellow Belgian, he began playing guitar, as well. By the end of World War II he had become a full-time musician.

In 1949, he shared the stage with Charlie Parker at the Paris Jazz Festival, and a year later he toured Europe as the guitarist in a sextet led by Benny Goodman (http://www.nytimes.com/learning/general/onthisday/bday/0530.html) . He moved to the United States in 1951 and eventually became a citizen.

From 1953 to 1959, he was a member of the British jazz pianist George Shearing (http://www.nytimes.com/2011/02/15/arts/music/15shearing.html) ’s popular quintet. He mostly played guitar with Mr. Shearing, but his harmonica work was featured on at least one number at every performance. It was also showcased on the handful of albums he recorded as a leader in those years.

After leaving the Shearing group, Mr. Thielemans became a busy studio musician, even spending a few years on staff at ABC. But he remained active in jazz, with the harmonica now his main instrument. He toured frequently, and occasionally recorded as the leader of a small group, for the rest of his life.

Most of his albums presented him in a straightforward jazz context, but late in his career they took on a more international color. On “The Brasil Project (http://www.nytimes.com/1992/09/11/arts/critic-s-notebook-for-adult-pop-music-a-quiet-sonic-boom.html) ,” released in 1992, and a follow-up, released the next year, he collaborated with Milton Nascimento, Gilberto Gil and other prominent Brazilian artists. And on the 1998 album “Chez Toots” he returned to his roots, leading a group of French and Belgian musicians in a program of French songs.

Playing a set in New York a few months after turning 80, Mr. Thielemans “seemed dazzled by his glorious sunset, and found shelter under the umbrella of sophisticated schmaltz,” Ben Ratliff wrote in The New York Times (http://www.nytimes.com/2002/11/02/arts/critic-s-notebook-at-80-thielemans-orders-it-sweet-jacquet-tart.html) , adding: “He’s in good shape, only losing wind at the end of a long string of notes; but he finds off-centered rhythms, attaining a little bit of freedom, knocking his instrument from side to side for tremolos.”

Albert II, then the king of Belgium, bestowed on Mr. Thielemans the honorary title of baron in 2001. The country’s prime minister, Charles Michel, said (https://twitter.com/CharlesMichel/status/767629115872739328) on Monday, “We have lost a great musician, a warm personality.”

The National Endowment for the Arts named Mr. Thielemans a jazz master (https://www.arts.gov/honors/jazz/jean-baptiste-toots-thielemans) for 2009, the highest honor that can be accorded a jazz musician in the United States. “I accept this distinction with pride and emotion,” he said at the time, adding that he had only “played at music” until a Louis Armstrong record in 1940 provided “instant contamination” and changed the direction of his life.
Mr. Thielemans lived in La Hulpe, a suburb of Brussels. Information on survivors was not immediately available.

In March 2006, Mr. Thielemans was the guest of honor at an all-star Carnegie Hall tribute concert, with the pianist Herbie Hancock and the clarinetist Paquito D’Rivera among the performers. Reviewing the concert (http://www.nytimes.com/2006/03/18/arts/music/trading-rubatos-with-the-virtuoso-who-pioneered-solo-harmonica.html) for The Times, Nate Chinen praised both Mr. Thielemans’s “exuberantly expressive” playing and his infectious spirit.

“No one stole the spotlight from Mr. Thielemans,” he wrote. “He was having giddy fun, and the feeling was contagious.”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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.

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Warwick, Ny 10990
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August 22, 2016 / No Comments / More
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Toots Thielemans, Jazz Harmonica Player, Is Dead at 94 – The New York Times

http://www.jazzpromoservices.com/

http://www.nytimes.com/2016/08/23/arts/music/toots-thielemans-jazz-harmonica-player-is-dead.html?emc=edit_tnt_20160822

Toots Thielemans, Jazz Harmonica Player, Is Dead at 94
By PETER KEEPNEWSAUG. 22, 2016

Toots Thielemans in New York in 2008. The jazz harmonica player first garnered widespread international attention by playing guitar and whistling in unison. Nicholas Roberts for The New York Times

Toots Thielemans, one of the only musicians to have a successful career as a jazz harmonica player, died on Monday in Brussels. He was 94.

The death was confirmed by Mr. Thielemans’s agency (http://www.tootsthielemans.com/) , which did not specify a cause. Mr. Thielemans, who retired in 2014 for health reasons, had been hospitalized recently with a broken arm.
That Mr. Thielemans played jazz on the harmonica was unusual enough. Even more unusual was how he first gained international attention: by playing guitar and whistling (http://timesmachine.nytimes.com/timesmachine/1968/10/16/88969666.html) in unison.
He introduced this approach in 1961 on his recording of the wistful but jaunty jazz waltz “Bluesette,” which he wrote.

The record became an international hit, and the song was his signature. It also became a jazz standard, recorded by numerous instrumentalists, among them Chet Atkins, Tito Puente (http://www.nytimes.com/2000/06/02/arts/tito-puente-famed-master-of-latin-music-is-dead-at-77.html) and Mr. Thielemans himself, who went on to record it several more times. It was also recorded, with lyrics by Norman Gimbel, by Sarah Vaughan (http://www.nytimes.com/1990/04/05/obituaries/sarah-vaughan-divine-one-of-jazz-singing-is-dead-at-66.html) and other singers.

But his distinctive sound on the chromatic harmonica was Mr. Thielemans’s primary claim to fame and, especially, to fortune.

Although his name was well known in the jazz world — he performed with greats like Ella Fitzgerald, Benny Goodman and Charlie Parker — it was relatively unknown to the general public; his playing, on the other hand, was virtually ubiquitous.

It can be heard on the soundtracks of movies like “Midnight Cowboy” and “The Getaway.” It was featured in television commercials and on records by, among many others, Ms. Fitzgerald (http://www.nytimes.com/1996/06/16/nyregion/ella-fitzgerald-the-voice-of-jazz-dies-at-79.html) , Paul Simon, Billy Joel, Dizzy Gillespie (http://www.nytimes.com/learning/general/onthisday/bday/1021.html) and Quincy Jones, who once called Mr. Thielemans “one of the greatest musicians of our time.” For more than four decades, it has been heard in the opening theme music of “Sesame Street.”

Jean-Baptiste Frédéric Isidore Thielemans was born on April 29, 1922, in Brussels, where his parents owned a cafe. He offered various explanations over the years for how he came to be known as Toots, sometimes saying he chose the name himself and at others saying it was given to him; whatever the truth, the name was apparently borrowed from two American jazz musicians, Nuncio Mondello (http://www.nytimes.com/1992/11/17/obituaries/toots-mondello-dies-swing-saxophonist-81.html) and Salvador Camarata (http://www.nytimes.com/2005/04/19/arts/music/salvador-camarata-91-music-arranger-is-dead.html) , who both went by Toots.

Musically inclined from an early age, he began playing the accordion at 3 and took up the harmonica in his teens. A few years later, inspired by Django Reinhardt, a fellow Belgian, he began playing guitar, as well. By the end of World War II he had become a full-time musician.

In 1949, he shared the stage with Charlie Parker at the Paris Jazz Festival, and a year later he toured Europe as the guitarist in a sextet led by Benny Goodman (http://www.nytimes.com/learning/general/onthisday/bday/0530.html) . He moved to the United States in 1951 and eventually became a citizen.

From 1953 to 1959, he was a member of the British jazz pianist George Shearing (http://www.nytimes.com/2011/02/15/arts/music/15shearing.html) ’s popular quintet. He mostly played guitar with Mr. Shearing, but his harmonica work was featured on at least one number at every performance. It was also showcased on the handful of albums he recorded as a leader in those years.

After leaving the Shearing group, Mr. Thielemans became a busy studio musician, even spending a few years on staff at ABC. But he remained active in jazz, with the harmonica now his main instrument. He toured frequently, and occasionally recorded as the leader of a small group, for the rest of his life.

Most of his albums presented him in a straightforward jazz context, but late in his career they took on a more international color. On “The Brasil Project (http://www.nytimes.com/1992/09/11/arts/critic-s-notebook-for-adult-pop-music-a-quiet-sonic-boom.html) ,” released in 1992, and a follow-up, released the next year, he collaborated with Milton Nascimento, Gilberto Gil and other prominent Brazilian artists. And on the 1998 album “Chez Toots” he returned to his roots, leading a group of French and Belgian musicians in a program of French songs.

Playing a set in New York a few months after turning 80, Mr. Thielemans “seemed dazzled by his glorious sunset, and found shelter under the umbrella of sophisticated schmaltz,” Ben Ratliff wrote in The New York Times (http://www.nytimes.com/2002/11/02/arts/critic-s-notebook-at-80-thielemans-orders-it-sweet-jacquet-tart.html) , adding: “He’s in good shape, only losing wind at the end of a long string of notes; but he finds off-centered rhythms, attaining a little bit of freedom, knocking his instrument from side to side for tremolos.”

Albert II, then the king of Belgium, bestowed on Mr. Thielemans the honorary title of baron in 2001. The country’s prime minister, Charles Michel, said (https://twitter.com/CharlesMichel/status/767629115872739328) on Monday, “We have lost a great musician, a warm personality.”

The National Endowment for the Arts named Mr. Thielemans a jazz master (https://www.arts.gov/honors/jazz/jean-baptiste-toots-thielemans) for 2009, the highest honor that can be accorded a jazz musician in the United States. “I accept this distinction with pride and emotion,” he said at the time, adding that he had only “played at music” until a Louis Armstrong record in 1940 provided “instant contamination” and changed the direction of his life.
Mr. Thielemans lived in La Hulpe, a suburb of Brussels. Information on survivors was not immediately available.

In March 2006, Mr. Thielemans was the guest of honor at an all-star Carnegie Hall tribute concert, with the pianist Herbie Hancock and the clarinetist Paquito D’Rivera among the performers. Reviewing the concert (http://www.nytimes.com/2006/03/18/arts/music/trading-rubatos-with-the-virtuoso-who-pioneered-solo-harmonica.html) for The Times, Nate Chinen praised both Mr. Thielemans’s “exuberantly expressive” playing and his infectious spirit.

“No one stole the spotlight from Mr. Thielemans,” he wrote. “He was having giddy fun, and the feeling was contagious.”

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 22, 2016 / No Comments / More
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Louis Stewart, Ireland’s greatest ever jazz guitarist, dies aged 72 – Independent.ie

http://www.jazzpromoservices.com/

http://www.independent.ie/entertainment/music/music-news/louis-stewart-irelands-greatest-ever-jazz-guitarist-dies-aged-72-34981947.html

Louis Stewart, Ireland’s greatest ever jazz guitarist, dies aged 72
Wayne O’Connor (http://www.independent.ie/opinion/independent-journalists/wayne-oconnor/)

FINAL CHORD: The late Louis Stewart died aged 72

The man known as the “one true genius” of Irish jazz music, Louis Stewart, passed away yesterday at the age of 72.

Renowned for his laid-back style and skill as a guitarist, the Waterford man was described as a world-class musician by fans paying tribute to him yesterday.

In the early stages of his career he made a name for himself performing in Slattery’s pub in Dublin where he wooed many visiting American musicians. He first began recording in the 1960s and was awarded the special jury prize at The Montreaux International Jazz Festival after embarking on an international career.

Throughout his life in music, Stewart also regularly played at jazz festivals around Europe, playing on occasion with Keith Jarrett (http://www.amazon.com/The-Koln-Concert-Keith-Jarrett/dp/B0000262WI/ref=sr_1_2?ie=UTF8&qid=1351201954&sr=8-2&keywords=keith+jarrett) and Gerry Mulligan. He also worked alongside Benny Goodman, George Shearing and Tubby Hayes, and performed as part of Ronnie Scott’s quartet and quintet for many years.

In 1998 he was the recipient of an honorary doctorate degree in music from Trinity College Dublin.

Later in his career he regularly played to an intimate and attentive crowd in JJ Smyth’s – the Dublin city centre bar known as a home from home by many musicians and jazz fans.
Last night, RTE broadcaster John Kelly joined the many fans paying tribute to Mr Stewart.

“When I first went to New York, when the jazz musicians realised where I was from, they always asked if I knew Louis Stewart. He was so admired. A truly world-class musician.”
He was described as the “one true genius” of jazz by frequent collaborator Jim Doherty.

The New York Times once described the guitarist as having “the kind of fast company that might overwhelm a lesser talent.
President Michael D Higgins paid tribute to Mr Stewart last night.

“It is with great sadness that I have learnt of the death of Louis Stewart, outstanding musician and iconic figure in the world of jazz in Ireland,” said Mr Higgins.
“His many admirers, of all ages, will miss him deeply – and in particular he will be missed by all those he encouraged and who, in a life devoted to music, he invited to join him in making music.”
Sunday Independent

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=40ebea3a52) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=40ebea3a52&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 22, 2016 / No Comments / More
slide

Louis Stewart, Ireland’s greatest ever jazz guitarist, dies aged 72 – Independent.ie

http://www.jazzpromoservices.com/

http://www.independent.ie/entertainment/music/music-news/louis-stewart-irelands-greatest-ever-jazz-guitarist-dies-aged-72-34981947.html

Louis Stewart, Ireland’s greatest ever jazz guitarist, dies aged 72
Wayne O’Connor (http://www.independent.ie/opinion/independent-journalists/wayne-oconnor/)

FINAL CHORD: The late Louis Stewart died aged 72

The man known as the “one true genius” of Irish jazz music, Louis Stewart, passed away yesterday at the age of 72.

Renowned for his laid-back style and skill as a guitarist, the Waterford man was described as a world-class musician by fans paying tribute to him yesterday.

In the early stages of his career he made a name for himself performing in Slattery’s pub in Dublin where he wooed many visiting American musicians. He first began recording in the 1960s and was awarded the special jury prize at The Montreaux International Jazz Festival after embarking on an international career.

Throughout his life in music, Stewart also regularly played at jazz festivals around Europe, playing on occasion with Keith Jarrett (http://www.amazon.com/The-Koln-Concert-Keith-Jarrett/dp/B0000262WI/ref=sr_1_2?ie=UTF8&qid=1351201954&sr=8-2&keywords=keith+jarrett) and Gerry Mulligan. He also worked alongside Benny Goodman, George Shearing and Tubby Hayes, and performed as part of Ronnie Scott’s quartet and quintet for many years.

In 1998 he was the recipient of an honorary doctorate degree in music from Trinity College Dublin.

Later in his career he regularly played to an intimate and attentive crowd in JJ Smyth’s – the Dublin city centre bar known as a home from home by many musicians and jazz fans.
Last night, RTE broadcaster John Kelly joined the many fans paying tribute to Mr Stewart.

“When I first went to New York, when the jazz musicians realised where I was from, they always asked if I knew Louis Stewart. He was so admired. A truly world-class musician.”
He was described as the “one true genius” of jazz by frequent collaborator Jim Doherty.

The New York Times once described the guitarist as having “the kind of fast company that might overwhelm a lesser talent.
President Michael D Higgins paid tribute to Mr Stewart last night.

“It is with great sadness that I have learnt of the death of Louis Stewart, outstanding musician and iconic figure in the world of jazz in Ireland,” said Mr Higgins.
“His many admirers, of all ages, will miss him deeply – and in particular he will be missed by all those he encouraged and who, in a life devoted to music, he invited to join him in making music.”
Sunday Independent

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.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 (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=40ebea3a52) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=40ebea3a52&e=[UNIQID])

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

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 22, 2016 / No Comments / More

Client Comments

Thanks for much for the blast! It looks great! …and i just booked two more gigs off it!

You’re the best! 🙂

much love…

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