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Madison jazz legend Doc DeHaven dies at 85 | Music | host.madison.com

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Madison jazz legend Doc DeHaven dies at 85

ROB THOMAS | The Capital Times | rthomas@madison.com | @robt77 (https://host.madison.com/users/profile/Rob%20Thomas) Aug 12, 2016

The Madison jazz community is mourning the passing of legendary trumpeter Doc DeHaven, who died Thursday night at age 85.
DeHaven was a fixture on the Madison jazz scene for over a half century, both as a performer and as a teacher at Monona Grove High School. He started his first band in 1951 while a student at the University of Wisconsin-Madison. After graduating, he became famous for playing regular gigs three nights a week at the Pirate Ship Bar from 1957 to 1970.
Bill Grahn is a saxophone player who began playing with DeHaven in the late 1960s and for nearly 40 years after that.

“He’s an inspirational player, a great leader, very loyal to the guys he played with,” Grahn said in an interview Friday. “He’s also a funny guy. He would always say things to break people up.”
Trumpeter David Cooper wrote in a blog post that he befriended DeHaven when he first came to town in 1990. He said the trumpeter had a huge influence on him both as a collaborator and mentor — and also, eventually, as a father-in-law.
“He was in his sixties when I met him, but he was constantly open to new ideas and a real “practice-a-holic,” Cooper wrote on All Things Trumpet (http://allthingstrumpet.com/jazz-learning/doc-dehaven/) . “He was often the “elder statesman” of the band we played in but he was never regarded as anything less than ‘The Man’ when it came to soloing.”

But DeHaven’s work as a teacher may have had just as much of an impact as his performing, having served as band director at Monona Grove until retiring in 1989.
“He was so willing to give of himself to his students,” Madison Jazz Society President Linda Marty Schmitz said Friday. “He taught at Monona Grove forever, but he was also willing to work with kids at any time and help them become more knowledgeable about music and jazz.

“I’m sure there will be a lot of young musicians that will come forward once they hear this news to talk about what an impact he had on them.”
Schmitz said that the society wants to talk with DeHaven’s family, including his daughter, jazz vocalist Kelly DeHaven, before making any official memorial plans.
“I would not be surprised if the Madison jazz community came together and did some kind of tribute to him,” she said.

OBITUARY | DOSTER ‘DOC’ DEHAVEN, 85
Local jazz hero Doc DeHaven dies at 85
http://host.madison.com/wsj/news/local/local-jazz-hero-doc-dehaven-dies-at/article_7736ca1e-40b4-5da6-934f-aeabdaef3add.html

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The First Hipster of New York – The New York Times

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http://www.nytimes.com/2016/08/14/nyregion/the-first-hipster-of-new-york.html?emc=edit_tnt_20160812

F.Y.I. (http://www.nytimes.com/column/fyi-new-york-city)
By KATIE ROGERS AUG. 12, 2016

The First Hipster of New York

Harry “the Hipster” Gibson, who sang “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine.” William P. Gottlieb/Library of Congress

Q. Did the hipster originate in New York? Or did hipsters migrate here from some other bastion of cool?

A. We most likely have the jazz clubs of 1940s Harlem to thank for the term, although its meaning may have changed some since then. A Bronx-born, Juilliard-trained musician named Harry Raab helped popularize the word with his stage name: Harry “the Hipster” Gibson.

But it’s doubtful that Mr. Raab, an expressive singer and gifted piano player whose most recognizable song, for better or worse, was “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine,” coined the term.

Back then, as now, “hipster” was used to describe someone who saw himself as hip and ahead of the curve, said
Lewis Porter (http://gsn.newark.rutgers.edu/jazz/lewis_porter/index.php) , a jazz historian at Rutgers University. According to the Oxford English Dictionary, the word is also thought to be a modernized version of “hepcat,” which had the same meaning in jazz circles. Dr. Porter said the word might also have been used to describe white jazz musicians like Gibson who played in traditionally black clubs. “That certainly was not its original meaning, but that could have become attached to it later on,” he said.
In his 1957 essay “The White Negro” (https://www.dissentmagazine.org/online_articles/the-white-negro-fall-1957) for Dissent magazine, Norman Mailer examined beatnik culture, posing the theory that to be a hipster was to be a white American who adopted black culture, worldviews and music as an act of rebellion against capitalist greed, wartime violence and the ever-present specter of nuclear war.

The New York Times has used the word “hipster” about 3,000 times since 1851, the bulk of those references coming in a boomlet after the year 2000. It was typically used to describe a class of people who moved to Williamsburg, Brooklyn, wearing white tank tops and clutching cans of Pabst Blue Ribbon — until those people were priced out of the neighborhood, of course.

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The First Hipster of New York – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/14/nyregion/the-first-hipster-of-new-york.html?emc=edit_tnt_20160812

F.Y.I. (http://www.nytimes.com/column/fyi-new-york-city)
By KATIE ROGERS AUG. 12, 2016

The First Hipster of New York

Harry “the Hipster” Gibson, who sang “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine.” William P. Gottlieb/Library of Congress

Q. Did the hipster originate in New York? Or did hipsters migrate here from some other bastion of cool?

A. We most likely have the jazz clubs of 1940s Harlem to thank for the term, although its meaning may have changed some since then. A Bronx-born, Juilliard-trained musician named Harry Raab helped popularize the word with his stage name: Harry “the Hipster” Gibson.

But it’s doubtful that Mr. Raab, an expressive singer and gifted piano player whose most recognizable song, for better or worse, was “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine,” coined the term.

Back then, as now, “hipster” was used to describe someone who saw himself as hip and ahead of the curve, said
Lewis Porter (http://gsn.newark.rutgers.edu/jazz/lewis_porter/index.php) , a jazz historian at Rutgers University. According to the Oxford English Dictionary, the word is also thought to be a modernized version of “hepcat,” which had the same meaning in jazz circles. Dr. Porter said the word might also have been used to describe white jazz musicians like Gibson who played in traditionally black clubs. “That certainly was not its original meaning, but that could have become attached to it later on,” he said.
In his 1957 essay “The White Negro” (https://www.dissentmagazine.org/online_articles/the-white-negro-fall-1957) for Dissent magazine, Norman Mailer examined beatnik culture, posing the theory that to be a hipster was to be a white American who adopted black culture, worldviews and music as an act of rebellion against capitalist greed, wartime violence and the ever-present specter of nuclear war.

The New York Times has used the word “hipster” about 3,000 times since 1851, the bulk of those references coming in a boomlet after the year 2000. It was typically used to describe a class of people who moved to Williamsburg, Brooklyn, wearing white tank tops and clutching cans of Pabst Blue Ribbon — until those people were priced out of the neighborhood, of course.

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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The First Hipster of New York – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/14/nyregion/the-first-hipster-of-new-york.html?emc=edit_tnt_20160812

F.Y.I. (http://www.nytimes.com/column/fyi-new-york-city)
By KATIE ROGERS AUG. 12, 2016

The First Hipster of New York

Harry “the Hipster” Gibson, who sang “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine.” William P. Gottlieb/Library of Congress

Q. Did the hipster originate in New York? Or did hipsters migrate here from some other bastion of cool?

A. We most likely have the jazz clubs of 1940s Harlem to thank for the term, although its meaning may have changed some since then. A Bronx-born, Juilliard-trained musician named Harry Raab helped popularize the word with his stage name: Harry “the Hipster” Gibson.

But it’s doubtful that Mr. Raab, an expressive singer and gifted piano player whose most recognizable song, for better or worse, was “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine,” coined the term.

Back then, as now, “hipster” was used to describe someone who saw himself as hip and ahead of the curve, said
Lewis Porter (http://gsn.newark.rutgers.edu/jazz/lewis_porter/index.php) , a jazz historian at Rutgers University. According to the Oxford English Dictionary, the word is also thought to be a modernized version of “hepcat,” which had the same meaning in jazz circles. Dr. Porter said the word might also have been used to describe white jazz musicians like Gibson who played in traditionally black clubs. “That certainly was not its original meaning, but that could have become attached to it later on,” he said.
In his 1957 essay “The White Negro” (https://www.dissentmagazine.org/online_articles/the-white-negro-fall-1957) for Dissent magazine, Norman Mailer examined beatnik culture, posing the theory that to be a hipster was to be a white American who adopted black culture, worldviews and music as an act of rebellion against capitalist greed, wartime violence and the ever-present specter of nuclear war.

The New York Times has used the word “hipster” about 3,000 times since 1851, the bulk of those references coming in a boomlet after the year 2000. It was typically used to describe a class of people who moved to Williamsburg, Brooklyn, wearing white tank tops and clutching cans of Pabst Blue Ribbon — until those people were priced out of the neighborhood, of course.

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

The First Hipster of New York – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/14/nyregion/the-first-hipster-of-new-york.html?emc=edit_tnt_20160812

F.Y.I. (http://www.nytimes.com/column/fyi-new-york-city)
By KATIE ROGERS AUG. 12, 2016

The First Hipster of New York

Harry “the Hipster” Gibson, who sang “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine.” William P. Gottlieb/Library of Congress

Q. Did the hipster originate in New York? Or did hipsters migrate here from some other bastion of cool?

A. We most likely have the jazz clubs of 1940s Harlem to thank for the term, although its meaning may have changed some since then. A Bronx-born, Juilliard-trained musician named Harry Raab helped popularize the word with his stage name: Harry “the Hipster” Gibson.

But it’s doubtful that Mr. Raab, an expressive singer and gifted piano player whose most recognizable song, for better or worse, was “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine,” coined the term.

Back then, as now, “hipster” was used to describe someone who saw himself as hip and ahead of the curve, said
Lewis Porter (http://gsn.newark.rutgers.edu/jazz/lewis_porter/index.php) , a jazz historian at Rutgers University. According to the Oxford English Dictionary, the word is also thought to be a modernized version of “hepcat,” which had the same meaning in jazz circles. Dr. Porter said the word might also have been used to describe white jazz musicians like Gibson who played in traditionally black clubs. “That certainly was not its original meaning, but that could have become attached to it later on,” he said.
In his 1957 essay “The White Negro” (https://www.dissentmagazine.org/online_articles/the-white-negro-fall-1957) for Dissent magazine, Norman Mailer examined beatnik culture, posing the theory that to be a hipster was to be a white American who adopted black culture, worldviews and music as an act of rebellion against capitalist greed, wartime violence and the ever-present specter of nuclear war.

The New York Times has used the word “hipster” about 3,000 times since 1851, the bulk of those references coming in a boomlet after the year 2000. It was typically used to describe a class of people who moved to Williamsburg, Brooklyn, wearing white tank tops and clutching cans of Pabst Blue Ribbon — until those people were priced out of the neighborhood, of course.

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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269 State Route 94 South
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USA

Connie Crothers 1941-2016 ~ The Free Jazz Collective

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http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html?utm_source=feedburner

Connie Crothers 1941-2016 (http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html)

Saturday, August 13, 2016 2 comments (https://www.blogger.com/comment.g?blogID=4155637663191071619&postID=4847646288363763188)

Connie Crothers,
Judson Memorial Church, June 9, 2016.
Photo by Peter Gannushkin (https://www.facebook.com/shkin)

We just read the sad news (https://www.facebook.com/conniecrothers) about the passing of pianist Connie Crothers. She was a wonderful musician and mentor to many. I recall seeing her perform at the Stone a few years ago in a duo with a Jameel Moondoc and just being enthralled with the performance.
Two of Crother’s recent recording were reviewed on the blog in recent years, and both are highly recommended. – Paul

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=268c87531e) | 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=268c87531e&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!

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269 State Route 94 South
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USA

Connie Crothers 1941-2016 ~ The Free Jazz Collective

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http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html?utm_source=feedburner

Connie Crothers 1941-2016 (http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html)

Saturday, August 13, 2016 2 comments (https://www.blogger.com/comment.g?blogID=4155637663191071619&postID=4847646288363763188)

Connie Crothers,
Judson Memorial Church, June 9, 2016.
Photo by Peter Gannushkin (https://www.facebook.com/shkin)

We just read the sad news (https://www.facebook.com/conniecrothers) about the passing of pianist Connie Crothers. She was a wonderful musician and mentor to many. I recall seeing her perform at the Stone a few years ago in a duo with a Jameel Moondoc and just being enthralled with the performance.
Two of Crother’s recent recording were reviewed on the blog in recent years, and both are highly recommended. – Paul

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=268c87531e) | 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=268c87531e&e=[UNIQID])

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269 State Route 94 South
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USA

Connie Crothers 1941-2016 ~ The Free Jazz Collective

http://www.jazzpromoservices.com/
http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html?utm_source=feedburner

Connie Crothers 1941-2016 (http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html)

Saturday, August 13, 2016 2 comments (https://www.blogger.com/comment.g?blogID=4155637663191071619&postID=4847646288363763188)

Connie Crothers,
Judson Memorial Church, June 9, 2016.
Photo by Peter Gannushkin (https://www.facebook.com/shkin)

We just read the sad news (https://www.facebook.com/conniecrothers) about the passing of pianist Connie Crothers. She was a wonderful musician and mentor to many. I recall seeing her perform at the Stone a few years ago in a duo with a Jameel Moondoc and just being enthralled with the performance.
Two of Crother’s recent recording were reviewed on the blog in recent years, and both are highly recommended. – Paul

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=268c87531e) | 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=268c87531e&e=[UNIQID])

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Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
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Connie Crothers 1941-2016 ~ The Free Jazz Collective

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Connie Crothers 1941-2016 (http://www.freejazzblog.org/2016/08/connie-crothers-1941-2016.html)

Saturday, August 13, 2016 2 comments (https://www.blogger.com/comment.g?blogID=4155637663191071619&postID=4847646288363763188)

Connie Crothers,
Judson Memorial Church, June 9, 2016.
Photo by Peter Gannushkin (https://www.facebook.com/shkin)

We just read the sad news (https://www.facebook.com/conniecrothers) about the passing of pianist Connie Crothers. She was a wonderful musician and mentor to many. I recall seeing her perform at the Stone a few years ago in a duo with a Jameel Moondoc and just being enthralled with the performance.
Two of Crother’s recent recording were reviewed on the blog in recent years, and both are highly recommended. – Paul

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The story behind the iconic ‘A Great Day in Harlem’ photo | NY Daily News

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http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru

STOOP SUMMIT
How a Harlem brownstone was immortalized when the living legends of jazz assembled there for an iconic photograph

http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru
BY SARAH GOODYEAR (mailto:sgoodyear@nydailynews.com)
https://twitter.com/buttermilk1
FRIDAY, AUGUST 12, 2016
The year was 1999, and Noella Cotto was just looking for a place in Harlem to call her own. When she finally found the perfect place — a brownstone, in decent shape, at 17 E. 126th Street — she had no idea that the building had played a historic supporting role in American pop culture when, in 1958, 57 of the coolest cats in jazz assembled there to have their picture taken for a special issue of Esquire magazine. Cotto, who worked as a postal cop at the time, was unaware that the famous photo, titled “Harlem 1958,” was ubiquitous around the neighborhood, or that a generation of folks who’d grown up in the so-called Cultural Capital of Black America had seen the image so often, hanging in barber shops and bodegas, that they’d long since forgotten about it themselves. Nor did she realize that the photo had gotten another close-up only five years earlier in an Oscar-nominated documentary, “A Great Day in Harlem.”
The whole audacious idea was conceived by a man who none of the musicians knew, 33-year-old Art Kane, who had made a name for himself as a magazine art director but whose passion was photography. This was his first professional shooting assignment and, with it, he ended up making history almost by accident.
“He became aware that Esquire was planning a big issue on jazz,” says Jonathan Kane, Art’s son, a musician and photographer who also manages his late father’s photographic legacy (Art Kane died in 1995). “He cooked up the idea of doing a big portrait (with) all these musicians. Art pitched his crazy idea, and they said, Do it.” There was no question about where he would shoot. “Harlem was where the jazz scene came into being and coalesced,” Kane says. “It had to be in Harlem. And he wanted a place that reflected everyday life rather than a club. This could be a street where anybody could live.”

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After scouting for a typical building on a typical block, Kane chose 126th St. between Fifth and Madison Aves. He wanted one that was convenient to the subway and what was then the New York Central Railroad (now Metro North), which had a station at 125th and Park. He put out the call for musicians through agents, record labels, union halls, clubs — pretty much any channel he could think of.
One of the musicians answering the call was Sonny Rollins, the brilliant tenor saxophonist who was 27 years old when the picture was shot and already among the period’s most acclaimed jazz artists. Rollins, who says he started playing music when he was 7 or 8 years old, had grown up in central Harlem, surrounded by the ferment of jazz. “All of the black musicians lived in Harlem, it was the only place you could live,” he says. “Harlem was the place. All my idols, like Fats Waller, all these people performed around where I went to school, at P.S. 89, at 135th Street and Lenox Avenue. So it was quite a community.”

“There were musicians from several eras of jazz. That picture depicted what a robust scene it was for jazz musicians in New York.”
— Sonny Rollins

When he heard about the photo shoot, he knew he had to be there. “I didn’t hesitate,” says Rollins, who is now 85 and, along with Benny Golson, one of only two surviving musicians in the photo. “Something like that had never been done, and the guys were just eager to do it. I certainly was eager to do it. They were all my compadres. It was great fun.”
They had fun even though the start time, in jazz terms, was brutal. Because he wanted to utilize the best light on the north side of the street, avoiding any shadows, Kane asked people to arrive by 10 a.m. — a tall order for artists who typically worked until 4 in the morning. In the 1994 documentary about the photograph, Steve Frankfurt, who was assisting Kane that day, put that early call time in perspective: “Somebody said they didn’t realize there were two 10 o’clocks in the same day.”
The nighthawks showed up anyway, dressed to the nines and ready for action. They came by subway and commuter train. They came by taxi and on foot. Among the greats who made the gig that morning were Thelonious Monk, Charles Mingus, Gene Krupa, Mary Lou Williams, Roy Eldridge, Milt Hinton and Lester Young. It was a crazy scene, made even more beautiful by the row of neighborhood kids who sat in a row along the curb alongside a jovial Count Basie. “There were musicians from several eras of jazz,” Rollins says. “I think that picture depicted what a robust scene it was for jazz musicians in New York.”
Jonathan Kane
HISTORY IN THE MAKING The January 1959 issue of Esquire in which Art Kane’s photo originally appeared.
“A Great Day in Harlem” dives into the story behind the picture in detail, incorporating the priceless, joy-infused Super-8 footage that Mona Hinton, Milt’s wife, shot during the session. It shows the musicians milling about, greeting each other, telling stories, laughing — doing just about everything but paying attention to the photographer across the street, who implored them to come into formation through a megaphone improvised from a rolled-up newspaper.
More than three decades later, director Jean Bach sought out many of the then-surviving musicians to interview them about the picture, including Dizzy Gillespie, Art Blakey and Marian McPartland. “Living in New York, you saw everybody,” trumpeter Art Farmer says in the film. “Anyone there, you were liable to run into any of them any day.”

***

By the time Noela Cotto started searching for a home in Harlem, the neighborhood was perceived as pretty sketchy, and she encountered a variety of obstacles. People told her it wasn’t safe, an assertion she dismissed. They told her she wouldn’t be able to get a construction loan to fix up one of the many buildings that had fallen into disrepair; that was harder to argue with. She thought about buying a co-op, yet despite her steady job, she encountered problems when she talked to a real-estate agent about purchasing one at a new building just a short distance from where she lives now. “The lady was racist,” says Cotto, who is Puerto Rican. “ ‘You probably don’t qualify,’ she told me. That woman did everything she could to keep me from seeing a place.”

“Every time I think about those artists, what they had to go through…it’s great music.”
— Noella Cotto

That was just as well, as it turns out. Cotto ended up getting a tip from a different agent that the building at 17 E. 126th Street was available. It was in fair shape after a developer’s rudimentary renovation, and she was able to swing the price. (Cotto suspects the previous owner was also unaware of its heritage, or he certainly would have charged more.) Today, the building is probably worth six times what she paid for it. “You’re going to pay a million for a shell now,” Cotto says. “Everything is being taken up. I consider myself pretty fortunate.”
Cotto, now 67, has settled nicely into the house. She has three steady tenants, including her former partner on the postal beat, and she says the group feels like family: “We all look out for each other.”
Being a big jazz fan, Cotto could really appreciate the significance when she found out, not long after she closed the deal, that she was obtaining a piece of history. She made a point of listening to the music of every single person in the picture. She bought an original copy of the Esquire jazz issue on eBay. “Every time I think about those artists — what they had to go through,” she says. “It’s great music.”

***

“An aesthetic, a tradition, and an audience: these are the prerequisites for a Golden Age,” wrote John Clellon Holmes in an essay that accompanies the photograph in Esquire, “and jazz has achieved them now.” The world represented by those 57 men and women — a world of late-night clubs, of gents in suits and hats and ladies in gloves, of martinis and Lucky Strikes — was already vanishing in the rear-view mirror of popular culture. Harlem was changing, too, emptying out and deteriorating. But change has always been part of the place.
Back in 1958, the city was still a place where aspiring musicians could live on the cheap, sometimes in boarding houses with other rising talents. Scoville Brown, a saxophonist and clarinetist, reminisces in the film about living in a place like that, run by a guy named Pop Collins. “It was a notorious home for musicians where you could come, eat and sleep for a reasonable sum,” Brown says. “I think his dinners were 35 cents apiece, and they were outta sight.” The rooms, he says, went for about $8 or $9 a week.
These days, a one-bedroom apartment at 62 E. 126th, just a block from the spot where Art Kane wrangled all those genius jazz artists, goes for $1,900 a month. And in this rapidly gentrifying neighborhood, that’s a deal.

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East Harlem — the area east of Fifth Avenue and north of 96th Street — is being touted in news stories and on real-estate blogs as one of the last “affordable” parts of Manhattan. Affordable, that is, if you’ve got plenty of money to spend. Earlier this year, the median price of a condo in Harlem was $640,000. That may be considerably less than the figure of $910,000 in Manhattan overall, but it’s still a lot of scratch.
An increase of 30% in home prices since 2010 means that ordinary working people are increasingly unlikely to afford property in Harlem. The same goes for artists in any medium — unless they’re celebrities like Neil Patrick Harris, who three years ago paid $3.6 million for a townhouse on Fifth Avenue between 125th and 126th, just around the corner from the jazz house. (He and his husband then renovated it at an unknown cost.)

“Certain things end up being bigger than the original intention. The photograph has become part of our cultural fabric.”
— Jonathan Kane

Fewer than half the people living in Harlem now are black, the first time that’s been true since the 1930s, when the Harlem Renaissance was in full swing and Langston Hughes lived one block up on 127th Street. Cotto says she welcomes the increasing racial diversity. The area was Italian and Irish once, she points out, before Latino and African-American people moved in, and it has never stopped shifting. She made a note of it recently when she was walking down 125th Street, where a Bed Bath & Beyond opened recently and a Whole Foods is under construction. “From Lenox to the end of the block, I counted 20 white people. It’s mixing up nicely. The Barrio used to be Puerto Rican,” she says, referring to the part of the neighborhood sometimes known as Spanish Harlem. “Now, it’s mostly Mexican. Everything is changing.” Still, she adds, “I do wish we had more Chinese- and pizza places.”
Cotto also enjoys the regular flow of tourists and jazz fans, from as far away as Japan, who come to see the place where the musical innovators stood. She has taken pains to keep the stairs exactly as they were in the original photograph. Some, like the group Women in Jazz, come to recreate the image that Art Kane engineered all those years ago. “I’ve met some really nice people,” she says.
Jonathan Kane
TAKE THE 2/3 TRAIN The brownstone at 17 E. 126th Street today, with the tripod photographer Art Kane used when shooting “Harlem 1958.”
You can see the neighborhood’s ups and downs encapsulated in the most famous riff on Art Kane’s picture. In 1998, XXL magazine commissioned photographer Gordon Parks to shoot “A Great Day in Hip-Hop.” (http://daily.redbullmusicacademy.com/2014/09/xxls-greatest-day-in-hip-hop-feature) The event drew 177 figures from across the country, including Rakim, Slick Rick, Phife of A Tribe Called Quest, Black Thought of the Roots, Fab 5 Freddy, Busta Rhymes and Grandmaster Flash. Debbie Harry of Blondie was there, too. (Lauryn Hill, the story has it, arrived 10 minutes after the picture was taken.)
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The swarm of hip-hop artists occupied not only the stoop of number 17, but also the ones on either side. Forty years after the original was taken, the most glaring difference on the street was the condition of number 17 itself: Cinder blocks filled the doorway at the top of the steps and one of the windows. The facade was marred with crude graffiti.
Today, the building looks much more as it did in 1958. One of Cotto’s tenants, an artist, repainted the house number on the glass in the doorway, exactly as it was then. And the brownstone remains a touchstone for people seeking something both ephemeral and timeless that briefly came into being that day. “Certain things that happen in this world end up being bigger than the original intention,” Jonathan Kane says. “(The photograph) has become part of our cultural fabric.”
In the documentary about Art Kane’s picture, writer Nat Hentoff cites a reason the music those men and women played endures: “It is the immediacy of what that person was thinking at that moment in time.”
In “Harlem 1958,” Kane caught a bit of that magic. Looking at it, you can feel the immediacy of the moment, of all those people thinking together. It was here. It was gone. It’s still happening. “Jazz is something real and something solid,” Rollins says. “It’s a positive force. Jazz will always survive.”

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The story behind the iconic ‘A Great Day in Harlem’ photo | NY Daily News

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http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru

STOOP SUMMIT
How a Harlem brownstone was immortalized when the living legends of jazz assembled there for an iconic photograph

http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru
BY SARAH GOODYEAR (mailto:sgoodyear@nydailynews.com)
https://twitter.com/buttermilk1
FRIDAY, AUGUST 12, 2016
The year was 1999, and Noella Cotto was just looking for a place in Harlem to call her own. When she finally found the perfect place — a brownstone, in decent shape, at 17 E. 126th Street — she had no idea that the building had played a historic supporting role in American pop culture when, in 1958, 57 of the coolest cats in jazz assembled there to have their picture taken for a special issue of Esquire magazine. Cotto, who worked as a postal cop at the time, was unaware that the famous photo, titled “Harlem 1958,” was ubiquitous around the neighborhood, or that a generation of folks who’d grown up in the so-called Cultural Capital of Black America had seen the image so often, hanging in barber shops and bodegas, that they’d long since forgotten about it themselves. Nor did she realize that the photo had gotten another close-up only five years earlier in an Oscar-nominated documentary, “A Great Day in Harlem.”
The whole audacious idea was conceived by a man who none of the musicians knew, 33-year-old Art Kane, who had made a name for himself as a magazine art director but whose passion was photography. This was his first professional shooting assignment and, with it, he ended up making history almost by accident.
“He became aware that Esquire was planning a big issue on jazz,” says Jonathan Kane, Art’s son, a musician and photographer who also manages his late father’s photographic legacy (Art Kane died in 1995). “He cooked up the idea of doing a big portrait (with) all these musicians. Art pitched his crazy idea, and they said, Do it.” There was no question about where he would shoot. “Harlem was where the jazz scene came into being and coalesced,” Kane says. “It had to be in Harlem. And he wanted a place that reflected everyday life rather than a club. This could be a street where anybody could live.”

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After scouting for a typical building on a typical block, Kane chose 126th St. between Fifth and Madison Aves. He wanted one that was convenient to the subway and what was then the New York Central Railroad (now Metro North), which had a station at 125th and Park. He put out the call for musicians through agents, record labels, union halls, clubs — pretty much any channel he could think of.
One of the musicians answering the call was Sonny Rollins, the brilliant tenor saxophonist who was 27 years old when the picture was shot and already among the period’s most acclaimed jazz artists. Rollins, who says he started playing music when he was 7 or 8 years old, had grown up in central Harlem, surrounded by the ferment of jazz. “All of the black musicians lived in Harlem, it was the only place you could live,” he says. “Harlem was the place. All my idols, like Fats Waller, all these people performed around where I went to school, at P.S. 89, at 135th Street and Lenox Avenue. So it was quite a community.”

“There were musicians from several eras of jazz. That picture depicted what a robust scene it was for jazz musicians in New York.”
— Sonny Rollins

When he heard about the photo shoot, he knew he had to be there. “I didn’t hesitate,” says Rollins, who is now 85 and, along with Benny Golson, one of only two surviving musicians in the photo. “Something like that had never been done, and the guys were just eager to do it. I certainly was eager to do it. They were all my compadres. It was great fun.”
They had fun even though the start time, in jazz terms, was brutal. Because he wanted to utilize the best light on the north side of the street, avoiding any shadows, Kane asked people to arrive by 10 a.m. — a tall order for artists who typically worked until 4 in the morning. In the 1994 documentary about the photograph, Steve Frankfurt, who was assisting Kane that day, put that early call time in perspective: “Somebody said they didn’t realize there were two 10 o’clocks in the same day.”
The nighthawks showed up anyway, dressed to the nines and ready for action. They came by subway and commuter train. They came by taxi and on foot. Among the greats who made the gig that morning were Thelonious Monk, Charles Mingus, Gene Krupa, Mary Lou Williams, Roy Eldridge, Milt Hinton and Lester Young. It was a crazy scene, made even more beautiful by the row of neighborhood kids who sat in a row along the curb alongside a jovial Count Basie. “There were musicians from several eras of jazz,” Rollins says. “I think that picture depicted what a robust scene it was for jazz musicians in New York.”
Jonathan Kane
HISTORY IN THE MAKING The January 1959 issue of Esquire in which Art Kane’s photo originally appeared.
“A Great Day in Harlem” dives into the story behind the picture in detail, incorporating the priceless, joy-infused Super-8 footage that Mona Hinton, Milt’s wife, shot during the session. It shows the musicians milling about, greeting each other, telling stories, laughing — doing just about everything but paying attention to the photographer across the street, who implored them to come into formation through a megaphone improvised from a rolled-up newspaper.
More than three decades later, director Jean Bach sought out many of the then-surviving musicians to interview them about the picture, including Dizzy Gillespie, Art Blakey and Marian McPartland. “Living in New York, you saw everybody,” trumpeter Art Farmer says in the film. “Anyone there, you were liable to run into any of them any day.”

***

By the time Noela Cotto started searching for a home in Harlem, the neighborhood was perceived as pretty sketchy, and she encountered a variety of obstacles. People told her it wasn’t safe, an assertion she dismissed. They told her she wouldn’t be able to get a construction loan to fix up one of the many buildings that had fallen into disrepair; that was harder to argue with. She thought about buying a co-op, yet despite her steady job, she encountered problems when she talked to a real-estate agent about purchasing one at a new building just a short distance from where she lives now. “The lady was racist,” says Cotto, who is Puerto Rican. “ ‘You probably don’t qualify,’ she told me. That woman did everything she could to keep me from seeing a place.”

“Every time I think about those artists, what they had to go through…it’s great music.”
— Noella Cotto

That was just as well, as it turns out. Cotto ended up getting a tip from a different agent that the building at 17 E. 126th Street was available. It was in fair shape after a developer’s rudimentary renovation, and she was able to swing the price. (Cotto suspects the previous owner was also unaware of its heritage, or he certainly would have charged more.) Today, the building is probably worth six times what she paid for it. “You’re going to pay a million for a shell now,” Cotto says. “Everything is being taken up. I consider myself pretty fortunate.”
Cotto, now 67, has settled nicely into the house. She has three steady tenants, including her former partner on the postal beat, and she says the group feels like family: “We all look out for each other.”
Being a big jazz fan, Cotto could really appreciate the significance when she found out, not long after she closed the deal, that she was obtaining a piece of history. She made a point of listening to the music of every single person in the picture. She bought an original copy of the Esquire jazz issue on eBay. “Every time I think about those artists — what they had to go through,” she says. “It’s great music.”

***

“An aesthetic, a tradition, and an audience: these are the prerequisites for a Golden Age,” wrote John Clellon Holmes in an essay that accompanies the photograph in Esquire, “and jazz has achieved them now.” The world represented by those 57 men and women — a world of late-night clubs, of gents in suits and hats and ladies in gloves, of martinis and Lucky Strikes — was already vanishing in the rear-view mirror of popular culture. Harlem was changing, too, emptying out and deteriorating. But change has always been part of the place.
Back in 1958, the city was still a place where aspiring musicians could live on the cheap, sometimes in boarding houses with other rising talents. Scoville Brown, a saxophonist and clarinetist, reminisces in the film about living in a place like that, run by a guy named Pop Collins. “It was a notorious home for musicians where you could come, eat and sleep for a reasonable sum,” Brown says. “I think his dinners were 35 cents apiece, and they were outta sight.” The rooms, he says, went for about $8 or $9 a week.
These days, a one-bedroom apartment at 62 E. 126th, just a block from the spot where Art Kane wrangled all those genius jazz artists, goes for $1,900 a month. And in this rapidly gentrifying neighborhood, that’s a deal.

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East Harlem — the area east of Fifth Avenue and north of 96th Street — is being touted in news stories and on real-estate blogs as one of the last “affordable” parts of Manhattan. Affordable, that is, if you’ve got plenty of money to spend. Earlier this year, the median price of a condo in Harlem was $640,000. That may be considerably less than the figure of $910,000 in Manhattan overall, but it’s still a lot of scratch.
An increase of 30% in home prices since 2010 means that ordinary working people are increasingly unlikely to afford property in Harlem. The same goes for artists in any medium — unless they’re celebrities like Neil Patrick Harris, who three years ago paid $3.6 million for a townhouse on Fifth Avenue between 125th and 126th, just around the corner from the jazz house. (He and his husband then renovated it at an unknown cost.)

“Certain things end up being bigger than the original intention. The photograph has become part of our cultural fabric.”
— Jonathan Kane

Fewer than half the people living in Harlem now are black, the first time that’s been true since the 1930s, when the Harlem Renaissance was in full swing and Langston Hughes lived one block up on 127th Street. Cotto says she welcomes the increasing racial diversity. The area was Italian and Irish once, she points out, before Latino and African-American people moved in, and it has never stopped shifting. She made a note of it recently when she was walking down 125th Street, where a Bed Bath & Beyond opened recently and a Whole Foods is under construction. “From Lenox to the end of the block, I counted 20 white people. It’s mixing up nicely. The Barrio used to be Puerto Rican,” she says, referring to the part of the neighborhood sometimes known as Spanish Harlem. “Now, it’s mostly Mexican. Everything is changing.” Still, she adds, “I do wish we had more Chinese- and pizza places.”
Cotto also enjoys the regular flow of tourists and jazz fans, from as far away as Japan, who come to see the place where the musical innovators stood. She has taken pains to keep the stairs exactly as they were in the original photograph. Some, like the group Women in Jazz, come to recreate the image that Art Kane engineered all those years ago. “I’ve met some really nice people,” she says.
Jonathan Kane
TAKE THE 2/3 TRAIN The brownstone at 17 E. 126th Street today, with the tripod photographer Art Kane used when shooting “Harlem 1958.”
You can see the neighborhood’s ups and downs encapsulated in the most famous riff on Art Kane’s picture. In 1998, XXL magazine commissioned photographer Gordon Parks to shoot “A Great Day in Hip-Hop.” (http://daily.redbullmusicacademy.com/2014/09/xxls-greatest-day-in-hip-hop-feature) The event drew 177 figures from across the country, including Rakim, Slick Rick, Phife of A Tribe Called Quest, Black Thought of the Roots, Fab 5 Freddy, Busta Rhymes and Grandmaster Flash. Debbie Harry of Blondie was there, too. (Lauryn Hill, the story has it, arrived 10 minutes after the picture was taken.)
MORE FROM THE DAILY DIG

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The swarm of hip-hop artists occupied not only the stoop of number 17, but also the ones on either side. Forty years after the original was taken, the most glaring difference on the street was the condition of number 17 itself: Cinder blocks filled the doorway at the top of the steps and one of the windows. The facade was marred with crude graffiti.
Today, the building looks much more as it did in 1958. One of Cotto’s tenants, an artist, repainted the house number on the glass in the doorway, exactly as it was then. And the brownstone remains a touchstone for people seeking something both ephemeral and timeless that briefly came into being that day. “Certain things that happen in this world end up being bigger than the original intention,” Jonathan Kane says. “(The photograph) has become part of our cultural fabric.”
In the documentary about Art Kane’s picture, writer Nat Hentoff cites a reason the music those men and women played endures: “It is the immediacy of what that person was thinking at that moment in time.”
In “Harlem 1958,” Kane caught a bit of that magic. Looking at it, you can feel the immediacy of the moment, of all those people thinking together. It was here. It was gone. It’s still happening. “Jazz is something real and something solid,” Rollins says. “It’s a positive force. Jazz will always survive.”

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/)

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The story behind the iconic ‘A Great Day in Harlem’ photo | NY Daily News

http://www.jazzpromoservices.com/
http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru

STOOP SUMMIT
How a Harlem brownstone was immortalized when the living legends of jazz assembled there for an iconic photograph

http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru
BY SARAH GOODYEAR (mailto:sgoodyear@nydailynews.com)
https://twitter.com/buttermilk1
FRIDAY, AUGUST 12, 2016
The year was 1999, and Noella Cotto was just looking for a place in Harlem to call her own. When she finally found the perfect place — a brownstone, in decent shape, at 17 E. 126th Street — she had no idea that the building had played a historic supporting role in American pop culture when, in 1958, 57 of the coolest cats in jazz assembled there to have their picture taken for a special issue of Esquire magazine. Cotto, who worked as a postal cop at the time, was unaware that the famous photo, titled “Harlem 1958,” was ubiquitous around the neighborhood, or that a generation of folks who’d grown up in the so-called Cultural Capital of Black America had seen the image so often, hanging in barber shops and bodegas, that they’d long since forgotten about it themselves. Nor did she realize that the photo had gotten another close-up only five years earlier in an Oscar-nominated documentary, “A Great Day in Harlem.”
The whole audacious idea was conceived by a man who none of the musicians knew, 33-year-old Art Kane, who had made a name for himself as a magazine art director but whose passion was photography. This was his first professional shooting assignment and, with it, he ended up making history almost by accident.
“He became aware that Esquire was planning a big issue on jazz,” says Jonathan Kane, Art’s son, a musician and photographer who also manages his late father’s photographic legacy (Art Kane died in 1995). “He cooked up the idea of doing a big portrait (with) all these musicians. Art pitched his crazy idea, and they said, Do it.” There was no question about where he would shoot. “Harlem was where the jazz scene came into being and coalesced,” Kane says. “It had to be in Harlem. And he wanted a place that reflected everyday life rather than a club. This could be a street where anybody could live.”

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After scouting for a typical building on a typical block, Kane chose 126th St. between Fifth and Madison Aves. He wanted one that was convenient to the subway and what was then the New York Central Railroad (now Metro North), which had a station at 125th and Park. He put out the call for musicians through agents, record labels, union halls, clubs — pretty much any channel he could think of.
One of the musicians answering the call was Sonny Rollins, the brilliant tenor saxophonist who was 27 years old when the picture was shot and already among the period’s most acclaimed jazz artists. Rollins, who says he started playing music when he was 7 or 8 years old, had grown up in central Harlem, surrounded by the ferment of jazz. “All of the black musicians lived in Harlem, it was the only place you could live,” he says. “Harlem was the place. All my idols, like Fats Waller, all these people performed around where I went to school, at P.S. 89, at 135th Street and Lenox Avenue. So it was quite a community.”

“There were musicians from several eras of jazz. That picture depicted what a robust scene it was for jazz musicians in New York.”
— Sonny Rollins

When he heard about the photo shoot, he knew he had to be there. “I didn’t hesitate,” says Rollins, who is now 85 and, along with Benny Golson, one of only two surviving musicians in the photo. “Something like that had never been done, and the guys were just eager to do it. I certainly was eager to do it. They were all my compadres. It was great fun.”
They had fun even though the start time, in jazz terms, was brutal. Because he wanted to utilize the best light on the north side of the street, avoiding any shadows, Kane asked people to arrive by 10 a.m. — a tall order for artists who typically worked until 4 in the morning. In the 1994 documentary about the photograph, Steve Frankfurt, who was assisting Kane that day, put that early call time in perspective: “Somebody said they didn’t realize there were two 10 o’clocks in the same day.”
The nighthawks showed up anyway, dressed to the nines and ready for action. They came by subway and commuter train. They came by taxi and on foot. Among the greats who made the gig that morning were Thelonious Monk, Charles Mingus, Gene Krupa, Mary Lou Williams, Roy Eldridge, Milt Hinton and Lester Young. It was a crazy scene, made even more beautiful by the row of neighborhood kids who sat in a row along the curb alongside a jovial Count Basie. “There were musicians from several eras of jazz,” Rollins says. “I think that picture depicted what a robust scene it was for jazz musicians in New York.”
Jonathan Kane
HISTORY IN THE MAKING The January 1959 issue of Esquire in which Art Kane’s photo originally appeared.
“A Great Day in Harlem” dives into the story behind the picture in detail, incorporating the priceless, joy-infused Super-8 footage that Mona Hinton, Milt’s wife, shot during the session. It shows the musicians milling about, greeting each other, telling stories, laughing — doing just about everything but paying attention to the photographer across the street, who implored them to come into formation through a megaphone improvised from a rolled-up newspaper.
More than three decades later, director Jean Bach sought out many of the then-surviving musicians to interview them about the picture, including Dizzy Gillespie, Art Blakey and Marian McPartland. “Living in New York, you saw everybody,” trumpeter Art Farmer says in the film. “Anyone there, you were liable to run into any of them any day.”

***

By the time Noela Cotto started searching for a home in Harlem, the neighborhood was perceived as pretty sketchy, and she encountered a variety of obstacles. People told her it wasn’t safe, an assertion she dismissed. They told her she wouldn’t be able to get a construction loan to fix up one of the many buildings that had fallen into disrepair; that was harder to argue with. She thought about buying a co-op, yet despite her steady job, she encountered problems when she talked to a real-estate agent about purchasing one at a new building just a short distance from where she lives now. “The lady was racist,” says Cotto, who is Puerto Rican. “ ‘You probably don’t qualify,’ she told me. That woman did everything she could to keep me from seeing a place.”

“Every time I think about those artists, what they had to go through…it’s great music.”
— Noella Cotto

That was just as well, as it turns out. Cotto ended up getting a tip from a different agent that the building at 17 E. 126th Street was available. It was in fair shape after a developer’s rudimentary renovation, and she was able to swing the price. (Cotto suspects the previous owner was also unaware of its heritage, or he certainly would have charged more.) Today, the building is probably worth six times what she paid for it. “You’re going to pay a million for a shell now,” Cotto says. “Everything is being taken up. I consider myself pretty fortunate.”
Cotto, now 67, has settled nicely into the house. She has three steady tenants, including her former partner on the postal beat, and she says the group feels like family: “We all look out for each other.”
Being a big jazz fan, Cotto could really appreciate the significance when she found out, not long after she closed the deal, that she was obtaining a piece of history. She made a point of listening to the music of every single person in the picture. She bought an original copy of the Esquire jazz issue on eBay. “Every time I think about those artists — what they had to go through,” she says. “It’s great music.”

***

“An aesthetic, a tradition, and an audience: these are the prerequisites for a Golden Age,” wrote John Clellon Holmes in an essay that accompanies the photograph in Esquire, “and jazz has achieved them now.” The world represented by those 57 men and women — a world of late-night clubs, of gents in suits and hats and ladies in gloves, of martinis and Lucky Strikes — was already vanishing in the rear-view mirror of popular culture. Harlem was changing, too, emptying out and deteriorating. But change has always been part of the place.
Back in 1958, the city was still a place where aspiring musicians could live on the cheap, sometimes in boarding houses with other rising talents. Scoville Brown, a saxophonist and clarinetist, reminisces in the film about living in a place like that, run by a guy named Pop Collins. “It was a notorious home for musicians where you could come, eat and sleep for a reasonable sum,” Brown says. “I think his dinners were 35 cents apiece, and they were outta sight.” The rooms, he says, went for about $8 or $9 a week.
These days, a one-bedroom apartment at 62 E. 126th, just a block from the spot where Art Kane wrangled all those genius jazz artists, goes for $1,900 a month. And in this rapidly gentrifying neighborhood, that’s a deal.

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East Harlem — the area east of Fifth Avenue and north of 96th Street — is being touted in news stories and on real-estate blogs as one of the last “affordable” parts of Manhattan. Affordable, that is, if you’ve got plenty of money to spend. Earlier this year, the median price of a condo in Harlem was $640,000. That may be considerably less than the figure of $910,000 in Manhattan overall, but it’s still a lot of scratch.
An increase of 30% in home prices since 2010 means that ordinary working people are increasingly unlikely to afford property in Harlem. The same goes for artists in any medium — unless they’re celebrities like Neil Patrick Harris, who three years ago paid $3.6 million for a townhouse on Fifth Avenue between 125th and 126th, just around the corner from the jazz house. (He and his husband then renovated it at an unknown cost.)

“Certain things end up being bigger than the original intention. The photograph has become part of our cultural fabric.”
— Jonathan Kane

Fewer than half the people living in Harlem now are black, the first time that’s been true since the 1930s, when the Harlem Renaissance was in full swing and Langston Hughes lived one block up on 127th Street. Cotto says she welcomes the increasing racial diversity. The area was Italian and Irish once, she points out, before Latino and African-American people moved in, and it has never stopped shifting. She made a note of it recently when she was walking down 125th Street, where a Bed Bath & Beyond opened recently and a Whole Foods is under construction. “From Lenox to the end of the block, I counted 20 white people. It’s mixing up nicely. The Barrio used to be Puerto Rican,” she says, referring to the part of the neighborhood sometimes known as Spanish Harlem. “Now, it’s mostly Mexican. Everything is changing.” Still, she adds, “I do wish we had more Chinese- and pizza places.”
Cotto also enjoys the regular flow of tourists and jazz fans, from as far away as Japan, who come to see the place where the musical innovators stood. She has taken pains to keep the stairs exactly as they were in the original photograph. Some, like the group Women in Jazz, come to recreate the image that Art Kane engineered all those years ago. “I’ve met some really nice people,” she says.
Jonathan Kane
TAKE THE 2/3 TRAIN The brownstone at 17 E. 126th Street today, with the tripod photographer Art Kane used when shooting “Harlem 1958.”
You can see the neighborhood’s ups and downs encapsulated in the most famous riff on Art Kane’s picture. In 1998, XXL magazine commissioned photographer Gordon Parks to shoot “A Great Day in Hip-Hop.” (http://daily.redbullmusicacademy.com/2014/09/xxls-greatest-day-in-hip-hop-feature) The event drew 177 figures from across the country, including Rakim, Slick Rick, Phife of A Tribe Called Quest, Black Thought of the Roots, Fab 5 Freddy, Busta Rhymes and Grandmaster Flash. Debbie Harry of Blondie was there, too. (Lauryn Hill, the story has it, arrived 10 minutes after the picture was taken.)
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The swarm of hip-hop artists occupied not only the stoop of number 17, but also the ones on either side. Forty years after the original was taken, the most glaring difference on the street was the condition of number 17 itself: Cinder blocks filled the doorway at the top of the steps and one of the windows. The facade was marred with crude graffiti.
Today, the building looks much more as it did in 1958. One of Cotto’s tenants, an artist, repainted the house number on the glass in the doorway, exactly as it was then. And the brownstone remains a touchstone for people seeking something both ephemeral and timeless that briefly came into being that day. “Certain things that happen in this world end up being bigger than the original intention,” Jonathan Kane says. “(The photograph) has become part of our cultural fabric.”
In the documentary about Art Kane’s picture, writer Nat Hentoff cites a reason the music those men and women played endures: “It is the immediacy of what that person was thinking at that moment in time.”
In “Harlem 1958,” Kane caught a bit of that magic. Looking at it, you can feel the immediacy of the moment, of all those people thinking together. It was here. It was gone. It’s still happening. “Jazz is something real and something solid,” Rollins says. “It’s a positive force. Jazz will always survive.”

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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The story behind the iconic ‘A Great Day in Harlem’ photo | NY Daily News

http://www.jazzpromoservices.com/
http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru

STOOP SUMMIT
How a Harlem brownstone was immortalized when the living legends of jazz assembled there for an iconic photograph

http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru
BY SARAH GOODYEAR (mailto:sgoodyear@nydailynews.com)
https://twitter.com/buttermilk1
FRIDAY, AUGUST 12, 2016
The year was 1999, and Noella Cotto was just looking for a place in Harlem to call her own. When she finally found the perfect place — a brownstone, in decent shape, at 17 E. 126th Street — she had no idea that the building had played a historic supporting role in American pop culture when, in 1958, 57 of the coolest cats in jazz assembled there to have their picture taken for a special issue of Esquire magazine. Cotto, who worked as a postal cop at the time, was unaware that the famous photo, titled “Harlem 1958,” was ubiquitous around the neighborhood, or that a generation of folks who’d grown up in the so-called Cultural Capital of Black America had seen the image so often, hanging in barber shops and bodegas, that they’d long since forgotten about it themselves. Nor did she realize that the photo had gotten another close-up only five years earlier in an Oscar-nominated documentary, “A Great Day in Harlem.”
The whole audacious idea was conceived by a man who none of the musicians knew, 33-year-old Art Kane, who had made a name for himself as a magazine art director but whose passion was photography. This was his first professional shooting assignment and, with it, he ended up making history almost by accident.
“He became aware that Esquire was planning a big issue on jazz,” says Jonathan Kane, Art’s son, a musician and photographer who also manages his late father’s photographic legacy (Art Kane died in 1995). “He cooked up the idea of doing a big portrait (with) all these musicians. Art pitched his crazy idea, and they said, Do it.” There was no question about where he would shoot. “Harlem was where the jazz scene came into being and coalesced,” Kane says. “It had to be in Harlem. And he wanted a place that reflected everyday life rather than a club. This could be a street where anybody could live.”

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After scouting for a typical building on a typical block, Kane chose 126th St. between Fifth and Madison Aves. He wanted one that was convenient to the subway and what was then the New York Central Railroad (now Metro North), which had a station at 125th and Park. He put out the call for musicians through agents, record labels, union halls, clubs — pretty much any channel he could think of.
One of the musicians answering the call was Sonny Rollins, the brilliant tenor saxophonist who was 27 years old when the picture was shot and already among the period’s most acclaimed jazz artists. Rollins, who says he started playing music when he was 7 or 8 years old, had grown up in central Harlem, surrounded by the ferment of jazz. “All of the black musicians lived in Harlem, it was the only place you could live,” he says. “Harlem was the place. All my idols, like Fats Waller, all these people performed around where I went to school, at P.S. 89, at 135th Street and Lenox Avenue. So it was quite a community.”

“There were musicians from several eras of jazz. That picture depicted what a robust scene it was for jazz musicians in New York.”
— Sonny Rollins

When he heard about the photo shoot, he knew he had to be there. “I didn’t hesitate,” says Rollins, who is now 85 and, along with Benny Golson, one of only two surviving musicians in the photo. “Something like that had never been done, and the guys were just eager to do it. I certainly was eager to do it. They were all my compadres. It was great fun.”
They had fun even though the start time, in jazz terms, was brutal. Because he wanted to utilize the best light on the north side of the street, avoiding any shadows, Kane asked people to arrive by 10 a.m. — a tall order for artists who typically worked until 4 in the morning. In the 1994 documentary about the photograph, Steve Frankfurt, who was assisting Kane that day, put that early call time in perspective: “Somebody said they didn’t realize there were two 10 o’clocks in the same day.”
The nighthawks showed up anyway, dressed to the nines and ready for action. They came by subway and commuter train. They came by taxi and on foot. Among the greats who made the gig that morning were Thelonious Monk, Charles Mingus, Gene Krupa, Mary Lou Williams, Roy Eldridge, Milt Hinton and Lester Young. It was a crazy scene, made even more beautiful by the row of neighborhood kids who sat in a row along the curb alongside a jovial Count Basie. “There were musicians from several eras of jazz,” Rollins says. “I think that picture depicted what a robust scene it was for jazz musicians in New York.”
Jonathan Kane
HISTORY IN THE MAKING The January 1959 issue of Esquire in which Art Kane’s photo originally appeared.
“A Great Day in Harlem” dives into the story behind the picture in detail, incorporating the priceless, joy-infused Super-8 footage that Mona Hinton, Milt’s wife, shot during the session. It shows the musicians milling about, greeting each other, telling stories, laughing — doing just about everything but paying attention to the photographer across the street, who implored them to come into formation through a megaphone improvised from a rolled-up newspaper.
More than three decades later, director Jean Bach sought out many of the then-surviving musicians to interview them about the picture, including Dizzy Gillespie, Art Blakey and Marian McPartland. “Living in New York, you saw everybody,” trumpeter Art Farmer says in the film. “Anyone there, you were liable to run into any of them any day.”

***

By the time Noela Cotto started searching for a home in Harlem, the neighborhood was perceived as pretty sketchy, and she encountered a variety of obstacles. People told her it wasn’t safe, an assertion she dismissed. They told her she wouldn’t be able to get a construction loan to fix up one of the many buildings that had fallen into disrepair; that was harder to argue with. She thought about buying a co-op, yet despite her steady job, she encountered problems when she talked to a real-estate agent about purchasing one at a new building just a short distance from where she lives now. “The lady was racist,” says Cotto, who is Puerto Rican. “ ‘You probably don’t qualify,’ she told me. That woman did everything she could to keep me from seeing a place.”

“Every time I think about those artists, what they had to go through…it’s great music.”
— Noella Cotto

That was just as well, as it turns out. Cotto ended up getting a tip from a different agent that the building at 17 E. 126th Street was available. It was in fair shape after a developer’s rudimentary renovation, and she was able to swing the price. (Cotto suspects the previous owner was also unaware of its heritage, or he certainly would have charged more.) Today, the building is probably worth six times what she paid for it. “You’re going to pay a million for a shell now,” Cotto says. “Everything is being taken up. I consider myself pretty fortunate.”
Cotto, now 67, has settled nicely into the house. She has three steady tenants, including her former partner on the postal beat, and she says the group feels like family: “We all look out for each other.”
Being a big jazz fan, Cotto could really appreciate the significance when she found out, not long after she closed the deal, that she was obtaining a piece of history. She made a point of listening to the music of every single person in the picture. She bought an original copy of the Esquire jazz issue on eBay. “Every time I think about those artists — what they had to go through,” she says. “It’s great music.”

***

“An aesthetic, a tradition, and an audience: these are the prerequisites for a Golden Age,” wrote John Clellon Holmes in an essay that accompanies the photograph in Esquire, “and jazz has achieved them now.” The world represented by those 57 men and women — a world of late-night clubs, of gents in suits and hats and ladies in gloves, of martinis and Lucky Strikes — was already vanishing in the rear-view mirror of popular culture. Harlem was changing, too, emptying out and deteriorating. But change has always been part of the place.
Back in 1958, the city was still a place where aspiring musicians could live on the cheap, sometimes in boarding houses with other rising talents. Scoville Brown, a saxophonist and clarinetist, reminisces in the film about living in a place like that, run by a guy named Pop Collins. “It was a notorious home for musicians where you could come, eat and sleep for a reasonable sum,” Brown says. “I think his dinners were 35 cents apiece, and they were outta sight.” The rooms, he says, went for about $8 or $9 a week.
These days, a one-bedroom apartment at 62 E. 126th, just a block from the spot where Art Kane wrangled all those genius jazz artists, goes for $1,900 a month. And in this rapidly gentrifying neighborhood, that’s a deal.

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East Harlem — the area east of Fifth Avenue and north of 96th Street — is being touted in news stories and on real-estate blogs as one of the last “affordable” parts of Manhattan. Affordable, that is, if you’ve got plenty of money to spend. Earlier this year, the median price of a condo in Harlem was $640,000. That may be considerably less than the figure of $910,000 in Manhattan overall, but it’s still a lot of scratch.
An increase of 30% in home prices since 2010 means that ordinary working people are increasingly unlikely to afford property in Harlem. The same goes for artists in any medium — unless they’re celebrities like Neil Patrick Harris, who three years ago paid $3.6 million for a townhouse on Fifth Avenue between 125th and 126th, just around the corner from the jazz house. (He and his husband then renovated it at an unknown cost.)

“Certain things end up being bigger than the original intention. The photograph has become part of our cultural fabric.”
— Jonathan Kane

Fewer than half the people living in Harlem now are black, the first time that’s been true since the 1930s, when the Harlem Renaissance was in full swing and Langston Hughes lived one block up on 127th Street. Cotto says she welcomes the increasing racial diversity. The area was Italian and Irish once, she points out, before Latino and African-American people moved in, and it has never stopped shifting. She made a note of it recently when she was walking down 125th Street, where a Bed Bath & Beyond opened recently and a Whole Foods is under construction. “From Lenox to the end of the block, I counted 20 white people. It’s mixing up nicely. The Barrio used to be Puerto Rican,” she says, referring to the part of the neighborhood sometimes known as Spanish Harlem. “Now, it’s mostly Mexican. Everything is changing.” Still, she adds, “I do wish we had more Chinese- and pizza places.”
Cotto also enjoys the regular flow of tourists and jazz fans, from as far away as Japan, who come to see the place where the musical innovators stood. She has taken pains to keep the stairs exactly as they were in the original photograph. Some, like the group Women in Jazz, come to recreate the image that Art Kane engineered all those years ago. “I’ve met some really nice people,” she says.
Jonathan Kane
TAKE THE 2/3 TRAIN The brownstone at 17 E. 126th Street today, with the tripod photographer Art Kane used when shooting “Harlem 1958.”
You can see the neighborhood’s ups and downs encapsulated in the most famous riff on Art Kane’s picture. In 1998, XXL magazine commissioned photographer Gordon Parks to shoot “A Great Day in Hip-Hop.” (http://daily.redbullmusicacademy.com/2014/09/xxls-greatest-day-in-hip-hop-feature) The event drew 177 figures from across the country, including Rakim, Slick Rick, Phife of A Tribe Called Quest, Black Thought of the Roots, Fab 5 Freddy, Busta Rhymes and Grandmaster Flash. Debbie Harry of Blondie was there, too. (Lauryn Hill, the story has it, arrived 10 minutes after the picture was taken.)
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The swarm of hip-hop artists occupied not only the stoop of number 17, but also the ones on either side. Forty years after the original was taken, the most glaring difference on the street was the condition of number 17 itself: Cinder blocks filled the doorway at the top of the steps and one of the windows. The facade was marred with crude graffiti.
Today, the building looks much more as it did in 1958. One of Cotto’s tenants, an artist, repainted the house number on the glass in the doorway, exactly as it was then. And the brownstone remains a touchstone for people seeking something both ephemeral and timeless that briefly came into being that day. “Certain things that happen in this world end up being bigger than the original intention,” Jonathan Kane says. “(The photograph) has become part of our cultural fabric.”
In the documentary about Art Kane’s picture, writer Nat Hentoff cites a reason the music those men and women played endures: “It is the immediacy of what that person was thinking at that moment in time.”
In “Harlem 1958,” Kane caught a bit of that magic. Looking at it, you can feel the immediacy of the moment, of all those people thinking together. It was here. It was gone. It’s still happening. “Jazz is something real and something solid,” Rollins says. “It’s a positive force. Jazz will always survive.”

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The story behind the iconic ‘A Great Day in Harlem’ photo | NY Daily News

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http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru

STOOP SUMMIT
How a Harlem brownstone was immortalized when the living legends of jazz assembled there for an iconic photograph

http://interactive.nydailynews.com/2016/08/story-behind-great-day-in-harlem-photo/?utm_source=Sailthru
BY SARAH GOODYEAR (mailto:sgoodyear@nydailynews.com)
https://twitter.com/buttermilk1
FRIDAY, AUGUST 12, 2016
The year was 1999, and Noella Cotto was just looking for a place in Harlem to call her own. When she finally found the perfect place — a brownstone, in decent shape, at 17 E. 126th Street — she had no idea that the building had played a historic supporting role in American pop culture when, in 1958, 57 of the coolest cats in jazz assembled there to have their picture taken for a special issue of Esquire magazine. Cotto, who worked as a postal cop at the time, was unaware that the famous photo, titled “Harlem 1958,” was ubiquitous around the neighborhood, or that a generation of folks who’d grown up in the so-called Cultural Capital of Black America had seen the image so often, hanging in barber shops and bodegas, that they’d long since forgotten about it themselves. Nor did she realize that the photo had gotten another close-up only five years earlier in an Oscar-nominated documentary, “A Great Day in Harlem.”
The whole audacious idea was conceived by a man who none of the musicians knew, 33-year-old Art Kane, who had made a name for himself as a magazine art director but whose passion was photography. This was his first professional shooting assignment and, with it, he ended up making history almost by accident.
“He became aware that Esquire was planning a big issue on jazz,” says Jonathan Kane, Art’s son, a musician and photographer who also manages his late father’s photographic legacy (Art Kane died in 1995). “He cooked up the idea of doing a big portrait (with) all these musicians. Art pitched his crazy idea, and they said, Do it.” There was no question about where he would shoot. “Harlem was where the jazz scene came into being and coalesced,” Kane says. “It had to be in Harlem. And he wanted a place that reflected everyday life rather than a club. This could be a street where anybody could live.”

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After scouting for a typical building on a typical block, Kane chose 126th St. between Fifth and Madison Aves. He wanted one that was convenient to the subway and what was then the New York Central Railroad (now Metro North), which had a station at 125th and Park. He put out the call for musicians through agents, record labels, union halls, clubs — pretty much any channel he could think of.
One of the musicians answering the call was Sonny Rollins, the brilliant tenor saxophonist who was 27 years old when the picture was shot and already among the period’s most acclaimed jazz artists. Rollins, who says he started playing music when he was 7 or 8 years old, had grown up in central Harlem, surrounded by the ferment of jazz. “All of the black musicians lived in Harlem, it was the only place you could live,” he says. “Harlem was the place. All my idols, like Fats Waller, all these people performed around where I went to school, at P.S. 89, at 135th Street and Lenox Avenue. So it was quite a community.”

“There were musicians from several eras of jazz. That picture depicted what a robust scene it was for jazz musicians in New York.”
— Sonny Rollins

When he heard about the photo shoot, he knew he had to be there. “I didn’t hesitate,” says Rollins, who is now 85 and, along with Benny Golson, one of only two surviving musicians in the photo. “Something like that had never been done, and the guys were just eager to do it. I certainly was eager to do it. They were all my compadres. It was great fun.”
They had fun even though the start time, in jazz terms, was brutal. Because he wanted to utilize the best light on the north side of the street, avoiding any shadows, Kane asked people to arrive by 10 a.m. — a tall order for artists who typically worked until 4 in the morning. In the 1994 documentary about the photograph, Steve Frankfurt, who was assisting Kane that day, put that early call time in perspective: “Somebody said they didn’t realize there were two 10 o’clocks in the same day.”
The nighthawks showed up anyway, dressed to the nines and ready for action. They came by subway and commuter train. They came by taxi and on foot. Among the greats who made the gig that morning were Thelonious Monk, Charles Mingus, Gene Krupa, Mary Lou Williams, Roy Eldridge, Milt Hinton and Lester Young. It was a crazy scene, made even more beautiful by the row of neighborhood kids who sat in a row along the curb alongside a jovial Count Basie. “There were musicians from several eras of jazz,” Rollins says. “I think that picture depicted what a robust scene it was for jazz musicians in New York.”
Jonathan Kane
HISTORY IN THE MAKING The January 1959 issue of Esquire in which Art Kane’s photo originally appeared.
“A Great Day in Harlem” dives into the story behind the picture in detail, incorporating the priceless, joy-infused Super-8 footage that Mona Hinton, Milt’s wife, shot during the session. It shows the musicians milling about, greeting each other, telling stories, laughing — doing just about everything but paying attention to the photographer across the street, who implored them to come into formation through a megaphone improvised from a rolled-up newspaper.
More than three decades later, director Jean Bach sought out many of the then-surviving musicians to interview them about the picture, including Dizzy Gillespie, Art Blakey and Marian McPartland. “Living in New York, you saw everybody,” trumpeter Art Farmer says in the film. “Anyone there, you were liable to run into any of them any day.”

***

By the time Noela Cotto started searching for a home in Harlem, the neighborhood was perceived as pretty sketchy, and she encountered a variety of obstacles. People told her it wasn’t safe, an assertion she dismissed. They told her she wouldn’t be able to get a construction loan to fix up one of the many buildings that had fallen into disrepair; that was harder to argue with. She thought about buying a co-op, yet despite her steady job, she encountered problems when she talked to a real-estate agent about purchasing one at a new building just a short distance from where she lives now. “The lady was racist,” says Cotto, who is Puerto Rican. “ ‘You probably don’t qualify,’ she told me. That woman did everything she could to keep me from seeing a place.”

“Every time I think about those artists, what they had to go through…it’s great music.”
— Noella Cotto

That was just as well, as it turns out. Cotto ended up getting a tip from a different agent that the building at 17 E. 126th Street was available. It was in fair shape after a developer’s rudimentary renovation, and she was able to swing the price. (Cotto suspects the previous owner was also unaware of its heritage, or he certainly would have charged more.) Today, the building is probably worth six times what she paid for it. “You’re going to pay a million for a shell now,” Cotto says. “Everything is being taken up. I consider myself pretty fortunate.”
Cotto, now 67, has settled nicely into the house. She has three steady tenants, including her former partner on the postal beat, and she says the group feels like family: “We all look out for each other.”
Being a big jazz fan, Cotto could really appreciate the significance when she found out, not long after she closed the deal, that she was obtaining a piece of history. She made a point of listening to the music of every single person in the picture. She bought an original copy of the Esquire jazz issue on eBay. “Every time I think about those artists — what they had to go through,” she says. “It’s great music.”

***

“An aesthetic, a tradition, and an audience: these are the prerequisites for a Golden Age,” wrote John Clellon Holmes in an essay that accompanies the photograph in Esquire, “and jazz has achieved them now.” The world represented by those 57 men and women — a world of late-night clubs, of gents in suits and hats and ladies in gloves, of martinis and Lucky Strikes — was already vanishing in the rear-view mirror of popular culture. Harlem was changing, too, emptying out and deteriorating. But change has always been part of the place.
Back in 1958, the city was still a place where aspiring musicians could live on the cheap, sometimes in boarding houses with other rising talents. Scoville Brown, a saxophonist and clarinetist, reminisces in the film about living in a place like that, run by a guy named Pop Collins. “It was a notorious home for musicians where you could come, eat and sleep for a reasonable sum,” Brown says. “I think his dinners were 35 cents apiece, and they were outta sight.” The rooms, he says, went for about $8 or $9 a week.
These days, a one-bedroom apartment at 62 E. 126th, just a block from the spot where Art Kane wrangled all those genius jazz artists, goes for $1,900 a month. And in this rapidly gentrifying neighborhood, that’s a deal.

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East Harlem — the area east of Fifth Avenue and north of 96th Street — is being touted in news stories and on real-estate blogs as one of the last “affordable” parts of Manhattan. Affordable, that is, if you’ve got plenty of money to spend. Earlier this year, the median price of a condo in Harlem was $640,000. That may be considerably less than the figure of $910,000 in Manhattan overall, but it’s still a lot of scratch.
An increase of 30% in home prices since 2010 means that ordinary working people are increasingly unlikely to afford property in Harlem. The same goes for artists in any medium — unless they’re celebrities like Neil Patrick Harris, who three years ago paid $3.6 million for a townhouse on Fifth Avenue between 125th and 126th, just around the corner from the jazz house. (He and his husband then renovated it at an unknown cost.)

“Certain things end up being bigger than the original intention. The photograph has become part of our cultural fabric.”
— Jonathan Kane

Fewer than half the people living in Harlem now are black, the first time that’s been true since the 1930s, when the Harlem Renaissance was in full swing and Langston Hughes lived one block up on 127th Street. Cotto says she welcomes the increasing racial diversity. The area was Italian and Irish once, she points out, before Latino and African-American people moved in, and it has never stopped shifting. She made a note of it recently when she was walking down 125th Street, where a Bed Bath & Beyond opened recently and a Whole Foods is under construction. “From Lenox to the end of the block, I counted 20 white people. It’s mixing up nicely. The Barrio used to be Puerto Rican,” she says, referring to the part of the neighborhood sometimes known as Spanish Harlem. “Now, it’s mostly Mexican. Everything is changing.” Still, she adds, “I do wish we had more Chinese- and pizza places.”
Cotto also enjoys the regular flow of tourists and jazz fans, from as far away as Japan, who come to see the place where the musical innovators stood. She has taken pains to keep the stairs exactly as they were in the original photograph. Some, like the group Women in Jazz, come to recreate the image that Art Kane engineered all those years ago. “I’ve met some really nice people,” she says.
Jonathan Kane
TAKE THE 2/3 TRAIN The brownstone at 17 E. 126th Street today, with the tripod photographer Art Kane used when shooting “Harlem 1958.”
You can see the neighborhood’s ups and downs encapsulated in the most famous riff on Art Kane’s picture. In 1998, XXL magazine commissioned photographer Gordon Parks to shoot “A Great Day in Hip-Hop.” (http://daily.redbullmusicacademy.com/2014/09/xxls-greatest-day-in-hip-hop-feature) The event drew 177 figures from across the country, including Rakim, Slick Rick, Phife of A Tribe Called Quest, Black Thought of the Roots, Fab 5 Freddy, Busta Rhymes and Grandmaster Flash. Debbie Harry of Blondie was there, too. (Lauryn Hill, the story has it, arrived 10 minutes after the picture was taken.)
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The swarm of hip-hop artists occupied not only the stoop of number 17, but also the ones on either side. Forty years after the original was taken, the most glaring difference on the street was the condition of number 17 itself: Cinder blocks filled the doorway at the top of the steps and one of the windows. The facade was marred with crude graffiti.
Today, the building looks much more as it did in 1958. One of Cotto’s tenants, an artist, repainted the house number on the glass in the doorway, exactly as it was then. And the brownstone remains a touchstone for people seeking something both ephemeral and timeless that briefly came into being that day. “Certain things that happen in this world end up being bigger than the original intention,” Jonathan Kane says. “(The photograph) has become part of our cultural fabric.”
In the documentary about Art Kane’s picture, writer Nat Hentoff cites a reason the music those men and women played endures: “It is the immediacy of what that person was thinking at that moment in time.”
In “Harlem 1958,” Kane caught a bit of that magic. Looking at it, you can feel the immediacy of the moment, of all those people thinking together. It was here. It was gone. It’s still happening. “Jazz is something real and something solid,” Rollins says. “It’s a positive force. Jazz will always survive.”

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This is our music: 20th-century US jazz greats – in pictures | Art and design | The Guardian

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This is our music: 20th-century US jazz greats – in pictures | Art and design | The Guardian

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Throughout the middle of the 20th century, American photographer Ted Williams was down the front as jazz evolved into one of the most adventurous …

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This is our music: 20th-century US jazz greats – in pictures | Art and design | The Guardian

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Throughout the middle of the 20th century, American photographer Ted Williams was down the front as jazz evolved into one of the most adventurous …

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Longtime WPFW DJ Rick “Da Gator” Bolling Has Died | Washington City Paper

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http://www.washingtoncitypaper.com/arts/music/blog/20830357/longtime-wpfw-dj-rick-da-gator-bolling-has-died

Longtime WPFW DJ Rick “Da Gator” Bolling Has Died
He was 82.
STEVE KIVIAT (http://www.washingtoncitypaper.com/info/contact/13000130/steve-kiviat)
AUG. 10, 2016 12:15 P.M.

COURTESY WPFW
]}%
Sad news from the WPFW community: The station’s longtime blues and jazz DJ Rick “Da Gator” Bolling died on Tuesday, August 2 at the age of 82. Bolling—born Frederick Austin Bolling—who had retired from WPFW in 2014, had been dealing with a number of medical issues since 2011. A fixture on the station since the ‘90s, Bolling started at WPFW as a weekday jazz DJ under his own name. Later he added a Saturday program to his hosting duties, under the name “Da Gator,” and included multiple styles of blues along with southern soul tracks like “Junk in the Trunk (I Like that)” and “Slap That Booty.” Known for his easygoing manner and distinctive laugh, he pleased listeners—who he affectionately called “Gator Mamas” and “Gator Papas”—on the air, as well as in person. For a number of years he hosted an annual “Gator Day” with local and national acts at Lamont’s Nightclub in Pomonkey, Md.

Bolling was born in New Orleans but raised in Jacksonville, Fla. where his grandmother gave him his nickname because of the way he ate. Bolling was loved by his fellow WPFW DJs as well. Chris DeProperty, a WPFW DJ who was mentored by Bolling, started as one of his four Gatorettes, reading the concert calendar and telling jokes. In an email, she says that while he was very serious on his jazz program, “he let his ribald side come out on the southern soul show.” He would tell tales of his fictitious credit card-crazy wife Suzi. “His stories and opinions were pure Gator, he played what his Gator Mamas and Gator Papas wanted to hear, and occasionally he had to listen to others complain about what he played. But he always reminded people that the show was for ‘life experienced’ adults,” DeProperty says.

She says that “jazz was his real love and his jazz show reflected that. He talked more about the musicians, having seen and listened to them for a lot longer than what he played on his Saturday show.” But local and national blues and soul artists respected him as well. Local act Memphis Gold wrote a 2009 song about him and the Gatorettes, called “Gator Gon’Bitechu!,” while Mississippi soul act Ms. Jody called in to the show to wish him a happy birthday.

Another Gatorette, Millie Everett, says via email that “he was a very warm person who was very passionate about his music. I was amazed when I visited his home for the first time and he showed me his music room in the basement which was as organized as any music store, instrumental music on one side, jazz on another, blues on another. Gator always remembered our birthdays, and called to check on me, especially after a hospital stay. I am so happy I had the opportunity to talk to him the day before he entered the hospital for the final time. Gator will truly be missed.” WPFW DJ Larry Appelbaum succinctly described him as a “Big man, big heart, big talent.”

Bolling’s funeral service was today at the Allen Chapel AME Church, 2498 Alabama Ave. SE.

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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Longtime WPFW DJ Rick “Da Gator” Bolling Has Died | Washington City Paper

http://www.jazzpromoservices.com/
http://www.washingtoncitypaper.com/arts/music/blog/20830357/longtime-wpfw-dj-rick-da-gator-bolling-has-died

Longtime WPFW DJ Rick “Da Gator” Bolling Has Died
He was 82.
STEVE KIVIAT (http://www.washingtoncitypaper.com/info/contact/13000130/steve-kiviat)
AUG. 10, 2016 12:15 P.M.

COURTESY WPFW
]}%
Sad news from the WPFW community: The station’s longtime blues and jazz DJ Rick “Da Gator” Bolling died on Tuesday, August 2 at the age of 82. Bolling—born Frederick Austin Bolling—who had retired from WPFW in 2014, had been dealing with a number of medical issues since 2011. A fixture on the station since the ‘90s, Bolling started at WPFW as a weekday jazz DJ under his own name. Later he added a Saturday program to his hosting duties, under the name “Da Gator,” and included multiple styles of blues along with southern soul tracks like “Junk in the Trunk (I Like that)” and “Slap That Booty.” Known for his easygoing manner and distinctive laugh, he pleased listeners—who he affectionately called “Gator Mamas” and “Gator Papas”—on the air, as well as in person. For a number of years he hosted an annual “Gator Day” with local and national acts at Lamont’s Nightclub in Pomonkey, Md.

Bolling was born in New Orleans but raised in Jacksonville, Fla. where his grandmother gave him his nickname because of the way he ate. Bolling was loved by his fellow WPFW DJs as well. Chris DeProperty, a WPFW DJ who was mentored by Bolling, started as one of his four Gatorettes, reading the concert calendar and telling jokes. In an email, she says that while he was very serious on his jazz program, “he let his ribald side come out on the southern soul show.” He would tell tales of his fictitious credit card-crazy wife Suzi. “His stories and opinions were pure Gator, he played what his Gator Mamas and Gator Papas wanted to hear, and occasionally he had to listen to others complain about what he played. But he always reminded people that the show was for ‘life experienced’ adults,” DeProperty says.

She says that “jazz was his real love and his jazz show reflected that. He talked more about the musicians, having seen and listened to them for a lot longer than what he played on his Saturday show.” But local and national blues and soul artists respected him as well. Local act Memphis Gold wrote a 2009 song about him and the Gatorettes, called “Gator Gon’Bitechu!,” while Mississippi soul act Ms. Jody called in to the show to wish him a happy birthday.

Another Gatorette, Millie Everett, says via email that “he was a very warm person who was very passionate about his music. I was amazed when I visited his home for the first time and he showed me his music room in the basement which was as organized as any music store, instrumental music on one side, jazz on another, blues on another. Gator always remembered our birthdays, and called to check on me, especially after a hospital stay. I am so happy I had the opportunity to talk to him the day before he entered the hospital for the final time. Gator will truly be missed.” WPFW DJ Larry Appelbaum succinctly described him as a “Big man, big heart, big talent.”

Bolling’s funeral service was today at the Allen Chapel AME Church, 2498 Alabama Ave. SE.

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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USA

Longtime WPFW DJ Rick “Da Gator” Bolling Has Died | Washington City Paper

http://www.jazzpromoservices.com/
http://www.washingtoncitypaper.com/arts/music/blog/20830357/longtime-wpfw-dj-rick-da-gator-bolling-has-died

Longtime WPFW DJ Rick “Da Gator” Bolling Has Died
He was 82.
STEVE KIVIAT (http://www.washingtoncitypaper.com/info/contact/13000130/steve-kiviat)
AUG. 10, 2016 12:15 P.M.

COURTESY WPFW
]}%
Sad news from the WPFW community: The station’s longtime blues and jazz DJ Rick “Da Gator” Bolling died on Tuesday, August 2 at the age of 82. Bolling—born Frederick Austin Bolling—who had retired from WPFW in 2014, had been dealing with a number of medical issues since 2011. A fixture on the station since the ‘90s, Bolling started at WPFW as a weekday jazz DJ under his own name. Later he added a Saturday program to his hosting duties, under the name “Da Gator,” and included multiple styles of blues along with southern soul tracks like “Junk in the Trunk (I Like that)” and “Slap That Booty.” Known for his easygoing manner and distinctive laugh, he pleased listeners—who he affectionately called “Gator Mamas” and “Gator Papas”—on the air, as well as in person. For a number of years he hosted an annual “Gator Day” with local and national acts at Lamont’s Nightclub in Pomonkey, Md.

Bolling was born in New Orleans but raised in Jacksonville, Fla. where his grandmother gave him his nickname because of the way he ate. Bolling was loved by his fellow WPFW DJs as well. Chris DeProperty, a WPFW DJ who was mentored by Bolling, started as one of his four Gatorettes, reading the concert calendar and telling jokes. In an email, she says that while he was very serious on his jazz program, “he let his ribald side come out on the southern soul show.” He would tell tales of his fictitious credit card-crazy wife Suzi. “His stories and opinions were pure Gator, he played what his Gator Mamas and Gator Papas wanted to hear, and occasionally he had to listen to others complain about what he played. But he always reminded people that the show was for ‘life experienced’ adults,” DeProperty says.

She says that “jazz was his real love and his jazz show reflected that. He talked more about the musicians, having seen and listened to them for a lot longer than what he played on his Saturday show.” But local and national blues and soul artists respected him as well. Local act Memphis Gold wrote a 2009 song about him and the Gatorettes, called “Gator Gon’Bitechu!,” while Mississippi soul act Ms. Jody called in to the show to wish him a happy birthday.

Another Gatorette, Millie Everett, says via email that “he was a very warm person who was very passionate about his music. I was amazed when I visited his home for the first time and he showed me his music room in the basement which was as organized as any music store, instrumental music on one side, jazz on another, blues on another. Gator always remembered our birthdays, and called to check on me, especially after a hospital stay. I am so happy I had the opportunity to talk to him the day before he entered the hospital for the final time. Gator will truly be missed.” WPFW DJ Larry Appelbaum succinctly described him as a “Big man, big heart, big talent.”

Bolling’s funeral service was today at the Allen Chapel AME Church, 2498 Alabama Ave. SE.

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DON FRIEDMAN MEMORIAL SERVICES MONDAY SEPT 12.

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on MONDAY SEPTEMBER 12, from 7 PM to 9 PM, doors open at 6 PM.

Many of Mr Friedman’s close musical associates and friends will pay tribute to Don Friedman.

Best Gino Moratti
Artistic Director Jazz at Kitano

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DON FRIEDMAN MEMORIAL SERVICES MONDAY SEPT 12.

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There will be a Memorial for the one of the WORLD’S GREAT PIANIST/COMPOSERS

MR DON FRIEDMAN who passed on June 30, 2016.

Memorial Services will be held at ST PETER’S CHURCH, 619 LEXINGTON AVE @ E.54 St. NYC

on MONDAY SEPTEMBER 12, from 7 PM to 9 PM, doors open at 6 PM.

Many of Mr Friedman’s close musical associates and friends will pay tribute to Don Friedman.

Best Gino Moratti
Artistic Director Jazz at Kitano

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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DON FRIEDMAN MEMORIAL SERVICES MONDAY SEPT 12.

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There will be a Memorial for the one of the WORLD’S GREAT PIANIST/COMPOSERS

MR DON FRIEDMAN who passed on June 30, 2016.

Memorial Services will be held at ST PETER’S CHURCH, 619 LEXINGTON AVE @ E.54 St. NYC

on MONDAY SEPTEMBER 12, from 7 PM to 9 PM, doors open at 6 PM.

Many of Mr Friedman’s close musical associates and friends will pay tribute to Don Friedman.

Best Gino Moratti
Artistic Director Jazz at Kitano

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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Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs – The Washington Post

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https://www.washingtonpost.com/entertainment/museums/herman-leonards-intimate-portraits-of-jazz-greats-draw-viewers-into-smoky-clubs/2016/08/05/bbfb162e-5981-11e6-831d-0324760ca856_story.html

Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs

By Matt Schudel (http://www.washingtonpost.com/people/matt-schudel) August 6

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IFRAME: [1]’http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

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Iconic images of some of the biggest legends of jazz
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
View Photos
When Herman Leonard began taking pictures at New York jazz clubs in the 1940s, he used two strobe lights because that’s all he could afford. He had a bulky 4-by-5 Speed Graphic camera, the same model used by newspaper photographers of the era.
Then he waited for the lights to go down and for the musicians to take the stage. It’s tempting to call the resulting portraits accidental masterpieces, since they were made with such ordinary tools.
Whether by happenstance, luck or design, Leonard captured indelible images of the greatest jazz artists of his or any other time: Duke Ellington, Ella Fitzgerald, Billie Holiday, Dizzy Gillespie, Charlie Parker and many more.
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Billie Holiday by Herman Leonard. Gelatin silver print, 1949. (Copyright Herman Leonard Photography, LLC)
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Duke Ellington, Olympia Theatre, Paris, 1958. (Copyright Herman Leonard Photography, LLC)

An exhibit of Leonard’s jazz photography, “In the Groove,” which opened Friday at the National Portrait Gallery and was organized by photography curator Ann Shumard, is presented in conjunction with the September debut of the National Museum of African American History and Culture. It portrays an era from 1948 to 1960 when musicians — most of them African American — were developing new forms of jazz that embodied the exuberance and artistic freedom of postwar America.
Much of Leonard’s later career was spent in Europe, where he did fashion shoots and commercial projects. His jazz portraits were forgotten for decades. Except for an occasional album cover, they were not seen in public until 1988, when Leonard — “flat broke,” in his words — pulled them out of a box for display at a gallery in London. Thousands of people attended the exhibit, and his reputation was secure.
After settling in New Orleans in the early 1990s, Leonard published several books and had many shows at galleries and museums. (The Smithsonian National Museum of American History has more than 130 of his pictures, and the current Portrait Gallery exhibition is drawn from a recently acquired collection.)
In 2005, Leonard, then 82, almost lost everything when his studio and as many as 8,000 of his prints were destroyed by Hurricane Katrina. Hours before the storm struck, his negatives were taken to a vault at a New Orleans museum and saved.
Despite their relatively recent rediscovery, Leonard’s jazz photos seem to have been with us forever, as if conjured from smoke, nighttime and a saxophone’s wail. His 1948 portrait of a young Dexter Gordon, wreathed in smoke, his face framed by the curve of his tenor saxophone, has come to be recognized as the quintessential picture of jazz.
Leonard, who was born in Allentown, Pa., in 1923, spent a year of apprenticeship in Ottawa with portrait photographer Yousuf Karsh, learning about lighting techniques and printing. (All 28 “In the Groove” images were printed by Leonard in 1998, 12 years before his death.)
There were other notable photographers of midcentury jazz, including William Gottlieb, William Claxton and Francis Wolff, but Leonard’s vision somehow probes more deeply. His black and white portraits are beautifully composed and remarkable for their clarity, yet they have an animated quality that captures the feeling of jazz at the moment of creation.
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Charlie Parker in 1949. (Copyright Herman Leonard Photography, LLC)
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Sarah Vaughan by Herman Leonard. (Copyright Herman Leonard Photography, LLC)

We see the joy in the faces of singers Fitzgerald and Sarah Vaughan, but Leonard shows us that jazz was not just bouncy fun. The mound of sheet music on Bud Powell’s piano implicitly depicts the hours of preparation required to create the inspired moment. The usually buoyant Louis Armstrong is seen backstage, looking tired and sad.
The intimacy Leonard achieves in his photographs is almost reverential. Many of his subjects have their eyes closed: Powell, Parker, drummer Art Blakey, trumpeters Fats Navarro and Clifford Brown, saxophonists Stan Getz and Sonny Stitt all search within themselves for the perfect phrase. We’re so close to the bandstand — and Leonard’s lighting is so sharp — that we can see the beads of sweat on Parker’s forehead and the vibrating strings of Ray Brown’s bass.
Early in his career, when one of his strobe lights did not fire, Leonard discovered the mysterious glow imparted by cigarette smoke, which filled the nightclubs in those days. It became his visual signature.
In one of Leonard’s most striking images, Lester Young’s cigarette smolders on the lip of a Coke bottle, next to sheet music, his saxophone case and his porkpie hat. It is a complete portrait, even without a person. Frank Sinatra, viewed from behind and in silhouette, is instantly recognizable from the wave of his hand, with a cigarette in his fingertips.

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In another photo, smoke rises from Navarro’s trumpet, as it were in the act of spontaneous combustion. And in a way, many of these musicians did fly too close to the flame. Navarro was dead at 26, and others portrayed in the exhibition, including Parker, Holiday, Powell and Chet Baker, struggled with drugs and other demons.
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But those were not the stories that Leonard wanted to tell. His goal was to reveal the radiance inside the music and the character of the people who made it. He recalled the advice of his mentor, Karsh, who said, “Always tell the truth, but in terms of beauty.”
Leonard often claimed his pictures were the happy byproduct of being in the right place at the right time. After all, he was a jazz fan, and when he was in his 20s, his camera gave him free entree to the clubs. He hung out at afternoon rehearsals with the musicians, earning their trust.
But that makes it sound too easy. Quincy Jones, the subject of one of the photos in the Portrait Gallery exhibition, has noted that the musicians realized Leonard approached photography the way they prepared for a performance. Instead of practicing scales and chords, Leonard’s rehearsals were with lights, shutter speeds and printing methods.
Then, when sound and smoke swirled into one, Leonard was ready with his camera, part of the rhythm of the moment. It was art, not an accident.

“In the Groove: Jazz Portraits by Herman Leonard” is on view at the National Portrait Gallery, at Eighth and F streets NW, through Feb. 20, 2017.

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References

1. ‘http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs – The Washington Post

http://www.jazzpromoservices.com/
https://www.washingtonpost.com/entertainment/museums/herman-leonards-intimate-portraits-of-jazz-greats-draw-viewers-into-smoky-clubs/2016/08/05/bbfb162e-5981-11e6-831d-0324760ca856_story.html

Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs

By Matt Schudel (http://www.washingtonpost.com/people/matt-schudel) August 6

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IFRAME: [1]’http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

Copy

Iconic images of some of the biggest legends of jazz
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
View Photos
When Herman Leonard began taking pictures at New York jazz clubs in the 1940s, he used two strobe lights because that’s all he could afford. He had a bulky 4-by-5 Speed Graphic camera, the same model used by newspaper photographers of the era.
Then he waited for the lights to go down and for the musicians to take the stage. It’s tempting to call the resulting portraits accidental masterpieces, since they were made with such ordinary tools.
Whether by happenstance, luck or design, Leonard captured indelible images of the greatest jazz artists of his or any other time: Duke Ellington, Ella Fitzgerald, Billie Holiday, Dizzy Gillespie, Charlie Parker and many more.
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Billie Holiday by Herman Leonard. Gelatin silver print, 1949. (Copyright Herman Leonard Photography, LLC)
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Duke Ellington, Olympia Theatre, Paris, 1958. (Copyright Herman Leonard Photography, LLC)

An exhibit of Leonard’s jazz photography, “In the Groove,” which opened Friday at the National Portrait Gallery and was organized by photography curator Ann Shumard, is presented in conjunction with the September debut of the National Museum of African American History and Culture. It portrays an era from 1948 to 1960 when musicians — most of them African American — were developing new forms of jazz that embodied the exuberance and artistic freedom of postwar America.
Much of Leonard’s later career was spent in Europe, where he did fashion shoots and commercial projects. His jazz portraits were forgotten for decades. Except for an occasional album cover, they were not seen in public until 1988, when Leonard — “flat broke,” in his words — pulled them out of a box for display at a gallery in London. Thousands of people attended the exhibit, and his reputation was secure.
After settling in New Orleans in the early 1990s, Leonard published several books and had many shows at galleries and museums. (The Smithsonian National Museum of American History has more than 130 of his pictures, and the current Portrait Gallery exhibition is drawn from a recently acquired collection.)
In 2005, Leonard, then 82, almost lost everything when his studio and as many as 8,000 of his prints were destroyed by Hurricane Katrina. Hours before the storm struck, his negatives were taken to a vault at a New Orleans museum and saved.
Despite their relatively recent rediscovery, Leonard’s jazz photos seem to have been with us forever, as if conjured from smoke, nighttime and a saxophone’s wail. His 1948 portrait of a young Dexter Gordon, wreathed in smoke, his face framed by the curve of his tenor saxophone, has come to be recognized as the quintessential picture of jazz.
Leonard, who was born in Allentown, Pa., in 1923, spent a year of apprenticeship in Ottawa with portrait photographer Yousuf Karsh, learning about lighting techniques and printing. (All 28 “In the Groove” images were printed by Leonard in 1998, 12 years before his death.)
There were other notable photographers of midcentury jazz, including William Gottlieb, William Claxton and Francis Wolff, but Leonard’s vision somehow probes more deeply. His black and white portraits are beautifully composed and remarkable for their clarity, yet they have an animated quality that captures the feeling of jazz at the moment of creation.
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Charlie Parker in 1949. (Copyright Herman Leonard Photography, LLC)
CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 90
Sarah Vaughan by Herman Leonard. (Copyright Herman Leonard Photography, LLC)

We see the joy in the faces of singers Fitzgerald and Sarah Vaughan, but Leonard shows us that jazz was not just bouncy fun. The mound of sheet music on Bud Powell’s piano implicitly depicts the hours of preparation required to create the inspired moment. The usually buoyant Louis Armstrong is seen backstage, looking tired and sad.
The intimacy Leonard achieves in his photographs is almost reverential. Many of his subjects have their eyes closed: Powell, Parker, drummer Art Blakey, trumpeters Fats Navarro and Clifford Brown, saxophonists Stan Getz and Sonny Stitt all search within themselves for the perfect phrase. We’re so close to the bandstand — and Leonard’s lighting is so sharp — that we can see the beads of sweat on Parker’s forehead and the vibrating strings of Ray Brown’s bass.
Early in his career, when one of his strobe lights did not fire, Leonard discovered the mysterious glow imparted by cigarette smoke, which filled the nightclubs in those days. It became his visual signature.
In one of Leonard’s most striking images, Lester Young’s cigarette smolders on the lip of a Coke bottle, next to sheet music, his saxophone case and his porkpie hat. It is a complete portrait, even without a person. Frank Sinatra, viewed from behind and in silhouette, is instantly recognizable from the wave of his hand, with a cigarette in his fingertips.

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In another photo, smoke rises from Navarro’s trumpet, as it were in the act of spontaneous combustion. And in a way, many of these musicians did fly too close to the flame. Navarro was dead at 26, and others portrayed in the exhibition, including Parker, Holiday, Powell and Chet Baker, struggled with drugs and other demons.
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But those were not the stories that Leonard wanted to tell. His goal was to reveal the radiance inside the music and the character of the people who made it. He recalled the advice of his mentor, Karsh, who said, “Always tell the truth, but in terms of beauty.”
Leonard often claimed his pictures were the happy byproduct of being in the right place at the right time. After all, he was a jazz fan, and when he was in his 20s, his camera gave him free entree to the clubs. He hung out at afternoon rehearsals with the musicians, earning their trust.
But that makes it sound too easy. Quincy Jones, the subject of one of the photos in the Portrait Gallery exhibition, has noted that the musicians realized Leonard approached photography the way they prepared for a performance. Instead of practicing scales and chords, Leonard’s rehearsals were with lights, shutter speeds and printing methods.
Then, when sound and smoke swirled into one, Leonard was ready with his camera, part of the rhythm of the moment. It was art, not an accident.

“In the Groove: Jazz Portraits by Herman Leonard” is on view at the National Portrait Gallery, at Eighth and F streets NW, through Feb. 20, 2017.

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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References

1. ‘http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs – The Washington Post

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https://www.washingtonpost.com/entertainment/museums/herman-leonards-intimate-portraits-of-jazz-greats-draw-viewers-into-smoky-clubs/2016/08/05/bbfb162e-5981-11e6-831d-0324760ca856_story.html

Herman Leonard’s intimate portraits of jazz greats draw viewers into smoky clubs

By Matt Schudel (http://www.washingtonpost.com/people/matt-schudel) August 6

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IFRAME: [1]’http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

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Iconic images of some of the biggest legends of jazz
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When Herman Leonard began taking pictures at New York jazz clubs in the 1940s, he used two strobe lights because that’s all he could afford. He had a bulky 4-by-5 Speed Graphic camera, the same model used by newspaper photographers of the era.
Then he waited for the lights to go down and for the musicians to take the stage. It’s tempting to call the resulting portraits accidental masterpieces, since they were made with such ordinary tools.
Whether by happenstance, luck or design, Leonard captured indelible images of the greatest jazz artists of his or any other time: Duke Ellington, Ella Fitzgerald, Billie Holiday, Dizzy Gillespie, Charlie Parker and many more.
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Billie Holiday by Herman Leonard. Gelatin silver print, 1949. (Copyright Herman Leonard Photography, LLC)
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Duke Ellington, Olympia Theatre, Paris, 1958. (Copyright Herman Leonard Photography, LLC)

An exhibit of Leonard’s jazz photography, “In the Groove,” which opened Friday at the National Portrait Gallery and was organized by photography curator Ann Shumard, is presented in conjunction with the September debut of the National Museum of African American History and Culture. It portrays an era from 1948 to 1960 when musicians — most of them African American — were developing new forms of jazz that embodied the exuberance and artistic freedom of postwar America.
Much of Leonard’s later career was spent in Europe, where he did fashion shoots and commercial projects. His jazz portraits were forgotten for decades. Except for an occasional album cover, they were not seen in public until 1988, when Leonard — “flat broke,” in his words — pulled them out of a box for display at a gallery in London. Thousands of people attended the exhibit, and his reputation was secure.
After settling in New Orleans in the early 1990s, Leonard published several books and had many shows at galleries and museums. (The Smithsonian National Museum of American History has more than 130 of his pictures, and the current Portrait Gallery exhibition is drawn from a recently acquired collection.)
In 2005, Leonard, then 82, almost lost everything when his studio and as many as 8,000 of his prints were destroyed by Hurricane Katrina. Hours before the storm struck, his negatives were taken to a vault at a New Orleans museum and saved.
Despite their relatively recent rediscovery, Leonard’s jazz photos seem to have been with us forever, as if conjured from smoke, nighttime and a saxophone’s wail. His 1948 portrait of a young Dexter Gordon, wreathed in smoke, his face framed by the curve of his tenor saxophone, has come to be recognized as the quintessential picture of jazz.
Leonard, who was born in Allentown, Pa., in 1923, spent a year of apprenticeship in Ottawa with portrait photographer Yousuf Karsh, learning about lighting techniques and printing. (All 28 “In the Groove” images were printed by Leonard in 1998, 12 years before his death.)
There were other notable photographers of midcentury jazz, including William Gottlieb, William Claxton and Francis Wolff, but Leonard’s vision somehow probes more deeply. His black and white portraits are beautifully composed and remarkable for their clarity, yet they have an animated quality that captures the feeling of jazz at the moment of creation.
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Charlie Parker in 1949. (Copyright Herman Leonard Photography, LLC)
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Sarah Vaughan by Herman Leonard. (Copyright Herman Leonard Photography, LLC)

We see the joy in the faces of singers Fitzgerald and Sarah Vaughan, but Leonard shows us that jazz was not just bouncy fun. The mound of sheet music on Bud Powell’s piano implicitly depicts the hours of preparation required to create the inspired moment. The usually buoyant Louis Armstrong is seen backstage, looking tired and sad.
The intimacy Leonard achieves in his photographs is almost reverential. Many of his subjects have their eyes closed: Powell, Parker, drummer Art Blakey, trumpeters Fats Navarro and Clifford Brown, saxophonists Stan Getz and Sonny Stitt all search within themselves for the perfect phrase. We’re so close to the bandstand — and Leonard’s lighting is so sharp — that we can see the beads of sweat on Parker’s forehead and the vibrating strings of Ray Brown’s bass.
Early in his career, when one of his strobe lights did not fire, Leonard discovered the mysterious glow imparted by cigarette smoke, which filled the nightclubs in those days. It became his visual signature.
In one of Leonard’s most striking images, Lester Young’s cigarette smolders on the lip of a Coke bottle, next to sheet music, his saxophone case and his porkpie hat. It is a complete portrait, even without a person. Frank Sinatra, viewed from behind and in silhouette, is instantly recognizable from the wave of his hand, with a cigarette in his fingertips.

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In another photo, smoke rises from Navarro’s trumpet, as it were in the act of spontaneous combustion. And in a way, many of these musicians did fly too close to the flame. Navarro was dead at 26, and others portrayed in the exhibition, including Parker, Holiday, Powell and Chet Baker, struggled with drugs and other demons.
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But those were not the stories that Leonard wanted to tell. His goal was to reveal the radiance inside the music and the character of the people who made it. He recalled the advice of his mentor, Karsh, who said, “Always tell the truth, but in terms of beauty.”
Leonard often claimed his pictures were the happy byproduct of being in the right place at the right time. After all, he was a jazz fan, and when he was in his 20s, his camera gave him free entree to the clubs. He hung out at afternoon rehearsals with the musicians, earning their trust.
But that makes it sound too easy. Quincy Jones, the subject of one of the photos in the Portrait Gallery exhibition, has noted that the musicians realized Leonard approached photography the way they prepared for a performance. Instead of practicing scales and chords, Leonard’s rehearsals were with lights, shutter speeds and printing methods.
Then, when sound and smoke swirled into one, Leonard was ready with his camera, part of the rhythm of the moment. It was art, not an accident.

“In the Groove: Jazz Portraits by Herman Leonard” is on view at the National Portrait Gallery, at Eighth and F streets NW, through Feb. 20, 2017.

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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References

1. ‘http://www.washingtonpost.com/lifestyle/see-photographer-herman-leonards-jazz-all-stars/2016/08/03/605813b0-59a1-11e6-9aee-8075993d73a2_gallery.html?_template=gallery-embed’

The End of the Angry Guitar – By Ted Gioia The Daily Beast

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http://www.thedailybeast.com/articles/2016/08/07/the-end-of-the-angry-guitar.html?mc_cid=0cddfcd737

The End of the Angry Guitar

By Ted Gioia

It’s proven fashionable in recent years to declare the death of the guitar in commercial music. I wish I could debunk this sad tale, but the numbers back it up. Even worse, the data tells us that the guitar experienced a long, slow death.
At the end of the ’80s, rock accounted for more than 40 percent of U.S. music sales, and guitarists still strutted the stage (http://www.thedailybeast.com/content/dailybeast/articles/2014/01/28/a-revolution-with-guitars-how-the-beatles-changed-everything.html) like kings. Yet by the year 2000, rock had fallen below 25 percent of the market, and rap artists were proving, week after week, that hit songs didn’t need any guitar. The subsequent rise of electronic dance music (EDM)—which is now a $7 billion business—further marginalized that once-dominant instrument.
But perhaps the biggest surprise was the rise of guitar-free pop music. Not long ago, pop artists had relied on guitar almost as much as rockers. But pop stars of the new millennium are tuning into EDM and hip-hop stylings, and avoiding the passé sounds of the past, especially guitar.
So what a surprise to hear so many outstanding guitar albums in recent months! This is turning into an exceptional year for guitar music—the best so far this decade, in my opinion. But it isn’t played by strutting rockers with big egos and bigger amps. In fact, most of these stellar releases come from the outskirts of the music industry, from labels and musicians you don’t read about in Rolling Stone or see on TV. But make no mistake, they are producing fresh new music of the highest caliber.
We have grown so familiar with angry guitars, churning and thrusting like musical phalluses, that many have forgotten that this instrument wasn’t always so extroverted. I give credit to Muddy Waters (http://www.thedailybeast.com/content/dailybeast/articles/2014/08/02/the-stacks-how-leonard-chess-helped-make-muddy-waters.html) for changing the course of guitar history at the session that produced his 1948 hit “I Can’t Be Satisfied.” Against the advice of his producer, Waters insisted on playing electric guitar with just bass accompaniment—a radical departure from the standard practice of building rhythm and harmony for commercial records around the texture of a piano. Waters’s record was a surprise hit, with all copies of the first pressing selling out within a day. Chicago blues would never be the same, and electric guitar (http://www.thedailybeast.com/content/dailybeast/articles/2012/08/07/glad-i-always-played-a-telecaster.html) emerged as the emotional center of the music.
Rock and roll learned from the example of the Chicago blues, and ushered in a half-century period during which popular music was guitar-driven. You could listen to top 40 radio for hours on end without hearing a single song that didn’t feature a guitar—or, more likely, several guitars.
Rock fans thought this golden age would last forever, but by the late ’90s the dominance of guitar-driven rock was already questioned and found wanting by many younger fans. Perhaps the guitar wouldn’t quite follow the path of the accordion into pop music limbo, but its glory days were clearly behind it. On those rare instances when guitarists show up for pop music video gigs nowadays, the first thing they’re told is that they are accompanists, not stars—and if they don’t like it, there’s a DJ or programmer out there just waiting to take the gig.
In a strange way, guitarists have been liberated by this exile from the Billboard 100. Many of the best albums of 2016 are by reformed rock guitarists who are now changing the tone of their music, aiming to please themselves, not a football stadium full of screaming teens. Their music may indicate the beginning of a guitar rebirth, but these songs won’t sound anything like the angry guitar tracks of a previous era. The guitar has turned back into what it was ages ago: a personal instrument for intimate expression.
Below are eight examples of the new sound of the guitar in 2016. There’s not much aggression or superstar posturing on these albums. Instead you will find the music capturing a much wider range of emotional stances. These songs can be folksy, cerebral, meditative, hypnotic, ethereal, or sometimes just plain strange. But each of these recordings deserves your attention.
Steve Kimock
Last Danger of Frost
You may know Kimock as a purveyor of psychedelic rock, but Last Danger of Frost reminds me more of the kind of rock that is carved out of large stone blocks—hard, timeless, unforgiving. Modern electronic effects are mixed artfully with a mostly acoustic sound, and the tempos sometimes loosen up to the point where the beat disappears completely. Kimock recorded this album in a century-old Pennsylvania barn in the midst of winter, and you can almost hear the snow, cold, and wind in these tracks. This is like taking a meditative retreat for the price of an album.
Luther Dickinson
Blues and Ballads (A Folksinger’s Songbook)
Luther Dickinson has also tasted rock stardom during his stint with the Black Crowes, and has also proven his mastery of the blues as a founding member of the North Mississippi Allstars. Given his formidable skills, Dickinson could follow in the footsteps of Hendrix and Clapton, and captivate stadium-sized audiences. But he impresses me even more by the minimalist soulfulness of his new release, Blues and Ballads. You can hear the whole history of American guitar music in his stylings, but this is no dry lesson in old-timey music. He is reinventing the tradition for the modern day, and deserves to find a large audience for his captivating work.
William Tyler
Modern Country
Country fans have never had much patience for instrumental music. They may have an insatiable appetite for songs about broken hearts and pickup trucks, but guitar solos are strictly limited to 30 seconds or fewer. So this extraordinary album by Nashville guitarist William Tyler could easily get missed even by devotees of the genre. But this is my favorite country album of the year, and I suspect it will appeal to many fans who wouldn’t be caught dead at a Carrie Underwood concert.
Ferenc Snétberger
In Concert
Improvised Solo Guitar
You can hear the whole world of guitar music in these improvised performances by Hungarian guitar master Ferenc Snétberger. Everything from the Balkans to bossa nova shows up on his musical kaleidoscope, each ingredient infused with the freedom of jazz and the clarity of expression of the greatest classical guitarists. This artist is still little-known on the global music scene, but his star is in the ascendancy, and I wouldn’t be surprised if he attracts a devoted cult following in the coming months.
Žak Ozmo
Vincenzo Galilei: The Well-Tempered Lute
Okay, it’s lute, not a modern guitar. But you still ought to listen to the first recording of this important 1584 work by Galileo’s father—yes, that Galileo. The famous astronomer’s dad ranks among the great innovators in the mathematics of tuning, and this piece served as a scientific treatise, in addition to its pristine aesthetic qualities. In a year in which guitarists have rediscovered the cerebral, intellectual qualities of the instrument, it is all too fitting that this music, neglected for almost half a millennium, finally gets featured on an album.
Devendra Banhart
Ape in Pink Marble
This album won’t be issued by Nonesuch until next month, but put it in on your back-to-school shopping list right now. These songs are hauntingly beautiful, yet with a quirky personal quality that resists definition. A kind of spiritual intensity infuses a lullaby soundscape in these medium-slow tracks. I’d be tempted to call it folk music, except folk songs don’t have titles like “Fig in Leather” or “Theme for a Taiwanese Woman in Lime Green.” With the right kind of exposure, this album might even find a sizable crossover audience.
Glenn Jones can play electric guitar with the best of them. Check out his work with the underrated band Cul de Sac for examples. But he doesn’t need electronics and a supporting cast to work his magic. His latest album Fleeting is one of my favorite releases of 2016, highlighting Jones’s solo acoustic guitar work. In track after track, he shows off his deft fingerpicking technique in songs that resist genre classification. If you are seeking distinctive guitar music in the current day, this release is a good place to start.
Rolf Lislevand
La Mascarade
Rolf Lislevand first gained a following for his performances of 17^th century lute music, but now he is recording for the ECM label, best known for its advocacy of jazz. The end result is an extraordinary hybrid of Baroque compositions from the court of Louis XIV with several improvised sections. Lislevand works with period instruments, theorbo and Baroque guitar, but this isn’t your morning drive-time Vivaldi on the classical music station. Rather, it’s a deeply moving reinvention of early music for the new millennium.
And here are six more honorable mention albums. I’ve been enjoying each of these, and expect them to stay on my playlist for many months to come.
Ross Hammond & Sameer Gupta
Upward
Duets for 12-String Guitar & Tabla
Rokia Traoré
Né So
Malian Singer-Songwriter
Dylan LeBlanc
Cautionary Tale
Neil Young-ish Singer Songwriter
David Leisner & Zuill Bailey
Arpeggione
Classical Music for Guitar and Cello
Tashi Dorji & Shane Parish
Expecting
Bhutanese/Appalachian Guitar Duets
Sarah Jarosz
Undercurrent
Country/Americana

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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The End of the Angry Guitar – By Ted Gioia The Daily Beast

http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2016/08/07/the-end-of-the-angry-guitar.html?mc_cid=0cddfcd737

The End of the Angry Guitar

By Ted Gioia

It’s proven fashionable in recent years to declare the death of the guitar in commercial music. I wish I could debunk this sad tale, but the numbers back it up. Even worse, the data tells us that the guitar experienced a long, slow death.
At the end of the ’80s, rock accounted for more than 40 percent of U.S. music sales, and guitarists still strutted the stage (http://www.thedailybeast.com/content/dailybeast/articles/2014/01/28/a-revolution-with-guitars-how-the-beatles-changed-everything.html) like kings. Yet by the year 2000, rock had fallen below 25 percent of the market, and rap artists were proving, week after week, that hit songs didn’t need any guitar. The subsequent rise of electronic dance music (EDM)—which is now a $7 billion business—further marginalized that once-dominant instrument.
But perhaps the biggest surprise was the rise of guitar-free pop music. Not long ago, pop artists had relied on guitar almost as much as rockers. But pop stars of the new millennium are tuning into EDM and hip-hop stylings, and avoiding the passé sounds of the past, especially guitar.
So what a surprise to hear so many outstanding guitar albums in recent months! This is turning into an exceptional year for guitar music—the best so far this decade, in my opinion. But it isn’t played by strutting rockers with big egos and bigger amps. In fact, most of these stellar releases come from the outskirts of the music industry, from labels and musicians you don’t read about in Rolling Stone or see on TV. But make no mistake, they are producing fresh new music of the highest caliber.
We have grown so familiar with angry guitars, churning and thrusting like musical phalluses, that many have forgotten that this instrument wasn’t always so extroverted. I give credit to Muddy Waters (http://www.thedailybeast.com/content/dailybeast/articles/2014/08/02/the-stacks-how-leonard-chess-helped-make-muddy-waters.html) for changing the course of guitar history at the session that produced his 1948 hit “I Can’t Be Satisfied.” Against the advice of his producer, Waters insisted on playing electric guitar with just bass accompaniment—a radical departure from the standard practice of building rhythm and harmony for commercial records around the texture of a piano. Waters’s record was a surprise hit, with all copies of the first pressing selling out within a day. Chicago blues would never be the same, and electric guitar (http://www.thedailybeast.com/content/dailybeast/articles/2012/08/07/glad-i-always-played-a-telecaster.html) emerged as the emotional center of the music.
Rock and roll learned from the example of the Chicago blues, and ushered in a half-century period during which popular music was guitar-driven. You could listen to top 40 radio for hours on end without hearing a single song that didn’t feature a guitar—or, more likely, several guitars.
Rock fans thought this golden age would last forever, but by the late ’90s the dominance of guitar-driven rock was already questioned and found wanting by many younger fans. Perhaps the guitar wouldn’t quite follow the path of the accordion into pop music limbo, but its glory days were clearly behind it. On those rare instances when guitarists show up for pop music video gigs nowadays, the first thing they’re told is that they are accompanists, not stars—and if they don’t like it, there’s a DJ or programmer out there just waiting to take the gig.
In a strange way, guitarists have been liberated by this exile from the Billboard 100. Many of the best albums of 2016 are by reformed rock guitarists who are now changing the tone of their music, aiming to please themselves, not a football stadium full of screaming teens. Their music may indicate the beginning of a guitar rebirth, but these songs won’t sound anything like the angry guitar tracks of a previous era. The guitar has turned back into what it was ages ago: a personal instrument for intimate expression.
Below are eight examples of the new sound of the guitar in 2016. There’s not much aggression or superstar posturing on these albums. Instead you will find the music capturing a much wider range of emotional stances. These songs can be folksy, cerebral, meditative, hypnotic, ethereal, or sometimes just plain strange. But each of these recordings deserves your attention.
Steve Kimock
Last Danger of Frost
You may know Kimock as a purveyor of psychedelic rock, but Last Danger of Frost reminds me more of the kind of rock that is carved out of large stone blocks—hard, timeless, unforgiving. Modern electronic effects are mixed artfully with a mostly acoustic sound, and the tempos sometimes loosen up to the point where the beat disappears completely. Kimock recorded this album in a century-old Pennsylvania barn in the midst of winter, and you can almost hear the snow, cold, and wind in these tracks. This is like taking a meditative retreat for the price of an album.
Luther Dickinson
Blues and Ballads (A Folksinger’s Songbook)
Luther Dickinson has also tasted rock stardom during his stint with the Black Crowes, and has also proven his mastery of the blues as a founding member of the North Mississippi Allstars. Given his formidable skills, Dickinson could follow in the footsteps of Hendrix and Clapton, and captivate stadium-sized audiences. But he impresses me even more by the minimalist soulfulness of his new release, Blues and Ballads. You can hear the whole history of American guitar music in his stylings, but this is no dry lesson in old-timey music. He is reinventing the tradition for the modern day, and deserves to find a large audience for his captivating work.
William Tyler
Modern Country
Country fans have never had much patience for instrumental music. They may have an insatiable appetite for songs about broken hearts and pickup trucks, but guitar solos are strictly limited to 30 seconds or fewer. So this extraordinary album by Nashville guitarist William Tyler could easily get missed even by devotees of the genre. But this is my favorite country album of the year, and I suspect it will appeal to many fans who wouldn’t be caught dead at a Carrie Underwood concert.
Ferenc Snétberger
In Concert
Improvised Solo Guitar
You can hear the whole world of guitar music in these improvised performances by Hungarian guitar master Ferenc Snétberger. Everything from the Balkans to bossa nova shows up on his musical kaleidoscope, each ingredient infused with the freedom of jazz and the clarity of expression of the greatest classical guitarists. This artist is still little-known on the global music scene, but his star is in the ascendancy, and I wouldn’t be surprised if he attracts a devoted cult following in the coming months.
Žak Ozmo
Vincenzo Galilei: The Well-Tempered Lute
Okay, it’s lute, not a modern guitar. But you still ought to listen to the first recording of this important 1584 work by Galileo’s father—yes, that Galileo. The famous astronomer’s dad ranks among the great innovators in the mathematics of tuning, and this piece served as a scientific treatise, in addition to its pristine aesthetic qualities. In a year in which guitarists have rediscovered the cerebral, intellectual qualities of the instrument, it is all too fitting that this music, neglected for almost half a millennium, finally gets featured on an album.
Devendra Banhart
Ape in Pink Marble
This album won’t be issued by Nonesuch until next month, but put it in on your back-to-school shopping list right now. These songs are hauntingly beautiful, yet with a quirky personal quality that resists definition. A kind of spiritual intensity infuses a lullaby soundscape in these medium-slow tracks. I’d be tempted to call it folk music, except folk songs don’t have titles like “Fig in Leather” or “Theme for a Taiwanese Woman in Lime Green.” With the right kind of exposure, this album might even find a sizable crossover audience.
Glenn Jones can play electric guitar with the best of them. Check out his work with the underrated band Cul de Sac for examples. But he doesn’t need electronics and a supporting cast to work his magic. His latest album Fleeting is one of my favorite releases of 2016, highlighting Jones’s solo acoustic guitar work. In track after track, he shows off his deft fingerpicking technique in songs that resist genre classification. If you are seeking distinctive guitar music in the current day, this release is a good place to start.
Rolf Lislevand
La Mascarade
Rolf Lislevand first gained a following for his performances of 17^th century lute music, but now he is recording for the ECM label, best known for its advocacy of jazz. The end result is an extraordinary hybrid of Baroque compositions from the court of Louis XIV with several improvised sections. Lislevand works with period instruments, theorbo and Baroque guitar, but this isn’t your morning drive-time Vivaldi on the classical music station. Rather, it’s a deeply moving reinvention of early music for the new millennium.
And here are six more honorable mention albums. I’ve been enjoying each of these, and expect them to stay on my playlist for many months to come.
Ross Hammond & Sameer Gupta
Upward
Duets for 12-String Guitar & Tabla
Rokia Traoré
Né So
Malian Singer-Songwriter
Dylan LeBlanc
Cautionary Tale
Neil Young-ish Singer Songwriter
David Leisner & Zuill Bailey
Arpeggione
Classical Music for Guitar and Cello
Tashi Dorji & Shane Parish
Expecting
Bhutanese/Appalachian Guitar Duets
Sarah Jarosz
Undercurrent
Country/Americana

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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Jazz Promo Services
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Warwick, Ny 10990
USA

The End of the Angry Guitar – By Ted Gioia The Daily Beast

http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2016/08/07/the-end-of-the-angry-guitar.html?mc_cid=0cddfcd737

The End of the Angry Guitar

By Ted Gioia

It’s proven fashionable in recent years to declare the death of the guitar in commercial music. I wish I could debunk this sad tale, but the numbers back it up. Even worse, the data tells us that the guitar experienced a long, slow death.
At the end of the ’80s, rock accounted for more than 40 percent of U.S. music sales, and guitarists still strutted the stage (http://www.thedailybeast.com/content/dailybeast/articles/2014/01/28/a-revolution-with-guitars-how-the-beatles-changed-everything.html) like kings. Yet by the year 2000, rock had fallen below 25 percent of the market, and rap artists were proving, week after week, that hit songs didn’t need any guitar. The subsequent rise of electronic dance music (EDM)—which is now a $7 billion business—further marginalized that once-dominant instrument.
But perhaps the biggest surprise was the rise of guitar-free pop music. Not long ago, pop artists had relied on guitar almost as much as rockers. But pop stars of the new millennium are tuning into EDM and hip-hop stylings, and avoiding the passé sounds of the past, especially guitar.
So what a surprise to hear so many outstanding guitar albums in recent months! This is turning into an exceptional year for guitar music—the best so far this decade, in my opinion. But it isn’t played by strutting rockers with big egos and bigger amps. In fact, most of these stellar releases come from the outskirts of the music industry, from labels and musicians you don’t read about in Rolling Stone or see on TV. But make no mistake, they are producing fresh new music of the highest caliber.
We have grown so familiar with angry guitars, churning and thrusting like musical phalluses, that many have forgotten that this instrument wasn’t always so extroverted. I give credit to Muddy Waters (http://www.thedailybeast.com/content/dailybeast/articles/2014/08/02/the-stacks-how-leonard-chess-helped-make-muddy-waters.html) for changing the course of guitar history at the session that produced his 1948 hit “I Can’t Be Satisfied.” Against the advice of his producer, Waters insisted on playing electric guitar with just bass accompaniment—a radical departure from the standard practice of building rhythm and harmony for commercial records around the texture of a piano. Waters’s record was a surprise hit, with all copies of the first pressing selling out within a day. Chicago blues would never be the same, and electric guitar (http://www.thedailybeast.com/content/dailybeast/articles/2012/08/07/glad-i-always-played-a-telecaster.html) emerged as the emotional center of the music.
Rock and roll learned from the example of the Chicago blues, and ushered in a half-century period during which popular music was guitar-driven. You could listen to top 40 radio for hours on end without hearing a single song that didn’t feature a guitar—or, more likely, several guitars.
Rock fans thought this golden age would last forever, but by the late ’90s the dominance of guitar-driven rock was already questioned and found wanting by many younger fans. Perhaps the guitar wouldn’t quite follow the path of the accordion into pop music limbo, but its glory days were clearly behind it. On those rare instances when guitarists show up for pop music video gigs nowadays, the first thing they’re told is that they are accompanists, not stars—and if they don’t like it, there’s a DJ or programmer out there just waiting to take the gig.
In a strange way, guitarists have been liberated by this exile from the Billboard 100. Many of the best albums of 2016 are by reformed rock guitarists who are now changing the tone of their music, aiming to please themselves, not a football stadium full of screaming teens. Their music may indicate the beginning of a guitar rebirth, but these songs won’t sound anything like the angry guitar tracks of a previous era. The guitar has turned back into what it was ages ago: a personal instrument for intimate expression.
Below are eight examples of the new sound of the guitar in 2016. There’s not much aggression or superstar posturing on these albums. Instead you will find the music capturing a much wider range of emotional stances. These songs can be folksy, cerebral, meditative, hypnotic, ethereal, or sometimes just plain strange. But each of these recordings deserves your attention.
Steve Kimock
Last Danger of Frost
You may know Kimock as a purveyor of psychedelic rock, but Last Danger of Frost reminds me more of the kind of rock that is carved out of large stone blocks—hard, timeless, unforgiving. Modern electronic effects are mixed artfully with a mostly acoustic sound, and the tempos sometimes loosen up to the point where the beat disappears completely. Kimock recorded this album in a century-old Pennsylvania barn in the midst of winter, and you can almost hear the snow, cold, and wind in these tracks. This is like taking a meditative retreat for the price of an album.
Luther Dickinson
Blues and Ballads (A Folksinger’s Songbook)
Luther Dickinson has also tasted rock stardom during his stint with the Black Crowes, and has also proven his mastery of the blues as a founding member of the North Mississippi Allstars. Given his formidable skills, Dickinson could follow in the footsteps of Hendrix and Clapton, and captivate stadium-sized audiences. But he impresses me even more by the minimalist soulfulness of his new release, Blues and Ballads. You can hear the whole history of American guitar music in his stylings, but this is no dry lesson in old-timey music. He is reinventing the tradition for the modern day, and deserves to find a large audience for his captivating work.
William Tyler
Modern Country
Country fans have never had much patience for instrumental music. They may have an insatiable appetite for songs about broken hearts and pickup trucks, but guitar solos are strictly limited to 30 seconds or fewer. So this extraordinary album by Nashville guitarist William Tyler could easily get missed even by devotees of the genre. But this is my favorite country album of the year, and I suspect it will appeal to many fans who wouldn’t be caught dead at a Carrie Underwood concert.
Ferenc Snétberger
In Concert
Improvised Solo Guitar
You can hear the whole world of guitar music in these improvised performances by Hungarian guitar master Ferenc Snétberger. Everything from the Balkans to bossa nova shows up on his musical kaleidoscope, each ingredient infused with the freedom of jazz and the clarity of expression of the greatest classical guitarists. This artist is still little-known on the global music scene, but his star is in the ascendancy, and I wouldn’t be surprised if he attracts a devoted cult following in the coming months.
Žak Ozmo
Vincenzo Galilei: The Well-Tempered Lute
Okay, it’s lute, not a modern guitar. But you still ought to listen to the first recording of this important 1584 work by Galileo’s father—yes, that Galileo. The famous astronomer’s dad ranks among the great innovators in the mathematics of tuning, and this piece served as a scientific treatise, in addition to its pristine aesthetic qualities. In a year in which guitarists have rediscovered the cerebral, intellectual qualities of the instrument, it is all too fitting that this music, neglected for almost half a millennium, finally gets featured on an album.
Devendra Banhart
Ape in Pink Marble
This album won’t be issued by Nonesuch until next month, but put it in on your back-to-school shopping list right now. These songs are hauntingly beautiful, yet with a quirky personal quality that resists definition. A kind of spiritual intensity infuses a lullaby soundscape in these medium-slow tracks. I’d be tempted to call it folk music, except folk songs don’t have titles like “Fig in Leather” or “Theme for a Taiwanese Woman in Lime Green.” With the right kind of exposure, this album might even find a sizable crossover audience.
Glenn Jones can play electric guitar with the best of them. Check out his work with the underrated band Cul de Sac for examples. But he doesn’t need electronics and a supporting cast to work his magic. His latest album Fleeting is one of my favorite releases of 2016, highlighting Jones’s solo acoustic guitar work. In track after track, he shows off his deft fingerpicking technique in songs that resist genre classification. If you are seeking distinctive guitar music in the current day, this release is a good place to start.
Rolf Lislevand
La Mascarade
Rolf Lislevand first gained a following for his performances of 17^th century lute music, but now he is recording for the ECM label, best known for its advocacy of jazz. The end result is an extraordinary hybrid of Baroque compositions from the court of Louis XIV with several improvised sections. Lislevand works with period instruments, theorbo and Baroque guitar, but this isn’t your morning drive-time Vivaldi on the classical music station. Rather, it’s a deeply moving reinvention of early music for the new millennium.
And here are six more honorable mention albums. I’ve been enjoying each of these, and expect them to stay on my playlist for many months to come.
Ross Hammond & Sameer Gupta
Upward
Duets for 12-String Guitar & Tabla
Rokia Traoré
Né So
Malian Singer-Songwriter
Dylan LeBlanc
Cautionary Tale
Neil Young-ish Singer Songwriter
David Leisner & Zuill Bailey
Arpeggione
Classical Music for Guitar and Cello
Tashi Dorji & Shane Parish
Expecting
Bhutanese/Appalachian Guitar Duets
Sarah Jarosz
Undercurrent
Country/Americana

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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Copyright (C) 2016 All rights reserved.

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

Erroll Garner Recordings Unearthed for a New Album – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/09/arts/music/erroll-garner-ready-take-one.html?emc=edit_tnt_20160809

Erroll Garner Recordings Unearthed for a New Album
The jazz pianist Erroll Garner. “Ready Take One,” a compilation of studio tracks, is coming out on Sept. 30. Evening Standard/Getty Images
Last fall the pianist Erroll Garner achieved a rare posthumous distinction when “The Complete Concert by the Sea” entered the Billboard Jazz Albums chart at No. 1. A restored and expanded version of “Concert by the Sea” — the 1956 release that solidified Garner’s popular image, and one of the best-selling jazz albums in history — it featured 11 previously unissued tracks and a greatly improved sound mix in a three-CD boxed set.

It was the first tangible byproduct of an intense archival effort (http://www.nytimes.com/2015/09/20/arts/music/erroll-garners-concert-by-the-sea-gets-a-new-sound.html) around the music of Garner, who died in 1977, leaving many unheard recordings and ephemera behind. Now the same team of producers have put together a follow-up: “Ready Take One,” a compilation of studio tracks recorded between 1967 and 1971, when Garner was a worldwide concert attraction.

Slated for release on Legacy Recordings on Sept. 30, the album features newly unearthed versions of familiar tunes as well as six originals that have never been released — like “Wild Music,” a staple of Garner’s live repertory at the time, recorded with a quartet featuring Ernest McCarty Jr. on bass, Jimmie Smith on drums and José Mangual on congas. Hear it here:

“Ready Take One” was named after a cue often spoken from the recording booth by Martha Glaser, who served as Garner’s manager, producer, protector and business partner. The album’s producers, Steve Rosenthal and Geri Allen, chose to include studio banter on the new release, so you hear her saying the line before most tracks, and occasionally some other bit of dialogue. “You got it that time!” she praises the band after a take of “Chase Me,” a brisk number that’s among the songs making their official studio debut.

Among the other newly available originals are a sparkling ballad, “Back to You,” and a slinky boogaloo of sorts titled “High Wire.” There are also new versions of staples like “Misty,” Garner’s signature ballad, and “(I’m) Confessin’ (That I Love You).”

And the Juan Tizol-Duke Ellington tune “Caravan,” which served as a discovery and highlight of “The Complete Concert By the Sea,” resurfaces here in a different arrangement, opening with a clockwork chime before shifting into propulsive gear.

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=16bdc091f0) | 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=16bdc091f0&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

Erroll Garner Recordings Unearthed for a New Album – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/09/arts/music/erroll-garner-ready-take-one.html?emc=edit_tnt_20160809

Erroll Garner Recordings Unearthed for a New Album
The jazz pianist Erroll Garner. “Ready Take One,” a compilation of studio tracks, is coming out on Sept. 30. Evening Standard/Getty Images
Last fall the pianist Erroll Garner achieved a rare posthumous distinction when “The Complete Concert by the Sea” entered the Billboard Jazz Albums chart at No. 1. A restored and expanded version of “Concert by the Sea” — the 1956 release that solidified Garner’s popular image, and one of the best-selling jazz albums in history — it featured 11 previously unissued tracks and a greatly improved sound mix in a three-CD boxed set.

It was the first tangible byproduct of an intense archival effort (http://www.nytimes.com/2015/09/20/arts/music/erroll-garners-concert-by-the-sea-gets-a-new-sound.html) around the music of Garner, who died in 1977, leaving many unheard recordings and ephemera behind. Now the same team of producers have put together a follow-up: “Ready Take One,” a compilation of studio tracks recorded between 1967 and 1971, when Garner was a worldwide concert attraction.

Slated for release on Legacy Recordings on Sept. 30, the album features newly unearthed versions of familiar tunes as well as six originals that have never been released — like “Wild Music,” a staple of Garner’s live repertory at the time, recorded with a quartet featuring Ernest McCarty Jr. on bass, Jimmie Smith on drums and José Mangual on congas. Hear it here:

“Ready Take One” was named after a cue often spoken from the recording booth by Martha Glaser, who served as Garner’s manager, producer, protector and business partner. The album’s producers, Steve Rosenthal and Geri Allen, chose to include studio banter on the new release, so you hear her saying the line before most tracks, and occasionally some other bit of dialogue. “You got it that time!” she praises the band after a take of “Chase Me,” a brisk number that’s among the songs making their official studio debut.

Among the other newly available originals are a sparkling ballad, “Back to You,” and a slinky boogaloo of sorts titled “High Wire.” There are also new versions of staples like “Misty,” Garner’s signature ballad, and “(I’m) Confessin’ (That I Love You).”

And the Juan Tizol-Duke Ellington tune “Caravan,” which served as a discovery and highlight of “The Complete Concert By the Sea,” resurfaces here in a different arrangement, opening with a clockwork chime before shifting into propulsive gear.

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=16bdc091f0) | 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=16bdc091f0&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

Erroll Garner Recordings Unearthed for a New Album – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/09/arts/music/erroll-garner-ready-take-one.html?emc=edit_tnt_20160809

Erroll Garner Recordings Unearthed for a New Album
The jazz pianist Erroll Garner. “Ready Take One,” a compilation of studio tracks, is coming out on Sept. 30. Evening Standard/Getty Images
Last fall the pianist Erroll Garner achieved a rare posthumous distinction when “The Complete Concert by the Sea” entered the Billboard Jazz Albums chart at No. 1. A restored and expanded version of “Concert by the Sea” — the 1956 release that solidified Garner’s popular image, and one of the best-selling jazz albums in history — it featured 11 previously unissued tracks and a greatly improved sound mix in a three-CD boxed set.

It was the first tangible byproduct of an intense archival effort (http://www.nytimes.com/2015/09/20/arts/music/erroll-garners-concert-by-the-sea-gets-a-new-sound.html) around the music of Garner, who died in 1977, leaving many unheard recordings and ephemera behind. Now the same team of producers have put together a follow-up: “Ready Take One,” a compilation of studio tracks recorded between 1967 and 1971, when Garner was a worldwide concert attraction.

Slated for release on Legacy Recordings on Sept. 30, the album features newly unearthed versions of familiar tunes as well as six originals that have never been released — like “Wild Music,” a staple of Garner’s live repertory at the time, recorded with a quartet featuring Ernest McCarty Jr. on bass, Jimmie Smith on drums and José Mangual on congas. Hear it here:

“Ready Take One” was named after a cue often spoken from the recording booth by Martha Glaser, who served as Garner’s manager, producer, protector and business partner. The album’s producers, Steve Rosenthal and Geri Allen, chose to include studio banter on the new release, so you hear her saying the line before most tracks, and occasionally some other bit of dialogue. “You got it that time!” she praises the band after a take of “Chase Me,” a brisk number that’s among the songs making their official studio debut.

Among the other newly available originals are a sparkling ballad, “Back to You,” and a slinky boogaloo of sorts titled “High Wire.” There are also new versions of staples like “Misty,” Garner’s signature ballad, and “(I’m) Confessin’ (That I Love You).”

And the Juan Tizol-Duke Ellington tune “Caravan,” which served as a discovery and highlight of “The Complete Concert By the Sea,” resurfaces here in a different arrangement, opening with a clockwork chime before shifting into propulsive gear.

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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269 State Route 94 South
Warwick, Ny 10990
USA

Herbie Hancock: How I Overcame My Language Barrier With Rap – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/herbie-hancock-how-i-overcame-my-language-barrier-with-rap-1470593375

Herbie Hancock: How I Overcame My Language Barrier With Rap

[if ! lte IE 8] ENLARGE [endif]
Pianist Herbie Hancock performs in Las Vegas City in May. Photo: David Becker/Getty Images
By
Larry Blumenfeld
Aug. 7, 2016 2:09 p.m. ET
Herbie Hancock ’s got a brand-new band.
These words alone should lure fans spanning three generations to the Prospect Park Bandshell on Aug. 11.
Headlining a benefit concert for the BRIC Celebrate Brooklyn! Festival, Mr. Hancock will unveil a quintet that includes keyboardist and saxophonist Terrace Martin, best known as Kendrick Lamar’s producer and chief collaborator for “To Pimp a Butterfly,” (http://www.wsj.com/articles/the-metamorphosis-of-kendrick-lamars-butterfly-1445463824) which won five Grammy awards this year.
Mr. Hancock, who has 14 Grammy statues of his own, has enlisted Mr. Martin to produce and play on his follow-up to 2010’s “Imagine,” a double Grammy winner.
At 76 years old, Mr. Hancock is an elder statesman in more than metaphoric terms: On April 29, he and President Barack Obama (http://topics.wsj.com/person/O/Barack-Obama/4328) shared a stage on the South Lawn at the White House to mark International Jazz Day, an event he helped create.
Mr. Hancock guards the details of his new project like a state secret. Yet, there have been leaks.
In March, Mr. Martin’s revelation that “Kendrick is on the album, Snoop is on the album” started buzz on the internet. Fans wondered online about the participation of producer/rapper Flying Lotus (http://blogs.wsj.com/speakeasy/2014/09/03/flying-lotus-kendrick-lamar-never-catch-me/) and bassist Thundercat (http://www.wsj.com/articles/at-the-low-end-theory-festival-new-musical-highs-1439329609) . Mr. Hancock has appeared on their albums, and he thinks they represent a new movement.
“They’re gaining a new underground audience who identifies what they hear as hip and new, and who may not even know that it’s really jazz,” Mr. Hancock said.
Mr. Martin’s generation builds on challenging harmonic and rhythmic languages that Mr. Hancock helped establish. To work with these musicians, Mr. Hancock confronted a language barrier of his own.
He spoke with The Wall Street Journal about this challenge and his new project’s promise.
WSJ: You’ve said that you ask yourself what each new album can accomplish. What can this one do?
HH: It continues my idea for “Imagine,” of people getting together globally to tackle some of our problems.
What problem are you tackling here?
It stems from an observation about myself. Flying Lotus told me that I needed to check out Kendrick Lamar’s “To Pimp a Butterfly.” So I listened, but I got stopped by the language. I heard the N-word, which of course is very common in rap and hip-hop. It’s not that I didn’t expect that, but I hadn’t analyzed my own reaction. I realized that if I’m going to listen to this record, I can’t have that stop me. I had judged it first, which is something I’m not prone to doing. Here I was being judgmental out of ignorance, and due to a generation gap.
How did you get past that?
I asked myself, “Whose problem is it?” It’s not Kendrick’s problem. It’s not the genre’s problem. It’s my problem. I’m the one to fix that. As soon as I owned up to getting in my own way, I opened up. I appreciated it as a great record. I could understand its meaning. I even turned Chick Corea on to it.
Since then, I’ve understood more about how this younger generation is keenly aware of anything fake or not from the heart, how they need to remove the nice ways we clothe difficult truths. I understood why the language was the way it was. Behind closed doors, black people talk to black people that way.
Have these sessions yielded musical awakenings, too?
Of course. I decided be a fly on the wall to see how these guys work. Often, they get together, play and record what they’re playing, pretty much on the fly, which is more organic than what I usually do.
Doesn’t that sound like the way Miles Davis worked with you a half-century ago?
Well, yes. Miles was the beginning of all that. And Terrace and these guys love to hear me tell stories about Miles and Wayne [Shorter] and I. They see the connection. Except there was a big gap before it really caught on in this modern age.
What will the new album sound like?
I don’t know yet. We’re just starting to organize all the ideas we’ve laid down, to get to level two. In Brooklyn, what you’ll hear will be strictly instrumental, no singing or rapping. It will be a work in progress, bare bones, but also an entry point into a new dimension for me.
It there a title?
This baby isn’t born yet, so I won’t name it.

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

Herbie Hancock: How I Overcame My Language Barrier With Rap – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/herbie-hancock-how-i-overcame-my-language-barrier-with-rap-1470593375

Herbie Hancock: How I Overcame My Language Barrier With Rap

[if ! lte IE 8] ENLARGE [endif]
Pianist Herbie Hancock performs in Las Vegas City in May. Photo: David Becker/Getty Images
By
Larry Blumenfeld
Aug. 7, 2016 2:09 p.m. ET
Herbie Hancock ’s got a brand-new band.
These words alone should lure fans spanning three generations to the Prospect Park Bandshell on Aug. 11.
Headlining a benefit concert for the BRIC Celebrate Brooklyn! Festival, Mr. Hancock will unveil a quintet that includes keyboardist and saxophonist Terrace Martin, best known as Kendrick Lamar’s producer and chief collaborator for “To Pimp a Butterfly,” (http://www.wsj.com/articles/the-metamorphosis-of-kendrick-lamars-butterfly-1445463824) which won five Grammy awards this year.
Mr. Hancock, who has 14 Grammy statues of his own, has enlisted Mr. Martin to produce and play on his follow-up to 2010’s “Imagine,” a double Grammy winner.
At 76 years old, Mr. Hancock is an elder statesman in more than metaphoric terms: On April 29, he and President Barack Obama (http://topics.wsj.com/person/O/Barack-Obama/4328) shared a stage on the South Lawn at the White House to mark International Jazz Day, an event he helped create.
Mr. Hancock guards the details of his new project like a state secret. Yet, there have been leaks.
In March, Mr. Martin’s revelation that “Kendrick is on the album, Snoop is on the album” started buzz on the internet. Fans wondered online about the participation of producer/rapper Flying Lotus (http://blogs.wsj.com/speakeasy/2014/09/03/flying-lotus-kendrick-lamar-never-catch-me/) and bassist Thundercat (http://www.wsj.com/articles/at-the-low-end-theory-festival-new-musical-highs-1439329609) . Mr. Hancock has appeared on their albums, and he thinks they represent a new movement.
“They’re gaining a new underground audience who identifies what they hear as hip and new, and who may not even know that it’s really jazz,” Mr. Hancock said.
Mr. Martin’s generation builds on challenging harmonic and rhythmic languages that Mr. Hancock helped establish. To work with these musicians, Mr. Hancock confronted a language barrier of his own.
He spoke with The Wall Street Journal about this challenge and his new project’s promise.
WSJ: You’ve said that you ask yourself what each new album can accomplish. What can this one do?
HH: It continues my idea for “Imagine,” of people getting together globally to tackle some of our problems.
What problem are you tackling here?
It stems from an observation about myself. Flying Lotus told me that I needed to check out Kendrick Lamar’s “To Pimp a Butterfly.” So I listened, but I got stopped by the language. I heard the N-word, which of course is very common in rap and hip-hop. It’s not that I didn’t expect that, but I hadn’t analyzed my own reaction. I realized that if I’m going to listen to this record, I can’t have that stop me. I had judged it first, which is something I’m not prone to doing. Here I was being judgmental out of ignorance, and due to a generation gap.
How did you get past that?
I asked myself, “Whose problem is it?” It’s not Kendrick’s problem. It’s not the genre’s problem. It’s my problem. I’m the one to fix that. As soon as I owned up to getting in my own way, I opened up. I appreciated it as a great record. I could understand its meaning. I even turned Chick Corea on to it.
Since then, I’ve understood more about how this younger generation is keenly aware of anything fake or not from the heart, how they need to remove the nice ways we clothe difficult truths. I understood why the language was the way it was. Behind closed doors, black people talk to black people that way.
Have these sessions yielded musical awakenings, too?
Of course. I decided be a fly on the wall to see how these guys work. Often, they get together, play and record what they’re playing, pretty much on the fly, which is more organic than what I usually do.
Doesn’t that sound like the way Miles Davis worked with you a half-century ago?
Well, yes. Miles was the beginning of all that. And Terrace and these guys love to hear me tell stories about Miles and Wayne [Shorter] and I. They see the connection. Except there was a big gap before it really caught on in this modern age.
What will the new album sound like?
I don’t know yet. We’re just starting to organize all the ideas we’ve laid down, to get to level two. In Brooklyn, what you’ll hear will be strictly instrumental, no singing or rapping. It will be a work in progress, bare bones, but also an entry point into a new dimension for me.
It there a title?
This baby isn’t born yet, so I won’t name it.

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=7384669bbf) | 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=7384669bbf&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

Herbie Hancock: How I Overcame My Language Barrier With Rap – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/herbie-hancock-how-i-overcame-my-language-barrier-with-rap-1470593375

Herbie Hancock: How I Overcame My Language Barrier With Rap

[if ! lte IE 8] ENLARGE [endif]
Pianist Herbie Hancock performs in Las Vegas City in May. Photo: David Becker/Getty Images
By
Larry Blumenfeld
Aug. 7, 2016 2:09 p.m. ET
Herbie Hancock ’s got a brand-new band.
These words alone should lure fans spanning three generations to the Prospect Park Bandshell on Aug. 11.
Headlining a benefit concert for the BRIC Celebrate Brooklyn! Festival, Mr. Hancock will unveil a quintet that includes keyboardist and saxophonist Terrace Martin, best known as Kendrick Lamar’s producer and chief collaborator for “To Pimp a Butterfly,” (http://www.wsj.com/articles/the-metamorphosis-of-kendrick-lamars-butterfly-1445463824) which won five Grammy awards this year.
Mr. Hancock, who has 14 Grammy statues of his own, has enlisted Mr. Martin to produce and play on his follow-up to 2010’s “Imagine,” a double Grammy winner.
At 76 years old, Mr. Hancock is an elder statesman in more than metaphoric terms: On April 29, he and President Barack Obama (http://topics.wsj.com/person/O/Barack-Obama/4328) shared a stage on the South Lawn at the White House to mark International Jazz Day, an event he helped create.
Mr. Hancock guards the details of his new project like a state secret. Yet, there have been leaks.
In March, Mr. Martin’s revelation that “Kendrick is on the album, Snoop is on the album” started buzz on the internet. Fans wondered online about the participation of producer/rapper Flying Lotus (http://blogs.wsj.com/speakeasy/2014/09/03/flying-lotus-kendrick-lamar-never-catch-me/) and bassist Thundercat (http://www.wsj.com/articles/at-the-low-end-theory-festival-new-musical-highs-1439329609) . Mr. Hancock has appeared on their albums, and he thinks they represent a new movement.
“They’re gaining a new underground audience who identifies what they hear as hip and new, and who may not even know that it’s really jazz,” Mr. Hancock said.
Mr. Martin’s generation builds on challenging harmonic and rhythmic languages that Mr. Hancock helped establish. To work with these musicians, Mr. Hancock confronted a language barrier of his own.
He spoke with The Wall Street Journal about this challenge and his new project’s promise.
WSJ: You’ve said that you ask yourself what each new album can accomplish. What can this one do?
HH: It continues my idea for “Imagine,” of people getting together globally to tackle some of our problems.
What problem are you tackling here?
It stems from an observation about myself. Flying Lotus told me that I needed to check out Kendrick Lamar’s “To Pimp a Butterfly.” So I listened, but I got stopped by the language. I heard the N-word, which of course is very common in rap and hip-hop. It’s not that I didn’t expect that, but I hadn’t analyzed my own reaction. I realized that if I’m going to listen to this record, I can’t have that stop me. I had judged it first, which is something I’m not prone to doing. Here I was being judgmental out of ignorance, and due to a generation gap.
How did you get past that?
I asked myself, “Whose problem is it?” It’s not Kendrick’s problem. It’s not the genre’s problem. It’s my problem. I’m the one to fix that. As soon as I owned up to getting in my own way, I opened up. I appreciated it as a great record. I could understand its meaning. I even turned Chick Corea on to it.
Since then, I’ve understood more about how this younger generation is keenly aware of anything fake or not from the heart, how they need to remove the nice ways we clothe difficult truths. I understood why the language was the way it was. Behind closed doors, black people talk to black people that way.
Have these sessions yielded musical awakenings, too?
Of course. I decided be a fly on the wall to see how these guys work. Often, they get together, play and record what they’re playing, pretty much on the fly, which is more organic than what I usually do.
Doesn’t that sound like the way Miles Davis worked with you a half-century ago?
Well, yes. Miles was the beginning of all that. And Terrace and these guys love to hear me tell stories about Miles and Wayne [Shorter] and I. They see the connection. Except there was a big gap before it really caught on in this modern age.
What will the new album sound like?
I don’t know yet. We’re just starting to organize all the ideas we’ve laid down, to get to level two. In Brooklyn, what you’ll hear will be strictly instrumental, no singing or rapping. It will be a work in progress, bare bones, but also an entry point into a new dimension for me.
It there a title?
This baby isn’t born yet, so I won’t name it.

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.

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

Retired doctor keeps jazz afloat in Pensacola

http://www.jazzpromoservices.com/
http://www.pnj.com/story/news/local/2016/08/07/retired-doctor-keeps-jazz-afloat-pensacola/88203632/

Retired doctor keeps jazz afloat in Pensacola
Troy Moon, tmoon@pnj.com 12:08 p.m. CDT August 7, 2016

Buy Photo
(Photo: Tony Giberson/tgiberson@pnj.com)
The joke used to be that if you called Dr. Norman Vickers office when he was still in practice, you’d have to specify whether the call was “medical or musical.” It could have been either, since the now-retired gastroenterologist ran the Jazz Society of Pensacola out of his office.
He doesn’t carry a stethoscope around any longer, but can still dig a harmonica out of his pants pocket on request and launch into jazz standards with ease.
A smile creeps across the 85-year-old’s face in the seconds before he starts playing Fats Wallers’ “Lulu’s Back in Town” on his always-present chromatic harmonica.
Vickers is Pensacola’s jazz ambassador, historian and keeper of the flame. He is one of the founders of Jazz Pensacola — formerly Jazz Society of Pensacola — and served as the organization’s volunteer executive director from 1986 to 2004. Now, he is the organization’s director emeritus and is still a guiding force in Pensacola’s compact — but healthy — jazz scene.
http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)
Maybe musical taste buds mature with age (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)

He helped launch the first Pensacola JazzFest in 1983, working with the Arts Council of Northwest Florida and WUWF-FM. He was one of the first board members of the American Federation of Jazz Societies and was elected president of the national federation in 1993.
“It’s just the music that I’ve always enjoyed,” Vickers said, sitting in the Jazz Room at the downtown branch of the West Florida Public Library, surrounded by pictures of Billie Holiday, Duke Ellington, Miles Davis and other giants of the American art form known as jazz. He remembers hearing the music as a child in Hattiesburg, Mississippi, and seeing the effect it had on people.
“I remember hearing some boogie woogie players — I was about 10 at the time — and I could sit for long periods of time and just listen,” he said. “I’d see these dances where the music was different and it made people act different and react in different ways. My mother played piano — classical stuff — so we always had some kind of live music around the house. It’s just always been part of my life.”
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

Vickers played piccolo in high school and took piano lessons throughout his childhood. He taught himself guitar and harmonica and has sat in with numerous artists in the region. But his main contribution to jazz in Pensacola is as its ambassador, historian and organizer — helping keep the music afloat even as jazz’s popularity wavered throughout the decades.
“He’s referred to as the ‘Father of the Jazz Society’,” said Ralph Knowles, a longtime Jazz Pensacola member who was a major contributor to the Jazz Room at the library — a contribution Knowles made to honor his late wife, Janet. “(Vickers) is the one who kept it going, kept it going, kept it going. And he’s the most knowledgeable about jazz in this area.”
Vickers came of age during the big band era, a music he still loves today.

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“It was dance music,” Vickers said. “You could turn on the radio and hear it. It was stuff people could understand. It had songs with words people could understand.”
Of course, big band was only one facet of jazz.
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

“The bop stuff, OK, I understand it, and like it in small doses,” he said, “but it didn’t really move me.”
Same with “free jazz” as performed by innovators such as Ornette Coleman, which discarded many of the norms of jazz.
“Guys like Ornette Coleman, I know what they’re doing,” he said. But again — “it doesn’t move me.”
Vickers on other jazz greats:
Duke Ellington: “A genius.”
Miles Davis: “An egomaniac and not a nice person. I wouldn’t buy his bio until after he died.”
http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)
Be Local: Shakin’ at the Sandshaker (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)

Louis Armstrong: “Changed the face of music. He had so much insight into music.”
Sarah Vaughn: “Probably the best technical jazz vocalist.”
Vickers also listens to classical music, blues and old classic country artists such as Bob Wills.
But rock music was never his bag.
“Uh, well, I found it interesting,” Vickers said. “But the music was simplistic. You know, dumbed-down stuff for a dumbed-down market. It was interesting though.”
To see a video of Dr. Norman Vickers at the Jazz Room at the downtown library, go to pnj.com.

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/)

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Retired doctor keeps jazz afloat in Pensacola

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http://www.pnj.com/story/news/local/2016/08/07/retired-doctor-keeps-jazz-afloat-pensacola/88203632/

Retired doctor keeps jazz afloat in Pensacola
Troy Moon, tmoon@pnj.com 12:08 p.m. CDT August 7, 2016

Buy Photo
(Photo: Tony Giberson/tgiberson@pnj.com)
The joke used to be that if you called Dr. Norman Vickers office when he was still in practice, you’d have to specify whether the call was “medical or musical.” It could have been either, since the now-retired gastroenterologist ran the Jazz Society of Pensacola out of his office.
He doesn’t carry a stethoscope around any longer, but can still dig a harmonica out of his pants pocket on request and launch into jazz standards with ease.
A smile creeps across the 85-year-old’s face in the seconds before he starts playing Fats Wallers’ “Lulu’s Back in Town” on his always-present chromatic harmonica.
Vickers is Pensacola’s jazz ambassador, historian and keeper of the flame. He is one of the founders of Jazz Pensacola — formerly Jazz Society of Pensacola — and served as the organization’s volunteer executive director from 1986 to 2004. Now, he is the organization’s director emeritus and is still a guiding force in Pensacola’s compact — but healthy — jazz scene.
http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)
Maybe musical taste buds mature with age (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)

He helped launch the first Pensacola JazzFest in 1983, working with the Arts Council of Northwest Florida and WUWF-FM. He was one of the first board members of the American Federation of Jazz Societies and was elected president of the national federation in 1993.
“It’s just the music that I’ve always enjoyed,” Vickers said, sitting in the Jazz Room at the downtown branch of the West Florida Public Library, surrounded by pictures of Billie Holiday, Duke Ellington, Miles Davis and other giants of the American art form known as jazz. He remembers hearing the music as a child in Hattiesburg, Mississippi, and seeing the effect it had on people.
“I remember hearing some boogie woogie players — I was about 10 at the time — and I could sit for long periods of time and just listen,” he said. “I’d see these dances where the music was different and it made people act different and react in different ways. My mother played piano — classical stuff — so we always had some kind of live music around the house. It’s just always been part of my life.”
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

Vickers played piccolo in high school and took piano lessons throughout his childhood. He taught himself guitar and harmonica and has sat in with numerous artists in the region. But his main contribution to jazz in Pensacola is as its ambassador, historian and organizer — helping keep the music afloat even as jazz’s popularity wavered throughout the decades.
“He’s referred to as the ‘Father of the Jazz Society’,” said Ralph Knowles, a longtime Jazz Pensacola member who was a major contributor to the Jazz Room at the library — a contribution Knowles made to honor his late wife, Janet. “(Vickers) is the one who kept it going, kept it going, kept it going. And he’s the most knowledgeable about jazz in this area.”
Vickers came of age during the big band era, a music he still loves today.

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“It was dance music,” Vickers said. “You could turn on the radio and hear it. It was stuff people could understand. It had songs with words people could understand.”
Of course, big band was only one facet of jazz.
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

“The bop stuff, OK, I understand it, and like it in small doses,” he said, “but it didn’t really move me.”
Same with “free jazz” as performed by innovators such as Ornette Coleman, which discarded many of the norms of jazz.
“Guys like Ornette Coleman, I know what they’re doing,” he said. But again — “it doesn’t move me.”
Vickers on other jazz greats:
Duke Ellington: “A genius.”
Miles Davis: “An egomaniac and not a nice person. I wouldn’t buy his bio until after he died.”
http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)
Be Local: Shakin’ at the Sandshaker (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)

Louis Armstrong: “Changed the face of music. He had so much insight into music.”
Sarah Vaughn: “Probably the best technical jazz vocalist.”
Vickers also listens to classical music, blues and old classic country artists such as Bob Wills.
But rock music was never his bag.
“Uh, well, I found it interesting,” Vickers said. “But the music was simplistic. You know, dumbed-down stuff for a dumbed-down market. It was interesting though.”
To see a video of Dr. Norman Vickers at the Jazz Room at the downtown library, go to pnj.com.

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

Retired doctor keeps jazz afloat in Pensacola

http://www.jazzpromoservices.com/
http://www.pnj.com/story/news/local/2016/08/07/retired-doctor-keeps-jazz-afloat-pensacola/88203632/

Retired doctor keeps jazz afloat in Pensacola
Troy Moon, tmoon@pnj.com 12:08 p.m. CDT August 7, 2016

Buy Photo
(Photo: Tony Giberson/tgiberson@pnj.com)
The joke used to be that if you called Dr. Norman Vickers office when he was still in practice, you’d have to specify whether the call was “medical or musical.” It could have been either, since the now-retired gastroenterologist ran the Jazz Society of Pensacola out of his office.
He doesn’t carry a stethoscope around any longer, but can still dig a harmonica out of his pants pocket on request and launch into jazz standards with ease.
A smile creeps across the 85-year-old’s face in the seconds before he starts playing Fats Wallers’ “Lulu’s Back in Town” on his always-present chromatic harmonica.
Vickers is Pensacola’s jazz ambassador, historian and keeper of the flame. He is one of the founders of Jazz Pensacola — formerly Jazz Society of Pensacola — and served as the organization’s volunteer executive director from 1986 to 2004. Now, he is the organization’s director emeritus and is still a guiding force in Pensacola’s compact — but healthy — jazz scene.
http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)
Maybe musical taste buds mature with age (http://www.pnj.com/story/news/2016/08/07/maybe-musical-taste-buds-mature-age/88332730/)

He helped launch the first Pensacola JazzFest in 1983, working with the Arts Council of Northwest Florida and WUWF-FM. He was one of the first board members of the American Federation of Jazz Societies and was elected president of the national federation in 1993.
“It’s just the music that I’ve always enjoyed,” Vickers said, sitting in the Jazz Room at the downtown branch of the West Florida Public Library, surrounded by pictures of Billie Holiday, Duke Ellington, Miles Davis and other giants of the American art form known as jazz. He remembers hearing the music as a child in Hattiesburg, Mississippi, and seeing the effect it had on people.
“I remember hearing some boogie woogie players — I was about 10 at the time — and I could sit for long periods of time and just listen,” he said. “I’d see these dances where the music was different and it made people act different and react in different ways. My mother played piano — classical stuff — so we always had some kind of live music around the house. It’s just always been part of my life.”
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

Vickers played piccolo in high school and took piano lessons throughout his childhood. He taught himself guitar and harmonica and has sat in with numerous artists in the region. But his main contribution to jazz in Pensacola is as its ambassador, historian and organizer — helping keep the music afloat even as jazz’s popularity wavered throughout the decades.
“He’s referred to as the ‘Father of the Jazz Society’,” said Ralph Knowles, a longtime Jazz Pensacola member who was a major contributor to the Jazz Room at the library — a contribution Knowles made to honor his late wife, Janet. “(Vickers) is the one who kept it going, kept it going, kept it going. And he’s the most knowledgeable about jazz in this area.”
Vickers came of age during the big band era, a music he still loves today.

Subscribe now for
$9.99/YEAR
for a limited time only
UNLOCK MY $9.99 OFFER (http://offers.pnj.com/specialoffer?gps-source=BEEXITaugust&utm_medium=overlay&utm_source=bounce-exchange&utm_campaign=august&utm_content=exitoverlay)
“It was dance music,” Vickers said. “You could turn on the radio and hear it. It was stuff people could understand. It had songs with words people could understand.”
Of course, big band was only one facet of jazz.
Buy Photo
For many people in Pensacola Norm Vickers is synonymous with Jazz. The retired physician has been an instrumental part of the local jazz scene for years. (Photo: Tony Giberson/tgiberson@pnj.com)

“The bop stuff, OK, I understand it, and like it in small doses,” he said, “but it didn’t really move me.”
Same with “free jazz” as performed by innovators such as Ornette Coleman, which discarded many of the norms of jazz.
“Guys like Ornette Coleman, I know what they’re doing,” he said. But again — “it doesn’t move me.”
Vickers on other jazz greats:
Duke Ellington: “A genius.”
Miles Davis: “An egomaniac and not a nice person. I wouldn’t buy his bio until after he died.”
http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/
PENSACOLA NEWS JOURNAL (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)
Be Local: Shakin’ at the Sandshaker (http://www.pnj.com/story/money/2016/07/30/local-shakin-still-goin-sandshaker/87667990/)

Louis Armstrong: “Changed the face of music. He had so much insight into music.”
Sarah Vaughn: “Probably the best technical jazz vocalist.”
Vickers also listens to classical music, blues and old classic country artists such as Bob Wills.
But rock music was never his bag.
“Uh, well, I found it interesting,” Vickers said. “But the music was simplistic. You know, dumbed-down stuff for a dumbed-down market. It was interesting though.”
To see a video of Dr. Norman Vickers at the Jazz Room at the downtown library, go to pnj.com.

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

Pete Fountain, a Clarinetist Known for His High-Spirited New Orleans Jazz, Is Dead at 86 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/07/arts/music/pete-fountain-clarinetist-known-for-his-high-spirited-new-orleans-jazz-dies-at-86.html?emc=edit_tnt_20160806

Pete Fountain, a Clarinetist Known for His High-Spirited New Orleans Jazz, Is Dead at 86
Pete Fountain, a clarinetist who brought the traditional jazz of his native New Orleans to a national audience through frequent appearances on the Lawrence Welk and Johnny Carson television shows, died on Saturday in New Orleans. He was 86.
The cause was heart failure, said Benny Harrell, Mr. Fountain’s son-in-law and manager.
Mr. Fountain was a mainstay of the New Orleans music scene for more than six decades, a familiar sight at Mardi Gras and the annual Jazz and Heritage Festival. And the appeal of his high-spirited brand of Dixieland stretched far beyond New Orleans, especially after he began appearing on “The Lawrence Welk Show” in 1957.
His outgoing musical style made an odd fit with the sedate “Champagne music” of Mr. Welk’s orchestra — Mr. Fountain often noted that Champagne and bourbon did not mix — but the combination was a hit with viewers, and his segments became a staple of the show. In later years he was also a frequent guest on Mr. Carson’s “Tonight Show.”
Peter Dewey Fountain Jr. was born in New Orleans on July 3, 1930, and was exposed from an early age to the lively small-group jazz that was an integral part of that city’s atmosphere. Inspired by Benny Goodman and the New Orleans clarinetist Irving Fazola — and by a family doctor who recommended that he learn a wind instrument to strengthen his weak lungs — he began playing clarinet at age 12. Before he was out of his teens, he had become a familiar presence in the nightclubs on Bourbon Street.
“When I was a high school senior, my history teacher asked me why I didn’t study more,” he wrote in 2001, in the notes of a CD anthology of his recordings from the 1950s and 1960s. “I answered that I was too busy playing clarinet every night, and when I told him I was making scale — about $125 a week — he said that was more than he made and I should play full time. I guess I was a professional from that point on.”
Continue reading the main story
In 1950, after some local success as a sideman, Mr. Fountain formed his own band, the Basin Street Six, with the trumpeter George Girard. “We clowned around a lot with that group,” he recalled, “but most of the time we played good music.”
The Basin Street Six broke up in 1954, and he then worked briefly with the Dukes of Dixieland in Chicago before teaming with the trumpeter Al Hirt to lead a band that had a successful extended engagement at a New Orleans nightclub, Dan Levy’s Pier 600.

Pete Fountain at the New Orleans Jazz and Heritage Festival in 2009. He lived away from New Orleans for only two years. Cheryl Gerber/Associated Press
A talent scout for Mr. Welk heard him there in 1957 and flew him to Los Angeles for the first of his many featured appearances on Mr. Welk’s popular ABC variety show. He soon moved to Los Angeles, but he moved back home after two years. It was the only time in his life that he was away from the New Orleans area for a significant period.
While living in Los Angeles, Mr. Fountain began a long association with Coral Records. Most of his albums for the label were closer to instrumental pop than to traditional jazz, and the critics were unimpressed, but sales were healthy.
He is survived by his wife, Beverly; a daughter, Darah Fountain Harrell; two sons, Kevin and Jeffery; a sister, Del Materne, six grandchildren; and five great-grandchildren.
In 1960, shortly after returning to New Orleans, Mr. Fountain bought a local nightclub, the French Quarter Inn, and began a residency there with a small group. Eight years later, he opened a larger room on Bourbon Street, Pete’s Place. The club moved to the Hotel Riverside in 1977 and remained in business until he reluctantly shuttered it in 2003, citing a decline in tourism after the terrorist attacks of Sept. 11, 2001.
“I needed a change. I didn’t want it, but I needed it,” he told The Advocate, a newspaper in Baton Rouge, La. “It’s been a real good ride, and we’ve still got a lot of riding to do.” He continued to perform regularly at a casino in nearby Bay St. Louis, Miss., for many years.
Mr. Fountain struggled to get his life and career in order after Hurricane Katrina in 2005. The roof was blown off his house in New Orleans; a second house, in Bay St. Louis, was destroyed. Most of his possessions were lost. Over the next year and a half, by his estimate, he moved eight times.
Continue reading the main story
He was hospitalized shortly after the hurricane, complaining of dizziness and other symptoms. He later told The Associated Press that doctors could find nothing physically wrong with him, and he attributed his illness to “depression about all the stuff that happened.”
His health problems caused Mr. Fountain to miss Mardi Gras in 2006; it was the first time in 46 years that his whimsically named Half-Fast Walking Club participated in the festivities without him. Shortly afterward, he suffered a heart attack and underwent quadruple bypass surgery. But he was well enough to perform at the Jazz and Heritage Festival that May (his cardiologist was in attendance in case of an emergency), and despite continuing health problems, he remained a mainstay of that festival, and of the city itself, until 2013.
His performance at the 2013 Jazz and Heritage Festival turned out to be his swan song. “Last year was his last public performance,” Mr. Harrell announced shortly before the 2014 festival. “He’s fully retired now.”
Correction: August 6, 2016
An earlier version of this obituary misstated part of the name of a group Mr. Fountain led at Mardi Gras for many years. It is the Half-Fast Walking Club, not Marching Club.

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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269 State Route 94 South
Warwick, Ny 10990
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