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Pete Fountain, a Clarinetist Known for His High-Spirited New Orleans Jazz, Is Dead at 86 – The New York Times
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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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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)
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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USA
New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned | Music | theadvocate.com
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http://www.theadvocate.com/new_orleans/entertainment_life/music/article_36cf33fa-5bd8-11e6-96da-6f4e15f54c5d.html
New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned
Pete Fountain, the iconic traditional jazz clarinetist whose sweet sound and merry spirit personified New Orleans for millions of fans, died early Saturday after a decade of declining health. He was 86.
For more than half a century, Fountain loomed large over the city’s cultural landscape, from music to Mardi Gras to Bourbon Street.
His lush, swinging clarinet tone was instantly identifiable with his hometown. His recordings of “Just a Closer Walk With Thee” and “Basin Street Blues” are widely considered to be among the quintessential versions. Three of his dozens of albums sold more than a half-million copies apiece.
He represented Dixieland jazz on an international stage, thanks in part to a high-profile role on “The Lawrence Welk Show” and 59 appearances on “The Tonight Show” during the Johnny Carson era. He entertained four presidents and a pope.
Despite his fame, his fondness for fun never waned. An abundance of self-deprecating one-liners and wisecracks — “My wife should have left me on the honeymoon” was a favorite, as was “I used to be taller” — were part of his irrepressible character.
Along the way, he hung out with everyone from Louis Armstrong to Dolly Parton to Hank Williams Jr. In general, he lived life large as Mr. New Orleans, the unofficial ambassador of good-time New Orleans jazz.
“It snuck up on me,” Fountain once said of fame. “I didn’t look for it. I never did strive for anything. Through the years I just wanted to play. I enjoy playing. When you enjoy playing, and your clarinet is singing, it’s stealing. You feel like, ‘They give me money to do this?’
“But some nights when it’s not working, you say, ‘Boy, I wish I had taken over my daddy’s beer route.'”
Benny Harrell, Fountain’s son-in-law and manager, said Fountain died early Saturday morning of heart failure at a hospice facility in New Orleans.
“His body gave out on him, but music was still in him,” Harrell said. Even as he napped during his final days in hospice, his fingers and feet still moved with deliberate purpose. “You could see he was hitting notes with his fingers, and his foot was keeping time,” Harrell said.
“It’s a sad day for his family, and it’s sad to for all of New Orleans. Pete and his clarinet brought a lot of love and music to the world. He will greatly be missed.”
Growing up as the son of a Dixie beer truck driver, Pierre Dewey LaFontaine Jr. first took up the clarinet to strengthen his weak lungs. At Warren Easton High School, he joined the marching band.
He idolized the great Benny Goodman, and listened to New Orleans clarinetists Irving Fazola and George Lewis. As a teenage clarinetist, Fountain sought to combine the fat, bluesy tone of Fazola with Goodman’s drive, swing and technique.
Related
In his over 60 years as a performer, jazz clarinetist Pete Fountain played for impressive company.
By 15, he had already turned pro, working several nights a week on Bourbon Street. He quit Warren Easton during his senior year – he kept falling asleep in class, and his $150 weekly income already exceeded his teacher’s salary – to play music full time. Many years later, Warren Easton awarded him an honorary diploma.
As a member of the Basin Street Six, his reputation as an especially hot clarinetist grew. In 1957, celebrity bandleader Lawrence Welk offered Fountain a spot in his big band. So Fountain packed up his family and moved to Los Angeles.
Every Sunday evening, ABC-TV beamed “The Lawrence Welk Show” in black-and-white to millions of living rooms. As the featured soloist, Fountain was soon one of the most famous jazz musicians in the country. Initially, he sported a receding hairline, a prominent chinstrap of a goatee, and thick-framed glasses. Welk’s people convinced him to don a toupee, ditch the glasses and moderate the goatee.
The straight-laced Welk didn’t much care for Fountain’s drinking, but couldn’t deny the mischievous young clarinetist’s talent. Even while suffering a hangover, Fountain proudly noted years later, he rose to the challenge whenever Welk called for a solo.
“He kept me sober — damn near killed me,” Fountain joked. “Every time they make rules to a guy from New Orleans, he’ll break it. Instead of going to the bar and just getting a drink, I’d get a double.”
Musical differences and homesickness led to Fountain leaving Welk’s employ and moving back to New Orleans in 1959. The following year, he released “Pete Fountain’s New Orleans,” the gold standard for Dixieland jazz albums.
Saddened by the passing of Pete Fountain, we have lost one of the jazz greats. His music will live on forever. RIP pic.twitter.com/EJjguNT7tY (https://t.co/EJjguNT7tY)
— Mitch Landrieu (@MayorLandrieu) August 6, 2016 (https://twitter.com/MayorLandrieu/status/761973415527845888)
In 1960, he also opened his first nightclub at 800 Bourbon Street; he later moved to a larger room at 231 Bourbon.
Trumpeter Al Hirt, a friend who, like Fountain, briefly worked as an exterminator to make ends meet, had his own Bourbon Street club a few doors down. Together, Fountain and Hirt were the faces of Bourbon Street jazz in its heyday.
Fountain loved the action. “I went to McDonogh 28 (grade school), Warren Easton and the conservatory of Bourbon Street,” he said.
By his own admission, the raising of his three children was largely left to his wife, Beverly, whom he married in 1951. He spent many weekends recovering from the “Jack Daniels flu” or the “vodka flu.” Such were the hazards of the conservatory of Bourbon Street.
President Bill Clinton, in a speech during Hurricane Katrina 10th anniversary commemorations in 2015, recalled traveling to New Orleans as a teenager in the 1960s with his mother. They wanted to hear Fountain, but Clinton was too young to be admitted to a Bourbon Street bar. However, he spotted Fountain in his car outside the club and knocked on the window. Fountain made sure Clinton got in to see the show.
Fountain appeared at the 1969 event that was a precursor to the New Orleans Jazz and Heritage Festival. At the first, official Jazz Fest, in 1970, he headlined a nighttime concert aboard a riverboat. He rarely missed a Jazz Fest for the next 40 years, even as he flew off to lucrative corporate gigs around the country.
His albums routinely sold more than 100,000 copies. Never an astute businessman, he made and lost multiple fortunes. Failed ventures included a hot dog restaurant in Mississippi dubbed Peter’s Wieners. Undaunted, he moved on.
In 1977, the new Hilton Riverside hotel customized a third floor space for Fountain. Equal parts New Orleans bordello and Las Vegas lounge, it featured crimson velvet walls, red vinyl hand rails and multi-tiered seating.
For 26 years, it was Fountain’s clubhouse. Such contemporaries as Bob Hope, comedian Don Rickles and “Tonight Show” bandleader Doc Severinsen stopped by to join in the fun. At the start of every show, the gold curtain parted as the emcee called out, “Ladies and gentlemen, will you please welcome Mr. New Orleans, Pete Fountain!”
The good times were not confined to his club. Inspired by the Jefferson City Buzzards and other old-line Mardi Gras marching organizations, Fountain and some friends founded the Half-Fast Walking Club in 1960. It was Beverly who suggested the name, which clearly mandated “walking,” not “marching.”
“We can’t march,” Fountain once said. “If we marched, we’d die. We’d last about four blocks.”
Setting out from Commander’s Palace at 7 a.m., Fountain would “toot and scoot” with his band of merry men decked out in matching themed customs – pirates, Vikings, Romans, Egyptians, etc. One year, Fountain was a prince and his men were frogs. Another time, he sported a tutu.
Related
Beloved New Orleans clarinetist Pete Fountain died early Saturday morning.
Bound for the French Quarter ahead of the Zulu parade, they made numerous stops for “refreshments.” Along the way they dispensed paper flowers, kisses and jazz to those who arrived early on the St. Charles Avenue parade route.
In recent years, when he could no longer walk the route, Fountain rode aboard a customized bandwagon, still tootin’ even if he could no longer scoot.
When Pope John Paul II celebrated Mass for a massive crowd on the New Orleans lakefront in 1987, Fountain serenaded him with “Just a Closer Walk With Thee.” He considered playing for the pope a highlight of a career that included multiple White House performances and two Super Bowl halftime shows.
His gradual withdrawal from the spotlight was as graceful as his clarinet.
With his lease at the Hilton set to expire in 2003, he decided to close his nightclub. He was ready to be rid of the pressures and responsibilities of running his own club; his core audience, too, was aging, and not as inclined to spend nights on the town. For his final performance at the Hilton, he shared the stage with a handful of guests and old friends, including coroner/trumpeter Frank Minyard.
Still wanting to play, he booked himself a couple nights a month at a casino near his three-story, 10,000-square-foot vacation home on the waterfront in Bay St. Louis, Mississippi.
That home is where he and Beverly intended to ride out Hurricane Katrina. At the last minute, they evacuated to an inland motel in Mississippi. The decision saved their lives: Their beloved estate on the bay was obliterated by storm surge, washed away with the career’s worth of memorabilia stored inside.
They couple eventually returned to their longtime residence in New Orleans’ Lake Vista neighborhood, near Lake Pontchartrain. It suffered roof damage, but did not flood.
Following Katrina, his health took a turn for the worse. Emergency bypass surgery in 2006 caused him to miss the Half-Fast Walking Club’s annual Mardi Gras morning ramble for the first time in 45 years, much to his dismay.
He rallied to perform at the 2006 Jazz Fest, the first after Katrina, with his cardiologist in attendance — just in case.
Months later, two strokes, one minor, one more serious, made speaking difficult for him. But he could still make his clarinet sing: He was the featured attraction at the 2008 French Quarter Festival.
He was hospitalized with pneumonia in early 2013. He did not feel well enough to sit in with cornetist Connie Jones, a veteran of Fountain’s bands of the 1960s and ’70s, at that spring’s French Quarter Festival.
He had always said that, when he could no longer “toot” to his own satisfaction, he’d hang up his horn. His farewell public performance turned out to be in the Economy Hall Tent at the 2013 New Orleans Jazz Fest.
He did not announce it as such, knowing the tent would be full regardless. The overflow crowd broke out in spontaneous second-lines and showered Fountain with adoration. Each time he raised the clarinet to his mouth, scores of cellphones snapped photographs.
The guests onstage included clarinetist Tim Laughlin, whom Fountain considered his protege, and his adult granddaughter Danielle Scheib, who strummed a washboard. A 7-year-old great-granddaughter, Isabella “Izzy” Harrell, sang “You Are My Sunshine.” Afterward, a photographer caught Fountain wiping a tear from his eye.
Survivors include his wife, Beverly; two sons, Jeff and Kevin; a daughter, Darah Fountain Harrell; six grandchildren; and five great-grandchildren.
Arrangements are pending. A funeral Mass is being planned for St. Louis Cathedral, to be followed by a second-line parade.
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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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
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New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned | Music | theadvocate.com
http://www.jazzpromoservices.com/
http://www.theadvocate.com/new_orleans/entertainment_life/music/article_36cf33fa-5bd8-11e6-96da-6f4e15f54c5d.html
New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned
Pete Fountain, the iconic traditional jazz clarinetist whose sweet sound and merry spirit personified New Orleans for millions of fans, died early Saturday after a decade of declining health. He was 86.
For more than half a century, Fountain loomed large over the city’s cultural landscape, from music to Mardi Gras to Bourbon Street.
His lush, swinging clarinet tone was instantly identifiable with his hometown. His recordings of “Just a Closer Walk With Thee” and “Basin Street Blues” are widely considered to be among the quintessential versions. Three of his dozens of albums sold more than a half-million copies apiece.
He represented Dixieland jazz on an international stage, thanks in part to a high-profile role on “The Lawrence Welk Show” and 59 appearances on “The Tonight Show” during the Johnny Carson era. He entertained four presidents and a pope.
Despite his fame, his fondness for fun never waned. An abundance of self-deprecating one-liners and wisecracks — “My wife should have left me on the honeymoon” was a favorite, as was “I used to be taller” — were part of his irrepressible character.
Along the way, he hung out with everyone from Louis Armstrong to Dolly Parton to Hank Williams Jr. In general, he lived life large as Mr. New Orleans, the unofficial ambassador of good-time New Orleans jazz.
“It snuck up on me,” Fountain once said of fame. “I didn’t look for it. I never did strive for anything. Through the years I just wanted to play. I enjoy playing. When you enjoy playing, and your clarinet is singing, it’s stealing. You feel like, ‘They give me money to do this?’
“But some nights when it’s not working, you say, ‘Boy, I wish I had taken over my daddy’s beer route.'”
Benny Harrell, Fountain’s son-in-law and manager, said Fountain died early Saturday morning of heart failure at a hospice facility in New Orleans.
“His body gave out on him, but music was still in him,” Harrell said. Even as he napped during his final days in hospice, his fingers and feet still moved with deliberate purpose. “You could see he was hitting notes with his fingers, and his foot was keeping time,” Harrell said.
“It’s a sad day for his family, and it’s sad to for all of New Orleans. Pete and his clarinet brought a lot of love and music to the world. He will greatly be missed.”
Growing up as the son of a Dixie beer truck driver, Pierre Dewey LaFontaine Jr. first took up the clarinet to strengthen his weak lungs. At Warren Easton High School, he joined the marching band.
He idolized the great Benny Goodman, and listened to New Orleans clarinetists Irving Fazola and George Lewis. As a teenage clarinetist, Fountain sought to combine the fat, bluesy tone of Fazola with Goodman’s drive, swing and technique.
Related
In his over 60 years as a performer, jazz clarinetist Pete Fountain played for impressive company.
By 15, he had already turned pro, working several nights a week on Bourbon Street. He quit Warren Easton during his senior year – he kept falling asleep in class, and his $150 weekly income already exceeded his teacher’s salary – to play music full time. Many years later, Warren Easton awarded him an honorary diploma.
As a member of the Basin Street Six, his reputation as an especially hot clarinetist grew. In 1957, celebrity bandleader Lawrence Welk offered Fountain a spot in his big band. So Fountain packed up his family and moved to Los Angeles.
Every Sunday evening, ABC-TV beamed “The Lawrence Welk Show” in black-and-white to millions of living rooms. As the featured soloist, Fountain was soon one of the most famous jazz musicians in the country. Initially, he sported a receding hairline, a prominent chinstrap of a goatee, and thick-framed glasses. Welk’s people convinced him to don a toupee, ditch the glasses and moderate the goatee.
The straight-laced Welk didn’t much care for Fountain’s drinking, but couldn’t deny the mischievous young clarinetist’s talent. Even while suffering a hangover, Fountain proudly noted years later, he rose to the challenge whenever Welk called for a solo.
“He kept me sober — damn near killed me,” Fountain joked. “Every time they make rules to a guy from New Orleans, he’ll break it. Instead of going to the bar and just getting a drink, I’d get a double.”
Musical differences and homesickness led to Fountain leaving Welk’s employ and moving back to New Orleans in 1959. The following year, he released “Pete Fountain’s New Orleans,” the gold standard for Dixieland jazz albums.
Saddened by the passing of Pete Fountain, we have lost one of the jazz greats. His music will live on forever. RIP pic.twitter.com/EJjguNT7tY (https://t.co/EJjguNT7tY)
— Mitch Landrieu (@MayorLandrieu) August 6, 2016 (https://twitter.com/MayorLandrieu/status/761973415527845888)
In 1960, he also opened his first nightclub at 800 Bourbon Street; he later moved to a larger room at 231 Bourbon.
Trumpeter Al Hirt, a friend who, like Fountain, briefly worked as an exterminator to make ends meet, had his own Bourbon Street club a few doors down. Together, Fountain and Hirt were the faces of Bourbon Street jazz in its heyday.
Fountain loved the action. “I went to McDonogh 28 (grade school), Warren Easton and the conservatory of Bourbon Street,” he said.
By his own admission, the raising of his three children was largely left to his wife, Beverly, whom he married in 1951. He spent many weekends recovering from the “Jack Daniels flu” or the “vodka flu.” Such were the hazards of the conservatory of Bourbon Street.
President Bill Clinton, in a speech during Hurricane Katrina 10th anniversary commemorations in 2015, recalled traveling to New Orleans as a teenager in the 1960s with his mother. They wanted to hear Fountain, but Clinton was too young to be admitted to a Bourbon Street bar. However, he spotted Fountain in his car outside the club and knocked on the window. Fountain made sure Clinton got in to see the show.
Fountain appeared at the 1969 event that was a precursor to the New Orleans Jazz and Heritage Festival. At the first, official Jazz Fest, in 1970, he headlined a nighttime concert aboard a riverboat. He rarely missed a Jazz Fest for the next 40 years, even as he flew off to lucrative corporate gigs around the country.
His albums routinely sold more than 100,000 copies. Never an astute businessman, he made and lost multiple fortunes. Failed ventures included a hot dog restaurant in Mississippi dubbed Peter’s Wieners. Undaunted, he moved on.
In 1977, the new Hilton Riverside hotel customized a third floor space for Fountain. Equal parts New Orleans bordello and Las Vegas lounge, it featured crimson velvet walls, red vinyl hand rails and multi-tiered seating.
For 26 years, it was Fountain’s clubhouse. Such contemporaries as Bob Hope, comedian Don Rickles and “Tonight Show” bandleader Doc Severinsen stopped by to join in the fun. At the start of every show, the gold curtain parted as the emcee called out, “Ladies and gentlemen, will you please welcome Mr. New Orleans, Pete Fountain!”
The good times were not confined to his club. Inspired by the Jefferson City Buzzards and other old-line Mardi Gras marching organizations, Fountain and some friends founded the Half-Fast Walking Club in 1960. It was Beverly who suggested the name, which clearly mandated “walking,” not “marching.”
“We can’t march,” Fountain once said. “If we marched, we’d die. We’d last about four blocks.”
Setting out from Commander’s Palace at 7 a.m., Fountain would “toot and scoot” with his band of merry men decked out in matching themed customs – pirates, Vikings, Romans, Egyptians, etc. One year, Fountain was a prince and his men were frogs. Another time, he sported a tutu.
Related
Beloved New Orleans clarinetist Pete Fountain died early Saturday morning.
Bound for the French Quarter ahead of the Zulu parade, they made numerous stops for “refreshments.” Along the way they dispensed paper flowers, kisses and jazz to those who arrived early on the St. Charles Avenue parade route.
In recent years, when he could no longer walk the route, Fountain rode aboard a customized bandwagon, still tootin’ even if he could no longer scoot.
When Pope John Paul II celebrated Mass for a massive crowd on the New Orleans lakefront in 1987, Fountain serenaded him with “Just a Closer Walk With Thee.” He considered playing for the pope a highlight of a career that included multiple White House performances and two Super Bowl halftime shows.
His gradual withdrawal from the spotlight was as graceful as his clarinet.
With his lease at the Hilton set to expire in 2003, he decided to close his nightclub. He was ready to be rid of the pressures and responsibilities of running his own club; his core audience, too, was aging, and not as inclined to spend nights on the town. For his final performance at the Hilton, he shared the stage with a handful of guests and old friends, including coroner/trumpeter Frank Minyard.
Still wanting to play, he booked himself a couple nights a month at a casino near his three-story, 10,000-square-foot vacation home on the waterfront in Bay St. Louis, Mississippi.
That home is where he and Beverly intended to ride out Hurricane Katrina. At the last minute, they evacuated to an inland motel in Mississippi. The decision saved their lives: Their beloved estate on the bay was obliterated by storm surge, washed away with the career’s worth of memorabilia stored inside.
They couple eventually returned to their longtime residence in New Orleans’ Lake Vista neighborhood, near Lake Pontchartrain. It suffered roof damage, but did not flood.
Following Katrina, his health took a turn for the worse. Emergency bypass surgery in 2006 caused him to miss the Half-Fast Walking Club’s annual Mardi Gras morning ramble for the first time in 45 years, much to his dismay.
He rallied to perform at the 2006 Jazz Fest, the first after Katrina, with his cardiologist in attendance — just in case.
Months later, two strokes, one minor, one more serious, made speaking difficult for him. But he could still make his clarinet sing: He was the featured attraction at the 2008 French Quarter Festival.
He was hospitalized with pneumonia in early 2013. He did not feel well enough to sit in with cornetist Connie Jones, a veteran of Fountain’s bands of the 1960s and ’70s, at that spring’s French Quarter Festival.
He had always said that, when he could no longer “toot” to his own satisfaction, he’d hang up his horn. His farewell public performance turned out to be in the Economy Hall Tent at the 2013 New Orleans Jazz Fest.
He did not announce it as such, knowing the tent would be full regardless. The overflow crowd broke out in spontaneous second-lines and showered Fountain with adoration. Each time he raised the clarinet to his mouth, scores of cellphones snapped photographs.
The guests onstage included clarinetist Tim Laughlin, whom Fountain considered his protege, and his adult granddaughter Danielle Scheib, who strummed a washboard. A 7-year-old great-granddaughter, Isabella “Izzy” Harrell, sang “You Are My Sunshine.” Afterward, a photographer caught Fountain wiping a tear from his eye.
Survivors include his wife, Beverly; two sons, Jeff and Kevin; a daughter, Darah Fountain Harrell; six grandchildren; and five great-grandchildren.
Arrangements are pending. A funeral Mass is being planned for St. Louis Cathedral, to be followed by a second-line parade.
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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New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned | Music | theadvocate.com
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http://www.theadvocate.com/new_orleans/entertainment_life/music/article_36cf33fa-5bd8-11e6-96da-6f4e15f54c5d.html
New Orleans jazz clarinet legend Pete Fountain dies at 86; ‘big jazz funeral’ being planned
Pete Fountain, the iconic traditional jazz clarinetist whose sweet sound and merry spirit personified New Orleans for millions of fans, died early Saturday after a decade of declining health. He was 86.
For more than half a century, Fountain loomed large over the city’s cultural landscape, from music to Mardi Gras to Bourbon Street.
His lush, swinging clarinet tone was instantly identifiable with his hometown. His recordings of “Just a Closer Walk With Thee” and “Basin Street Blues” are widely considered to be among the quintessential versions. Three of his dozens of albums sold more than a half-million copies apiece.
He represented Dixieland jazz on an international stage, thanks in part to a high-profile role on “The Lawrence Welk Show” and 59 appearances on “The Tonight Show” during the Johnny Carson era. He entertained four presidents and a pope.
Despite his fame, his fondness for fun never waned. An abundance of self-deprecating one-liners and wisecracks — “My wife should have left me on the honeymoon” was a favorite, as was “I used to be taller” — were part of his irrepressible character.
Along the way, he hung out with everyone from Louis Armstrong to Dolly Parton to Hank Williams Jr. In general, he lived life large as Mr. New Orleans, the unofficial ambassador of good-time New Orleans jazz.
“It snuck up on me,” Fountain once said of fame. “I didn’t look for it. I never did strive for anything. Through the years I just wanted to play. I enjoy playing. When you enjoy playing, and your clarinet is singing, it’s stealing. You feel like, ‘They give me money to do this?’
“But some nights when it’s not working, you say, ‘Boy, I wish I had taken over my daddy’s beer route.'”
Benny Harrell, Fountain’s son-in-law and manager, said Fountain died early Saturday morning of heart failure at a hospice facility in New Orleans.
“His body gave out on him, but music was still in him,” Harrell said. Even as he napped during his final days in hospice, his fingers and feet still moved with deliberate purpose. “You could see he was hitting notes with his fingers, and his foot was keeping time,” Harrell said.
“It’s a sad day for his family, and it’s sad to for all of New Orleans. Pete and his clarinet brought a lot of love and music to the world. He will greatly be missed.”
Growing up as the son of a Dixie beer truck driver, Pierre Dewey LaFontaine Jr. first took up the clarinet to strengthen his weak lungs. At Warren Easton High School, he joined the marching band.
He idolized the great Benny Goodman, and listened to New Orleans clarinetists Irving Fazola and George Lewis. As a teenage clarinetist, Fountain sought to combine the fat, bluesy tone of Fazola with Goodman’s drive, swing and technique.
Related
In his over 60 years as a performer, jazz clarinetist Pete Fountain played for impressive company.
By 15, he had already turned pro, working several nights a week on Bourbon Street. He quit Warren Easton during his senior year – he kept falling asleep in class, and his $150 weekly income already exceeded his teacher’s salary – to play music full time. Many years later, Warren Easton awarded him an honorary diploma.
As a member of the Basin Street Six, his reputation as an especially hot clarinetist grew. In 1957, celebrity bandleader Lawrence Welk offered Fountain a spot in his big band. So Fountain packed up his family and moved to Los Angeles.
Every Sunday evening, ABC-TV beamed “The Lawrence Welk Show” in black-and-white to millions of living rooms. As the featured soloist, Fountain was soon one of the most famous jazz musicians in the country. Initially, he sported a receding hairline, a prominent chinstrap of a goatee, and thick-framed glasses. Welk’s people convinced him to don a toupee, ditch the glasses and moderate the goatee.
The straight-laced Welk didn’t much care for Fountain’s drinking, but couldn’t deny the mischievous young clarinetist’s talent. Even while suffering a hangover, Fountain proudly noted years later, he rose to the challenge whenever Welk called for a solo.
“He kept me sober — damn near killed me,” Fountain joked. “Every time they make rules to a guy from New Orleans, he’ll break it. Instead of going to the bar and just getting a drink, I’d get a double.”
Musical differences and homesickness led to Fountain leaving Welk’s employ and moving back to New Orleans in 1959. The following year, he released “Pete Fountain’s New Orleans,” the gold standard for Dixieland jazz albums.
Saddened by the passing of Pete Fountain, we have lost one of the jazz greats. His music will live on forever. RIP pic.twitter.com/EJjguNT7tY (https://t.co/EJjguNT7tY)
— Mitch Landrieu (@MayorLandrieu) August 6, 2016 (https://twitter.com/MayorLandrieu/status/761973415527845888)
In 1960, he also opened his first nightclub at 800 Bourbon Street; he later moved to a larger room at 231 Bourbon.
Trumpeter Al Hirt, a friend who, like Fountain, briefly worked as an exterminator to make ends meet, had his own Bourbon Street club a few doors down. Together, Fountain and Hirt were the faces of Bourbon Street jazz in its heyday.
Fountain loved the action. “I went to McDonogh 28 (grade school), Warren Easton and the conservatory of Bourbon Street,” he said.
By his own admission, the raising of his three children was largely left to his wife, Beverly, whom he married in 1951. He spent many weekends recovering from the “Jack Daniels flu” or the “vodka flu.” Such were the hazards of the conservatory of Bourbon Street.
President Bill Clinton, in a speech during Hurricane Katrina 10th anniversary commemorations in 2015, recalled traveling to New Orleans as a teenager in the 1960s with his mother. They wanted to hear Fountain, but Clinton was too young to be admitted to a Bourbon Street bar. However, he spotted Fountain in his car outside the club and knocked on the window. Fountain made sure Clinton got in to see the show.
Fountain appeared at the 1969 event that was a precursor to the New Orleans Jazz and Heritage Festival. At the first, official Jazz Fest, in 1970, he headlined a nighttime concert aboard a riverboat. He rarely missed a Jazz Fest for the next 40 years, even as he flew off to lucrative corporate gigs around the country.
His albums routinely sold more than 100,000 copies. Never an astute businessman, he made and lost multiple fortunes. Failed ventures included a hot dog restaurant in Mississippi dubbed Peter’s Wieners. Undaunted, he moved on.
In 1977, the new Hilton Riverside hotel customized a third floor space for Fountain. Equal parts New Orleans bordello and Las Vegas lounge, it featured crimson velvet walls, red vinyl hand rails and multi-tiered seating.
For 26 years, it was Fountain’s clubhouse. Such contemporaries as Bob Hope, comedian Don Rickles and “Tonight Show” bandleader Doc Severinsen stopped by to join in the fun. At the start of every show, the gold curtain parted as the emcee called out, “Ladies and gentlemen, will you please welcome Mr. New Orleans, Pete Fountain!”
The good times were not confined to his club. Inspired by the Jefferson City Buzzards and other old-line Mardi Gras marching organizations, Fountain and some friends founded the Half-Fast Walking Club in 1960. It was Beverly who suggested the name, which clearly mandated “walking,” not “marching.”
“We can’t march,” Fountain once said. “If we marched, we’d die. We’d last about four blocks.”
Setting out from Commander’s Palace at 7 a.m., Fountain would “toot and scoot” with his band of merry men decked out in matching themed customs – pirates, Vikings, Romans, Egyptians, etc. One year, Fountain was a prince and his men were frogs. Another time, he sported a tutu.
Related
Beloved New Orleans clarinetist Pete Fountain died early Saturday morning.
Bound for the French Quarter ahead of the Zulu parade, they made numerous stops for “refreshments.” Along the way they dispensed paper flowers, kisses and jazz to those who arrived early on the St. Charles Avenue parade route.
In recent years, when he could no longer walk the route, Fountain rode aboard a customized bandwagon, still tootin’ even if he could no longer scoot.
When Pope John Paul II celebrated Mass for a massive crowd on the New Orleans lakefront in 1987, Fountain serenaded him with “Just a Closer Walk With Thee.” He considered playing for the pope a highlight of a career that included multiple White House performances and two Super Bowl halftime shows.
His gradual withdrawal from the spotlight was as graceful as his clarinet.
With his lease at the Hilton set to expire in 2003, he decided to close his nightclub. He was ready to be rid of the pressures and responsibilities of running his own club; his core audience, too, was aging, and not as inclined to spend nights on the town. For his final performance at the Hilton, he shared the stage with a handful of guests and old friends, including coroner/trumpeter Frank Minyard.
Still wanting to play, he booked himself a couple nights a month at a casino near his three-story, 10,000-square-foot vacation home on the waterfront in Bay St. Louis, Mississippi.
That home is where he and Beverly intended to ride out Hurricane Katrina. At the last minute, they evacuated to an inland motel in Mississippi. The decision saved their lives: Their beloved estate on the bay was obliterated by storm surge, washed away with the career’s worth of memorabilia stored inside.
They couple eventually returned to their longtime residence in New Orleans’ Lake Vista neighborhood, near Lake Pontchartrain. It suffered roof damage, but did not flood.
Following Katrina, his health took a turn for the worse. Emergency bypass surgery in 2006 caused him to miss the Half-Fast Walking Club’s annual Mardi Gras morning ramble for the first time in 45 years, much to his dismay.
He rallied to perform at the 2006 Jazz Fest, the first after Katrina, with his cardiologist in attendance — just in case.
Months later, two strokes, one minor, one more serious, made speaking difficult for him. But he could still make his clarinet sing: He was the featured attraction at the 2008 French Quarter Festival.
He was hospitalized with pneumonia in early 2013. He did not feel well enough to sit in with cornetist Connie Jones, a veteran of Fountain’s bands of the 1960s and ’70s, at that spring’s French Quarter Festival.
He had always said that, when he could no longer “toot” to his own satisfaction, he’d hang up his horn. His farewell public performance turned out to be in the Economy Hall Tent at the 2013 New Orleans Jazz Fest.
He did not announce it as such, knowing the tent would be full regardless. The overflow crowd broke out in spontaneous second-lines and showered Fountain with adoration. Each time he raised the clarinet to his mouth, scores of cellphones snapped photographs.
The guests onstage included clarinetist Tim Laughlin, whom Fountain considered his protege, and his adult granddaughter Danielle Scheib, who strummed a washboard. A 7-year-old great-granddaughter, Isabella “Izzy” Harrell, sang “You Are My Sunshine.” Afterward, a photographer caught Fountain wiping a tear from his eye.
Survivors include his wife, Beverly; two sons, Jeff and Kevin; a daughter, Darah Fountain Harrell; six grandchildren; and five great-grandchildren.
Arrangements are pending. A funeral Mass is being planned for St. Louis Cathedral, to be followed by a second-line parade.
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
Popcast: A Send-Off for Ben Ratliff – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/05/arts/music/popcast-a-send-off-for-ben-ratliff.html?emc=edit_tnt_20160805
Popcast: A Send-Off for Ben Ratliff
Ben Ratliff Kate Fox Reynolds
Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/08/05/arts/music/05popcast/080516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)
When I came to The Times in 2008, I arrived with my own idiosyncratic taste profile, fearful that it might not be right for the job, or the place. I fretted that I’d have to become something other than myself in order to make things work.
Ben Ratliff discusses his tenure as a music critic at The New York Times. The New York Times
Then I met Ben Ratliff.
Ben — a deeply patient thinker and writer, a model of pensive and ethical criticism — has been a music critic at the Times since 1996. Today is his last day. In those two decades, he’s been a singular voice on music: jazz, of course, but also heavy metal, hardcore, samba, fado, hip-hop, pure pop and so much more. He has carved out a path through music that’s unique and fluid, and one that reassured me that mine (completely different, and established on different terms) could be acceptable, too.
He has also been a game co-host and foil on the Popcast for the past few years, and so when it came time for a valedictory, it was only right that we sit for one final bull session. Cheers to Ben on a spectacular run, and for defending deeply dubious sound art to the very end.
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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Popcast: A Send-Off for Ben Ratliff – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/08/05/arts/music/popcast-a-send-off-for-ben-ratliff.html?emc=edit_tnt_20160805
Popcast: A Send-Off for Ben Ratliff
Ben Ratliff Kate Fox Reynolds
Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/08/05/arts/music/05popcast/080516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)
When I came to The Times in 2008, I arrived with my own idiosyncratic taste profile, fearful that it might not be right for the job, or the place. I fretted that I’d have to become something other than myself in order to make things work.
Ben Ratliff discusses his tenure as a music critic at The New York Times. The New York Times
Then I met Ben Ratliff.
Ben — a deeply patient thinker and writer, a model of pensive and ethical criticism — has been a music critic at the Times since 1996. Today is his last day. In those two decades, he’s been a singular voice on music: jazz, of course, but also heavy metal, hardcore, samba, fado, hip-hop, pure pop and so much more. He has carved out a path through music that’s unique and fluid, and one that reassured me that mine (completely different, and established on different terms) could be acceptable, too.
He has also been a game co-host and foil on the Popcast for the past few years, and so when it came time for a valedictory, it was only right that we sit for one final bull session. Cheers to Ben on a spectacular run, and for defending deeply dubious sound art to the very end.
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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Miles and Malle in Ascent: In 1956’s ‘Elevator to the Gallows,’ Trumpeter and Auteur Found their Grooves | Village Voice
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http://www.villagevoice.com/music/in-1956s-elevator-to-the-gallows-miles-and-malle-found-their-grooves-8932274?utm_source=Newsletters
In 1956’s ‘Elevator to the Gallows,’ Miles and Malle Found their Grooves
WEDNESDAY, AUGUST 3, 2016 AT 11 A.M.
BY TINA HASSANNIA (http://www.villagevoice.com/authors/tina-hassannia-8095839)
Jeanne Moreau with Miles Davis in 1957
Keystone France/Getty Images
Miles Davis had never scored a film until a serendipitous encounter with French director Louis Malle, whom he met through Boris Vian, the novelist, poet, and musician, who was the artistic director of Philips Records. In the winter of 1957, Davis’s band happened to be playing gigs in Paris at the time of Malle’s production of Elevator to the Gallows (playing August 3–11 at Film Forum); on their one night off, they recorded the entire score, starting at ten or eleven and finishing at five in the morning. The filmmaker had chosen a handful of scenes to feature music, which he played on a loop for the musicians as they improvised the tracks.
There’s a fascinating video (https://youtu.be/XQ4l4oRkh_8) of Davis solemnly watching actress Jeanne Moreau on screen as he smoothly conjures the aural atmosphere surrounding her; Richard Metzger has described it as like “watching Picasso paint.” Davis’s on-record experimentation with “modal jazz” begins here, on that night and in this score. He would further develop the sound on the groundbreaking LPs Milestones (1958) and Kind of Blue (1959).
Like Davis, Malle was looking to create something new. After assisting Robert Bresson on A Man Escaped and co-directing Jacques-Yves Cousteau’s The Silent World, Malle was impatient to direct his own film. But the timing was off; just a few years shy of the French New Wave — an explosion of creativity that brought attention and money to France’s new cineaste generation — Malle’s attempts to obtain financing for an autobiographical project failed. He was too young and inexperienced, an unsure bet.
So Malle played it safe: He made a noir. At the time, it was typical for first-time French directors to shoot a pulpy detective story (called a “polar”). Malle adapted the story of Noël Calef’s Ascenseur Pour L’Échafaud with the assistance of French writer Roger Nimier. The first-time director kept the production low-budget with the help of producer Jean Thuillier, who taught Malle how to exploit new financing rules in French film production, techniques that would later fund the innovations of the New Wave crowd. This would allow for a sizable return that would permit Malle to quickly start his next film. The artistic compromise to make a genre film worked out for the young director: By infusing his personal, art-cinema sensibilities into noir, he transcended genre. Elevator to the Gallows paved the path for an illustrious career and provided a precursor to the French New Wave, all as it introduced the world to modal jazz.
Elevator to the Gallows revolves around Florence (Moreau) and her lover Julien (Maurice Ronet), who have plotted to murder her husband, M. Carala (Jean Wall). After framing Carala’s death to look like a suicide, Julien gets stuck in his office building’s elevator, and his car is stolen by a teenage couple, Louis (Georges Poujouly) and Véronique (Yori Bertin), looking for a joyride. Florence spends the night looking for Julien, while he tries to find a way out of the suffocating elevator, and that teen couple get into their own trouble at a motel with German tourists. For all that, the film’s signature sound, Davis’s melancholic trumpet, belongs to Florence, haunting her as she ambles through the newly modernized Parisian streets, which look bleak despite all the glossy lights and shiny chrome finishes on the cars. Occasionally the city background is softened out as the camera focuses on the disoriented Moreau, with close-ups of her distraught face accompanied by Davis’s terse
wails, all painting a baneful portrait of a city too often romanticized onscreen as roaring with hip nightlife.
Elsewhere, the jazz stays quiet. Indeed, only 18 minutes of the 92-minute film feature Davis’s music. There are long unscored interludes of eerie calm, like scenes of Julien navigating every square inch of the elevator for a possible escape route and Florence getting caught in the rain and drifting through empty nightclubs. Davis employs a more upbeat tempo for Louis and Véronique’s subplot — a frivolous, glib quality in these tracks matches Louis’s cavalier attitude and Véronique’s romantic, naïve illusion that they’re on an adventure. As their encounter with the German tourists begins to sour, the jazz returns, but here the fast tempo takes on other qualities: Instead of complementing the mise-en-scène, the music becomes louder, overshadowing the flow of dialogue. Davis’s trumpet and Barney Wilen’s saxophone dance a manic tango and magnify the simmering tension between Louis and the tourists, who become wise to the teens’ fabrications.
Malle’s choice of music followed Roger Vadim’s And God Created Woman (1956), which featured Brigitte Bardot dancing to Paul Misraki’s lively jazz salsa. But it’s Davis’s score that set a precedent for the French New Wave; many of its films, including Jean-Luc Godard’s Breathless and François Truffaut’s Shoot the Piano Player, would feature musical genres that matched the spontaneity of the filmmaking. Elevator to the Gallows remains distinctive from all these: It was a transcendent congruence between two art forms navigating experimental, audacious territory. Elevator to the Gallows married a new kind of jazz to a new kind of cinema, and created something altogether sublime.
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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Miles and Malle in Ascent: In 1956’s ‘Elevator to the Gallows,’ Trumpeter and Auteur Found their Grooves | Village Voice
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http://www.villagevoice.com/music/in-1956s-elevator-to-the-gallows-miles-and-malle-found-their-grooves-8932274?utm_source=Newsletters
In 1956’s ‘Elevator to the Gallows,’ Miles and Malle Found their Grooves
WEDNESDAY, AUGUST 3, 2016 AT 11 A.M.
BY TINA HASSANNIA (http://www.villagevoice.com/authors/tina-hassannia-8095839)
Jeanne Moreau with Miles Davis in 1957
Keystone France/Getty Images
Miles Davis had never scored a film until a serendipitous encounter with French director Louis Malle, whom he met through Boris Vian, the novelist, poet, and musician, who was the artistic director of Philips Records. In the winter of 1957, Davis’s band happened to be playing gigs in Paris at the time of Malle’s production of Elevator to the Gallows (playing August 3–11 at Film Forum); on their one night off, they recorded the entire score, starting at ten or eleven and finishing at five in the morning. The filmmaker had chosen a handful of scenes to feature music, which he played on a loop for the musicians as they improvised the tracks.
There’s a fascinating video (https://youtu.be/XQ4l4oRkh_8) of Davis solemnly watching actress Jeanne Moreau on screen as he smoothly conjures the aural atmosphere surrounding her; Richard Metzger has described it as like “watching Picasso paint.” Davis’s on-record experimentation with “modal jazz” begins here, on that night and in this score. He would further develop the sound on the groundbreaking LPs Milestones (1958) and Kind of Blue (1959).
Like Davis, Malle was looking to create something new. After assisting Robert Bresson on A Man Escaped and co-directing Jacques-Yves Cousteau’s The Silent World, Malle was impatient to direct his own film. But the timing was off; just a few years shy of the French New Wave — an explosion of creativity that brought attention and money to France’s new cineaste generation — Malle’s attempts to obtain financing for an autobiographical project failed. He was too young and inexperienced, an unsure bet.
So Malle played it safe: He made a noir. At the time, it was typical for first-time French directors to shoot a pulpy detective story (called a “polar”). Malle adapted the story of Noël Calef’s Ascenseur Pour L’Échafaud with the assistance of French writer Roger Nimier. The first-time director kept the production low-budget with the help of producer Jean Thuillier, who taught Malle how to exploit new financing rules in French film production, techniques that would later fund the innovations of the New Wave crowd. This would allow for a sizable return that would permit Malle to quickly start his next film. The artistic compromise to make a genre film worked out for the young director: By infusing his personal, art-cinema sensibilities into noir, he transcended genre. Elevator to the Gallows paved the path for an illustrious career and provided a precursor to the French New Wave, all as it introduced the world to modal jazz.
Elevator to the Gallows revolves around Florence (Moreau) and her lover Julien (Maurice Ronet), who have plotted to murder her husband, M. Carala (Jean Wall). After framing Carala’s death to look like a suicide, Julien gets stuck in his office building’s elevator, and his car is stolen by a teenage couple, Louis (Georges Poujouly) and Véronique (Yori Bertin), looking for a joyride. Florence spends the night looking for Julien, while he tries to find a way out of the suffocating elevator, and that teen couple get into their own trouble at a motel with German tourists. For all that, the film’s signature sound, Davis’s melancholic trumpet, belongs to Florence, haunting her as she ambles through the newly modernized Parisian streets, which look bleak despite all the glossy lights and shiny chrome finishes on the cars. Occasionally the city background is softened out as the camera focuses on the disoriented Moreau, with close-ups of her distraught face accompanied by Davis’s terse
wails, all painting a baneful portrait of a city too often romanticized onscreen as roaring with hip nightlife.
Elsewhere, the jazz stays quiet. Indeed, only 18 minutes of the 92-minute film feature Davis’s music. There are long unscored interludes of eerie calm, like scenes of Julien navigating every square inch of the elevator for a possible escape route and Florence getting caught in the rain and drifting through empty nightclubs. Davis employs a more upbeat tempo for Louis and Véronique’s subplot — a frivolous, glib quality in these tracks matches Louis’s cavalier attitude and Véronique’s romantic, naïve illusion that they’re on an adventure. As their encounter with the German tourists begins to sour, the jazz returns, but here the fast tempo takes on other qualities: Instead of complementing the mise-en-scène, the music becomes louder, overshadowing the flow of dialogue. Davis’s trumpet and Barney Wilen’s saxophone dance a manic tango and magnify the simmering tension between Louis and the tourists, who become wise to the teens’ fabrications.
Malle’s choice of music followed Roger Vadim’s And God Created Woman (1956), which featured Brigitte Bardot dancing to Paul Misraki’s lively jazz salsa. But it’s Davis’s score that set a precedent for the French New Wave; many of its films, including Jean-Luc Godard’s Breathless and François Truffaut’s Shoot the Piano Player, would feature musical genres that matched the spontaneity of the filmmaking. Elevator to the Gallows remains distinctive from all these: It was a transcendent congruence between two art forms navigating experimental, audacious territory. Elevator to the Gallows married a new kind of jazz to a new kind of cinema, and created something altogether sublime.
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
Keep (it) Swinging: Joe Venuti – Live Shots
http://www.jazzpromoservices.com/
http://keepitswinging.blogspot.com/2016/08/joe-venuti-live-shots.html?utm_source=feedburner
Joe Venuti – Live Shots
https://2.bp.blogspot.com/-um_mT3iEaw8/V6CBasN_bHI/AAAAAAAAEWY/dHpBiuMOcuoVDrK9OjljsSg-nlthWoSDACLcB/s1600/j%2Bvenuti%2Bsmiling.jpg
Joe Venuti (1903 – 1978)
One of my all-time favorite jazz musicians is Joe Venuti, the father of jazz violin. Venuti’s collaboration with Eddie Lang as a duo or together in various band combinations is thoroughly documented on records that remain indispensable examples of high quality jazz performance and should be available in the collection of any serious jazz connoisseur. Here is the Venuti-Lang duo in a precious sequence from the 1930 film King of Jazz performing Wild Cat
Joe Venuti & Eddie Lang: Wild Cat (https://www.youtube.com/watch?v=ql3eF8cpNVs)
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[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
Following Eddie Lang’s untimely death in March 1933, Venuti conducted a tour of Europe and the UK. Upon returning to the US in 1935, he formed a big band and worked as its leader. Unfortunately, Venuti was less successful as a big band leader than as a soloist, and the band folded in 1943. After this period, Venuti transitioned from being in a position of relative prominence to one of ignominy. He moved to California in 1944 to become a studio musician with MGM, in addition to playing with other film and radio studios. He also appeared regularly on Bing Crosby’s radio show during this time. Later, he returned to a small group format and continued to play and record in and around Los Angeles, while touring frequently. Throughout much of the 1950s Venuti made records and played at clubs. This was the beginning of about a 15-year lull in his career. In the early 1960s he was mostly inactive due to his development of alcoholism. The late 1960s, however, marked a revival in his
career. During the 1970s, at the end of his life, Venuti toured extensively in Europe with a small ensemble. During this time he made his final recordings with names such as Earl Hines, George Barnes, Ross Tompkins, Dave McKenna, Marian McPartland, Scott Hamilton, Leon Redbone, and most notably Zoot Sims. Venuti continued to tour and play until his death in 1978 (excerpted info from Wikipedia, here (https://en.wikipedia.org/wiki/Joe_Venuti) )
https://1.bp.blogspot.com/-GUrSNX3ELjY/V6CCv8GcLrI/AAAAAAAAEWk/4PETzHknqZQ1rqzuWdwQ9UQ5fC011ZLeACLcB/s1600/joe%2Bvenuti_big_%2Bphoto%2Bby%2BRoberto%2BPolillo.JPG
Joe Venuti doin’ things at the violin (photo by Roberto Polillo)
Below I’ll insert some examples of Joe Venuti live performance from his late career that have been saved and uploaded at YouTube. Here are first two examples from a live concert in Copenhagen 1969. Venuti is accompanied by the Newport All Stars: George Wein (p) Barney Kessel (g) Larry Ridley (b) Don Lamond (d)
1969 (Dan) Joe Venuti & Newport All Stars w. George Wein – Sweet Georgia Brown (https://www.youtube.com/watch?v=2Xf4sU5kMUg)
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[2]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
I want to be happy – Joe Venuti 1969 (https://www.youtube.com/watch?v=o5_JNdCxDv0)
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[3]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
As mentioned above, during the 1970s Venuti toured extensively in Europe and from one of his frequent visits to Italy, here is a saved TV performance featuring Joe Venuti with Pino Calvi’s Orchestra in a Gershwin medley
Joe Venuti & Pino Calvi Orchestra “Medley Gershwin” (https://www.youtube.com/watch?v=z6Ufc9WjRac)
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[4]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
From a 1975 club date with Marian McPartland (p), Major Holley (b) and Cliff Leeman (d) Joe Venuti performs China Boy
China Boy -Joe Venuti 1975.mov (https://www.youtube.com/watch?v=IHE5Ae2kXlY)
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[5]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
Venuti was also featured in a Dick Cavett show and here showcasted yet another example of his vitality and great musical chops late in life
Joe Venuti on Dick Cavett (https://www.youtube.com/watch?v=KbjNKeIjMD8)
An error occurred.
[6]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
In 1973, filmmaker Larry Stair made a short film titled Thank You, Joe Venuti which brings you into Joe Venuti’s home, where you watch him fix himself a cup of instant coffee, sit down in his living room and then pick up his violin for some wonderful solo improvisations. He then drops in on the New Deal Rhythm Band for some swinging hot fiddle numbers. The film has been uploaded at YouTube and is inserted below in remembrance of a great artist – enjoy!
Thank You Joe Venuti! (https://www.youtube.com/watch?v=W3gAypnheyo)
An error occurred.
[7]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
—
Jo
keepitswinging.domain@gmail.com
http://www.bxbluesband.nl/media/eyeflash.gif
Retrospect Keep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d0dcfea8d6) | 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=d0dcfea8d6&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
References
1. http://www.youtube.com/watch?v=ql3eF8cpNVs
2. http://www.youtube.com/watch?v=2Xf4sU5kMUg
3. http://www.youtube.com/watch?v=o5_JNdCxDv0
4. http://www.youtube.com/watch?v=z6Ufc9WjRac
5. http://www.youtube.com/watch?v=IHE5Ae2kXlY
6. http://www.youtube.com/watch?v=KbjNKeIjMD8
7. http://www.youtube.com/watch?v=W3gAypnheyo
Keep (it) Swinging: Joe Venuti – Live Shots
http://www.jazzpromoservices.com/
http://keepitswinging.blogspot.com/2016/08/joe-venuti-live-shots.html?utm_source=feedburner
Joe Venuti – Live Shots
https://2.bp.blogspot.com/-um_mT3iEaw8/V6CBasN_bHI/AAAAAAAAEWY/dHpBiuMOcuoVDrK9OjljsSg-nlthWoSDACLcB/s1600/j%2Bvenuti%2Bsmiling.jpg
Joe Venuti (1903 – 1978)
One of my all-time favorite jazz musicians is Joe Venuti, the father of jazz violin. Venuti’s collaboration with Eddie Lang as a duo or together in various band combinations is thoroughly documented on records that remain indispensable examples of high quality jazz performance and should be available in the collection of any serious jazz connoisseur. Here is the Venuti-Lang duo in a precious sequence from the 1930 film King of Jazz performing Wild Cat
Joe Venuti & Eddie Lang: Wild Cat (https://www.youtube.com/watch?v=ql3eF8cpNVs)
An error occurred.
[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
Following Eddie Lang’s untimely death in March 1933, Venuti conducted a tour of Europe and the UK. Upon returning to the US in 1935, he formed a big band and worked as its leader. Unfortunately, Venuti was less successful as a big band leader than as a soloist, and the band folded in 1943. After this period, Venuti transitioned from being in a position of relative prominence to one of ignominy. He moved to California in 1944 to become a studio musician with MGM, in addition to playing with other film and radio studios. He also appeared regularly on Bing Crosby’s radio show during this time. Later, he returned to a small group format and continued to play and record in and around Los Angeles, while touring frequently. Throughout much of the 1950s Venuti made records and played at clubs. This was the beginning of about a 15-year lull in his career. In the early 1960s he was mostly inactive due to his development of alcoholism. The late 1960s, however, marked a revival in his
career. During the 1970s, at the end of his life, Venuti toured extensively in Europe with a small ensemble. During this time he made his final recordings with names such as Earl Hines, George Barnes, Ross Tompkins, Dave McKenna, Marian McPartland, Scott Hamilton, Leon Redbone, and most notably Zoot Sims. Venuti continued to tour and play until his death in 1978 (excerpted info from Wikipedia, here (https://en.wikipedia.org/wiki/Joe_Venuti) )
https://1.bp.blogspot.com/-GUrSNX3ELjY/V6CCv8GcLrI/AAAAAAAAEWk/4PETzHknqZQ1rqzuWdwQ9UQ5fC011ZLeACLcB/s1600/joe%2Bvenuti_big_%2Bphoto%2Bby%2BRoberto%2BPolillo.JPG
Joe Venuti doin’ things at the violin (photo by Roberto Polillo)
Below I’ll insert some examples of Joe Venuti live performance from his late career that have been saved and uploaded at YouTube. Here are first two examples from a live concert in Copenhagen 1969. Venuti is accompanied by the Newport All Stars: George Wein (p) Barney Kessel (g) Larry Ridley (b) Don Lamond (d)
1969 (Dan) Joe Venuti & Newport All Stars w. George Wein – Sweet Georgia Brown (https://www.youtube.com/watch?v=2Xf4sU5kMUg)
An error occurred.
[2]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
I want to be happy – Joe Venuti 1969 (https://www.youtube.com/watch?v=o5_JNdCxDv0)
An error occurred.
[3]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
As mentioned above, during the 1970s Venuti toured extensively in Europe and from one of his frequent visits to Italy, here is a saved TV performance featuring Joe Venuti with Pino Calvi’s Orchestra in a Gershwin medley
Joe Venuti & Pino Calvi Orchestra “Medley Gershwin” (https://www.youtube.com/watch?v=z6Ufc9WjRac)
An error occurred.
[4]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
From a 1975 club date with Marian McPartland (p), Major Holley (b) and Cliff Leeman (d) Joe Venuti performs China Boy
China Boy -Joe Venuti 1975.mov (https://www.youtube.com/watch?v=IHE5Ae2kXlY)
An error occurred.
[5]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
Venuti was also featured in a Dick Cavett show and here showcasted yet another example of his vitality and great musical chops late in life
Joe Venuti on Dick Cavett (https://www.youtube.com/watch?v=KbjNKeIjMD8)
An error occurred.
[6]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
In 1973, filmmaker Larry Stair made a short film titled Thank You, Joe Venuti which brings you into Joe Venuti’s home, where you watch him fix himself a cup of instant coffee, sit down in his living room and then pick up his violin for some wonderful solo improvisations. He then drops in on the New Deal Rhythm Band for some swinging hot fiddle numbers. The film has been uploaded at YouTube and is inserted below in remembrance of a great artist – enjoy!
Thank You Joe Venuti! (https://www.youtube.com/watch?v=W3gAypnheyo)
An error occurred.
[7]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
—
Jo
keepitswinging.domain@gmail.com
http://www.bxbluesband.nl/media/eyeflash.gif
Retrospect Keep Swinging (old) (http://keepswinging.blogspot.com/) Oscar Aleman (http://oscar-aleman.blogspot.com/) Choro Music (http://choro-music.blogspot.com/) Flexible Records (http://flexible-records.blogspot.com/) Hit of the Week-Durium (http://hitoftheweek.blogspot.com/) Friends of the Keep Swinging blog (http://keepswinging.opweb.nl/friends.htm) Keep Swinging Contributions (http://keepswinging.opweb.nl/weblog.htm)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
References
1. http://www.youtube.com/watch?v=ql3eF8cpNVs
2. http://www.youtube.com/watch?v=2Xf4sU5kMUg
3. http://www.youtube.com/watch?v=o5_JNdCxDv0
4. http://www.youtube.com/watch?v=z6Ufc9WjRac
5. http://www.youtube.com/watch?v=IHE5Ae2kXlY
6. http://www.youtube.com/watch?v=KbjNKeIjMD8
7. http://www.youtube.com/watch?v=W3gAypnheyo
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia – ABC News (Australian Broadcasting Corporation)
http://www.jazzpromoservices.com/
http://www.abc.net.au/news/2016-08-01/music-plays-on-for-jazz-legend-don-burrows/7670598
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia
endnoindex
By Ben Cheshire (http://www.abc.net.au/news/ben-cheshire/5501682)
Updated Mon at 6:12am
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516
Photo: Don Burrows and James Morrison have always shared a love of music. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516)
Veteran jazz musician Don Burrows, twice named as one of Australia’s living national treasures, has been diagnosed with dementia and now resides in a Sydney nursing home.
But the 87-year-old multi-instrumentalist is still able to play the flute — the instrument that started his music career at the age of nine.
Burrows retired to the Victorian town of Paynesville before suffering a stroke in 2013, which left him paralysed down one side.
http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518
Photo: Don Burrows, aged 50. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518)
His ability to continue to play music has amazed his doctors and fellow musicians.
“He remembers the tunes, and this seems not to be affected by the dementia,” Burrows’ general practitioner Dr George Foldes told Australian Story.
“It’s a routine that he has continued all his life, and he’s fortunate to have that as the cornerstone of his being.”
Jazz musician James Morrison, who was mentored by Burrows from the age of 16, vividly remembered the moment his old friend picked up his instrument, about two months after the stroke.
“It was like a switch flicked, and suddenly he was Don Burrows again, he was playing just like he always did,” Morrison said.
“It was like his mind snapped back into place. He didn’t get his short-term memory back, but he got his personality back.”
Morrison and his wife Judi, who is a nurse, are now Burrows’ legal guardians and have taken charge of his care.
Realising that music was the key to his recovery, they decided to move him back to Sydney, where he could be around music and the “family” of musicians he had played with all his life.
The legendary musician now lives at a nursing home close to the Morrisons on Sydney’s northern beaches, and they visit him almost daily.
Burrows also gets regular visits from former bandmates including guitarist George Golla and pianist Kevin Hunt.
Video: Jazz legend Don Burrows plays Waltzing Matilda at his nursing home in Sydney (ABC News) (http://www.abc.net.au/news/2016-08-01/jazz-legend-don-burrows-plays-waltzing-matilda/7673492)
Twice a week, he joins the nursing home choir on their regular sing-along sessions, adding his distinctive flute to classic tunes like Waltzing Matilda.
“I just think it’s good for him because it’s almost like he’s back at work, he’s playing his flute and his life’s been that,” Kevin Hunt said.
“Because he’s a musician, he needs music all day, every day.”
Morrison ‘didn’t think twice’ about helping Burrows
http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510
Photo: Don Burrows, James Morrison and his wife Judi Morrison have always been close. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510)
For Morrison, Burrows’ illness has turned the tables on their 40-year friendship.
He said meeting Burrows was the most important turning point in his life.
Burrows invited the then 16-year-old trumpeter to join his band and mentored him through a hugely successful career in Australia and overseas.
When Morrison and his wife had children, Burrows was affectionately known in their household as “Grand Don”.
So when the ageing maestro became unwell, Morrison said he did not have to think twice about helping.
“It was just a new role suddenly. Don had always looked after me. Now it was time to look after him,” Morrison said.
The legend of Burrows lives on through students
Last year, Morrison opened a school of jazz at Mount Gambier in South Australia to continue the mentoring work pioneered by Burrows.
The James Morrison Academy of Music (http://www.abc.net.au/news/2016-02-22/mount-gambier-jazz-club/7188298) offers one-year and three-year courses in jazz, in conjunction with the University of South Australia.
“And certainly whilst ever I’m around, we’ll be teaching about what Don Burrows has meant to Australian jazz,” Morrison said.
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498
Photo: A CD cover of Don Burrows and James Morrison is just one of the many pieces of memorabilia at the “Don Burrows” room at the James Morrison Academy of Music. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498)
The academy has a “Don Burrows room” full of memorabilia, including musical instruments, posters and photos.
“So much of jazz history is about Duke Ellington, Count Basie, Dizzy Gillespie. They’re all amazing musicians but they’re all from somewhere else,” Morrison said.
“It’s important for young musicians today to know that Don Burrows, another one of these greats, is from right here, and being an Australian it can make them feel like: ‘OK, I can do this too.'”
A life filled with a love of jazz
http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524
Photo: A young Don Burrows in the ABC TV studios. (ABC TV archives) (http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524)
Burrows was inspired to take up the flute in 1937 when a visiting teacher, Victor McMahon, came to his school in Bondi and showed him a B-flat flute.
As a teenager during World War II, he got his break playing in Sydney jazz bands because the war had created a shortage of musicians.
By the 1960s, he was Australia’s best-known jazz musician, receiving the first gold record for an Australian jazz recording, and instigating the first jazz course in Australia at the Sydney Conservatorium of Music.
He also presented jazz programs on television, exhibited his own black and white photographs and was a member of the Australian Saltwater Fly Fishing team.
Burrows, who often said his favourite number was number eight, will turn 88 next week, on the eighth day of the eighth month.
Topics: music (http://www.abc.net.au/news/topic/music) , human-interest (http://www.abc.net.au/news/topic/human-interest) , aged-care (http://www.abc.net.au/news/topic/aged-care) , jazz (http://www.abc.net.au/news/topic/jazz) , paynesville-3880 (http://www.abc.net.au/news/topic/paynesville-3880) , sydney-2000 (http://www.abc.net.au/news/topic/sydney-2000)
First posted Sun at 3:23pm
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=b57d02e766) | 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=b57d02e766&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
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia – ABC News (Australian Broadcasting Corporation)
http://www.jazzpromoservices.com/
http://www.abc.net.au/news/2016-08-01/music-plays-on-for-jazz-legend-don-burrows/7670598
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia
endnoindex
By Ben Cheshire (http://www.abc.net.au/news/ben-cheshire/5501682)
Updated Mon at 6:12am
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516
Photo: Don Burrows and James Morrison have always shared a love of music. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516)
Veteran jazz musician Don Burrows, twice named as one of Australia’s living national treasures, has been diagnosed with dementia and now resides in a Sydney nursing home.
But the 87-year-old multi-instrumentalist is still able to play the flute — the instrument that started his music career at the age of nine.
Burrows retired to the Victorian town of Paynesville before suffering a stroke in 2013, which left him paralysed down one side.
http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518
Photo: Don Burrows, aged 50. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518)
His ability to continue to play music has amazed his doctors and fellow musicians.
“He remembers the tunes, and this seems not to be affected by the dementia,” Burrows’ general practitioner Dr George Foldes told Australian Story.
“It’s a routine that he has continued all his life, and he’s fortunate to have that as the cornerstone of his being.”
Jazz musician James Morrison, who was mentored by Burrows from the age of 16, vividly remembered the moment his old friend picked up his instrument, about two months after the stroke.
“It was like a switch flicked, and suddenly he was Don Burrows again, he was playing just like he always did,” Morrison said.
“It was like his mind snapped back into place. He didn’t get his short-term memory back, but he got his personality back.”
Morrison and his wife Judi, who is a nurse, are now Burrows’ legal guardians and have taken charge of his care.
Realising that music was the key to his recovery, they decided to move him back to Sydney, where he could be around music and the “family” of musicians he had played with all his life.
The legendary musician now lives at a nursing home close to the Morrisons on Sydney’s northern beaches, and they visit him almost daily.
Burrows also gets regular visits from former bandmates including guitarist George Golla and pianist Kevin Hunt.
Video: Jazz legend Don Burrows plays Waltzing Matilda at his nursing home in Sydney (ABC News) (http://www.abc.net.au/news/2016-08-01/jazz-legend-don-burrows-plays-waltzing-matilda/7673492)
Twice a week, he joins the nursing home choir on their regular sing-along sessions, adding his distinctive flute to classic tunes like Waltzing Matilda.
“I just think it’s good for him because it’s almost like he’s back at work, he’s playing his flute and his life’s been that,” Kevin Hunt said.
“Because he’s a musician, he needs music all day, every day.”
Morrison ‘didn’t think twice’ about helping Burrows
http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510
Photo: Don Burrows, James Morrison and his wife Judi Morrison have always been close. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510)
For Morrison, Burrows’ illness has turned the tables on their 40-year friendship.
He said meeting Burrows was the most important turning point in his life.
Burrows invited the then 16-year-old trumpeter to join his band and mentored him through a hugely successful career in Australia and overseas.
When Morrison and his wife had children, Burrows was affectionately known in their household as “Grand Don”.
So when the ageing maestro became unwell, Morrison said he did not have to think twice about helping.
“It was just a new role suddenly. Don had always looked after me. Now it was time to look after him,” Morrison said.
The legend of Burrows lives on through students
Last year, Morrison opened a school of jazz at Mount Gambier in South Australia to continue the mentoring work pioneered by Burrows.
The James Morrison Academy of Music (http://www.abc.net.au/news/2016-02-22/mount-gambier-jazz-club/7188298) offers one-year and three-year courses in jazz, in conjunction with the University of South Australia.
“And certainly whilst ever I’m around, we’ll be teaching about what Don Burrows has meant to Australian jazz,” Morrison said.
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498
Photo: A CD cover of Don Burrows and James Morrison is just one of the many pieces of memorabilia at the “Don Burrows” room at the James Morrison Academy of Music. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498)
The academy has a “Don Burrows room” full of memorabilia, including musical instruments, posters and photos.
“So much of jazz history is about Duke Ellington, Count Basie, Dizzy Gillespie. They’re all amazing musicians but they’re all from somewhere else,” Morrison said.
“It’s important for young musicians today to know that Don Burrows, another one of these greats, is from right here, and being an Australian it can make them feel like: ‘OK, I can do this too.'”
A life filled with a love of jazz
http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524
Photo: A young Don Burrows in the ABC TV studios. (ABC TV archives) (http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524)
Burrows was inspired to take up the flute in 1937 when a visiting teacher, Victor McMahon, came to his school in Bondi and showed him a B-flat flute.
As a teenager during World War II, he got his break playing in Sydney jazz bands because the war had created a shortage of musicians.
By the 1960s, he was Australia’s best-known jazz musician, receiving the first gold record for an Australian jazz recording, and instigating the first jazz course in Australia at the Sydney Conservatorium of Music.
He also presented jazz programs on television, exhibited his own black and white photographs and was a member of the Australian Saltwater Fly Fishing team.
Burrows, who often said his favourite number was number eight, will turn 88 next week, on the eighth day of the eighth month.
Topics: music (http://www.abc.net.au/news/topic/music) , human-interest (http://www.abc.net.au/news/topic/human-interest) , aged-care (http://www.abc.net.au/news/topic/aged-care) , jazz (http://www.abc.net.au/news/topic/jazz) , paynesville-3880 (http://www.abc.net.au/news/topic/paynesville-3880) , sydney-2000 (http://www.abc.net.au/news/topic/sydney-2000)
First posted Sun at 3:23pm
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=b57d02e766) | 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=b57d02e766&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
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia – ABC News (Australian Broadcasting Corporation)
http://www.jazzpromoservices.com/
http://www.abc.net.au/news/2016-08-01/music-plays-on-for-jazz-legend-don-burrows/7670598
Don Burrows: Jazz legend who mentored James Morrison plays on, despite dementia
endnoindex
By Ben Cheshire (http://www.abc.net.au/news/ben-cheshire/5501682)
Updated Mon at 6:12am
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516
Photo: Don Burrows and James Morrison have always shared a love of music. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison/7673516)
Veteran jazz musician Don Burrows, twice named as one of Australia’s living national treasures, has been diagnosed with dementia and now resides in a Sydney nursing home.
But the 87-year-old multi-instrumentalist is still able to play the flute — the instrument that started his music career at the age of nine.
Burrows retired to the Victorian town of Paynesville before suffering a stroke in 2013, which left him paralysed down one side.
http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518
Photo: Don Burrows, aged 50. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-age-50/7673518)
His ability to continue to play music has amazed his doctors and fellow musicians.
“He remembers the tunes, and this seems not to be affected by the dementia,” Burrows’ general practitioner Dr George Foldes told Australian Story.
“It’s a routine that he has continued all his life, and he’s fortunate to have that as the cornerstone of his being.”
Jazz musician James Morrison, who was mentored by Burrows from the age of 16, vividly remembered the moment his old friend picked up his instrument, about two months after the stroke.
“It was like a switch flicked, and suddenly he was Don Burrows again, he was playing just like he always did,” Morrison said.
“It was like his mind snapped back into place. He didn’t get his short-term memory back, but he got his personality back.”
Morrison and his wife Judi, who is a nurse, are now Burrows’ legal guardians and have taken charge of his care.
Realising that music was the key to his recovery, they decided to move him back to Sydney, where he could be around music and the “family” of musicians he had played with all his life.
The legendary musician now lives at a nursing home close to the Morrisons on Sydney’s northern beaches, and they visit him almost daily.
Burrows also gets regular visits from former bandmates including guitarist George Golla and pianist Kevin Hunt.
Video: Jazz legend Don Burrows plays Waltzing Matilda at his nursing home in Sydney (ABC News) (http://www.abc.net.au/news/2016-08-01/jazz-legend-don-burrows-plays-waltzing-matilda/7673492)
Twice a week, he joins the nursing home choir on their regular sing-along sessions, adding his distinctive flute to classic tunes like Waltzing Matilda.
“I just think it’s good for him because it’s almost like he’s back at work, he’s playing his flute and his life’s been that,” Kevin Hunt said.
“Because he’s a musician, he needs music all day, every day.”
Morrison ‘didn’t think twice’ about helping Burrows
http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510
Photo: Don Burrows, James Morrison and his wife Judi Morrison have always been close. (Australian Story: Ben Cheshire) (http://www.abc.net.au/news/2016-08-01/don-burrows,-james-morrison/7673510)
For Morrison, Burrows’ illness has turned the tables on their 40-year friendship.
He said meeting Burrows was the most important turning point in his life.
Burrows invited the then 16-year-old trumpeter to join his band and mentored him through a hugely successful career in Australia and overseas.
When Morrison and his wife had children, Burrows was affectionately known in their household as “Grand Don”.
So when the ageing maestro became unwell, Morrison said he did not have to think twice about helping.
“It was just a new role suddenly. Don had always looked after me. Now it was time to look after him,” Morrison said.
The legend of Burrows lives on through students
Last year, Morrison opened a school of jazz at Mount Gambier in South Australia to continue the mentoring work pioneered by Burrows.
The James Morrison Academy of Music (http://www.abc.net.au/news/2016-02-22/mount-gambier-jazz-club/7188298) offers one-year and three-year courses in jazz, in conjunction with the University of South Australia.
“And certainly whilst ever I’m around, we’ll be teaching about what Don Burrows has meant to Australian jazz,” Morrison said.
http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498
Photo: A CD cover of Don Burrows and James Morrison is just one of the many pieces of memorabilia at the “Don Burrows” room at the James Morrison Academy of Music. (Supplied) (http://www.abc.net.au/news/2016-08-01/don-burrows-and-james-morrison-cd-cover/7673498)
The academy has a “Don Burrows room” full of memorabilia, including musical instruments, posters and photos.
“So much of jazz history is about Duke Ellington, Count Basie, Dizzy Gillespie. They’re all amazing musicians but they’re all from somewhere else,” Morrison said.
“It’s important for young musicians today to know that Don Burrows, another one of these greats, is from right here, and being an Australian it can make them feel like: ‘OK, I can do this too.'”
A life filled with a love of jazz
http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524
Photo: A young Don Burrows in the ABC TV studios. (ABC TV archives) (http://www.abc.net.au/news/2016-08-01/abc-tv-archives-photo-of-don-burrows-holding-saxophone-in-studi/7673524)
Burrows was inspired to take up the flute in 1937 when a visiting teacher, Victor McMahon, came to his school in Bondi and showed him a B-flat flute.
As a teenager during World War II, he got his break playing in Sydney jazz bands because the war had created a shortage of musicians.
By the 1960s, he was Australia’s best-known jazz musician, receiving the first gold record for an Australian jazz recording, and instigating the first jazz course in Australia at the Sydney Conservatorium of Music.
He also presented jazz programs on television, exhibited his own black and white photographs and was a member of the Australian Saltwater Fly Fishing team.
Burrows, who often said his favourite number was number eight, will turn 88 next week, on the eighth day of the eighth month.
Topics: music (http://www.abc.net.au/news/topic/music) , human-interest (http://www.abc.net.au/news/topic/human-interest) , aged-care (http://www.abc.net.au/news/topic/aged-care) , jazz (http://www.abc.net.au/news/topic/jazz) , paynesville-3880 (http://www.abc.net.au/news/topic/paynesville-3880) , sydney-2000 (http://www.abc.net.au/news/topic/sydney-2000)
First posted Sun at 3:23pm
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=b57d02e766) | 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=b57d02e766&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
Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/08/tony-bennett-to-be-honored-with-empire.html
Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit
by VVN Music
Tony Bennett turns 90 on August 3 and the city of New York has a big celebration all ready.
Bennett will be honored on Wednesday when a light show set to his music will light up the Empire State Building. Designed by world-renowned lighting designer Marc Brickman, the light show will be synced live to a mix of some of Tony Bennett’s most famous hits on iHeartMedia’s 106.7 LiteFM at 8:45 p.m. EST. Songs include Because of You, Steppin’ Out (With My Baby), I Left My Heart in San Francisco and the Bennett and Lady Gaga version of Cheek to Cheek.
Gaga will be attending the lighting ceremony where she will flip the switch.
Bennett’s own artwork will also be on display in a window in the Fifth Avenue Lobby of the building from August 3 to September 6.
Anthony E. Malkin of the Empire State Realty Trust said “We always look forward to a good reason to share one of our magnificent music-to-light shows with New York City and the world. Tony Bennett is surely a great reason for show, and we are thrilled to team once again with iHeartMedia and Marc Brickman to help amplify this occasion with our own spectacular celebration of his phenomenal contribution to the world.”
Bennett said “Growing up in New York City, it is an absolute thrill to have the Empire State Building celebrate my musical career and to have this beautiful presentation of lights and music taking place on such a special day in my life.”
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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Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/08/tony-bennett-to-be-honored-with-empire.html
Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit
by VVN Music
Tony Bennett turns 90 on August 3 and the city of New York has a big celebration all ready.
Bennett will be honored on Wednesday when a light show set to his music will light up the Empire State Building. Designed by world-renowned lighting designer Marc Brickman, the light show will be synced live to a mix of some of Tony Bennett’s most famous hits on iHeartMedia’s 106.7 LiteFM at 8:45 p.m. EST. Songs include Because of You, Steppin’ Out (With My Baby), I Left My Heart in San Francisco and the Bennett and Lady Gaga version of Cheek to Cheek.
Gaga will be attending the lighting ceremony where she will flip the switch.
Bennett’s own artwork will also be on display in a window in the Fifth Avenue Lobby of the building from August 3 to September 6.
Anthony E. Malkin of the Empire State Realty Trust said “We always look forward to a good reason to share one of our magnificent music-to-light shows with New York City and the world. Tony Bennett is surely a great reason for show, and we are thrilled to team once again with iHeartMedia and Marc Brickman to help amplify this occasion with our own spectacular celebration of his phenomenal contribution to the world.”
Bennett said “Growing up in New York City, it is an absolute thrill to have the Empire State Building celebrate my musical career and to have this beautiful presentation of lights and music taking place on such a special day in my life.”
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
Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/08/tony-bennett-to-be-honored-with-empire.html
Tony Bennett to be Honored With Empire State Building Light Show and Art Exhibit
by VVN Music
Tony Bennett turns 90 on August 3 and the city of New York has a big celebration all ready.
Bennett will be honored on Wednesday when a light show set to his music will light up the Empire State Building. Designed by world-renowned lighting designer Marc Brickman, the light show will be synced live to a mix of some of Tony Bennett’s most famous hits on iHeartMedia’s 106.7 LiteFM at 8:45 p.m. EST. Songs include Because of You, Steppin’ Out (With My Baby), I Left My Heart in San Francisco and the Bennett and Lady Gaga version of Cheek to Cheek.
Gaga will be attending the lighting ceremony where she will flip the switch.
Bennett’s own artwork will also be on display in a window in the Fifth Avenue Lobby of the building from August 3 to September 6.
Anthony E. Malkin of the Empire State Realty Trust said “We always look forward to a good reason to share one of our magnificent music-to-light shows with New York City and the world. Tony Bennett is surely a great reason for show, and we are thrilled to team once again with iHeartMedia and Marc Brickman to help amplify this occasion with our own spectacular celebration of his phenomenal contribution to the world.”
Bennett said “Growing up in New York City, it is an absolute thrill to have the Empire State Building celebrate my musical career and to have this beautiful presentation of lights and music taking place on such a special day in my life.”
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.
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45 45s That Changed The World – uDiscover
http://www.jazzpromoservices.com/
http://www.udiscovermusic.com/features/45-45s-that-changed-the-world
45 45s That Changed The World
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
WATCH
ESSENTIAL ALBUMS
DIGGING DEEPER…
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
Sometimes luck played its part in creating monster hits, especially when an ear attuned for quality and popularity was involved. In 1954, Presley was taking a break during a recording session at Sun Studios when he began larking around and improvising an uptempo version of blues singer Arthur Crudup’s 1946 song ‘That’s All Right’. Bill Black came in on bass and Scotty Moore played some guitar licks to join in the fun.
Their musical enthusiasm might have gone unrewarded had not producer Sam Phillips been paying attention. Phillips recorded their version immediately. A disc was sent to a Memphis DJ, who played it repeatedly, and the public was quickly shook up. It was certainly not the last time a radio station would play a major part in creating a hit single.
It was also good fortune, albeit allied to a less experienced ear, that helped Bill Haley’s song ‘(We’re Gonna) Rock Around The Clock’ become a runaway success that same year. Haley and his Comets had recorded the song only as a late B-side addition to a quirky single called ‘Thirteen Women And Only One Man in Town’, a track about a nuclear blast that leaves only 14 people alive. The apocalyptic single, released in May 1954, sold 75,000 copies and would have remained a musical footnote had it not been for a 10-year-old boy in Los Angeles who was captivated by the B-side.
The boy, Peter Ford, was the son of actor Glenn Ford, who had signed up to star alongside a young Sidney Poitier in a teenage-delinquency film called The Blackboard Jungle, set in an inner-city school. Ford mentioned Haley’s song to director Richard Brooks and he picked it to play over the opening credits. The success of the Oscar-nominated movie sparked a buying frenzy and a million copies were bought in March 1955 alone. It was the first single by a rock’n’roll band to top the charts, and was No.1 for eight weeks.
The golden age of 45s came at a time when teenagers, in a less constricted post-war world, found in record-buying something to bond over and identify with. Music became the most popular form of entertainment and shaped teenage lifestyles.
The teenagers wouldn’t have known – or cared – whether a song aimed at their age group was written by a middle-aged man (as with ‘Rock Around The Clock’) or based on an old traditional (as with Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) ’s ‘Maybellene’). If a song was about dancing, fun, cars and love, it hit the spot.
There were folk, blues and even classical music 45s (classical was produced on red vinyl), but Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) was always going to rule over Beethoven when it came to mass consumer appeal. As John Lennon (http://www.udiscovermusic.com/artists/john-lennon) put it: “If you tried to give rock’n’roll another name, you might call it Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) .” The rise of 45s went hand in hand with the rise of rock music.
Despite the surge of teenage buying power, sometimes performers had to adapt their music to the market and to prevailing moral attitudes. Richard Wayne Penniman, better known as Little Richard (http://www.udiscovermusic.com/artists/little-richard) , has called himself “the architect of rock’n’roll”, and he was also savvy enough to know when he needed to compromise. With ‘Tutti Frutti’, a groundbreaking song recorded in a cramped studio in New Orleans, he put all his frenetic energy into delivering the memorable opening line, “A wopbopaloobop alopbamboom” (his vocal version of a drum pattern), having agreed to sing sanitised lyrics to a lewd song he played to risqué audiences in clubs; and hence “Tutti frutti, good booty” became “Tutti Frutti, aw rooty”.
The history of 45s is littered with examples of offensive or controversial lyrics being cleaned up or even censored, as when, a quarter of a century after ‘Tutti Frutti’, Frankie Goes To Hollywood (http://www.udiscovermusic.com/artists/frankie-goes-to-hollywood) had a hit with the explicitly sexual ‘Relax’, despite the song being banned by the BBC in the UK.
The initial wave of 45 hits had come from the US (the UK did not issue 45s until 1952) and music fans throughout Europe were hungry to get their hands on the latest releases. If they were fortunate, they also saw their heroes in action, as they did when duet specialists Les Paul and Mary Ford toured in 1952, following another hit with ‘How High The Moon’. As well as the record-buying public, the influx of 45s was inspiring young musicians around the world. Elton John (http://www.udiscovermusic.com/artists/elton-john) , The Rolling Stones (http://www.udiscovermusic.com/artists/the-rolling-stones) , Paul McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and his fellow future Beatles (http://www.udiscovermusic.com/artists/the-beatles) were all shaped by American rock’n’roll. In due course, they would make their own waves across the Atlantic.
‘Tutti Frutti’ was a key song for McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and a staple in his early performances. What made the Liverpool lad stand out was a burning desire to compose his own songs and potential hits. ‘Love Me Do’, jotted down in a school notebook by McCartney, was the first hit single for The Beatles (http://www.udiscovermusic.com/artists/the-beatles) . The song gave the Fab Four the confidence to perform their own material rather than just cover songs by Ray Charles and Little Richard (http://www.udiscovermusic.com/artists/little-richard) .
Part of what makes a record such as ‘Love Me Do’ seminal is the indelible mark it leaves on the minds of music lovers. It’s telling that ‘Love Me Do’, despite never getting higher than No.17 in the charts, has been chosen by 16 different castaways on the long-lasting UK radio show Desert Island Discs, including musician Brian Eno (http://www.udiscovermusic.com/artists/brian-eno) , who would have been 14 when it was released. Awesome songs are often landmarks of our youth.
‘Love Me Do’ was just over two minutes long and, though most of the singles of that time were brief (Maurice Williams And The Zodiacs’ doo-wop version of ‘Stay’ was just one minute 37 seconds long) some were innovative and musically ambitious.
Ray Charles (http://www.udiscovermusic.com/artists/ray-charles) ’ ‘What’d I Say’, released in 1959, is one of the most influential songs in popular music. The song evolved when Charles started improvising in the 12 minutes he had left to fill at a concert. Charles called across to his backing singers The Raelettes, “Listen, I’m going to fool around and y’all just follow me.” The crowd went wild and he knew he had to get it straight on record. The song, which blended blues, gospel, pop and soul in stirring call-and-response lyrics, was a groundbreaking triumph.
Three-minute singles became the norm in the early 60s (almost all produced in stereo sound by then) and record company bosses debated about the chances of success for Bob Dylan’s 1965 song ‘Like A Rolling Stone’, which lasted more than six minutes. Its success encouraged future epics, among the best of which is the long and stirring 1972 soul song ‘Papa Was A Rolling Stone’ by The Temptations (http://www.udiscovermusic.com/artists/the-temptations) , which won three Grammy awards and remains a classic.
More is sometimes less, though, particularly with the slightly bonkers ‘MacArthur Park’, a surprise seven-minute hit from the Irish actor Richard Harris, the star of This Sporting Life. The lyrics have been mocked (Jimmy Webb, the songwriter who gave the world ‘Galveston’/‘Wichita Lineman’, equates lost love with a cake left out in the rain), but songwriter and thespian both may have laughed all the way to the bank with a No.1 whose lush orchestration also won a Grammy for best arrangement.
Perhaps it’s unfair to label ‘MacArthur Park’ simply as a novelty song, in the same vein as Ray Stevens’ ‘The Streak’, for example, because it’s a single with genuine staying power. Donna Summer, whose songs such as ‘I Feel Love’ did much to define the disco movement of the 70s, had a hit with Webb’s song, and it even returned to Billboard’s Dance Club chart following Summer’s death in 2012.
Some 45s become ingrained in popular culture. Dave Brubeck’s ‘Take Five’ (1959), the biggest-selling jazz single ever, was deemed just right as the background music for a key moody scene in the acclaimed HBO show The Sopranos. Queen (http://www.udiscovermusic.com/artists/queen) ’s ‘Bohemian Rhapsody’ appears in the film Wayne’s World, and Sam Cooke’s civil-rights anthem ‘A Change Is Gonna Come’ was sung by James Taylor to a fictional president in The West Wing – and to a real president in 2008, when Bettye LaVette and Jon Bon Jovi (http://www.udiscovermusic.com/artists/bon-jovi) performed it for Barack Obama’s inauguration. Decades on, these marvellous tunes still resonate.
The single as a potent political tool is another significant part of the history of 45s, whether that is James Brown’s song about black empowerment, ‘Say It Out Loud – I’m Black And I’m Proud’, co-written by Brown with Pee Wee Ellis, the saxophonist known later for his work with Van Morrison, or Marvin Gaye (http://www.udiscovermusic.com/artists/marvin-gaye) ’s ‘Abraham, Martin And John’ (also from 1968), such a moving composition about the assassinations that have blighted America.
Political songs are not just been the preserve of America, though. There were many protest songs by European musicians in the 60s, a tradition taken up by Sex Pistols (http://www.udiscovermusic.com/artists/sex-pistols) with their single ‘God Save The Queen’, which was also banned by the BBC in 1977, the year of the Queen’s Silver Jubilee. The desire to make a statement with music has continued (think The Smiths and their unsettling song ‘Meat Is Murder’), including in America, with the environmental rock of ‘Monkey Gone To Heaven’ by Pixies, or a piece of neat ironic social commentary from the 90s in Beck (http://www.udiscovermusic.com/artists/beck) ’s ‘Loser’.
Singles also represented their times. Aretha Franklin turned Otis Redding’s ‘Respect’ into a potent feminist anthem; Jimi Hendrix’s ‘Purple Haze’ and Jefferson Airplane’s ‘White Rabbit’ captured the psychedelic and drug-fuelled times of the late 60s.
Showmanship has always been a big part of music (think of Louis Jordan, the King Of The Jukeboxes, who had 18 No.1 hits in the 50s) and it continued with artists such as Hendrix (http://www.udiscovermusic.com/artists/jimi-hendrix) . What changed was that the power of television made the art of performing vital to the success of a 45 (especially once music videos took off) and some music is intertwined with the image of its glitzy performers.
David Bowie’s extravagant ‘Space Oddity’, and his Major Tom character, is part of a pattern that weaves through ABBA (http://www.udiscovermusic.com/artists/abba) and their dances in outlandish outfits to hits such as ‘Waterloo’ (a song that originally had the far less memorable title ‘Honey Pie’), through to Freddie Mercury (http://www.udiscovermusic.com/artists/freddie-mercury) and his grandiose display on the video for the 1975 hit ‘Bohemian Rhapsody’, on from Beastie Boys (http://www.udiscovermusic.com/artists/beastie-boys) and their iconic tongue-in-cheek videos and songs in the 80s (even if some people didn’t quite get the irony) through to modern eye-catching performers such as Lady Gaga (http://www.udiscovermusic.com/artists/lady-gaga) .
The late Bowie was a one-off original, but sometimes hitting the chart bullseye involved taking an existing song and shaping it into something more commercial. ‘Girls Just Want To Have Fun’ was originally written and recorded in 1979 by Robert Hazard, who performed it from the point of view of a girl-crazy bad boy. Cyndi Lauper made it her own, with an anthem-style girl-power version in 1983. Lauper’s video became totemic and inspired its own fashion trend.
Sometimes the trick was purely musical. In 1981, Soft Cell’s Marc Almond (http://www.udiscovermusic.com/artists/marc-almond) changed the key in which he sang ‘Tainted Love’ and, bingo, had a fresh hit with a 1964 song from Gloria Jones.
At other times there is no grand plan; the public just like what you offer. Black Sabbath’s ‘Paranoid’, a heavy metal song that was a hit in Europe and the US, came about, the band later admitted, because they had needed a three-minute filler for the album. Sometimes singles define an artist’s commercial breakthrough, as with Prince’s ‘1999’.
Scores of 45s have a lasting musical influence. The sound of Parliament was such a distinctive model for funk; Musical Youth’s ‘Pass The Dutchie’ popularised reggae on both sides of the Atlantic; Run-DMC helped usher in a new style of hip-hop with ‘It’s Like That’; while Nirvana (http://www.udiscovermusic.com/artists/nirvana) brought alternative rock into the mainstream with ‘Smells Like Teen Spirit’.
Music doesn’t have to be influential to be memorable. Songs can be a refuge, a joy, a means of digesting time, in WH Auden’s lovely phrase, or simply something to dance to Keith Richards (http://www.udiscovermusic.com/artists/keith-richards) was only half-joking when he said that rock’n’roll was music for the neck downwards. Many lasting memories have been created by dancing to The Rolling Stones’ ‘(I Can’t Get No) Satisfaction’, ‘Good Vibrations’ by The Beach Boys (http://www.udiscovermusic.com/artists/the-beach-boys) , or Michael Jackson’s 1979 hit ‘Don’t Stop ’Til You Get Enough’.
There had been dance crazes before Michael Jackson, of course (The Charleston was pretty popular in its day), but the rise of rock singles from the 50s forced big-band music out of dance halls, which saw that the money lay in rock’n’roll nights, and new popular dances, such as Chubby Checker’s ‘The Twist’, became all the rage.
The whole concept of the generation gap was immortalised by The Who (http://www.udiscovermusic.com/artists/the-who) in 1965. But 45s were not just an audio sensation, they were exciting objects in themselves. People can normally remember the first single they bought, especially if it was graced by a beautiful miniature jacket. It was a thrill to buy a 45. The smell of new vinyl was good, even if you did worry about scratches. Guitarist Johnny Marr has described the 45s as an “otherworldly object”. It is no wonder that vinyl is still celebrated, though streaming and digital downloads bring the single-buying experience to a 21st-century audience in an exciting instant way.
Special songs have the power to make people feel connected, even if it is sharing a feeling of grief by listening to the same song. John Lennon’s ‘Imagine’ was not even released as a single originally, but after his murder it became a No.1 hit as people sought solace from his beautiful words. It is also telling that Elton John (http://www.udiscovermusic.com/artists/elton-john) ’s re-recorded version of ‘Candle In The Wind’, released after the death of Princess Diana, remains the best-selling single of all time.
Whether it’s Bowie’s ‘Space Oddity’, a masterpiece of alienation, Sly And The Family Stone’s meditative ‘Family Affair’ or the pulsating joy of Fats Domino’s ‘The Fat Man’ (one of the big hits of the inaugural year of the 45), great songs are a compelling soundtrack to our inner worlds and a terrific way of simply being entertained. Any list of key singles will be personal rather than definitive, but the 45 45s in our playlist still inspire and delight.
Martin Chilton
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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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
45 45s That Changed The World – uDiscover
http://www.jazzpromoservices.com/
http://www.udiscovermusic.com/features/45-45s-that-changed-the-world
45 45s That Changed The World
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
WATCH
ESSENTIAL ALBUMS
DIGGING DEEPER…
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
Sometimes luck played its part in creating monster hits, especially when an ear attuned for quality and popularity was involved. In 1954, Presley was taking a break during a recording session at Sun Studios when he began larking around and improvising an uptempo version of blues singer Arthur Crudup’s 1946 song ‘That’s All Right’. Bill Black came in on bass and Scotty Moore played some guitar licks to join in the fun.
Their musical enthusiasm might have gone unrewarded had not producer Sam Phillips been paying attention. Phillips recorded their version immediately. A disc was sent to a Memphis DJ, who played it repeatedly, and the public was quickly shook up. It was certainly not the last time a radio station would play a major part in creating a hit single.
It was also good fortune, albeit allied to a less experienced ear, that helped Bill Haley’s song ‘(We’re Gonna) Rock Around The Clock’ become a runaway success that same year. Haley and his Comets had recorded the song only as a late B-side addition to a quirky single called ‘Thirteen Women And Only One Man in Town’, a track about a nuclear blast that leaves only 14 people alive. The apocalyptic single, released in May 1954, sold 75,000 copies and would have remained a musical footnote had it not been for a 10-year-old boy in Los Angeles who was captivated by the B-side.
The boy, Peter Ford, was the son of actor Glenn Ford, who had signed up to star alongside a young Sidney Poitier in a teenage-delinquency film called The Blackboard Jungle, set in an inner-city school. Ford mentioned Haley’s song to director Richard Brooks and he picked it to play over the opening credits. The success of the Oscar-nominated movie sparked a buying frenzy and a million copies were bought in March 1955 alone. It was the first single by a rock’n’roll band to top the charts, and was No.1 for eight weeks.
The golden age of 45s came at a time when teenagers, in a less constricted post-war world, found in record-buying something to bond over and identify with. Music became the most popular form of entertainment and shaped teenage lifestyles.
The teenagers wouldn’t have known – or cared – whether a song aimed at their age group was written by a middle-aged man (as with ‘Rock Around The Clock’) or based on an old traditional (as with Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) ’s ‘Maybellene’). If a song was about dancing, fun, cars and love, it hit the spot.
There were folk, blues and even classical music 45s (classical was produced on red vinyl), but Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) was always going to rule over Beethoven when it came to mass consumer appeal. As John Lennon (http://www.udiscovermusic.com/artists/john-lennon) put it: “If you tried to give rock’n’roll another name, you might call it Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) .” The rise of 45s went hand in hand with the rise of rock music.
Despite the surge of teenage buying power, sometimes performers had to adapt their music to the market and to prevailing moral attitudes. Richard Wayne Penniman, better known as Little Richard (http://www.udiscovermusic.com/artists/little-richard) , has called himself “the architect of rock’n’roll”, and he was also savvy enough to know when he needed to compromise. With ‘Tutti Frutti’, a groundbreaking song recorded in a cramped studio in New Orleans, he put all his frenetic energy into delivering the memorable opening line, “A wopbopaloobop alopbamboom” (his vocal version of a drum pattern), having agreed to sing sanitised lyrics to a lewd song he played to risqué audiences in clubs; and hence “Tutti frutti, good booty” became “Tutti Frutti, aw rooty”.
The history of 45s is littered with examples of offensive or controversial lyrics being cleaned up or even censored, as when, a quarter of a century after ‘Tutti Frutti’, Frankie Goes To Hollywood (http://www.udiscovermusic.com/artists/frankie-goes-to-hollywood) had a hit with the explicitly sexual ‘Relax’, despite the song being banned by the BBC in the UK.
The initial wave of 45 hits had come from the US (the UK did not issue 45s until 1952) and music fans throughout Europe were hungry to get their hands on the latest releases. If they were fortunate, they also saw their heroes in action, as they did when duet specialists Les Paul and Mary Ford toured in 1952, following another hit with ‘How High The Moon’. As well as the record-buying public, the influx of 45s was inspiring young musicians around the world. Elton John (http://www.udiscovermusic.com/artists/elton-john) , The Rolling Stones (http://www.udiscovermusic.com/artists/the-rolling-stones) , Paul McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and his fellow future Beatles (http://www.udiscovermusic.com/artists/the-beatles) were all shaped by American rock’n’roll. In due course, they would make their own waves across the Atlantic.
‘Tutti Frutti’ was a key song for McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and a staple in his early performances. What made the Liverpool lad stand out was a burning desire to compose his own songs and potential hits. ‘Love Me Do’, jotted down in a school notebook by McCartney, was the first hit single for The Beatles (http://www.udiscovermusic.com/artists/the-beatles) . The song gave the Fab Four the confidence to perform their own material rather than just cover songs by Ray Charles and Little Richard (http://www.udiscovermusic.com/artists/little-richard) .
Part of what makes a record such as ‘Love Me Do’ seminal is the indelible mark it leaves on the minds of music lovers. It’s telling that ‘Love Me Do’, despite never getting higher than No.17 in the charts, has been chosen by 16 different castaways on the long-lasting UK radio show Desert Island Discs, including musician Brian Eno (http://www.udiscovermusic.com/artists/brian-eno) , who would have been 14 when it was released. Awesome songs are often landmarks of our youth.
‘Love Me Do’ was just over two minutes long and, though most of the singles of that time were brief (Maurice Williams And The Zodiacs’ doo-wop version of ‘Stay’ was just one minute 37 seconds long) some were innovative and musically ambitious.
Ray Charles (http://www.udiscovermusic.com/artists/ray-charles) ’ ‘What’d I Say’, released in 1959, is one of the most influential songs in popular music. The song evolved when Charles started improvising in the 12 minutes he had left to fill at a concert. Charles called across to his backing singers The Raelettes, “Listen, I’m going to fool around and y’all just follow me.” The crowd went wild and he knew he had to get it straight on record. The song, which blended blues, gospel, pop and soul in stirring call-and-response lyrics, was a groundbreaking triumph.
Three-minute singles became the norm in the early 60s (almost all produced in stereo sound by then) and record company bosses debated about the chances of success for Bob Dylan’s 1965 song ‘Like A Rolling Stone’, which lasted more than six minutes. Its success encouraged future epics, among the best of which is the long and stirring 1972 soul song ‘Papa Was A Rolling Stone’ by The Temptations (http://www.udiscovermusic.com/artists/the-temptations) , which won three Grammy awards and remains a classic.
More is sometimes less, though, particularly with the slightly bonkers ‘MacArthur Park’, a surprise seven-minute hit from the Irish actor Richard Harris, the star of This Sporting Life. The lyrics have been mocked (Jimmy Webb, the songwriter who gave the world ‘Galveston’/‘Wichita Lineman’, equates lost love with a cake left out in the rain), but songwriter and thespian both may have laughed all the way to the bank with a No.1 whose lush orchestration also won a Grammy for best arrangement.
Perhaps it’s unfair to label ‘MacArthur Park’ simply as a novelty song, in the same vein as Ray Stevens’ ‘The Streak’, for example, because it’s a single with genuine staying power. Donna Summer, whose songs such as ‘I Feel Love’ did much to define the disco movement of the 70s, had a hit with Webb’s song, and it even returned to Billboard’s Dance Club chart following Summer’s death in 2012.
Some 45s become ingrained in popular culture. Dave Brubeck’s ‘Take Five’ (1959), the biggest-selling jazz single ever, was deemed just right as the background music for a key moody scene in the acclaimed HBO show The Sopranos. Queen (http://www.udiscovermusic.com/artists/queen) ’s ‘Bohemian Rhapsody’ appears in the film Wayne’s World, and Sam Cooke’s civil-rights anthem ‘A Change Is Gonna Come’ was sung by James Taylor to a fictional president in The West Wing – and to a real president in 2008, when Bettye LaVette and Jon Bon Jovi (http://www.udiscovermusic.com/artists/bon-jovi) performed it for Barack Obama’s inauguration. Decades on, these marvellous tunes still resonate.
The single as a potent political tool is another significant part of the history of 45s, whether that is James Brown’s song about black empowerment, ‘Say It Out Loud – I’m Black And I’m Proud’, co-written by Brown with Pee Wee Ellis, the saxophonist known later for his work with Van Morrison, or Marvin Gaye (http://www.udiscovermusic.com/artists/marvin-gaye) ’s ‘Abraham, Martin And John’ (also from 1968), such a moving composition about the assassinations that have blighted America.
Political songs are not just been the preserve of America, though. There were many protest songs by European musicians in the 60s, a tradition taken up by Sex Pistols (http://www.udiscovermusic.com/artists/sex-pistols) with their single ‘God Save The Queen’, which was also banned by the BBC in 1977, the year of the Queen’s Silver Jubilee. The desire to make a statement with music has continued (think The Smiths and their unsettling song ‘Meat Is Murder’), including in America, with the environmental rock of ‘Monkey Gone To Heaven’ by Pixies, or a piece of neat ironic social commentary from the 90s in Beck (http://www.udiscovermusic.com/artists/beck) ’s ‘Loser’.
Singles also represented their times. Aretha Franklin turned Otis Redding’s ‘Respect’ into a potent feminist anthem; Jimi Hendrix’s ‘Purple Haze’ and Jefferson Airplane’s ‘White Rabbit’ captured the psychedelic and drug-fuelled times of the late 60s.
Showmanship has always been a big part of music (think of Louis Jordan, the King Of The Jukeboxes, who had 18 No.1 hits in the 50s) and it continued with artists such as Hendrix (http://www.udiscovermusic.com/artists/jimi-hendrix) . What changed was that the power of television made the art of performing vital to the success of a 45 (especially once music videos took off) and some music is intertwined with the image of its glitzy performers.
David Bowie’s extravagant ‘Space Oddity’, and his Major Tom character, is part of a pattern that weaves through ABBA (http://www.udiscovermusic.com/artists/abba) and their dances in outlandish outfits to hits such as ‘Waterloo’ (a song that originally had the far less memorable title ‘Honey Pie’), through to Freddie Mercury (http://www.udiscovermusic.com/artists/freddie-mercury) and his grandiose display on the video for the 1975 hit ‘Bohemian Rhapsody’, on from Beastie Boys (http://www.udiscovermusic.com/artists/beastie-boys) and their iconic tongue-in-cheek videos and songs in the 80s (even if some people didn’t quite get the irony) through to modern eye-catching performers such as Lady Gaga (http://www.udiscovermusic.com/artists/lady-gaga) .
The late Bowie was a one-off original, but sometimes hitting the chart bullseye involved taking an existing song and shaping it into something more commercial. ‘Girls Just Want To Have Fun’ was originally written and recorded in 1979 by Robert Hazard, who performed it from the point of view of a girl-crazy bad boy. Cyndi Lauper made it her own, with an anthem-style girl-power version in 1983. Lauper’s video became totemic and inspired its own fashion trend.
Sometimes the trick was purely musical. In 1981, Soft Cell’s Marc Almond (http://www.udiscovermusic.com/artists/marc-almond) changed the key in which he sang ‘Tainted Love’ and, bingo, had a fresh hit with a 1964 song from Gloria Jones.
At other times there is no grand plan; the public just like what you offer. Black Sabbath’s ‘Paranoid’, a heavy metal song that was a hit in Europe and the US, came about, the band later admitted, because they had needed a three-minute filler for the album. Sometimes singles define an artist’s commercial breakthrough, as with Prince’s ‘1999’.
Scores of 45s have a lasting musical influence. The sound of Parliament was such a distinctive model for funk; Musical Youth’s ‘Pass The Dutchie’ popularised reggae on both sides of the Atlantic; Run-DMC helped usher in a new style of hip-hop with ‘It’s Like That’; while Nirvana (http://www.udiscovermusic.com/artists/nirvana) brought alternative rock into the mainstream with ‘Smells Like Teen Spirit’.
Music doesn’t have to be influential to be memorable. Songs can be a refuge, a joy, a means of digesting time, in WH Auden’s lovely phrase, or simply something to dance to Keith Richards (http://www.udiscovermusic.com/artists/keith-richards) was only half-joking when he said that rock’n’roll was music for the neck downwards. Many lasting memories have been created by dancing to The Rolling Stones’ ‘(I Can’t Get No) Satisfaction’, ‘Good Vibrations’ by The Beach Boys (http://www.udiscovermusic.com/artists/the-beach-boys) , or Michael Jackson’s 1979 hit ‘Don’t Stop ’Til You Get Enough’.
There had been dance crazes before Michael Jackson, of course (The Charleston was pretty popular in its day), but the rise of rock singles from the 50s forced big-band music out of dance halls, which saw that the money lay in rock’n’roll nights, and new popular dances, such as Chubby Checker’s ‘The Twist’, became all the rage.
The whole concept of the generation gap was immortalised by The Who (http://www.udiscovermusic.com/artists/the-who) in 1965. But 45s were not just an audio sensation, they were exciting objects in themselves. People can normally remember the first single they bought, especially if it was graced by a beautiful miniature jacket. It was a thrill to buy a 45. The smell of new vinyl was good, even if you did worry about scratches. Guitarist Johnny Marr has described the 45s as an “otherworldly object”. It is no wonder that vinyl is still celebrated, though streaming and digital downloads bring the single-buying experience to a 21st-century audience in an exciting instant way.
Special songs have the power to make people feel connected, even if it is sharing a feeling of grief by listening to the same song. John Lennon’s ‘Imagine’ was not even released as a single originally, but after his murder it became a No.1 hit as people sought solace from his beautiful words. It is also telling that Elton John (http://www.udiscovermusic.com/artists/elton-john) ’s re-recorded version of ‘Candle In The Wind’, released after the death of Princess Diana, remains the best-selling single of all time.
Whether it’s Bowie’s ‘Space Oddity’, a masterpiece of alienation, Sly And The Family Stone’s meditative ‘Family Affair’ or the pulsating joy of Fats Domino’s ‘The Fat Man’ (one of the big hits of the inaugural year of the 45), great songs are a compelling soundtrack to our inner worlds and a terrific way of simply being entertained. Any list of key singles will be personal rather than definitive, but the 45 45s in our playlist still inspire and delight.
Martin Chilton
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45 45s That Changed The World – uDiscover
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http://www.udiscovermusic.com/features/45-45s-that-changed-the-world
45 45s That Changed The World
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
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When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
Sometimes luck played its part in creating monster hits, especially when an ear attuned for quality and popularity was involved. In 1954, Presley was taking a break during a recording session at Sun Studios when he began larking around and improvising an uptempo version of blues singer Arthur Crudup’s 1946 song ‘That’s All Right’. Bill Black came in on bass and Scotty Moore played some guitar licks to join in the fun.
Their musical enthusiasm might have gone unrewarded had not producer Sam Phillips been paying attention. Phillips recorded their version immediately. A disc was sent to a Memphis DJ, who played it repeatedly, and the public was quickly shook up. It was certainly not the last time a radio station would play a major part in creating a hit single.
It was also good fortune, albeit allied to a less experienced ear, that helped Bill Haley’s song ‘(We’re Gonna) Rock Around The Clock’ become a runaway success that same year. Haley and his Comets had recorded the song only as a late B-side addition to a quirky single called ‘Thirteen Women And Only One Man in Town’, a track about a nuclear blast that leaves only 14 people alive. The apocalyptic single, released in May 1954, sold 75,000 copies and would have remained a musical footnote had it not been for a 10-year-old boy in Los Angeles who was captivated by the B-side.
The boy, Peter Ford, was the son of actor Glenn Ford, who had signed up to star alongside a young Sidney Poitier in a teenage-delinquency film called The Blackboard Jungle, set in an inner-city school. Ford mentioned Haley’s song to director Richard Brooks and he picked it to play over the opening credits. The success of the Oscar-nominated movie sparked a buying frenzy and a million copies were bought in March 1955 alone. It was the first single by a rock’n’roll band to top the charts, and was No.1 for eight weeks.
The golden age of 45s came at a time when teenagers, in a less constricted post-war world, found in record-buying something to bond over and identify with. Music became the most popular form of entertainment and shaped teenage lifestyles.
The teenagers wouldn’t have known – or cared – whether a song aimed at their age group was written by a middle-aged man (as with ‘Rock Around The Clock’) or based on an old traditional (as with Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) ’s ‘Maybellene’). If a song was about dancing, fun, cars and love, it hit the spot.
There were folk, blues and even classical music 45s (classical was produced on red vinyl), but Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) was always going to rule over Beethoven when it came to mass consumer appeal. As John Lennon (http://www.udiscovermusic.com/artists/john-lennon) put it: “If you tried to give rock’n’roll another name, you might call it Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) .” The rise of 45s went hand in hand with the rise of rock music.
Despite the surge of teenage buying power, sometimes performers had to adapt their music to the market and to prevailing moral attitudes. Richard Wayne Penniman, better known as Little Richard (http://www.udiscovermusic.com/artists/little-richard) , has called himself “the architect of rock’n’roll”, and he was also savvy enough to know when he needed to compromise. With ‘Tutti Frutti’, a groundbreaking song recorded in a cramped studio in New Orleans, he put all his frenetic energy into delivering the memorable opening line, “A wopbopaloobop alopbamboom” (his vocal version of a drum pattern), having agreed to sing sanitised lyrics to a lewd song he played to risqué audiences in clubs; and hence “Tutti frutti, good booty” became “Tutti Frutti, aw rooty”.
The history of 45s is littered with examples of offensive or controversial lyrics being cleaned up or even censored, as when, a quarter of a century after ‘Tutti Frutti’, Frankie Goes To Hollywood (http://www.udiscovermusic.com/artists/frankie-goes-to-hollywood) had a hit with the explicitly sexual ‘Relax’, despite the song being banned by the BBC in the UK.
The initial wave of 45 hits had come from the US (the UK did not issue 45s until 1952) and music fans throughout Europe were hungry to get their hands on the latest releases. If they were fortunate, they also saw their heroes in action, as they did when duet specialists Les Paul and Mary Ford toured in 1952, following another hit with ‘How High The Moon’. As well as the record-buying public, the influx of 45s was inspiring young musicians around the world. Elton John (http://www.udiscovermusic.com/artists/elton-john) , The Rolling Stones (http://www.udiscovermusic.com/artists/the-rolling-stones) , Paul McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and his fellow future Beatles (http://www.udiscovermusic.com/artists/the-beatles) were all shaped by American rock’n’roll. In due course, they would make their own waves across the Atlantic.
‘Tutti Frutti’ was a key song for McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and a staple in his early performances. What made the Liverpool lad stand out was a burning desire to compose his own songs and potential hits. ‘Love Me Do’, jotted down in a school notebook by McCartney, was the first hit single for The Beatles (http://www.udiscovermusic.com/artists/the-beatles) . The song gave the Fab Four the confidence to perform their own material rather than just cover songs by Ray Charles and Little Richard (http://www.udiscovermusic.com/artists/little-richard) .
Part of what makes a record such as ‘Love Me Do’ seminal is the indelible mark it leaves on the minds of music lovers. It’s telling that ‘Love Me Do’, despite never getting higher than No.17 in the charts, has been chosen by 16 different castaways on the long-lasting UK radio show Desert Island Discs, including musician Brian Eno (http://www.udiscovermusic.com/artists/brian-eno) , who would have been 14 when it was released. Awesome songs are often landmarks of our youth.
‘Love Me Do’ was just over two minutes long and, though most of the singles of that time were brief (Maurice Williams And The Zodiacs’ doo-wop version of ‘Stay’ was just one minute 37 seconds long) some were innovative and musically ambitious.
Ray Charles (http://www.udiscovermusic.com/artists/ray-charles) ’ ‘What’d I Say’, released in 1959, is one of the most influential songs in popular music. The song evolved when Charles started improvising in the 12 minutes he had left to fill at a concert. Charles called across to his backing singers The Raelettes, “Listen, I’m going to fool around and y’all just follow me.” The crowd went wild and he knew he had to get it straight on record. The song, which blended blues, gospel, pop and soul in stirring call-and-response lyrics, was a groundbreaking triumph.
Three-minute singles became the norm in the early 60s (almost all produced in stereo sound by then) and record company bosses debated about the chances of success for Bob Dylan’s 1965 song ‘Like A Rolling Stone’, which lasted more than six minutes. Its success encouraged future epics, among the best of which is the long and stirring 1972 soul song ‘Papa Was A Rolling Stone’ by The Temptations (http://www.udiscovermusic.com/artists/the-temptations) , which won three Grammy awards and remains a classic.
More is sometimes less, though, particularly with the slightly bonkers ‘MacArthur Park’, a surprise seven-minute hit from the Irish actor Richard Harris, the star of This Sporting Life. The lyrics have been mocked (Jimmy Webb, the songwriter who gave the world ‘Galveston’/‘Wichita Lineman’, equates lost love with a cake left out in the rain), but songwriter and thespian both may have laughed all the way to the bank with a No.1 whose lush orchestration also won a Grammy for best arrangement.
Perhaps it’s unfair to label ‘MacArthur Park’ simply as a novelty song, in the same vein as Ray Stevens’ ‘The Streak’, for example, because it’s a single with genuine staying power. Donna Summer, whose songs such as ‘I Feel Love’ did much to define the disco movement of the 70s, had a hit with Webb’s song, and it even returned to Billboard’s Dance Club chart following Summer’s death in 2012.
Some 45s become ingrained in popular culture. Dave Brubeck’s ‘Take Five’ (1959), the biggest-selling jazz single ever, was deemed just right as the background music for a key moody scene in the acclaimed HBO show The Sopranos. Queen (http://www.udiscovermusic.com/artists/queen) ’s ‘Bohemian Rhapsody’ appears in the film Wayne’s World, and Sam Cooke’s civil-rights anthem ‘A Change Is Gonna Come’ was sung by James Taylor to a fictional president in The West Wing – and to a real president in 2008, when Bettye LaVette and Jon Bon Jovi (http://www.udiscovermusic.com/artists/bon-jovi) performed it for Barack Obama’s inauguration. Decades on, these marvellous tunes still resonate.
The single as a potent political tool is another significant part of the history of 45s, whether that is James Brown’s song about black empowerment, ‘Say It Out Loud – I’m Black And I’m Proud’, co-written by Brown with Pee Wee Ellis, the saxophonist known later for his work with Van Morrison, or Marvin Gaye (http://www.udiscovermusic.com/artists/marvin-gaye) ’s ‘Abraham, Martin And John’ (also from 1968), such a moving composition about the assassinations that have blighted America.
Political songs are not just been the preserve of America, though. There were many protest songs by European musicians in the 60s, a tradition taken up by Sex Pistols (http://www.udiscovermusic.com/artists/sex-pistols) with their single ‘God Save The Queen’, which was also banned by the BBC in 1977, the year of the Queen’s Silver Jubilee. The desire to make a statement with music has continued (think The Smiths and their unsettling song ‘Meat Is Murder’), including in America, with the environmental rock of ‘Monkey Gone To Heaven’ by Pixies, or a piece of neat ironic social commentary from the 90s in Beck (http://www.udiscovermusic.com/artists/beck) ’s ‘Loser’.
Singles also represented their times. Aretha Franklin turned Otis Redding’s ‘Respect’ into a potent feminist anthem; Jimi Hendrix’s ‘Purple Haze’ and Jefferson Airplane’s ‘White Rabbit’ captured the psychedelic and drug-fuelled times of the late 60s.
Showmanship has always been a big part of music (think of Louis Jordan, the King Of The Jukeboxes, who had 18 No.1 hits in the 50s) and it continued with artists such as Hendrix (http://www.udiscovermusic.com/artists/jimi-hendrix) . What changed was that the power of television made the art of performing vital to the success of a 45 (especially once music videos took off) and some music is intertwined with the image of its glitzy performers.
David Bowie’s extravagant ‘Space Oddity’, and his Major Tom character, is part of a pattern that weaves through ABBA (http://www.udiscovermusic.com/artists/abba) and their dances in outlandish outfits to hits such as ‘Waterloo’ (a song that originally had the far less memorable title ‘Honey Pie’), through to Freddie Mercury (http://www.udiscovermusic.com/artists/freddie-mercury) and his grandiose display on the video for the 1975 hit ‘Bohemian Rhapsody’, on from Beastie Boys (http://www.udiscovermusic.com/artists/beastie-boys) and their iconic tongue-in-cheek videos and songs in the 80s (even if some people didn’t quite get the irony) through to modern eye-catching performers such as Lady Gaga (http://www.udiscovermusic.com/artists/lady-gaga) .
The late Bowie was a one-off original, but sometimes hitting the chart bullseye involved taking an existing song and shaping it into something more commercial. ‘Girls Just Want To Have Fun’ was originally written and recorded in 1979 by Robert Hazard, who performed it from the point of view of a girl-crazy bad boy. Cyndi Lauper made it her own, with an anthem-style girl-power version in 1983. Lauper’s video became totemic and inspired its own fashion trend.
Sometimes the trick was purely musical. In 1981, Soft Cell’s Marc Almond (http://www.udiscovermusic.com/artists/marc-almond) changed the key in which he sang ‘Tainted Love’ and, bingo, had a fresh hit with a 1964 song from Gloria Jones.
At other times there is no grand plan; the public just like what you offer. Black Sabbath’s ‘Paranoid’, a heavy metal song that was a hit in Europe and the US, came about, the band later admitted, because they had needed a three-minute filler for the album. Sometimes singles define an artist’s commercial breakthrough, as with Prince’s ‘1999’.
Scores of 45s have a lasting musical influence. The sound of Parliament was such a distinctive model for funk; Musical Youth’s ‘Pass The Dutchie’ popularised reggae on both sides of the Atlantic; Run-DMC helped usher in a new style of hip-hop with ‘It’s Like That’; while Nirvana (http://www.udiscovermusic.com/artists/nirvana) brought alternative rock into the mainstream with ‘Smells Like Teen Spirit’.
Music doesn’t have to be influential to be memorable. Songs can be a refuge, a joy, a means of digesting time, in WH Auden’s lovely phrase, or simply something to dance to Keith Richards (http://www.udiscovermusic.com/artists/keith-richards) was only half-joking when he said that rock’n’roll was music for the neck downwards. Many lasting memories have been created by dancing to The Rolling Stones’ ‘(I Can’t Get No) Satisfaction’, ‘Good Vibrations’ by The Beach Boys (http://www.udiscovermusic.com/artists/the-beach-boys) , or Michael Jackson’s 1979 hit ‘Don’t Stop ’Til You Get Enough’.
There had been dance crazes before Michael Jackson, of course (The Charleston was pretty popular in its day), but the rise of rock singles from the 50s forced big-band music out of dance halls, which saw that the money lay in rock’n’roll nights, and new popular dances, such as Chubby Checker’s ‘The Twist’, became all the rage.
The whole concept of the generation gap was immortalised by The Who (http://www.udiscovermusic.com/artists/the-who) in 1965. But 45s were not just an audio sensation, they were exciting objects in themselves. People can normally remember the first single they bought, especially if it was graced by a beautiful miniature jacket. It was a thrill to buy a 45. The smell of new vinyl was good, even if you did worry about scratches. Guitarist Johnny Marr has described the 45s as an “otherworldly object”. It is no wonder that vinyl is still celebrated, though streaming and digital downloads bring the single-buying experience to a 21st-century audience in an exciting instant way.
Special songs have the power to make people feel connected, even if it is sharing a feeling of grief by listening to the same song. John Lennon’s ‘Imagine’ was not even released as a single originally, but after his murder it became a No.1 hit as people sought solace from his beautiful words. It is also telling that Elton John (http://www.udiscovermusic.com/artists/elton-john) ’s re-recorded version of ‘Candle In The Wind’, released after the death of Princess Diana, remains the best-selling single of all time.
Whether it’s Bowie’s ‘Space Oddity’, a masterpiece of alienation, Sly And The Family Stone’s meditative ‘Family Affair’ or the pulsating joy of Fats Domino’s ‘The Fat Man’ (one of the big hits of the inaugural year of the 45), great songs are a compelling soundtrack to our inner worlds and a terrific way of simply being entertained. Any list of key singles will be personal rather than definitive, but the 45 45s in our playlist still inspire and delight.
Martin Chilton
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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45 45s That Changed The World – uDiscover
http://www.jazzpromoservices.com/
http://www.udiscovermusic.com/features/45-45s-that-changed-the-world
45 45s That Changed The World
When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
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When the first 45rpm record – a green vinyl of Eddy Arnold’s ‘Texarkana Baby’ – went on sale on 31 March 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. It was soon clear that the public, especially the young, were willing to buy singles by the millions.
The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) , etching their songs into the public consciousness.
Sometimes luck played its part in creating monster hits, especially when an ear attuned for quality and popularity was involved. In 1954, Presley was taking a break during a recording session at Sun Studios when he began larking around and improvising an uptempo version of blues singer Arthur Crudup’s 1946 song ‘That’s All Right’. Bill Black came in on bass and Scotty Moore played some guitar licks to join in the fun.
Their musical enthusiasm might have gone unrewarded had not producer Sam Phillips been paying attention. Phillips recorded their version immediately. A disc was sent to a Memphis DJ, who played it repeatedly, and the public was quickly shook up. It was certainly not the last time a radio station would play a major part in creating a hit single.
It was also good fortune, albeit allied to a less experienced ear, that helped Bill Haley’s song ‘(We’re Gonna) Rock Around The Clock’ become a runaway success that same year. Haley and his Comets had recorded the song only as a late B-side addition to a quirky single called ‘Thirteen Women And Only One Man in Town’, a track about a nuclear blast that leaves only 14 people alive. The apocalyptic single, released in May 1954, sold 75,000 copies and would have remained a musical footnote had it not been for a 10-year-old boy in Los Angeles who was captivated by the B-side.
The boy, Peter Ford, was the son of actor Glenn Ford, who had signed up to star alongside a young Sidney Poitier in a teenage-delinquency film called The Blackboard Jungle, set in an inner-city school. Ford mentioned Haley’s song to director Richard Brooks and he picked it to play over the opening credits. The success of the Oscar-nominated movie sparked a buying frenzy and a million copies were bought in March 1955 alone. It was the first single by a rock’n’roll band to top the charts, and was No.1 for eight weeks.
The golden age of 45s came at a time when teenagers, in a less constricted post-war world, found in record-buying something to bond over and identify with. Music became the most popular form of entertainment and shaped teenage lifestyles.
The teenagers wouldn’t have known – or cared – whether a song aimed at their age group was written by a middle-aged man (as with ‘Rock Around The Clock’) or based on an old traditional (as with Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) ’s ‘Maybellene’). If a song was about dancing, fun, cars and love, it hit the spot.
There were folk, blues and even classical music 45s (classical was produced on red vinyl), but Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) was always going to rule over Beethoven when it came to mass consumer appeal. As John Lennon (http://www.udiscovermusic.com/artists/john-lennon) put it: “If you tried to give rock’n’roll another name, you might call it Chuck Berry (http://www.udiscovermusic.com/artists/chuck-berry) .” The rise of 45s went hand in hand with the rise of rock music.
Despite the surge of teenage buying power, sometimes performers had to adapt their music to the market and to prevailing moral attitudes. Richard Wayne Penniman, better known as Little Richard (http://www.udiscovermusic.com/artists/little-richard) , has called himself “the architect of rock’n’roll”, and he was also savvy enough to know when he needed to compromise. With ‘Tutti Frutti’, a groundbreaking song recorded in a cramped studio in New Orleans, he put all his frenetic energy into delivering the memorable opening line, “A wopbopaloobop alopbamboom” (his vocal version of a drum pattern), having agreed to sing sanitised lyrics to a lewd song he played to risqué audiences in clubs; and hence “Tutti frutti, good booty” became “Tutti Frutti, aw rooty”.
The history of 45s is littered with examples of offensive or controversial lyrics being cleaned up or even censored, as when, a quarter of a century after ‘Tutti Frutti’, Frankie Goes To Hollywood (http://www.udiscovermusic.com/artists/frankie-goes-to-hollywood) had a hit with the explicitly sexual ‘Relax’, despite the song being banned by the BBC in the UK.
The initial wave of 45 hits had come from the US (the UK did not issue 45s until 1952) and music fans throughout Europe were hungry to get their hands on the latest releases. If they were fortunate, they also saw their heroes in action, as they did when duet specialists Les Paul and Mary Ford toured in 1952, following another hit with ‘How High The Moon’. As well as the record-buying public, the influx of 45s was inspiring young musicians around the world. Elton John (http://www.udiscovermusic.com/artists/elton-john) , The Rolling Stones (http://www.udiscovermusic.com/artists/the-rolling-stones) , Paul McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and his fellow future Beatles (http://www.udiscovermusic.com/artists/the-beatles) were all shaped by American rock’n’roll. In due course, they would make their own waves across the Atlantic.
‘Tutti Frutti’ was a key song for McCartney (http://www.udiscovermusic.com/artists/paul-mccartney-and-wings) and a staple in his early performances. What made the Liverpool lad stand out was a burning desire to compose his own songs and potential hits. ‘Love Me Do’, jotted down in a school notebook by McCartney, was the first hit single for The Beatles (http://www.udiscovermusic.com/artists/the-beatles) . The song gave the Fab Four the confidence to perform their own material rather than just cover songs by Ray Charles and Little Richard (http://www.udiscovermusic.com/artists/little-richard) .
Part of what makes a record such as ‘Love Me Do’ seminal is the indelible mark it leaves on the minds of music lovers. It’s telling that ‘Love Me Do’, despite never getting higher than No.17 in the charts, has been chosen by 16 different castaways on the long-lasting UK radio show Desert Island Discs, including musician Brian Eno (http://www.udiscovermusic.com/artists/brian-eno) , who would have been 14 when it was released. Awesome songs are often landmarks of our youth.
‘Love Me Do’ was just over two minutes long and, though most of the singles of that time were brief (Maurice Williams And The Zodiacs’ doo-wop version of ‘Stay’ was just one minute 37 seconds long) some were innovative and musically ambitious.
Ray Charles (http://www.udiscovermusic.com/artists/ray-charles) ’ ‘What’d I Say’, released in 1959, is one of the most influential songs in popular music. The song evolved when Charles started improvising in the 12 minutes he had left to fill at a concert. Charles called across to his backing singers The Raelettes, “Listen, I’m going to fool around and y’all just follow me.” The crowd went wild and he knew he had to get it straight on record. The song, which blended blues, gospel, pop and soul in stirring call-and-response lyrics, was a groundbreaking triumph.
Three-minute singles became the norm in the early 60s (almost all produced in stereo sound by then) and record company bosses debated about the chances of success for Bob Dylan’s 1965 song ‘Like A Rolling Stone’, which lasted more than six minutes. Its success encouraged future epics, among the best of which is the long and stirring 1972 soul song ‘Papa Was A Rolling Stone’ by The Temptations (http://www.udiscovermusic.com/artists/the-temptations) , which won three Grammy awards and remains a classic.
More is sometimes less, though, particularly with the slightly bonkers ‘MacArthur Park’, a surprise seven-minute hit from the Irish actor Richard Harris, the star of This Sporting Life. The lyrics have been mocked (Jimmy Webb, the songwriter who gave the world ‘Galveston’/‘Wichita Lineman’, equates lost love with a cake left out in the rain), but songwriter and thespian both may have laughed all the way to the bank with a No.1 whose lush orchestration also won a Grammy for best arrangement.
Perhaps it’s unfair to label ‘MacArthur Park’ simply as a novelty song, in the same vein as Ray Stevens’ ‘The Streak’, for example, because it’s a single with genuine staying power. Donna Summer, whose songs such as ‘I Feel Love’ did much to define the disco movement of the 70s, had a hit with Webb’s song, and it even returned to Billboard’s Dance Club chart following Summer’s death in 2012.
Some 45s become ingrained in popular culture. Dave Brubeck’s ‘Take Five’ (1959), the biggest-selling jazz single ever, was deemed just right as the background music for a key moody scene in the acclaimed HBO show The Sopranos. Queen (http://www.udiscovermusic.com/artists/queen) ’s ‘Bohemian Rhapsody’ appears in the film Wayne’s World, and Sam Cooke’s civil-rights anthem ‘A Change Is Gonna Come’ was sung by James Taylor to a fictional president in The West Wing – and to a real president in 2008, when Bettye LaVette and Jon Bon Jovi (http://www.udiscovermusic.com/artists/bon-jovi) performed it for Barack Obama’s inauguration. Decades on, these marvellous tunes still resonate.
The single as a potent political tool is another significant part of the history of 45s, whether that is James Brown’s song about black empowerment, ‘Say It Out Loud – I’m Black And I’m Proud’, co-written by Brown with Pee Wee Ellis, the saxophonist known later for his work with Van Morrison, or Marvin Gaye (http://www.udiscovermusic.com/artists/marvin-gaye) ’s ‘Abraham, Martin And John’ (also from 1968), such a moving composition about the assassinations that have blighted America.
Political songs are not just been the preserve of America, though. There were many protest songs by European musicians in the 60s, a tradition taken up by Sex Pistols (http://www.udiscovermusic.com/artists/sex-pistols) with their single ‘God Save The Queen’, which was also banned by the BBC in 1977, the year of the Queen’s Silver Jubilee. The desire to make a statement with music has continued (think The Smiths and their unsettling song ‘Meat Is Murder’), including in America, with the environmental rock of ‘Monkey Gone To Heaven’ by Pixies, or a piece of neat ironic social commentary from the 90s in Beck (http://www.udiscovermusic.com/artists/beck) ’s ‘Loser’.
Singles also represented their times. Aretha Franklin turned Otis Redding’s ‘Respect’ into a potent feminist anthem; Jimi Hendrix’s ‘Purple Haze’ and Jefferson Airplane’s ‘White Rabbit’ captured the psychedelic and drug-fuelled times of the late 60s.
Showmanship has always been a big part of music (think of Louis Jordan, the King Of The Jukeboxes, who had 18 No.1 hits in the 50s) and it continued with artists such as Hendrix (http://www.udiscovermusic.com/artists/jimi-hendrix) . What changed was that the power of television made the art of performing vital to the success of a 45 (especially once music videos took off) and some music is intertwined with the image of its glitzy performers.
David Bowie’s extravagant ‘Space Oddity’, and his Major Tom character, is part of a pattern that weaves through ABBA (http://www.udiscovermusic.com/artists/abba) and their dances in outlandish outfits to hits such as ‘Waterloo’ (a song that originally had the far less memorable title ‘Honey Pie’), through to Freddie Mercury (http://www.udiscovermusic.com/artists/freddie-mercury) and his grandiose display on the video for the 1975 hit ‘Bohemian Rhapsody’, on from Beastie Boys (http://www.udiscovermusic.com/artists/beastie-boys) and their iconic tongue-in-cheek videos and songs in the 80s (even if some people didn’t quite get the irony) through to modern eye-catching performers such as Lady Gaga (http://www.udiscovermusic.com/artists/lady-gaga) .
The late Bowie was a one-off original, but sometimes hitting the chart bullseye involved taking an existing song and shaping it into something more commercial. ‘Girls Just Want To Have Fun’ was originally written and recorded in 1979 by Robert Hazard, who performed it from the point of view of a girl-crazy bad boy. Cyndi Lauper made it her own, with an anthem-style girl-power version in 1983. Lauper’s video became totemic and inspired its own fashion trend.
Sometimes the trick was purely musical. In 1981, Soft Cell’s Marc Almond (http://www.udiscovermusic.com/artists/marc-almond) changed the key in which he sang ‘Tainted Love’ and, bingo, had a fresh hit with a 1964 song from Gloria Jones.
At other times there is no grand plan; the public just like what you offer. Black Sabbath’s ‘Paranoid’, a heavy metal song that was a hit in Europe and the US, came about, the band later admitted, because they had needed a three-minute filler for the album. Sometimes singles define an artist’s commercial breakthrough, as with Prince’s ‘1999’.
Scores of 45s have a lasting musical influence. The sound of Parliament was such a distinctive model for funk; Musical Youth’s ‘Pass The Dutchie’ popularised reggae on both sides of the Atlantic; Run-DMC helped usher in a new style of hip-hop with ‘It’s Like That’; while Nirvana (http://www.udiscovermusic.com/artists/nirvana) brought alternative rock into the mainstream with ‘Smells Like Teen Spirit’.
Music doesn’t have to be influential to be memorable. Songs can be a refuge, a joy, a means of digesting time, in WH Auden’s lovely phrase, or simply something to dance to Keith Richards (http://www.udiscovermusic.com/artists/keith-richards) was only half-joking when he said that rock’n’roll was music for the neck downwards. Many lasting memories have been created by dancing to The Rolling Stones’ ‘(I Can’t Get No) Satisfaction’, ‘Good Vibrations’ by The Beach Boys (http://www.udiscovermusic.com/artists/the-beach-boys) , or Michael Jackson’s 1979 hit ‘Don’t Stop ’Til You Get Enough’.
There had been dance crazes before Michael Jackson, of course (The Charleston was pretty popular in its day), but the rise of rock singles from the 50s forced big-band music out of dance halls, which saw that the money lay in rock’n’roll nights, and new popular dances, such as Chubby Checker’s ‘The Twist’, became all the rage.
The whole concept of the generation gap was immortalised by The Who (http://www.udiscovermusic.com/artists/the-who) in 1965. But 45s were not just an audio sensation, they were exciting objects in themselves. People can normally remember the first single they bought, especially if it was graced by a beautiful miniature jacket. It was a thrill to buy a 45. The smell of new vinyl was good, even if you did worry about scratches. Guitarist Johnny Marr has described the 45s as an “otherworldly object”. It is no wonder that vinyl is still celebrated, though streaming and digital downloads bring the single-buying experience to a 21st-century audience in an exciting instant way.
Special songs have the power to make people feel connected, even if it is sharing a feeling of grief by listening to the same song. John Lennon’s ‘Imagine’ was not even released as a single originally, but after his murder it became a No.1 hit as people sought solace from his beautiful words. It is also telling that Elton John (http://www.udiscovermusic.com/artists/elton-john) ’s re-recorded version of ‘Candle In The Wind’, released after the death of Princess Diana, remains the best-selling single of all time.
Whether it’s Bowie’s ‘Space Oddity’, a masterpiece of alienation, Sly And The Family Stone’s meditative ‘Family Affair’ or the pulsating joy of Fats Domino’s ‘The Fat Man’ (one of the big hits of the inaugural year of the 45), great songs are a compelling soundtrack to our inner worlds and a terrific way of simply being entertained. Any list of key singles will be personal rather than definitive, but the 45 45s in our playlist still inspire and delight.
Martin Chilton
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
RIP Dominic Duval « Avant Music News
http://www.jazzpromoservices.com/
https://avantmusicnews.com/2016/07/23/rip-dominic-duval/
RIP Dominic Duval
Posted on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/) Updated on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/)
Source: GoFundMe (https://www.gofundme.com/wxps8sqk) . A benefit crowdsourcing account has been set up for his family.
In life, there are ‘Hellos’ and ‘GoodByes’. Unfortunately, we are writing to you here today to inform you that it has come time to say goodbye to our loved one, Dominic Drwal aka Dominic Duval (http://en.wikipedia.org/wiki/Dominic_Duval) Senior.
As some of you may know, Dominic has been battling a rare case of lymphoma known as Mycosis Fungoides for some years now. After only receiving a few rounds of chemotherapy (which he was unable to continue consistently due to other health issues which had him in and out of the hospital for months prior) the disease has finally taken one more turn for the worse.
Related
New on CIMP (https://avantmusicnews.com/2006/09/18/new-on-cimp-6/)
CIMP has released five new CDs. CIMP 346: Mat Marucci (drums) – Doug Webb (stritch, soprano & tenor saxophones) Trio feat. Ken Filiano (bass) 3 The Hard Way Marucci & Webb have been playing together for years. Even so, when they teamed up with former associate Ken Filiano no one…
In “Releases”
New Releases from CIMP (https://avantmusicnews.com/2008/07/23/new-releases-from-cimp/)
Creative Improvised Music Projects has five new releases out. Catalog Number: CIMP Records 370 Kenbillou Kenbillou ESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)The ESATrio is Bill Gagliardi’s latest venture into his wonderful world of improvisation. And who better to team up with than his old partner,…
In “Releases”
Dominic Duval Interview (https://avantmusicnews.com/2010/10/04/dominic-duval-interview/)
In “Interviews”
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=b3629859d8) | 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=b3629859d8&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
RIP Dominic Duval « Avant Music News
http://www.jazzpromoservices.com/
https://avantmusicnews.com/2016/07/23/rip-dominic-duval/
RIP Dominic Duval
Posted on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/) Updated on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/)
Source: GoFundMe (https://www.gofundme.com/wxps8sqk) . A benefit crowdsourcing account has been set up for his family.
In life, there are ‘Hellos’ and ‘GoodByes’. Unfortunately, we are writing to you here today to inform you that it has come time to say goodbye to our loved one, Dominic Drwal aka Dominic Duval (http://en.wikipedia.org/wiki/Dominic_Duval) Senior.
As some of you may know, Dominic has been battling a rare case of lymphoma known as Mycosis Fungoides for some years now. After only receiving a few rounds of chemotherapy (which he was unable to continue consistently due to other health issues which had him in and out of the hospital for months prior) the disease has finally taken one more turn for the worse.
Related
New on CIMP (https://avantmusicnews.com/2006/09/18/new-on-cimp-6/)
CIMP has released five new CDs. CIMP 346: Mat Marucci (drums) – Doug Webb (stritch, soprano & tenor saxophones) Trio feat. Ken Filiano (bass) 3 The Hard Way Marucci & Webb have been playing together for years. Even so, when they teamed up with former associate Ken Filiano no one…
In “Releases”
New Releases from CIMP (https://avantmusicnews.com/2008/07/23/new-releases-from-cimp/)
Creative Improvised Music Projects has five new releases out. Catalog Number: CIMP Records 370 Kenbillou Kenbillou ESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)The ESATrio is Bill Gagliardi’s latest venture into his wonderful world of improvisation. And who better to team up with than his old partner,…
In “Releases”
Dominic Duval Interview (https://avantmusicnews.com/2010/10/04/dominic-duval-interview/)
In “Interviews”
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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RIP Dominic Duval « Avant Music News
http://www.jazzpromoservices.com/
https://avantmusicnews.com/2016/07/23/rip-dominic-duval/
RIP Dominic Duval
Posted on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/) Updated on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/)
Source: GoFundMe (https://www.gofundme.com/wxps8sqk) . A benefit crowdsourcing account has been set up for his family.
In life, there are ‘Hellos’ and ‘GoodByes’. Unfortunately, we are writing to you here today to inform you that it has come time to say goodbye to our loved one, Dominic Drwal aka Dominic Duval (http://en.wikipedia.org/wiki/Dominic_Duval) Senior.
As some of you may know, Dominic has been battling a rare case of lymphoma known as Mycosis Fungoides for some years now. After only receiving a few rounds of chemotherapy (which he was unable to continue consistently due to other health issues which had him in and out of the hospital for months prior) the disease has finally taken one more turn for the worse.
Related
New on CIMP (https://avantmusicnews.com/2006/09/18/new-on-cimp-6/)
CIMP has released five new CDs. CIMP 346: Mat Marucci (drums) – Doug Webb (stritch, soprano & tenor saxophones) Trio feat. Ken Filiano (bass) 3 The Hard Way Marucci & Webb have been playing together for years. Even so, when they teamed up with former associate Ken Filiano no one…
In “Releases”
New Releases from CIMP (https://avantmusicnews.com/2008/07/23/new-releases-from-cimp/)
Creative Improvised Music Projects has five new releases out. Catalog Number: CIMP Records 370 Kenbillou Kenbillou ESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)The ESATrio is Bill Gagliardi’s latest venture into his wonderful world of improvisation. And who better to team up with than his old partner,…
In “Releases”
Dominic Duval Interview (https://avantmusicnews.com/2010/10/04/dominic-duval-interview/)
In “Interviews”
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.
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RIP Dominic Duval « Avant Music News
http://www.jazzpromoservices.com/
https://avantmusicnews.com/2016/07/23/rip-dominic-duval/
RIP Dominic Duval
Posted on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/) Updated on July 23, 2016 (https://avantmusicnews.com/2016/07/23/rip-dominic-duval/)
Source: GoFundMe (https://www.gofundme.com/wxps8sqk) . A benefit crowdsourcing account has been set up for his family.
In life, there are ‘Hellos’ and ‘GoodByes’. Unfortunately, we are writing to you here today to inform you that it has come time to say goodbye to our loved one, Dominic Drwal aka Dominic Duval (http://en.wikipedia.org/wiki/Dominic_Duval) Senior.
As some of you may know, Dominic has been battling a rare case of lymphoma known as Mycosis Fungoides for some years now. After only receiving a few rounds of chemotherapy (which he was unable to continue consistently due to other health issues which had him in and out of the hospital for months prior) the disease has finally taken one more turn for the worse.
Related
New on CIMP (https://avantmusicnews.com/2006/09/18/new-on-cimp-6/)
CIMP has released five new CDs. CIMP 346: Mat Marucci (drums) – Doug Webb (stritch, soprano & tenor saxophones) Trio feat. Ken Filiano (bass) 3 The Hard Way Marucci & Webb have been playing together for years. Even so, when they teamed up with former associate Ken Filiano no one…
In “Releases”
New Releases from CIMP (https://avantmusicnews.com/2008/07/23/new-releases-from-cimp/)
Creative Improvised Music Projects has five new releases out. Catalog Number: CIMP Records 370 Kenbillou Kenbillou ESATrio (Primary), Bill Gagliardi (Saxophone), Ken Filiano (Bass), Lou Grassi (Drums)The ESATrio is Bill Gagliardi’s latest venture into his wonderful world of improvisation. And who better to team up with than his old partner,…
In “Releases”
Dominic Duval Interview (https://avantmusicnews.com/2010/10/04/dominic-duval-interview/)
In “Interviews”
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
Jack Reilly, who launched Ryles jazz club, dies at 98 – The Boston Globe
http://www.jazzpromoservices.com/
https://www.bostonglobe.com/metro/2016/07/25/jack-reilly-who-launched-ryles-jazz-club-dies/5kgMhaOT5KiztZnBcpFYKJ/story.html
By Bryan Marquard (https://www.bostonglobe.com/staff/marquard) GLOBE STAFF JULY 25, 2016
GLOBE STAFF/FILE 1991
Mr. Reilly opened Ryles in Inman Square after time at Jacks and Club Casablanca.
paragraphs 24 leadingContainer photo leadingShape vertical hasRBox false
There Jack Reilly stood in Ryles, his Inman Square jazz club, a drink on the bar in front of him and the notes of a saxophone solo drifting by like a wisp of smoke.
“I just want a bar with good music and a friendly atmosphere,” he said that night in 1992. He was talking about the jazz musicians he had booked, though he could just as easily have been referring to the rock and folk acts he used to hire at Jacks on Massachusetts Avenue in the early 1970s, or to his legendary jukebox that entertained early 1960s patrons of Club Casablanca on Brattle Street.
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An impresario of Cambridge nightlife for four decades, Mr. Reilly managed the Casablanca and co-owned Jacks before opening Inman Square’s signature jazz club, where patrons could settle in for a set by guitarist Pat Metheny one evening and listen to a talented college student the next. The connecting thread from club to club was Mr. Reilly. His effortless effervescence made him a favorite of everyone from William Weld, who took time from gubernatorial duties to stop by Ryles, to musicians such as Bonnie Raitt, who was in her 20s when she met Mr. Reilly.
“I have such fond and vivid memories of my time in the early ’70s hanging at his bar, Jacks on Mass. Ave. in Cambridge,” she wrote in an e-mail. Mr. Reilly, she added, was “holding court and having as much fun as we were. He was beloved by everyone. Twinkling humor and a big bear hug. His spirit and family vibe permeated the place.”
Never having had much use for getting old, Mr. Reilly “always considered himself 39,” said his daughter, Anne. “He really cared about being around young people. I think that’s what kept him young.” Mr. Reilly, who lived on Beacon Street for about six decades, died in his sleep July 16 in Marian Manor in South Boston. He was 98.
total:0
“He just thought of himself as a barkeep on his stool, watching his kingdom,” said Bonnie Neilan, who had worked for Mr. Reilly at Jacks and Ryles.
His patrons, meanwhile, were so caught up in the warmth of his welcome that they thought they were among the chosen few — until they got to the line at the front door.
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“It didn’t matter who you were, you could be the king of anyplace and you’d still have to wait to get in,” Neilan said. “Someone would come up and say, ‘I’m Jack Reilly’s friend,’ and the doorman would say, ‘Well, everyone’s Jack Reilly’s friend.’ ”
Certainly everyone was on a first-name basis, and some returned to later venues after meeting him years earlier. “Hey, there’s Jack,” Weld said as he stepped from a car in front of Ryles in 1991. The governor had known him since Mr. Reilly ran Casablanca in the 1960s, when Globe columnist George Frazier, a chronicler of elegance and good taste, called the club’s jukebox the most sophisticated in the nation.
During the Ryles years, the Globe’s John Robinson wrote of Mr. Reilly’s ventures that wherever he “has hung his hat has been home for generations of local and visiting sybarites and fun-lovers who like a little magic with their refreshments, who would rather go dry than to drink in a room without style.”
John Alexander Reilly was born in Philadelphia in 1918, the second of four children. His father, Joseph, worked in construction. His mother, the former Frances McCloskey, was a homemaker.
Mr. Reilly was stationed in Norwich, England, during World War II while serving in the Army Air Forces, and then worked as an advertising manager in Philadelphia. Called back into the military during the Korean War, he landed on-the-job training for his future running clubs.
“I was a captain stationed at Otis Air Base in Falmouth and was given the choice of going to Greenland for 18 months or serving as club officer at Otis,” he told the Globe in 1982. “The choice was not tough at all, as I instantly took over the entertainment and administration of the base club for the next three years.”
When the war ended, Mr. Reilly, whose marriage ended in divorce, ran a Falmouth bar for a couple of years before managing Club Casablanca. After a dozen years at Casablanca, he and a partner bought a bar on Mass. Ave. They called it Jacks, without an apostrophe, and welcomed acts such as the James Montgomery Blues Band and J. Geils Band.
“It’s funny how many people have come up to me and said they used to come see me play every week at Jacks,” Raitt wrote. “I actually never had a gig there, just filled in when my pal Paul Geremia was ill once as I recall, but I sure spent a lot of my time hanging with our group there, whenever I was home on a break from touring.”
The draw of Mr. Reilly, she said, was a big reason musicians flocked to his clubs. “He was a wonderful man and great friend to the musicians and Cambridge community,” Raitt wrote.
“My father’s playfulness is what endeared him to so many people,” said Mr. Reilly’s daughter, Anne, who lives in Los Angeles. “He wasn’t afraid to make fun of himself or put on an outlandish costume to make people laugh.”
In the late 1970s, Mr. Reilly parted ways with his Jacks partner and opened Ryles, eventually creating performing spaces upstairs and downstairs that musicians valued.
“I’ve been playing at Ryles for 15 years, since it opened, and it has been a home for me and my brother Pat,” trumpeter Mike Metheny told the Globe in 1992. “It’s one of the great places I’ve played in my career. It’s one of those places where you can test new material, try out different combinations. You need places like that.”
And musicians needed Mr. Reilly. “You could be a Berklee student who never had a gig before or you could be a famous guitar player,” Neilan said, “and Jack would say, ‘Well, just leave me a tape,’ and if he liked you, he would hire you.”
A service has been held for Mr. Reilly, who in addition to his daughter leaves two granddaughters.
In the late 1990s, Mr. Reilly sold Ryles after years of challenging financial times. The club remained fiscally healthy “solely through prayer,” he told the Globe with a smile in 1982.
Mr. Reilly rarely had to say a Rosary for clientele, however, and friends were just as plentiful when he walked around the corner from his Beacon Street residence to stroll along Charles Street.
“He was so affable and took in so many people with his friendships,” his daughter said. “I got the impression he was the mayor of Charles Street. Just walking down the street with him it was always, ‘Hi Jack,’ ‘Hey Jack.’ Everybody was talking to him.”
Bryan Marquard can be reached at bryan.marquard@globe.com (mailto:bmarquard@globe.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.
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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e8a999231d) | 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=e8a999231d&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
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Jack Reilly, who launched Ryles jazz club, dies at 98 – The Boston Globe
http://www.jazzpromoservices.com/
https://www.bostonglobe.com/metro/2016/07/25/jack-reilly-who-launched-ryles-jazz-club-dies/5kgMhaOT5KiztZnBcpFYKJ/story.html
By Bryan Marquard (https://www.bostonglobe.com/staff/marquard) GLOBE STAFF JULY 25, 2016
GLOBE STAFF/FILE 1991
Mr. Reilly opened Ryles in Inman Square after time at Jacks and Club Casablanca.
paragraphs 24 leadingContainer photo leadingShape vertical hasRBox false
There Jack Reilly stood in Ryles, his Inman Square jazz club, a drink on the bar in front of him and the notes of a saxophone solo drifting by like a wisp of smoke.
“I just want a bar with good music and a friendly atmosphere,” he said that night in 1992. He was talking about the jazz musicians he had booked, though he could just as easily have been referring to the rock and folk acts he used to hire at Jacks on Massachusetts Avenue in the early 1970s, or to his legendary jukebox that entertained early 1960s patrons of Club Casablanca on Brattle Street.
http://googleads.g.doubleclick.net/pcs/click?xai=AKAOjsunQpFmulZjBhMLtwtG496CCuKwxjtJgBbX1JmIuB9NWYhS4cg_hz_RlgHKiACAMCBb99IupCtdMQ9ouzQitRE4fJTG2zVXRPwfGa4i9ztjIpgpeQ1aAAKO6BW5rGlvDvT-q7uBJdsBFD8eaIotSsB-CZt1Dw6Dj2EmrNpz1VeqRpqAZfyWUEWNG4PrXLR899IwF6cQZ6vUh9iknN1WdXCaeAZ5D50UWGg53mNntnAJoWe36SpgeICzi2b5rvL1HEU7TgCr71YktTy2&sig=Cg0ArKJSzCyjTrYzvQ-m&adurl=http://www.elconresort.com/specials-and-packages/
An impresario of Cambridge nightlife for four decades, Mr. Reilly managed the Casablanca and co-owned Jacks before opening Inman Square’s signature jazz club, where patrons could settle in for a set by guitarist Pat Metheny one evening and listen to a talented college student the next. The connecting thread from club to club was Mr. Reilly. His effortless effervescence made him a favorite of everyone from William Weld, who took time from gubernatorial duties to stop by Ryles, to musicians such as Bonnie Raitt, who was in her 20s when she met Mr. Reilly.
“I have such fond and vivid memories of my time in the early ’70s hanging at his bar, Jacks on Mass. Ave. in Cambridge,” she wrote in an e-mail. Mr. Reilly, she added, was “holding court and having as much fun as we were. He was beloved by everyone. Twinkling humor and a big bear hug. His spirit and family vibe permeated the place.”
Never having had much use for getting old, Mr. Reilly “always considered himself 39,” said his daughter, Anne. “He really cared about being around young people. I think that’s what kept him young.” Mr. Reilly, who lived on Beacon Street for about six decades, died in his sleep July 16 in Marian Manor in South Boston. He was 98.
total:0
“He just thought of himself as a barkeep on his stool, watching his kingdom,” said Bonnie Neilan, who had worked for Mr. Reilly at Jacks and Ryles.
His patrons, meanwhile, were so caught up in the warmth of his welcome that they thought they were among the chosen few — until they got to the line at the front door.
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“It didn’t matter who you were, you could be the king of anyplace and you’d still have to wait to get in,” Neilan said. “Someone would come up and say, ‘I’m Jack Reilly’s friend,’ and the doorman would say, ‘Well, everyone’s Jack Reilly’s friend.’ ”
Certainly everyone was on a first-name basis, and some returned to later venues after meeting him years earlier. “Hey, there’s Jack,” Weld said as he stepped from a car in front of Ryles in 1991. The governor had known him since Mr. Reilly ran Casablanca in the 1960s, when Globe columnist George Frazier, a chronicler of elegance and good taste, called the club’s jukebox the most sophisticated in the nation.
During the Ryles years, the Globe’s John Robinson wrote of Mr. Reilly’s ventures that wherever he “has hung his hat has been home for generations of local and visiting sybarites and fun-lovers who like a little magic with their refreshments, who would rather go dry than to drink in a room without style.”
John Alexander Reilly was born in Philadelphia in 1918, the second of four children. His father, Joseph, worked in construction. His mother, the former Frances McCloskey, was a homemaker.
Mr. Reilly was stationed in Norwich, England, during World War II while serving in the Army Air Forces, and then worked as an advertising manager in Philadelphia. Called back into the military during the Korean War, he landed on-the-job training for his future running clubs.
“I was a captain stationed at Otis Air Base in Falmouth and was given the choice of going to Greenland for 18 months or serving as club officer at Otis,” he told the Globe in 1982. “The choice was not tough at all, as I instantly took over the entertainment and administration of the base club for the next three years.”
When the war ended, Mr. Reilly, whose marriage ended in divorce, ran a Falmouth bar for a couple of years before managing Club Casablanca. After a dozen years at Casablanca, he and a partner bought a bar on Mass. Ave. They called it Jacks, without an apostrophe, and welcomed acts such as the James Montgomery Blues Band and J. Geils Band.
“It’s funny how many people have come up to me and said they used to come see me play every week at Jacks,” Raitt wrote. “I actually never had a gig there, just filled in when my pal Paul Geremia was ill once as I recall, but I sure spent a lot of my time hanging with our group there, whenever I was home on a break from touring.”
The draw of Mr. Reilly, she said, was a big reason musicians flocked to his clubs. “He was a wonderful man and great friend to the musicians and Cambridge community,” Raitt wrote.
“My father’s playfulness is what endeared him to so many people,” said Mr. Reilly’s daughter, Anne, who lives in Los Angeles. “He wasn’t afraid to make fun of himself or put on an outlandish costume to make people laugh.”
In the late 1970s, Mr. Reilly parted ways with his Jacks partner and opened Ryles, eventually creating performing spaces upstairs and downstairs that musicians valued.
“I’ve been playing at Ryles for 15 years, since it opened, and it has been a home for me and my brother Pat,” trumpeter Mike Metheny told the Globe in 1992. “It’s one of the great places I’ve played in my career. It’s one of those places where you can test new material, try out different combinations. You need places like that.”
And musicians needed Mr. Reilly. “You could be a Berklee student who never had a gig before or you could be a famous guitar player,” Neilan said, “and Jack would say, ‘Well, just leave me a tape,’ and if he liked you, he would hire you.”
A service has been held for Mr. Reilly, who in addition to his daughter leaves two granddaughters.
In the late 1990s, Mr. Reilly sold Ryles after years of challenging financial times. The club remained fiscally healthy “solely through prayer,” he told the Globe with a smile in 1982.
Mr. Reilly rarely had to say a Rosary for clientele, however, and friends were just as plentiful when he walked around the corner from his Beacon Street residence to stroll along Charles Street.
“He was so affable and took in so many people with his friendships,” his daughter said. “I got the impression he was the mayor of Charles Street. Just walking down the street with him it was always, ‘Hi Jack,’ ‘Hey Jack.’ Everybody was talking to him.”
Bryan Marquard can be reached at bryan.marquard@globe.com (mailto:bmarquard@globe.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
Jack Reilly, who launched Ryles jazz club, dies at 98 – The Boston Globe
http://www.jazzpromoservices.com/
https://www.bostonglobe.com/metro/2016/07/25/jack-reilly-who-launched-ryles-jazz-club-dies/5kgMhaOT5KiztZnBcpFYKJ/story.html
By Bryan Marquard (https://www.bostonglobe.com/staff/marquard) GLOBE STAFF JULY 25, 2016
GLOBE STAFF/FILE 1991
Mr. Reilly opened Ryles in Inman Square after time at Jacks and Club Casablanca.
paragraphs 24 leadingContainer photo leadingShape vertical hasRBox false
There Jack Reilly stood in Ryles, his Inman Square jazz club, a drink on the bar in front of him and the notes of a saxophone solo drifting by like a wisp of smoke.
“I just want a bar with good music and a friendly atmosphere,” he said that night in 1992. He was talking about the jazz musicians he had booked, though he could just as easily have been referring to the rock and folk acts he used to hire at Jacks on Massachusetts Avenue in the early 1970s, or to his legendary jukebox that entertained early 1960s patrons of Club Casablanca on Brattle Street.
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An impresario of Cambridge nightlife for four decades, Mr. Reilly managed the Casablanca and co-owned Jacks before opening Inman Square’s signature jazz club, where patrons could settle in for a set by guitarist Pat Metheny one evening and listen to a talented college student the next. The connecting thread from club to club was Mr. Reilly. His effortless effervescence made him a favorite of everyone from William Weld, who took time from gubernatorial duties to stop by Ryles, to musicians such as Bonnie Raitt, who was in her 20s when she met Mr. Reilly.
“I have such fond and vivid memories of my time in the early ’70s hanging at his bar, Jacks on Mass. Ave. in Cambridge,” she wrote in an e-mail. Mr. Reilly, she added, was “holding court and having as much fun as we were. He was beloved by everyone. Twinkling humor and a big bear hug. His spirit and family vibe permeated the place.”
Never having had much use for getting old, Mr. Reilly “always considered himself 39,” said his daughter, Anne. “He really cared about being around young people. I think that’s what kept him young.” Mr. Reilly, who lived on Beacon Street for about six decades, died in his sleep July 16 in Marian Manor in South Boston. He was 98.
total:0
“He just thought of himself as a barkeep on his stool, watching his kingdom,” said Bonnie Neilan, who had worked for Mr. Reilly at Jacks and Ryles.
His patrons, meanwhile, were so caught up in the warmth of his welcome that they thought they were among the chosen few — until they got to the line at the front door.
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“It didn’t matter who you were, you could be the king of anyplace and you’d still have to wait to get in,” Neilan said. “Someone would come up and say, ‘I’m Jack Reilly’s friend,’ and the doorman would say, ‘Well, everyone’s Jack Reilly’s friend.’ ”
Certainly everyone was on a first-name basis, and some returned to later venues after meeting him years earlier. “Hey, there’s Jack,” Weld said as he stepped from a car in front of Ryles in 1991. The governor had known him since Mr. Reilly ran Casablanca in the 1960s, when Globe columnist George Frazier, a chronicler of elegance and good taste, called the club’s jukebox the most sophisticated in the nation.
During the Ryles years, the Globe’s John Robinson wrote of Mr. Reilly’s ventures that wherever he “has hung his hat has been home for generations of local and visiting sybarites and fun-lovers who like a little magic with their refreshments, who would rather go dry than to drink in a room without style.”
John Alexander Reilly was born in Philadelphia in 1918, the second of four children. His father, Joseph, worked in construction. His mother, the former Frances McCloskey, was a homemaker.
Mr. Reilly was stationed in Norwich, England, during World War II while serving in the Army Air Forces, and then worked as an advertising manager in Philadelphia. Called back into the military during the Korean War, he landed on-the-job training for his future running clubs.
“I was a captain stationed at Otis Air Base in Falmouth and was given the choice of going to Greenland for 18 months or serving as club officer at Otis,” he told the Globe in 1982. “The choice was not tough at all, as I instantly took over the entertainment and administration of the base club for the next three years.”
When the war ended, Mr. Reilly, whose marriage ended in divorce, ran a Falmouth bar for a couple of years before managing Club Casablanca. After a dozen years at Casablanca, he and a partner bought a bar on Mass. Ave. They called it Jacks, without an apostrophe, and welcomed acts such as the James Montgomery Blues Band and J. Geils Band.
“It’s funny how many people have come up to me and said they used to come see me play every week at Jacks,” Raitt wrote. “I actually never had a gig there, just filled in when my pal Paul Geremia was ill once as I recall, but I sure spent a lot of my time hanging with our group there, whenever I was home on a break from touring.”
The draw of Mr. Reilly, she said, was a big reason musicians flocked to his clubs. “He was a wonderful man and great friend to the musicians and Cambridge community,” Raitt wrote.
“My father’s playfulness is what endeared him to so many people,” said Mr. Reilly’s daughter, Anne, who lives in Los Angeles. “He wasn’t afraid to make fun of himself or put on an outlandish costume to make people laugh.”
In the late 1970s, Mr. Reilly parted ways with his Jacks partner and opened Ryles, eventually creating performing spaces upstairs and downstairs that musicians valued.
“I’ve been playing at Ryles for 15 years, since it opened, and it has been a home for me and my brother Pat,” trumpeter Mike Metheny told the Globe in 1992. “It’s one of the great places I’ve played in my career. It’s one of those places where you can test new material, try out different combinations. You need places like that.”
And musicians needed Mr. Reilly. “You could be a Berklee student who never had a gig before or you could be a famous guitar player,” Neilan said, “and Jack would say, ‘Well, just leave me a tape,’ and if he liked you, he would hire you.”
A service has been held for Mr. Reilly, who in addition to his daughter leaves two granddaughters.
In the late 1990s, Mr. Reilly sold Ryles after years of challenging financial times. The club remained fiscally healthy “solely through prayer,” he told the Globe with a smile in 1982.
Mr. Reilly rarely had to say a Rosary for clientele, however, and friends were just as plentiful when he walked around the corner from his Beacon Street residence to stroll along Charles Street.
“He was so affable and took in so many people with his friendships,” his daughter said. “I got the impression he was the mayor of Charles Street. Just walking down the street with him it was always, ‘Hi Jack,’ ‘Hey Jack.’ Everybody was talking to him.”
Bryan Marquard can be reached at bryan.marquard@globe.com (mailto:bmarquard@globe.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)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=e8a999231d) | 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=e8a999231d&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
Jack Reilly, who launched Ryles jazz club, dies at 98 – The Boston Globe
http://www.jazzpromoservices.com/
https://www.bostonglobe.com/metro/2016/07/25/jack-reilly-who-launched-ryles-jazz-club-dies/5kgMhaOT5KiztZnBcpFYKJ/story.html
By Bryan Marquard (https://www.bostonglobe.com/staff/marquard) GLOBE STAFF JULY 25, 2016
GLOBE STAFF/FILE 1991
Mr. Reilly opened Ryles in Inman Square after time at Jacks and Club Casablanca.
paragraphs 24 leadingContainer photo leadingShape vertical hasRBox false
There Jack Reilly stood in Ryles, his Inman Square jazz club, a drink on the bar in front of him and the notes of a saxophone solo drifting by like a wisp of smoke.
“I just want a bar with good music and a friendly atmosphere,” he said that night in 1992. He was talking about the jazz musicians he had booked, though he could just as easily have been referring to the rock and folk acts he used to hire at Jacks on Massachusetts Avenue in the early 1970s, or to his legendary jukebox that entertained early 1960s patrons of Club Casablanca on Brattle Street.
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An impresario of Cambridge nightlife for four decades, Mr. Reilly managed the Casablanca and co-owned Jacks before opening Inman Square’s signature jazz club, where patrons could settle in for a set by guitarist Pat Metheny one evening and listen to a talented college student the next. The connecting thread from club to club was Mr. Reilly. His effortless effervescence made him a favorite of everyone from William Weld, who took time from gubernatorial duties to stop by Ryles, to musicians such as Bonnie Raitt, who was in her 20s when she met Mr. Reilly.
“I have such fond and vivid memories of my time in the early ’70s hanging at his bar, Jacks on Mass. Ave. in Cambridge,” she wrote in an e-mail. Mr. Reilly, she added, was “holding court and having as much fun as we were. He was beloved by everyone. Twinkling humor and a big bear hug. His spirit and family vibe permeated the place.”
Never having had much use for getting old, Mr. Reilly “always considered himself 39,” said his daughter, Anne. “He really cared about being around young people. I think that’s what kept him young.” Mr. Reilly, who lived on Beacon Street for about six decades, died in his sleep July 16 in Marian Manor in South Boston. He was 98.
total:0
“He just thought of himself as a barkeep on his stool, watching his kingdom,” said Bonnie Neilan, who had worked for Mr. Reilly at Jacks and Ryles.
His patrons, meanwhile, were so caught up in the warmth of his welcome that they thought they were among the chosen few — until they got to the line at the front door.
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“It didn’t matter who you were, you could be the king of anyplace and you’d still have to wait to get in,” Neilan said. “Someone would come up and say, ‘I’m Jack Reilly’s friend,’ and the doorman would say, ‘Well, everyone’s Jack Reilly’s friend.’ ”
Certainly everyone was on a first-name basis, and some returned to later venues after meeting him years earlier. “Hey, there’s Jack,” Weld said as he stepped from a car in front of Ryles in 1991. The governor had known him since Mr. Reilly ran Casablanca in the 1960s, when Globe columnist George Frazier, a chronicler of elegance and good taste, called the club’s jukebox the most sophisticated in the nation.
During the Ryles years, the Globe’s John Robinson wrote of Mr. Reilly’s ventures that wherever he “has hung his hat has been home for generations of local and visiting sybarites and fun-lovers who like a little magic with their refreshments, who would rather go dry than to drink in a room without style.”
John Alexander Reilly was born in Philadelphia in 1918, the second of four children. His father, Joseph, worked in construction. His mother, the former Frances McCloskey, was a homemaker.
Mr. Reilly was stationed in Norwich, England, during World War II while serving in the Army Air Forces, and then worked as an advertising manager in Philadelphia. Called back into the military during the Korean War, he landed on-the-job training for his future running clubs.
“I was a captain stationed at Otis Air Base in Falmouth and was given the choice of going to Greenland for 18 months or serving as club officer at Otis,” he told the Globe in 1982. “The choice was not tough at all, as I instantly took over the entertainment and administration of the base club for the next three years.”
When the war ended, Mr. Reilly, whose marriage ended in divorce, ran a Falmouth bar for a couple of years before managing Club Casablanca. After a dozen years at Casablanca, he and a partner bought a bar on Mass. Ave. They called it Jacks, without an apostrophe, and welcomed acts such as the James Montgomery Blues Band and J. Geils Band.
“It’s funny how many people have come up to me and said they used to come see me play every week at Jacks,” Raitt wrote. “I actually never had a gig there, just filled in when my pal Paul Geremia was ill once as I recall, but I sure spent a lot of my time hanging with our group there, whenever I was home on a break from touring.”
The draw of Mr. Reilly, she said, was a big reason musicians flocked to his clubs. “He was a wonderful man and great friend to the musicians and Cambridge community,” Raitt wrote.
“My father’s playfulness is what endeared him to so many people,” said Mr. Reilly’s daughter, Anne, who lives in Los Angeles. “He wasn’t afraid to make fun of himself or put on an outlandish costume to make people laugh.”
In the late 1970s, Mr. Reilly parted ways with his Jacks partner and opened Ryles, eventually creating performing spaces upstairs and downstairs that musicians valued.
“I’ve been playing at Ryles for 15 years, since it opened, and it has been a home for me and my brother Pat,” trumpeter Mike Metheny told the Globe in 1992. “It’s one of the great places I’ve played in my career. It’s one of those places where you can test new material, try out different combinations. You need places like that.”
And musicians needed Mr. Reilly. “You could be a Berklee student who never had a gig before or you could be a famous guitar player,” Neilan said, “and Jack would say, ‘Well, just leave me a tape,’ and if he liked you, he would hire you.”
A service has been held for Mr. Reilly, who in addition to his daughter leaves two granddaughters.
In the late 1990s, Mr. Reilly sold Ryles after years of challenging financial times. The club remained fiscally healthy “solely through prayer,” he told the Globe with a smile in 1982.
Mr. Reilly rarely had to say a Rosary for clientele, however, and friends were just as plentiful when he walked around the corner from his Beacon Street residence to stroll along Charles Street.
“He was so affable and took in so many people with his friendships,” his daughter said. “I got the impression he was the mayor of Charles Street. Just walking down the street with him it was always, ‘Hi Jack,’ ‘Hey Jack.’ Everybody was talking to him.”
Bryan Marquard can be reached at bryan.marquard@globe.com (mailto:bmarquard@globe.com) .
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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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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Local woman wants to honor Muskogee jazz legend | News | muskogeephoenix.com
http://www.jazzpromoservices.com/
http://www.muskogeephoenix.com/news/local-woman-wants-to-honor-muskogee-jazz-legend/article_f7923189-1ab5-59d3-a962-e83ed1ca0991.html
Local woman wants to honor Muskogee jazz legend
* By Harrison Grimwood Phoenix Staff Writer
*
* Jul 25, 2016
A downtown business owner and musician is looking to connect a Muskogee jazz legend with his roots on South Main Street through the second phase of the Muskogee Guitar project.
Lisa LaRue-Baker is raising funds to bring a seven-foot guitar that will be dedicated to the late Barney Kessel to the 200 block of South Main Street. That’s where the jazz legend learned to play while growing up.
“He learned to play the guitar and decided to go to L.A. while he was right here on South Main Street,” LaRue-Baker said. “So when they announced phase two of the guitars.…I just thought that it was a natural thing that Barney Kessel should have a tribute guitar.”
Kessel, an Oklahoma Music Hall of Fame inductee, grew up on South Main Street. As a youth, he saved his dollars he earned while working odd jobs to buy a six-string from a pawn shop. But his father, after Kessel progressed with the guitar, broke it, LaRue-Baker said.
Kessel’s father, a Russian immigrant, had become concerned his son would not learn a trade, Oklahoma Music Hall of Fame Curator Ronald Boren said. His mother — several years later — bought her son a new guitar from Kroh’s Music on Broadway, paying $150 during the Great Depression, LaRue-Baker said.
The musical legend is credited with developing his flavor of jazz, which led him to a long career of recording and performing.
“He was born here, grew up here, learned to play here and, with this wonderful guitar project, I thought he definitely deserved one of these (Muskogee) guitars,” LaRue-Baker said.
For a brief time, about three days, Kessel spent time with Charles Christian in Oklahoma City, Boren said.
Tout Middle Article Injection Point
“I want to say learning, but Barney stopped to a point because he didn’t want Charlie to influence his style too much,” Boren said.
Kessel planted his feet during the ‘40s in Los Angeles, where he later recorded for the ghost band The Wrecking Crew, Boren said. He recorded hundreds of pop songs as part of that crew, including Phil Spector, The Beach Boys and The Monkees.
“I’d always heard he’d got off the bus there with a dime in his pocket,” Boren said. “And he gently corrected me: He said, ‘No Ron, I got out there with a nickel in my pocket.’”
Kessel developed many of the jazz guitar techniques used today, LaRue-Baker said. Oklahoma’s jazz legacy runs deep, Boren said, referencing Christian and Kessel.
“Jammin’ the Blues”, a Warner Brothers’ short, 10-minute jam session, featured the “greatest jazz musicians in history,” Boren said. “And Barney Kessel of Muskogee is among them.”
Reach Harrison Grimwood at (918) 684-2926 or harrison.grimwood@muskogeephoenix.com (mailto:harrison.grimwood@muskogeephoenix.com) .
You can help
To contribute to the Barney Kessel guitar, donations may be made at gofundme.com/2dyce5g.
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
Local woman wants to honor Muskogee jazz legend | News | muskogeephoenix.com
http://www.jazzpromoservices.com/
http://www.muskogeephoenix.com/news/local-woman-wants-to-honor-muskogee-jazz-legend/article_f7923189-1ab5-59d3-a962-e83ed1ca0991.html
Local woman wants to honor Muskogee jazz legend
* By Harrison Grimwood Phoenix Staff Writer
*
* Jul 25, 2016
A downtown business owner and musician is looking to connect a Muskogee jazz legend with his roots on South Main Street through the second phase of the Muskogee Guitar project.
Lisa LaRue-Baker is raising funds to bring a seven-foot guitar that will be dedicated to the late Barney Kessel to the 200 block of South Main Street. That’s where the jazz legend learned to play while growing up.
“He learned to play the guitar and decided to go to L.A. while he was right here on South Main Street,” LaRue-Baker said. “So when they announced phase two of the guitars.…I just thought that it was a natural thing that Barney Kessel should have a tribute guitar.”
Kessel, an Oklahoma Music Hall of Fame inductee, grew up on South Main Street. As a youth, he saved his dollars he earned while working odd jobs to buy a six-string from a pawn shop. But his father, after Kessel progressed with the guitar, broke it, LaRue-Baker said.
Kessel’s father, a Russian immigrant, had become concerned his son would not learn a trade, Oklahoma Music Hall of Fame Curator Ronald Boren said. His mother — several years later — bought her son a new guitar from Kroh’s Music on Broadway, paying $150 during the Great Depression, LaRue-Baker said.
The musical legend is credited with developing his flavor of jazz, which led him to a long career of recording and performing.
“He was born here, grew up here, learned to play here and, with this wonderful guitar project, I thought he definitely deserved one of these (Muskogee) guitars,” LaRue-Baker said.
For a brief time, about three days, Kessel spent time with Charles Christian in Oklahoma City, Boren said.
Tout Middle Article Injection Point
“I want to say learning, but Barney stopped to a point because he didn’t want Charlie to influence his style too much,” Boren said.
Kessel planted his feet during the ‘40s in Los Angeles, where he later recorded for the ghost band The Wrecking Crew, Boren said. He recorded hundreds of pop songs as part of that crew, including Phil Spector, The Beach Boys and The Monkees.
“I’d always heard he’d got off the bus there with a dime in his pocket,” Boren said. “And he gently corrected me: He said, ‘No Ron, I got out there with a nickel in my pocket.’”
Kessel developed many of the jazz guitar techniques used today, LaRue-Baker said. Oklahoma’s jazz legacy runs deep, Boren said, referencing Christian and Kessel.
“Jammin’ the Blues”, a Warner Brothers’ short, 10-minute jam session, featured the “greatest jazz musicians in history,” Boren said. “And Barney Kessel of Muskogee is among them.”
Reach Harrison Grimwood at (918) 684-2926 or harrison.grimwood@muskogeephoenix.com (mailto:harrison.grimwood@muskogeephoenix.com) .
You can help
To contribute to the Barney Kessel guitar, donations may be made at gofundme.com/2dyce5g.
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=0adaf89cc2) | 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=0adaf89cc2&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
Local woman wants to honor Muskogee jazz legend | News | muskogeephoenix.com
http://www.jazzpromoservices.com/
http://www.muskogeephoenix.com/news/local-woman-wants-to-honor-muskogee-jazz-legend/article_f7923189-1ab5-59d3-a962-e83ed1ca0991.html
Local woman wants to honor Muskogee jazz legend
* By Harrison Grimwood Phoenix Staff Writer
*
* Jul 25, 2016
A downtown business owner and musician is looking to connect a Muskogee jazz legend with his roots on South Main Street through the second phase of the Muskogee Guitar project.
Lisa LaRue-Baker is raising funds to bring a seven-foot guitar that will be dedicated to the late Barney Kessel to the 200 block of South Main Street. That’s where the jazz legend learned to play while growing up.
“He learned to play the guitar and decided to go to L.A. while he was right here on South Main Street,” LaRue-Baker said. “So when they announced phase two of the guitars.…I just thought that it was a natural thing that Barney Kessel should have a tribute guitar.”
Kessel, an Oklahoma Music Hall of Fame inductee, grew up on South Main Street. As a youth, he saved his dollars he earned while working odd jobs to buy a six-string from a pawn shop. But his father, after Kessel progressed with the guitar, broke it, LaRue-Baker said.
Kessel’s father, a Russian immigrant, had become concerned his son would not learn a trade, Oklahoma Music Hall of Fame Curator Ronald Boren said. His mother — several years later — bought her son a new guitar from Kroh’s Music on Broadway, paying $150 during the Great Depression, LaRue-Baker said.
The musical legend is credited with developing his flavor of jazz, which led him to a long career of recording and performing.
“He was born here, grew up here, learned to play here and, with this wonderful guitar project, I thought he definitely deserved one of these (Muskogee) guitars,” LaRue-Baker said.
For a brief time, about three days, Kessel spent time with Charles Christian in Oklahoma City, Boren said.
Tout Middle Article Injection Point
“I want to say learning, but Barney stopped to a point because he didn’t want Charlie to influence his style too much,” Boren said.
Kessel planted his feet during the ‘40s in Los Angeles, where he later recorded for the ghost band The Wrecking Crew, Boren said. He recorded hundreds of pop songs as part of that crew, including Phil Spector, The Beach Boys and The Monkees.
“I’d always heard he’d got off the bus there with a dime in his pocket,” Boren said. “And he gently corrected me: He said, ‘No Ron, I got out there with a nickel in my pocket.’”
Kessel developed many of the jazz guitar techniques used today, LaRue-Baker said. Oklahoma’s jazz legacy runs deep, Boren said, referencing Christian and Kessel.
“Jammin’ the Blues”, a Warner Brothers’ short, 10-minute jam session, featured the “greatest jazz musicians in history,” Boren said. “And Barney Kessel of Muskogee is among them.”
Reach Harrison Grimwood at (918) 684-2926 or harrison.grimwood@muskogeephoenix.com (mailto:harrison.grimwood@muskogeephoenix.com) .
You can help
To contribute to the Barney Kessel guitar, donations may be made at gofundme.com/2dyce5g.
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=0adaf89cc2) | 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=0adaf89cc2&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
Local woman wants to honor Muskogee jazz legend | News | muskogeephoenix.com
http://www.jazzpromoservices.com/
http://www.muskogeephoenix.com/news/local-woman-wants-to-honor-muskogee-jazz-legend/article_f7923189-1ab5-59d3-a962-e83ed1ca0991.html
Local woman wants to honor Muskogee jazz legend
* By Harrison Grimwood Phoenix Staff Writer
*
* Jul 25, 2016
A downtown business owner and musician is looking to connect a Muskogee jazz legend with his roots on South Main Street through the second phase of the Muskogee Guitar project.
Lisa LaRue-Baker is raising funds to bring a seven-foot guitar that will be dedicated to the late Barney Kessel to the 200 block of South Main Street. That’s where the jazz legend learned to play while growing up.
“He learned to play the guitar and decided to go to L.A. while he was right here on South Main Street,” LaRue-Baker said. “So when they announced phase two of the guitars.…I just thought that it was a natural thing that Barney Kessel should have a tribute guitar.”
Kessel, an Oklahoma Music Hall of Fame inductee, grew up on South Main Street. As a youth, he saved his dollars he earned while working odd jobs to buy a six-string from a pawn shop. But his father, after Kessel progressed with the guitar, broke it, LaRue-Baker said.
Kessel’s father, a Russian immigrant, had become concerned his son would not learn a trade, Oklahoma Music Hall of Fame Curator Ronald Boren said. His mother — several years later — bought her son a new guitar from Kroh’s Music on Broadway, paying $150 during the Great Depression, LaRue-Baker said.
The musical legend is credited with developing his flavor of jazz, which led him to a long career of recording and performing.
“He was born here, grew up here, learned to play here and, with this wonderful guitar project, I thought he definitely deserved one of these (Muskogee) guitars,” LaRue-Baker said.
For a brief time, about three days, Kessel spent time with Charles Christian in Oklahoma City, Boren said.
Tout Middle Article Injection Point
“I want to say learning, but Barney stopped to a point because he didn’t want Charlie to influence his style too much,” Boren said.
Kessel planted his feet during the ‘40s in Los Angeles, where he later recorded for the ghost band The Wrecking Crew, Boren said. He recorded hundreds of pop songs as part of that crew, including Phil Spector, The Beach Boys and The Monkees.
“I’d always heard he’d got off the bus there with a dime in his pocket,” Boren said. “And he gently corrected me: He said, ‘No Ron, I got out there with a nickel in my pocket.’”
Kessel developed many of the jazz guitar techniques used today, LaRue-Baker said. Oklahoma’s jazz legacy runs deep, Boren said, referencing Christian and Kessel.
“Jammin’ the Blues”, a Warner Brothers’ short, 10-minute jam session, featured the “greatest jazz musicians in history,” Boren said. “And Barney Kessel of Muskogee is among them.”
Reach Harrison Grimwood at (918) 684-2926 or harrison.grimwood@muskogeephoenix.com (mailto:harrison.grimwood@muskogeephoenix.com) .
You can help
To contribute to the Barney Kessel guitar, donations may be made at gofundme.com/2dyce5g.
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
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-claude-williamson-20160720-snap-story.html
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool
By Jill Leovy
Claude Williamson, a versatile pianist who skillfully merged the bebop style of the East with the laid-back sound of the West, securing himself a seat in the cool L.A. jazz scene of the ‘50s, has died.
Williamson, 89, died in a facility in Sunland on Saturday, said his son, Marc Williamson. He fell and broke a hip last year and suffered complications afterward, his son said.
Williamson was believed to be the last surviving member of the Lighthouse All-Stars, the house band of the Hermosa Beach jazz club of the same name.
The Lighthouse’s fortunes tracked the era of cool jazz, a musical movement inspired by Miles Davis and Gerry Mulligan that flowered in L.A. and came to be seen as an archetypical West Coast artistic style.
L.A. musicians brought cool tones and an experimental, laid-back style to jazz, and for a while, they stole the spotlight from counterparts back East.
Raised in Vermont and trained in Boston, Williamson was fully a product of East Coast bebop tradition: his musical idols were Al Haig and Bud Powell. But he was also a thoroughly skilled musician — a player with perfect pitch for whom music seemed effortless, his son said. Or rather, it seemed like it was “in the blood,” Marc Williamson said.
That depth and flexibility allowed Williamson to adapt to L.A.’s changing music scene and shift roles easily.
Club musician, vocal accompanist, studio player, band leader, trio player — Williamson could do it all, said Ken Poston, director of the Los Angeles Jazz Institute in Long Beach.
He was part of “a new generation of musicians who had the training and background to do all kinds of things,” Poston said. “He was one of the ones who set that standard.”
Williamson “was an extremely creative player — brilliant from that standpoint,” Poston said. But it was his high-caliber “harmonic sense” that allowed him to excel at playing behind others and backing vocalists, such as June Christy, whose accompanist he was for two years, Poston said.
Williamson was a member of Charlie Barnet’s band, and played alongside Chet Baker, Bud Shank and a many other big-name West Coast musicians in the days of cool. His brother Stu Williamson was a noted jazz trumpeter who was also a Lighthouse All-Star.
In 1960s, Williamson reinvented himself for television, joining the players on “The Andy Williams Show.” He went on to play piano for “Sonny and Cher” and “Donny and Marie” and he even accompanied the Brady Bunch during their short-lived experiment in a musical variety hour — “You can either thank him or curse him for that,” his son said.
It all spoke to his trademark versatility, a pianist equally comfortable playing lead or side. “There is only a handful of players that fit into that category, and he was right there at the top,” Poston said.
Claude B. Williamson Jr. was born Nov. 18, 1926, in Brattleboro, Vt., to a professional drummer and his wife, Louise. He never finished a degree at the New England Conservatory of Music, but this classical training was apparent for the rest of his career, a Times critic noted, evident in “the smoothness of his play and the harmonic textures” he developed.
He was drafted at the end of World War ll and got a reprieve when peace came, but was deployed with the Army and sent to Korea in ‘51. Family lore has it that he was spared combat when higher-ups got word he was a musician, his son said.
The Army needed a drummer. Williamson played the piano. But he was perfectly happy to say he played drums — and he could fake it well enough to ride out the war in an officers’ club on Okinawa, Marc Williamson said.
That suited him fine; he was no soldier. “My dad was a brilliant musician but one of those people who couldn’t get a nail in straight if you know what I mean,” his son said.
Williamson settled in L.A. and became the house pianist at Howard Rumsey’s Lighthouse in Hermosa, then joined the Bud Shank Quartet in the late 1950s. He settled in Studio City, recorded regularly with other musicians and as a soloist enjoyed a second wave of fame in the 1980s when his music was rediscovered in Japan, and Japanese labels sought him out, Poston said.
The craze for L.A. cool jazz came and went — and came and went again. In his later years, Williamson suffered illnesses and frailty.
But a couple of years ago, when his son assumed he was long past playing, the musician agreed to appear at a jazz reunion. He was so weak he barely made it through the drive.
Then, on stage, at the age of 87, he played. “It was amazing,” the son recalled. “I’m so glad I was there.” A listener told Williamson after he had “knocked it out of the park,” music to the ears of the bebop artist who was also a lifelong baseball fan.
The performance recalled his old style, which was “seamless,” his son said. “It flowed.”
Along with son Marc, Williamson is survived by his wife Deanne and son Shawn.
jill.leovy@latimes.com (mailto:jill.leovy@latimes.com)
MORE OBITUARIES
David Horowitz dies at 86; longtime Hollywood publicist (http://www.latimes.com/local/obituaries/la-me-david-horowitz-20160719-snap-story.html#nt=oft03a-1la1)
Garry Marshall, director of ‘Pretty Woman’ and creator of ‘Happy Days,’ is dead at 81 (http://www.latimes.com/entertainment/movies/la-et-mn-garry-marshall-dies-20160719-snap-story.html)
Celebrity photographer Bill Jones dies at 81; captured black Hollywood, political figures and athletes (http://www.latimes.com/local/obituaries/la-me-bill-jones-20160701-snap-story.html#nt=oft13a-9gp1)
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
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-claude-williamson-20160720-snap-story.html
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool
By Jill Leovy
Claude Williamson, a versatile pianist who skillfully merged the bebop style of the East with the laid-back sound of the West, securing himself a seat in the cool L.A. jazz scene of the ‘50s, has died.
Williamson, 89, died in a facility in Sunland on Saturday, said his son, Marc Williamson. He fell and broke a hip last year and suffered complications afterward, his son said.
Williamson was believed to be the last surviving member of the Lighthouse All-Stars, the house band of the Hermosa Beach jazz club of the same name.
The Lighthouse’s fortunes tracked the era of cool jazz, a musical movement inspired by Miles Davis and Gerry Mulligan that flowered in L.A. and came to be seen as an archetypical West Coast artistic style.
L.A. musicians brought cool tones and an experimental, laid-back style to jazz, and for a while, they stole the spotlight from counterparts back East.
Raised in Vermont and trained in Boston, Williamson was fully a product of East Coast bebop tradition: his musical idols were Al Haig and Bud Powell. But he was also a thoroughly skilled musician — a player with perfect pitch for whom music seemed effortless, his son said. Or rather, it seemed like it was “in the blood,” Marc Williamson said.
That depth and flexibility allowed Williamson to adapt to L.A.’s changing music scene and shift roles easily.
Club musician, vocal accompanist, studio player, band leader, trio player — Williamson could do it all, said Ken Poston, director of the Los Angeles Jazz Institute in Long Beach.
He was part of “a new generation of musicians who had the training and background to do all kinds of things,” Poston said. “He was one of the ones who set that standard.”
Williamson “was an extremely creative player — brilliant from that standpoint,” Poston said. But it was his high-caliber “harmonic sense” that allowed him to excel at playing behind others and backing vocalists, such as June Christy, whose accompanist he was for two years, Poston said.
Williamson was a member of Charlie Barnet’s band, and played alongside Chet Baker, Bud Shank and a many other big-name West Coast musicians in the days of cool. His brother Stu Williamson was a noted jazz trumpeter who was also a Lighthouse All-Star.
In 1960s, Williamson reinvented himself for television, joining the players on “The Andy Williams Show.” He went on to play piano for “Sonny and Cher” and “Donny and Marie” and he even accompanied the Brady Bunch during their short-lived experiment in a musical variety hour — “You can either thank him or curse him for that,” his son said.
It all spoke to his trademark versatility, a pianist equally comfortable playing lead or side. “There is only a handful of players that fit into that category, and he was right there at the top,” Poston said.
Claude B. Williamson Jr. was born Nov. 18, 1926, in Brattleboro, Vt., to a professional drummer and his wife, Louise. He never finished a degree at the New England Conservatory of Music, but this classical training was apparent for the rest of his career, a Times critic noted, evident in “the smoothness of his play and the harmonic textures” he developed.
He was drafted at the end of World War ll and got a reprieve when peace came, but was deployed with the Army and sent to Korea in ‘51. Family lore has it that he was spared combat when higher-ups got word he was a musician, his son said.
The Army needed a drummer. Williamson played the piano. But he was perfectly happy to say he played drums — and he could fake it well enough to ride out the war in an officers’ club on Okinawa, Marc Williamson said.
That suited him fine; he was no soldier. “My dad was a brilliant musician but one of those people who couldn’t get a nail in straight if you know what I mean,” his son said.
Williamson settled in L.A. and became the house pianist at Howard Rumsey’s Lighthouse in Hermosa, then joined the Bud Shank Quartet in the late 1950s. He settled in Studio City, recorded regularly with other musicians and as a soloist enjoyed a second wave of fame in the 1980s when his music was rediscovered in Japan, and Japanese labels sought him out, Poston said.
The craze for L.A. cool jazz came and went — and came and went again. In his later years, Williamson suffered illnesses and frailty.
But a couple of years ago, when his son assumed he was long past playing, the musician agreed to appear at a jazz reunion. He was so weak he barely made it through the drive.
Then, on stage, at the age of 87, he played. “It was amazing,” the son recalled. “I’m so glad I was there.” A listener told Williamson after he had “knocked it out of the park,” music to the ears of the bebop artist who was also a lifelong baseball fan.
The performance recalled his old style, which was “seamless,” his son said. “It flowed.”
Along with son Marc, Williamson is survived by his wife Deanne and son Shawn.
jill.leovy@latimes.com (mailto:jill.leovy@latimes.com)
MORE OBITUARIES
David Horowitz dies at 86; longtime Hollywood publicist (http://www.latimes.com/local/obituaries/la-me-david-horowitz-20160719-snap-story.html#nt=oft03a-1la1)
Garry Marshall, director of ‘Pretty Woman’ and creator of ‘Happy Days,’ is dead at 81 (http://www.latimes.com/entertainment/movies/la-et-mn-garry-marshall-dies-20160719-snap-story.html)
Celebrity photographer Bill Jones dies at 81; captured black Hollywood, political figures and athletes (http://www.latimes.com/local/obituaries/la-me-bill-jones-20160701-snap-story.html#nt=oft13a-9gp1)
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
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-claude-williamson-20160720-snap-story.html
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool
By Jill Leovy
Claude Williamson, a versatile pianist who skillfully merged the bebop style of the East with the laid-back sound of the West, securing himself a seat in the cool L.A. jazz scene of the ‘50s, has died.
Williamson, 89, died in a facility in Sunland on Saturday, said his son, Marc Williamson. He fell and broke a hip last year and suffered complications afterward, his son said.
Williamson was believed to be the last surviving member of the Lighthouse All-Stars, the house band of the Hermosa Beach jazz club of the same name.
The Lighthouse’s fortunes tracked the era of cool jazz, a musical movement inspired by Miles Davis and Gerry Mulligan that flowered in L.A. and came to be seen as an archetypical West Coast artistic style.
L.A. musicians brought cool tones and an experimental, laid-back style to jazz, and for a while, they stole the spotlight from counterparts back East.
Raised in Vermont and trained in Boston, Williamson was fully a product of East Coast bebop tradition: his musical idols were Al Haig and Bud Powell. But he was also a thoroughly skilled musician — a player with perfect pitch for whom music seemed effortless, his son said. Or rather, it seemed like it was “in the blood,” Marc Williamson said.
That depth and flexibility allowed Williamson to adapt to L.A.’s changing music scene and shift roles easily.
Club musician, vocal accompanist, studio player, band leader, trio player — Williamson could do it all, said Ken Poston, director of the Los Angeles Jazz Institute in Long Beach.
He was part of “a new generation of musicians who had the training and background to do all kinds of things,” Poston said. “He was one of the ones who set that standard.”
Williamson “was an extremely creative player — brilliant from that standpoint,” Poston said. But it was his high-caliber “harmonic sense” that allowed him to excel at playing behind others and backing vocalists, such as June Christy, whose accompanist he was for two years, Poston said.
Williamson was a member of Charlie Barnet’s band, and played alongside Chet Baker, Bud Shank and a many other big-name West Coast musicians in the days of cool. His brother Stu Williamson was a noted jazz trumpeter who was also a Lighthouse All-Star.
In 1960s, Williamson reinvented himself for television, joining the players on “The Andy Williams Show.” He went on to play piano for “Sonny and Cher” and “Donny and Marie” and he even accompanied the Brady Bunch during their short-lived experiment in a musical variety hour — “You can either thank him or curse him for that,” his son said.
It all spoke to his trademark versatility, a pianist equally comfortable playing lead or side. “There is only a handful of players that fit into that category, and he was right there at the top,” Poston said.
Claude B. Williamson Jr. was born Nov. 18, 1926, in Brattleboro, Vt., to a professional drummer and his wife, Louise. He never finished a degree at the New England Conservatory of Music, but this classical training was apparent for the rest of his career, a Times critic noted, evident in “the smoothness of his play and the harmonic textures” he developed.
He was drafted at the end of World War ll and got a reprieve when peace came, but was deployed with the Army and sent to Korea in ‘51. Family lore has it that he was spared combat when higher-ups got word he was a musician, his son said.
The Army needed a drummer. Williamson played the piano. But he was perfectly happy to say he played drums — and he could fake it well enough to ride out the war in an officers’ club on Okinawa, Marc Williamson said.
That suited him fine; he was no soldier. “My dad was a brilliant musician but one of those people who couldn’t get a nail in straight if you know what I mean,” his son said.
Williamson settled in L.A. and became the house pianist at Howard Rumsey’s Lighthouse in Hermosa, then joined the Bud Shank Quartet in the late 1950s. He settled in Studio City, recorded regularly with other musicians and as a soloist enjoyed a second wave of fame in the 1980s when his music was rediscovered in Japan, and Japanese labels sought him out, Poston said.
The craze for L.A. cool jazz came and went — and came and went again. In his later years, Williamson suffered illnesses and frailty.
But a couple of years ago, when his son assumed he was long past playing, the musician agreed to appear at a jazz reunion. He was so weak he barely made it through the drive.
Then, on stage, at the age of 87, he played. “It was amazing,” the son recalled. “I’m so glad I was there.” A listener told Williamson after he had “knocked it out of the park,” music to the ears of the bebop artist who was also a lifelong baseball fan.
The performance recalled his old style, which was “seamless,” his son said. “It flowed.”
Along with son Marc, Williamson is survived by his wife Deanne and son Shawn.
jill.leovy@latimes.com (mailto:jill.leovy@latimes.com)
MORE OBITUARIES
David Horowitz dies at 86; longtime Hollywood publicist (http://www.latimes.com/local/obituaries/la-me-david-horowitz-20160719-snap-story.html#nt=oft03a-1la1)
Garry Marshall, director of ‘Pretty Woman’ and creator of ‘Happy Days,’ is dead at 81 (http://www.latimes.com/entertainment/movies/la-et-mn-garry-marshall-dies-20160719-snap-story.html)
Celebrity photographer Bill Jones dies at 81; captured black Hollywood, political figures and athletes (http://www.latimes.com/local/obituaries/la-me-bill-jones-20160701-snap-story.html#nt=oft13a-9gp1)
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=77c41eebac) | 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=77c41eebac&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
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-claude-williamson-20160720-snap-story.html
Claude Williamson dies at 89; versatile jazz pianist was mainstay of West Coast cool
By Jill Leovy
Claude Williamson, a versatile pianist who skillfully merged the bebop style of the East with the laid-back sound of the West, securing himself a seat in the cool L.A. jazz scene of the ‘50s, has died.
Williamson, 89, died in a facility in Sunland on Saturday, said his son, Marc Williamson. He fell and broke a hip last year and suffered complications afterward, his son said.
Williamson was believed to be the last surviving member of the Lighthouse All-Stars, the house band of the Hermosa Beach jazz club of the same name.
The Lighthouse’s fortunes tracked the era of cool jazz, a musical movement inspired by Miles Davis and Gerry Mulligan that flowered in L.A. and came to be seen as an archetypical West Coast artistic style.
L.A. musicians brought cool tones and an experimental, laid-back style to jazz, and for a while, they stole the spotlight from counterparts back East.
Raised in Vermont and trained in Boston, Williamson was fully a product of East Coast bebop tradition: his musical idols were Al Haig and Bud Powell. But he was also a thoroughly skilled musician — a player with perfect pitch for whom music seemed effortless, his son said. Or rather, it seemed like it was “in the blood,” Marc Williamson said.
That depth and flexibility allowed Williamson to adapt to L.A.’s changing music scene and shift roles easily.
Club musician, vocal accompanist, studio player, band leader, trio player — Williamson could do it all, said Ken Poston, director of the Los Angeles Jazz Institute in Long Beach.
He was part of “a new generation of musicians who had the training and background to do all kinds of things,” Poston said. “He was one of the ones who set that standard.”
Williamson “was an extremely creative player — brilliant from that standpoint,” Poston said. But it was his high-caliber “harmonic sense” that allowed him to excel at playing behind others and backing vocalists, such as June Christy, whose accompanist he was for two years, Poston said.
Williamson was a member of Charlie Barnet’s band, and played alongside Chet Baker, Bud Shank and a many other big-name West Coast musicians in the days of cool. His brother Stu Williamson was a noted jazz trumpeter who was also a Lighthouse All-Star.
In 1960s, Williamson reinvented himself for television, joining the players on “The Andy Williams Show.” He went on to play piano for “Sonny and Cher” and “Donny and Marie” and he even accompanied the Brady Bunch during their short-lived experiment in a musical variety hour — “You can either thank him or curse him for that,” his son said.
It all spoke to his trademark versatility, a pianist equally comfortable playing lead or side. “There is only a handful of players that fit into that category, and he was right there at the top,” Poston said.
Claude B. Williamson Jr. was born Nov. 18, 1926, in Brattleboro, Vt., to a professional drummer and his wife, Louise. He never finished a degree at the New England Conservatory of Music, but this classical training was apparent for the rest of his career, a Times critic noted, evident in “the smoothness of his play and the harmonic textures” he developed.
He was drafted at the end of World War ll and got a reprieve when peace came, but was deployed with the Army and sent to Korea in ‘51. Family lore has it that he was spared combat when higher-ups got word he was a musician, his son said.
The Army needed a drummer. Williamson played the piano. But he was perfectly happy to say he played drums — and he could fake it well enough to ride out the war in an officers’ club on Okinawa, Marc Williamson said.
That suited him fine; he was no soldier. “My dad was a brilliant musician but one of those people who couldn’t get a nail in straight if you know what I mean,” his son said.
Williamson settled in L.A. and became the house pianist at Howard Rumsey’s Lighthouse in Hermosa, then joined the Bud Shank Quartet in the late 1950s. He settled in Studio City, recorded regularly with other musicians and as a soloist enjoyed a second wave of fame in the 1980s when his music was rediscovered in Japan, and Japanese labels sought him out, Poston said.
The craze for L.A. cool jazz came and went — and came and went again. In his later years, Williamson suffered illnesses and frailty.
But a couple of years ago, when his son assumed he was long past playing, the musician agreed to appear at a jazz reunion. He was so weak he barely made it through the drive.
Then, on stage, at the age of 87, he played. “It was amazing,” the son recalled. “I’m so glad I was there.” A listener told Williamson after he had “knocked it out of the park,” music to the ears of the bebop artist who was also a lifelong baseball fan.
The performance recalled his old style, which was “seamless,” his son said. “It flowed.”
Along with son Marc, Williamson is survived by his wife Deanne and son Shawn.
jill.leovy@latimes.com (mailto:jill.leovy@latimes.com)
MORE OBITUARIES
David Horowitz dies at 86; longtime Hollywood publicist (http://www.latimes.com/local/obituaries/la-me-david-horowitz-20160719-snap-story.html#nt=oft03a-1la1)
Garry Marshall, director of ‘Pretty Woman’ and creator of ‘Happy Days,’ is dead at 81 (http://www.latimes.com/entertainment/movies/la-et-mn-garry-marshall-dies-20160719-snap-story.html)
Celebrity photographer Bill Jones dies at 81; captured black Hollywood, political figures and athletes (http://www.latimes.com/local/obituaries/la-me-bill-jones-20160701-snap-story.html#nt=oft13a-9gp1)
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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Linda Laurie on “To Tell the Truth” – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3-bQqsoMvQ0
https://www.youtube.com/watch?v=3-bQqsoMvQ0
Linda Laurie was an American singer (https://en.wikipedia.org/wiki/Singing) and songwriter (https://en.wikipedia.org/wiki/Songwriter) , best known for the novelty record “Ambrose (Part 5)”, which went to #52 on the Billboard (https://en.wikipedia.org/wiki/Billboard_%28magazine%29) chart while she was still a high school student in 1959.^[1] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-1)
“Ambrose (Part 5)” (https://www.youtube.com/watch?v=b8Z4SFc3uho)
While attending Abraham Lincoln High School (https://en.wikipedia.org/wiki/Abraham_Lincoln_High_School_%28Brooklyn,_New_York%29) in Brooklyn, New York (https://en.wikipedia.org/wiki/Brooklyn,_New_York) , Laurie wrote and recorded a number of demo records, including “Sunglasses”, which Linda recorded with her friend Linda Yellin as the “Knott Sisters”; it failed to chart.
Another of Linda’s songs was an odd tale of a girl walking through a dark subway (https://en.wikipedia.org/wiki/Rapid_transit) tunnel with her boyfriend Ambrose, who implores her to “just keep walking”. She recorded the number for Glory Records in late 1958 and took it around to radio stations, who liked the deep-throated Ambrose (which Laurie voiced herself) and bizarre non-sequiturs like “we haven’t got a color telephone (https://en.wikipedia.org/wiki/Telephone) “.
“Ambrose (Part 5)” (despite the name, there were no parts one through four) entered the Billboard charts in January 1959 and peaked at #52 in March. (The flip side (https://en.wikipedia.org/wiki/B-side) , “Ooh, What A Lover”, also received some airplay.) The song’s notoriety was enough to get young Linda on the February 10, 1959 edition of To Tell The Truth (https://en.wikipedia.org/wiki/To_Tell_The_Truth) ; only two of the four panelists correctly identified her. A follow-up, “Forever Ambrose”, in which the pair leave the subway tunnel and Ambrose even sings, failed to hit the charts.
From 1960-64, she made a number of other recordings for various small labels: “Stay with Me” (Andie 5015); “Chico” (Keetch 6001); “Lucky” (Recona 3502); “Prince Charming” (Rust 5022); and “Stay-At-Home Sue” (Rust 5042), a musical rejoinder to Dion (https://en.wikipedia.org/wiki/Dion_DiMucci) ‘s “Runaround Sue (https://en.wikipedia.org/wiki/Runaround_Sue) .” In 1962, Linda reconnected with Ambrose in “The Return of Ambrose” (Rust 5061).
Later years
After relocating to the West Coast, Linda Laurie wrote a number of songs for other artists, including Bobby Vinton (https://en.wikipedia.org/wiki/Bobby_Vinton) (“I’m Comin’ Home Girl”), Sonny and Cher (https://en.wikipedia.org/wiki/Sonny_and_Cher) (“Crystal Clear, Muddy Waters”), Cher (https://en.wikipedia.org/wiki/Cher) solo (“When You Find Out Where You’re Going, Let Me Know”), Nancy Sinatra (https://en.wikipedia.org/wiki/Nancy_Sinatra) (with Frank Sinatra (https://en.wikipedia.org/wiki/Frank_Sinatra) ; “Life’s A Trippy Thing”) and Love Unlimited (https://en.wikipedia.org/wiki/Love_Unlimited) (“I Did It For Love”).
However, her biggest hit as a songwriter came with Leave Me Alone (Ruby Red Dress) (https://en.wikipedia.org/wiki/Leave_Me_Alone_%28Ruby_Red_Dress%29) , which went to #3 for Helen Reddy (https://en.wikipedia.org/wiki/Helen_Reddy) in late 1973; Laurie’s own version was issued by MCA Records (https://en.wikipedia.org/wiki/MCA_Records) earlier in the year. She also wrote the theme song for the 70s Saturday morning show “Land Of The Lost (https://en.wikipedia.org/wiki/Land_of_the_Lost_%281974_TV_series%29) “, which was also featured in the 2009 movie featuring Will Ferrell (https://en.wikipedia.org/wiki/Will_Ferrell) . The band Everclear (https://en.wikipedia.org/wiki/Everclear_%28band%29) also recorded the tune on their all-covers album, “The Vegas Years.”
Her music was rediscovered in the 90s through various hip-hop songs; “I Did It For Love” has been sampled in such hits as Puff Daddy (https://en.wikipedia.org/wiki/Puff_Daddy) ‘s “It’s All About the Benjamins”, Mariah Carey (https://en.wikipedia.org/wiki/Mariah_Carey) ‘s “Miss You”, Shyne (https://en.wikipedia.org/wiki/Shyne) ‘s “The Gang”, Swizz Beats (https://en.wikipedia.org/wiki/Swizz_Beats) ‘ “Money In The Bank” and more.
Laurie also served as executive director for Theatre of Life for Children, designed “to provide an accessible, community-based, multi-cultural performing arts program dedicated to healing and developing the talents and passion in children.”^[2] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-2)
Linda Laurie died of cancer at a hospital in Santa Barbara, California (https://en.wikipedia.org/wiki/Santa_Barbara,_California) on November 20, 2009, at the age of 68.
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=409db9db80) | 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=409db9db80&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
Linda Laurie on “To Tell the Truth” – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3-bQqsoMvQ0
https://www.youtube.com/watch?v=3-bQqsoMvQ0
Linda Laurie was an American singer (https://en.wikipedia.org/wiki/Singing) and songwriter (https://en.wikipedia.org/wiki/Songwriter) , best known for the novelty record “Ambrose (Part 5)”, which went to #52 on the Billboard (https://en.wikipedia.org/wiki/Billboard_%28magazine%29) chart while she was still a high school student in 1959.^[1] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-1)
“Ambrose (Part 5)” (https://www.youtube.com/watch?v=b8Z4SFc3uho)
While attending Abraham Lincoln High School (https://en.wikipedia.org/wiki/Abraham_Lincoln_High_School_%28Brooklyn,_New_York%29) in Brooklyn, New York (https://en.wikipedia.org/wiki/Brooklyn,_New_York) , Laurie wrote and recorded a number of demo records, including “Sunglasses”, which Linda recorded with her friend Linda Yellin as the “Knott Sisters”; it failed to chart.
Another of Linda’s songs was an odd tale of a girl walking through a dark subway (https://en.wikipedia.org/wiki/Rapid_transit) tunnel with her boyfriend Ambrose, who implores her to “just keep walking”. She recorded the number for Glory Records in late 1958 and took it around to radio stations, who liked the deep-throated Ambrose (which Laurie voiced herself) and bizarre non-sequiturs like “we haven’t got a color telephone (https://en.wikipedia.org/wiki/Telephone) “.
“Ambrose (Part 5)” (despite the name, there were no parts one through four) entered the Billboard charts in January 1959 and peaked at #52 in March. (The flip side (https://en.wikipedia.org/wiki/B-side) , “Ooh, What A Lover”, also received some airplay.) The song’s notoriety was enough to get young Linda on the February 10, 1959 edition of To Tell The Truth (https://en.wikipedia.org/wiki/To_Tell_The_Truth) ; only two of the four panelists correctly identified her. A follow-up, “Forever Ambrose”, in which the pair leave the subway tunnel and Ambrose even sings, failed to hit the charts.
From 1960-64, she made a number of other recordings for various small labels: “Stay with Me” (Andie 5015); “Chico” (Keetch 6001); “Lucky” (Recona 3502); “Prince Charming” (Rust 5022); and “Stay-At-Home Sue” (Rust 5042), a musical rejoinder to Dion (https://en.wikipedia.org/wiki/Dion_DiMucci) ‘s “Runaround Sue (https://en.wikipedia.org/wiki/Runaround_Sue) .” In 1962, Linda reconnected with Ambrose in “The Return of Ambrose” (Rust 5061).
Later years
After relocating to the West Coast, Linda Laurie wrote a number of songs for other artists, including Bobby Vinton (https://en.wikipedia.org/wiki/Bobby_Vinton) (“I’m Comin’ Home Girl”), Sonny and Cher (https://en.wikipedia.org/wiki/Sonny_and_Cher) (“Crystal Clear, Muddy Waters”), Cher (https://en.wikipedia.org/wiki/Cher) solo (“When You Find Out Where You’re Going, Let Me Know”), Nancy Sinatra (https://en.wikipedia.org/wiki/Nancy_Sinatra) (with Frank Sinatra (https://en.wikipedia.org/wiki/Frank_Sinatra) ; “Life’s A Trippy Thing”) and Love Unlimited (https://en.wikipedia.org/wiki/Love_Unlimited) (“I Did It For Love”).
However, her biggest hit as a songwriter came with Leave Me Alone (Ruby Red Dress) (https://en.wikipedia.org/wiki/Leave_Me_Alone_%28Ruby_Red_Dress%29) , which went to #3 for Helen Reddy (https://en.wikipedia.org/wiki/Helen_Reddy) in late 1973; Laurie’s own version was issued by MCA Records (https://en.wikipedia.org/wiki/MCA_Records) earlier in the year. She also wrote the theme song for the 70s Saturday morning show “Land Of The Lost (https://en.wikipedia.org/wiki/Land_of_the_Lost_%281974_TV_series%29) “, which was also featured in the 2009 movie featuring Will Ferrell (https://en.wikipedia.org/wiki/Will_Ferrell) . The band Everclear (https://en.wikipedia.org/wiki/Everclear_%28band%29) also recorded the tune on their all-covers album, “The Vegas Years.”
Her music was rediscovered in the 90s through various hip-hop songs; “I Did It For Love” has been sampled in such hits as Puff Daddy (https://en.wikipedia.org/wiki/Puff_Daddy) ‘s “It’s All About the Benjamins”, Mariah Carey (https://en.wikipedia.org/wiki/Mariah_Carey) ‘s “Miss You”, Shyne (https://en.wikipedia.org/wiki/Shyne) ‘s “The Gang”, Swizz Beats (https://en.wikipedia.org/wiki/Swizz_Beats) ‘ “Money In The Bank” and more.
Laurie also served as executive director for Theatre of Life for Children, designed “to provide an accessible, community-based, multi-cultural performing arts program dedicated to healing and developing the talents and passion in children.”^[2] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-2)
Linda Laurie died of cancer at a hospital in Santa Barbara, California (https://en.wikipedia.org/wiki/Santa_Barbara,_California) on November 20, 2009, at the age of 68.
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=409db9db80) | 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=409db9db80&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
Linda Laurie on “To Tell the Truth” – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3-bQqsoMvQ0
https://www.youtube.com/watch?v=3-bQqsoMvQ0
Linda Laurie was an American singer (https://en.wikipedia.org/wiki/Singing) and songwriter (https://en.wikipedia.org/wiki/Songwriter) , best known for the novelty record “Ambrose (Part 5)”, which went to #52 on the Billboard (https://en.wikipedia.org/wiki/Billboard_%28magazine%29) chart while she was still a high school student in 1959.^[1] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-1)
“Ambrose (Part 5)” (https://www.youtube.com/watch?v=b8Z4SFc3uho)
While attending Abraham Lincoln High School (https://en.wikipedia.org/wiki/Abraham_Lincoln_High_School_%28Brooklyn,_New_York%29) in Brooklyn, New York (https://en.wikipedia.org/wiki/Brooklyn,_New_York) , Laurie wrote and recorded a number of demo records, including “Sunglasses”, which Linda recorded with her friend Linda Yellin as the “Knott Sisters”; it failed to chart.
Another of Linda’s songs was an odd tale of a girl walking through a dark subway (https://en.wikipedia.org/wiki/Rapid_transit) tunnel with her boyfriend Ambrose, who implores her to “just keep walking”. She recorded the number for Glory Records in late 1958 and took it around to radio stations, who liked the deep-throated Ambrose (which Laurie voiced herself) and bizarre non-sequiturs like “we haven’t got a color telephone (https://en.wikipedia.org/wiki/Telephone) “.
“Ambrose (Part 5)” (despite the name, there were no parts one through four) entered the Billboard charts in January 1959 and peaked at #52 in March. (The flip side (https://en.wikipedia.org/wiki/B-side) , “Ooh, What A Lover”, also received some airplay.) The song’s notoriety was enough to get young Linda on the February 10, 1959 edition of To Tell The Truth (https://en.wikipedia.org/wiki/To_Tell_The_Truth) ; only two of the four panelists correctly identified her. A follow-up, “Forever Ambrose”, in which the pair leave the subway tunnel and Ambrose even sings, failed to hit the charts.
From 1960-64, she made a number of other recordings for various small labels: “Stay with Me” (Andie 5015); “Chico” (Keetch 6001); “Lucky” (Recona 3502); “Prince Charming” (Rust 5022); and “Stay-At-Home Sue” (Rust 5042), a musical rejoinder to Dion (https://en.wikipedia.org/wiki/Dion_DiMucci) ‘s “Runaround Sue (https://en.wikipedia.org/wiki/Runaround_Sue) .” In 1962, Linda reconnected with Ambrose in “The Return of Ambrose” (Rust 5061).
Later years
After relocating to the West Coast, Linda Laurie wrote a number of songs for other artists, including Bobby Vinton (https://en.wikipedia.org/wiki/Bobby_Vinton) (“I’m Comin’ Home Girl”), Sonny and Cher (https://en.wikipedia.org/wiki/Sonny_and_Cher) (“Crystal Clear, Muddy Waters”), Cher (https://en.wikipedia.org/wiki/Cher) solo (“When You Find Out Where You’re Going, Let Me Know”), Nancy Sinatra (https://en.wikipedia.org/wiki/Nancy_Sinatra) (with Frank Sinatra (https://en.wikipedia.org/wiki/Frank_Sinatra) ; “Life’s A Trippy Thing”) and Love Unlimited (https://en.wikipedia.org/wiki/Love_Unlimited) (“I Did It For Love”).
However, her biggest hit as a songwriter came with Leave Me Alone (Ruby Red Dress) (https://en.wikipedia.org/wiki/Leave_Me_Alone_%28Ruby_Red_Dress%29) , which went to #3 for Helen Reddy (https://en.wikipedia.org/wiki/Helen_Reddy) in late 1973; Laurie’s own version was issued by MCA Records (https://en.wikipedia.org/wiki/MCA_Records) earlier in the year. She also wrote the theme song for the 70s Saturday morning show “Land Of The Lost (https://en.wikipedia.org/wiki/Land_of_the_Lost_%281974_TV_series%29) “, which was also featured in the 2009 movie featuring Will Ferrell (https://en.wikipedia.org/wiki/Will_Ferrell) . The band Everclear (https://en.wikipedia.org/wiki/Everclear_%28band%29) also recorded the tune on their all-covers album, “The Vegas Years.”
Her music was rediscovered in the 90s through various hip-hop songs; “I Did It For Love” has been sampled in such hits as Puff Daddy (https://en.wikipedia.org/wiki/Puff_Daddy) ‘s “It’s All About the Benjamins”, Mariah Carey (https://en.wikipedia.org/wiki/Mariah_Carey) ‘s “Miss You”, Shyne (https://en.wikipedia.org/wiki/Shyne) ‘s “The Gang”, Swizz Beats (https://en.wikipedia.org/wiki/Swizz_Beats) ‘ “Money In The Bank” and more.
Laurie also served as executive director for Theatre of Life for Children, designed “to provide an accessible, community-based, multi-cultural performing arts program dedicated to healing and developing the talents and passion in children.”^[2] (https://en.wikipedia.org/wiki/Linda_Laurie#cite_note-2)
Linda Laurie died of cancer at a hospital in Santa Barbara, California (https://en.wikipedia.org/wiki/Santa_Barbara,_California) on November 20, 2009, at the age of 68.
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=409db9db80) | 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=409db9db80&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