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Linda Laurie on “To Tell the Truth” – YouTube

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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.

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July 25, 2016 / No Comments / More

How Popular Is Used Vinyl? One Research Company Decided to Find Out.

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http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/

How Popular Is Used Vinyl? One Research Company Decided to Find Out.
Paul Resnikoff (http://www.digitalmusicnews.com/author/presnikoff/) July 15, 2016

/22112625/DMN_Article_11_Leaderboard
The vinyl resurgence might be a lot bigger than we originally thought.
Back in the early 2000s, the music industry had little idea that a vinyl resurgence was coming. In the early 2010s, they were slow to understand the nuances between streaming, physical ownership, and retro demand that emerged. And despite a near-decade of continued growth, surprising statistics about this newfound market are continuing to surface. That includes new information on just how much used vinyl is being purchased, most of which isn’t being counted.
Slowly, a picture of what’s driving this vinyl resurgence is emerging, with lots of curious surprises. The data doesn’t lie, and polls now show that a substantial number of vinyl buyers are in their 20s, while a massive percentage of younger buyers don’t even own turntables.
Even more surprising is the growing link between streaming music and vinyl purchases, one that includes free (or ad-supported) streaming on platforms like Spotify and YouTube. The Jack Black, Hi Fidelity curator is now an obsolete snob, because every single song on the planet (basically) exists online, or, on your phone, and all of that is leading to greater purchases of LPs.
Now, research is uncovering lots of interesting details about used vs. new product. According to data shared by research firm MusicWatch with Digital Music News this morning, a comfortable majority of vinyl sales are for used LPs, not newly-created product. The existence of a massive used market has been recognized for some time, though research group MusicWatch actually went out and started polling consumers to figure out the breakdowns. That research initiative not only revealed that most vinyl being bought is used, but that an interesting ‘dual market’ of buyers has emerged.
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Just how much is used?
According to MusicWatch, roughly 62.5 percent of all vinyl purchases currently involved used product. Most of this stuff was created in the 70s and 80s, though technically, ‘used’ simply refers to any product that isn’t being purchased for the first time.
http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/vinylused1/
Used Vinyl Study (http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/vinylused1/)
The above breakdown shows that not only is used vinyl being heavily purchased, but used heavily overshadows new when it comes to LP purchases. “We currently project there are actually more customers for used vinyl than for new,” relayed MusicWatch’s Russ Crupnick. Overall, MusicWatch polled 4,800 American consumers between January and April of this year, all of whom were over the age of 13.
The ‘Dual Market’
Perhaps more revealing was the discovery of this ‘dual market,’ with buyers currently falling into new or used camps. Some purchase both, but for the most part, buyers typically belong exclusively into one bucket or the other.
http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/vinylused2/
Used Vinyl (http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/vinylused2/)
That’s actually encouraging for the music industry, according to Crupnick. And the reason is that more used buyers will start to purchase newer product, while incoming buyers will continue to boost newer purchases. “In any given month most vinyl buyers choose either new or used, but the more time goes by the more that will equalize, and certainly hardcore vinyl shoppers are more likely to buy both new and used in a given window of time.”
Age (and Gender) Matters
But what makes a person a ‘used guy’ vs. a ‘new guy’? That’s a complicated question, though MusicWatch attempted to break down those patterns by factors like age and gender. On the age front, it turns out that younger, 13-24 year-old buyers are leaning more heavily towards new product, with 35-44 year-olds also driving sales of new LPs. On the flip side, older buyers (55+) seemed far more interested in used LPs, even though they theoretically have more money for newer product.
http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/usedvinyl3/
usedvinyl3 (http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/usedvinyl3/)
In the middle, the 25-34 year-old set showed a preference for used product. “One-third of new vinyl buyers are aged 13-24, and by the way, 66 percent of new buyers are male,” Crupnick continued. “The profile for used vinyl is similar, except that there are a few more in the 55 and over bucket. By contrast boomers really show their presence for listening to vinyl—the 55+ segment accounts for 26 percent of vinyl listeners.”
But make no mistake, Crupnick pointed to younger listeners as the biggest driver of this trend. Part of that is driven by cool factor, raising questions of whether the vinyl revolution will remain long-term. That said, vinyl itself could undergo a massive transformation in the coming years. Earlier this year, Austrian firm Rebeat Digital patented plans for ‘HD Vinyl,’ the working name for higher-tech, higher-fidelity vinyl product that includes integrations with streaming and digital platforms.
Top image by Alan Levine, licensed under Creative Commons Attribution 2.0 Generic.
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July 25, 2016 / No Comments / More

How Popular Is Used Vinyl? One Research Company Decided to Find Out.

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http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/

How Popular Is Used Vinyl? One Research Company Decided to Find Out.
Paul Resnikoff (http://www.digitalmusicnews.com/author/presnikoff/) July 15, 2016

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July 25, 2016 / No Comments / More

How Popular Is Used Vinyl? One Research Company Decided to Find Out.

http://www.jazzpromoservices.com/
http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/

How Popular Is Used Vinyl? One Research Company Decided to Find Out.
Paul Resnikoff (http://www.digitalmusicnews.com/author/presnikoff/) July 15, 2016

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July 25, 2016 / No Comments / More

How Popular Is Used Vinyl? One Research Company Decided to Find Out.

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http://www.digitalmusicnews.com/2016/07/15/used-vinyl-research/

How Popular Is Used Vinyl? One Research Company Decided to Find Out.
Paul Resnikoff (http://www.digitalmusicnews.com/author/presnikoff/) July 15, 2016

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July 25, 2016 / No Comments / More

Happy Lewis – Dregnet Pts.1 & 2

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July 25, 2016 / No Comments / More

Happy Lewis – Dregnet Pts.1 & 2

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July 25, 2016 / No Comments / More

Happy Lewis – Dregnet Pts.1 & 2

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July 25, 2016 / No Comments / More

Happy Lewis – Dregnet Pts.1 & 2

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July 25, 2016 / No Comments / More

Happy Lewis – Dregnet Pts.1 & 2

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July 25, 2016 / No Comments / More

Sounds of the Soul – The Contribution of Jewish Music – YouTube

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July 25, 2016 / No Comments / More

Sounds of the Soul – The Contribution of Jewish Music – YouTube

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July 25, 2016 / No Comments / More

Sounds of the Soul – The Contribution of Jewish Music – YouTube

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July 25, 2016 / No Comments / More

‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz – WSJ

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‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz

[if ! lte IE 8] ENLARGE [endif]
Jason Moran performs in the Veterans Room. Photo: Da Ping Luo
By
Larry Blumenfeld
July 18, 2016 5:28 p.m. ET [if ! lte IE 8] [endif]
New York
The Veterans Room of Manhattan’s Park Avenue Armory, which opened in 1881 and reopened as newly restored in March, is a riot of color, visual rhythm and contrasting details. Fine patterns of wood and metal intersect and overlap. Depending on where one’s gaze is set, the style is Moorish, Japanese, Greek, or Celtic. If walls could speak, these would alternately whisper of refinement and roar with audacity. Designed by Louis C. Tiffany & Co., Associated Artists, the room conveys the American Aesthetic Movement’s experimental ideas, now more than a century old, as freshly illuminated under gold-hued LED lighting.
In this jewel within an armory repurposed as a performance center, pianist Jason Moran has curated the series “Artists Studio,” which runs through Nov. 21 and involves a wide range of performers. When he began the series with a March solo-piano performance, the setting made sense. Now 41 years old, Mr. Moran has for half his life made music that argues for the vitality of jazz’s century-old tradition largely by reimagining its contours and isolating its distinctive details. Before his solo performance, he described his series to the audience as “conversations about what this room is.” His music might also be a series of discussions about what it sounds and feels like to sit within jazz.
Mr. Moran has recently released a recording of that inaugural performance, “The Armory Concert,” available as a download on bandcamp.com. It’s his first album for his independent label, Yes Records, marking his departure from the estimable Blue Note label as well as the growing sense of autonomy he’s displayed while casting off conventions of genre and even music as a strict discipline.
“I’m a straight-up jazz musician, no doubt,” Mr. Moran told me in an interview a decade ago. “But I also like to think of myself as an urban performance artist who happens to play piano.”
Mr. Moran’s only previous solo-piano recording, 2002’s “Modernistic,” formed one seeming narrative from compositions by stride-piano master James P. Johnson, avant-garde hero Muhal Richard Abrams, 19th-century classical composer Robert Schumann and hiphop pioneer Afrika Bambaataa. At the Armory, he played only original pieces that perhaps reflected yet broader ambition.
Two pieces—“Big News/More News” and “South Side Digging”—were explicitly about the blues as played in Chicago, the latter based on the tension within a single endemic gesture, its chiming and cascading, before offering the release of 12-bar form. These were drawn from “Looks of a Lot,” a larger commissioned work for Chicago’s “Symphony Center Presents Jazz” series. “Reanimation,” an urgent cycle of pointillistic phrases, was adapted from his collaboration of the same name with visual artist Joan Jonas. Mr. Moran has an installation of his own on exhibit at the Luhring Augustine gallery in the Bushwick neighborhood of Brooklyn through July 29. (He will perform there on July 22 and 23.) His work with visual artists, and now as one, implies a connection to the Veterans Room that goes beyond metaphor.
If Mr. Moran locates an essential jazz core, he does so obliquely, by looking in, as influenced by outsider heroes. At the Armory, before one piece, he recalled moving to New York specifically to study with pianist Jaki Byard, and lessons in “subverting the idea of historical piano.” In one of his long series of recent Facebook posts that serve well as liner notes to “The Armory Concert,” he discussed secrets of harmony shared by composer and saxophonist Henry Threadgill, with whom Mr. Moran has worked; Mr. Threadgill was in the audience at the Veterans Room.
There are pieces of startling abstraction within this recording. “All Hammers and Chains” relies largely upon crashing left-hand figures, frantic scalar runs and dances of dual glissandi. “Magnet” is a clamor formed by low-end figures and a cleverly deployed sustain pedal. In the Veterans Room, its sound accumulated like smoke into an enveloping presence. As recorded, it’s a dense aural ball, slowly revealing hidden clangs and ghostly howls.
There are also deeply tender moments here, and one composition that qualifies as catchy: “Alicia,” named for Mr. Moran’s wife, the singer Alicia Hall Moran. Three related tracks that punctuate these 10—“Wind” at the beginning, “Trade Winds” in the middle, and “Winds,” the finale—suggest newfound mysteries about harmonies that slide sneakily by, rhythms felt rather than stated and grand gestures turned intimate. At the Veterans Room, these came across as in-the-moment conclusions. On the album, they sound more like promises of things to come.
Mr. Blumenfeld writes about jazz for the Journal. He also blogs at blogs.artinfo.com/blunotes.

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July 23, 2016 / No Comments / More

‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz – WSJ

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http://www.wsj.com/articles/the-armory-concert-by-jason-moran-review-sitting-within-jazz-1468877301

‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz

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July 23, 2016 / No Comments / More

‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz – WSJ

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http://www.wsj.com/articles/the-armory-concert-by-jason-moran-review-sitting-within-jazz-1468877301

‘The Armory Concert’ by Jason Moran Review: Sitting Within Jazz

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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July 23, 2016 / No Comments / More

Roland Prince One of the nation’s most successful musicians dies | Antigua Observer Newspaper

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http://antiguaobserver.com/one-of-the-nations-most-successful-musicians-dies/

One of the nation’s most successful musicians dies

July 17, 2016 Feature (http://antiguaobserver.com/category/top_story/feature/) 4 Comments (http://antiguaobserver.com/one-of-the-nations-most-successful-musicians-dies/#disqus_thread)

Roland Prince Sunday November 8, 2015 at OJ’s Restaurant (Alexis Ryan via youtube.com)

Antiguan and Barbuda’s world famous jazz musician, Roland Prince, died Friday night at the age 69.

Prince was universally considered one of the greatest jazz guitarists in the world.

He was active on the world stage in the 1960’s and 1970’s before returning to his home in Antigua & Barbuda.

Many thought he had disappeared from the music scene, however, he continued to influence and support young artists and other musicians as an arranger and performer.

He remained active on the music scene in Antigua and across the Caribbean playing jazz with the Roland Prince Quartet.

“A lot, a lot, a lot of musicians here in Antigua learned a lot from Roland. Even me, even though I’m good, he showed me a couple things, along with my older brother – couple of my brothers well,” is how his colleague musician Tyrone Mason remembered Prince, who says he and Prince have been friends since they were children in school.

“We’ve been to St John’s Boys School for awhile. A lot of people don’t know Roland Prince from my school days. Me and him were in the same class. Roland Prince had a lot of talent and skill, not only for music.

“At his age, he was one of the best artists – drawing artists – in the school. I used to be amazed,” Mason recalls.

Meanwhile, Culture Minister Paul Chet Greene also paid tribute to the late musician, saying his sentiments were on behalf of the prime minister and the entire country.

“Roland was a true son of the soil, who did make a name for himself internationally with respect to the art skills in the music business, especially on the guitar.

“I think his memory will live on in terms of the jazz genre of music and his international engagement, which made all Antiguans and Barbudans proud, so its a very sad moment, a very sad time for Antigua and Barbuda,” the minister said.

A relative of Prince and fellow musician of note in his own right, Rawdon Edwards, also paid tribute.

“Roland, to me, was definitely the most recognized, internationlly, musician from Antigua and Barbuda. Roland, at some point in the past, was rated… one or two in the world as a guitar player. He was a fantastic musician…. He was like a walking encyclopedia musically.

So sad, so sad that he had to leave us,” Edwards said.

Elvin Jones (drums), Dave Williams (bass), Roland Prince (guitar), Frank Ippolito (percussion), Kenny Barron (piano), Frank Foster, Steve Grossman (sax)
Vanguard Album: New Agenda (1975)

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July 20, 2016 / No Comments / More