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Why Record Stores Mattered – The New Yorker

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http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered?mc_cid=719b3aab1a

CULTURAL COMMENT (http://www.newyorker.com/culture/cultural-comment)
WHY RECORD STORES MATTERED
By Amanda Petrusich (http://www.newyorker.com/contributors/amanda-petrusich) , JUNE 22, 2016

The actress Chloë Sevigny, in 2011, at the New York record store Other Music, which closes its doors this week.
PHOTOGRAPH BY THOS ROBINSON / WIREIMAGE FOR AMERICAN EXPRESS / GETTY
Barrier Status: ‘none’
This Saturday, Other Music—the tiny, beloved, and outré record shop on East Fourth Street—will cease its retail operations. No longer will sealed Belle and Sebastian or Boards of Canada LPs be tentatively placed on its counter. The headline of a Times article (http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?_r=0) last month announcing the store’s finish read, “Other Music Record Shop, Yielding to Trends, Will Close.” What “trends” means in this context is startlingly self-evident. The prevailing trend of our time is, it seems, a disburdening of the past. Things that once appeared immovably vital are now relics to be examined, mourned, and recast as affectations.
Critics can and have read Other Music’s bow-out as representative, in an allegorical way, of any number of bigger Ends: the End of music as a physical medium to be collected and doted over, the End of curated off-line retail, the End of curation, the End of the East Village, the End of New York. Most of those Ends—whether real or imagined—have already been eulogized so aggressively that to revisit them now seems plainly indulgent. In our accelerated culture, collective nostalgia, in which we mourn the freshly antiquated for reasons that are unclear but still enormously potent, is its own cottage industry (especially for culture reporters).
At the store’s inception—and, I’d argue, for most of its lifespan—what distinguished Other Music from other independent record shops, both in this city and beyond it, was the quietly confrontational ethos behind its name. Most people want to believe in their own deep-rooted exceptionality, whether they’re directly reckoning with those feelings or not; Other Music explicitly indulged that desire. In 1999, if you were the type of person who was looking for something a little different (more challenging, more sophisticated, more esoteric) from the schlock being peddled to the herds of dead-eyed automatons browsing the Tower Records up the block, then here was the store for you! Welcome/Not welcome! I was fifteen when the store opened, in 1995, and, of course, I found the whole idea of it equal parts terrifying and aspirational. Other Music: not regular-ass music. Other. The implication was so clear. (When Other Music outlasted both Tower and the Virgin Megastore that eventually
opened ten blocks north, in Union Square, its premise was also vindicated.)
The store’s stock has always tended toward the abstruse. For many years, it was the only place in the city (and maybe on the East Coast) where you could find copies of great but commercially unpopular records: free jazz, certain strains of world music, Krautrock, long forgotten folk balladry. I bought my first albums by otherwise-unclassifiable artists like Arthur Russell and John Fahey at Other Music. I later read from my book about obscure 78 r.p.m. records there. Uncommon but extraordinary records were offered prominent shelf space, and serendipity was always in the air. Station yourself before the bins labelled “Out”—“Out” in the context of Other Music implied either intrepid or foolhardy experimentation, or maybe both—and see what calls to you.
I still don’t know anyone who has ever stepped into Other Music with total confidence. In the nineteen-nineties and well into the aughts, this was an enormous part of the store’s appeal. It was the bungee jump of shopping experiences: did you have the nerve, and could you survive the leap? Certainly, the need for a knowledgeable staff is less urgent these days—a smartphone will instantly tell you anything you want to know, and you don’t have to feel lethally embarrassed if it turns out you are asking a phone a dumb question—but, when I first started buying CDs there, as a teen-ager, it was hard to find a more astute, studied assemblage of music nerds than the crew lounging behind the counter. I found them so formidable as to be frightening. They did not abide musical foolishness, or bad taste.
To anyone born after me, this probably sounds like a hideously snobbish scene. As I’ve learned teaching music criticism to New York University students, subsequent generations have since adopted a lovely “Do you!” magnanimity when it comes to musical taste. Part of this might have to do with their instinctively inclusive temperaments—they have come of age in an era in which intolerance is forcefully policed—and part of it might have to do with the breakdown of genre, at least as it once existed in the record bins. There are no record bins anymore—no little plastic signposts signifying content, broadcasting a set of principles, musical and otherwise. Genre itself—or, more specifically, genre affiliation as a means of self-identification—feels like another End hovering in the atmosphere this week. No one is asked to choose one affiliation at the expense of another. Instead, it is perfectly normal, even expected, that a person might have a little bit of everything stacked up in
her digital library. The idea of “Other Music” as it was conceived in 1995 is unknowable now.

I was not quite so sanguine as a youth. My scramble for self-identity was tied up in records, and Other Music was where I went to get myself sorted out. What did I like? What did I want? Which section did I want to start flipping through first, and what did that say about me? The classification of a person via her cultural preferences and proclivities—maybe that’s something we should be glad to wave goodbye to. One is no longer either a punk or a goth, In or Out; one merely is.
But it’s also why I think of Other Music as an integral player in my making, and why witnessing its end feels especially personal. We all experience some version of this dissociation a million times in a life: a drawbridge being raised behind you. The sense that you couldn’t re-create yourself now if you tried. When I needed it to, Other Music turned the whole notion of “Other” into something prideful—it forced me to make a choice about who I thought I was, or could be—and for that I’ll always be grateful, beholden.
#content

Amanda Petrusich is a contributing writer for newyorker.com, and the author of “Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78rpm Records.” MORE (http://www.newyorker.com/contributors/amanda-petrusich)

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June 27, 2016 / No Comments / More

Why Record Stores Mattered – The New Yorker

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http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered?mc_cid=719b3aab1a

CULTURAL COMMENT (http://www.newyorker.com/culture/cultural-comment)
WHY RECORD STORES MATTERED
By Amanda Petrusich (http://www.newyorker.com/contributors/amanda-petrusich) , JUNE 22, 2016

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Featured Book Review: The Godfather of the Music Business: Morris Levy – The Vinyl Press

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http://thevinylpress.com/morris-levy-biography/

Featured Book Review: The Godfather of the Music Business: Morris Levy

This book—an in-depth biography of Morris Levy, a legendary music business figure with reputed “mob ties” —is long overdue. We seem to have a collective fascination for scoundrels, thugs and gangsters. But Levy was no mere thug: from his Birdland, a midtown jazz club where Charlie Parker, Coltrane, Monk, Miles, Bud Powell and Count Basie played, to his mass marketing of pop music in the decades that followed, Levy had a keen sense of where the business was headed and capitalized on it. Yet Levy always remained a shadowy figure, even decades after his death. Nobody seemed to want to touch his story.[1] I’m very glad Richard Carlin finally did.

Carlin’s telling is filled with the sort of period detail that reveals an understanding not only of the industry’s history, but its complexity. The post WWII era–of hipster jazz clubs and singles-driven shoestring independent labels and publishers along with a few sleepy corporate giants still catering to a square, adult market – was literally exploded by a new, and as yet untapped, youth market. Levy exploited this with foresight, ruthlessness and commercial savvy.

Levy’s evolution from a poor, uneducated hat check clerk to record business mogul would be humdrum if it were only the usual tenement to boardroom story. But Carlin’s book traces the arc of Levy’s transformation (and that of the industry) by describing how Levy managed, manipulated, and levered his way to power and that story is fascinating. Levy saw innovative ways to capitalize on radio play as a promotional tool beyond conventional “payola”; created live “rock and roll events” that were aimed at the new, younger market, and quickly learned that owning song copyrights was a powerful mechanism to get rich by a continual, long-term stream of pennies, nickels and dimes. Levy didn’t just go from impresario to publisher to record label, but combined them to work together, synergistically; through interrelated companies and enterprises, he leveraged his acts by promoting them through clever venue arrangements, and then scored again, through record sales and publishing when the
songs and acts caught fire.
Levy spread tentacles through all aspects of the business, each serving the other. This eventually led Levy to Alan Freed, who later became the poster boy for the payola scandals to come. This was also the beginning of Roulette Records, an integral part of Levy’s growing empire.
The payola scandals eventually came to a head, fanned by lurid media accounts of the industry’s excesses. Levy was unscathed but Freed became the scapegoat, and ultimately, an industry pariah forever associated with the practice.
Levy was known as a tough guy within the industry and became a celebrity outside of it. Famous for his line, “you want royalties, go to England,” Levy was hardly the only publisher or record label that failed to account to a songwriter or recording artist.
One of the reasons I was drawn to Carlin’s book was the “mob” connection- it has always been veiled by innuendo, but even after Levy’s death in 1990, there was little specific detail.
Carlin describes the various relationships Levy enjoyed with known or reputed mobsters. At first, it seems like business as usual, except for the occasional beating in Levy’s offices.
The FBI eventually became interested in Levy’s business and associates. Levy had at least thirty different publishing, management and recording operations, which attracted the attention of the IRS as well. All of this generated industry gossip and tabloid interest, at a time when Levy was struggling to expand Roulette and become a major player in the record industry.
Levy was smart enough to tap into his back catalog years before the “oldies” market became an entrenched niche. He also had no shame in riding the wave of trends—from comedy albums, to schlocky parodies of big hits by others. But none of these was enough to lift Roulette into the top tier of labels—instead, Levy’s business became increasingly complex; selling remainders (left over stock from other labels) that could be resold at significant discounts; foreign imports (which made up a fraction of record sales in the United States) and compilation albums (usually “oldies” from the Roulette catalog and other labels) which were telemarketed like K-Tel. (Levy also licensed tracks to K-Tel). Levy bought up a bankrupt chain of record stores — Strawberries Records, allegedly with Mob funding. The revival of doowop (think: Happy Days and Sha Na Na) pumped in more revenue from the older catalogs but there was no single jackpot and Levy’s “old school” practices of screwing writers and
artists was catching up with him.
By the ‘80s, Roulette was barely functioning as a real label, and Levy’s byzantine business structure was increasingly complicated by more direct Mob involvement. Carlin’s book becomes peppered with more and more names of reputed or later established Mob figures, some of whom you’ll recognize.
The deal that brought him down was, as often the case, a mundane, though sizeable transaction for remainders—seventy tractor trailer loads which, the buyer soon learned, had already been “cherry picked.” The buyer pushed back, Levy, who had some role as guarantor of payment and intermediary, started demanding payment and Levy’s business associates started to get short-tempered. Much of the back-and forth was caught on wiretaps, and eventually led to criminal charges against Levy and some of his cohorts, who were already being investigated for a host of other charges, unrelated to the remainders deal.
Levy vigorously defended against the charges (conspiracy to extort), claiming he himself was extorted and acting under duress; his counsel used the FBI’s evidence that Levy was controlled by the Mob to show precisely that. Carlin recounts the legal machinations with the precision of a lawyer, but none of the boilerplate. Levy was convicted, but remained out of jail on bail while awaiting an appeal (which he lost) and sentencing (Levy got ten years and a fine of $200,000). Levy had already been selling off assets, including the Strawberries chain, which was purchased by a company headed by Jose Menendez. The same Menendez who, along with his wife, was later murdered by his sons in a case that many first believed was a mob hit.
Some in the industry defended Levy- a rough guy, in a ruthless industry, but a man of his word. Levy himself once said, “I may fuck you on a contract, but I always keep my word.
Morris Levy, circa 1973, with Howard Fisher’s sons, image courtesy of the Fischer Family via the author.
Levy died of cancer before he could spend a night in prison.
¤
Carlin comes out about where I do, after reading his tightly written prose. The nightclub business was rife with corruption and as Levy progressed in the music business, he took advantage of his contacts, to the point where he had no way out. He clearly relished his tough guy image and used it to his benefit during his rise and peak. Although in no way an apologia for the artists he screwed, Morris Levy became a victim of his own ruthless code of conduct.
Having lived in New York and worked in the city for many years, I have a hard time imagining New York, particularly 40 or 50 years ago, without the influence of unsavory elements. A business involving the manufacture, distribution and sale of physical goods (records), with up-front production costs, long lead times for payment and multiple intermediaries—from studios and pressing plants to distributors, jobbers and marketers— means everybody gets a piece. That’s how most legitimate businesses work in a fully lawful way. When it goes unlawful, a skim, a “backdoor sale” or a systematic failure to account and pay, the law eventually catches up.
I lived in the city during the waning days of the Mob—heavy prosecution of the hardcore gangsters, age, mob-wars and eventual changes in business took their toll. But everybody, at least everybody living in the city at the time, knew there was a certain “give a little to get along,” whether it was greasing the guy at the door, paying a little extra to the valet to keep your car out front or not making an issue with somebody who clearly “vibed” dangerous.
I’m sure there were a lot of wanna-be’s and guys who played up their “connections” too. I may have met a few along the way, and you might have too.
I don’t mean to be blithe about the Mob, but we live in a day and age where the criminal element now wears the mantle of political office or other legitimacy and manipulates numbers, people, the media and our food, fuel and war on a worldwide scale. The old- time Mafia is almost a quaint piece of nostalgia, like the old West.[2]
As for the review part: buy the book. It’s a fascinating account of the NY club scene in the aftermath of WWII as the music business morphed into the “record business” and all that entailed: it is as much social history as it is biography and the Mob elements seem to be a natural part of the story. It reads like a noir novel, tight and spare. From my vantage point, having worked as a lawyer in Manhattan in a considerable number of music-business related matters over the course of 34 years as outside counsel, Carlin gets the details right, at least on how the business is supposed to work. The book gives you a strong sense of who Morris Levy was— somebody who was a little scary (ok, a lot scary), who could be charming, who was probably always thinking of the next angle and was in some ways, a brilliant hustler. He also made some very tough friends, but none of this is sensationalized. Carlin reports everything in an almost matter of fact way, letting the actual events fill in
the drama, the irony or the dark, closed-in atmosphere. The book also manages to convey a little of that New York “wiseguy” attitude that almost every New Yorker (whether or not a native) will immediately recognize and occasionally adopt. Although I never saw anybody get beat up in an office, and nobody ever pulled a gun on me in a meeting, every once in a while I had a sense there were some “guys” that I didn’t really want to know. And I didn’t know them.
Godfather of the Music Business: Morris Levy
by Richard Carlin
University Press of Mississippi 2016
Richard Carlin is the author of several books on popular music, including Worlds of Sound: The Story of Smithsonian Folkways and Country: The People, Places, and Events that Shaped the Country Style. He was the coeditor of the book “Ain’t Nothing But the Real Thing”: How the Apollo Theater Shaped Black Entertainment, and the editor of the 8-volume series America’s Popular Music. He has been an editor of music books at Schirmer, Routledge, Pearson/Prentice Hall, and currently Oxford University Press where he is Executive Editor for College Music and Art textbooks. His book, Godfather of the Music Business: The Life and Times of Morris Levy, was published by the University Press of Mississippi in 2016.
I talked to Richard Carlin about his work on the Morris Levy biography shortly after it was published. Here’s the Carlin interview (http://thevinylpress.com/interview-richard-carlin-author-godfather-music-business-morris-levy/) .
____________________________________________
[1] Frederic Dannen’s Hitmen, which I read years ago, acknowledges Levy role in the industry and his “connections,” but Levy is not the focus of Hitmen, which aims more broadly at a host of colorful, sometimes vulgar characters. Tommy James’ more recent Me, The Mob and Music, centers on James’ trip to NYC to meet with various labels after getting a regional hit with “Hanky Panky.” He later learns that he has been signed to Levy’s Roulette label, and was told, essentially, “don’t ask.” Carlin presents several different accounts of the Tommy James “signing” story in this book.
[2] As mentioned at the outset, the public fascination with the Mob and gangsters generally could fill libraries. One solid overview of the New York families is Five Families: The Rise, Decline and Resurgence of America’s Most Powerful Mafia Empires by Selwyn Raab.
All photos (except the Dinah Washington/Roulette label image) are courtesy of Richard Carlin and any further reproduction is expressly prohibited.

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June 25, 2016 / No Comments / More

Featured Book Review: The Godfather of the Music Business: Morris Levy – The Vinyl Press

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http://thevinylpress.com/morris-levy-biography/

Featured Book Review: The Godfather of the Music Business: Morris Levy

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June 25, 2016 / No Comments / More

Featured Book Review: The Godfather of the Music Business: Morris Levy – The Vinyl Press

http://www.jazzpromoservices.com/
http://thevinylpress.com/morris-levy-biography/

Featured Book Review: The Godfather of the Music Business: Morris Levy

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June 25, 2016 / No Comments / More

Featured Book Review: The Godfather of the Music Business: Morris Levy – The Vinyl Press

http://www.jazzpromoservices.com/
http://thevinylpress.com/morris-levy-biography/

Featured Book Review: The Godfather of the Music Business: Morris Levy

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June 25, 2016 / No Comments / More

Bernie Worrell Of Parliament-Funkadelic Dies At 72 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/24/482486305/bernie-worrell-wizard-of-woo-dies-at-72?utm_source=npr_newsletter

Bernie Worrell, ‘Wizard Of Woo,’ Dies At 72

Bernie Worrell performs at the Black Rock Coalition Presents: All The Woo In The World â€” An All-Star Celebration benefit concert on April 4 in New York City. The concert was raising money for Worrell’s medical costs.
Al Pereira/WireImage
Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.
Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.
His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.
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The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.
Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.

Parliament-Funkadelic – Flash Light – 11/6/1978 – Capitol Theatre (Official) (https://www.youtube.com/watch?v=UkLYlrE2lPs)

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[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
YouTube
The Rock and Roll Hall of Fame (https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf) notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.
He was particularly famous for his innovative embrace of the sounds of synthesizers.
In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.
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Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are frequently sampled (http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem) on hip-hop tracks.
In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for Morning Edition. Worrell said his mastery of musical fundamentals was central to his genre-mashing work.
“The art of creating is not just pushing a button,” he said. “We’re going to losethe art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?
“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”
You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:
From 1991: Funk Legend Bernie Worrell, By Andy Lyman

In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An online fundraiser (https://www.youcaring.com/bernie-worell-501298) and star-studded benefit concert (http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325) helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.
George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.
The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to —” Worrell said (https://www.youtube.com/watch?v=WmTg3qlODPk) .
“Thank you,” he finally said. “I love you, too.”

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June 25, 2016 / No Comments / More

Bernie Worrell Of Parliament-Funkadelic Dies At 72 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/24/482486305/bernie-worrell-wizard-of-woo-dies-at-72?utm_source=npr_newsletter

Bernie Worrell, ‘Wizard Of Woo,’ Dies At 72

Parliament-Funkadelic – Flash Light – 11/6/1978 – Capitol Theatre (Official) (https://www.youtube.com/watch?v=UkLYlrE2lPs)

An error occurred.

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References

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June 25, 2016 / No Comments / More

Bernie Worrell Of Parliament-Funkadelic Dies At 72 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/24/482486305/bernie-worrell-wizard-of-woo-dies-at-72?utm_source=npr_newsletter

Bernie Worrell, ‘Wizard Of Woo,’ Dies At 72

Parliament-Funkadelic – Flash Light – 11/6/1978 – Capitol Theatre (Official) (https://www.youtube.com/watch?v=UkLYlrE2lPs)

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Bernie Worrell Of Parliament-Funkadelic Dies At 72 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/24/482486305/bernie-worrell-wizard-of-woo-dies-at-72?utm_source=npr_newsletter

Bernie Worrell, ‘Wizard Of Woo,’ Dies At 72

Parliament-Funkadelic – Flash Light – 11/6/1978 – Capitol Theatre (Official) (https://www.youtube.com/watch?v=UkLYlrE2lPs)

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Bluegrass Pioneer Ralph Stanley Dies At 89 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/23/483315303/bluegrass-pioneer-ralph-stanley-dies-at-89?utm_source=npr_newsletter

Bluegrass Pioneer Ralph Stanley Dies At 89
Ralph Stanley at the Stagecoach Country Music Festivalin 2012.
Karl Walter/Getty Images
One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson Nathan Stanley (http://www.nathanstanleyentertainment.com/) ; Stanley’s publicist said in a statement that the cause was complications from skin cancer.
Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.
High Lonesome
Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.

Ralph Stanley & Clinch Mountain Boys-Little Maggie (https://www.youtube.com/watch?v=WrnYWc4ZmG0)

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John Wright, who wrote a book on Stanley called Traveling the High Way Home, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”
Stanley himself told WHYY’s Fresh Air in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”
Virginia Roots
END ID=”RES483326506″ CLASS=”BUCKETWRAP INTERNALLINK MEDIAPROMO PRIMARY”
Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.
END ID=”RES483326508″ CLASS=”BUCKETWRAP INTERNALLINK SIMPLENODATE”
He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show Farm and Fun Time. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.
After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.
O, Brother
Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie O Brother, Where Art Thou.

Ralph Stanley: NPR Music Tiny Desk Concert (https://www.youtube.com/watch?v=ca7JCI5Jjhk)

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He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.”

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Bluegrass Pioneer Ralph Stanley Dies At 89 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/23/483315303/bluegrass-pioneer-ralph-stanley-dies-at-89?utm_source=npr_newsletter

Ralph Stanley & Clinch Mountain Boys-Little Maggie (https://www.youtube.com/watch?v=WrnYWc4ZmG0)

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Bluegrass Pioneer Ralph Stanley Dies At 89 : The Two-Way : NPR

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http://www.npr.org/sections/thetwo-way/2016/06/23/483315303/bluegrass-pioneer-ralph-stanley-dies-at-89?utm_source=npr_newsletter

Ralph Stanley & Clinch Mountain Boys-Little Maggie (https://www.youtube.com/watch?v=WrnYWc4ZmG0)

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Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now? | Village Voice

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Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now?

Linda Oh, Riverside Park, June 2016
David Urbanke
Linda Oh plays the bass. Acoustic and electric, in trios, quartets, quintets, and sextets led by some of the best musicians in contemporary jazz. She’s 31, was born in Malaysia and raised in Australia, is of Chinese descent, and has lived in New York City, still the epicenter of jazz, for the past twelve years. In that time, through hard work, pluck (sorry), and great skill, her reputation has steadily grown, and she’s quietly become a star in jazz circles. She has sat in on countless recording sessions, gigs all around town at venues small — where they pass around a tin can — and large, and increasingly tours the country and the world. Linda Oh is a sideman, or rather, a sidewoman. She is, you might say, almost famous.
Like many sidemen, Oh is also an aspiring bandleader. But if jazz is a notoriously tough sell, bass players are even tougher. Essential as the instrument is to time and rhythm, and as voluptuous its presence on the bandstand, it often fades into the background. Rarely do bassists’ profiles scale to that of the larger-than-life Charles Mingus, perhaps the greatest composer in the jazz idiom besides Duke Ellington, or William Parker, out of the avant-garde school, or Ron Carter — or, these days, Esperanza Spalding, who can pack in an audience for a week-long engagement at a New York club. If mere mortal bass players want to lead, they get a night here, a night there.
In the three years, off and on, that I followed Oh around town — to watch her ply her craft and earn a living, and to observe who, if anyone, was bothering to listen — she’s led groups at a storefront church on Bleecker Street; at SubCulture in Noho; and at 55 Bar in the West Village, where she will lead her band again on July 18. (She will also play with avant-funk master Craig Harris at the Rendall Presbyterian Church in Harlem on July 26.)
Along the way it became clear that jazz, thanks to Oh and the hundreds of young musicians like her around the city, is as vital as ever — artistically, anyway, if not economically. It may be, depending on your perspective and whom you ask, undergoing a renaissance in miniature.
“I think there are a lot of inventive things happening within the jazz scene,” says Oh. “I think it’s a beautiful thing so many musicians are branching out and crossing so-called genre boundaries in expressing their individual voices…but also honoring the tradition of the roots of the music.”
Guitarist Matt Stevens, who often plays with Oh and is also on Spalding’s latest album, echoes that feeling. “This current time period feels like I imagine it felt in the Sixties, early Seventies, when people were hungry to expand and be involved in different things,” he says. “Nothing’s off-limits artistically. You can draw from, and be influenced by, anything.”
Musicians like Oh — musicians’ musicians — don’t care that their work isn’t a mass phenomenon; they’re the anti–Taylor Swifts, the un-Beliebers. In that way, they’re countercultural, as were their forebears during Charlie Parker’s and Dizzy Gillespie’s bebop revolution uptown at Minton’s in the Forties, or the Ornette Coleman–led free movement unleashed at the Five Spot in Cooper Square in 1959, or the post-Coltrane howls at Studio Rivbea during the loft era, in the decrepit streets of 1970s Soho. That heat and currency appears to be swirling around the jazz world once again.
“I feel that the resurgence is centered around the fact that it’s like a hip underdog thing,” Stevens says. “It does help when huge records like [Kendrick Lamar’s] To Pimp a Butterfly tip their hat in that direction, and these things start proliferating in the popular culture outside of just the jazz publications.”
“In some ways, it’s a perfect storm that has come at the right moment where enough people have gotten hip to it,” says Brice Rosenbloom, senior music director at Le Poisson Rouge, formerly the Village Gate, and a founder and producer of the fourteen-year-old Winter Jazzfest, which has grown every year in terms of venues, artists, and audience. He attributes this storm to the attention around fusionist Kamasi Washington and the West Coast scene he’s a part of, as well as to the recent biopics on Miles Davis and Chet Baker.
“It’s crazy living in New York,” says James Francies, a talented twenty-year-old Houston native studying at the New School. “Everyone is here. There will be nights where you can go see Pharoah Sanders in one club, then go see Chris Potter a few blocks away. Or you can see Harold Mabern at Smoke, then go see Brad Mehldau at the Vanguard. To me, that’s insane.”
Francies has already played with Questlove on The Tonight Show and has done some arrangements for trendsetter Robert Glasper, one of his “Houston big brothers.” In April 2015 he invited Oh, whom he met when he was fifteen at the Skidmore Jazz Institute in Saratoga Springs, to make up one leg of his eponymous trio as it played the opening of “Basquiat: The Unknown Notebooks” at the Brooklyn Museum. “In my mind, she is the epitome of the perfect bass player,” he says. “She can read anything, amazing composer, the nicest person, great soloist, and has great instincts. She can play a piece of music the first time and sound like she wrote it.”
Oh, like many of her generation, is reluctant even to use the word jazz. “At the risk of oversimplifying,” she says, “it is, essentially, for me, creative improvised music that has its roots in black American music.”
Others are still troubled by how jazz (or shall we say “jazz, for lack of a better term”) presents itself.
“One of my pet peeves,” says Rio Sakairi, the artistic director of the Jazz Gallery, the forward-thinking not-for-profit space, “is when organizations say, ‘Jazz: America’s greatest art form.’ My reaction is always like, ‘Are you saying this because you don’t want people to listen to it?’ Because that sounds really goofy and not very attractive….I’m thinking, ‘Why are you putting out this really goofy, douche-y image of jazz?’ I’m puzzled by that.”
Oh at 55 Bar in June
David Urbanke
On a Friday night in March, Linda is leading her own quintet, the cleverly named Linda Oh 5, at the unfortunately named Dizzy’s Club Coca-Cola, the smallest of the three spaces that make up Jazz at Lincoln Center, which makes its home not at Lincoln Center but in the Time Warner Center at Columbus Circle. It’s 7:30, the first of two sets, and the place is nearly full. A good sign. The view is amazing — except for the Trump International Hotel, which is virtually within spitting distance — the food is pricey and Southern (as it often is at jazz clubs), and the cover charge is hefty, at $40 (more than that of even the Village Vanguard, the Madison Square Garden of jazz).
Oh’s band is the picture of diversity: Drummer Justin Brown rocks an Afro worthy of a Miles Davis band circa 1973; tenor saxophonists Dayna Stephens and Ben Wendel are, respectively, a dreadlocked Northern Californian and a Canadian who looks straight out of the Midwest; and Oh’s boyfriend, the Cuban-born, Miami-raised pianist Fabian Almazan, appears both studious (he wears glasses and seems especially attuned to his bandmates) and glamorous (he wears his hair in a man-bun, like an international soccer star). They are all youngish stars in their own right.
Jazz may have always been miles ahead of the rest of American society when it came to racial diversity, but these aren’t your parents’ (or grandparents’) hard-living boppers in smoky, sepia-toned dives on West 52nd Street, dressed like CEOs and raising hell like rock stars (before rock existed). Today’s thirtysomething jazz musician is nerdier, friendly, largely oblivious to fashion concerns (especially the men, almost painfully so). They look like they might eat organic — if they could afford it.
I didn’t want to ask Oh about her personal life, but I sense she’s not exactly doing smack. She enjoys a little well-placed profanity (usually when the tape recorder is off), and although I look for tics — as writers do — I can’t find any. I rarely saw her get mad at anyone or complain about anything. Not about having to agree to play in an all-Asian female rhythm section early in her career for forty bucks a night; not about other issues regarding race or gender (which have both helped and hindered, she says); not about my endless and no doubt annoying questioning. Yet she’s not a smarmy political climber, either. The one time I did see her annoyed was at Harlem Stage last year, where we saw the singer José James pay tribute to Billie Holiday. We shared our tiny table with two clods; one resembled Wallace Shawn and stood out from the fashionable crowd for his Notre Dame “Touchdown Jesus” T-shirt. During James’s encore, “Strange Fruit,” his cellphone went off. It was the only
time I saw rage in Oh’s eyes. Music, for her, can be played with, reinterpreted, deconstructed, but never disrespected.
Linda, who, it should be noted, is always smartly dressed, is in all-black for her Dizzy’s show, and, with the exception of a piece by Charlie Haden — the late hall-of-fame bassist — she plays only her own compositions. She starts nearly every number boldly, with at least a few measures of her alone plucking out a thick bassline. This is my gig, she’s declaring, as she must. This is my night.
When Oh speaks to the audience — to announce the personnel, the songs, and occasionally their provenance (“Yoda” is named after her wise older sister; “Speech Impediment” was inspired by a TED Talk) — she does so quietly, in an Aussie accent. She’s serious, warm, and gracious. She’s a musician, but she’s not going to do a song-and-dance for you. She doesn’t do shtick.
She prefers instead to let her musicianship — extraordinary, with impeccable technique, articulation, and groove — speak for her. “No matter how demanding or tricky a bassline, ostinato, or passage might be, she is able to play it with extreme fluidity, meaning I never hear any ‘stress’ or ‘stiffness’ when she plays,” says drummer and bandleader E.J. Strickland, with whom Oh plays regularly, often at the Danny Meyer–owned Jazz Standard. “And whether she is playing the role of an accompanist or soloist, she seems like she’s able to execute whatever comes to her mind perfectly. A lot of musicians have great ideas in their head but aren’t necessarily able to execute those ideas on their instrument because they don’t have the technique to do so. Not with her, though.”
The crowd at Dizzy’s is older, polite, and sedate bordering on comatose. Many seem to be members of Jazz at Lincoln Center, which maintains a stunningly fine program despite its establishment vibe. (It was the target of a protest last year by the group Jazz Women and Girls Advocates, which, because the orchestra has never had a permanent female member in its 28 years, called for blind auditions and public job postings.) Oh has played JALC before, last May, at the Appel Room, with the Joe Lovano–Dave Douglas Quintet, in a tribute to Wayne Shorter. That night she took a solo during a Lovano piece called “Weatherman”: Douglas stood to the side, watching intently with his arms folded, as her hands danced up and down the neck; Joey Baron, the drummer, looked on in disbelief. Oh got a rousing ovation, as she does again tonight — eventually.
Here, this venue, even more than Carnegie Hall, is the mountaintop of jazz. Success is assured. Right?
EXPAND (http://images1.villagevoice.com/imager/u/original/8768845/screen_shot_2016-06-20_at_8.42.27_pm.png)
From left: Oh on electric bass; Fabian Almazan, keyboards; Greg Ward, alto sax
David Urbanke
Before her Brooklyn Museum gig with Francies last year, I met Oh in Harlem to witness just what it takes for her simply to show up: to watch her schlep her bass, the unwieldiest of instruments, from her apartment — on a hill, in a second-floor walk-up, no less — down to the subway, then cross the platform to change lines. On the train, Oh, who is only about five-four, has to maneuver the instrument onto the crowded car — gently, lest she get the New York glare (she does anyway). For some gigs, she also straps her electric bass onto her back. She truly has taken the road hardest traveled.
Museums often provide jazz musicians with a welcoming environment, if substandard acoustics. Oh enjoys playing them, she tells me; in the past year or so she’s played the Metropolitan, the Rubin, the Wexner Center in Ohio, and the Philadelphia Museum of Art.
Last March she was in her sidewoman role again, this time at the Met Breuer — formerly the Whitney — for its grand opening, or reopening. She’s playing alongside Vijay Iyer, a 2013 MacArthur Fellow who is the 2015–16 artist in residence at the Metropolitan Museum and has a month-long engagement here; he has invited some of the finest musicians in the city to play with him in different settings and configurations. With Oh and Iyer (and the excellent Patricia Brennan on vibraphone) is the novelist Teju Cole, who is reading from his essay “Blind Spot,” which accompanies a slideshow of his own still photography. Cole takes the audience from Goa to Nairobi to Congo to Zurich to New York to Birmingham, Alabama, where he cites Coltrane and his moving composition “Alabama.”
It’s a glorious collaboration: Cole’s words, and his pauses, have an urgency; the music, all improvised, churns forward from a virtual hush to fortissimo. Oh plays with her eyes closed, lost in the sound, oblivious to the people gracelessly entering and leaving the small room during the thirty-minute performance. This is just one of the petty indignities of her work.
Jazz musicians invented the term gig. So you’d think they would have home-field advantage in the gig economy. It doesn’t quite work that way. Oh has had some nice runs — earlier this spring she toured Asia with Pat Metheny — but, she says, when she does earn well, the money goes right back into the work, like a recording session.
Oh has released three CDs of her own, two of them on Greenleaf Music, the superb label started by Douglas. She is working on her next. And when — if — it comes out, it won’t be about sales, but about increasing her profile. “It’s an investment,” Oh says. “You don’t think of it as how many CDs are sold. It’s a bigger-picture thing: Will that CD get you a bigger gig at a venue, and does that make you money? Or is that CD going to lead to some exposure?”
Exposure is great, and Oh’s has only increased, but is this any way to make a living?
“It depends on what people define as a living,” she says. In her experience, a sideman can make $100–$200 a night for a regular gig, depending. (Others told me $50 a night is not uncommon.) But if you’re the leader, you have to see to it that your musicians are paid, even if you get nothing — even if you lose money on the deal. “What I define as a living is not what other people, who earn six figures, do. I have health insurance, but it’s the lowest tier you can get, and I’m still reluctant to even have it.” She laughs. “I don’t have enough money to buy anything. If I choose to have kids, I don’t know how much money I’d have for college. It’s enough to live and be happy and get by…but it’s something I’m really going to have to think about. So much money I save gets invested back in the work.
“My family mentality, the Chinese thing, is very strong in that you don’t want to burden your parents,” Oh continues. “I still have a bit of guilt that as a Chinese kid you’re supposed to send money home, but I’m not in a position to do that.”
Her saxophonist Stephens, 37, a Berklee College of Music grad who’s lived in New York since 2004, agrees. “The pay is not sustainable. I don’t know how people are doing it,” he says. “People in their thirties, forties, fifties have roommates still because they’re still not able to make a decent living.”
Stephens has released six albums as a leader; he’s had health issues over the past few years but, after a kidney transplant last October, is better now. “It’s kind of a shame what’s happening to the financial stability of musicians,” he says, “their ability to survive in society and even eat a decent, healthy meal. The other part is that there seems to be some shame even admitting that to other musicians, but you go to their house and it becomes obvious.”
Stephens lives in subsidized housing in Paterson, New Jersey. “That’s the only way I’m able to survive,” he says. “If I had to pay rent in New York City anywhere, even with roommates, which I wouldn’t want to do, I’d probably just say forget it and move to the Bay Area back home where I know I could live a lot easier. Musically I wouldn’t be nearly as gratified, which is really the reason why I’m here.”
The bassist Bryan Copeland, who has collaborated with Oh’s boyfriend, Almazan, came to New York from Austin, Texas, and has a similar take. “It was always a dream of mine to live up here,” says Copeland, who used to reside in Astoria but has since moved to Westchester with his wife (“the stable one in the family”). “I mean, it’s tough, you know, but I knew that coming in. Everyone knows when you move to New York it’s going to be competitive and the gigs don’t really pay a lot here.”
In Austin, says Copeland, life was easier, the cost of living cheaper, and the pay better for musicians. Copeland is no apprentice. He has played at the Jazz Gallery, 55 Bar, Cornelia Street Cafe, and Winter Jazzfest, and he has a new album due in the fall. “There are definitely days when I think, ‘Man, what am I doing?’ ” he says, but “I can’t imagine living differently. The level of musicianship here is just off the charts. And there’s this intensity and focus that I’ve never experienced outside New York. There’s so much of a purpose when they play. I think it comes from people just being kind of desperate.”
The week before I watched Oh play Dizzy’s, she was in the Brooklyn Recording Studio, which she’d rented out, preparing the upcoming 2016 album. She doesn’t have a contract yet for this record, nor any advance money, but she’s making it anyway. She will pay the members of her quartet — Wendel and Brown again, and Stevens, the guitarist — out of her own pocket.
It has been forever thus in New York, of course, from the abstract expressionists to the avant-garde filmmakers around the Anthology Film Archives, from the punk rockers to the proto–hip-hoppers.
Then again, when you have prodigious talent, sometimes things just work out. Oh and Almazan just received two substantial grants each: the Aaron Copland Fund and the Jerome Foundation Fellowship. And hey, ya never know — since 2010, four jazz musicians have pulled in MacArthur “genius” awards.
In the meantime, you do what you have to do. Like many musicians, Oh helps keep strings on her bass by teaching — in her case, at the Manhattan School of Music, where she studied herself.
Teaching may count as another gig, but it’s certainly not a glamorous one. For Oh it happens in a tiny, dusty room with a frayed carpet filled mainly by a grand piano. There is barely space for two upright basses. Her students are young, pre-college, and serious. When I sat in last spring, they conversed quietly — this is not the hysteria of the film Whiplash — about triplets, the C minor seventh, where to place eighth notes, and “walking at 96 beats a minute.”
Over the course of a lesson, Oh might hum, scat, play some piano (of which she has more than a working knowledge), or pull out her metronome (drummers and bassists are Swiss-like in their obsession with time). Each one-on-one class she teaches ends up being a condensed history of jazz: She’ll reference Johnny Hodges, Oscar Peterson, Stan Getz, Nina Simone, Oliver Nelson, Christian McBride. And she always drops Ray Brown, one of her heroes on bass. One student tells her he was called out in another class for being “rhythmically ambiguous.” Then, about his playing, he confesses to Oh: “I feel time is getting lost.” She nods slowly, like a shrink.
If elite jazz programs are thriving around the country (the New England Conservatory and Berklee, both in Boston, are among the best known, with Juilliard, the Manhattan School, and the New School as the local beacons), not all close observers think that’s healthy. It’s not unlike the “MFA vs. NYC” debate in creative writing. “It’s very expensive to go to school,” says the Jazz Gallery’s Sakairi, “but it seems it’s the main way to make a career in jazz. It’s created this socioeconomic divide.” Even Oh admits, “I’m afraid it’ll end up being only the kids with money.
“I’m pretty up-front and honest,” Oh says when I ask whether she ever feels she’s selling a bill of goods when she’s teaching. “Which is why I drill them so much to be honest with themselves: I don’t want them to ever be in the position where they regret where they are.
“I think my job is to prepare them if they want to become professional, and when it’s time, I’ll tell them my honest opinion as to whether or not they should pursue it,” she says. But even if her students don’t make it to Lincoln Center, Oh says she wants them to at least take something away from their studies, to find some reward that translates to real life. Things like “how to problem-solve, how to work on the fly, how to be quick,” as she puts it. “It’s about resilience, some sort of strength, personal identity. This is why I think the music is important, whether or not these kids do it as a profession. I deal with discipline, I deal with identity, I deal with resourcefulness.”
Back at the Brooklyn Recording Studio, it’s been a long, enervating day, and as the afternoon turns into night, you can feel the energy lagging. But Oh, the bassist, the engine of the band — and today, the leader — drives the session forward. They’re on the fourth take of an Oh original. It’s a difficult piece in two parts, with shifting time signatures and a mournful opening, with Wendel’s tenor sax and Stevens’s guitar in conversation with each other, followed by a gathering intensity in the second part of the diptych. In the previous three takes, Oh had stopped the players before they embarked on part two, but this time they’ve finally reached that kind of musical tele-pathy that I’m jealous of, and Oh signals them to continue. Brown, on drums, is like a man possessed — he’s doing so much with the polyrhythms it’s hard to keep up — then the tempo shifts again, to something entirely slower. Wendel ends the piece on a lingering, melancholy note. They all look around, the
silence deafening. Linda Oh, electric bass in her lap, throws her right fist in the air. A long day of work is complete.

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

June 23, 2016 / No Comments / More

Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now? | Village Voice

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http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844?mc_cid=14a1044df7

Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now?

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

June 23, 2016 / No Comments / More

Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now? | Village Voice

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http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844?mc_cid=14a1044df7

Almost Famous, Almost Broke: How Does a Jazz Musician Make It in New York Now?

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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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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June 23, 2016 / No Comments / More

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74 – The New York Times

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http://www.nytimes.com/2016/06/23/arts/music/wayne-jackson-memphis-horns-trumpeter-dies-at-74.html?_r=0

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74
By William Grimes

Andrew Love, left, and Wayne Jackson in 1965. Gilles Petard/Redferns
Wayne Jackson, a trumpet player who, with the tenor saxophonist Andrew Love, helped define the soul sound of Stax Records and, playing with Mr. Love as the Memphis Horns (http://www.memphishorns.com/Bio.html) , provided backup on a long list of classic R&B and pop records, died on Tuesday in Memphis. He was 74.
The cause was congestive heart failure, his wife, Amy Jackson, said.
Mr. Jackson had his first gold record when he was still in high school, performing on the instrumental “Last Night” (https://www.youtube.com/watch?v=FX5T9GvSnbY) with the Mar-Keys. Released in 1961, it rose to No. 3 on the pop charts and was included on the first album issued by Stax, a label that helped create the Memphis sound in soul music.
As part of the house band at Stax, with Booker T. and the M.G.’s, the Mar-Keys played on records by Otis Redding, Eddie Floyd, Sam and Dave, Albert King, and Carla and Rufus Thomas.
At American Sound Studio in Memphis and FAME Studios in Muscle Shoals, Ala., Mr. Jackson and Mr. Love performed with artists including Wilson Pickett, Aretha Franklin and Percy Sledge.
After incorporating themselves in 1969 as the Memphis Horns, Mr. Jackson and Mr. Love became roving ambassadors of the Memphis sound, in constant demand by artists as varied as Elvis Presley, Al Green, Rod Stewart, Steve Winwood, Bonnie Raitt, U2 and Willie Nelson. At the 2012 Grammy Awards (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , when the Memphis Horns were presented with a lifetime achievement award, Neil Portnow, the president of the Recording Academy, called them “the breath of soul.”
Wayne Lamar Jackson was born on Nov. 24, 1941, in Memphis and grew up across the Mississippi River in West Memphis, Ark. He got his first trumpet (https://www.namm.org/library/oral-history/wayne-jackson) when he was 11. “I opened up the case, and it smelled like oil and brass,” he wrote on his website (http://waynejacksonmusic.com/wjm/) . “I loved that, so I put it together, blew, and out came a pretty noise.”
In high school he began playing with the Royal Spades, an early version of the Mar-Keys, whose members included Steve Cropper, later the guitarist for Booker T. and the M.G.’s., and Charles Axton, known as Packy, a tenor saxophonist whose mother and uncle founded Stax.
When Mr. Axton left Stax in 1964, Mr. Jackson went to a local club to hear Mr. Love, who was playing with Willie Mitchell’s band.
“I knew we would be perfect together,” Mr. Jackson said in a statement released after Mr. Love died in 2012 (http://www.nytimes.com/2012/04/14/arts/music/andrew-love-saxophonist-with-the-memphis-horns-dies-at-70.html?_r=0) . “He had a big tone and I had a big tone, and I knew that they would blend in the most natural, beautiful way.”
Continue reading the main story
The two men played on nearly every record released by Stax. At American Sound Studio, operated by the producer Chips Moman (http://www.nytimes.com/2016/06/15/arts/music/chips-moman-hit-making-producer-and-songwriter-dies-at-79.html) , who died on June 13, they lent their one-two punch to Presley’s hits “In the Ghetto” (https://www.youtube.com/watch?v=FJ-r0bilzhU) and “Suspicious Minds,” (https://www.youtube.com/watch?v=RxOBOhRECoo) Dusty Springfield’s “Dusty in Memphis” album and Neil Diamond’s “Sweet Caroline.” (https://www.youtube.com/watch?v=2w-_Vtttrfc) Working with Mr. Mitchell at Hi Records, they played on the Al Green hits “Tired of Being Alone” (https://www.youtube.com/watch?v=Tdw7kxD8eUc) and “Let’s Stay Together.” (https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM)
The Memphis Horns toured and recorded with the Doobie Brothers, Robert Cray, Jimmy Buffett and Joe Cocker and recorded several of its own albums, including “The Memphis Horns” (1970) and “Flame Out” (1992).
Mr. Jackson’s first marriage ended in divorce. In addition to his wife, he is survived by a brother, Bruce; a sister, Sara Leaptrot; and four children, Carla Lee, Duane Jackson, Jennifer Jackson and Brittany Harris.
“Me and that trumpet had it all,” Mr. Jackson told American Blues Scene (http://www.americanbluesscene.com/2014/06/memphis-horns-wayne-jackson/) magazine in 2014. “That was my ticket. I punched that ticket and I rode that bus.”

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

June 23, 2016 / No Comments / More

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/23/arts/music/wayne-jackson-memphis-horns-trumpeter-dies-at-74.html?_r=0

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74
By William Grimes

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

June 23, 2016 / No Comments / More

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/23/arts/music/wayne-jackson-memphis-horns-trumpeter-dies-at-74.html?_r=0

Wayne Jackson, Memphis Horns Trumpeter, Dies at 74
By William Grimes

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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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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June 23, 2016 / No Comments / More

The King of 78s – Joe Bussard

http://www.jazzpromoservices.com/
http://www.dustandgrooves.com/joe-bussard-frederick-ma/
The King of 78s – Joe Bussard
 Text: Marc Minsker & Eilon Paz | Photos: Eilon Paz
“Jazz music ended in 1933, with the last recordings of worth being Clarence Williams in 1932. Jimmy Murphy’s records (six titles actually) that were recorded in Trashville, oops, I mean Nashville, were the last real recordings.”
http://www.dustandgrooves.com/wp-content/uploads/2012/08/Dust_and_Grooves_.jpg
F
ew people have devoted as much of their life to records as Joe Bussard has.  Born in 1936 in Frederick, Maryland, he started playing records on his parents’ phonograph and by the end of World War II, he had the collecting bug. During the 1950s, 60s, and 70s, he led thousands of record expeditions through the mid-Atlantic region and the South, looking for 78s of jazz, blues, ethnic and down-home/bluegrass music. These expeditions went well beyond the typical digger routes of mining thrift stores or finding out-of-the way record stores. For Joe, record collecting has always meant driving into the backwoods, parking your car, and walking door-to-door asking the locals if they had any records in the house and, if so, would they be willing to sell them. It is not an exaggeration to say that over 50,000 records have passed through Joe’s hands or circulated through his collection.   In addition to his status as a collector, Joe is single-handedly responsible for the creation and
operation of Fonotone Records, an independent record label responsible for documenting and preserving bluegrass, folk and blues music of the 1950s,1960s and 1970s (including the first recordings of guitarist John Fahey). A musician himself, Joe performed on guitar, banjo and vocals with his group Jolly Joe and His Jug Band, as well as performing and recording with many others. He has also been hosting radio programs since 1956, when he set up his own pirate radio station out of his home.
Joe Bussard is the subject of the excellent documentary film by Edward Gillian, “Desperate Man Blues” (http://www.youtube.com/watch?v=xI0T11s4VY4) (2003).
https://www.mixcloud.com/dustandgrooves/joe-bussard-for-dust-grooves/

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June 22, 2016 / No Comments / More

The King of 78s – Joe Bussard

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June 22, 2016 / No Comments / More

The King of 78s – Joe Bussard

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June 22, 2016 / No Comments / More

Annual Jazz Record Collectors’ Bash June 24-25, 2016 APA Hotel Woodbridge Iselin, NJ

http://www.jazzpromoservices.com/
June 22, 2016

To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo,
ji (mailto:jazzpromo@earthlink.net) m@jazzpromoservices.com
www.jazzpromoservices.com (http://www.jazzpromoservices.com/ )
http://jazzbash.net

42nd Annual Jazz RecordCollectors’ Bash
June 24-25, 2016

78s, LPs, CDs & Memorabilia

Buy, Sell, Trade, Schmooze~
Rare Vintage Jazz Films Each Day~

APA Hotel Woodbridge
(formally Hilton Woodbridge)
120 Wood Avenue South
Iselin, NJ 08830

** Doors open 8:00am on Friday & Saturday
————————————————————

Non-vendors pay only at door only.

General admission: $20.00 covers buyer’s admission for two days (Friday & Saturday). After 5:00pm Friday (incl. Saturday) & all day Saturday admission is $10.00.

Early buyers will be admitted Thursday evening after 7:30pm for $40.00.

** Vendors / Dealers
————————————————————

Rates: Friday & Saturday – $85 / Friday only – $55 / Saturday only – $35. A $25 per table deposit is required by March 26, 2016. The deposit is refundable through June 10, 2016.

Setup: Thursday night after 7:30pm. The room will not be available prior to that hour.

Payment Methods: Payment in advance by check or money order. Cash and checks will be accepted at the door.

** Hotel Reservations
————————————————————
Because it is past the hotel cutoff date for room reservations at the special event rate, please contact event coordinator Art Zimmerman at (516) 681-7102 for assistance.

** Directions
————————————————————

By car: Hotel is immediately off Garden State Parkway northbound exit 131A or southbound exit 131.

By public transportation: Convenient from Penn Station in New York City, Newark Penn Station, Newark Liberty International Airport and Trenton, NJ. Take NJ Transit to Metropark station on Northeast Corridor line. From Philadelphia 30th Street Station, take SEPTA to Trenton, NJ and transfer to NJ Transit NEC.

For additional information on schedules and fares, see www.njtransit.com.

From Metropark Station: [or any point within a 5 mile (8km) radius of the hotel] A free shuttle is available to hotel guests and attendees of the Bash. Call the hotel ahead of time for shuttle pickup.

** Schedule & Events
————————————————————

Friday & Saturday: Rare vintage videos each day. Admission free with Bash admission or $5 each for film show only.
————————————————————

Friday, 8:00PM: Jazz collector and film historian David Weiner will present two hours of rare film and TV clips, showcasing jazz and pop artists from the 1920s into the 1970s. Among the featured performers will be soloists Art Tatum, Dick Hyman, Miles Davis, T-Bone Walker, Louis Armstrong, Zoot Sims, Terry Gibbs, Dave Brubeck, Eddie Condon, Tommy Dorsey, Oscar Peterson, Edmond Hall, Benny Goodman, Wingy Manone, Jack Teagarden, George Gershwin, Buddy DeFranco & more; the bands of Count Basie, Jack Hylton, Hal McIntyre, Harry James, Duke Ellington, Cab Calloway & Ben Pollack; and vocalists Billie Holiday, Helen Humes, Harry Barris, Sophie Tucker, Helen Forrest, Alberta Hunter, Sister Rosetta Tharpe & Sir Harry Lauder! Plus a batch of vintage jazzy cartoons!

Also, after the films, rare record playoffs / challenges hosted by Henry Schmidt.
————————————————————

Saturday, 4:00PM to 6:00PM: In celebration of the 125th anniversary of Cole Porter’s birth, Will Friedwald’s Clip Joint presentation will feature jazz performances of the composer’s songs from vintage TV variety programs.

Saturday, 8:00PM to 10:00PM: Ron Hutchinson, founder of The Vitaphone Project, will once again present a two hour program of rare early sound music, vaudeville and comedy short subjects. Because 2016 marks the 25th anniversary of the Project, the program will begin with a specially edited salute to a quarter century of restorations. Also scheduled are two just-completed restorations starring Georgie Price and Nan Blakstone unseen in 87 years, early band shorts by Abe Lyman, Grace Johnston and The Indian Five, Leith Adams and the Saturday Night Swing Club, vaudevillians Jay C. Flippen, The Yacht Club Boys, Eddie White, and lots more.

jazzbash.net/
This E Mail Is Being Sent by:
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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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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

June 22, 2016 / No Comments / More

Annual Jazz Record Collectors’ Bash June 24-25, 2016 APA Hotel Woodbridge Iselin, NJ

http://www.jazzpromoservices.com/
June 22, 2016

42nd Annual Jazz RecordCollectors’ Bash
June 24-25, 2016

78s, LPs, CDs & Memorabilia

Buy, Sell, Trade, Schmooze~
Rare Vintage Jazz Films Each Day~

APA Hotel Woodbridge
(formally Hilton Woodbridge)
120 Wood Avenue South
Iselin, NJ 08830

** Doors open 8:00am on Friday & Saturday
————————————————————

Non-vendors pay only at door only.

General admission: $20.00 covers buyer’s admission for two days (Friday & Saturday). After 5:00pm Friday (incl. Saturday) & all day Saturday admission is $10.00.

Early buyers will be admitted Thursday evening after 7:30pm for $40.00.

** Vendors / Dealers
————————————————————

Rates: Friday & Saturday – $85 / Friday only – $55 / Saturday only – $35. A $25 per table deposit is required by March 26, 2016. The deposit is refundable through June 10, 2016.

Setup: Thursday night after 7:30pm. The room will not be available prior to that hour.

Payment Methods: Payment in advance by check or money order. Cash and checks will be accepted at the door.

** Directions
————————————————————

By car: Hotel is immediately off Garden State Parkway northbound exit 131A or southbound exit 131.

For additional information on schedules and fares, see www.njtransit.com.

** Schedule & Events
————————————————————

Friday & Saturday: Rare vintage videos each day. Admission free with Bash admission or $5 each for film show only.
————————————————————

Also, after the films, rare record playoffs / challenges hosted by Henry Schmidt.
————————————————————

jazzbash.net/
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@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) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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

June 22, 2016 / No Comments / More

Annual Jazz Record Collectors’ Bash June 24-25, 2016 APA Hotel Woodbridge Iselin, NJ

http://www.jazzpromoservices.com/
June 22, 2016

42nd Annual Jazz RecordCollectors’ Bash
June 24-25, 2016

78s, LPs, CDs & Memorabilia

Buy, Sell, Trade, Schmooze~
Rare Vintage Jazz Films Each Day~

APA Hotel Woodbridge
(formally Hilton Woodbridge)
120 Wood Avenue South
Iselin, NJ 08830

** Doors open 8:00am on Friday & Saturday
————————————————————

Non-vendors pay only at door only.

General admission: $20.00 covers buyer’s admission for two days (Friday & Saturday). After 5:00pm Friday (incl. Saturday) & all day Saturday admission is $10.00.

Early buyers will be admitted Thursday evening after 7:30pm for $40.00.

** Vendors / Dealers
————————————————————

Rates: Friday & Saturday – $85 / Friday only – $55 / Saturday only – $35. A $25 per table deposit is required by March 26, 2016. The deposit is refundable through June 10, 2016.

Setup: Thursday night after 7:30pm. The room will not be available prior to that hour.

Payment Methods: Payment in advance by check or money order. Cash and checks will be accepted at the door.

** Directions
————————————————————

By car: Hotel is immediately off Garden State Parkway northbound exit 131A or southbound exit 131.

For additional information on schedules and fares, see www.njtransit.com.

** Schedule & Events
————————————————————

Friday & Saturday: Rare vintage videos each day. Admission free with Bash admission or $5 each for film show only.
————————————————————

Also, after the films, rare record playoffs / challenges hosted by Henry Schmidt.
————————————————————

jazzbash.net/
This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com (mailto:jim@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) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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

June 22, 2016 / No Comments / More

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/18/business/media/this-guthrie-song-is-your-song-a-lawsuit-claims.html?mc_cid=940ad193a8

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me
By NIRAJ CHOKSHIJUNE 17, 2016

Woody Guthrie in an undated photo. Associated Press
The classic folk song “This Land Is Your Land” may literally belong to you and me.
That’s the case being pressed by the same law firm that persuaded a federal judge last year that “Happy Birthday to You” belongs in the public domain (http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html) .
The New York firm, Wolf Haldenstein Adler Freeman & Herz, also hopes to do the same for the Civil Rights-era protest song “We Shall Overcome.”
But the suit filed Tuesday over Woody Guthrie’s classic “This Land Is Your Land” is aimed at liberating a song known to generations of schoolchildren who have raised their voices to sing about a free country belonging to one and all, sprawling “from California to New York Island, from the redwood forest to the Gulf Stream waters.”
The suit was filed on behalf of the Brooklyn band Satorii, which recorded two versions of the song. It argues that the music belongs to the public and not to the Richmond Organization and its subsidiary, Ludlow Music, the publishing company that collects licensing fees to use the composition. Ludlow did not return phone calls or answer an email message seeking comment on Thursday.
The law firm seems to be developing a specialty in liberating classic musical works. An earlier lawsuit, also filed against Ludlow in April, focused on “We Shall Overcome,” (http://www.nytimes.com/2016/04/13/business/media/we-shall-overcome-copyright-may-be-overcome-one-day.html) a song long associated with the folk singer Pete Seeger, who died in 2014. The firm also successfully liberated the “Happy Birthday” copyright from Warner Music Group.
Continue reading the main story
Interestingly, Seeger may have performed Guthrie’s song more than anyone else over the decades (http://www.npr.org/2000/07/03/1076186/this-land-is-your-land) , including the so-called forgotten verses, in which the narrator ignores a “Private Property” sign. Those lyrics are not in the versions cited in this lawsuit.
Mark Rifkin, one of the firm’s lawyers, who joined two colleagues in filing the class-action suit on behalf of the band and anyone else who paid fees to license the work, explained their thinking: “Somewhere along the way we got sidetracked by giving corporations the right to own copyrights and to profit from them long after the creators of the work have died and long after anyone else has an interest in protecting the work.”

As with the earlier cases, the “This Land” suit, filed in the United States District Court for the Southern District of New York, traces what the firm calls a winding path of missed or illegitimate copyright claims.
Guthrie wrote the song in 1940 in response to the Irving Berlin song “God Bless America,” which he felt inadequately addressed land and wealth inequality, according to the Library of Congress (http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200000022/default.html) . Originally titled “God Blessed America for Me,” the song earned its modern name after Guthrie introduced the refrain “this land was made for you and me.”
In 1945, he published the song with a copyright notice that was never renewed, Satorii and their lawyers say. As a result, that copyright would have expired — and the song would have entered the public domain — 28 years later, in 1973, they say.
Despite Guthrie’s publication, Ludlow filed for its own copyright of the song in 1956, according to the suit. It asserted that copyright in 2004, when it threatened to sue JibJab Media over its now-famous “This Land” parody of that year’s presidential contest between the Democrat John Kerry and the Republican George W. Bush.

JibJab.com “This Land!” (https://www.youtube.com/watch?v=z8Q-sRdV7SY)

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JibJab.com “This Land!” Video by JibJab
The groups reached a settlement (https://www.eff.org/cases/jibjab-media-inc-v-ludlow-music-inc) that summer in which JibJab was allowed to continue distributing its parody.
But Satorii and its lawyers argue that Ludlow never had a right to claim the copyright in the first place.
Continue reading the main story
Guthrie, they said, borrowed the melody from a Baptist gospel hymn from the late 19th or early 20th century known variously as “Fire Song,” “When the World’s on Fire,” “What You Gonna Do When the World’s on Fire,” and “O My Loving Brother.”
And even if he or Ludlow had rightfully secured the copyright to the lyrics, the band and firm note multiple occasions in which the words were printed in album liner notes without a copyright notice, in effect forfeiting rights to them, they argue.
The band is not only seeking a judicial declaration that the song belongs in the public domain, but also that the publisher return all fees related to the licensing of the song paid by any individual or group since 2010.

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June 21, 2016 / No Comments / More

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me – The New York Times

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http://www.nytimes.com/2016/06/18/business/media/this-guthrie-song-is-your-song-a-lawsuit-claims.html?mc_cid=940ad193a8

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me
By NIRAJ CHOKSHIJUNE 17, 2016

JibJab.com “This Land!” (https://www.youtube.com/watch?v=z8Q-sRdV7SY)

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June 21, 2016 / No Comments / More

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me – The New York Times

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http://www.nytimes.com/2016/06/18/business/media/this-guthrie-song-is-your-song-a-lawsuit-claims.html?mc_cid=940ad193a8

Who Owns the Copyright to ‘This Land Is Your Land’? It May Be You and Me
By NIRAJ CHOKSHIJUNE 17, 2016

JibJab.com “This Land!” (https://www.youtube.com/watch?v=z8Q-sRdV7SY)

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June 21, 2016 / No Comments / More

R.I.P.: Sir Charles Thompson

http://www.jazzpromoservices.com/
From: “Yoshio Toyama”

Our good friend Sir Charles Thompson left us on June 16th.
Hope you can spread the news.

We all miss him very much.

—
Sir Charles Thompson left us on June 16th in Japan.

He was a very unique pianist with style in between swing and bepop,,,also
very close to great Count Basie’s piano style.
He was married to Japanese wife Makiko Thompson in 1990’s, lived in Japan in
90’s and 2002 to this day.
Funeral will be held in Tokyo Japan, Higashi Kurume, by his wife Makiko
Thompson and family and friends on June 21st.

He was born March 21 1918, and he just turned 98 last march.
He started as professional when he was very young, played with and admired
people like Lester Young ,Buck Clayton,Colman Hawkins,,,.

He was very active in Bebop era also, and his style has lots of Bebop flavor
mixed with mellow swing.
He was very good golf player too.

He left so many great jazz records including “Vic Dickenson Show case’. In
Japan, he made recording with Yoshio and Keiko Toyama in late 1990’s.
Had appeared in many concerts held by Toyama’s Wonderful World Jazz
Foundation. Sir Charles and Toyama stayed very close friends.

We all miss him. Yoshio and Keiko

Watch 93 year old Sir Charles Thompson Trio Perform “Robbins Nest” Dec. 23 2011
https://www.youtube.com/watch?v=g4Jb2zMHJtc

https://www.youtube.com/watch?v=g4Jb2zMHJtc

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June 20, 2016 / No Comments / More

R.I.P.: Sir Charles Thompson

http://www.jazzpromoservices.com/
From: “Yoshio Toyama”

Our good friend Sir Charles Thompson left us on June 16th.
Hope you can spread the news.

We all miss him very much.

—
Sir Charles Thompson left us on June 16th in Japan.

He was born March 21 1918, and he just turned 98 last march.
He started as professional when he was very young, played with and admired
people like Lester Young ,Buck Clayton,Colman Hawkins,,,.

He was very active in Bebop era also, and his style has lots of Bebop flavor
mixed with mellow swing.
He was very good golf player too.

We all miss him. Yoshio and Keiko

Watch 93 year old Sir Charles Thompson Trio Perform “Robbins Nest” Dec. 23 2011
https://www.youtube.com/watch?v=g4Jb2zMHJtc

https://www.youtube.com/watch?v=g4Jb2zMHJtc

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June 20, 2016 / No Comments / More

R.I.P.: Sir Charles Thompson

http://www.jazzpromoservices.com/
From: “Yoshio Toyama”

Our good friend Sir Charles Thompson left us on June 16th.
Hope you can spread the news.

We all miss him very much.

—
Sir Charles Thompson left us on June 16th in Japan.

He was born March 21 1918, and he just turned 98 last march.
He started as professional when he was very young, played with and admired
people like Lester Young ,Buck Clayton,Colman Hawkins,,,.

He was very active in Bebop era also, and his style has lots of Bebop flavor
mixed with mellow swing.
He was very good golf player too.

We all miss him. Yoshio and Keiko

Watch 93 year old Sir Charles Thompson Trio Perform “Robbins Nest” Dec. 23 2011
https://www.youtube.com/watch?v=g4Jb2zMHJtc

https://www.youtube.com/watch?v=g4Jb2zMHJtc

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June 20, 2016 / No Comments / More

National Endowment for the Arts Names 2017 Jazz Masters – The New York Times

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http://www.nytimes.com/2016/06/14/arts/music/nea-jazz-masters-bridgewater-holland-smith-hyman.html?mc_cid=1e7af9a09a

National Endowment for the Arts Names 2017 Jazz Masters
By ANDREW R. CHOWJUNE 13, 2016

Dee Dee Bridgewater performing at the 2014 International Jazz Day Global Concert in Osaka, Japan. Keith Tsuji/Getty Images
The National Endowment for the Arts has named its 2017 NEA Jazz Masters: the musicians — Dee Dee Bridgewater, Dave Holland, Dr. Lonnie Smith and Dick Hyman — and the jazz historian Ira Gitler. Each will each receive $25,000 and be honored at a tribute concert at the John F. Kennedy Center for the Performing Arts in Washington on April 3, 2017.
All of the honored musicians still perform. Ms. Bridgewater is a Grammy- and Tony-winning singer who recently appeared as Billie Holiday in “Lady Day” Off Broadway. (Charles Isherwood, a New York Times theater critic, wrote of her performance (http://www.nytimes.com/2013/10/04/theater/reviews/lady-day-with-dee-dee-bridgewater-as-billie-holiday.html) : “I sank back happily into my seat and let her artistry, which melds her own sophisticated style with an effective vocal impersonation of Holiday, seduce me into a state of bliss.”) Mr. Holland, a bassist, played extensively with Miles Davis and Anthony Braxton, and this year toured internationally with his trio (http://www.nytimes.com/2016/02/18/arts/music/review-dave-holland-trio-in-a-bracingly-uncorked-evening-at-the-village-vanguard.html) .
The organist Lonnie Smith started his career in the 1960s and currently leads a band stocked with young talent, which can be heard on “Evolution,” (http://www.nytimes.com/2016/01/24/arts/music/new-albums-from-aoife-odonovan-aruan-ortiz-trio-dr-lonnie-smith-and-others.html) an album released this year. Dick Hyman, a pianist, has played a wide range of styles over his career and collaborated with Woody Allen on many of movies, including “The Purple Rose of Cairo” and “Stardust Memories.”
Gary Burton, Pharoah Sanders, Archie Shepp and Wendy Oxenhorn received the 2016 award (http://artsbeat.blogs.nytimes.com/2015/10/22/nea-honors-three-musicians-and-one-advocate-with-jazz-masters-awards/) . The 2017 concert will be open to the public and broadcast via a live webstream. More information is available at arts.gov (https://www.arts.gov/) .

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June 17, 2016 / No Comments / More

National Endowment for the Arts Names 2017 Jazz Masters – The New York Times

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http://www.nytimes.com/2016/06/14/arts/music/nea-jazz-masters-bridgewater-holland-smith-hyman.html?mc_cid=1e7af9a09a

National Endowment for the Arts Names 2017 Jazz Masters
By ANDREW R. CHOWJUNE 13, 2016

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June 17, 2016 / No Comments / More

National Endowment for the Arts Names 2017 Jazz Masters – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/14/arts/music/nea-jazz-masters-bridgewater-holland-smith-hyman.html?mc_cid=1e7af9a09a

National Endowment for the Arts Names 2017 Jazz Masters
By ANDREW R. CHOWJUNE 13, 2016

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June 17, 2016 / No Comments / More

‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process – LA Times

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http://www.latimes.com/opinion/op-ed/la-oe-goodman-zeppelin-copyright-harrison-allen-klein-20160616-snap-story.html

‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process

By Fred Goodman

A fellow writer recently told me that when he began his career, he was always hunting for a scoop, a story no one else had. Now, with a couple decades experience, he does the opposite. “I look for a story that’s already been done 10 times,” he said, “with the aim of making the 11th the one everyone would rather read.”
Lurking behind that notion is an important fact about popular art: It relies on the familiar. Successful pop artists aren’t necessarily the most daring or sophisticated, but the best have the skill to take what they’ve heard and make it fresh. As the plagiarism case against one of rock’s most successful songs, Led Zeppelin’s “Stairway to Heaven,” comes before a Los Angeles jury this week, we should acknowledge a dictum the public teaches aspiring stars: Steal Big or Stay Home.
The reality is that all creative work draws from existing art and stories.
This is not to suggest that the case doesn’t deserve to be brought — just that copyright law sees the creative process differently. It venerates ownership as a goad to creativity, and grants ownership to whomever was “first.” Because originality is a rather difficult thing to establish, court decisions can seem subjective, claims opportunistic.
In 1971, George Harrison was sued by Bright Tunes, the publisher of the Chiffons’ hit “He’s So Fine,” alleging the ex-Beatle copied it with his much bigger hit, “My Sweet Lord.” A judge heard enough similarity in their melodies to rule in favor of Bright Tunes. But at least one person who worked with Harrison has suggested that the gospel song “Oh, Happy Day” might have had a stronger claim. And while John Lennon didn’t venture an opinion, he did recall the Beatles’ first publisher, Dick James, schooling them in how to write a song based on an existing work without exposing themselves to legal action.
The reality is that all creative work draws from existing art and stories, while acquiring copyrights and defending them in court is a completely different business — and a lucrative one in its own right. No one knew this better than Allen Klein, who was Harrison’s manager when the “My Sweet Lord” suit began.
Threatening Klein with court was like trying to scare a Kardashian with a camera. He relished litigation and was the plaintiff or defendant in more than 70 suits. Klein, who died in 2009, also was a music publisher; he owned or administered the rights to many hits, including “Baby, It’s You” and “A Change is Gonna Come.”
As Harrison’s manager, Klein belittled the suit and vowed to oppose it. But it took the case several years to come to court, by which time Klein and Harrison had fallen out. When Harrison was adjudged to have copied “He’s So Fine,” he was shocked to discover that Klein had paid $587,000 to acquire the publishing rights of “He’s So Fine.” Harrison would therefore have to give Klein a share in the copyright to “My Sweet Lord” and pay a judgment on back royalties initially estimated at more than $2 million.
Eventually the court agreed with Harrison that Klein’s fiduciary duty as his manager continued even after the relationship ended and that he couldn’t now benefit. It ordered Harrison to pay Klein the cost of acquiring Bright Tunes, but not the back royalties, with Klein instructed to administer “My Sweet Lord” on Harrison’s behalf.
The “My Sweet Lord” case wasn’t even Klein’s most ruthless legal play. In 1997, Klein used his rights as music publisher for the Rolling Stones (http://www.latimes.com/topic/entertainment/music/the-rolling-stones-PECLB004371-topic.html) to seize control of the song “Bittersweet Symphony” by the Verve.
To create that song, the Verve licensed the rights from Decca Records to sample an instrumental recording by the Andrew Loog Oldham Orchestra of the Rolling Stones’ “The Last Time.” What they failed to do was get permission from the song’s publisher: Klein’s Abkco Music. Without Abkco’s permission, they’d be liable for copyright infringement and therefore couldn’t release the song. When they asked Klein for permission, he refused. After giving the band a few days to imagine the millions they might lose, Klein “gave in” — in return for Verve singer and lyricist Richard Ashcroft’s selling his songwriter’s share for just $1,000.
To this day, “Bittersweet Symphony” is one of the biggest earners in the Abkco publishing catalog, licensed repeatedly for ad campaigns. But neither Ashcroft nor any other member of the band receives publishing royalties. That money is shared by Abkco with the other copyright holders of “The Last Time”: Mick Jagger, Keith Richards and Oldham.
That’s not the last twist. In fact, the melody sampled from the instrumental version of “The Last Time” sounds nothing like the Rolling Stones’ song. That riff was written by David Whitaker, who was paid a flat fee to arrange the song for the Oldham orchestra and is not listed as a composer. Moreover, Jagger and Richards’ song almost certainly owes its inspiration to a gospel song, “This May Be the Last Time,” recorded by the Staple Singers in 1955. Fortunately for the Stones, the Staple Singers weren’t managed by Klein.
The reality is that borrowings and elaborations constitute the provenance and history of popular songs — and copyright cases don’t necessarily reflect that.
Fred Goodman’s most recent book is “Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones and Transformed Rock & Roll.”

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June 17, 2016 / No Comments / More

‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process – LA Times

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http://www.latimes.com/opinion/op-ed/la-oe-goodman-zeppelin-copyright-harrison-allen-klein-20160616-snap-story.html

‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process

By Fred Goodman

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‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process – LA Times

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http://www.latimes.com/opinion/op-ed/la-oe-goodman-zeppelin-copyright-harrison-allen-klein-20160616-snap-story.html

‘Stairway to Heaven’ a ripoff? What copyright law doesn’t acknowledge about the creative process

By Fred Goodman

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Grammy Awards Tweak Rules for Streaming Music – The New York Times

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http://www.nytimes.com/2016/06/17/arts/music/grammys-streaming-eligibility-new-artist.html?module=WatchingPortal

Grammy Awards Tweak Rules for Streaming Music
By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) JUNE 16, 2016

Chance the Rapper David Kasnic for The New York Times
In another sign that streaming has become the music industry’s most important format, the Grammy Awards have announced a set of eligibility tweaks for next year’s ceremony.
On Thursday, the National Academy of Recording Arts and Sciences, the organization behind the awards, said that it would now accept music released only in streaming form, not just as downloads or on physical formats like CDs and vinyl. (The fine print is that they must have come out on “paid subscription, full catalog, on-demand streaming/limited download platforms” in existence for a year, which greenlights Spotify, Apple Music, Tidal and a few other outlets.)
So far the change would seem to have only one major beneficiary: Chance the Rapper, whose mixtape “Coloring Book” (https://www.nytimes.com/2016/05/19/arts/music/chance-the-rapper-coloring-book-review.html?_r=0) made history in May as the first streaming-only release on the Billboard album chart, opening at No. 8. But with artists increasingly experimenting with how they release music online, there could very well be more.
“The Grammys aren’t just peer-awarded, they’re peer-driven,” Bill Freimuth, the academy’s senior vice president of awards, said in a statement. “Throughout the year, members of the music community come to us asking to make changes to the awards process, and we work with them to figure out how those changes might work.”
Adjusting the rules for best new artist, often one of the most controversial categories (https://mic.com/articles/129840/meghan-trainor-s-best-new-artist-grammy-nomination-makes-no-sense#.KMnxDbaUh) , the academy eliminated a requirement that a candidate have a full album under his or her belt, accepting instead five singles or tracks. (It is the second time in six years that this category has been tweaked. In 2010, after an uproar when Lady Gaga was disqualified (http://www.ew.com/article/2010/07/07/lady-gaga-grammy) , the academy allowed nominations for artists who had already been up for another prize.)
Continue reading the main story
Among the other changes:
The rap/sung collaboration category is now rap/sung performance, allowing a single artist to win if his or her style bridges rapping and singing. (Hello, Drake.)
The number of categories in which academy members may vote has been reduced from 20 to 15, in addition to the top four categories (album, song, record and new artist). In its explanation, the academy said the change would “encourage members to vote only in those categories in which they are most knowledgeable, passionate and qualified.”
The blues genre has been split into two awards, best traditional blues album and best contemporary blues album. The academy was clearly listening when Buddy Guy accepted the best blues album prize this year and remarked (http://www.nytimes.com/2016/02/16/arts/music/grammys.html) , “At least I know the blues is not dead yet.”
The next Grammy awards, the 59th annual, will be held on Feb. 12, for music released between Oct. 1, 2015, and Sept. 30, 2016. This week the academy also renewed its longstanding broadcast deal with CBS, keeping the awards on that network through 2026 (http://www.nytimes.com/2016/06/16/business/media/cbs-will-show-grammy-awards-through-2026.html) .

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June 17, 2016 / No Comments / More

Grammy Awards Tweak Rules for Streaming Music – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/17/arts/music/grammys-streaming-eligibility-new-artist.html?module=WatchingPortal

Grammy Awards Tweak Rules for Streaming Music
By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) JUNE 16, 2016

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June 17, 2016 / No Comments / More

Grammy Awards Tweak Rules for Streaming Music – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/17/arts/music/grammys-streaming-eligibility-new-artist.html?module=WatchingPortal

Grammy Awards Tweak Rules for Streaming Music
By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) JUNE 16, 2016

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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Grammy Awards Tweak Rules for Streaming Music – The New York Times

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Grammy Awards Tweak Rules for Streaming Music – The New York Times

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