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Chips Moman, Hit-Making Producer and Songwriter, Dies at 79 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/15/arts/music/chips-moman-hit-making-producer-and-songwriter-dies-at-79.html
Chips Moman, Hit-Making Producer and Songwriter, Dies at 79
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JUNE 14, 2016
Elvis Presley and Chips Moman at American Sound Studio in Memphis, Tenn. Sony Music
Chips Moman, a producer and songwriter who helped define the Memphis sound in soul music in the 1960s, generated dozens of pop, soul and country hits and helped resuscitate Elvis Presley (http://movies.nytimes.com/person/107032/Elvis-Presley?inline=nyt-per) ’s career in the late ’60s, died on Monday in LaGrange, Ga. He was 79.
The cause was complications of emphysema, said Donny Turner, a friend.
Mr. Moman was a session guitarist at the renowned Gold Star Studios in Los Angeles in the late 1950s when he teamed up with the founders of Stax Records in Memphis, Jim Stewart and Estelle Axton. At Gold Star, he had paid close attention to the engineers and producers as they worked, and at Stax, he applied his newly learned lessons, producing Carla Thomas’s Top 10 hit “Gee Whiz (Look at His Eyes)” (https://www.youtube.com/watch?v=bAmHhBiXVjw) in 1960 and William Bell’s “You Don’t Miss Your Water” (https://www.youtube.com/watch?v=eJPAwKPD9KU) in 1961.
After a dispute with Stax, Mr. Moman created American Sound Studio with settlement money from a lawsuit against his former employers and assembled a dynamic house band, known informally as the Memphis Boys. Between 1965 and 1971, the studio accounted for more than 120 records on the Billboard Hot 100 singles chart, beginning with the Gentrys’ “Keep On Dancing.” (https://www.youtube.com/watch?v=gSDbLK5T6Tk)
Artists who recorded at American Sound included the Box Tops (“The Letter” (https://www.youtube.com/watch?v=HIWY8UyW9bw) and “Cry Like a Baby” (https://www.youtube.com/watch?v=GY2f9tI9xzA) ), Neil Diamond (“Sweet Caroline” (https://www.youtube.com/watch?v=1vhFnTjia_I) ), B. J. Thomas (“Hooked on a Feeling” (https://www.youtube.com/watch?v=Wqt_iZBvtCo&list=RDWqt_iZBvtCo) ), Joe Tex (“I Gotcha” (https://www.youtube.com/watch?v=qDEZQxg2TSM) ), Dusty Springfield (“Son of a Preacher Man” (https://www.youtube.com/watch?v=dp4339EbVn8) ) and Wilson Pickett (“I’m in Love” (https://www.youtube.com/watch?v=6a8YfDtOVSE) and “I’m a Midnight Mover” (https://www.youtube.com/watch?v=bcC4h5c4LoY) ).
With Dan Penn, Mr. Moman wrote the soul classics “Do Right Woman, Do Right Man” (https://www.youtube.com/watch?v=VhdgFfNsst0&list=RDVhdgFfNsst0) for Aretha Franklin and “The Dark End of the Street” (https://www.youtube.com/watch?v=tzcdNwIkmYA) for James Carr. He also played lead guitar on Ms. Franklin’s first breakout hit, “I Never Loved a Man (the Way I Love You).”
Continue reading the main story
Perhaps his greatest triumph as a producer came in 1969, when Presley, who had not had a hit record since 1965, did an end run around his controlling manager, Col. Tom Parker, and decided to record at American Sound, where Mr. Moman tapped into Presley’s roots in country and blues music.
The sessions yielded four hit singles — “In the Ghetto,” (https://www.youtube.com/watch?v=2Ox1Tore9nw) “Suspicious Minds,” (https://www.youtube.com/watch?v=58Zh_Hf5Di8) “Don’t Cry Daddy” (https://www.youtube.com/watch?v=iZdqWwqxFuo) and “Kentucky Rain” (https://www.youtube.com/watch?v=A1tybhgfrHg) — and two career-defining platinum albums: “From Elvis in Memphis, ” which The Daily Telegraph of London in 2009 called “the pinnacle of Presley’s midcareer return to glory,” and “From Memphis to Vegas/From Vegas to Memphis,” a mixture of live and studio recordings.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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USA
Chips Moman, Hit-Making Producer and Songwriter, Dies at 79 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/15/arts/music/chips-moman-hit-making-producer-and-songwriter-dies-at-79.html
Chips Moman, Hit-Making Producer and Songwriter, Dies at 79
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JUNE 14, 2016
Elvis Presley and Chips Moman at American Sound Studio in Memphis, Tenn. Sony Music
Chips Moman, a producer and songwriter who helped define the Memphis sound in soul music in the 1960s, generated dozens of pop, soul and country hits and helped resuscitate Elvis Presley (http://movies.nytimes.com/person/107032/Elvis-Presley?inline=nyt-per) ’s career in the late ’60s, died on Monday in LaGrange, Ga. He was 79.
The cause was complications of emphysema, said Donny Turner, a friend.
Mr. Moman was a session guitarist at the renowned Gold Star Studios in Los Angeles in the late 1950s when he teamed up with the founders of Stax Records in Memphis, Jim Stewart and Estelle Axton. At Gold Star, he had paid close attention to the engineers and producers as they worked, and at Stax, he applied his newly learned lessons, producing Carla Thomas’s Top 10 hit “Gee Whiz (Look at His Eyes)” (https://www.youtube.com/watch?v=bAmHhBiXVjw) in 1960 and William Bell’s “You Don’t Miss Your Water” (https://www.youtube.com/watch?v=eJPAwKPD9KU) in 1961.
After a dispute with Stax, Mr. Moman created American Sound Studio with settlement money from a lawsuit against his former employers and assembled a dynamic house band, known informally as the Memphis Boys. Between 1965 and 1971, the studio accounted for more than 120 records on the Billboard Hot 100 singles chart, beginning with the Gentrys’ “Keep On Dancing.” (https://www.youtube.com/watch?v=gSDbLK5T6Tk)
Artists who recorded at American Sound included the Box Tops (“The Letter” (https://www.youtube.com/watch?v=HIWY8UyW9bw) and “Cry Like a Baby” (https://www.youtube.com/watch?v=GY2f9tI9xzA) ), Neil Diamond (“Sweet Caroline” (https://www.youtube.com/watch?v=1vhFnTjia_I) ), B. J. Thomas (“Hooked on a Feeling” (https://www.youtube.com/watch?v=Wqt_iZBvtCo&list=RDWqt_iZBvtCo) ), Joe Tex (“I Gotcha” (https://www.youtube.com/watch?v=qDEZQxg2TSM) ), Dusty Springfield (“Son of a Preacher Man” (https://www.youtube.com/watch?v=dp4339EbVn8) ) and Wilson Pickett (“I’m in Love” (https://www.youtube.com/watch?v=6a8YfDtOVSE) and “I’m a Midnight Mover” (https://www.youtube.com/watch?v=bcC4h5c4LoY) ).
With Dan Penn, Mr. Moman wrote the soul classics “Do Right Woman, Do Right Man” (https://www.youtube.com/watch?v=VhdgFfNsst0&list=RDVhdgFfNsst0) for Aretha Franklin and “The Dark End of the Street” (https://www.youtube.com/watch?v=tzcdNwIkmYA) for James Carr. He also played lead guitar on Ms. Franklin’s first breakout hit, “I Never Loved a Man (the Way I Love You).”
Continue reading the main story
Perhaps his greatest triumph as a producer came in 1969, when Presley, who had not had a hit record since 1965, did an end run around his controlling manager, Col. Tom Parker, and decided to record at American Sound, where Mr. Moman tapped into Presley’s roots in country and blues music.
The sessions yielded four hit singles — “In the Ghetto,” (https://www.youtube.com/watch?v=2Ox1Tore9nw) “Suspicious Minds,” (https://www.youtube.com/watch?v=58Zh_Hf5Di8) “Don’t Cry Daddy” (https://www.youtube.com/watch?v=iZdqWwqxFuo) and “Kentucky Rain” (https://www.youtube.com/watch?v=A1tybhgfrHg) — and two career-defining platinum albums: “From Elvis in Memphis, ” which The Daily Telegraph of London in 2009 called “the pinnacle of Presley’s midcareer return to glory,” and “From Memphis to Vegas/From Vegas to Memphis,” a mixture of live and studio recordings.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=60e378d64d) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=60e378d64d&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Chips Moman, Hit-Making Producer and Songwriter, Dies at 79 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/15/arts/music/chips-moman-hit-making-producer-and-songwriter-dies-at-79.html
Chips Moman, Hit-Making Producer and Songwriter, Dies at 79
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JUNE 14, 2016
Elvis Presley and Chips Moman at American Sound Studio in Memphis, Tenn. Sony Music
Chips Moman, a producer and songwriter who helped define the Memphis sound in soul music in the 1960s, generated dozens of pop, soul and country hits and helped resuscitate Elvis Presley (http://movies.nytimes.com/person/107032/Elvis-Presley?inline=nyt-per) ’s career in the late ’60s, died on Monday in LaGrange, Ga. He was 79.
The cause was complications of emphysema, said Donny Turner, a friend.
Mr. Moman was a session guitarist at the renowned Gold Star Studios in Los Angeles in the late 1950s when he teamed up with the founders of Stax Records in Memphis, Jim Stewart and Estelle Axton. At Gold Star, he had paid close attention to the engineers and producers as they worked, and at Stax, he applied his newly learned lessons, producing Carla Thomas’s Top 10 hit “Gee Whiz (Look at His Eyes)” (https://www.youtube.com/watch?v=bAmHhBiXVjw) in 1960 and William Bell’s “You Don’t Miss Your Water” (https://www.youtube.com/watch?v=eJPAwKPD9KU) in 1961.
After a dispute with Stax, Mr. Moman created American Sound Studio with settlement money from a lawsuit against his former employers and assembled a dynamic house band, known informally as the Memphis Boys. Between 1965 and 1971, the studio accounted for more than 120 records on the Billboard Hot 100 singles chart, beginning with the Gentrys’ “Keep On Dancing.” (https://www.youtube.com/watch?v=gSDbLK5T6Tk)
Artists who recorded at American Sound included the Box Tops (“The Letter” (https://www.youtube.com/watch?v=HIWY8UyW9bw) and “Cry Like a Baby” (https://www.youtube.com/watch?v=GY2f9tI9xzA) ), Neil Diamond (“Sweet Caroline” (https://www.youtube.com/watch?v=1vhFnTjia_I) ), B. J. Thomas (“Hooked on a Feeling” (https://www.youtube.com/watch?v=Wqt_iZBvtCo&list=RDWqt_iZBvtCo) ), Joe Tex (“I Gotcha” (https://www.youtube.com/watch?v=qDEZQxg2TSM) ), Dusty Springfield (“Son of a Preacher Man” (https://www.youtube.com/watch?v=dp4339EbVn8) ) and Wilson Pickett (“I’m in Love” (https://www.youtube.com/watch?v=6a8YfDtOVSE) and “I’m a Midnight Mover” (https://www.youtube.com/watch?v=bcC4h5c4LoY) ).
With Dan Penn, Mr. Moman wrote the soul classics “Do Right Woman, Do Right Man” (https://www.youtube.com/watch?v=VhdgFfNsst0&list=RDVhdgFfNsst0) for Aretha Franklin and “The Dark End of the Street” (https://www.youtube.com/watch?v=tzcdNwIkmYA) for James Carr. He also played lead guitar on Ms. Franklin’s first breakout hit, “I Never Loved a Man (the Way I Love You).”
Continue reading the main story
Perhaps his greatest triumph as a producer came in 1969, when Presley, who had not had a hit record since 1965, did an end run around his controlling manager, Col. Tom Parker, and decided to record at American Sound, where Mr. Moman tapped into Presley’s roots in country and blues music.
The sessions yielded four hit singles — “In the Ghetto,” (https://www.youtube.com/watch?v=2Ox1Tore9nw) “Suspicious Minds,” (https://www.youtube.com/watch?v=58Zh_Hf5Di8) “Don’t Cry Daddy” (https://www.youtube.com/watch?v=iZdqWwqxFuo) and “Kentucky Rain” (https://www.youtube.com/watch?v=A1tybhgfrHg) — and two career-defining platinum albums: “From Elvis in Memphis, ” which The Daily Telegraph of London in 2009 called “the pinnacle of Presley’s midcareer return to glory,” and “From Memphis to Vegas/From Vegas to Memphis,” a mixture of live and studio recordings.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=60e378d64d) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=60e378d64d&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels | OregonLive.com
http://www.jazzpromoservices.com/
http://www.oregonlive.com/business/index.ssf/2016/06/music_distributor_lays_off_doz.html
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels
http://connect.oregonlive.com/staff/nrausch/index.html
By Natasha Rausch (http://connect.oregonlive.com/staff/nrausch/posts.html)
Email the author | Follow on Twitter (http://www.twitter.com/n_rausch21)
on June 09, 2016 at 5:22 PM, updated June 09, 2016 at 5:54 PM
Portland-based Allegro Media Group, a distributor for small, independent music and video labels, appears to be leaving a swath of unhappy business partners in the wake of its financial problems.
FJ Forest, owner of Waveform Records and an Allegro customer, said he talked to a former Allegro employee who said the distributor laid off “several dozen people” last Friday.
“They called employees into a conference room and gave everyone their last checks,” Forest said. But, he said, company officers “didn’t tell the labels.”
The company kept CD inventory from dozens of independent record labels in the process, Forest said.
Forest’s label sells its CDs to Allegro for distribution, but hasn’t received a payment in more than a year. He said Allegro sent him another purchase order last week, but because he hasn’t been paid, he didn’t fill it.
Forest said Allegro is refusing to return CDs to him and the other labels, too. Because Allegro does not pay for CDs upfront, customers don’t have the money or the inventory.
Forest said Allegro doesn’t appear to be filing for bankruptcy but will instead “reorganize” under Somerset, one of its subsidiaries.
Mark Powell, executive director of the independent label Cappella Romana, said he also heard about the layoffs and liquidation.
Powell said Cappella Romana is owed more than $15,000 in back sales from CD and digital downloads, and the retail value of his label’s seized assets is another $14,000.
In a press release, Powell said Allegro issued an email statement earlier this week.
It read: “The company has engaged, [sic] Edward Hostmann Inc., [sic] as Chief Restructuring Officer to supervise the process. EHI will be managing the liquidation of the Allegro business lines in an orderly out of court liquidation.”
Edward Hostmann Inc. provides financial advisory services to companies in crises, according to its website.
Edward Hostmann was not available for comment Thursday, and Allegro did not respond to interview requests.
— Natasha Rausch
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6f5f875ab2) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6f5f875ab2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels | OregonLive.com
http://www.jazzpromoservices.com/
http://www.oregonlive.com/business/index.ssf/2016/06/music_distributor_lays_off_doz.html
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels
http://connect.oregonlive.com/staff/nrausch/index.html
By Natasha Rausch (http://connect.oregonlive.com/staff/nrausch/posts.html)
Email the author | Follow on Twitter (http://www.twitter.com/n_rausch21)
on June 09, 2016 at 5:22 PM, updated June 09, 2016 at 5:54 PM
Portland-based Allegro Media Group, a distributor for small, independent music and video labels, appears to be leaving a swath of unhappy business partners in the wake of its financial problems.
FJ Forest, owner of Waveform Records and an Allegro customer, said he talked to a former Allegro employee who said the distributor laid off “several dozen people” last Friday.
“They called employees into a conference room and gave everyone their last checks,” Forest said. But, he said, company officers “didn’t tell the labels.”
The company kept CD inventory from dozens of independent record labels in the process, Forest said.
Forest’s label sells its CDs to Allegro for distribution, but hasn’t received a payment in more than a year. He said Allegro sent him another purchase order last week, but because he hasn’t been paid, he didn’t fill it.
Forest said Allegro is refusing to return CDs to him and the other labels, too. Because Allegro does not pay for CDs upfront, customers don’t have the money or the inventory.
Forest said Allegro doesn’t appear to be filing for bankruptcy but will instead “reorganize” under Somerset, one of its subsidiaries.
Mark Powell, executive director of the independent label Cappella Romana, said he also heard about the layoffs and liquidation.
Powell said Cappella Romana is owed more than $15,000 in back sales from CD and digital downloads, and the retail value of his label’s seized assets is another $14,000.
In a press release, Powell said Allegro issued an email statement earlier this week.
It read: “The company has engaged, [sic] Edward Hostmann Inc., [sic] as Chief Restructuring Officer to supervise the process. EHI will be managing the liquidation of the Allegro business lines in an orderly out of court liquidation.”
Edward Hostmann Inc. provides financial advisory services to companies in crises, according to its website.
Edward Hostmann was not available for comment Thursday, and Allegro did not respond to interview requests.
— Natasha Rausch
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6f5f875ab2) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=6f5f875ab2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels | OregonLive.com
http://www.jazzpromoservices.com/
http://www.oregonlive.com/business/index.ssf/2016/06/music_distributor_lays_off_doz.html
Music distributor lays off ‘dozens’ of employees, keeps CDs from labels
http://connect.oregonlive.com/staff/nrausch/index.html
By Natasha Rausch (http://connect.oregonlive.com/staff/nrausch/posts.html)
Email the author | Follow on Twitter (http://www.twitter.com/n_rausch21)
on June 09, 2016 at 5:22 PM, updated June 09, 2016 at 5:54 PM
Portland-based Allegro Media Group, a distributor for small, independent music and video labels, appears to be leaving a swath of unhappy business partners in the wake of its financial problems.
FJ Forest, owner of Waveform Records and an Allegro customer, said he talked to a former Allegro employee who said the distributor laid off “several dozen people” last Friday.
“They called employees into a conference room and gave everyone their last checks,” Forest said. But, he said, company officers “didn’t tell the labels.”
The company kept CD inventory from dozens of independent record labels in the process, Forest said.
Forest’s label sells its CDs to Allegro for distribution, but hasn’t received a payment in more than a year. He said Allegro sent him another purchase order last week, but because he hasn’t been paid, he didn’t fill it.
Forest said Allegro is refusing to return CDs to him and the other labels, too. Because Allegro does not pay for CDs upfront, customers don’t have the money or the inventory.
Forest said Allegro doesn’t appear to be filing for bankruptcy but will instead “reorganize” under Somerset, one of its subsidiaries.
Mark Powell, executive director of the independent label Cappella Romana, said he also heard about the layoffs and liquidation.
Powell said Cappella Romana is owed more than $15,000 in back sales from CD and digital downloads, and the retail value of his label’s seized assets is another $14,000.
In a press release, Powell said Allegro issued an email statement earlier this week.
It read: “The company has engaged, [sic] Edward Hostmann Inc., [sic] as Chief Restructuring Officer to supervise the process. EHI will be managing the liquidation of the Allegro business lines in an orderly out of court liquidation.”
Edward Hostmann Inc. provides financial advisory services to companies in crises, according to its website.
Edward Hostmann was not available for comment Thursday, and Allegro did not respond to interview requests.
— Natasha Rausch
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Sister Rosetta Tharpe not only could sing electrifying gospel
http://s.rs6.net/t?e=9E6jPyD_IKM&c=1&r=1 http://s.rs6.net/t?e=9E6jPyD_IKM&c=3&r=1 http://s.rs6.net/t?e=9E6jPyD_IKM&c=4&r=1 http://s.rs6.net/t?e=9E6jPyD_IKM&c=5&r=1 http://myemail.constantcontact.com/-the-first-rock-and-roll-guitarist—6-09-16.html?soid=1101151826392&aid=9E6jPyD_IKM#fblike
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Today’s selection — from Cafe Society by Barney Josephson with Terry Trilling-Josephson. Sister Rosetta Tharpe, is viewed by some as the first rock and roll guitarist. Tharpe first gained widespread attention performing in Barney Josephson’s Cafe Society, a New York City nightclub, in the late 1930s and early 1940s. Josephson’s club was the first to both feature black jazz artists and allow black patrons in the audience, and he brought a stellar variety of previously little known black talent to the broader public — including Billie Holiday and Lena Horne. Here, Josephson reminisces about Tharpe:
“Sister Rosetta Tharpe not only could sing electrifying gospel but what an acoustic guitar she could play. [Jazz promoter] John Hammond explained, ‘She is one of the first to use it for melody-plucked lines. Her technically astonishing lead breaks invented the rock and roll guitar.’ In his 1938 ‘From Spirituals to Swing’ concert, Sister Tharpe ‘was a surprise smash; knocked the people out.’
https://www.youtube.com/watch?v=SmmOokyrd8g (http://r20.rs6.net/tn.jsp?f=0019DoPpbH31enzRLaWcK7h-9S3OMIgqVPGIOWx4E3sqSqWACj47VnvqLSoQylF3adh2ZNra-JQ61LqeDZGPmkk9kMdfOrUFiQpB1-FIp9zQlJKyZA41OUSg9AvncUYXBdf6OcY0Qgv_rAvOICC9VNfRDzeKrWwaYHXy-RjJp0-lzhUranZiADONV6N2RfJM2BujKWTlkwLchY=&c=iVHN_NPSJCpbgilGHDeQx_MsgIvQyPx5CXZ-xTgqNRXsTnPTbw2UNg==&ch=Ej0RZZETGHhkvO1qk2NC0Pr0fV0tueg2bBYAMvK–KdP6Y5N0s7uNg==)
“Rosetta Tharpe was a child star. Born in 1915 in Cotton Plant, Arkansas, she was a baby when her mother took up preaching, traveling from church to church to spread the gospel. As a four-year-old, Rosetta was already singing and playing the guitar. She was the big attraction that brought in the worshippers to her mother’s services.
“Rosetta Tharpe was a pioneer. When she sang gospel on a secular stage she scandalized the sanctified church. They never forgave her. Religious folk opposed singing in cabarets; it was synonymous with the Devil, God’s enemy. They told Sister Tharpe that either she serve the devil or God. She would respond that the Lord knew her heart and it wouldn’t lead her astray. She was the first gospel singer to sign with a major recording company and to appear in a nightclub — mine. Her song style was filled with blues inversion. … She bent her notes like a horn player, and syncopated in swing band manner. My secular audiences were fascinated with her blues-oriented gospel, a first for many of them.
“[Critic Malcolm Johnson wrote] ‘Sister Rosetta Tharpe rates unqualified enthusiasm for the stirring quality of her songs sung in the spiritual vein of swing tempo. At Cafe Society she is offering some new compositions of her own.’
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Cafe Society: The wrong place for the Right People (Music in American Life)
Author: Barney Josephson with Terry Trilling-Josephson
Publisher: University of Illinois Press
Copyright 2009 by Terry Trilling-Josephson
113-114
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the first rock and roll guitarist– Delanceyplace.com
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Sister Rosetta Tharpe not only could sing electrifying gospel
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Today’s selection — from Cafe Society by Barney Josephson with Terry Trilling-Josephson. Sister Rosetta Tharpe, is viewed by some as the first rock and roll guitarist. Tharpe first gained widespread attention performing in Barney Josephson’s Cafe Society, a New York City nightclub, in the late 1930s and early 1940s. Josephson’s club was the first to both feature black jazz artists and allow black patrons in the audience, and he brought a stellar variety of previously little known black talent to the broader public — including Billie Holiday and Lena Horne. Here, Josephson reminisces about Tharpe:
“Sister Rosetta Tharpe not only could sing electrifying gospel but what an acoustic guitar she could play. [Jazz promoter] John Hammond explained, ‘She is one of the first to use it for melody-plucked lines. Her technically astonishing lead breaks invented the rock and roll guitar.’ In his 1938 ‘From Spirituals to Swing’ concert, Sister Tharpe ‘was a surprise smash; knocked the people out.’
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“Rosetta Tharpe was a child star. Born in 1915 in Cotton Plant, Arkansas, she was a baby when her mother took up preaching, traveling from church to church to spread the gospel. As a four-year-old, Rosetta was already singing and playing the guitar. She was the big attraction that brought in the worshippers to her mother’s services.
“Rosetta Tharpe was a pioneer. When she sang gospel on a secular stage she scandalized the sanctified church. They never forgave her. Religious folk opposed singing in cabarets; it was synonymous with the Devil, God’s enemy. They told Sister Tharpe that either she serve the devil or God. She would respond that the Lord knew her heart and it wouldn’t lead her astray. She was the first gospel singer to sign with a major recording company and to appear in a nightclub — mine. Her song style was filled with blues inversion. … She bent her notes like a horn player, and syncopated in swing band manner. My secular audiences were fascinated with her blues-oriented gospel, a first for many of them.
“[Critic Malcolm Johnson wrote] ‘Sister Rosetta Tharpe rates unqualified enthusiasm for the stirring quality of her songs sung in the spiritual vein of swing tempo. At Cafe Society she is offering some new compositions of her own.’
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Cafe Society: The wrong place for the Right People (Music in American Life)
Author: Barney Josephson with Terry Trilling-Josephson
Publisher: University of Illinois Press
Copyright 2009 by Terry Trilling-Josephson
113-114
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Sister Rosetta Tharpe not only could sing electrifying gospel
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Today’s selection — from Cafe Society by Barney Josephson with Terry Trilling-Josephson. Sister Rosetta Tharpe, is viewed by some as the first rock and roll guitarist. Tharpe first gained widespread attention performing in Barney Josephson’s Cafe Society, a New York City nightclub, in the late 1930s and early 1940s. Josephson’s club was the first to both feature black jazz artists and allow black patrons in the audience, and he brought a stellar variety of previously little known black talent to the broader public — including Billie Holiday and Lena Horne. Here, Josephson reminisces about Tharpe:
“Sister Rosetta Tharpe not only could sing electrifying gospel but what an acoustic guitar she could play. [Jazz promoter] John Hammond explained, ‘She is one of the first to use it for melody-plucked lines. Her technically astonishing lead breaks invented the rock and roll guitar.’ In his 1938 ‘From Spirituals to Swing’ concert, Sister Tharpe ‘was a surprise smash; knocked the people out.’
https://www.youtube.com/watch?v=SmmOokyrd8g (http://r20.rs6.net/tn.jsp?f=0019DoPpbH31enzRLaWcK7h-9S3OMIgqVPGIOWx4E3sqSqWACj47VnvqLSoQylF3adh2ZNra-JQ61LqeDZGPmkk9kMdfOrUFiQpB1-FIp9zQlJKyZA41OUSg9AvncUYXBdf6OcY0Qgv_rAvOICC9VNfRDzeKrWwaYHXy-RjJp0-lzhUranZiADONV6N2RfJM2BujKWTlkwLchY=&c=iVHN_NPSJCpbgilGHDeQx_MsgIvQyPx5CXZ-xTgqNRXsTnPTbw2UNg==&ch=Ej0RZZETGHhkvO1qk2NC0Pr0fV0tueg2bBYAMvK–KdP6Y5N0s7uNg==)
“Rosetta Tharpe was a child star. Born in 1915 in Cotton Plant, Arkansas, she was a baby when her mother took up preaching, traveling from church to church to spread the gospel. As a four-year-old, Rosetta was already singing and playing the guitar. She was the big attraction that brought in the worshippers to her mother’s services.
“Rosetta Tharpe was a pioneer. When she sang gospel on a secular stage she scandalized the sanctified church. They never forgave her. Religious folk opposed singing in cabarets; it was synonymous with the Devil, God’s enemy. They told Sister Tharpe that either she serve the devil or God. She would respond that the Lord knew her heart and it wouldn’t lead her astray. She was the first gospel singer to sign with a major recording company and to appear in a nightclub — mine. Her song style was filled with blues inversion. … She bent her notes like a horn player, and syncopated in swing band manner. My secular audiences were fascinated with her blues-oriented gospel, a first for many of them.
“[Critic Malcolm Johnson wrote] ‘Sister Rosetta Tharpe rates unqualified enthusiasm for the stirring quality of her songs sung in the spiritual vein of swing tempo. At Cafe Society she is offering some new compositions of her own.’
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Cafe Society: The wrong place for the Right People (Music in American Life)
Author: Barney Josephson with Terry Trilling-Josephson
Publisher: University of Illinois Press
Copyright 2009 by Terry Trilling-Josephson
113-114
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Delanceyplace.com is a brief daily email with an excerpt or quote we view as interesting or noteworthy, offered with commentary to provide context. There is no theme, except that most excerpts will come from a non-fiction work, mainly works of history, are occasionally controversial, and we hope will have a more universal relevance than simply the subject of the book from which they came.
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‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech – WSJ
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http://www.wsj.com/articles/the-king-of-jazz-was-on-the-cutting-edge-of-1930s-film-tech-1465336226
‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech
[if ! lte IE 8] ENLARGE [endif]
A scene from John Murray Anderson’s ‘The King of Jazz’ (1930). Photo: Courtesy NBCUniversal
By
Will Friedwald
June 7, 2016 5:50 p.m. ET [if ! lte IE 8] [endif]
In the 21st century, the cutting edge of cinematic technology is continually being pushed forward to depict superheroes fighting aliens and giants, or, perhaps, a jungle boy living with lions and tigers and bears. But try to imagine a moment in our cultural history when the latest techniques of the movie magicians were put in the service of singing and dancing. Such a vintage Hollywood musical is having its final screening at New York’s Museum of Modern Art on June 14, before moving on to venues around the country and the world.
“The King of Jazz” was the brain child of, and directed by Broadway veteran John Murray Anderson in 1930. The industry had only recently converted from silent to talking pictures at that time and color movies were even newer than that (well before the modern, three-strip process was perfected). It’s a musical revue built around the most popular bandleader of the era, Paul Whiteman, when jazz itself had been around for less than a generation and the idea of playing jazz in the large ensemble format of a concert orchestra was a very recent development.
Every aspect of the movie was innovative, from the orchestration techniques of the band’s arrangers to George Gershwin ’s 1924 “Rhapsody in Blue.” So was the idea of pre-recording the musical performances, and even Russell Market ’s high-precision choreography was like nothing most audiences had seen before. From an animated color cartoon prologue to a miniaturized orchestra emerging from a giant suitcase and bewitched shoes dancing without benefit of feet, everything smacked of newness.
Today this 86-year-old movie is again on the cutting edge, this time of digital restoration techniques. To bring the picture and sound back to their original glory, the experts at Universal Pictures’ digital restoration unit drew from a wide range of prints, negatives and soundtracks. Now theatrical audiences can see what hasn’t been seen since 1930.
In the late 1920s, Broadway, at the height of its pre-Depression opulence, was enamored of the revue format, and virtually all the major Hollywood film studios produced Ziegfeld-style revues—songs, dances and brief comedy sketches—to show off their own stars without long-form narrative. As James Layton and David Pierce show in their forthcoming book “King of Jazz: Paul Whiteman’s Technicolor Revue,” the film derives from the parallel careers of two extravagant showmen: Whiteman, the superstar bandleader, and John Murray Anderson, a flamboyant Broadway auteur who specialized in thoughtful and imaginative song-and-dance spectacles.
The heart of “King of Jazz” is Whiteman’s orchestra—the band’s legendary cornetist, Bix Beiderbecke, had already left, alas, but there’s amazing footage of the violin and guitar virtuosi Joe Venuti and Eddie Lang, as well as of the soon-to-be-superstar singer Bing Crosby, then ensconced in the band’s vocal group, the Rhythm Boys. Anderson and Whiteman contrived to make “King of Jazz” a feast for the eyes and ears, and they succeeded.
The original release of the film did less well than Universal was expecting, since American moviegoers were beginning to tire of the musical genre after a surfeit of song-and-dance epics, though it made more money overseas. The movie was re-released in truncated form in 1933, but soon became a semi-lost film—there hasn’t been a good print in circulation in over 80 years. (The film historian William K. Everson owned a copy that, as he once told me, had formerly belonged to the personal collection of none other than Benito Mussolini. )
One of Anderson’s more infamous sequences is a musical number depicting the “melting pot” of American music, which includes—among other international musical icons—Irish harpists, Viennese waltzers and dark-eyed Balalaika-strumming Volga boatmen, but no trace of any African elements. Also disturbing to modern eyes is the film’s introduction to “Rhapsody in Blue.” Here, Whiteman does tell us that “jazz was born in the African jungle, to the beating of the voodoo drum,” but this leads into a prologue in which the white dancer Jacques Cartier dances to a so-called primitive beat (in reality, these are some highly sophisticated polyrhythms), nearly naked except for full-body black makeup. Make no mistake: ”The King of Jazz” is an artifact of its time—and tells us more about Broadway than it does about its titular musical genre—but no less valuable for that.
Mr. Friedwald writes about music and popular culture for the Journal.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Copyright (C) 2016 All rights reserved.
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Warwick, Ny 10990
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‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-king-of-jazz-was-on-the-cutting-edge-of-1930s-film-tech-1465336226
‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech
[if ! lte IE 8] ENLARGE [endif]
A scene from John Murray Anderson’s ‘The King of Jazz’ (1930). Photo: Courtesy NBCUniversal
By
Will Friedwald
June 7, 2016 5:50 p.m. ET [if ! lte IE 8] [endif]
In the 21st century, the cutting edge of cinematic technology is continually being pushed forward to depict superheroes fighting aliens and giants, or, perhaps, a jungle boy living with lions and tigers and bears. But try to imagine a moment in our cultural history when the latest techniques of the movie magicians were put in the service of singing and dancing. Such a vintage Hollywood musical is having its final screening at New York’s Museum of Modern Art on June 14, before moving on to venues around the country and the world.
“The King of Jazz” was the brain child of, and directed by Broadway veteran John Murray Anderson in 1930. The industry had only recently converted from silent to talking pictures at that time and color movies were even newer than that (well before the modern, three-strip process was perfected). It’s a musical revue built around the most popular bandleader of the era, Paul Whiteman, when jazz itself had been around for less than a generation and the idea of playing jazz in the large ensemble format of a concert orchestra was a very recent development.
Every aspect of the movie was innovative, from the orchestration techniques of the band’s arrangers to George Gershwin ’s 1924 “Rhapsody in Blue.” So was the idea of pre-recording the musical performances, and even Russell Market ’s high-precision choreography was like nothing most audiences had seen before. From an animated color cartoon prologue to a miniaturized orchestra emerging from a giant suitcase and bewitched shoes dancing without benefit of feet, everything smacked of newness.
Today this 86-year-old movie is again on the cutting edge, this time of digital restoration techniques. To bring the picture and sound back to their original glory, the experts at Universal Pictures’ digital restoration unit drew from a wide range of prints, negatives and soundtracks. Now theatrical audiences can see what hasn’t been seen since 1930.
In the late 1920s, Broadway, at the height of its pre-Depression opulence, was enamored of the revue format, and virtually all the major Hollywood film studios produced Ziegfeld-style revues—songs, dances and brief comedy sketches—to show off their own stars without long-form narrative. As James Layton and David Pierce show in their forthcoming book “King of Jazz: Paul Whiteman’s Technicolor Revue,” the film derives from the parallel careers of two extravagant showmen: Whiteman, the superstar bandleader, and John Murray Anderson, a flamboyant Broadway auteur who specialized in thoughtful and imaginative song-and-dance spectacles.
The heart of “King of Jazz” is Whiteman’s orchestra—the band’s legendary cornetist, Bix Beiderbecke, had already left, alas, but there’s amazing footage of the violin and guitar virtuosi Joe Venuti and Eddie Lang, as well as of the soon-to-be-superstar singer Bing Crosby, then ensconced in the band’s vocal group, the Rhythm Boys. Anderson and Whiteman contrived to make “King of Jazz” a feast for the eyes and ears, and they succeeded.
The original release of the film did less well than Universal was expecting, since American moviegoers were beginning to tire of the musical genre after a surfeit of song-and-dance epics, though it made more money overseas. The movie was re-released in truncated form in 1933, but soon became a semi-lost film—there hasn’t been a good print in circulation in over 80 years. (The film historian William K. Everson owned a copy that, as he once told me, had formerly belonged to the personal collection of none other than Benito Mussolini. )
One of Anderson’s more infamous sequences is a musical number depicting the “melting pot” of American music, which includes—among other international musical icons—Irish harpists, Viennese waltzers and dark-eyed Balalaika-strumming Volga boatmen, but no trace of any African elements. Also disturbing to modern eyes is the film’s introduction to “Rhapsody in Blue.” Here, Whiteman does tell us that “jazz was born in the African jungle, to the beating of the voodoo drum,” but this leads into a prologue in which the white dancer Jacques Cartier dances to a so-called primitive beat (in reality, these are some highly sophisticated polyrhythms), nearly naked except for full-body black makeup. Make no mistake: ”The King of Jazz” is an artifact of its time—and tells us more about Broadway than it does about its titular musical genre—but no less valuable for that.
Mr. Friedwald writes about music and popular culture for the Journal.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech – WSJ
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http://www.wsj.com/articles/the-king-of-jazz-was-on-the-cutting-edge-of-1930s-film-tech-1465336226
‘The King of Jazz’ Was on the Cutting Edge of 1930s Film Tech
[if ! lte IE 8] ENLARGE [endif]
A scene from John Murray Anderson’s ‘The King of Jazz’ (1930). Photo: Courtesy NBCUniversal
By
Will Friedwald
June 7, 2016 5:50 p.m. ET [if ! lte IE 8] [endif]
In the 21st century, the cutting edge of cinematic technology is continually being pushed forward to depict superheroes fighting aliens and giants, or, perhaps, a jungle boy living with lions and tigers and bears. But try to imagine a moment in our cultural history when the latest techniques of the movie magicians were put in the service of singing and dancing. Such a vintage Hollywood musical is having its final screening at New York’s Museum of Modern Art on June 14, before moving on to venues around the country and the world.
“The King of Jazz” was the brain child of, and directed by Broadway veteran John Murray Anderson in 1930. The industry had only recently converted from silent to talking pictures at that time and color movies were even newer than that (well before the modern, three-strip process was perfected). It’s a musical revue built around the most popular bandleader of the era, Paul Whiteman, when jazz itself had been around for less than a generation and the idea of playing jazz in the large ensemble format of a concert orchestra was a very recent development.
Every aspect of the movie was innovative, from the orchestration techniques of the band’s arrangers to George Gershwin ’s 1924 “Rhapsody in Blue.” So was the idea of pre-recording the musical performances, and even Russell Market ’s high-precision choreography was like nothing most audiences had seen before. From an animated color cartoon prologue to a miniaturized orchestra emerging from a giant suitcase and bewitched shoes dancing without benefit of feet, everything smacked of newness.
Today this 86-year-old movie is again on the cutting edge, this time of digital restoration techniques. To bring the picture and sound back to their original glory, the experts at Universal Pictures’ digital restoration unit drew from a wide range of prints, negatives and soundtracks. Now theatrical audiences can see what hasn’t been seen since 1930.
In the late 1920s, Broadway, at the height of its pre-Depression opulence, was enamored of the revue format, and virtually all the major Hollywood film studios produced Ziegfeld-style revues—songs, dances and brief comedy sketches—to show off their own stars without long-form narrative. As James Layton and David Pierce show in their forthcoming book “King of Jazz: Paul Whiteman’s Technicolor Revue,” the film derives from the parallel careers of two extravagant showmen: Whiteman, the superstar bandleader, and John Murray Anderson, a flamboyant Broadway auteur who specialized in thoughtful and imaginative song-and-dance spectacles.
The heart of “King of Jazz” is Whiteman’s orchestra—the band’s legendary cornetist, Bix Beiderbecke, had already left, alas, but there’s amazing footage of the violin and guitar virtuosi Joe Venuti and Eddie Lang, as well as of the soon-to-be-superstar singer Bing Crosby, then ensconced in the band’s vocal group, the Rhythm Boys. Anderson and Whiteman contrived to make “King of Jazz” a feast for the eyes and ears, and they succeeded.
The original release of the film did less well than Universal was expecting, since American moviegoers were beginning to tire of the musical genre after a surfeit of song-and-dance epics, though it made more money overseas. The movie was re-released in truncated form in 1933, but soon became a semi-lost film—there hasn’t been a good print in circulation in over 80 years. (The film historian William K. Everson owned a copy that, as he once told me, had formerly belonged to the personal collection of none other than Benito Mussolini. )
One of Anderson’s more infamous sequences is a musical number depicting the “melting pot” of American music, which includes—among other international musical icons—Irish harpists, Viennese waltzers and dark-eyed Balalaika-strumming Volga boatmen, but no trace of any African elements. Also disturbing to modern eyes is the film’s introduction to “Rhapsody in Blue.” Here, Whiteman does tell us that “jazz was born in the African jungle, to the beating of the voodoo drum,” but this leads into a prologue in which the white dancer Jacques Cartier dances to a so-called primitive beat (in reality, these are some highly sophisticated polyrhythms), nearly naked except for full-body black makeup. Make no mistake: ”The King of Jazz” is an artifact of its time—and tells us more about Broadway than it does about its titular musical genre—but no less valuable for that.
Mr. Friedwald writes about music and popular culture for the Journal.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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An Underrated Soul Singer Returns – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/culture-desk/an-underrated-soul-singer-returns
AN UNDERRATED SOUL SINGER RETURNS
William Bell wrote the song that would define his career when he was a teen-ager. And yet “You Don’t Miss Your Water,” which became a soul standard, sounds as though it was written by a man who has seen a lifetime of heartache and then some. In 1961, when was twenty-two, he recorded it for Stax Records (https://www.youtube.com/watch?v=eJPAwKPD9KU) . Slow and stately, the recording begins with mournful horns and then the song’s opening couplet, which alludes, with a touch of irony, to “Amazing Grace”: “In the beginning, you really loved me / But I was too blind, and I couldn’t see.” Bell’s precociously smoky, tender voice drifts through the sparse instrumentation: “But now you’ve left me, oh how I cry / You don’t miss your water till the well runs dry.”
“I was on a tour in New York with Old Man Phineas’s band,” Bell told me recently, on the phone from his office in Atlanta. “Old Man Phineas” was Phineas Newborn, Sr., the Memphis jazz-and-blues bandleader, whom Bell sang for in the fifties, while still a teen. “I was lonely in the hotel room one night, and it was pouring down rain and everything, so I wrote this particular song.” he said. “I was like an old soul, even as a kid.” He was good at connecting bad weather and bruised emotion: in 1956, his doo-wop group The Del Rios recorded their début single, “Alone on a Rainy Night,” which he wrote. Five years later, “You Don’t Miss Your Water” became a surprise hit for Bell—and for Stax, which was then just a few years old, and which would, along with its rival Motown, become one of the most important purveyors of black music in the nineteen-sixties. (The song was actually released as the B-Side to another Bell song, “Formula of Love.”) In 1965, the label’s biggest star, Oti
s Redding, recorded “You Don’t Miss Your Water (https://www.youtube.com/watch?v=3dHaMV_eXko) ,” and it has since been covered by everyone from The Byrds (https://www.youtube.com/watch?v=PjnYibBHMzk) to Brian Eno (https://www.youtube.com/watch?v=iEQBDyTjF7U) .
Bell wrote many more hits, both for himself and for other Stax artists, before the label collapsed, in 1975. Stax was relaunched in 2007, and now Bell has returned to the fold with a new album, “This Is Where I Live,” his first release on the label in more than forty years. It seems poised to bring Bell—whom Peter Guralnick, in his 1986 book “Sweet Soul Music,” called “perhaps the most underrated of all the major soul singers”—some long overdue recognition.
Bell was born William Yarbrough in Memphis in 1939, and borrowed his stage name from his grandmother. “As far back as I can remember,” he said, “I always was interested in music. It was a way of escaping as a kid at five or six years old. I would write little poems and things to get my feelings out.” He joined the church choir that his mother sang in; before long, he was taking the lead. Phineas Newborn snatched him up for his band, and he began playing night clubs on the weekends. He also started hanging around “all the great musicians, like Charles Lloyd and Hank Crawford and B. B. King—all those guys that hung out on Beale Street.”
“I didn’t think I would make a career out of it,” he added. “My mom wanted me to go to college and everything, become a doctor and all this stuff.” But Bell not only had a great voice, he had a knack for writing sympathetic songs for other artists. At Stax, working behind the scenes with the likes of Redding and Booker T. & the M.G.’s, he wrote a string of great songs, including, with Booker T., “Born Under a Bad Sign (https://www.youtube.com/watch?v=2Py37G9qsfY) ,” which was a smash for Albert King in 1967, and almost immediately became a concert staple for both Cream and Jimi Hendrix.
That same year, Redding, along with members of his backing band, the Bar-Kays, died in a plane crash. The label soldiered on, but financial issues forced it to close in 1975. “It was just devastating,” Bell said. “I had grasped enough business sense that I didn’t lose everything.” He had a million-selling single, “Tryin’ to Love Two,” for Mercury Records, in 1977, but in the nineteen-eighties he turned much of his attention to running his own production company, Wilbe Productions, releasing albums on its eponymous imprint. Out of the limelight, he settled into a respectable existence as a veteran artist whose greatest work, in the eyes of most of the world, was behind him.
Then, a few years ago, Bell was contacted by the producer Martin Shore about a documentary in production called “Take Me to the River,” which celebrated Memphis music. He was interviewed for the movie, and the soundtrack, which was ultimately released by Stax, featured a collaboration between Bell and Snoop Dogg on a version of Bell’s “I Forgot to Be Your Lover.” Stax then asked Bell about recording a new solo album for them. “This to me just seemed like the right time,” Bell told me, adding, “It was just good to visit home.”
One of the most arresting tracks on the new album, “Poison in the Well (https://www.youtube.com/watch?v=keNXDdzfMPY) ,” returns to the aqueous imagery of “Alone on a Rainy Night” and “You Don’t Miss Your Water.” “She put poison in the well, poison in the well, poison in the well / And I drank it,” Bell sings, backed by a propulsive groove and elegant guitar licks. He asked the producer, songwriter, and multi-instrumentalist John Leventhal, who worked on the album with Bell, alongside such writing partners as Marc Cohn and Roseanne Cash, to go for the classic Stax sound, the grit and groove of Memphis soul. You hear it from start to finish. He reworks “Born Under a Bad Sign” giving it a sparse, more haunting quality, and proving again how resonant the song remains. On the title track, “This Is Where I Live (https://www.youtube.com/watch?v=0Re9BrElbrQ) ,” Bell provides a musical account of his own life, including the night he wrote “You Don’t Miss Your Water.” “In a hotel room
I wrote me a song,” Bell sings, “and it took me all around the world.”
“We didn’t think it would last this long when we started out, as teen-agers,” Bell said, marvelling at the career he’s had. In 2013, he performed at the White House (https://www.youtube.com/watch?v=nTahOvo7BbU) , along with many of his fellow Memphis luminaries. The First Family sat in the front row, just a few feet from him. “It was great, but kind of surreal,” he said. “O.K., here’s this little kid from the South Side of Memphis, and I’m at the White House, appearing before one of the most powerful people in the world and his family. And they’re liking what I’m doing.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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An Underrated Soul Singer Returns – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/culture-desk/an-underrated-soul-singer-returns
AN UNDERRATED SOUL SINGER RETURNS
William Bell wrote the song that would define his career when he was a teen-ager. And yet “You Don’t Miss Your Water,” which became a soul standard, sounds as though it was written by a man who has seen a lifetime of heartache and then some. In 1961, when was twenty-two, he recorded it for Stax Records (https://www.youtube.com/watch?v=eJPAwKPD9KU) . Slow and stately, the recording begins with mournful horns and then the song’s opening couplet, which alludes, with a touch of irony, to “Amazing Grace”: “In the beginning, you really loved me / But I was too blind, and I couldn’t see.” Bell’s precociously smoky, tender voice drifts through the sparse instrumentation: “But now you’ve left me, oh how I cry / You don’t miss your water till the well runs dry.”
“I was on a tour in New York with Old Man Phineas’s band,” Bell told me recently, on the phone from his office in Atlanta. “Old Man Phineas” was Phineas Newborn, Sr., the Memphis jazz-and-blues bandleader, whom Bell sang for in the fifties, while still a teen. “I was lonely in the hotel room one night, and it was pouring down rain and everything, so I wrote this particular song.” he said. “I was like an old soul, even as a kid.” He was good at connecting bad weather and bruised emotion: in 1956, his doo-wop group The Del Rios recorded their début single, “Alone on a Rainy Night,” which he wrote. Five years later, “You Don’t Miss Your Water” became a surprise hit for Bell—and for Stax, which was then just a few years old, and which would, along with its rival Motown, become one of the most important purveyors of black music in the nineteen-sixties. (The song was actually released as the B-Side to another Bell song, “Formula of Love.”) In 1965, the label’s biggest star, Oti
s Redding, recorded “You Don’t Miss Your Water (https://www.youtube.com/watch?v=3dHaMV_eXko) ,” and it has since been covered by everyone from The Byrds (https://www.youtube.com/watch?v=PjnYibBHMzk) to Brian Eno (https://www.youtube.com/watch?v=iEQBDyTjF7U) .
Bell wrote many more hits, both for himself and for other Stax artists, before the label collapsed, in 1975. Stax was relaunched in 2007, and now Bell has returned to the fold with a new album, “This Is Where I Live,” his first release on the label in more than forty years. It seems poised to bring Bell—whom Peter Guralnick, in his 1986 book “Sweet Soul Music,” called “perhaps the most underrated of all the major soul singers”—some long overdue recognition.
Bell was born William Yarbrough in Memphis in 1939, and borrowed his stage name from his grandmother. “As far back as I can remember,” he said, “I always was interested in music. It was a way of escaping as a kid at five or six years old. I would write little poems and things to get my feelings out.” He joined the church choir that his mother sang in; before long, he was taking the lead. Phineas Newborn snatched him up for his band, and he began playing night clubs on the weekends. He also started hanging around “all the great musicians, like Charles Lloyd and Hank Crawford and B. B. King—all those guys that hung out on Beale Street.”
“I didn’t think I would make a career out of it,” he added. “My mom wanted me to go to college and everything, become a doctor and all this stuff.” But Bell not only had a great voice, he had a knack for writing sympathetic songs for other artists. At Stax, working behind the scenes with the likes of Redding and Booker T. & the M.G.’s, he wrote a string of great songs, including, with Booker T., “Born Under a Bad Sign (https://www.youtube.com/watch?v=2Py37G9qsfY) ,” which was a smash for Albert King in 1967, and almost immediately became a concert staple for both Cream and Jimi Hendrix.
That same year, Redding, along with members of his backing band, the Bar-Kays, died in a plane crash. The label soldiered on, but financial issues forced it to close in 1975. “It was just devastating,” Bell said. “I had grasped enough business sense that I didn’t lose everything.” He had a million-selling single, “Tryin’ to Love Two,” for Mercury Records, in 1977, but in the nineteen-eighties he turned much of his attention to running his own production company, Wilbe Productions, releasing albums on its eponymous imprint. Out of the limelight, he settled into a respectable existence as a veteran artist whose greatest work, in the eyes of most of the world, was behind him.
Then, a few years ago, Bell was contacted by the producer Martin Shore about a documentary in production called “Take Me to the River,” which celebrated Memphis music. He was interviewed for the movie, and the soundtrack, which was ultimately released by Stax, featured a collaboration between Bell and Snoop Dogg on a version of Bell’s “I Forgot to Be Your Lover.” Stax then asked Bell about recording a new solo album for them. “This to me just seemed like the right time,” Bell told me, adding, “It was just good to visit home.”
One of the most arresting tracks on the new album, “Poison in the Well (https://www.youtube.com/watch?v=keNXDdzfMPY) ,” returns to the aqueous imagery of “Alone on a Rainy Night” and “You Don’t Miss Your Water.” “She put poison in the well, poison in the well, poison in the well / And I drank it,” Bell sings, backed by a propulsive groove and elegant guitar licks. He asked the producer, songwriter, and multi-instrumentalist John Leventhal, who worked on the album with Bell, alongside such writing partners as Marc Cohn and Roseanne Cash, to go for the classic Stax sound, the grit and groove of Memphis soul. You hear it from start to finish. He reworks “Born Under a Bad Sign” giving it a sparse, more haunting quality, and proving again how resonant the song remains. On the title track, “This Is Where I Live (https://www.youtube.com/watch?v=0Re9BrElbrQ) ,” Bell provides a musical account of his own life, including the night he wrote “You Don’t Miss Your Water.” “In a hotel room
I wrote me a song,” Bell sings, “and it took me all around the world.”
“We didn’t think it would last this long when we started out, as teen-agers,” Bell said, marvelling at the career he’s had. In 2013, he performed at the White House (https://www.youtube.com/watch?v=nTahOvo7BbU) , along with many of his fellow Memphis luminaries. The First Family sat in the front row, just a few feet from him. “It was great, but kind of surreal,” he said. “O.K., here’s this little kid from the South Side of Memphis, and I’m at the White House, appearing before one of the most powerful people in the world and his family. And they’re liking what I’m doing.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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An Underrated Soul Singer Returns – The New Yorker
http://www.jazzpromoservices.com/
http://www.newyorker.com/culture/culture-desk/an-underrated-soul-singer-returns
AN UNDERRATED SOUL SINGER RETURNS
William Bell wrote the song that would define his career when he was a teen-ager. And yet “You Don’t Miss Your Water,” which became a soul standard, sounds as though it was written by a man who has seen a lifetime of heartache and then some. In 1961, when was twenty-two, he recorded it for Stax Records (https://www.youtube.com/watch?v=eJPAwKPD9KU) . Slow and stately, the recording begins with mournful horns and then the song’s opening couplet, which alludes, with a touch of irony, to “Amazing Grace”: “In the beginning, you really loved me / But I was too blind, and I couldn’t see.” Bell’s precociously smoky, tender voice drifts through the sparse instrumentation: “But now you’ve left me, oh how I cry / You don’t miss your water till the well runs dry.”
“I was on a tour in New York with Old Man Phineas’s band,” Bell told me recently, on the phone from his office in Atlanta. “Old Man Phineas” was Phineas Newborn, Sr., the Memphis jazz-and-blues bandleader, whom Bell sang for in the fifties, while still a teen. “I was lonely in the hotel room one night, and it was pouring down rain and everything, so I wrote this particular song.” he said. “I was like an old soul, even as a kid.” He was good at connecting bad weather and bruised emotion: in 1956, his doo-wop group The Del Rios recorded their début single, “Alone on a Rainy Night,” which he wrote. Five years later, “You Don’t Miss Your Water” became a surprise hit for Bell—and for Stax, which was then just a few years old, and which would, along with its rival Motown, become one of the most important purveyors of black music in the nineteen-sixties. (The song was actually released as the B-Side to another Bell song, “Formula of Love.”) In 1965, the label’s biggest star, Oti
s Redding, recorded “You Don’t Miss Your Water (https://www.youtube.com/watch?v=3dHaMV_eXko) ,” and it has since been covered by everyone from The Byrds (https://www.youtube.com/watch?v=PjnYibBHMzk) to Brian Eno (https://www.youtube.com/watch?v=iEQBDyTjF7U) .
Bell wrote many more hits, both for himself and for other Stax artists, before the label collapsed, in 1975. Stax was relaunched in 2007, and now Bell has returned to the fold with a new album, “This Is Where I Live,” his first release on the label in more than forty years. It seems poised to bring Bell—whom Peter Guralnick, in his 1986 book “Sweet Soul Music,” called “perhaps the most underrated of all the major soul singers”—some long overdue recognition.
Bell was born William Yarbrough in Memphis in 1939, and borrowed his stage name from his grandmother. “As far back as I can remember,” he said, “I always was interested in music. It was a way of escaping as a kid at five or six years old. I would write little poems and things to get my feelings out.” He joined the church choir that his mother sang in; before long, he was taking the lead. Phineas Newborn snatched him up for his band, and he began playing night clubs on the weekends. He also started hanging around “all the great musicians, like Charles Lloyd and Hank Crawford and B. B. King—all those guys that hung out on Beale Street.”
“I didn’t think I would make a career out of it,” he added. “My mom wanted me to go to college and everything, become a doctor and all this stuff.” But Bell not only had a great voice, he had a knack for writing sympathetic songs for other artists. At Stax, working behind the scenes with the likes of Redding and Booker T. & the M.G.’s, he wrote a string of great songs, including, with Booker T., “Born Under a Bad Sign (https://www.youtube.com/watch?v=2Py37G9qsfY) ,” which was a smash for Albert King in 1967, and almost immediately became a concert staple for both Cream and Jimi Hendrix.
That same year, Redding, along with members of his backing band, the Bar-Kays, died in a plane crash. The label soldiered on, but financial issues forced it to close in 1975. “It was just devastating,” Bell said. “I had grasped enough business sense that I didn’t lose everything.” He had a million-selling single, “Tryin’ to Love Two,” for Mercury Records, in 1977, but in the nineteen-eighties he turned much of his attention to running his own production company, Wilbe Productions, releasing albums on its eponymous imprint. Out of the limelight, he settled into a respectable existence as a veteran artist whose greatest work, in the eyes of most of the world, was behind him.
Then, a few years ago, Bell was contacted by the producer Martin Shore about a documentary in production called “Take Me to the River,” which celebrated Memphis music. He was interviewed for the movie, and the soundtrack, which was ultimately released by Stax, featured a collaboration between Bell and Snoop Dogg on a version of Bell’s “I Forgot to Be Your Lover.” Stax then asked Bell about recording a new solo album for them. “This to me just seemed like the right time,” Bell told me, adding, “It was just good to visit home.”
One of the most arresting tracks on the new album, “Poison in the Well (https://www.youtube.com/watch?v=keNXDdzfMPY) ,” returns to the aqueous imagery of “Alone on a Rainy Night” and “You Don’t Miss Your Water.” “She put poison in the well, poison in the well, poison in the well / And I drank it,” Bell sings, backed by a propulsive groove and elegant guitar licks. He asked the producer, songwriter, and multi-instrumentalist John Leventhal, who worked on the album with Bell, alongside such writing partners as Marc Cohn and Roseanne Cash, to go for the classic Stax sound, the grit and groove of Memphis soul. You hear it from start to finish. He reworks “Born Under a Bad Sign” giving it a sparse, more haunting quality, and proving again how resonant the song remains. On the title track, “This Is Where I Live (https://www.youtube.com/watch?v=0Re9BrElbrQ) ,” Bell provides a musical account of his own life, including the night he wrote “You Don’t Miss Your Water.” “In a hotel room
I wrote me a song,” Bell sings, “and it took me all around the world.”
“We didn’t think it would last this long when we started out, as teen-agers,” Bell said, marvelling at the career he’s had. In 2013, he performed at the White House (https://www.youtube.com/watch?v=nTahOvo7BbU) , along with many of his fellow Memphis luminaries. The First Family sat in the front row, just a few feet from him. “It was great, but kind of surreal,” he said. “O.K., here’s this little kid from the South Side of Memphis, and I’m at the White House, appearing before one of the most powerful people in the world and his family. And they’re liking what I’m doing.”
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Bucky looked and sounded great last night at the Annual Fundraiser “Jazz and Blues Guitar Celebration” Presented by the Mahwah Museum
Bucky Pizzarelli, Lou Pallo, Ed Laub, Dave Stryker and Vic Juris
Annual Fundraiser “Jazz and Blues Guitar Celebration”
Presented by the Mahwah Museum
June 4, 2016 6:30 pm at the Ramapo College Trustee Pavilion
505 Ramapo Valley Road Mahwah, NJ 07430
Bucky Send In The Clowns Ramapo 6-4-16
https://www.youtube.com/watch?v=BHAF8W5omGM
https://www.youtube.com/watch?v=BHAF8W5omGM
Bucky All The Things You Are
https://www.youtube.com/watch?v=viA1ummE-Ds
https://www.youtube.com/watch?v=viA1ummE-Ds
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Bucky looked and sounded great last night at the Annual Fundraiser “Jazz and Blues Guitar Celebration” Presented by the Mahwah Museum
Bucky Pizzarelli, Lou Pallo, Ed Laub, Dave Stryker and Vic Juris
Annual Fundraiser “Jazz and Blues Guitar Celebration”
Presented by the Mahwah Museum
June 4, 2016 6:30 pm at the Ramapo College Trustee Pavilion
505 Ramapo Valley Road Mahwah, NJ 07430
Bucky Send In The Clowns Ramapo 6-4-16
https://www.youtube.com/watch?v=BHAF8W5omGM
https://www.youtube.com/watch?v=BHAF8W5omGM
Bucky All The Things You Are
https://www.youtube.com/watch?v=viA1ummE-Ds
https://www.youtube.com/watch?v=viA1ummE-Ds
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Warwick, Ny 10990
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Bucky@90
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Bucky looked and sounded great last night at the Annual Fundraiser “Jazz and Blues Guitar Celebration” Presented by the Mahwah Museum
Bucky Pizzarelli, Lou Pallo, Ed Laub, Dave Stryker and Vic Juris
Annual Fundraiser “Jazz and Blues Guitar Celebration”
Presented by the Mahwah Museum
June 4, 2016 6:30 pm at the Ramapo College Trustee Pavilion
505 Ramapo Valley Road Mahwah, NJ 07430
Bucky Send In The Clowns Ramapo 6-4-16
https://www.youtube.com/watch?v=BHAF8W5omGM
https://www.youtube.com/watch?v=BHAF8W5omGM
Bucky All The Things You Are
https://www.youtube.com/watch?v=viA1ummE-Ds
https://www.youtube.com/watch?v=viA1ummE-Ds
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
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Fairport Convention’s Dave Swarbrick dies at 75 | Music | The Guardian
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https://www.theguardian.com/music/2016/jun/03/dave-swarbrick-dies-at-75-fiddler-fairport-convention?CMP=share_btn_fb#_=_
Fairport Convention’s Dave Swarbrick dies at 75
Imogen Tilden
Folk musician Dave Swarbrick has died at 75, his family have announced. Best known for his work with the hugely influential folk group Fairport Convention, Swarbrick was a virtuosic violin player and one of the most highly regarded musicians of the 1960s folk revival. He also wrote, arranged and sang, and performed on the viola, mandolin and mandola, and guitar.
Swarbrick – known as “Swarb” – (http://www.folkicons.co.uk/swarbmenu.htm) began his musical career as a guitarist in a ceilidh band in the late 1950s, before joining the Birmingham-based Ian Campbell Folk Group (https://www.youtube.com/watch?v=eNvZsB_4-cM) as a fiddle player. He first worked with Fairport Convention in 1969 as a session musician, subsequently becoming a member of the group, and was the first fiddler on the UK folk scene to electrify the violin. His writing and playing was a key ingredient in the group’s Liege & Lief album (https://www.youtube.com/watch?v=dMrW46qP4mw) , a record that rewrote the folk landscape with its electrified versions of traditional English folksongs.
An audience with Dave Swarbrick (https://www.youtube.com/watch?v=3WmOImltksU)
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During the 1970s, alongside his leading role in Fairport Convention, Swarbrick became a sought-after session musician, working with acts including Richard Thompson, Sandy Denny, Bert Jansch and Martin Carthy. Between 1976 and 2010 he released 12 solo albums, and in 2007 joined the 1969 Fairport Convention lineup (with Chris While (https://en.wikipedia.org/wiki/Chris_While) standing in for the late Sandy Denny), to perform the Liege & Lief album in full.
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1. http://www.youtube.com/watch?v=3WmOImltksU
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Fairport Convention’s Dave Swarbrick dies at 75 | Music | The Guardian
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https://www.theguardian.com/music/2016/jun/03/dave-swarbrick-dies-at-75-fiddler-fairport-convention?CMP=share_btn_fb#_=_
Fairport Convention’s Dave Swarbrick dies at 75
Imogen Tilden
Folk musician Dave Swarbrick has died at 75, his family have announced. Best known for his work with the hugely influential folk group Fairport Convention, Swarbrick was a virtuosic violin player and one of the most highly regarded musicians of the 1960s folk revival. He also wrote, arranged and sang, and performed on the viola, mandolin and mandola, and guitar.
Swarbrick – known as “Swarb” – (http://www.folkicons.co.uk/swarbmenu.htm) began his musical career as a guitarist in a ceilidh band in the late 1950s, before joining the Birmingham-based Ian Campbell Folk Group (https://www.youtube.com/watch?v=eNvZsB_4-cM) as a fiddle player. He first worked with Fairport Convention in 1969 as a session musician, subsequently becoming a member of the group, and was the first fiddler on the UK folk scene to electrify the violin. His writing and playing was a key ingredient in the group’s Liege & Lief album (https://www.youtube.com/watch?v=dMrW46qP4mw) , a record that rewrote the folk landscape with its electrified versions of traditional English folksongs.
An audience with Dave Swarbrick (https://www.youtube.com/watch?v=3WmOImltksU)
An error occurred.
[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
During the 1970s, alongside his leading role in Fairport Convention, Swarbrick became a sought-after session musician, working with acts including Richard Thompson, Sandy Denny, Bert Jansch and Martin Carthy. Between 1976 and 2010 he released 12 solo albums, and in 2007 joined the 1969 Fairport Convention lineup (with Chris While (https://en.wikipedia.org/wiki/Chris_While) standing in for the late Sandy Denny), to perform the Liege & Lief album in full.
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1. http://www.youtube.com/watch?v=3WmOImltksU
==============================================
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Fairport Convention’s Dave Swarbrick dies at 75 | Music | The Guardian
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https://www.theguardian.com/music/2016/jun/03/dave-swarbrick-dies-at-75-fiddler-fairport-convention?CMP=share_btn_fb#_=_
Fairport Convention’s Dave Swarbrick dies at 75
Imogen Tilden
Folk musician Dave Swarbrick has died at 75, his family have announced. Best known for his work with the hugely influential folk group Fairport Convention, Swarbrick was a virtuosic violin player and one of the most highly regarded musicians of the 1960s folk revival. He also wrote, arranged and sang, and performed on the viola, mandolin and mandola, and guitar.
Swarbrick – known as “Swarb” – (http://www.folkicons.co.uk/swarbmenu.htm) began his musical career as a guitarist in a ceilidh band in the late 1950s, before joining the Birmingham-based Ian Campbell Folk Group (https://www.youtube.com/watch?v=eNvZsB_4-cM) as a fiddle player. He first worked with Fairport Convention in 1969 as a session musician, subsequently becoming a member of the group, and was the first fiddler on the UK folk scene to electrify the violin. His writing and playing was a key ingredient in the group’s Liege & Lief album (https://www.youtube.com/watch?v=dMrW46qP4mw) , a record that rewrote the folk landscape with its electrified versions of traditional English folksongs.
An audience with Dave Swarbrick (https://www.youtube.com/watch?v=3WmOImltksU)
An error occurred.
[1]Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
During the 1970s, alongside his leading role in Fairport Convention, Swarbrick became a sought-after session musician, working with acts including Richard Thompson, Sandy Denny, Bert Jansch and Martin Carthy. Between 1976 and 2010 he released 12 solo albums, and in 2007 joined the 1969 Fairport Convention lineup (with Chris While (https://en.wikipedia.org/wiki/Chris_While) standing in for the late Sandy Denny), to perform the Liege & Lief album in full.
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1. http://www.youtube.com/watch?v=3WmOImltksU
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Jeremy Steig, Jazz Flutist, Dies at 73 – The New York Times
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http://www.nytimes.com/2016/06/03/arts/music/jeremy-steig-jazz-flutist-dies-at-73.html?emc=edit_tnt_20160602
Jeremy Steig, Jazz Flutist, Dies at 73
By PETER KEEPNEWSJUNE 2, 2016
Jeremy Steig in an undated photograph. Adelaide de Menil/Condé Nast, via Getty Images
Jeremy Steig, an acclaimed jazz flutist and the leader of one of the first jazz-rock bands, died on April 13 in Yokohama, Japan. He was 73.
The cause was cancer, said his wife, Asako Steig, who announced his death on his website (http://www.jeremysteig.info/index-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in late May.
“He didn’t like to read about musicians’ deaths in newspaper obituaries,” Ms. Steig explained in an email when contacted. “He wanted me to delay the announcement of his death, so that it wouldn’t really be ‘news’ to be written up.”
Most jazz flutists are saxophonists who double on the instrument and play it only occasionally. Mr. Steig was a rarity: Flute was his first and only instrument. And in the view of many critics and musicians, he was a master.
The guitarist Vic Juris, who performed and recorded with Mr. Steig, praised him in an interview as an innovative player whose “use of overtones and singing into the flute reminded me of the way Hendrix played the guitar.” He also noted that Mr. Steig was “one of the few flutists who incorporated the entire flute family into his composing and recording,” including bass flute and piccolo.
Mr. Steig began performing professionally while attending the High School of Music and Art (now the Fiorello H. La Guardia High School of Music and Art and Performing Arts) in Manhattan. He was 21 when he recorded his first album, “Flute Fever,” (https://www.youtube.com/watch?v=s_y0kAotlEM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) produced by the celebrated talent scout John Hammond and released by Columbia in 1963.
In the fertile Greenwich Village music scene of the middle and late 1960s, Mr. Steig regularly crossed genre lines. “I used to sit in with everybody,” he said in a 2000 interview (http://www.angelfire.com/ny/bolinfan/interviews/steig.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) . “With rock bands, too. I found I could keep my ‘soloing integrity’ while playing over a funky beat.”
The band he assembled to accompany the singer-songwriter Tim Hardin in 1966 evolved into Jeremy & the Satyrs (https://www.youtube.com/watch?v=idXaa031zZM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , which incorporated jazz ideas into a rock context. It was a new approach but not a unique one: Jazz musicians like the vibraphonist Gary Burton and rock groups like Blood, Sweat & Tears were working along similar lines.
“We decided that we’d invented jazz-rock,” Mr. Steig later recalled. “Of course, there were about 50 other people who had come to the same conclusion.”
Continue reading the main story
Jeremy & the Satyrs released an album on Reprise in 1968, but broke up shortly after that. A year later, Mr. Steig drew praise for his work in a more conventional jazz context, on the pianist Bill Evans’s Verve album “What’s New.” (https://www.youtube.com/watch?v=rAlNwIaY-MA&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) He went on to record for several labels, most recently his own, Steig Music. (https://www.youtube.com/watch?v=tjL_M6vv8lY&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
Jeremy Steig was born on Sept. 23, 1942, in Manhattan. His father was William Steig (http://us.macmillan.com/author/williamsteig?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , the celebrated New Yorker cartoonist and writer of popular children’s books including “Shrek.” His mother, the former Elizabeth Mead, was an arts educator.
He played the recorder from the age of 6, and at 11 he began studying flute with Paige Brook of the New York Philharmonic. After a year, he later said, he knew that he wanted to play the flute for the rest of his life.
When Mr. Steig was 19, a motorbike accident left one side of his face paralyzed. After several months he resumed playing with the aid of a makeshift cardboard mouthpiece that kept the air from pushing his lips open. He eventually rebuilt his facial muscles and was able to play without it.
In addition to his wife, Mr. Steig is survived by a sister, Lucinda Franceschini, and a half sister, Margit Steig. He lived in Yokohama.
An artist as well as a musician, Mr. Steig did the cover ar (http://cps-static.rovicorp.com/3/JPG_500/MI0003/682/MI0003682451.jpg?partner=allrovi.com&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) t for a number of his albums. In recent years he had devoted as much time to painting and drawing as to music, and he and his wife had put together several “digital picture books” (http://www.jeremysteig.info/dpb-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) incorporating both.
While Mr. Steig was not well known beyond the jazz world, on two occasions his music was heard by a much larger audience.
In the animated feature “Shrek Forever After” (https://www.youtube.com/watch?v=u7__TG7swg0&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) (2010), the fourth in the series of revisionist fairy-tale adventures based on his father’s creation, Mr. Steig provided the music played onscreen by the Pied Piper. And his 1970 record “Howlin’ for Judy” (https://www.youtube.com/watch?v=etOrYtQ3EGc&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) was sampled by the Beastie Boys on their 1994 hit single “Sure Shot.” (https://www.youtube.com/watch?v=JhqyZeUlE8U&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
“I made more money from that sample than from any of my records,” Mr. Steig told the website All About Jazz (https://www.allaboutjazz.com/jeremy-steig-jeremy-steig-by-celeste-sunderland.php?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in 2004. “It saved my life at the time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0434ccac4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0434ccac4f&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jeremy Steig, Jazz Flutist, Dies at 73 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/03/arts/music/jeremy-steig-jazz-flutist-dies-at-73.html?emc=edit_tnt_20160602
Jeremy Steig, Jazz Flutist, Dies at 73
By PETER KEEPNEWSJUNE 2, 2016
Jeremy Steig in an undated photograph. Adelaide de Menil/Condé Nast, via Getty Images
Jeremy Steig, an acclaimed jazz flutist and the leader of one of the first jazz-rock bands, died on April 13 in Yokohama, Japan. He was 73.
The cause was cancer, said his wife, Asako Steig, who announced his death on his website (http://www.jeremysteig.info/index-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in late May.
“He didn’t like to read about musicians’ deaths in newspaper obituaries,” Ms. Steig explained in an email when contacted. “He wanted me to delay the announcement of his death, so that it wouldn’t really be ‘news’ to be written up.”
Most jazz flutists are saxophonists who double on the instrument and play it only occasionally. Mr. Steig was a rarity: Flute was his first and only instrument. And in the view of many critics and musicians, he was a master.
The guitarist Vic Juris, who performed and recorded with Mr. Steig, praised him in an interview as an innovative player whose “use of overtones and singing into the flute reminded me of the way Hendrix played the guitar.” He also noted that Mr. Steig was “one of the few flutists who incorporated the entire flute family into his composing and recording,” including bass flute and piccolo.
Mr. Steig began performing professionally while attending the High School of Music and Art (now the Fiorello H. La Guardia High School of Music and Art and Performing Arts) in Manhattan. He was 21 when he recorded his first album, “Flute Fever,” (https://www.youtube.com/watch?v=s_y0kAotlEM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) produced by the celebrated talent scout John Hammond and released by Columbia in 1963.
In the fertile Greenwich Village music scene of the middle and late 1960s, Mr. Steig regularly crossed genre lines. “I used to sit in with everybody,” he said in a 2000 interview (http://www.angelfire.com/ny/bolinfan/interviews/steig.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) . “With rock bands, too. I found I could keep my ‘soloing integrity’ while playing over a funky beat.”
The band he assembled to accompany the singer-songwriter Tim Hardin in 1966 evolved into Jeremy & the Satyrs (https://www.youtube.com/watch?v=idXaa031zZM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , which incorporated jazz ideas into a rock context. It was a new approach but not a unique one: Jazz musicians like the vibraphonist Gary Burton and rock groups like Blood, Sweat & Tears were working along similar lines.
“We decided that we’d invented jazz-rock,” Mr. Steig later recalled. “Of course, there were about 50 other people who had come to the same conclusion.”
Continue reading the main story
Jeremy & the Satyrs released an album on Reprise in 1968, but broke up shortly after that. A year later, Mr. Steig drew praise for his work in a more conventional jazz context, on the pianist Bill Evans’s Verve album “What’s New.” (https://www.youtube.com/watch?v=rAlNwIaY-MA&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) He went on to record for several labels, most recently his own, Steig Music. (https://www.youtube.com/watch?v=tjL_M6vv8lY&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
Jeremy Steig was born on Sept. 23, 1942, in Manhattan. His father was William Steig (http://us.macmillan.com/author/williamsteig?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , the celebrated New Yorker cartoonist and writer of popular children’s books including “Shrek.” His mother, the former Elizabeth Mead, was an arts educator.
He played the recorder from the age of 6, and at 11 he began studying flute with Paige Brook of the New York Philharmonic. After a year, he later said, he knew that he wanted to play the flute for the rest of his life.
When Mr. Steig was 19, a motorbike accident left one side of his face paralyzed. After several months he resumed playing with the aid of a makeshift cardboard mouthpiece that kept the air from pushing his lips open. He eventually rebuilt his facial muscles and was able to play without it.
In addition to his wife, Mr. Steig is survived by a sister, Lucinda Franceschini, and a half sister, Margit Steig. He lived in Yokohama.
An artist as well as a musician, Mr. Steig did the cover ar (http://cps-static.rovicorp.com/3/JPG_500/MI0003/682/MI0003682451.jpg?partner=allrovi.com&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) t for a number of his albums. In recent years he had devoted as much time to painting and drawing as to music, and he and his wife had put together several “digital picture books” (http://www.jeremysteig.info/dpb-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) incorporating both.
While Mr. Steig was not well known beyond the jazz world, on two occasions his music was heard by a much larger audience.
In the animated feature “Shrek Forever After” (https://www.youtube.com/watch?v=u7__TG7swg0&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) (2010), the fourth in the series of revisionist fairy-tale adventures based on his father’s creation, Mr. Steig provided the music played onscreen by the Pied Piper. And his 1970 record “Howlin’ for Judy” (https://www.youtube.com/watch?v=etOrYtQ3EGc&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) was sampled by the Beastie Boys on their 1994 hit single “Sure Shot.” (https://www.youtube.com/watch?v=JhqyZeUlE8U&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
“I made more money from that sample than from any of my records,” Mr. Steig told the website All About Jazz (https://www.allaboutjazz.com/jeremy-steig-jeremy-steig-by-celeste-sunderland.php?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in 2004. “It saved my life at the time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0434ccac4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0434ccac4f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jeremy Steig, Jazz Flutist, Dies at 73 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/06/03/arts/music/jeremy-steig-jazz-flutist-dies-at-73.html?emc=edit_tnt_20160602
Jeremy Steig, Jazz Flutist, Dies at 73
By PETER KEEPNEWSJUNE 2, 2016
Jeremy Steig in an undated photograph. Adelaide de Menil/Condé Nast, via Getty Images
Jeremy Steig, an acclaimed jazz flutist and the leader of one of the first jazz-rock bands, died on April 13 in Yokohama, Japan. He was 73.
The cause was cancer, said his wife, Asako Steig, who announced his death on his website (http://www.jeremysteig.info/index-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in late May.
“He didn’t like to read about musicians’ deaths in newspaper obituaries,” Ms. Steig explained in an email when contacted. “He wanted me to delay the announcement of his death, so that it wouldn’t really be ‘news’ to be written up.”
Most jazz flutists are saxophonists who double on the instrument and play it only occasionally. Mr. Steig was a rarity: Flute was his first and only instrument. And in the view of many critics and musicians, he was a master.
The guitarist Vic Juris, who performed and recorded with Mr. Steig, praised him in an interview as an innovative player whose “use of overtones and singing into the flute reminded me of the way Hendrix played the guitar.” He also noted that Mr. Steig was “one of the few flutists who incorporated the entire flute family into his composing and recording,” including bass flute and piccolo.
Mr. Steig began performing professionally while attending the High School of Music and Art (now the Fiorello H. La Guardia High School of Music and Art and Performing Arts) in Manhattan. He was 21 when he recorded his first album, “Flute Fever,” (https://www.youtube.com/watch?v=s_y0kAotlEM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) produced by the celebrated talent scout John Hammond and released by Columbia in 1963.
In the fertile Greenwich Village music scene of the middle and late 1960s, Mr. Steig regularly crossed genre lines. “I used to sit in with everybody,” he said in a 2000 interview (http://www.angelfire.com/ny/bolinfan/interviews/steig.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) . “With rock bands, too. I found I could keep my ‘soloing integrity’ while playing over a funky beat.”
The band he assembled to accompany the singer-songwriter Tim Hardin in 1966 evolved into Jeremy & the Satyrs (https://www.youtube.com/watch?v=idXaa031zZM&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , which incorporated jazz ideas into a rock context. It was a new approach but not a unique one: Jazz musicians like the vibraphonist Gary Burton and rock groups like Blood, Sweat & Tears were working along similar lines.
“We decided that we’d invented jazz-rock,” Mr. Steig later recalled. “Of course, there were about 50 other people who had come to the same conclusion.”
Continue reading the main story
Jeremy & the Satyrs released an album on Reprise in 1968, but broke up shortly after that. A year later, Mr. Steig drew praise for his work in a more conventional jazz context, on the pianist Bill Evans’s Verve album “What’s New.” (https://www.youtube.com/watch?v=rAlNwIaY-MA&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) He went on to record for several labels, most recently his own, Steig Music. (https://www.youtube.com/watch?v=tjL_M6vv8lY&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
Jeremy Steig was born on Sept. 23, 1942, in Manhattan. His father was William Steig (http://us.macmillan.com/author/williamsteig?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , the celebrated New Yorker cartoonist and writer of popular children’s books including “Shrek.” His mother, the former Elizabeth Mead, was an arts educator.
He played the recorder from the age of 6, and at 11 he began studying flute with Paige Brook of the New York Philharmonic. After a year, he later said, he knew that he wanted to play the flute for the rest of his life.
When Mr. Steig was 19, a motorbike accident left one side of his face paralyzed. After several months he resumed playing with the aid of a makeshift cardboard mouthpiece that kept the air from pushing his lips open. He eventually rebuilt his facial muscles and was able to play without it.
In addition to his wife, Mr. Steig is survived by a sister, Lucinda Franceschini, and a half sister, Margit Steig. He lived in Yokohama.
An artist as well as a musician, Mr. Steig did the cover ar (http://cps-static.rovicorp.com/3/JPG_500/MI0003/682/MI0003682451.jpg?partner=allrovi.com&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) t for a number of his albums. In recent years he had devoted as much time to painting and drawing as to music, and he and his wife had put together several “digital picture books” (http://www.jeremysteig.info/dpb-E.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) incorporating both.
While Mr. Steig was not well known beyond the jazz world, on two occasions his music was heard by a much larger audience.
In the animated feature “Shrek Forever After” (https://www.youtube.com/watch?v=u7__TG7swg0&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) (2010), the fourth in the series of revisionist fairy-tale adventures based on his father’s creation, Mr. Steig provided the music played onscreen by the Pied Piper. And his 1970 record “Howlin’ for Judy” (https://www.youtube.com/watch?v=etOrYtQ3EGc&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) was sampled by the Beastie Boys on their 1994 hit single “Sure Shot.” (https://www.youtube.com/watch?v=JhqyZeUlE8U&version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
“I made more money from that sample than from any of my records,” Mr. Steig told the website All About Jazz (https://www.allaboutjazz.com/jeremy-steig-jeremy-steig-by-celeste-sunderland.php?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) in 2004. “It saved my life at the time.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=0434ccac4f) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=0434ccac4f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC’s Sizzlin’ Summer Record Sale
http://www.jazzpromoservices.com/
Our Summer Sale begins on Saturday June 11 and runs through Sunday June 26 Be there to pick up on all sorts of musical items. Many are very hard to find items that you may not see anywhere else.
This year, the ARChive has more vinyl 7” 45rpm records than its ever had for sale, as many duplicates from a collection of 65,000+ recently donated. The jazz LP section is also exceptional this year. Plus, as always, thousands of LPs and CDs at prices way lower than any store in town or any record show or at any online dealer. Cheaper than downloading. PLUS, videos (VHS, DVD and LaserDisc), books, magazines and other great stuff.
The ARChive pop-up record & CD sale will take place at the ARChive (54 White Street, between Church and Broadway in Tribeca, easily accessible from any train that stops at Canal Street, and the Franklin stop on the 1-train) from Saturday June 11 to Sunday June 26, open every day from 11 AM to 6 PM. No cover charge.
Help support the ARChive : a not-for-profit music library with over three million sound recordings – The world’s largest and BEST popular music collection.
ARChive Members are invited to a cocktail party Thursday, June 9, when you can shop two days before the general public and enjoy tasty snacks. JOIN or call for info: 212-226-6967.
More info: http://arcmusic.org/support/record-sale/ (http://l.facebook.com/l.php?u=http%3A%2F%2Farcmusic.org%2Fsupport%2Frecord-sale%2F&h=VAQHo9saV&enc=AZMQzS2k0QIjO-eaPHtt2MpCVMpySyu_PYtQ1vgelf7ifMa_asZwAzWGpGmoGwdxxSY&s=1)
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@ (mailto:info@arcmusic.org) arcmusic (mailto:arcmusic@inch.com) .org http://arcmusic.org (http://arcmusic.org/)
Muslim World Music Day (http://muslimworldmusicday.com/) Brazilian Music Day (http://www.brazilianmusicday.org/) India Music Week (http://www.indiamusicweek.org/) Cuba Music Week (http://cubamusicweek.org/)
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than 2.5 million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: Jellybean Benitez, Jonathan Demme,
Brewster Kahle, Craig Kallman, Youssou N’Dour, Keith Richards, Nile Rodgers,
Todd Rundgren, Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=49671ca3cd) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=49671ca3cd&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC’s Sizzlin’ Summer Record Sale
http://www.jazzpromoservices.com/
Our Summer Sale begins on Saturday June 11 and runs through Sunday June 26 Be there to pick up on all sorts of musical items. Many are very hard to find items that you may not see anywhere else.
This year, the ARChive has more vinyl 7” 45rpm records than its ever had for sale, as many duplicates from a collection of 65,000+ recently donated. The jazz LP section is also exceptional this year. Plus, as always, thousands of LPs and CDs at prices way lower than any store in town or any record show or at any online dealer. Cheaper than downloading. PLUS, videos (VHS, DVD and LaserDisc), books, magazines and other great stuff.
The ARChive pop-up record & CD sale will take place at the ARChive (54 White Street, between Church and Broadway in Tribeca, easily accessible from any train that stops at Canal Street, and the Franklin stop on the 1-train) from Saturday June 11 to Sunday June 26, open every day from 11 AM to 6 PM. No cover charge.
Help support the ARChive : a not-for-profit music library with over three million sound recordings – The world’s largest and BEST popular music collection.
ARChive Members are invited to a cocktail party Thursday, June 9, when you can shop two days before the general public and enjoy tasty snacks. JOIN or call for info: 212-226-6967.
More info: http://arcmusic.org/support/record-sale/ (http://l.facebook.com/l.php?u=http%3A%2F%2Farcmusic.org%2Fsupport%2Frecord-sale%2F&h=VAQHo9saV&enc=AZMQzS2k0QIjO-eaPHtt2MpCVMpySyu_PYtQ1vgelf7ifMa_asZwAzWGpGmoGwdxxSY&s=1)
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@ (mailto:info@arcmusic.org) arcmusic (mailto:arcmusic@inch.com) .org http://arcmusic.org (http://arcmusic.org/)
Muslim World Music Day (http://muslimworldmusicday.com/) Brazilian Music Day (http://www.brazilianmusicday.org/) India Music Week (http://www.indiamusicweek.org/) Cuba Music Week (http://cubamusicweek.org/)
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than 2.5 million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: Jellybean Benitez, Jonathan Demme,
Brewster Kahle, Craig Kallman, Youssou N’Dour, Keith Richards, Nile Rodgers,
Todd Rundgren, Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=49671ca3cd) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=49671ca3cd&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC’s Sizzlin’ Summer Record Sale
http://www.jazzpromoservices.com/
Our Summer Sale begins on Saturday June 11 and runs through Sunday June 26 Be there to pick up on all sorts of musical items. Many are very hard to find items that you may not see anywhere else.
This year, the ARChive has more vinyl 7” 45rpm records than its ever had for sale, as many duplicates from a collection of 65,000+ recently donated. The jazz LP section is also exceptional this year. Plus, as always, thousands of LPs and CDs at prices way lower than any store in town or any record show or at any online dealer. Cheaper than downloading. PLUS, videos (VHS, DVD and LaserDisc), books, magazines and other great stuff.
The ARChive pop-up record & CD sale will take place at the ARChive (54 White Street, between Church and Broadway in Tribeca, easily accessible from any train that stops at Canal Street, and the Franklin stop on the 1-train) from Saturday June 11 to Sunday June 26, open every day from 11 AM to 6 PM. No cover charge.
Help support the ARChive : a not-for-profit music library with over three million sound recordings – The world’s largest and BEST popular music collection.
ARChive Members are invited to a cocktail party Thursday, June 9, when you can shop two days before the general public and enjoy tasty snacks. JOIN or call for info: 212-226-6967.
More info: http://arcmusic.org/support/record-sale/ (http://l.facebook.com/l.php?u=http%3A%2F%2Farcmusic.org%2Fsupport%2Frecord-sale%2F&h=VAQHo9saV&enc=AZMQzS2k0QIjO-eaPHtt2MpCVMpySyu_PYtQ1vgelf7ifMa_asZwAzWGpGmoGwdxxSY&s=1)
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@ (mailto:info@arcmusic.org) arcmusic (mailto:arcmusic@inch.com) .org http://arcmusic.org (http://arcmusic.org/)
Muslim World Music Day (http://muslimworldmusicday.com/) Brazilian Music Day (http://www.brazilianmusicday.org/) India Music Week (http://www.indiamusicweek.org/) Cuba Music Week (http://cubamusicweek.org/)
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than 2.5 million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: Jellybean Benitez, Jonathan Demme,
Brewster Kahle, Craig Kallman, Youssou N’Dour, Keith Richards, Nile Rodgers,
Todd Rundgren, Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=49671ca3cd) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=49671ca3cd&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
ARC’s Sizzlin’ Summer Record Sale
http://www.jazzpromoservices.com/
Our Summer Sale begins on Saturday June 11 and runs through Sunday June 26 Be there to pick up on all sorts of musical items. Many are very hard to find items that you may not see anywhere else.
This year, the ARChive has more vinyl 7” 45rpm records than its ever had for sale, as many duplicates from a collection of 65,000+ recently donated. The jazz LP section is also exceptional this year. Plus, as always, thousands of LPs and CDs at prices way lower than any store in town or any record show or at any online dealer. Cheaper than downloading. PLUS, videos (VHS, DVD and LaserDisc), books, magazines and other great stuff.
The ARChive pop-up record & CD sale will take place at the ARChive (54 White Street, between Church and Broadway in Tribeca, easily accessible from any train that stops at Canal Street, and the Franklin stop on the 1-train) from Saturday June 11 to Sunday June 26, open every day from 11 AM to 6 PM. No cover charge.
Help support the ARChive : a not-for-profit music library with over three million sound recordings – The world’s largest and BEST popular music collection.
ARChive Members are invited to a cocktail party Thursday, June 9, when you can shop two days before the general public and enjoy tasty snacks. JOIN or call for info: 212-226-6967.
More info: http://arcmusic.org/support/record-sale/ (http://l.facebook.com/l.php?u=http%3A%2F%2Farcmusic.org%2Fsupport%2Frecord-sale%2F&h=VAQHo9saV&enc=AZMQzS2k0QIjO-eaPHtt2MpCVMpySyu_PYtQ1vgelf7ifMa_asZwAzWGpGmoGwdxxSY&s=1)
54 White Street, New York City, NY, 10013, USA
tel : 212-226-6967 e : info@ (mailto:info@arcmusic.org) arcmusic (mailto:arcmusic@inch.com) .org http://arcmusic.org (http://arcmusic.org/)
Muslim World Music Day (http://muslimworldmusicday.com/) Brazilian Music Day (http://www.brazilianmusicday.org/) India Music Week (http://www.indiamusicweek.org/) Cuba Music Week (http://cubamusicweek.org/)
ARC is a not-for-profit archive, music library and research center
located in New York City. The ARChive collects preserves and
provides information on the popular music of all cultures throughout the world.
Since 1985 our holdings have grown to more than 2.5 million sound recordings,
making the ARChive the largest popular music collection in the World.
Members of the Board of Advisors are: Jellybean Benitez, Jonathan Demme,
Brewster Kahle, Craig Kallman, Youssou N’Dour, Keith Richards, Nile Rodgers,
Todd Rundgren, Fred Schneider, Martin Scorsese, Paul Simon and Mike Stoller
Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=49671ca3cd) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=49671ca3cd&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
http://www.jazzpromoservices.com/
https://www2.naz.edu/news/2016/May/198/paul-smoker-jazz-trumpeter-composer-music-educator-dies-at-75
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
The board, administration, faculty, students, alumni, and staff of Nazareth College were saddened to learn of the recent death of faculty member and renowned jazz trumpeter, Paul Smoker (http://paulsmoker.com/Paul_Smoker/Home.html) . Professor Smoker died on May 14, 2016.
Trumpeter, composer, and educator Paul Smoker found his passion in both classical and jazz music since he first heard trumpeter Harry James on the radio at age 10. At 14, he began performing professionally at jazz clubs in Rock Island, Illinois and Moline, Illinois, across the Mississippi River from his hometown of Davenport, Iowa, where he also played first trumpet with the youth symphony orchestra and in the pit for three Broadway shows every summer with the Quad-City Music Guild.
While working on his four degrees at the University of Iowa (B.M in Music Education and Performance, M.A., M.F.A., and D.M.A. in performance and pedagogy), Smoker played much of the classical trumpet repertory, as well as chamber, orchestral, and contemporary music (as a member of the Center for New Music). He was a founding member of the University of Iowa Jazz Ensemble; continued to play professionally with jazz groups, the Cedar Rapids Symphony Orchestra, and show orchestras; and began to arrange, compose, and teach.
Smoker was a member of the Iowa Brass Quintet for 10 years and received commissions to compose and arrange for high school, college, and professional jazz ensembles. As a musician, his influences included avant-garde classical sources and the jazz trumpet tradition (specifically Clifford Brown, Conte Candoli, Miles Davis, Maynard Ferguson, and Dizzy Gillespie, as well as saxophonists John Coltrane and Anthony Braxton).
As an educator, Smoker held full-time positions at the Universities of Wisconsin–Oshkosh, Iowa, and Northern Iowa, as well as Coe College, where he was a founding member of the faculty contemporary music group, SOMA. In 2001, Smoker was appointed to coordinate the jazz studies program in the Nazareth College Department of Music in Rochester, New York, where he directed the jazz ensemble and combo, taught jazz history, jazz theory, and improvisation. He also served as composer-in-residence at Rochester’s School of the Arts, East High, and Cornell University.
In the early 1980s, The Paul Smoker Trio made its first recordings and quickly acquired an international reputation, touring and playing jazz festivals throughout the United States, Canada, and Europe. Since then, Smoker appeared on 50 recordings, both as a leader and as a sideman, and worked and/or recorded with such musicians as Barry Altschul, Borah Bergman, Anthony Braxton, Don Byron, Buddy DeFranco, Mark Dresser, Ellery Eskelin, Vinny Golia, Lou Grassi, Drew Gress, Phil Haynes, Gerry Hemingway, Al Jarreau, David Liebman, Dodo Marmarosa, Evan Parker, Art Pepper, Frank Rosolino, Steve Salerno, David Sanborn, Doc Severinsen, John Tchicai, and others. He was first elected to the Downbeat Critics’ Poll in 1986, and was the subject of features and reviews in Downbeat Magazine, Jazziz Magazine, CODA Magazine, and Cadence Magazine, among other periodicals. His recordings and style are discussed in various discographies, encyclopedias, and textbooks.
His latest group, The Paul Smoker Notet, released recordings called Cool Lives in 2012 and Landings in 2013. Jazz Podium magazine wrote of Landings, “To the widely discussed question about the future development of the jazz trumpet, Paul Smoker’s musical concept could definitely constitute a far-reaching answer.”
Paul Smoker is survived by his wife, pianist Dr. Beverly Smoker, (professor of Music and chair of the Nazareth College Music Department) and sons, Evan and Andrew (Allison), granddaughters Addison and Henley, and brother, Phillip (Libby), as well as many generations of beloved students who benefited from his teaching and guidance.
A memorial service and celebration of the life, music, and teaching of Paul Smoker will be held on Thursday, May 26, 2016 at 1 p.m. in Linehan Chapel on the campus of Nazareth College (4245 East Avenue, Rochester, N.Y.). The service will conclude with a jazz performance presented by the Nazareth College Jazz Ensemble, former students and colleagues, and anyone who wishes to participate. A reception will follow.
Memorial Donations may be made to the Nazareth College Music Department to support Jazz Studies (https://www2.naz.edu/support/make-gift) (please change the gift allocation to OTHER and specify MUSIC DEPARTMENT JAZZ STUDIES in COMMENTS), or URMC Cardiology.
Nazareth College’s academic strengths cross an unusually broad spectrum of 60 majors, including education, health and human services, management, the fine arts, music, theater, math and science, foreign languages, and the liberal arts. The coeducational, religiously independent, classic campus in a charming suburb of Rochester, N.Y. challenges and supports 2,000 undergrads and 800 graduate students. Nazareth is recognized nationally for its Fulbright global student scholars and commitment to civic engagement. Rigorous programs, an uncommon core, experiential learning, career skills, and a global focus prepare graduates for not just one job, but for their life’s work.
* published: 2016 May
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=ee87884229) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=ee87884229&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
http://www.jazzpromoservices.com/
https://www2.naz.edu/news/2016/May/198/paul-smoker-jazz-trumpeter-composer-music-educator-dies-at-75
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
The board, administration, faculty, students, alumni, and staff of Nazareth College were saddened to learn of the recent death of faculty member and renowned jazz trumpeter, Paul Smoker (http://paulsmoker.com/Paul_Smoker/Home.html) . Professor Smoker died on May 14, 2016.
Trumpeter, composer, and educator Paul Smoker found his passion in both classical and jazz music since he first heard trumpeter Harry James on the radio at age 10. At 14, he began performing professionally at jazz clubs in Rock Island, Illinois and Moline, Illinois, across the Mississippi River from his hometown of Davenport, Iowa, where he also played first trumpet with the youth symphony orchestra and in the pit for three Broadway shows every summer with the Quad-City Music Guild.
While working on his four degrees at the University of Iowa (B.M in Music Education and Performance, M.A., M.F.A., and D.M.A. in performance and pedagogy), Smoker played much of the classical trumpet repertory, as well as chamber, orchestral, and contemporary music (as a member of the Center for New Music). He was a founding member of the University of Iowa Jazz Ensemble; continued to play professionally with jazz groups, the Cedar Rapids Symphony Orchestra, and show orchestras; and began to arrange, compose, and teach.
Smoker was a member of the Iowa Brass Quintet for 10 years and received commissions to compose and arrange for high school, college, and professional jazz ensembles. As a musician, his influences included avant-garde classical sources and the jazz trumpet tradition (specifically Clifford Brown, Conte Candoli, Miles Davis, Maynard Ferguson, and Dizzy Gillespie, as well as saxophonists John Coltrane and Anthony Braxton).
As an educator, Smoker held full-time positions at the Universities of Wisconsin–Oshkosh, Iowa, and Northern Iowa, as well as Coe College, where he was a founding member of the faculty contemporary music group, SOMA. In 2001, Smoker was appointed to coordinate the jazz studies program in the Nazareth College Department of Music in Rochester, New York, where he directed the jazz ensemble and combo, taught jazz history, jazz theory, and improvisation. He also served as composer-in-residence at Rochester’s School of the Arts, East High, and Cornell University.
In the early 1980s, The Paul Smoker Trio made its first recordings and quickly acquired an international reputation, touring and playing jazz festivals throughout the United States, Canada, and Europe. Since then, Smoker appeared on 50 recordings, both as a leader and as a sideman, and worked and/or recorded with such musicians as Barry Altschul, Borah Bergman, Anthony Braxton, Don Byron, Buddy DeFranco, Mark Dresser, Ellery Eskelin, Vinny Golia, Lou Grassi, Drew Gress, Phil Haynes, Gerry Hemingway, Al Jarreau, David Liebman, Dodo Marmarosa, Evan Parker, Art Pepper, Frank Rosolino, Steve Salerno, David Sanborn, Doc Severinsen, John Tchicai, and others. He was first elected to the Downbeat Critics’ Poll in 1986, and was the subject of features and reviews in Downbeat Magazine, Jazziz Magazine, CODA Magazine, and Cadence Magazine, among other periodicals. His recordings and style are discussed in various discographies, encyclopedias, and textbooks.
His latest group, The Paul Smoker Notet, released recordings called Cool Lives in 2012 and Landings in 2013. Jazz Podium magazine wrote of Landings, “To the widely discussed question about the future development of the jazz trumpet, Paul Smoker’s musical concept could definitely constitute a far-reaching answer.”
Paul Smoker is survived by his wife, pianist Dr. Beverly Smoker, (professor of Music and chair of the Nazareth College Music Department) and sons, Evan and Andrew (Allison), granddaughters Addison and Henley, and brother, Phillip (Libby), as well as many generations of beloved students who benefited from his teaching and guidance.
A memorial service and celebration of the life, music, and teaching of Paul Smoker will be held on Thursday, May 26, 2016 at 1 p.m. in Linehan Chapel on the campus of Nazareth College (4245 East Avenue, Rochester, N.Y.). The service will conclude with a jazz performance presented by the Nazareth College Jazz Ensemble, former students and colleagues, and anyone who wishes to participate. A reception will follow.
Memorial Donations may be made to the Nazareth College Music Department to support Jazz Studies (https://www2.naz.edu/support/make-gift) (please change the gift allocation to OTHER and specify MUSIC DEPARTMENT JAZZ STUDIES in COMMENTS), or URMC Cardiology.
Nazareth College’s academic strengths cross an unusually broad spectrum of 60 majors, including education, health and human services, management, the fine arts, music, theater, math and science, foreign languages, and the liberal arts. The coeducational, religiously independent, classic campus in a charming suburb of Rochester, N.Y. challenges and supports 2,000 undergrads and 800 graduate students. Nazareth is recognized nationally for its Fulbright global student scholars and commitment to civic engagement. Rigorous programs, an uncommon core, experiential learning, career skills, and a global focus prepare graduates for not just one job, but for their life’s work.
* published: 2016 May
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=ee87884229) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=ee87884229&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
http://www.jazzpromoservices.com/
https://www2.naz.edu/news/2016/May/198/paul-smoker-jazz-trumpeter-composer-music-educator-dies-at-75
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
The board, administration, faculty, students, alumni, and staff of Nazareth College were saddened to learn of the recent death of faculty member and renowned jazz trumpeter, Paul Smoker (http://paulsmoker.com/Paul_Smoker/Home.html) . Professor Smoker died on May 14, 2016.
Trumpeter, composer, and educator Paul Smoker found his passion in both classical and jazz music since he first heard trumpeter Harry James on the radio at age 10. At 14, he began performing professionally at jazz clubs in Rock Island, Illinois and Moline, Illinois, across the Mississippi River from his hometown of Davenport, Iowa, where he also played first trumpet with the youth symphony orchestra and in the pit for three Broadway shows every summer with the Quad-City Music Guild.
While working on his four degrees at the University of Iowa (B.M in Music Education and Performance, M.A., M.F.A., and D.M.A. in performance and pedagogy), Smoker played much of the classical trumpet repertory, as well as chamber, orchestral, and contemporary music (as a member of the Center for New Music). He was a founding member of the University of Iowa Jazz Ensemble; continued to play professionally with jazz groups, the Cedar Rapids Symphony Orchestra, and show orchestras; and began to arrange, compose, and teach.
Smoker was a member of the Iowa Brass Quintet for 10 years and received commissions to compose and arrange for high school, college, and professional jazz ensembles. As a musician, his influences included avant-garde classical sources and the jazz trumpet tradition (specifically Clifford Brown, Conte Candoli, Miles Davis, Maynard Ferguson, and Dizzy Gillespie, as well as saxophonists John Coltrane and Anthony Braxton).
As an educator, Smoker held full-time positions at the Universities of Wisconsin–Oshkosh, Iowa, and Northern Iowa, as well as Coe College, where he was a founding member of the faculty contemporary music group, SOMA. In 2001, Smoker was appointed to coordinate the jazz studies program in the Nazareth College Department of Music in Rochester, New York, where he directed the jazz ensemble and combo, taught jazz history, jazz theory, and improvisation. He also served as composer-in-residence at Rochester’s School of the Arts, East High, and Cornell University.
In the early 1980s, The Paul Smoker Trio made its first recordings and quickly acquired an international reputation, touring and playing jazz festivals throughout the United States, Canada, and Europe. Since then, Smoker appeared on 50 recordings, both as a leader and as a sideman, and worked and/or recorded with such musicians as Barry Altschul, Borah Bergman, Anthony Braxton, Don Byron, Buddy DeFranco, Mark Dresser, Ellery Eskelin, Vinny Golia, Lou Grassi, Drew Gress, Phil Haynes, Gerry Hemingway, Al Jarreau, David Liebman, Dodo Marmarosa, Evan Parker, Art Pepper, Frank Rosolino, Steve Salerno, David Sanborn, Doc Severinsen, John Tchicai, and others. He was first elected to the Downbeat Critics’ Poll in 1986, and was the subject of features and reviews in Downbeat Magazine, Jazziz Magazine, CODA Magazine, and Cadence Magazine, among other periodicals. His recordings and style are discussed in various discographies, encyclopedias, and textbooks.
His latest group, The Paul Smoker Notet, released recordings called Cool Lives in 2012 and Landings in 2013. Jazz Podium magazine wrote of Landings, “To the widely discussed question about the future development of the jazz trumpet, Paul Smoker’s musical concept could definitely constitute a far-reaching answer.”
Paul Smoker is survived by his wife, pianist Dr. Beverly Smoker, (professor of Music and chair of the Nazareth College Music Department) and sons, Evan and Andrew (Allison), granddaughters Addison and Henley, and brother, Phillip (Libby), as well as many generations of beloved students who benefited from his teaching and guidance.
A memorial service and celebration of the life, music, and teaching of Paul Smoker will be held on Thursday, May 26, 2016 at 1 p.m. in Linehan Chapel on the campus of Nazareth College (4245 East Avenue, Rochester, N.Y.). The service will conclude with a jazz performance presented by the Nazareth College Jazz Ensemble, former students and colleagues, and anyone who wishes to participate. A reception will follow.
Memorial Donations may be made to the Nazareth College Music Department to support Jazz Studies (https://www2.naz.edu/support/make-gift) (please change the gift allocation to OTHER and specify MUSIC DEPARTMENT JAZZ STUDIES in COMMENTS), or URMC Cardiology.
Nazareth College’s academic strengths cross an unusually broad spectrum of 60 majors, including education, health and human services, management, the fine arts, music, theater, math and science, foreign languages, and the liberal arts. The coeducational, religiously independent, classic campus in a charming suburb of Rochester, N.Y. challenges and supports 2,000 undergrads and 800 graduate students. Nazareth is recognized nationally for its Fulbright global student scholars and commitment to civic engagement. Rigorous programs, an uncommon core, experiential learning, career skills, and a global focus prepare graduates for not just one job, but for their life’s work.
* published: 2016 May
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Warwick, Ny 10990
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Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
http://www.jazzpromoservices.com/
https://www2.naz.edu/news/2016/May/198/paul-smoker-jazz-trumpeter-composer-music-educator-dies-at-75
Paul Smoker—jazz trumpeter, composer, music educator—dies at 75
The board, administration, faculty, students, alumni, and staff of Nazareth College were saddened to learn of the recent death of faculty member and renowned jazz trumpeter, Paul Smoker (http://paulsmoker.com/Paul_Smoker/Home.html) . Professor Smoker died on May 14, 2016.
Trumpeter, composer, and educator Paul Smoker found his passion in both classical and jazz music since he first heard trumpeter Harry James on the radio at age 10. At 14, he began performing professionally at jazz clubs in Rock Island, Illinois and Moline, Illinois, across the Mississippi River from his hometown of Davenport, Iowa, where he also played first trumpet with the youth symphony orchestra and in the pit for three Broadway shows every summer with the Quad-City Music Guild.
While working on his four degrees at the University of Iowa (B.M in Music Education and Performance, M.A., M.F.A., and D.M.A. in performance and pedagogy), Smoker played much of the classical trumpet repertory, as well as chamber, orchestral, and contemporary music (as a member of the Center for New Music). He was a founding member of the University of Iowa Jazz Ensemble; continued to play professionally with jazz groups, the Cedar Rapids Symphony Orchestra, and show orchestras; and began to arrange, compose, and teach.
Smoker was a member of the Iowa Brass Quintet for 10 years and received commissions to compose and arrange for high school, college, and professional jazz ensembles. As a musician, his influences included avant-garde classical sources and the jazz trumpet tradition (specifically Clifford Brown, Conte Candoli, Miles Davis, Maynard Ferguson, and Dizzy Gillespie, as well as saxophonists John Coltrane and Anthony Braxton).
As an educator, Smoker held full-time positions at the Universities of Wisconsin–Oshkosh, Iowa, and Northern Iowa, as well as Coe College, where he was a founding member of the faculty contemporary music group, SOMA. In 2001, Smoker was appointed to coordinate the jazz studies program in the Nazareth College Department of Music in Rochester, New York, where he directed the jazz ensemble and combo, taught jazz history, jazz theory, and improvisation. He also served as composer-in-residence at Rochester’s School of the Arts, East High, and Cornell University.
In the early 1980s, The Paul Smoker Trio made its first recordings and quickly acquired an international reputation, touring and playing jazz festivals throughout the United States, Canada, and Europe. Since then, Smoker appeared on 50 recordings, both as a leader and as a sideman, and worked and/or recorded with such musicians as Barry Altschul, Borah Bergman, Anthony Braxton, Don Byron, Buddy DeFranco, Mark Dresser, Ellery Eskelin, Vinny Golia, Lou Grassi, Drew Gress, Phil Haynes, Gerry Hemingway, Al Jarreau, David Liebman, Dodo Marmarosa, Evan Parker, Art Pepper, Frank Rosolino, Steve Salerno, David Sanborn, Doc Severinsen, John Tchicai, and others. He was first elected to the Downbeat Critics’ Poll in 1986, and was the subject of features and reviews in Downbeat Magazine, Jazziz Magazine, CODA Magazine, and Cadence Magazine, among other periodicals. His recordings and style are discussed in various discographies, encyclopedias, and textbooks.
His latest group, The Paul Smoker Notet, released recordings called Cool Lives in 2012 and Landings in 2013. Jazz Podium magazine wrote of Landings, “To the widely discussed question about the future development of the jazz trumpet, Paul Smoker’s musical concept could definitely constitute a far-reaching answer.”
Paul Smoker is survived by his wife, pianist Dr. Beverly Smoker, (professor of Music and chair of the Nazareth College Music Department) and sons, Evan and Andrew (Allison), granddaughters Addison and Henley, and brother, Phillip (Libby), as well as many generations of beloved students who benefited from his teaching and guidance.
A memorial service and celebration of the life, music, and teaching of Paul Smoker will be held on Thursday, May 26, 2016 at 1 p.m. in Linehan Chapel on the campus of Nazareth College (4245 East Avenue, Rochester, N.Y.). The service will conclude with a jazz performance presented by the Nazareth College Jazz Ensemble, former students and colleagues, and anyone who wishes to participate. A reception will follow.
Memorial Donations may be made to the Nazareth College Music Department to support Jazz Studies (https://www2.naz.edu/support/make-gift) (please change the gift allocation to OTHER and specify MUSIC DEPARTMENT JAZZ STUDIES in COMMENTS), or URMC Cardiology.
Nazareth College’s academic strengths cross an unusually broad spectrum of 60 majors, including education, health and human services, management, the fine arts, music, theater, math and science, foreign languages, and the liberal arts. The coeducational, religiously independent, classic campus in a charming suburb of Rochester, N.Y. challenges and supports 2,000 undergrads and 800 graduate students. Nazareth is recognized nationally for its Fulbright global student scholars and commitment to civic engagement. Rigorous programs, an uncommon core, experiential learning, career skills, and a global focus prepare graduates for not just one job, but for their life’s work.
* published: 2016 May
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Marshall Jones of Ohio Players dies | www.dayton.com
http://www.jazzpromoservices.com/
http://www.dayton.com/news/news/local/legendary-ohio-players-member-dies/nrWGW/
Marshall Jones of Ohio Players dies
A Dayton funk music pioneer has died.
Ohio Players’ bassist Marshall “Rock” Jones died in Houston, Texas, today at about 5:30 a.m., his daughters Donna Williams and Charlotte Phillips confirmed.
RELATED
>>JONES ENJOYED RETIRMENT IN JAMESTOWN (http://web.archive.org/web/20101003081514/http:/www.springfieldnewssun.com/entertainment/music/ohio-players-bassist-retires-to-funky-town-jamestown-130160.html)
“We appreciate all of the support and prayers,” Williams said. “We lost not only a father, a grandfather and an uncle, we lost an icon to the community and an icon to his family.”
The family is planning a memorial in Dayton. Details will be announced later.
James “Diamond” Williams (http://www.dayton.com/news/entertainment/dayton-drummer-makes-rolling-stone-top-100-list/nrJBT/) , the Ohio Players’ leader said Jones will be missed.
“He was inventive, and he was creative. He was a great musician,” Williams. “Marshall Jones contributed greatly, and we will miss him.”
The Dayton native was 75.
Jones was with the Ohio Players during the height of the legendary band’s success.
He was a member when the group started in Dayton in 1959 as the Ohio Untouchables.
Williams said Jones had battled cancer and had suffered a recent stroke.
He is pushing for a Dayton street to be named for the Ohio Players while some members are still living.
From their beginnings in Dayton, (http://www.dayton.com/what-to-love/8-dayton-funk-bands/) The Ohio Players gained international acclaim with a long list of hits that include “Fire,” “Love Rollercoaster,” “I Wanna be Free,” “Pain,” “Funky Worm,” “Skin Tight,” “Honey” and “Sweet Sticky Thing.”
Generated by IJG JPEG Library
Ohio Players bass player Marshall Jones (pictured center in turban) has died.
WDAO radio host Michael Ecton said Jones’ signature bassline can be heard through all of the Ohio Players most popular songs, notably “Skin Tight” and “Fire.”
“He was a very friendly person,” Ecton said of Jones. “He was an excellent musican. He took his craft very seriously.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Marshall Jones of Ohio Players dies | www.dayton.com
http://www.jazzpromoservices.com/
http://www.dayton.com/news/news/local/legendary-ohio-players-member-dies/nrWGW/
Marshall Jones of Ohio Players dies
A Dayton funk music pioneer has died.
Ohio Players’ bassist Marshall “Rock” Jones died in Houston, Texas, today at about 5:30 a.m., his daughters Donna Williams and Charlotte Phillips confirmed.
RELATED
>>JONES ENJOYED RETIRMENT IN JAMESTOWN (http://web.archive.org/web/20101003081514/http:/www.springfieldnewssun.com/entertainment/music/ohio-players-bassist-retires-to-funky-town-jamestown-130160.html)
“We appreciate all of the support and prayers,” Williams said. “We lost not only a father, a grandfather and an uncle, we lost an icon to the community and an icon to his family.”
The family is planning a memorial in Dayton. Details will be announced later.
James “Diamond” Williams (http://www.dayton.com/news/entertainment/dayton-drummer-makes-rolling-stone-top-100-list/nrJBT/) , the Ohio Players’ leader said Jones will be missed.
“He was inventive, and he was creative. He was a great musician,” Williams. “Marshall Jones contributed greatly, and we will miss him.”
The Dayton native was 75.
Jones was with the Ohio Players during the height of the legendary band’s success.
He was a member when the group started in Dayton in 1959 as the Ohio Untouchables.
Williams said Jones had battled cancer and had suffered a recent stroke.
He is pushing for a Dayton street to be named for the Ohio Players while some members are still living.
From their beginnings in Dayton, (http://www.dayton.com/what-to-love/8-dayton-funk-bands/) The Ohio Players gained international acclaim with a long list of hits that include “Fire,” “Love Rollercoaster,” “I Wanna be Free,” “Pain,” “Funky Worm,” “Skin Tight,” “Honey” and “Sweet Sticky Thing.”
Generated by IJG JPEG Library
Ohio Players bass player Marshall Jones (pictured center in turban) has died.
WDAO radio host Michael Ecton said Jones’ signature bassline can be heard through all of the Ohio Players most popular songs, notably “Skin Tight” and “Fire.”
“He was a very friendly person,” Ecton said of Jones. “He was an excellent musican. He took his craft very seriously.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1cc876dace) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=1cc876dace&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Marshall Jones of Ohio Players dies | www.dayton.com
http://www.jazzpromoservices.com/
http://www.dayton.com/news/news/local/legendary-ohio-players-member-dies/nrWGW/
Marshall Jones of Ohio Players dies
A Dayton funk music pioneer has died.
Ohio Players’ bassist Marshall “Rock” Jones died in Houston, Texas, today at about 5:30 a.m., his daughters Donna Williams and Charlotte Phillips confirmed.
RELATED
>>JONES ENJOYED RETIRMENT IN JAMESTOWN (http://web.archive.org/web/20101003081514/http:/www.springfieldnewssun.com/entertainment/music/ohio-players-bassist-retires-to-funky-town-jamestown-130160.html)
“We appreciate all of the support and prayers,” Williams said. “We lost not only a father, a grandfather and an uncle, we lost an icon to the community and an icon to his family.”
The family is planning a memorial in Dayton. Details will be announced later.
James “Diamond” Williams (http://www.dayton.com/news/entertainment/dayton-drummer-makes-rolling-stone-top-100-list/nrJBT/) , the Ohio Players’ leader said Jones will be missed.
“He was inventive, and he was creative. He was a great musician,” Williams. “Marshall Jones contributed greatly, and we will miss him.”
The Dayton native was 75.
Jones was with the Ohio Players during the height of the legendary band’s success.
He was a member when the group started in Dayton in 1959 as the Ohio Untouchables.
Williams said Jones had battled cancer and had suffered a recent stroke.
He is pushing for a Dayton street to be named for the Ohio Players while some members are still living.
From their beginnings in Dayton, (http://www.dayton.com/what-to-love/8-dayton-funk-bands/) The Ohio Players gained international acclaim with a long list of hits that include “Fire,” “Love Rollercoaster,” “I Wanna be Free,” “Pain,” “Funky Worm,” “Skin Tight,” “Honey” and “Sweet Sticky Thing.”
Generated by IJG JPEG Library
Ohio Players bass player Marshall Jones (pictured center in turban) has died.
WDAO radio host Michael Ecton said Jones’ signature bassline can be heard through all of the Ohio Players most popular songs, notably “Skin Tight” and “Fire.”
“He was a very friendly person,” Ecton said of Jones. “He was an excellent musican. He took his craft very seriously.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=1cc876dace) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=1cc876dace&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Music instructor riffs on Chet Baker in new film about the jazz legend’s life | University Affairs
http://www.jazzpromoservices.com/
http://www.universityaffairs.ca/news/news-article/music-instructor-riffs-chet-baker-new-film-jazz-legends-life/
Music instructor riffs on Chet Baker in new film about the jazz legend’s life
By MICHAEL RANCIC | May 30, 2016
At its core, jazz is improvisational, so it’s fitting that a film about a jazz legend would avoid a strict reproduction of the music. With Born to Be Blue (https://en.wikipedia.org/wiki/Born_to_Be_Blue_%28film%29) , the new biopic of Chet Baker, filmmaker Robert Budreau and composer David Braid made the bold decision to forgo using Baker’s recordings, opting instead to let York University’s Kevin Turcotte handle trumpet duties.
York University’s Kevin Turcotte serves as a musical stand-in for Chet Baker in Born to Be Blue. Photo by Carolyn A. McKeone.
Mr. Turcotte, who has taught jazz brass at York for just over a decade, previously played trumpet on the films Pictures at the Beach and Bruiser. But for Born to Be Blue, he says the process was a departure, with the score being recorded before the film was even shot.
“It was a bit unusual that the actors would have to create the film around our finished score,” he says, especially with Mr. Turcotte’s performance so central to the narrative.
The film (shot coincidentally in Mr. Turcotte’s hometown of Sudbury, Ontario) features a beating Baker endures at the hands of a drug dealer. The attack knocks out several of Baker’s teeth, damages his embouchure and nearly kills his career. So, not only was it essential that Mr. Turcotte sound like Baker, played by Ethan Hawke, he also had the challenge of channelling Baker as he relearns how to play the trumpet.
Mr. Turcotte says he didn’t listen to a lot of Baker’s recordings to prepare for the film. He focused instead on capturing “a certain melodious architecture to the way he phrases and improvises.” The approach allowed Mr. Turcotte to sound like Baker without copying the jazz great note for note. That freedom made it easier to perform according to “what the director was imagining as far as Chet’s playing ability on any given take of a song,” he says. So while Mr. Turcotte had a “pure Chet sound” in his toolbox, he also worked on varying it to reflect that period of recovery and relearning, altering “how airy or how pinched the trumpet sound was depending on what condition his chops were supposed to be in.”
The Juno Award-winning musician notes how well the jazz quartet gelled while recording full band arrangements for the film. He says the band – which also featured the film’s composer, Mr. Braid, on piano, plus bassist Steve Wallace and drummer Terry Clark (both of whom actually played with Baker) – “created the authentic and appropriate jazz setting that allowed my trumpet and Ethan’s vocals the opportunity to strive for that Baker sound.”
Mr. Turcotte notes that the group meshed so well that they “hope to do some more playing as a quartet as the movie gets released in other countries.”
Listen to Mr. Turcotte’s interpretation of “My Funny Valentine”
And here is Chet Baker’s version of “My Funny Valentine”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=72beab32e5) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=72beab32e5&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Music instructor riffs on Chet Baker in new film about the jazz legend’s life | University Affairs
http://www.jazzpromoservices.com/
http://www.universityaffairs.ca/news/news-article/music-instructor-riffs-chet-baker-new-film-jazz-legends-life/
Music instructor riffs on Chet Baker in new film about the jazz legend’s life
By MICHAEL RANCIC | May 30, 2016
At its core, jazz is improvisational, so it’s fitting that a film about a jazz legend would avoid a strict reproduction of the music. With Born to Be Blue (https://en.wikipedia.org/wiki/Born_to_Be_Blue_%28film%29) , the new biopic of Chet Baker, filmmaker Robert Budreau and composer David Braid made the bold decision to forgo using Baker’s recordings, opting instead to let York University’s Kevin Turcotte handle trumpet duties.
York University’s Kevin Turcotte serves as a musical stand-in for Chet Baker in Born to Be Blue. Photo by Carolyn A. McKeone.
Mr. Turcotte, who has taught jazz brass at York for just over a decade, previously played trumpet on the films Pictures at the Beach and Bruiser. But for Born to Be Blue, he says the process was a departure, with the score being recorded before the film was even shot.
“It was a bit unusual that the actors would have to create the film around our finished score,” he says, especially with Mr. Turcotte’s performance so central to the narrative.
The film (shot coincidentally in Mr. Turcotte’s hometown of Sudbury, Ontario) features a beating Baker endures at the hands of a drug dealer. The attack knocks out several of Baker’s teeth, damages his embouchure and nearly kills his career. So, not only was it essential that Mr. Turcotte sound like Baker, played by Ethan Hawke, he also had the challenge of channelling Baker as he relearns how to play the trumpet.
Mr. Turcotte says he didn’t listen to a lot of Baker’s recordings to prepare for the film. He focused instead on capturing “a certain melodious architecture to the way he phrases and improvises.” The approach allowed Mr. Turcotte to sound like Baker without copying the jazz great note for note. That freedom made it easier to perform according to “what the director was imagining as far as Chet’s playing ability on any given take of a song,” he says. So while Mr. Turcotte had a “pure Chet sound” in his toolbox, he also worked on varying it to reflect that period of recovery and relearning, altering “how airy or how pinched the trumpet sound was depending on what condition his chops were supposed to be in.”
The Juno Award-winning musician notes how well the jazz quartet gelled while recording full band arrangements for the film. He says the band – which also featured the film’s composer, Mr. Braid, on piano, plus bassist Steve Wallace and drummer Terry Clark (both of whom actually played with Baker) – “created the authentic and appropriate jazz setting that allowed my trumpet and Ethan’s vocals the opportunity to strive for that Baker sound.”
Mr. Turcotte notes that the group meshed so well that they “hope to do some more playing as a quartet as the movie gets released in other countries.”
Listen to Mr. Turcotte’s interpretation of “My Funny Valentine”
And here is Chet Baker’s version of “My Funny Valentine”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Music instructor riffs on Chet Baker in new film about the jazz legend’s life | University Affairs
http://www.jazzpromoservices.com/
http://www.universityaffairs.ca/news/news-article/music-instructor-riffs-chet-baker-new-film-jazz-legends-life/
Music instructor riffs on Chet Baker in new film about the jazz legend’s life
By MICHAEL RANCIC | May 30, 2016
At its core, jazz is improvisational, so it’s fitting that a film about a jazz legend would avoid a strict reproduction of the music. With Born to Be Blue (https://en.wikipedia.org/wiki/Born_to_Be_Blue_%28film%29) , the new biopic of Chet Baker, filmmaker Robert Budreau and composer David Braid made the bold decision to forgo using Baker’s recordings, opting instead to let York University’s Kevin Turcotte handle trumpet duties.
York University’s Kevin Turcotte serves as a musical stand-in for Chet Baker in Born to Be Blue. Photo by Carolyn A. McKeone.
Mr. Turcotte, who has taught jazz brass at York for just over a decade, previously played trumpet on the films Pictures at the Beach and Bruiser. But for Born to Be Blue, he says the process was a departure, with the score being recorded before the film was even shot.
“It was a bit unusual that the actors would have to create the film around our finished score,” he says, especially with Mr. Turcotte’s performance so central to the narrative.
The film (shot coincidentally in Mr. Turcotte’s hometown of Sudbury, Ontario) features a beating Baker endures at the hands of a drug dealer. The attack knocks out several of Baker’s teeth, damages his embouchure and nearly kills his career. So, not only was it essential that Mr. Turcotte sound like Baker, played by Ethan Hawke, he also had the challenge of channelling Baker as he relearns how to play the trumpet.
Mr. Turcotte says he didn’t listen to a lot of Baker’s recordings to prepare for the film. He focused instead on capturing “a certain melodious architecture to the way he phrases and improvises.” The approach allowed Mr. Turcotte to sound like Baker without copying the jazz great note for note. That freedom made it easier to perform according to “what the director was imagining as far as Chet’s playing ability on any given take of a song,” he says. So while Mr. Turcotte had a “pure Chet sound” in his toolbox, he also worked on varying it to reflect that period of recovery and relearning, altering “how airy or how pinched the trumpet sound was depending on what condition his chops were supposed to be in.”
The Juno Award-winning musician notes how well the jazz quartet gelled while recording full band arrangements for the film. He says the band – which also featured the film’s composer, Mr. Braid, on piano, plus bassist Steve Wallace and drummer Terry Clark (both of whom actually played with Baker) – “created the authentic and appropriate jazz setting that allowed my trumpet and Ethan’s vocals the opportunity to strive for that Baker sound.”
Mr. Turcotte notes that the group meshed so well that they “hope to do some more playing as a quartet as the movie gets released in other countries.”
Listen to Mr. Turcotte’s interpretation of “My Funny Valentine”
And here is Chet Baker’s version of “My Funny Valentine”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Is Pop the Future of Jazz? Ted Gioia – The Daily Beast
http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2016/05/28/is-pop-the-future-of-jazz.html?source=TDB
Is Pop the Future of Jazz?
By Ted Gioia
I’ve been hearing jazz in the most unlikely places lately.
I didn’t expect to encounter a trumpeter playing New Orleans style jazz on the new Beyoncé album Lemonade. But that’s exactly what I found on the “Daddy Lessons” track. This jazz intrusion didn’t prevent Lemonade from rising to the top of the Billboard chart. “Daddy Lessons” even showed up on the Billboard Hot 100.
A few days earlier, I was listening to Kendrick Lamar’s Untitled Unmastered album, a hip-hop bestseller that also leaped to the top of the Billboard chart immediately after its release. I was dumbfounded to hear the chord changes to Miles Davis’s “Nardis” in the background to one of the songs. I guess I shouldn’t be surprised. Lamar frequently collaborates with jazz musicians, yet this nod to a fairly abstract 1958 jazz composition almost seemed like a coded message to the cognoscenti.
Then there was the high-profile televised jazz celebration at the White House on April 29, with Sting and Aretha Franklin in attendance—the biggest presidential jazz event in more than two decades. Three days before, Pitchfork—a periodical slavishly devoted to pop, rock, hip-hop, and R&B—published an issue of its quarterly review entirely devoted to jazz. Around this same time, Bob Dylan (http://www.thedailybeast.com/content/dailybeast/articles/2016/05/24/the-definitive-ranking-of-bob-dylan-studio-albums-from-worst-to-best.html) released his second project devoted to jazz standards. Willie Nelson is trying to match it with his recent Gershwin tribute album.
I see the same phenomenon when I look at the movie listings. Hollywood is now promoting competing jazz bio-pics. You can choose the Miles Davis movie, featuring Don Cheadle (http://www.thedailybeast.com/content/dailybeast/articles/2016/03/26/how-don-cheadle-became-miles-davis.html) , who has an acting Oscar nomination on his resume. Or you can pick the Chet Baker film with Ethan Hawke (http://www.thedailybeast.com/content/dailybeast/articles/2016/03/19/ethan-hawke-on-his-darkest-performance-yet-my-two-greatest-influences-were-lost-to-heroin.html) , who also has an acting Oscar nomination on his resume. And these come on the heels of other recent films with a jazz twist, including two other Oscar winners—the 2015 Amy Winehouse documentary Amy and Whiplash from 2014—and last year’s Emmy-winning Bessie Smith (http://www.thedailybeast.com/content/dailybeast/articles/2015/05/16/why-blues-titan-bessie-smith-still-kills-it.html) bio-pic on HBO.
Is 2016 the Year Jazz Came Back? Recall that January kicked off with the release of David Bowie’s final album, Blackstar, on January 8. It also reached the top of the chart with jazz backing on every track. As Bowie prepared his last project, he hired some of the leading jazz musicians in the world, and gave them the freedom to push the limits of his songs. Yet far from hindering the commercial potential of the album, this jazz element only seemed to add to Blackstar’s allure and success.
Of course, all of this comes on the heels of Lady Gaga’s rediscovery of jazz last year. I learned the power of that crossover market firsthand when Ms. Gaga retweeted one of my jazz musings, and my Twitter account started ringing like a Vegas slot machine with a mega-jackpot. I soon had 5,000 more retweets, and a bunch of “little monsters” (as the Lady affectionately calls her fans) following my staid feed.
Welcome to the strange jazz resurgence of the new millennium. Jazz is definitely hot again … yet all of this is happening outside of the jazz world.
This is a peculiar turn of events. Jazz record sales are stagnant—stuck at around 2 percent of total industry revenues—and show no sign of breaking out of that tiny niche. Jazz festivals are booking fewer jazz artists than ever before. Jazz radio stations are an endangered species. I’m not exaggerating: there are more panda bears than jazz radio hosts earning a living wage.
But jazz still possesses its mystique. The mainstream audience might not hang out at the jazz club, but it still respects jazz, perhaps even more than it did in the glory years for the idiom. In an age in which much of our music-making has shifted from human beings to samples, software, and machines, these artisan performers stand out all the more. Jazz, despite its anemic economic prospects, has become a touchstone for craft and excellence. Music superstars aren’t embracing it out of charity, but to enhance their own credentials.
How do jazz insiders react to this turn of events? Many are unaware or indifferent. Others even respond with hostility. The recent ascendancy of saxophonist Kamasi Washington (http://www.nytimes.com/2016/01/24/magazine/kamasi-washingtons-giant-step.html?_r=0) , Lamar’s collaborator on hip-hop projects, to crossover stardom has generated a backlash, especially among older jazz fans. When Washington’s album The Epic won the NPR jazz poll last year, the venerable critic who organized the poll even felt compelled to publish his own vigorous dissent. (Full disclosure: I voted for The Epic in the poll, and also picked it as the most important jazz album of the year.)
The wider music audience doesn’t pay much attention to this rearguard movement in the inner circles of jazzdom. The people who buy albums from Kendrick Lamar, Lady Gaga, and David Bowie don’t read jazz critics. And these members of the audience hold the key to the jazz resurgence of 2016. The big question remains: will a significant number of them embrace the jazz idiom after this introduction?
There’s no guarantee that jazz musicians can benefit from this new-found notoriety. Trumpeter Roy Hargrove appears on D’Angelo’s Black Messiah, which won the Grammy for best R&B album earlier this year. How did this benefit his career? When Hargrove was recently asked why he hadn’t released a new studio album since 2009, he concurred with his manager’s verdict that “nobody’s buying anything anymore.”
On the other hand, Kamasi Washington has parlayed his hip-hop credentials into jazz stardom and sold-out performances. When he fronts his own band, he plays serious jazz, undiluted for crossover appeal, yet has somehow found a huge audience for this music. There is no shortage of naysayers among older jazz fans, but it’s hard not to look at the Kamasi effect and see it as heralding the path by which the art form reinvents himself as it approaches next year’s hundredth anniversary of the first jazz recordings.
I should point out that the jazz world has been planning its own comeback, but a very different one. Many of the most influential insiders in the art form believe that jazz should be revived with non-profit organizations, jazz museums, and academic respectability. They see classical music and opera as the role models, and want to develop the future of jazz along the same lines.
I beg to disagree. Jazz should celebrate its heritage, but it can’t live in the past. It needs to bring jazz to schools and communities, and the art form deserves help from nonprofits, but when this institutionalization become the main support structure for the music, it loses much of its vitality and turns into a kind of cultural vitamin or nutritional supplement. “Take this, it’s good for you,” has never been a successful marketing campaign. The jazz revival that’s happening in 2016 isn’t taking place in a museum, and is all the stronger for that fact.
Even old-time jazz fans may be pleased with the end result of this process. I can easily envision fans introduced to jazz via Kendrick Lamar or Lady Gaga moving deeper into the art form. Strange to say, hip-hop or pop in the year 2016 might be the gateway drug for the next generation of devoted jazz lovers.
Of course, I could be wrong. There’s a risk that this resurgence will have little impact on the jazz economy, and musicians in the idiom will continue to struggle just as before. Under this scenario, jazz music will continue to represent 1-2 percent of music sales. Pop and R&B stars might enhance their artistry by drawing on jazz, but it won’t make much difference to your average saxophonist or trumpeter. Most music fans will remain blissfully unaware of the riches that jazz has to offer.
The best way for the jazz world to avoid this second scenario is for the music’s advocates to embrace these exciting new hybrids. Jazz has always benefited from a dialogue with popular music. That was true in the ’20s and the ’40s and the ’60s … and it’s still true today.
I’d like to see jazz labels and festivals create bold new paths of dialogue between old and new, insider music and mainstream styles, established pros and up-and-coming youngsters. I’d especially like to see musical exchanges in which jazz musicians are more than just window-dressing for a pop star, but help dictate the terms of engagement for new ways of thinking about commercial music.
But the first step in this process is for all participants to have an open mind. Instead of bringing back the shortsighted jazz wars of the past—in which proponents of one jazz style felt compelled to dismiss the validity of other approaches—let’s celebrate the diversity and cross-fertilization opportunities presented by the remarkable events of 2016.
This may be the best opportunity jazz lovers will ever have for bringing their case to the broader public. It would be a shame if they squandered it by elitist disdain for the very musicians who are embracing jazz and bringing it to tens of millions of new listeners.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Is Pop the Future of Jazz? Ted Gioia – The Daily Beast
http://www.jazzpromoservices.com/
http://www.thedailybeast.com/articles/2016/05/28/is-pop-the-future-of-jazz.html?source=TDB
Is Pop the Future of Jazz?
By Ted Gioia
I’ve been hearing jazz in the most unlikely places lately.
I didn’t expect to encounter a trumpeter playing New Orleans style jazz on the new Beyoncé album Lemonade. But that’s exactly what I found on the “Daddy Lessons” track. This jazz intrusion didn’t prevent Lemonade from rising to the top of the Billboard chart. “Daddy Lessons” even showed up on the Billboard Hot 100.
A few days earlier, I was listening to Kendrick Lamar’s Untitled Unmastered album, a hip-hop bestseller that also leaped to the top of the Billboard chart immediately after its release. I was dumbfounded to hear the chord changes to Miles Davis’s “Nardis” in the background to one of the songs. I guess I shouldn’t be surprised. Lamar frequently collaborates with jazz musicians, yet this nod to a fairly abstract 1958 jazz composition almost seemed like a coded message to the cognoscenti.
Then there was the high-profile televised jazz celebration at the White House on April 29, with Sting and Aretha Franklin in attendance—the biggest presidential jazz event in more than two decades. Three days before, Pitchfork—a periodical slavishly devoted to pop, rock, hip-hop, and R&B—published an issue of its quarterly review entirely devoted to jazz. Around this same time, Bob Dylan (http://www.thedailybeast.com/content/dailybeast/articles/2016/05/24/the-definitive-ranking-of-bob-dylan-studio-albums-from-worst-to-best.html) released his second project devoted to jazz standards. Willie Nelson is trying to match it with his recent Gershwin tribute album.
I see the same phenomenon when I look at the movie listings. Hollywood is now promoting competing jazz bio-pics. You can choose the Miles Davis movie, featuring Don Cheadle (http://www.thedailybeast.com/content/dailybeast/articles/2016/03/26/how-don-cheadle-became-miles-davis.html) , who has an acting Oscar nomination on his resume. Or you can pick the Chet Baker film with Ethan Hawke (http://www.thedailybeast.com/content/dailybeast/articles/2016/03/19/ethan-hawke-on-his-darkest-performance-yet-my-two-greatest-influences-were-lost-to-heroin.html) , who also has an acting Oscar nomination on his resume. And these come on the heels of other recent films with a jazz twist, including two other Oscar winners—the 2015 Amy Winehouse documentary Amy and Whiplash from 2014—and last year’s Emmy-winning Bessie Smith (http://www.thedailybeast.com/content/dailybeast/articles/2015/05/16/why-blues-titan-bessie-smith-still-kills-it.html) bio-pic on HBO.
Is 2016 the Year Jazz Came Back? Recall that January kicked off with the release of David Bowie’s final album, Blackstar, on January 8. It also reached the top of the chart with jazz backing on every track. As Bowie prepared his last project, he hired some of the leading jazz musicians in the world, and gave them the freedom to push the limits of his songs. Yet far from hindering the commercial potential of the album, this jazz element only seemed to add to Blackstar’s allure and success.
Of course, all of this comes on the heels of Lady Gaga’s rediscovery of jazz last year. I learned the power of that crossover market firsthand when Ms. Gaga retweeted one of my jazz musings, and my Twitter account started ringing like a Vegas slot machine with a mega-jackpot. I soon had 5,000 more retweets, and a bunch of “little monsters” (as the Lady affectionately calls her fans) following my staid feed.
Welcome to the strange jazz resurgence of the new millennium. Jazz is definitely hot again … yet all of this is happening outside of the jazz world.
This is a peculiar turn of events. Jazz record sales are stagnant—stuck at around 2 percent of total industry revenues—and show no sign of breaking out of that tiny niche. Jazz festivals are booking fewer jazz artists than ever before. Jazz radio stations are an endangered species. I’m not exaggerating: there are more panda bears than jazz radio hosts earning a living wage.
But jazz still possesses its mystique. The mainstream audience might not hang out at the jazz club, but it still respects jazz, perhaps even more than it did in the glory years for the idiom. In an age in which much of our music-making has shifted from human beings to samples, software, and machines, these artisan performers stand out all the more. Jazz, despite its anemic economic prospects, has become a touchstone for craft and excellence. Music superstars aren’t embracing it out of charity, but to enhance their own credentials.
How do jazz insiders react to this turn of events? Many are unaware or indifferent. Others even respond with hostility. The recent ascendancy of saxophonist Kamasi Washington (http://www.nytimes.com/2016/01/24/magazine/kamasi-washingtons-giant-step.html?_r=0) , Lamar’s collaborator on hip-hop projects, to crossover stardom has generated a backlash, especially among older jazz fans. When Washington’s album The Epic won the NPR jazz poll last year, the venerable critic who organized the poll even felt compelled to publish his own vigorous dissent. (Full disclosure: I voted for The Epic in the poll, and also picked it as the most important jazz album of the year.)
The wider music audience doesn’t pay much attention to this rearguard movement in the inner circles of jazzdom. The people who buy albums from Kendrick Lamar, Lady Gaga, and David Bowie don’t read jazz critics. And these members of the audience hold the key to the jazz resurgence of 2016. The big question remains: will a significant number of them embrace the jazz idiom after this introduction?
There’s no guarantee that jazz musicians can benefit from this new-found notoriety. Trumpeter Roy Hargrove appears on D’Angelo’s Black Messiah, which won the Grammy for best R&B album earlier this year. How did this benefit his career? When Hargrove was recently asked why he hadn’t released a new studio album since 2009, he concurred with his manager’s verdict that “nobody’s buying anything anymore.”
On the other hand, Kamasi Washington has parlayed his hip-hop credentials into jazz stardom and sold-out performances. When he fronts his own band, he plays serious jazz, undiluted for crossover appeal, yet has somehow found a huge audience for this music. There is no shortage of naysayers among older jazz fans, but it’s hard not to look at the Kamasi effect and see it as heralding the path by which the art form reinvents himself as it approaches next year’s hundredth anniversary of the first jazz recordings.
I should point out that the jazz world has been planning its own comeback, but a very different one. Many of the most influential insiders in the art form believe that jazz should be revived with non-profit organizations, jazz museums, and academic respectability. They see classical music and opera as the role models, and want to develop the future of jazz along the same lines.
I beg to disagree. Jazz should celebrate its heritage, but it can’t live in the past. It needs to bring jazz to schools and communities, and the art form deserves help from nonprofits, but when this institutionalization become the main support structure for the music, it loses much of its vitality and turns into a kind of cultural vitamin or nutritional supplement. “Take this, it’s good for you,” has never been a successful marketing campaign. The jazz revival that’s happening in 2016 isn’t taking place in a museum, and is all the stronger for that fact.
Even old-time jazz fans may be pleased with the end result of this process. I can easily envision fans introduced to jazz via Kendrick Lamar or Lady Gaga moving deeper into the art form. Strange to say, hip-hop or pop in the year 2016 might be the gateway drug for the next generation of devoted jazz lovers.
Of course, I could be wrong. There’s a risk that this resurgence will have little impact on the jazz economy, and musicians in the idiom will continue to struggle just as before. Under this scenario, jazz music will continue to represent 1-2 percent of music sales. Pop and R&B stars might enhance their artistry by drawing on jazz, but it won’t make much difference to your average saxophonist or trumpeter. Most music fans will remain blissfully unaware of the riches that jazz has to offer.
The best way for the jazz world to avoid this second scenario is for the music’s advocates to embrace these exciting new hybrids. Jazz has always benefited from a dialogue with popular music. That was true in the ’20s and the ’40s and the ’60s … and it’s still true today.
I’d like to see jazz labels and festivals create bold new paths of dialogue between old and new, insider music and mainstream styles, established pros and up-and-coming youngsters. I’d especially like to see musical exchanges in which jazz musicians are more than just window-dressing for a pop star, but help dictate the terms of engagement for new ways of thinking about commercial music.
But the first step in this process is for all participants to have an open mind. Instead of bringing back the shortsighted jazz wars of the past—in which proponents of one jazz style felt compelled to dismiss the validity of other approaches—let’s celebrate the diversity and cross-fertilization opportunities presented by the remarkable events of 2016.
This may be the best opportunity jazz lovers will ever have for bringing their case to the broader public. It would be a shame if they squandered it by elitist disdain for the very musicians who are embracing jazz and bringing it to tens of millions of new listeners.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=d9386aa811) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=d9386aa811&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA