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In a Brooklyn Basement, Jazz With a Russian Accent – The New York Times

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http://www.nytimes.com/2016/05/17/nyregion/in-a-brooklyn-basement-jazz-with-a-russian-accent.html?emc=edit_tnt_20160516

** In a Brooklyn Basement, Jazz With a Russian Accent
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By COREY KILGANNON (http://topics.nytimes.com/top/reference/timestopics/people/k/corey_kilgannon/index.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) MAY 16, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/17/nyregion/in-a-brooklyn-basement-jazz-with-a-russian-accent.html?emc=edit_tnt_20160516&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Slide Show (http://www.nytimes.com/slideshow/2016/05/17/nyregion/keeping-soviet-era-jazz-alive-in-brooklyn.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
http://www.nytimes.com/slideshow/2016/05/17/nyregion/keeping-soviet-era-jazz-alive-in-brooklyn.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click

SLIDE SHOW|8 Photos (http://www.nytimes.com/slideshow/2016/05/17/nyregion/keeping-soviet-era-jazz-alive-in-brooklyn.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)

** Keeping Soviet-Era Jazz Alive in Brooklyn (http://www.nytimes.com/slideshow/2016/05/17/nyregion/keeping-soviet-era-jazz-alive-in-brooklyn.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)
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CreditSam Hodgson for The New York Times (http://www.nytimes.com/slideshow/2016/05/17/nyregion/keeping-soviet-era-jazz-alive-in-brooklyn.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click)

In the 1960s and 1970s in Moscow, Nina Brodskaya was a singing star.

“I used to sing for the biggest band in Moscow,” said Ms. Brodskaya, who performed with the illustrious Eddie Rosner Jazz Orchestra in the Soviet Union before she moved to the United States in 1980. She made records here with names like “Moscow-New-York” and “Come to USA” but never equaled the renown she had in the Soviet Union.

But she still appears regularly in a cramped basement alongside a longstanding group of fellow musicians from Russia and other former Soviet-bloc countries who have settled in and around Brighton Beach, the heavily Russian neighborhood in Brooklyn.

There is no audience, but Ms. Brodskaya has the joy of jamming with her fellow immigrants as they gather on Tuesday nights below a dentist’s office in Sheepshead Bay, Brooklyn, in a modest room adorned with posters of American and Russian jazz luminaries.

The musicians are mostly over 60 and often learned jazz clandestinely and resourcefully in Soviet-era Russia, where the authorities were suspicious of people interested in American culture, especially cultural traditions that emphasized improvisation and artistic freedom.

“They would tell us, ‘Today, you’re playing jazz — tomorrow, you’re selling your country,’” recalled Ms. Brodskaya, who was a singer in the band led by Eddie Rosner (http://www.nytimes.com/2002/01/30/style/30iht-zwer30_ed3_.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , a trumpeter and bandleader known as the Polish Louis Armstrong who was imprisoned for years in a Soviet gulag under Stalin.

On a recent Tuesday, Ms. Brodskaya rehearsed two numbers with the band that demonstrated its Russian-American duality: a jazz standard, “Just in Time,” and a Russian song whose title translates to “Save Love.”

The rehearsals are exhaustive three-hour affairs run under the strict baton of the band’s musical director, Zinovy Pritsker, who instructs the musicians in Russian. But reward comes afterward, when a table is set up in the waiting room of the dentist’s office and a bottle of icy vodka is plunked down, along with a meal of herring, potatoes and Russian delicacies.
MUSIC AND DANCE By COREY KILGANNON 00:15 ‘New York, New York’ With a Russian Touch
Video

** ‘New York, New York’ With a Russian Touch
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Lev Pilshik sang a local favorite, “New York, New York” by Frank Sinatra, in Sheepshead Bay, Brooklyn, on May 10. Mr. Pilshik is one of three regular singers in a 20-piece ensemble.
By COREY KILGANNON on Publish DateMay 16, 2016.Watch in Times Video » (http://www.nytimes.com/video/nyregion/100000004411593/new-york-new-york-with-a-russian-touch.html?action=click&contentCollection=meter-links-click&module=meter-Links&region=caption&pgtype=article&version=meter+at+0&contentId=&mediaId=&referrer=&priority=true)
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The group plays mostly big-band classics from the repertoires of Count Basie, Duke Ellington and others, arranged for the band by Mr. Pritsker, 69.
Continue reading the main story (http://www.nytimes.com/2016/05/17/nyregion/in-a-brooklyn-basement-jazz-with-a-russian-accent.html?emc=edit_tnt_20160516&nlid=16833052&tntemail0=y#story-continues-2)

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From the back of the room, the band is propelled by its drummer, Dr. Mark Rosen, 71, whose dental office is upstairs and who named the ensemble the Dr. Mark Rosen Big Band.

Asked about the name, Mr. Pritsker, a formal man with a dark Russian mood, shrugged and said: “What can I tell you? He has the rehearsal space.”

The band plays the occasional Russian wedding or dance at catering halls in Brighton Beach. Sometimes, Russian musicians visiting New York hear about the band and sit in.

But, for the most part, the only outsiders who hear the band are the nighttime dog walkers in the neighborhood who, according to Dr. Rosen, say they love the sound of swinging jazz that seeps out of the basement windows.

The group is mainly a rehearsal band that allows players to stay connected to one another and the music they fell in love with as young musicians.

It was a time when jazz was seen as the decadent music of the West and suppressed, said Dr. Rosen, recalling his years of living under Communism.

The band’s male singer, Lev Pilshik, added, “Jazz was prohibited — if you played it in certain clubs, you might have K.G.B. agents coming and asking about you.”
Photo
Zinovy Pritsker conducts the band’s practices and arranges the music.CreditSam Hodgson for The New York Times

Despite mostly playing for one another, the band has a rare concert (http://tickets.thecuttingroomnyc.com/event/1169775-from-russia-swing-new-york/?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) scheduled on Tuesday night in Manhattan, at the Cutting Room on East 32nd Street.

It was arranged by Mr. Pritsker’s son, Gene Pritsker (http://www.genepritsker.com/?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , who plays guitar in the big band and is also an accomplished modern classical composer whose works are performed at the Cutting Room.

For the gig, Gene Pritsker thought he should come up with a better marketing strategy for a band that is named after a dentist. So for Tuesday’s performance, the band will be rebranded as From Russia with Swing.

Even in jazz-rich New York City, a longstanding big band is rare, much less one of this size: a 20-piece ensemble with five saxophonists, four trombonists, four trumpeters, a four-piece rhythm section and three regular singers.

Most of the band members were classically trained at Russian conservatories but had to learn jazz privately, in secret jam sessions or by acquiring recordings through friends or the black market.

Some members recalled tuning in to the Voice of America on shortwave radio — despite government efforts to jam the signal — for the famous jazz broadcasts of Willis Conover (http://www.nytimes.com/1996/05/19/us/willis-conover-is-dead-at-75-aimed-jazz-at-the-soviet-bloc.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) , who introduced the music to Eastern bloc countries during the Cold War.

“The government didn’t want you listening to the jazz broadcasts, because they felt it was all part of the American propaganda,” said Dr. Rosen, who came to the United States in 1978. One of his patients turned out to be Mr. Pritsker, a saxophonist from Leningrad, who moved to New York the same year and who fell in love with jazz while playing in the Soviet Army band.

Today, the basement rehearsal space has become something of a running joke because of the notion that the musicians are playing “underground jazz,” said Dr. Rosen, who started a big band while in medical school, inspired by performances he saw in Leningrad by Duke Ellington (https://books.google.com/books?id=xggEAAAAMBAJ&pg=PA20&lpg=PA20&dq=ellington+in+leningrad&source=bl&ots=exfgOK6jfV&sig=cKwKR5Ylo0DxWZjpIz4PGa3jjWY&hl=en&sa=X&ved=0ahUKEwib743q29fMAhVDLB4KHWLpA28Q6AEIKTAC#v=onepage&q=ellington%20in%20leningrad&f=false) and Benny Goodman (http://archives.chicagotribune.com/1962/06/21/page/20/article/benny-takes-leningrad-5-000-jazz-casualties?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) with their bands.
Photo
Nina Brodskaya singing with The Dr. Mark Rosen Big Band, which practices in the basement of a dentist’s office in Sheepshead Bay, Brooklyn. CreditSam Hodgson for The New York Times

Those concerts were allowed by the government, Dr. Rosen said, as were certain jazz clubs that catered to tourists, government officials and other important citizens whose patriotism was beyond question. Other than that, jazz performances were suspect.

“We were afraid, but we did it,” Dr. Rosen recalled. “Sometimes the K.G.B. might call you and ask if you’re playing jazz with a certain musician and ask you to watch them.”

Mr. Pritsker said a friend had given him scratchy reel-to-reel tapes of bebop recorded from radio broadcasts that stoked his desire to become a jazzman. But to make money after he moved to New York, he became a piano tuner, if a notoriously temperamental one (http://www.nytimes.com/2015/01/11/nyregion/piano-tuner-is-known-as-a-pro-and-a-scold.html?version=meter+at+0&module=meter-Links&pgtype=article&contentId=&mediaId=&referrer=&priority=true&action=click&contentCollection=meter-links-click) .

He and Dr. Rosen placed advertisements in local Russian newspapers for musicians and formed the band in 1997.

Many of the musicians who responded had played for the best Russian jazz bands but were busking or working modest day jobs in New York.

Lev Barsevov, who plays trumpet, was a black-car driver, while another trumpeter, Aaron Gerskovitch, was a kosher butcher. A saxophone player, Veniamin Popov, worked as a circus clown, which he proved on a recent Tuesday night by contorting his legs above his head while sitting down — even before the vodka was brought out.

Russian immigrants playing American music can result in many cross-cultural moments, and one occurred when the band began hotly debating in Russian the way the English lyrics to “New York, New York” should be delivered.

After a few false starts, Mr. Pritsker shook his head and said in his thickly accented English, “I hope in concert, we don’t have this problem.”

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May 16, 2016 / No Comments / More

Cuba Music Week May 14-22-2016 @ ARC

http://www.jazzpromoservices.com/

Cuba Music Week (http://www.cubamusicweek.org/) is off and running – a online and live week of celebrating the beauty and importance of Cuban Music. It organized by New York’s ARChive of Contemporary Music (http://www.arcmusic.org/) and in conjunction with Havana’s Cubadiscos Festival.

On the first day attended Mambo Memories, Reliving the Palladium Era (https://www.hostos.cuny.edu/culturearts/events/Year2016/March/Mambo-Me2016/MamboMemories.shtml) at the Hostos Center (https://www.hostos.cuny.edu/culturearts/Index.shtml) in the Bronx. Hostos Community College serves the community, and the Center celebrates it. In a concert space rivaling the best in Manhattan the show got of to a big bang, by big band, the Steve Oquendo Mambo Orchestra (SOLJO). It’s still a thrill to hear a 12 piece horn section and this young band was swinging! They have a regular Tuesday night residency at the Mamajuana’s Café (http://www.mamajuanacafebronx.com/) in the Bronx. It’s free and fab, I urge everyone to check them out!

http://arcmusic.org/wp-content/uploads/Screen-Shot-2016-05-15-at-10.56.18-AM-copy.jpg

It’s still a thrill to hear a 12 piece horn section and this young band was swinging! The night features a good overview of the music that made up the era and featured short sets by Frankie Figueroa, Nayibe La Gitana, Orlando Marín (pointing out that as the FOURTH best mambo bandleader he was a tad overlooked by the press), Frankie Morales, Papo Pepín, Cita Rodríguez and the Eddie Torres Dancers, Radio stalwart Vicki Solá was Mistress of Ceremonies.Highlights for me was vocalist Frankie Figueroa, with a showmanship series of moves mimicking a boxing bout, and the main reason I attended, a chance to meet and hear conguero Cándido Camero.
IMG_3320 copy
The 95 year old Candido (https://en.wikipedia.org/wiki/Candido_Camero) was still vibrant and a quite a showman, despite a natural slowdown that comes with age. He was kind enough to sign one of my favorite albums by him and allow us to take a few pictures (here with ARC Director. B. George.) By the way we have 19 LPs by Candido here at ARC.

You can see all events and activities, as well as pages of essays, videos, books, databases celebrating Cuban Music at www.cubamusicweek.org (http://www.cubamusicweek.org/)

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/)

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

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Jazz Promo Services
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May 16, 2016 / No Comments / More

Cuba Music Week May 14-22-2016 @ ARC

http://www.jazzpromoservices.com/

http://arcmusic.org/wp-content/uploads/Screen-Shot-2016-05-15-at-10.56.18-AM-copy.jpg

You can see all events and activities, as well as pages of essays, videos, books, databases celebrating Cuban Music at www.cubamusicweek.org (http://www.cubamusicweek.org/)

Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler

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)

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

May 16, 2016 / No Comments / More

Cuba Music Week May 14-22-2016 @ ARC

http://www.jazzpromoservices.com/

http://arcmusic.org/wp-content/uploads/Screen-Shot-2016-05-15-at-10.56.18-AM-copy.jpg

You can see all events and activities, as well as pages of essays, videos, books, databases celebrating Cuban Music at www.cubamusicweek.org (http://www.cubamusicweek.org/)

Emeritus Board: David Bowie, Michael Feinstein, Ellie Greenwich, John Hammond,
Jerry Leiber, Lou Reed and Jerry Wexler

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)

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

May 16, 2016 / No Comments / More

Jimmy McGiff – Keep Loose (Live Video – late 60’s): JazzWax

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** JazzWax
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** Jimmy McGriff: Late 1969 (http://p.feedblitz.com/r3.asp?l=116309398&f=984327&u=28498183&c=5167980)
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http://p.feedblitz.com/t3.asp?/984327/28498183/5167980_/feeds.feedblitz.com/~/t/0/0/jazzwax/~marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1e365fb970c-popup
In the 1960s, organist Jimmy McGriff had a more pointed attack on the keyboards than many Hammond organists of the period. His approach was percussive and funky, with a strong dose of the blues. McGriff had been childhood friends with organ pioneer Jimmy Smith, and organist Richard “Groove” Holmes gave him lessons. He also studied at the Juilliard School of Music and with Smith and Milt Buckner among others. In the 1960s, McGriff became the house organist at clubs in Philadelphia, backing marquee musicians and singers who toured through town. McGriff’s punctuating organ style resulted in several soul-jazz hits in the ’60s, and he joined the Solid State label in 1966 as the label’s premiere artist.

In late 1969 (according to Jet magazine), McGriff was on tour in Europe with Leo Johnson (ts), Larry Frazier (g) and Jesse Kilpatrick (d). Here (http://p.feedblitz.com/t3.asp?/984327/28498183/5167980_/feeds.feedblitz.com/~/t/0/0/jazzwax/~https://www.youtube.com/watch?v=SNnaFKZuBtg) they are in Paris playing Keep Loose…

http://p.feedblitz.com/r3.asp?l=116309398&f=984327&u=28498183&c=5167980

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Jimmy McGiff – Keep Loose (Live Video – late 60’s): JazzWax

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Jimmy McGiff – Keep Loose (Live Video – late 60’s): JazzWax

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The Trombone Comes Home – The New York Times

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http://www.nytimes.com/2016/05/15/opinion/sunday/the-trombone-comes-home.html?_r=0

** The Trombone Comes Home
————————————————————

By ALVIN CURRANMAY 14, 2016

Espen Friberg

ROME — MY father, Marty Curran, known as Charlie after he took over Charles’s Liquor Store, was a Yiddish-speaking second baseman on the Hope High School team in Providence, R.I., and, unlike his cornet-playing brother Bob and sister Adele, played the trombone.

Sunday afternoons he took his horn, and me as page turner, to a vaudeville theater in Pawtucket, where he played in a stage band for sundry down-home acts who opened for a Hollywood feature film that we in the band watched backward from the far side of the screen. The trombone was off limits to me as a young musician; the only instrument I was supposed to learn was the piano. But the 1910 Olds trombone in its green velvet-lined case, exuding an inviting smell of mold mixed with slide oil, seduced me.

The horn was put away during my father’s liquor store days, but when hard times hit a few years later he took it out again, bought himself a cheap double bass, and formed a lasting and successful 1950s bar mitzvah band: the Marty Curran Orchestra, complete with signed white-and-blue folding cardboard music stands and a brochure stating “Music for Every Occasion.”

By then I’d long since stolen into the upstairs closet where the trombone was stored, found some moth-eaten beginner’s trombone book, and taught myself to play well enough to become the whole trombone section of the Summit Avenue Elementary School Orchestra, whose chaotic, detuned chance music I have been trying to emulate ever since. In the end my father didn’t mind, but he said, “Don’t tell Mrs. Einstein” (my piano teacher from Odessa).
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At the serious age of 11, I formed a dance band with my buddy, Joe McCarthy, who played percussion. I’d begun to get the hang of piano chords, but what I really wanted was to be able to play those changes on the trombone, to be one of those players who can make the band sound like some contrapuntal gearbox where the trombone tailgates — ripping, growling, sliding and blat-farting — as if imposing order on a floor of 300 bumper cars.

The kids fell out of their seats in the Nathan Bishop Junior High assembly hall when Joe and I hit “Ain’t She Sweet” on trombone and drums. Later, with other kids, we formed a no-name dance band playing standards from stilted written-out arrangements called “combo-orks.” I was the trombonist but wanted to be the pianist — the other kid wasn’t really good enough. The trombone was a good friend, but the piano was clearly becoming me.

By the time I graduated from Classical High the piano had become my main instrument, but the trombone gave me a seat in the Brown University symphony orchestra directed by the inspiring Marty Fischer, and a place in the band. So I found out what Brahms were, and learned how a wacky marching band could walk randomly on a football field playing Bugs Bunnyesque music for the Ivy League. I’ve been orchestrating brass ever since.

In 1960 I disappeared into the murky dodecaphonic seas of the Yale School of Music and placed my dad’s trombone in mothballs. But first I gave it one last oil swipe with the Leonard Suess band at the Dunes Hotel in Las Vegas. Leonard played the trumpet and did a ventriloquist act with a hand-held puppet whose name I’ve forgotten. I was mainly the group’s pianist, but since three of us played the trombone Leonard concocted a “Seventy-Six Trombones” number complete with unison choreography — a winner with any mob of patriotic alcoholics.

After that the trombone went back to rest in that upstairs closet in Providence, where it stayed until the late 80s. When my father died, I thought I might want to use it in a new composition, and I brought it down from Overhill Road to New York. But the old thin black trombone case landed in the basement of my friend Melissa Gould’s apartment building and there, after a shake-up of the tenants’ storage spaces, it disappeared.

I was heartbroken. That horn was my one material musical link to my father and to my own early years. My ambition to search for it in all the pawn shops in the city melted in the summer heat. One old Olds was missing in action — gone, just had to live with it.

Like a religious icon, that simple instrument had been a powerful catalyst in my becoming a professional music maker. Its primitive brass tubing, curves and spit-valve and all, was itself a resonant gesture, resembling a person about to start making music. For me, it was the essence of unabashed musical Americana, its mouthpiece an amalgam of chopped liver, Mom’s tuna salad, kosher hot dogs, kasha and planetary garlic breath fused with silver and steel and a century of house mold. Gone, it left only a tarnished brass memory. For years, the pristine analog sound of Kid Ory on Dixie trombone could make me stop, listen and open a nostalgic bottle of India Pale Ale any time of day or night.

A few months ago, Melissa moved from her longtime Fifth Avenue apartment to a place in the country, and amid her things piled high, misplaced, or forgotten in the basement emerged a slim black musty instrument case. It was it, and on the inside the instrument was intact. She emailed videos immediately to me in Rome, proof it was real: trombone life after death, a brass miracle, then bubble-wrapped the case to the hilt and Fedexed it over.
Continue reading the main story

I let it sit for a few days to acclimatize. Then with my wife, Susan, snapping pictures I carefully removed the layers of wrappings one at a time with a kitchen knife — and then opened the latches to reveal an unpolished silent brass corpse inside, smelling exactly the same as it did when I surreptitiously opened that case for the first time some 70 years earlier in Providence.

I took it out, assembled the beautiful, slender parts, deposited some spit on the slide, which worked smoothly, and proceeded to play the prelude to the third act of “Lohengrin,” which I had never before tried in my life. I got through three arpeggios before my lip turned blue, and I felt as if I had just had a triple bypass while standing on two feet. Soon Marty’s childhood horn will forget that it ever spoke Yiddish and start speaking proper Italian.

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May 16, 2016 / No Comments / More

The Trombone Comes Home – The New York Times

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http://www.nytimes.com/2016/05/15/opinion/sunday/the-trombone-comes-home.html?_r=0

** The Trombone Comes Home
————————————————————

By ALVIN CURRANMAY 14, 2016

Espen Friberg

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The Trombone Comes Home – The New York Times

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http://www.nytimes.com/2016/05/15/opinion/sunday/the-trombone-comes-home.html?_r=0

** The Trombone Comes Home
————————————————————

By ALVIN CURRANMAY 14, 2016

Espen Friberg

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Our Hero and His Blues: Celebrating Albert Murray – Los Angeles Review of Books

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** Our Hero and His Blues: Celebrating Albert Murray – Los Angeles Review of B… (https://lareviewofbooks.org/article/hero-blues-celebrating-albert-murray/)
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Clifford Thompson celebrates Albert Murray 100th birthday by taking an in-depth look at his life’s work (https://lareviewofbooks.org/article/hero-blues-celebrating-albert-murray/)

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Our Hero and His Blues: Celebrating Albert Murray – Los Angeles Review of Books

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Our Hero and His Blues: Celebrating Albert Murray – Los Angeles Review of Books

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Dr. Lonnie Smith w/ Tavis Smiley….

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Organist & Musician Dr. Lonnie Smith | Interviews | Tavis Smiley | PBS (http://www.pbs.org/wnet/tavissmiley/interviews/organist-musician-dr-lonnie-smith/)

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** Organist & Musician Dr. Lonnie Smith | Interviews | Tavis Smiley | PBS (http://www.pbs.org/wnet/tavissmiley/interviews/organist-musician-dr-lonnie-smith/)
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The legendary organist joins us to discuss his remarkable career and shares about his new album, “Evolution… (http://www.pbs.org/wnet/tavissmiley/interviews/organist-musician-dr-lonnie-smith/)

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Dr. Lonnie Smith w/ Tavis Smiley….

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Organist & Musician Dr. Lonnie Smith | Interviews | Tavis Smiley | PBS (http://www.pbs.org/wnet/tavissmiley/interviews/organist-musician-dr-lonnie-smith/)

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Dr. Lonnie Smith w/ Tavis Smiley….

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Jazz icon, trombonist Buster Cooper dies at 87 in St. Petersburg | Tampa Bay Times

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http://www.tampabay.com/news/obituaries/jazz-icon-trombonist-buster-cooper-dies-at-87-in-st-petersburg/2277310

** Jazz icon, trombonist Buster Cooper dies at 87 in St. Petersburg
————————————————————

Fridays at the Garden were special. Buster Cooper made them so.

Before there was a bustling restaurant and brewery on every corner in St. Petersburg, the veteran jazz trombonist’s sets at the Central Avenue restaurant drew regular crowds of admirers and aficionados, and occasionally great touring acts who stopped by to pay homage.

Mr. Cooper, a jazz icon in Tampa Bay and beyond, died at age 87 at his St. Petersburg home Friday after a battle with prostate cancer.

On those humid nights at the Garden, enveloped by a banyan tree and the bricks of the ancient Detroit Hotel, George “Buster” Cooper was the star of the city that spawned him, that put him on a path toward gigs for presidents and monarchs alongside the world’s most decorated musicians, including a decade on the road with Duke Ellington.

He leaves behind countless memories at the long-gone restaurant, “of people leaning over the railing and listening to the band,” said the Garden’s former owner Emmanuel Roux. But he also leaves a legacy as one of Florida’s most celebrated jazz artists, both abroad and in his own back yard.

Born on the cusp of the Great Depression and educated at Gibbs High School, he picked up his first trombone from a music store on Central and studied under local jazz legend Al Downing, gigging when he could at “Chitlin’ Circuit” venues like the Manhattan Casino. After a few tours of the Midwest he joined his brother Steve, a bassist, in New York, to play with the big band leader Lionel Hampton.

Discerning ears, including Ellington’s, picked up on his distinctive sound. His virtuosic talent was deeply rooted in the blues, with a distinct approach to rhythm and melody, pulling deep baritones and squeaky falsettos out of the rangiest positions on the slide.

“He played what he felt and what he heard,” said John Lamb, who played bass alongside Mr. Cooper in Ellington’s band, and who became a good friend and neighbor. “It duplicated his vocal, and the way he talked. He was singing into his horn.”

So unique was his style that Ellington even wrote a song for him: Trombone Buster. But he befriended and backed so many legends over the years: Josephine Baker, Benny Goodman, Ella Fitzgerald, Cannonball Adderley, a young Quincy Jones. Wynton Marsalis revered him. Mr. Cooper was in such demand that he once turned down a personal entreaty to tour with Ray Charles.

“Imagine that,” he mused to the Times upon the singer’s death in 2004. “But if I wanted to go back on the road, I could have been back with Duke.”

Mr. Cooper could have gone out with anyone. He played for President Lyndon B. Johnson at the White House, inauguration parties for Presidents John F. Kennedy and Richard Nixon, Queen Elizabeth in London, South Africa during apartheid. He spent more than two decades in Los Angeles, booking session and soundtrack gigs, everything from Moonlighting and Murder, She Wrote to A League of Their Own. And he continued booking festivals and cruise ships around the world.

For a brief while in the 1970s, Mr. Cooper and Sarah, his wife of many decades, moved back to St. Petersburg. It didn’t work, she said, because even then, “a black musician couldn’t get any work.” But they always returned to visit family, and in 1994, they came back for good.

Back then, the Garden’s jazz night was run by Lamb, who offered Cooper the chance to take it over. He wore suits, charmed audiences, welcomed countless young musicians into his band for a night or maybe longer. He became such a fixture of St. Petersburg’s nightlife scene that in 2010, the city proclaimed June 20 “Buster Cooper Day.”

He never saw his Garden residency as a twilight gig, something to ease his creative spirit into retirement. One night over drinks at the Garden, his then-guitarist Nate Najar made the mistake of asking him why he chose to retire in St. Petersburg.

“Wait, wait, wait, young man,” Mr. Cooper spat. “What do you mean, ‘retire?’ Retire from what? I’m a musician! I play music! What am I gonna retire to?”

“And he was right,” Najar said Friday. “He played until he couldn’t hold the horn to his lips anymore. There was nothing retired about him.”

His last gig came in February at the St. Petersburg Shuffleboard Club. But he wished he could play more, practicing two hours a night at home.

Mr. Cooper relished every compliment he got, from fans who knew his impeccable jazz lineage to Central Avenue tourists simply lured in by the sound of his trombone.

“For us to just go partake of Buster’s friendship on those nights, and have him there for such a long time, was a real gift,” said Bob Seymour, president of the Tampa Jazz Club. “You’d say, somewhere along the way, ‘Nice to see you.’ And Buster would invariably look back with a twinkle in his eye and say, ‘It’s good to be seen.’ ”

Contact Jay Cridlin at cridlin@tampabay.com or (727) 893-8336. Follow @JayCridlin.

. biography

George “Buster” Cooper

Born: April 4, 1929

Died: May 13, 2016

Survivors: Wife, Sarah; sister, Alice Bradley; daughter, Faye.

Services: Funeral services have not yet been scheduled, but the family is planning a public memorial concert for June 25 in St. Petersburg. Those details are still in the works.

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