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Jazzed About ‘The King of Jazz’ | Leonard Maltin
http://www.jazzpromoservices.com/
http://blogs.indiewire.com/leonardmaltin/jazzed-about-the-king-of-jazz-20160510?utm_medium=sailthru_newsletter
** Jazzed About ‘The King of Jazz’
————————————————————
By Leonard Maltin | Leonard Maltin
King of Jazz-James Layton-David Pierce
For a number of people I know, the movie event of the year doesn’t involve superheroes or special effects: it’s a restoration of the 1930 Technicolor musical The King of Jazz. This early-talkie extravaganza was unavailable for many years, and when it surfaced there were questions about how authentic it was to the two-color Technicolor process of that era. (After all, the showpiece is conductor Paul Whiteman’s performance of the George Gershwin “Rhapsody in Blue”—in a medium that could only reveal variations of red and green.) What’s more, the print that circulated was a shortened 1933 reissue version.
Paul Whiteman-King of Jazz promo still
A youthful “Junior” Laemmle joins his father, Universal founder Carl Laemmle and bandleader Paul Whiteman to promote ‘The King of Jazz,’ which wound up costing a fortune and taking much longer to produce than anyone anticipated
Now, thanks to a major commitment from Universal, the Library of Congress, and the Vitaphone Project (which supplied pristine soundtrack discs), the movie has been given a thorough—and costly—renovation. I envy my friends who will get to see it this Friday at the Museum of Modern Art in New York City.
I also can’t wait to see the coffee-table book that David Pierce and James Layton have produced in conjunction with this event. Fortunately,they exceeded their original goal on Kickstarter and have extended the fund-raising effort for this lavish endeavor. You can learn more about it HERE (https://www.kickstarter.com/projects/587220788/king-of-jazz-paul-whitemans-technicolor-revue) .
The Rhythm Boys and Bing Crosby
Paul Whiteman’s Rhythm Boys: that’s Bing Crosby in the middle
The King of Jazz is a wonderful artifact of its time, when bandleader Paul Whiteman was a household name. Billed as a musical revue, it has no plot, just a string of songs, skits, and elaborate production numbers. Whiteman’s vocal trio, The Rhythm Boys, featured a future star in his first screen appearance: Bing Crosby. There is also an animated sequence provided by Walter Lantz that spotlights the great swing violinist Joe Venuti.
King of Jazz-Two Tone Technicolor
I am hopeful that this movie will be screened around the country and, in time, be made available for home viewing as well.
In the meantime, MoMA curator Dave Kehr is using it to kick off a fascinating tribute to Universal called Universal Pictures: Restorations and Rediscoveries 1928-1937 that focuses on the early-talkie era when the studio was run by Carl Laemmle, Jr., the founder’s son. “Junior” Laemmle, as he was known, took many risks and made a number of daring and exceptional movies. Some, like Dracula andFrankenstein, are classics, but others have gone unappreciated (and largely unseen) in recent times. The MoMA shows seeks to rectify that situation and includes a number of rare titles, many of them restored in 35mm by Universal, others coming from archives overseas.
King of Jazz Ad-Playing at the Capital
Just last year I wrote about my interest in The Road Back (1937), the little-known sequel to All Quiet on the Western Front directed by the great James Whale. (read my column HERE (http://blogs.indiewire.com/leonardmaltin/grand-finale-for-cinefest-20150324) ) MoMA is showing a longer print than the one Universal reissued in 1939, along with the “butchered” version, although the 105 minute cut that Whale debuted in 1937 is still lost. On the brighter side, there are early films from director William Wyler (including a comedy vehicle for Slim Summerville and ZaSu Pitts), and work by unsung heroes like Edward L. Cahn, Tay Garnett, and John M. Stahl. You can find the calendar listing and Dave Kehr’s program notes HERE (http://www.moma.org/calendar/film/1642?locale=en) .
As my mentor/hero William K. Everson always said, saving a film is pointless if no one gets to see it. That’s why this show is so exciting and so relevant.
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
Jazzed About ‘The King of Jazz’ | Leonard Maltin
http://www.jazzpromoservices.com/
http://blogs.indiewire.com/leonardmaltin/jazzed-about-the-king-of-jazz-20160510?utm_medium=sailthru_newsletter
** Jazzed About ‘The King of Jazz’
————————————————————
By Leonard Maltin | Leonard Maltin
King of Jazz-James Layton-David Pierce
For a number of people I know, the movie event of the year doesn’t involve superheroes or special effects: it’s a restoration of the 1930 Technicolor musical The King of Jazz. This early-talkie extravaganza was unavailable for many years, and when it surfaced there were questions about how authentic it was to the two-color Technicolor process of that era. (After all, the showpiece is conductor Paul Whiteman’s performance of the George Gershwin “Rhapsody in Blue”—in a medium that could only reveal variations of red and green.) What’s more, the print that circulated was a shortened 1933 reissue version.
Paul Whiteman-King of Jazz promo still
A youthful “Junior” Laemmle joins his father, Universal founder Carl Laemmle and bandleader Paul Whiteman to promote ‘The King of Jazz,’ which wound up costing a fortune and taking much longer to produce than anyone anticipated
Now, thanks to a major commitment from Universal, the Library of Congress, and the Vitaphone Project (which supplied pristine soundtrack discs), the movie has been given a thorough—and costly—renovation. I envy my friends who will get to see it this Friday at the Museum of Modern Art in New York City.
I also can’t wait to see the coffee-table book that David Pierce and James Layton have produced in conjunction with this event. Fortunately,they exceeded their original goal on Kickstarter and have extended the fund-raising effort for this lavish endeavor. You can learn more about it HERE (https://www.kickstarter.com/projects/587220788/king-of-jazz-paul-whitemans-technicolor-revue) .
The Rhythm Boys and Bing Crosby
Paul Whiteman’s Rhythm Boys: that’s Bing Crosby in the middle
The King of Jazz is a wonderful artifact of its time, when bandleader Paul Whiteman was a household name. Billed as a musical revue, it has no plot, just a string of songs, skits, and elaborate production numbers. Whiteman’s vocal trio, The Rhythm Boys, featured a future star in his first screen appearance: Bing Crosby. There is also an animated sequence provided by Walter Lantz that spotlights the great swing violinist Joe Venuti.
King of Jazz-Two Tone Technicolor
I am hopeful that this movie will be screened around the country and, in time, be made available for home viewing as well.
In the meantime, MoMA curator Dave Kehr is using it to kick off a fascinating tribute to Universal called Universal Pictures: Restorations and Rediscoveries 1928-1937 that focuses on the early-talkie era when the studio was run by Carl Laemmle, Jr., the founder’s son. “Junior” Laemmle, as he was known, took many risks and made a number of daring and exceptional movies. Some, like Dracula andFrankenstein, are classics, but others have gone unappreciated (and largely unseen) in recent times. The MoMA shows seeks to rectify that situation and includes a number of rare titles, many of them restored in 35mm by Universal, others coming from archives overseas.
King of Jazz Ad-Playing at the Capital
Just last year I wrote about my interest in The Road Back (1937), the little-known sequel to All Quiet on the Western Front directed by the great James Whale. (read my column HERE (http://blogs.indiewire.com/leonardmaltin/grand-finale-for-cinefest-20150324) ) MoMA is showing a longer print than the one Universal reissued in 1939, along with the “butchered” version, although the 105 minute cut that Whale debuted in 1937 is still lost. On the brighter side, there are early films from director William Wyler (including a comedy vehicle for Slim Summerville and ZaSu Pitts), and work by unsung heroes like Edward L. Cahn, Tay Garnett, and John M. Stahl. You can find the calendar listing and Dave Kehr’s program notes HERE (http://www.moma.org/calendar/film/1642?locale=en) .
As my mentor/hero William K. Everson always said, saving a film is pointless if no one gets to see it. That’s why this show is so exciting and so relevant.
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=ef9d1f83e0) | 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=ef9d1f83e0&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
Jazzed About ‘The King of Jazz’ | Leonard Maltin
http://www.jazzpromoservices.com/
http://blogs.indiewire.com/leonardmaltin/jazzed-about-the-king-of-jazz-20160510?utm_medium=sailthru_newsletter
** Jazzed About ‘The King of Jazz’
————————————————————
By Leonard Maltin | Leonard Maltin
King of Jazz-James Layton-David Pierce
For a number of people I know, the movie event of the year doesn’t involve superheroes or special effects: it’s a restoration of the 1930 Technicolor musical The King of Jazz. This early-talkie extravaganza was unavailable for many years, and when it surfaced there were questions about how authentic it was to the two-color Technicolor process of that era. (After all, the showpiece is conductor Paul Whiteman’s performance of the George Gershwin “Rhapsody in Blue”—in a medium that could only reveal variations of red and green.) What’s more, the print that circulated was a shortened 1933 reissue version.
Paul Whiteman-King of Jazz promo still
A youthful “Junior” Laemmle joins his father, Universal founder Carl Laemmle and bandleader Paul Whiteman to promote ‘The King of Jazz,’ which wound up costing a fortune and taking much longer to produce than anyone anticipated
Now, thanks to a major commitment from Universal, the Library of Congress, and the Vitaphone Project (which supplied pristine soundtrack discs), the movie has been given a thorough—and costly—renovation. I envy my friends who will get to see it this Friday at the Museum of Modern Art in New York City.
I also can’t wait to see the coffee-table book that David Pierce and James Layton have produced in conjunction with this event. Fortunately,they exceeded their original goal on Kickstarter and have extended the fund-raising effort for this lavish endeavor. You can learn more about it HERE (https://www.kickstarter.com/projects/587220788/king-of-jazz-paul-whitemans-technicolor-revue) .
The Rhythm Boys and Bing Crosby
Paul Whiteman’s Rhythm Boys: that’s Bing Crosby in the middle
The King of Jazz is a wonderful artifact of its time, when bandleader Paul Whiteman was a household name. Billed as a musical revue, it has no plot, just a string of songs, skits, and elaborate production numbers. Whiteman’s vocal trio, The Rhythm Boys, featured a future star in his first screen appearance: Bing Crosby. There is also an animated sequence provided by Walter Lantz that spotlights the great swing violinist Joe Venuti.
King of Jazz-Two Tone Technicolor
I am hopeful that this movie will be screened around the country and, in time, be made available for home viewing as well.
In the meantime, MoMA curator Dave Kehr is using it to kick off a fascinating tribute to Universal called Universal Pictures: Restorations and Rediscoveries 1928-1937 that focuses on the early-talkie era when the studio was run by Carl Laemmle, Jr., the founder’s son. “Junior” Laemmle, as he was known, took many risks and made a number of daring and exceptional movies. Some, like Dracula andFrankenstein, are classics, but others have gone unappreciated (and largely unseen) in recent times. The MoMA shows seeks to rectify that situation and includes a number of rare titles, many of them restored in 35mm by Universal, others coming from archives overseas.
King of Jazz Ad-Playing at the Capital
Just last year I wrote about my interest in The Road Back (1937), the little-known sequel to All Quiet on the Western Front directed by the great James Whale. (read my column HERE (http://blogs.indiewire.com/leonardmaltin/grand-finale-for-cinefest-20150324) ) MoMA is showing a longer print than the one Universal reissued in 1939, along with the “butchered” version, although the 105 minute cut that Whale debuted in 1937 is still lost. On the brighter side, there are early films from director William Wyler (including a comedy vehicle for Slim Summerville and ZaSu Pitts), and work by unsung heroes like Edward L. Cahn, Tay Garnett, and John M. Stahl. You can find the calendar listing and Dave Kehr’s program notes HERE (http://www.moma.org/calendar/film/1642?locale=en) .
As my mentor/hero William K. Everson always said, saving a film is pointless if no one gets to see it. That’s why this show is so exciting and so relevant.
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=ef9d1f83e0) | 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=ef9d1f83e0&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
Ursula Mamlok, Avant-Garde Composer, Dies at 93 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html
** Ursula Mamlok, Avant-Garde Composer, Dies at 93
————————————————————
By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MAY 6, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html#story-continues-1) Share This Page
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Ursula Mamlok, who fled Nazi Germany and became a fixture on the New York music scene, in an undated photograph. Berrini Films
Ursula Mamlok, a German-born composer who fled the Nazis and went on to establish an esteemed career in New York, died on Wednesday in Berlin. She was 93.
Her death was announced by Bridge Records, which has released five albums of her work (http://bridgerecords.com/search?q=Mamlok) .
Ms. Mamlok, who moved back to Berlin 10 years ago, was for decades a fixture of the New York contemporary music scene. A longtime faculty member of the Manhattan School of Music (http://www.msmnyc.edu/) , she was known in particular for her chamber music, piano works and vocal pieces.
Her compositions have been performed by some of the world’s leading soloists, orchestras and chamber ensembles, among them the oboist Heinz Holliger, the pianist Garrick Ohlsson, the San Francisco Symphony, the Daedalus Quartet and the Da Capo Chamber Players.
Her best-known works include an oboe concerto, recorded by Mr. Holliger (https://www.youtube.com/watch?v=9MzsVVGYYhE) ; a song cycle, “Der Andreas (https://www.youtube.com/watch?v=3Gq79ZKZEDA) Garten (https://www.youtube.com/watch?v=3Gq79ZKZEDA) ,” with text by her husband, Dwight Mamlok, a businessman and poet; “Stray Birds (https://www.youtube.com/watch?v=GZ6ViLEPohg) ,” a setting for voice, flute and cello of poems by Rabindranath Tagore (http://www.nobelprize.org/nobel_prizes/literature/laureates/1913/tagore-bio.html) ; and “Sintra,” for alto flute and cello.
Though Ms. Mamlok often employed the techniques of serial music, her style defied ready categorization. (Devised by Arnold Schoenberg, serial, or 12-tone, music (https://www.youtube.com/watch?v=6o7poILFfKQ) entails using all 12 notes of the Western chromatic scale in equal proportion throughout a work.)
Continue reading the main story
Her music could be atonal, but it was often less so — and, as a result, less forbidding-sounding — than that of other avant-gardists. Critics praised its deliberate, economical spareness; its light, almost pointillist aspect; its sense of wit and play; and its almost palpable emotional clarity.
Reviewing a program (http://www.nytimes.com/1987/10/08/arts/music-ursula-mamlok.html) of Ms. Mamlok’s work at Merkin Concert Hall in Manhattan in 1987, Michael Kimmelman wrote in The New York Times that “when she works in serial forms,” Ms. Mamlok’s music “is relieved of crabbed knottiness; even at its most dissonant, the textures remain crystal clear, allowing each instrument in an ensemble to have its say.”
Ursula Meyer was born in Berlin on Feb. 1, 1923. Her father, Hans, died when she was a baby; a few years later, on the remarriage of her mother, the former Thea Goldberg, to Hans Lewy, Ursula took his surname.
Ursula began composing as a child and studied piano and composition in Berlin. Once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music.
Ms. Mamlok was known for chamber music and piano works marked, critics said, by their spareness and sense of play. Martin Sachse/ullstein bild, via Getty Images
After the Kristallnacht pogrom of November 1938, the family determined to leave the country. In early 1939 they made their way to Guayaquil, Ecuador, where they had relatives.
Chafing at the lack of musical education there, Ursula had her mother ask the American consul in Guayaquil to petition conservatories in the United States to admit her.
On the strength of his letter — and of the score of one of Ursula’s compositions, which was enclosed — the Mannes School of Music (http://www.newschool.edu/mannes/) , as it is now known, offered her a full scholarship.
In 1940, at 17, Ursula traveled alone to New York to begin her studies; she Americanized her surname to Lewis after her arrival. Her parents were able to join her the next year.
Continue reading the main story
At Mannes, she studied composition with the distinguished conductor George Szell, himself a recent refugee from Hungary. A tonal traditionalist, he steeped her in the approach of 19th-century masters like Brahms.
In 1944, wanting to learn modernist techniques, she studied with the composer Ernst Krenek (http://orelfoundation.org/index.php/composers/article/ernst_krenek/) at Black Mountain College (http://www.blackmountaincollege.org/history/) , then a mecca for members of the European avant-garde. She later studied with Stefan Wolpe (http://www.wolpe.org/page1/page1.html) , Roger Sessions (http://www.arkivmusic.com/classical/Name/Roger-Sessions/Composer/11061-1) , Ralph Shapey (http://www.milkenarchive.org/people/view/all/625/Shapey,+Ralph) and Vittorio Giannini (http://www.naxos.com/person/Vittorio_Giannini/22311.htm) .
Ms. Mamlok, who became an American citizen, received bachelor’s and master’s degrees from the Manhattan School of Music in the 1950s.
Over the years she also taught at New York University, the City University of New York and Temple University. Her honors include a Guggenheim fellowship and the Walter Hinrichsen Award for composition from the American Academy of Arts and Letters.
Ms. Mamlok’s husband, whom she married in 1947, died in 2005. No immediate family members survive.
Her other compositions include “Five Intermezzi (https://www.youtube.com/watch?v=ovpBJWJDiNE&list=PLdCRGo1njnsd0D9nQb4NFFBHEysgNRAB6) ,” for solo guitar; “Aphorisms (https://www.youtube.com/watch?v=VUyoWEUKojs) ,” for solo violin; “Above Clouds,” for viola and piano; and “Haiku Settings (https://www.youtube.com/watch?v=Q9Lna7zzcxw) ,” for soprano and flute.
Her work has also been recorded on the CRI, Newport Classic, Opus One and Centaur labels.
Although Ms. Mamlok was every inch an avant-gardist, she had little truck with electronic music, as she told the journalist Bruce Duffie (http://www.kcstudio.com/mamlok.html) in a 1996 interview:
“Unfortunately I have no connection to it,” she said. “I’ve written one electronic piece. I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can’t do this.’ I’d rather use the pencil.”
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=811aae870f) | 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=811aae870f&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
Ursula Mamlok, Avant-Garde Composer, Dies at 93 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html
** Ursula Mamlok, Avant-Garde Composer, Dies at 93
————————————————————
By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MAY 6, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html#story-continues-1) Share This Page
*
*
*
*
*
Ursula Mamlok, who fled Nazi Germany and became a fixture on the New York music scene, in an undated photograph. Berrini Films
Ursula Mamlok, a German-born composer who fled the Nazis and went on to establish an esteemed career in New York, died on Wednesday in Berlin. She was 93.
Her death was announced by Bridge Records, which has released five albums of her work (http://bridgerecords.com/search?q=Mamlok) .
Ms. Mamlok, who moved back to Berlin 10 years ago, was for decades a fixture of the New York contemporary music scene. A longtime faculty member of the Manhattan School of Music (http://www.msmnyc.edu/) , she was known in particular for her chamber music, piano works and vocal pieces.
Her compositions have been performed by some of the world’s leading soloists, orchestras and chamber ensembles, among them the oboist Heinz Holliger, the pianist Garrick Ohlsson, the San Francisco Symphony, the Daedalus Quartet and the Da Capo Chamber Players.
Her best-known works include an oboe concerto, recorded by Mr. Holliger (https://www.youtube.com/watch?v=9MzsVVGYYhE) ; a song cycle, “Der Andreas (https://www.youtube.com/watch?v=3Gq79ZKZEDA) Garten (https://www.youtube.com/watch?v=3Gq79ZKZEDA) ,” with text by her husband, Dwight Mamlok, a businessman and poet; “Stray Birds (https://www.youtube.com/watch?v=GZ6ViLEPohg) ,” a setting for voice, flute and cello of poems by Rabindranath Tagore (http://www.nobelprize.org/nobel_prizes/literature/laureates/1913/tagore-bio.html) ; and “Sintra,” for alto flute and cello.
Though Ms. Mamlok often employed the techniques of serial music, her style defied ready categorization. (Devised by Arnold Schoenberg, serial, or 12-tone, music (https://www.youtube.com/watch?v=6o7poILFfKQ) entails using all 12 notes of the Western chromatic scale in equal proportion throughout a work.)
Continue reading the main story
Her music could be atonal, but it was often less so — and, as a result, less forbidding-sounding — than that of other avant-gardists. Critics praised its deliberate, economical spareness; its light, almost pointillist aspect; its sense of wit and play; and its almost palpable emotional clarity.
Reviewing a program (http://www.nytimes.com/1987/10/08/arts/music-ursula-mamlok.html) of Ms. Mamlok’s work at Merkin Concert Hall in Manhattan in 1987, Michael Kimmelman wrote in The New York Times that “when she works in serial forms,” Ms. Mamlok’s music “is relieved of crabbed knottiness; even at its most dissonant, the textures remain crystal clear, allowing each instrument in an ensemble to have its say.”
Ursula Meyer was born in Berlin on Feb. 1, 1923. Her father, Hans, died when she was a baby; a few years later, on the remarriage of her mother, the former Thea Goldberg, to Hans Lewy, Ursula took his surname.
Ursula began composing as a child and studied piano and composition in Berlin. Once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music.
Ms. Mamlok was known for chamber music and piano works marked, critics said, by their spareness and sense of play. Martin Sachse/ullstein bild, via Getty Images
After the Kristallnacht pogrom of November 1938, the family determined to leave the country. In early 1939 they made their way to Guayaquil, Ecuador, where they had relatives.
Chafing at the lack of musical education there, Ursula had her mother ask the American consul in Guayaquil to petition conservatories in the United States to admit her.
On the strength of his letter — and of the score of one of Ursula’s compositions, which was enclosed — the Mannes School of Music (http://www.newschool.edu/mannes/) , as it is now known, offered her a full scholarship.
In 1940, at 17, Ursula traveled alone to New York to begin her studies; she Americanized her surname to Lewis after her arrival. Her parents were able to join her the next year.
Continue reading the main story
At Mannes, she studied composition with the distinguished conductor George Szell, himself a recent refugee from Hungary. A tonal traditionalist, he steeped her in the approach of 19th-century masters like Brahms.
In 1944, wanting to learn modernist techniques, she studied with the composer Ernst Krenek (http://orelfoundation.org/index.php/composers/article/ernst_krenek/) at Black Mountain College (http://www.blackmountaincollege.org/history/) , then a mecca for members of the European avant-garde. She later studied with Stefan Wolpe (http://www.wolpe.org/page1/page1.html) , Roger Sessions (http://www.arkivmusic.com/classical/Name/Roger-Sessions/Composer/11061-1) , Ralph Shapey (http://www.milkenarchive.org/people/view/all/625/Shapey,+Ralph) and Vittorio Giannini (http://www.naxos.com/person/Vittorio_Giannini/22311.htm) .
Ms. Mamlok, who became an American citizen, received bachelor’s and master’s degrees from the Manhattan School of Music in the 1950s.
Over the years she also taught at New York University, the City University of New York and Temple University. Her honors include a Guggenheim fellowship and the Walter Hinrichsen Award for composition from the American Academy of Arts and Letters.
Ms. Mamlok’s husband, whom she married in 1947, died in 2005. No immediate family members survive.
Her other compositions include “Five Intermezzi (https://www.youtube.com/watch?v=ovpBJWJDiNE&list=PLdCRGo1njnsd0D9nQb4NFFBHEysgNRAB6) ,” for solo guitar; “Aphorisms (https://www.youtube.com/watch?v=VUyoWEUKojs) ,” for solo violin; “Above Clouds,” for viola and piano; and “Haiku Settings (https://www.youtube.com/watch?v=Q9Lna7zzcxw) ,” for soprano and flute.
Her work has also been recorded on the CRI, Newport Classic, Opus One and Centaur labels.
Although Ms. Mamlok was every inch an avant-gardist, she had little truck with electronic music, as she told the journalist Bruce Duffie (http://www.kcstudio.com/mamlok.html) in a 1996 interview:
“Unfortunately I have no connection to it,” she said. “I’ve written one electronic piece. I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can’t do this.’ I’d rather use the pencil.”
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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Ursula Mamlok, Avant-Garde Composer, Dies at 93 – The New York Times
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http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html
** Ursula Mamlok, Avant-Garde Composer, Dies at 93
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By MARGALIT FOX (http://topics.nytimes.com/top/reference/timestopics/people/f/margalit_fox/index.html) MAY 6, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/07/arts/music/ursula-mamlok-avant-garde-composer-dies-at-93.html#story-continues-1) Share This Page
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Ursula Mamlok, who fled Nazi Germany and became a fixture on the New York music scene, in an undated photograph. Berrini Films
Ursula Mamlok, a German-born composer who fled the Nazis and went on to establish an esteemed career in New York, died on Wednesday in Berlin. She was 93.
Her death was announced by Bridge Records, which has released five albums of her work (http://bridgerecords.com/search?q=Mamlok) .
Ms. Mamlok, who moved back to Berlin 10 years ago, was for decades a fixture of the New York contemporary music scene. A longtime faculty member of the Manhattan School of Music (http://www.msmnyc.edu/) , she was known in particular for her chamber music, piano works and vocal pieces.
Her compositions have been performed by some of the world’s leading soloists, orchestras and chamber ensembles, among them the oboist Heinz Holliger, the pianist Garrick Ohlsson, the San Francisco Symphony, the Daedalus Quartet and the Da Capo Chamber Players.
Her best-known works include an oboe concerto, recorded by Mr. Holliger (https://www.youtube.com/watch?v=9MzsVVGYYhE) ; a song cycle, “Der Andreas (https://www.youtube.com/watch?v=3Gq79ZKZEDA) Garten (https://www.youtube.com/watch?v=3Gq79ZKZEDA) ,” with text by her husband, Dwight Mamlok, a businessman and poet; “Stray Birds (https://www.youtube.com/watch?v=GZ6ViLEPohg) ,” a setting for voice, flute and cello of poems by Rabindranath Tagore (http://www.nobelprize.org/nobel_prizes/literature/laureates/1913/tagore-bio.html) ; and “Sintra,” for alto flute and cello.
Though Ms. Mamlok often employed the techniques of serial music, her style defied ready categorization. (Devised by Arnold Schoenberg, serial, or 12-tone, music (https://www.youtube.com/watch?v=6o7poILFfKQ) entails using all 12 notes of the Western chromatic scale in equal proportion throughout a work.)
Continue reading the main story
Her music could be atonal, but it was often less so — and, as a result, less forbidding-sounding — than that of other avant-gardists. Critics praised its deliberate, economical spareness; its light, almost pointillist aspect; its sense of wit and play; and its almost palpable emotional clarity.
Reviewing a program (http://www.nytimes.com/1987/10/08/arts/music-ursula-mamlok.html) of Ms. Mamlok’s work at Merkin Concert Hall in Manhattan in 1987, Michael Kimmelman wrote in The New York Times that “when she works in serial forms,” Ms. Mamlok’s music “is relieved of crabbed knottiness; even at its most dissonant, the textures remain crystal clear, allowing each instrument in an ensemble to have its say.”
Ursula Meyer was born in Berlin on Feb. 1, 1923. Her father, Hans, died when she was a baby; a few years later, on the remarriage of her mother, the former Thea Goldberg, to Hans Lewy, Ursula took his surname.
Ursula began composing as a child and studied piano and composition in Berlin. Once the Nazis placed school music programs off limits to Jews, her family began holding musicales in their home, with Ursula writing the music.
Ms. Mamlok was known for chamber music and piano works marked, critics said, by their spareness and sense of play. Martin Sachse/ullstein bild, via Getty Images
After the Kristallnacht pogrom of November 1938, the family determined to leave the country. In early 1939 they made their way to Guayaquil, Ecuador, where they had relatives.
Chafing at the lack of musical education there, Ursula had her mother ask the American consul in Guayaquil to petition conservatories in the United States to admit her.
On the strength of his letter — and of the score of one of Ursula’s compositions, which was enclosed — the Mannes School of Music (http://www.newschool.edu/mannes/) , as it is now known, offered her a full scholarship.
In 1940, at 17, Ursula traveled alone to New York to begin her studies; she Americanized her surname to Lewis after her arrival. Her parents were able to join her the next year.
Continue reading the main story
At Mannes, she studied composition with the distinguished conductor George Szell, himself a recent refugee from Hungary. A tonal traditionalist, he steeped her in the approach of 19th-century masters like Brahms.
In 1944, wanting to learn modernist techniques, she studied with the composer Ernst Krenek (http://orelfoundation.org/index.php/composers/article/ernst_krenek/) at Black Mountain College (http://www.blackmountaincollege.org/history/) , then a mecca for members of the European avant-garde. She later studied with Stefan Wolpe (http://www.wolpe.org/page1/page1.html) , Roger Sessions (http://www.arkivmusic.com/classical/Name/Roger-Sessions/Composer/11061-1) , Ralph Shapey (http://www.milkenarchive.org/people/view/all/625/Shapey,+Ralph) and Vittorio Giannini (http://www.naxos.com/person/Vittorio_Giannini/22311.htm) .
Ms. Mamlok, who became an American citizen, received bachelor’s and master’s degrees from the Manhattan School of Music in the 1950s.
Over the years she also taught at New York University, the City University of New York and Temple University. Her honors include a Guggenheim fellowship and the Walter Hinrichsen Award for composition from the American Academy of Arts and Letters.
Ms. Mamlok’s husband, whom she married in 1947, died in 2005. No immediate family members survive.
Her other compositions include “Five Intermezzi (https://www.youtube.com/watch?v=ovpBJWJDiNE&list=PLdCRGo1njnsd0D9nQb4NFFBHEysgNRAB6) ,” for solo guitar; “Aphorisms (https://www.youtube.com/watch?v=VUyoWEUKojs) ,” for solo violin; “Above Clouds,” for viola and piano; and “Haiku Settings (https://www.youtube.com/watch?v=Q9Lna7zzcxw) ,” for soprano and flute.
Her work has also been recorded on the CRI, Newport Classic, Opus One and Centaur labels.
Although Ms. Mamlok was every inch an avant-gardist, she had little truck with electronic music, as she told the journalist Bruce Duffie (http://www.kcstudio.com/mamlok.html) in a 1996 interview:
“Unfortunately I have no connection to it,” she said. “I’ve written one electronic piece. I put it together in the studio at Columbia in New York, but it took too long. I said, ‘I can’t do this.’ I’d rather use the pencil.”
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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MACK AVENUE RECORDS ACQUIRES MAXJAZZ
http://www.jazzpromoservices.com/
Mack Avenue Records Proudly
Announces Acquisition of MAXJAZZ
Mack Avenue Records is proud to announce the acquisition of the prestigious MAXJAZZ imprint. The announcement follows a landmark year for Mack Avenue Records with five GRAMMY® Award-nominations and two wins for bassist Christian McBride and vocalist Cécile McLorin Salvant. To add to the Detroit label’s well-rounded catalog, MAXJAZZ boasts two of their own GRAMMY® nominations for Carla Cook and Nancy King, and features recordings from esteemed artists: Mulgrew Miller, René Marie, Russell Malone, Geoffrey Keezer, and more.
Founded by the late Richard McDonnell in 1997, MAXJAZZ had a reputation for being an artist-friendly label that took a long-term view of partnership with their artists. With nearly 75 recordings, MAXJAZZ worked to support and develop their artists with high quality recordings and recognizably branded packaging. The label was also keen to establish long-running relationships with some of the country’s top jazz clubs, even releasing live recordings from Jazz Standard, Yoshi’s, Jazz at the Bistro, and more.
“We welcome MAXJAZZ to the Mack Avenue Records family,” says Mack Avenue Records president Denny Stilwell. “We see this as an appropriate fit-we share a foundation based on a genuine passion for the music, and their philosophical approach is really in line with our vision for how artists and labels can work together.”
The addition of MAXJAZZ expands Mack Avenue Records’ growing label, which already includes the Artistry Music, Rendezvous Music, and Sly Dog imprints.
“MAXJAZZ has accumulated in a very short time an impressive catalog…” – Village Voice
For more information, visit MAXJAZZ.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXavjfkh2rqyeD65DkF4ACvEhOwE3b9_-karzoS5roMnj2TI0Bmi5k8BNpakJtJivpng1zc2os-oeOjgP2r2aFp_JpBYQV1Y6CGs9V7QfnBUM=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==) and MackAvenue.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXn32JpwflDnNnNfmj55Cu9ULIwzG9hZ2ndZf1SD8Qb56hnF5UKlC8RXqVK0SYlHZxMl3cMdgrGFUtf2-6lPH17jErL2Vwcc8_-EzL84SWf5U=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==)
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MACK AVENUE RECORDS ACQUIRES MAXJAZZ
http://www.jazzpromoservices.com/
Mack Avenue Records Proudly
Announces Acquisition of MAXJAZZ
Mack Avenue Records is proud to announce the acquisition of the prestigious MAXJAZZ imprint. The announcement follows a landmark year for Mack Avenue Records with five GRAMMY® Award-nominations and two wins for bassist Christian McBride and vocalist Cécile McLorin Salvant. To add to the Detroit label’s well-rounded catalog, MAXJAZZ boasts two of their own GRAMMY® nominations for Carla Cook and Nancy King, and features recordings from esteemed artists: Mulgrew Miller, René Marie, Russell Malone, Geoffrey Keezer, and more.
Founded by the late Richard McDonnell in 1997, MAXJAZZ had a reputation for being an artist-friendly label that took a long-term view of partnership with their artists. With nearly 75 recordings, MAXJAZZ worked to support and develop their artists with high quality recordings and recognizably branded packaging. The label was also keen to establish long-running relationships with some of the country’s top jazz clubs, even releasing live recordings from Jazz Standard, Yoshi’s, Jazz at the Bistro, and more.
“We welcome MAXJAZZ to the Mack Avenue Records family,” says Mack Avenue Records president Denny Stilwell. “We see this as an appropriate fit-we share a foundation based on a genuine passion for the music, and their philosophical approach is really in line with our vision for how artists and labels can work together.”
The addition of MAXJAZZ expands Mack Avenue Records’ growing label, which already includes the Artistry Music, Rendezvous Music, and Sly Dog imprints.
“MAXJAZZ has accumulated in a very short time an impressive catalog…” – Village Voice
For more information, visit MAXJAZZ.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXavjfkh2rqyeD65DkF4ACvEhOwE3b9_-karzoS5roMnj2TI0Bmi5k8BNpakJtJivpng1zc2os-oeOjgP2r2aFp_JpBYQV1Y6CGs9V7QfnBUM=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==) and MackAvenue.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXn32JpwflDnNnNfmj55Cu9ULIwzG9hZ2ndZf1SD8Qb56hnF5UKlC8RXqVK0SYlHZxMl3cMdgrGFUtf2-6lPH17jErL2Vwcc8_-EzL84SWf5U=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==)
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MACK AVENUE RECORDS ACQUIRES MAXJAZZ
http://www.jazzpromoservices.com/
Mack Avenue Records Proudly
Announces Acquisition of MAXJAZZ
Mack Avenue Records is proud to announce the acquisition of the prestigious MAXJAZZ imprint. The announcement follows a landmark year for Mack Avenue Records with five GRAMMY® Award-nominations and two wins for bassist Christian McBride and vocalist Cécile McLorin Salvant. To add to the Detroit label’s well-rounded catalog, MAXJAZZ boasts two of their own GRAMMY® nominations for Carla Cook and Nancy King, and features recordings from esteemed artists: Mulgrew Miller, René Marie, Russell Malone, Geoffrey Keezer, and more.
Founded by the late Richard McDonnell in 1997, MAXJAZZ had a reputation for being an artist-friendly label that took a long-term view of partnership with their artists. With nearly 75 recordings, MAXJAZZ worked to support and develop their artists with high quality recordings and recognizably branded packaging. The label was also keen to establish long-running relationships with some of the country’s top jazz clubs, even releasing live recordings from Jazz Standard, Yoshi’s, Jazz at the Bistro, and more.
“We welcome MAXJAZZ to the Mack Avenue Records family,” says Mack Avenue Records president Denny Stilwell. “We see this as an appropriate fit-we share a foundation based on a genuine passion for the music, and their philosophical approach is really in line with our vision for how artists and labels can work together.”
The addition of MAXJAZZ expands Mack Avenue Records’ growing label, which already includes the Artistry Music, Rendezvous Music, and Sly Dog imprints.
“MAXJAZZ has accumulated in a very short time an impressive catalog…” – Village Voice
For more information, visit MAXJAZZ.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXavjfkh2rqyeD65DkF4ACvEhOwE3b9_-karzoS5roMnj2TI0Bmi5k8BNpakJtJivpng1zc2os-oeOjgP2r2aFp_JpBYQV1Y6CGs9V7QfnBUM=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==) and MackAvenue.com (http://r20.rs6.net/tn.jsp?f=001Dm2U0mHJhBMoStLFw7eVJMpZaAG-_NUMPUIMJomiKHJFwsvF1eEd2Bul1AhfRQaXn32JpwflDnNnNfmj55Cu9ULIwzG9hZ2ndZf1SD8Qb56hnF5UKlC8RXqVK0SYlHZxMl3cMdgrGFUtf2-6lPH17jErL2Vwcc8_-EzL84SWf5U=&c=EATDK7n7O0HAJbb5rChaBsd1k2bJfnRh-TJ4kRcIAkb_paZKHlM1DA==&ch=7IaZqgxJh0uQLZP6ccLqPkJmDewx9pqUcXH_xnk6xD2wwyNvWYU7dg==)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
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https://www.youtube.com/watch?v=vRhl08FLBMM
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
George Coleman, Jr. – 30 Second Ad – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=vRhl08FLBMM
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
Smithsonian Folkways Acquires Arhoolie Records | Smithsonian Folkways
http://www.jazzpromoservices.com/
http://www.folkways.si.edu/news-and-press/smithsonian-folkways-acquires-arhoolie-records
** Smithsonian Folkways Acquires Arhoolie Records
————————————————————
News (safari-reader://www.folkways.si.edu/Tags/News)
Thanks to the generosity of Laura and Ed Littlefield of the Sage Foundation, and the encouragement of the Savoy Family (the “First Family of Cajun Music”), the revered Arhoolie Records has been acquired from founder Chris Strachwitz and his business partner Tom Diamant by Smithsonian Folkways Recordings. Arhoolie Records is known for “down home” blues, folk, jazz, country, gospel, Cajun, zydeco, Mexican American, and world music. The acquisition includes more than 350 albums released since 1960 in various formats by Arhoolie and recordings from three South Texas regional labels specializing in Mexican music (Ideal, Falcon, and Rio), Andean Huayno music from the Peruvian label Discos Smith, and archival materials including master tapes.
http://goo.gl/ALN8Mg
The collection features seminal recordings by artists such as Bukka White, Big Mama Thornton, Lightnin’ Hopkins, Mance Lipscomb, Mississippi Fred McDowell, Big Joe Williams, Flaco Jiménez, and Clifton Chenier. More recent releases include those by the Savoy Family Band, the Magnolia Sisters, and the Pine Leaf Boys. Hear Me Howling, a collection of recordings made in the Bay-area in the 1960s, won a GRAMMY award in 2011. In the same year, the label issued a GRAMMY-nominated retrospective box set celebrating Arhoolie’s 50th anniversary.
“Since I’m not King Tut, I can’t take my Arhoolie baby with me,” said the 84-year-old Strachwitz, who was recently honored by the GRAMMYs with a Trustees Award. “It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket.’ I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”
Trailer for This Ain’t No Mouse Music, the documentary film about Chris Strachwitz and Arhoolie Records.
“The Arhoolie Records collection is a national treasure of recorded music,” said Daniel Sheehy, curator and director of Smithsonian Folkways Recordings. “We are honored to further the accessibility of these recordings and continue the commitment Chris Strachwitz has had to finding, recording, and promoting ‘down home’ music since he founded Arhoolie in 1960.”
Once the transition is completed, all Arhoolie albums will be available on CD and digital formats, along with selected LPs, at folkways.si.edu. Until then, a prime source for currently available releases is the Down Home Music record store (downhomemusic.com), located in the same building as Arhoolie Records and the Arhoolie Foundation (arhoolie.org) in El Cerrito, California (both the record store and the foundation will continue to operate separately from Smithsonian Folkways). Albums are also available at outlets such as Amazon, iTunes, and Spotify.
Read a detailed history of Arhoolie Records here. (https://goo.gl/truKDt)
Browse the Arhoolie Catalog on Amazon (http://goo.gl/bM4GIU) and Spotify (https://goo.gl/zIJgrt) .
About Smithsonian Folkways:
Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution, the national museum of the United States. As part of the Smithsonian Center for Folklife and Cultural Heritage, we are dedicated to supporting cultural diversity and increased understanding among people through the documentation, preservation, and dissemination of sound.
Our mission is the legacy of Moses Asch (http://www.folklife.si.edu/legacy-honorees/moses-asch/smithsonian) , who founded Folkways Records in 1948 to document “people’s music,” spoken word, instruction, and sounds from around the world. Smithsonian Folkways has continued to expand on Asch’s legacy, adding several other record labels to the collections, such as Cook, Monitor, and the UNESCO Collection of Traditional Music, and releasing over 400 new recordings that document and celebrate the sounds of the world around us. With the acquisition of Arhoolie Records, the collection consists of more than 3,500 albums and 50,000 tracks along with videos
(safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:4},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , playlists (safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:5},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , podcasts (safari-reader://www.folkways.si.edu/podcasts/smithsonian) , lesson plans for teachers (safari-reader://www.folkways.si.edu/lesson-plans/smithsonian) , and Smithsonian Folkways Magazine
(safari-reader://www.folkways.si.edu/magazine) .
NOTE: Smithsonian Folkways Recordings retail distribution in the US is through ADA (Alternative Distribution Alliance) at 800.239.3232. Smithsonian Folkways Recordings releases are available through record and book outlets. Smithsonian Folkways Recordings, as well as Folkways Records, A.R.C.E., Arhoolie, Banjo Builders, Blue Ridge Institute, Cook, Collector, Dyer-Bennet, Fast Folk, I.L.A.M., The Mickey Hart Collection, Monitor, M.O.R.E., Paredon, and UNESCO are available via mail order at 888.FOLKWAYS or 800.410.9815. Visit the Smithsonian Folkways Recordings website at www.folkways.si.edu (http://www.folkways.si.edu/) or write to 600 Maryland Ave. SW, Suite 2001, Washington, DC, 20024.
U.S. media inquiries: Matt Hanks (mhanks@shorefire.com (mailto:mhanks@shorefire.com) ) and Ally Norton (anorton@shorefire.com (mailto:anorton@shorefire.com) ), Shore Fire Media, (PH) 718.522.7171. All other inquiries: smithsonianfolkways@si.edu.
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=d6915ec392) | 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=d6915ec392&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
Smithsonian Folkways Acquires Arhoolie Records | Smithsonian Folkways
http://www.jazzpromoservices.com/
http://www.folkways.si.edu/news-and-press/smithsonian-folkways-acquires-arhoolie-records
** Smithsonian Folkways Acquires Arhoolie Records
————————————————————
News (safari-reader://www.folkways.si.edu/Tags/News)
Thanks to the generosity of Laura and Ed Littlefield of the Sage Foundation, and the encouragement of the Savoy Family (the “First Family of Cajun Music”), the revered Arhoolie Records has been acquired from founder Chris Strachwitz and his business partner Tom Diamant by Smithsonian Folkways Recordings. Arhoolie Records is known for “down home” blues, folk, jazz, country, gospel, Cajun, zydeco, Mexican American, and world music. The acquisition includes more than 350 albums released since 1960 in various formats by Arhoolie and recordings from three South Texas regional labels specializing in Mexican music (Ideal, Falcon, and Rio), Andean Huayno music from the Peruvian label Discos Smith, and archival materials including master tapes.
http://goo.gl/ALN8Mg
The collection features seminal recordings by artists such as Bukka White, Big Mama Thornton, Lightnin’ Hopkins, Mance Lipscomb, Mississippi Fred McDowell, Big Joe Williams, Flaco Jiménez, and Clifton Chenier. More recent releases include those by the Savoy Family Band, the Magnolia Sisters, and the Pine Leaf Boys. Hear Me Howling, a collection of recordings made in the Bay-area in the 1960s, won a GRAMMY award in 2011. In the same year, the label issued a GRAMMY-nominated retrospective box set celebrating Arhoolie’s 50th anniversary.
“Since I’m not King Tut, I can’t take my Arhoolie baby with me,” said the 84-year-old Strachwitz, who was recently honored by the GRAMMYs with a Trustees Award. “It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket.’ I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”
Trailer for This Ain’t No Mouse Music, the documentary film about Chris Strachwitz and Arhoolie Records.
“The Arhoolie Records collection is a national treasure of recorded music,” said Daniel Sheehy, curator and director of Smithsonian Folkways Recordings. “We are honored to further the accessibility of these recordings and continue the commitment Chris Strachwitz has had to finding, recording, and promoting ‘down home’ music since he founded Arhoolie in 1960.”
Once the transition is completed, all Arhoolie albums will be available on CD and digital formats, along with selected LPs, at folkways.si.edu. Until then, a prime source for currently available releases is the Down Home Music record store (downhomemusic.com), located in the same building as Arhoolie Records and the Arhoolie Foundation (arhoolie.org) in El Cerrito, California (both the record store and the foundation will continue to operate separately from Smithsonian Folkways). Albums are also available at outlets such as Amazon, iTunes, and Spotify.
Read a detailed history of Arhoolie Records here. (https://goo.gl/truKDt)
Browse the Arhoolie Catalog on Amazon (http://goo.gl/bM4GIU) and Spotify (https://goo.gl/zIJgrt) .
About Smithsonian Folkways:
Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution, the national museum of the United States. As part of the Smithsonian Center for Folklife and Cultural Heritage, we are dedicated to supporting cultural diversity and increased understanding among people through the documentation, preservation, and dissemination of sound.
Our mission is the legacy of Moses Asch (http://www.folklife.si.edu/legacy-honorees/moses-asch/smithsonian) , who founded Folkways Records in 1948 to document “people’s music,” spoken word, instruction, and sounds from around the world. Smithsonian Folkways has continued to expand on Asch’s legacy, adding several other record labels to the collections, such as Cook, Monitor, and the UNESCO Collection of Traditional Music, and releasing over 400 new recordings that document and celebrate the sounds of the world around us. With the acquisition of Arhoolie Records, the collection consists of more than 3,500 albums and 50,000 tracks along with videos
(safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:4},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , playlists (safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:5},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , podcasts (safari-reader://www.folkways.si.edu/podcasts/smithsonian) , lesson plans for teachers (safari-reader://www.folkways.si.edu/lesson-plans/smithsonian) , and Smithsonian Folkways Magazine
(safari-reader://www.folkways.si.edu/magazine) .
NOTE: Smithsonian Folkways Recordings retail distribution in the US is through ADA (Alternative Distribution Alliance) at 800.239.3232. Smithsonian Folkways Recordings releases are available through record and book outlets. Smithsonian Folkways Recordings, as well as Folkways Records, A.R.C.E., Arhoolie, Banjo Builders, Blue Ridge Institute, Cook, Collector, Dyer-Bennet, Fast Folk, I.L.A.M., The Mickey Hart Collection, Monitor, M.O.R.E., Paredon, and UNESCO are available via mail order at 888.FOLKWAYS or 800.410.9815. Visit the Smithsonian Folkways Recordings website at www.folkways.si.edu (http://www.folkways.si.edu/) or write to 600 Maryland Ave. SW, Suite 2001, Washington, DC, 20024.
U.S. media inquiries: Matt Hanks (mhanks@shorefire.com (mailto:mhanks@shorefire.com) ) and Ally Norton (anorton@shorefire.com (mailto:anorton@shorefire.com) ), Shore Fire Media, (PH) 718.522.7171. All other inquiries: smithsonianfolkways@si.edu.
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=d6915ec392) | 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=d6915ec392&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
Smithsonian Folkways Acquires Arhoolie Records | Smithsonian Folkways
http://www.jazzpromoservices.com/
http://www.folkways.si.edu/news-and-press/smithsonian-folkways-acquires-arhoolie-records
** Smithsonian Folkways Acquires Arhoolie Records
————————————————————
News (safari-reader://www.folkways.si.edu/Tags/News)
Thanks to the generosity of Laura and Ed Littlefield of the Sage Foundation, and the encouragement of the Savoy Family (the “First Family of Cajun Music”), the revered Arhoolie Records has been acquired from founder Chris Strachwitz and his business partner Tom Diamant by Smithsonian Folkways Recordings. Arhoolie Records is known for “down home” blues, folk, jazz, country, gospel, Cajun, zydeco, Mexican American, and world music. The acquisition includes more than 350 albums released since 1960 in various formats by Arhoolie and recordings from three South Texas regional labels specializing in Mexican music (Ideal, Falcon, and Rio), Andean Huayno music from the Peruvian label Discos Smith, and archival materials including master tapes.
http://goo.gl/ALN8Mg
The collection features seminal recordings by artists such as Bukka White, Big Mama Thornton, Lightnin’ Hopkins, Mance Lipscomb, Mississippi Fred McDowell, Big Joe Williams, Flaco Jiménez, and Clifton Chenier. More recent releases include those by the Savoy Family Band, the Magnolia Sisters, and the Pine Leaf Boys. Hear Me Howling, a collection of recordings made in the Bay-area in the 1960s, won a GRAMMY award in 2011. In the same year, the label issued a GRAMMY-nominated retrospective box set celebrating Arhoolie’s 50th anniversary.
“Since I’m not King Tut, I can’t take my Arhoolie baby with me,” said the 84-year-old Strachwitz, who was recently honored by the GRAMMYs with a Trustees Award. “It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket.’ I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”
Trailer for This Ain’t No Mouse Music, the documentary film about Chris Strachwitz and Arhoolie Records.
“The Arhoolie Records collection is a national treasure of recorded music,” said Daniel Sheehy, curator and director of Smithsonian Folkways Recordings. “We are honored to further the accessibility of these recordings and continue the commitment Chris Strachwitz has had to finding, recording, and promoting ‘down home’ music since he founded Arhoolie in 1960.”
Once the transition is completed, all Arhoolie albums will be available on CD and digital formats, along with selected LPs, at folkways.si.edu. Until then, a prime source for currently available releases is the Down Home Music record store (downhomemusic.com), located in the same building as Arhoolie Records and the Arhoolie Foundation (arhoolie.org) in El Cerrito, California (both the record store and the foundation will continue to operate separately from Smithsonian Folkways). Albums are also available at outlets such as Amazon, iTunes, and Spotify.
Read a detailed history of Arhoolie Records here. (https://goo.gl/truKDt)
Browse the Arhoolie Catalog on Amazon (http://goo.gl/bM4GIU) and Spotify (https://goo.gl/zIJgrt) .
About Smithsonian Folkways:
Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution, the national museum of the United States. As part of the Smithsonian Center for Folklife and Cultural Heritage, we are dedicated to supporting cultural diversity and increased understanding among people through the documentation, preservation, and dissemination of sound.
Our mission is the legacy of Moses Asch (http://www.folklife.si.edu/legacy-honorees/moses-asch/smithsonian) , who founded Folkways Records in 1948 to document “people’s music,” spoken word, instruction, and sounds from around the world. Smithsonian Folkways has continued to expand on Asch’s legacy, adding several other record labels to the collections, such as Cook, Monitor, and the UNESCO Collection of Traditional Music, and releasing over 400 new recordings that document and celebrate the sounds of the world around us. With the acquisition of Arhoolie Records, the collection consists of more than 3,500 albums and 50,000 tracks along with videos
(safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:4},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , playlists (safari-reader://www.folkways.si.edu/search?JsonSearchModel={%22FiltersModel%22:{%22AppliedFilters%22:{},%22AvailableContentTypes%22:[0,2,1,3,4,5,7,6],%22ContentType%22:5},%22PaginationModel%22:{%22ResultsPerPage%22:20,%22StartItemIndex%22:0},%22Query%22:%22folkways.si.edu%22,%22SelectedView%22:0,%22SortingOption%22:2,%22SpellingSuggestionSearchRestricted%22:false}) , podcasts (safari-reader://www.folkways.si.edu/podcasts/smithsonian) , lesson plans for teachers (safari-reader://www.folkways.si.edu/lesson-plans/smithsonian) , and Smithsonian Folkways Magazine
(safari-reader://www.folkways.si.edu/magazine) .
NOTE: Smithsonian Folkways Recordings retail distribution in the US is through ADA (Alternative Distribution Alliance) at 800.239.3232. Smithsonian Folkways Recordings releases are available through record and book outlets. Smithsonian Folkways Recordings, as well as Folkways Records, A.R.C.E., Arhoolie, Banjo Builders, Blue Ridge Institute, Cook, Collector, Dyer-Bennet, Fast Folk, I.L.A.M., The Mickey Hart Collection, Monitor, M.O.R.E., Paredon, and UNESCO are available via mail order at 888.FOLKWAYS or 800.410.9815. Visit the Smithsonian Folkways Recordings website at www.folkways.si.edu (http://www.folkways.si.edu/) or write to 600 Maryland Ave. SW, Suite 2001, Washington, DC, 20024.
U.S. media inquiries: Matt Hanks (mhanks@shorefire.com (mailto:mhanks@shorefire.com) ) and Ally Norton (anorton@shorefire.com (mailto:anorton@shorefire.com) ), Shore Fire Media, (PH) 718.522.7171. All other inquiries: smithsonianfolkways@si.edu.
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
Other Music Record Shop, Yielding to Trends, Will Close – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic
** Other Music Record Shop, Yielding to Trends, Will Close
————————————————————
By JOE COSCARELLIMAY 9, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic&action=click&contentCollection=music®ion=rank&module=package&version=highlights&contentPlacement=2&pgtype=sectionfront&_r=0#story-continues-1) Share This Page
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Other Music has been a staple in the East Village since the mid-1990s. Hilary Swift for The New York Times
When Other Music, the scrappy East Village record store, opened in 1995, it existed in the shadow of Tower Records, which ran the entire city block across East Fourth Street. By 1998, Virgin Megastore was a short walk away in Union Square.
Yet Other Music, known for its dedication to underground and experimental artists, outlived both — Tower shut its 89 American stores (http://www.nytimes.com/2015/10/16/movies/review-all-things-must-pass-tells-story-of-tower-records.html) in 2006, while Virgin closed in 2009 (http://www.nytimes.com/2009/06/15/arts/music/15virgin.html) . In the face of a shrinking music industry, the longevity of this small shop could be seen as a win for the niche, the curated, even the slightly snobby. But it couldn’t last.
As sales of physical music continue to plummet, a no-frills independent record store makes increasingly less sense as a business: Other Music will shut its doors and mail-order service on June 25, more than 20 years after its debut in this once artistically vibrant neighborhood (http://www.nytimes.com/2014/12/14/realestate/the-east-village-clings-to-a-colorful-past.html) . (Other Music Recording Co. (http://artsbeat.blogs.nytimes.com/2012/03/12/east-village-record-store-other-music-starts-a-label/) , a label associated with the store since 2012, will continue.)
“We still do a ton of business — probably more than most stores in the country,” said Josh Madell, 45, a co-owner of Other Music, from behind the counter last week. “It’s just the economics of it actually supporting us — we don’t see a future in it. We’re trying to step back before it becomes a nightmare.”
Continue reading the main story
Business has dropped by half since the store’s peak in 2000, when it did about $3.1 million in sales, said Chris Vanderloo, who founded the shop with Mr. Madell and Jeff Gibson after the three met as employees at the music spinoff of Kim’s Video (http://www.nytimes.com/2014/07/27/movies/kims-video-closes-and-a-village-sensibility-dies.html) in the early ’90s. (Mr. Gibson left Other Music’s day-to-day operations in 2001.)
Rent, on the other hand, has more than doubled from the $6,000 a month the store paid in 1995, while its annual share of the building’s property tax bill has also increased.
Chris Vanderloo, left, and Josh Madell, two founders of Other Music. Hilary Swift for The New York Times
Then there are the dreary industry trends: In 2015, streaming nearly doubled from the previous year while CDs sales were down 82 percent from their peak in 2001. And despite the resurgence of vinyl, which now makes up about 60 percent of Other Music’s revenue, up from about 20 percent in its first 10 years, there’s no real salvation in sight.
“Pre-Internet we were a mecca for people,” Mr. Madell said. “They would come to New York with $300 in their pocket because they’d heard or read about some records that they’d never seen anywhere.”
Mac McCaughan, a founder of the band Superchunk and the indie giant Merge Records, said that record shops were part of what brought him to the city in the 1980s. As they started disappearing, “Other Music was the perfect record store in a city that needed a record store,” he wrote in an email. “I always found stuff I was looking for or discovered stuff I didn’t know I was looking for.”
A staff knowledgeable about esoteric genres — ambient music, free jazz, ’70s German psychedelic, ’60s French pop — served as spirit guides.
“That’s what a place like this was all about,” Mr. Madell said. “But the customers don’t come in with the same sort of needs anymore. If they want to know what something sounds like, they just pull it up online.”
Along with its meticulous selection, Other Music made a name with its intimate connections to indie acts and labels. The store was early to champion local bands like the Yeah Yeah Yeahs, Interpol and Vampire Weekend, selling homemade releases and hosting in-store performances. Elliott Smith and Neutral Milk Hotel also played there over the years.
Patrons browse the offerings at the store. Vinyl is big at Other Music, but streaming has taken a toll on business. Hilary Swift for The New York Times
“I felt involved in helping these artists reach an audience,” Mr. Madell said. “This is where you needed to be if you wanted to be on top of what was happening.”
Continue reading the main story
Now physical products are often “an afterthought,” he added, even for larger bands like Radiohead, whose new single and album were released first digitally (http://www.nytimes.com/2016/05/07/arts/music/radiohead-new-album-daydreaming.html) , with vinyl and CDs coming weeks or months later. The annual Record Store Day, in which artists provide stores with exclusive releases, can help only so much.
“The energy of music obviously has moved out of a place like this,” said Mr. Madell, who admitted that CDs now look “like floppy disks” to him.
The New York music scene has also moved across the East River. “When we opened, Brooklyn was not even on the map really for music culture,” he added. “Now that is definitely where you’re going to be.”
As Manhattan stores continue to close (http://www.nytimes.com/2008/04/18/arts/music/18reco.html) — notable survivors include Bleecker Street Records and Generation Records on Thompson Street, though both focus more on used titles — shops are opening in Brooklyn, though usually with more to offer.
Rough Trade NYC (http://www.nytimes.com/2013/11/22/arts/music/records-are-dying-not-here.html) , a 15,000-square-foot spinoff of the London store that opened in Williamsburg, Brooklyn, in 2013, has a cafe and a performance space, among other flourishes.
“From the very beginning, we’ve always been a record store,” Mr. Madell said. “It’s about people coming in here and getting lost in music, in new releases. We just never wanted to reinvent or dilute it as something else. For better or worse.”
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=721b3f8f0d) | 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=721b3f8f0d&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
Other Music Record Shop, Yielding to Trends, Will Close – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic
** Other Music Record Shop, Yielding to Trends, Will Close
————————————————————
By JOE COSCARELLIMAY 9, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic&action=click&contentCollection=music®ion=rank&module=package&version=highlights&contentPlacement=2&pgtype=sectionfront&_r=0#story-continues-1) Share This Page
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Other Music has been a staple in the East Village since the mid-1990s. Hilary Swift for The New York Times
When Other Music, the scrappy East Village record store, opened in 1995, it existed in the shadow of Tower Records, which ran the entire city block across East Fourth Street. By 1998, Virgin Megastore was a short walk away in Union Square.
Yet Other Music, known for its dedication to underground and experimental artists, outlived both — Tower shut its 89 American stores (http://www.nytimes.com/2015/10/16/movies/review-all-things-must-pass-tells-story-of-tower-records.html) in 2006, while Virgin closed in 2009 (http://www.nytimes.com/2009/06/15/arts/music/15virgin.html) . In the face of a shrinking music industry, the longevity of this small shop could be seen as a win for the niche, the curated, even the slightly snobby. But it couldn’t last.
As sales of physical music continue to plummet, a no-frills independent record store makes increasingly less sense as a business: Other Music will shut its doors and mail-order service on June 25, more than 20 years after its debut in this once artistically vibrant neighborhood (http://www.nytimes.com/2014/12/14/realestate/the-east-village-clings-to-a-colorful-past.html) . (Other Music Recording Co. (http://artsbeat.blogs.nytimes.com/2012/03/12/east-village-record-store-other-music-starts-a-label/) , a label associated with the store since 2012, will continue.)
“We still do a ton of business — probably more than most stores in the country,” said Josh Madell, 45, a co-owner of Other Music, from behind the counter last week. “It’s just the economics of it actually supporting us — we don’t see a future in it. We’re trying to step back before it becomes a nightmare.”
Continue reading the main story
Business has dropped by half since the store’s peak in 2000, when it did about $3.1 million in sales, said Chris Vanderloo, who founded the shop with Mr. Madell and Jeff Gibson after the three met as employees at the music spinoff of Kim’s Video (http://www.nytimes.com/2014/07/27/movies/kims-video-closes-and-a-village-sensibility-dies.html) in the early ’90s. (Mr. Gibson left Other Music’s day-to-day operations in 2001.)
Rent, on the other hand, has more than doubled from the $6,000 a month the store paid in 1995, while its annual share of the building’s property tax bill has also increased.
Chris Vanderloo, left, and Josh Madell, two founders of Other Music. Hilary Swift for The New York Times
Then there are the dreary industry trends: In 2015, streaming nearly doubled from the previous year while CDs sales were down 82 percent from their peak in 2001. And despite the resurgence of vinyl, which now makes up about 60 percent of Other Music’s revenue, up from about 20 percent in its first 10 years, there’s no real salvation in sight.
“Pre-Internet we were a mecca for people,” Mr. Madell said. “They would come to New York with $300 in their pocket because they’d heard or read about some records that they’d never seen anywhere.”
Mac McCaughan, a founder of the band Superchunk and the indie giant Merge Records, said that record shops were part of what brought him to the city in the 1980s. As they started disappearing, “Other Music was the perfect record store in a city that needed a record store,” he wrote in an email. “I always found stuff I was looking for or discovered stuff I didn’t know I was looking for.”
A staff knowledgeable about esoteric genres — ambient music, free jazz, ’70s German psychedelic, ’60s French pop — served as spirit guides.
“That’s what a place like this was all about,” Mr. Madell said. “But the customers don’t come in with the same sort of needs anymore. If they want to know what something sounds like, they just pull it up online.”
Along with its meticulous selection, Other Music made a name with its intimate connections to indie acts and labels. The store was early to champion local bands like the Yeah Yeah Yeahs, Interpol and Vampire Weekend, selling homemade releases and hosting in-store performances. Elliott Smith and Neutral Milk Hotel also played there over the years.
Patrons browse the offerings at the store. Vinyl is big at Other Music, but streaming has taken a toll on business. Hilary Swift for The New York Times
“I felt involved in helping these artists reach an audience,” Mr. Madell said. “This is where you needed to be if you wanted to be on top of what was happening.”
Continue reading the main story
Now physical products are often “an afterthought,” he added, even for larger bands like Radiohead, whose new single and album were released first digitally (http://www.nytimes.com/2016/05/07/arts/music/radiohead-new-album-daydreaming.html) , with vinyl and CDs coming weeks or months later. The annual Record Store Day, in which artists provide stores with exclusive releases, can help only so much.
“The energy of music obviously has moved out of a place like this,” said Mr. Madell, who admitted that CDs now look “like floppy disks” to him.
The New York music scene has also moved across the East River. “When we opened, Brooklyn was not even on the map really for music culture,” he added. “Now that is definitely where you’re going to be.”
As Manhattan stores continue to close (http://www.nytimes.com/2008/04/18/arts/music/18reco.html) — notable survivors include Bleecker Street Records and Generation Records on Thompson Street, though both focus more on used titles — shops are opening in Brooklyn, though usually with more to offer.
Rough Trade NYC (http://www.nytimes.com/2013/11/22/arts/music/records-are-dying-not-here.html) , a 15,000-square-foot spinoff of the London store that opened in Williamsburg, Brooklyn, in 2013, has a cafe and a performance space, among other flourishes.
“From the very beginning, we’ve always been a record store,” Mr. Madell said. “It’s about people coming in here and getting lost in music, in new releases. We just never wanted to reinvent or dilute it as something else. For better or worse.”
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=721b3f8f0d) | 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=721b3f8f0d&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
Other Music Record Shop, Yielding to Trends, Will Close – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic
** Other Music Record Shop, Yielding to Trends, Will Close
————————————————————
By JOE COSCARELLIMAY 9, 2016
Continue reading the main story (http://www.nytimes.com/2016/05/10/arts/music/other-music-record-store-closing.html?rref=collection%2Fsectioncollection%2Fmusic&action=click&contentCollection=music®ion=rank&module=package&version=highlights&contentPlacement=2&pgtype=sectionfront&_r=0#story-continues-1) Share This Page
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Other Music has been a staple in the East Village since the mid-1990s. Hilary Swift for The New York Times
When Other Music, the scrappy East Village record store, opened in 1995, it existed in the shadow of Tower Records, which ran the entire city block across East Fourth Street. By 1998, Virgin Megastore was a short walk away in Union Square.
Yet Other Music, known for its dedication to underground and experimental artists, outlived both — Tower shut its 89 American stores (http://www.nytimes.com/2015/10/16/movies/review-all-things-must-pass-tells-story-of-tower-records.html) in 2006, while Virgin closed in 2009 (http://www.nytimes.com/2009/06/15/arts/music/15virgin.html) . In the face of a shrinking music industry, the longevity of this small shop could be seen as a win for the niche, the curated, even the slightly snobby. But it couldn’t last.
As sales of physical music continue to plummet, a no-frills independent record store makes increasingly less sense as a business: Other Music will shut its doors and mail-order service on June 25, more than 20 years after its debut in this once artistically vibrant neighborhood (http://www.nytimes.com/2014/12/14/realestate/the-east-village-clings-to-a-colorful-past.html) . (Other Music Recording Co. (http://artsbeat.blogs.nytimes.com/2012/03/12/east-village-record-store-other-music-starts-a-label/) , a label associated with the store since 2012, will continue.)
“We still do a ton of business — probably more than most stores in the country,” said Josh Madell, 45, a co-owner of Other Music, from behind the counter last week. “It’s just the economics of it actually supporting us — we don’t see a future in it. We’re trying to step back before it becomes a nightmare.”
Continue reading the main story
Business has dropped by half since the store’s peak in 2000, when it did about $3.1 million in sales, said Chris Vanderloo, who founded the shop with Mr. Madell and Jeff Gibson after the three met as employees at the music spinoff of Kim’s Video (http://www.nytimes.com/2014/07/27/movies/kims-video-closes-and-a-village-sensibility-dies.html) in the early ’90s. (Mr. Gibson left Other Music’s day-to-day operations in 2001.)
Rent, on the other hand, has more than doubled from the $6,000 a month the store paid in 1995, while its annual share of the building’s property tax bill has also increased.
Chris Vanderloo, left, and Josh Madell, two founders of Other Music. Hilary Swift for The New York Times
Then there are the dreary industry trends: In 2015, streaming nearly doubled from the previous year while CDs sales were down 82 percent from their peak in 2001. And despite the resurgence of vinyl, which now makes up about 60 percent of Other Music’s revenue, up from about 20 percent in its first 10 years, there’s no real salvation in sight.
“Pre-Internet we were a mecca for people,” Mr. Madell said. “They would come to New York with $300 in their pocket because they’d heard or read about some records that they’d never seen anywhere.”
Mac McCaughan, a founder of the band Superchunk and the indie giant Merge Records, said that record shops were part of what brought him to the city in the 1980s. As they started disappearing, “Other Music was the perfect record store in a city that needed a record store,” he wrote in an email. “I always found stuff I was looking for or discovered stuff I didn’t know I was looking for.”
A staff knowledgeable about esoteric genres — ambient music, free jazz, ’70s German psychedelic, ’60s French pop — served as spirit guides.
“That’s what a place like this was all about,” Mr. Madell said. “But the customers don’t come in with the same sort of needs anymore. If they want to know what something sounds like, they just pull it up online.”
Along with its meticulous selection, Other Music made a name with its intimate connections to indie acts and labels. The store was early to champion local bands like the Yeah Yeah Yeahs, Interpol and Vampire Weekend, selling homemade releases and hosting in-store performances. Elliott Smith and Neutral Milk Hotel also played there over the years.
Patrons browse the offerings at the store. Vinyl is big at Other Music, but streaming has taken a toll on business. Hilary Swift for The New York Times
“I felt involved in helping these artists reach an audience,” Mr. Madell said. “This is where you needed to be if you wanted to be on top of what was happening.”
Continue reading the main story
Now physical products are often “an afterthought,” he added, even for larger bands like Radiohead, whose new single and album were released first digitally (http://www.nytimes.com/2016/05/07/arts/music/radiohead-new-album-daydreaming.html) , with vinyl and CDs coming weeks or months later. The annual Record Store Day, in which artists provide stores with exclusive releases, can help only so much.
“The energy of music obviously has moved out of a place like this,” said Mr. Madell, who admitted that CDs now look “like floppy disks” to him.
The New York music scene has also moved across the East River. “When we opened, Brooklyn was not even on the map really for music culture,” he added. “Now that is definitely where you’re going to be.”
As Manhattan stores continue to close (http://www.nytimes.com/2008/04/18/arts/music/18reco.html) — notable survivors include Bleecker Street Records and Generation Records on Thompson Street, though both focus more on used titles — shops are opening in Brooklyn, though usually with more to offer.
Rough Trade NYC (http://www.nytimes.com/2013/11/22/arts/music/records-are-dying-not-here.html) , a 15,000-square-foot spinoff of the London store that opened in Williamsburg, Brooklyn, in 2013, has a cafe and a performance space, among other flourishes.
“From the very beginning, we’ve always been a record store,” Mr. Madell said. “It’s about people coming in here and getting lost in music, in new releases. We just never wanted to reinvent or dilute it as something else. For better or worse.”
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=721b3f8f0d) | 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=721b3f8f0d&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
Bassist Paul Brown, R.I.P.
http://www.jazzpromoservices.com/
http://nepr.net/music/2016/05/08/paul-brown-r-i-p/ Paul Brown Paul Brown
** Paul Brown, R.I.P.
————————————————————
A GUIDING LIGHT OF HARTFORD’S JAZZ COMMUNITY FOR OVER 50 YEARS
by: Tom Reney (http://nepr.net/music/author/tom-reney/) MAY 8, 2016
I’m saddened to report that the Greater Hartford jazz community lost one of its most beloved figures on Friday night with the passing of Paul Brown at age 82. Brown’s career as a bassist brought impeccable credibility to his local prominence as a teacher, mentor, presenter, and community leader. He’d toured with a who’s who of singers including Sarah Vaughan, Frank Sinatra, Nina Simone, and Betty Carter, and he enjoyed long associations with jazz masters Nat Adderley, Walter Bishop. Jr., Junior Cook, and Bill Hardman.
In the mid-sixties, “PB” conceived the idea of bringing jazz artists to Hartford in an effort to quell urban unrest and unite communities through the grace and power of music. From the start, he got fast and ready cooperation from those he called upon, and beginning in 1967, opening season included the Adderley Brothers, Muddy Waters, and Clark Terry’s Big Band playing in the Garden Area Center of Hartford’s North End. Since then, through Brown’s efforts as a fundraiser and presenter, thousands have enjoyed free summer concerts in the streets of Hartford and on Monday nights at Bushnell Park. Brown was also a founder of the annual Greater Hartford Festival of Jazz, a free weekend fest in mid-July. (For the past decade, the Hartford Jazz Society has preserved PB’s vision by producing Monday Night Jazz; now in its 49th year, it’s the nation’s longest running free jazz concert series.)
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
As an educator, Brown helped found the Artists Collective with Dolly and Jackie McLean around 1970, and he was long associated with the Greater Hartford Academy of the Arts. Not surprisingly, social media was brimming with testimonials about PB’s legacy over the weekend. Matt Chasen of West Hartford wrote, “Without his tireless efforts there would be no ‘jazz community’ in Hartford as we know it today.” Paul was feted on April 25 at the Monday Jazz Jam at Black-Eyed Sally’s in Hartford. Early that evening, I heard the bassist Matt Dwonszyk play a set with Matt and Atla DeChamplain at the Gaylord Memorial Library in South Hadley, Mass., then announce that he had to leave promptly to get to the tribute for his mentor.
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand, Hartford; photo by Joseph Chandler
PB’s commitment to bringing jazz giants– Thelonious Monk, Bill Evans, Sun Ra, the Modern Jazz Quartet, Betty Carter, Sonny Stitt, Sonny Rollins, and Count Basie among them– and keepers of the flame to Hartford helped foster the impressive number of locally born jazz players who’ve moved on to national recognition. Monday Night Jazz has long showcased emerging players as opening acts for the headliners, and it’s not unusual these days to read listings of jazz events in New York and see numerous Hartford-area players among them.
I met PB many times over the years, and among the laughs we shared was one that had to do with the occasional confusion of yours truly with NYC drummer Tom Rainey. Paul told me that he was hired for a job in Boston one night with a group that included Rainey, and on the ride up he wondered why I’d never told him I was a drummer. While en route, he heard my late afternoon promo for Jazz à la Mode on WFCR and wondered, “How’s Tom gonna be in two places at once?” Upon arrival, of course, he discovered a different Tom altogether.
To jazz fans throughout the region, PB was a guiding light for over fifty years. As befitting his stature, the Hartford Courant’s tribute to PB ran on page one of Sunday’s edition. Click here (http://www.courant.com/community/hartford/hc-hartford-paul-brown-hartford-jazz-dies-508-20160507-story.html) to read Kristen Stoller’s feature, which includes tributes paid to the bassist at a previously scheduled event in his honor on Saturday afternoon at the Avon Public Library. I’ve no doubt that Paul Brown’s greatest civic wish will be for the Hartford jazz community to continue to thrive, but to be sure, there’ll never be another PB.
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=58b6a5c240) | 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=58b6a5c240&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
Bassist Paul Brown, R.I.P.
http://www.jazzpromoservices.com/
http://nepr.net/music/2016/05/08/paul-brown-r-i-p/ Paul Brown Paul Brown
** Paul Brown, R.I.P.
————————————————————
A GUIDING LIGHT OF HARTFORD’S JAZZ COMMUNITY FOR OVER 50 YEARS
by: Tom Reney (http://nepr.net/music/author/tom-reney/) MAY 8, 2016
I’m saddened to report that the Greater Hartford jazz community lost one of its most beloved figures on Friday night with the passing of Paul Brown at age 82. Brown’s career as a bassist brought impeccable credibility to his local prominence as a teacher, mentor, presenter, and community leader. He’d toured with a who’s who of singers including Sarah Vaughan, Frank Sinatra, Nina Simone, and Betty Carter, and he enjoyed long associations with jazz masters Nat Adderley, Walter Bishop. Jr., Junior Cook, and Bill Hardman.
In the mid-sixties, “PB” conceived the idea of bringing jazz artists to Hartford in an effort to quell urban unrest and unite communities through the grace and power of music. From the start, he got fast and ready cooperation from those he called upon, and beginning in 1967, opening season included the Adderley Brothers, Muddy Waters, and Clark Terry’s Big Band playing in the Garden Area Center of Hartford’s North End. Since then, through Brown’s efforts as a fundraiser and presenter, thousands have enjoyed free summer concerts in the streets of Hartford and on Monday nights at Bushnell Park. Brown was also a founder of the annual Greater Hartford Festival of Jazz, a free weekend fest in mid-July. (For the past decade, the Hartford Jazz Society has preserved PB’s vision by producing Monday Night Jazz; now in its 49th year, it’s the nation’s longest running free jazz concert series.)
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
As an educator, Brown helped found the Artists Collective with Dolly and Jackie McLean around 1970, and he was long associated with the Greater Hartford Academy of the Arts. Not surprisingly, social media was brimming with testimonials about PB’s legacy over the weekend. Matt Chasen of West Hartford wrote, “Without his tireless efforts there would be no ‘jazz community’ in Hartford as we know it today.” Paul was feted on April 25 at the Monday Jazz Jam at Black-Eyed Sally’s in Hartford. Early that evening, I heard the bassist Matt Dwonszyk play a set with Matt and Atla DeChamplain at the Gaylord Memorial Library in South Hadley, Mass., then announce that he had to leave promptly to get to the tribute for his mentor.
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand, Hartford; photo by Joseph Chandler
PB’s commitment to bringing jazz giants– Thelonious Monk, Bill Evans, Sun Ra, the Modern Jazz Quartet, Betty Carter, Sonny Stitt, Sonny Rollins, and Count Basie among them– and keepers of the flame to Hartford helped foster the impressive number of locally born jazz players who’ve moved on to national recognition. Monday Night Jazz has long showcased emerging players as opening acts for the headliners, and it’s not unusual these days to read listings of jazz events in New York and see numerous Hartford-area players among them.
I met PB many times over the years, and among the laughs we shared was one that had to do with the occasional confusion of yours truly with NYC drummer Tom Rainey. Paul told me that he was hired for a job in Boston one night with a group that included Rainey, and on the ride up he wondered why I’d never told him I was a drummer. While en route, he heard my late afternoon promo for Jazz à la Mode on WFCR and wondered, “How’s Tom gonna be in two places at once?” Upon arrival, of course, he discovered a different Tom altogether.
To jazz fans throughout the region, PB was a guiding light for over fifty years. As befitting his stature, the Hartford Courant’s tribute to PB ran on page one of Sunday’s edition. Click here (http://www.courant.com/community/hartford/hc-hartford-paul-brown-hartford-jazz-dies-508-20160507-story.html) to read Kristen Stoller’s feature, which includes tributes paid to the bassist at a previously scheduled event in his honor on Saturday afternoon at the Avon Public Library. I’ve no doubt that Paul Brown’s greatest civic wish will be for the Hartford jazz community to continue to thrive, but to be sure, there’ll never be another PB.
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=58b6a5c240) | 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=58b6a5c240&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
Bassist Paul Brown, R.I.P.
http://www.jazzpromoservices.com/
http://nepr.net/music/2016/05/08/paul-brown-r-i-p/ Paul Brown Paul Brown
** Paul Brown, R.I.P.
————————————————————
A GUIDING LIGHT OF HARTFORD’S JAZZ COMMUNITY FOR OVER 50 YEARS
by: Tom Reney (http://nepr.net/music/author/tom-reney/) MAY 8, 2016
I’m saddened to report that the Greater Hartford jazz community lost one of its most beloved figures on Friday night with the passing of Paul Brown at age 82. Brown’s career as a bassist brought impeccable credibility to his local prominence as a teacher, mentor, presenter, and community leader. He’d toured with a who’s who of singers including Sarah Vaughan, Frank Sinatra, Nina Simone, and Betty Carter, and he enjoyed long associations with jazz masters Nat Adderley, Walter Bishop. Jr., Junior Cook, and Bill Hardman.
In the mid-sixties, “PB” conceived the idea of bringing jazz artists to Hartford in an effort to quell urban unrest and unite communities through the grace and power of music. From the start, he got fast and ready cooperation from those he called upon, and beginning in 1967, opening season included the Adderley Brothers, Muddy Waters, and Clark Terry’s Big Band playing in the Garden Area Center of Hartford’s North End. Since then, through Brown’s efforts as a fundraiser and presenter, thousands have enjoyed free summer concerts in the streets of Hartford and on Monday nights at Bushnell Park. Brown was also a founder of the annual Greater Hartford Festival of Jazz, a free weekend fest in mid-July. (For the past decade, the Hartford Jazz Society has preserved PB’s vision by producing Monday Night Jazz; now in its 49th year, it’s the nation’s longest running free jazz concert series.)
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
Paul Brown at center in white shirt on April 25, 2016; photo by Joseph Chandler
As an educator, Brown helped found the Artists Collective with Dolly and Jackie McLean around 1970, and he was long associated with the Greater Hartford Academy of the Arts. Not surprisingly, social media was brimming with testimonials about PB’s legacy over the weekend. Matt Chasen of West Hartford wrote, “Without his tireless efforts there would be no ‘jazz community’ in Hartford as we know it today.” Paul was feted on April 25 at the Monday Jazz Jam at Black-Eyed Sally’s in Hartford. Early that evening, I heard the bassist Matt Dwonszyk play a set with Matt and Atla DeChamplain at the Gaylord Memorial Library in South Hadley, Mass., then announce that he had to leave promptly to get to the tribute for his mentor.
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand
Paul Brown and Matt Dwonszyk, Bushnell Park bandstand, Hartford; photo by Joseph Chandler
PB’s commitment to bringing jazz giants– Thelonious Monk, Bill Evans, Sun Ra, the Modern Jazz Quartet, Betty Carter, Sonny Stitt, Sonny Rollins, and Count Basie among them– and keepers of the flame to Hartford helped foster the impressive number of locally born jazz players who’ve moved on to national recognition. Monday Night Jazz has long showcased emerging players as opening acts for the headliners, and it’s not unusual these days to read listings of jazz events in New York and see numerous Hartford-area players among them.
I met PB many times over the years, and among the laughs we shared was one that had to do with the occasional confusion of yours truly with NYC drummer Tom Rainey. Paul told me that he was hired for a job in Boston one night with a group that included Rainey, and on the ride up he wondered why I’d never told him I was a drummer. While en route, he heard my late afternoon promo for Jazz à la Mode on WFCR and wondered, “How’s Tom gonna be in two places at once?” Upon arrival, of course, he discovered a different Tom altogether.
To jazz fans throughout the region, PB was a guiding light for over fifty years. As befitting his stature, the Hartford Courant’s tribute to PB ran on page one of Sunday’s edition. Click here (http://www.courant.com/community/hartford/hc-hartford-paul-brown-hartford-jazz-dies-508-20160507-story.html) to read Kristen Stoller’s feature, which includes tributes paid to the bassist at a previously scheduled event in his honor on Saturday afternoon at the Avon Public Library. I’ve no doubt that Paul Brown’s greatest civic wish will be for the Hartford jazz community to continue to thrive, but to be sure, there’ll never be another PB.
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=58b6a5c240) | 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=58b6a5c240&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
Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
http://www.jazzpromoservices.com/
http://www.philly.com/philly/entertainment/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html
** Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
————————————————————
by , For The Inquirer
As the owner of Chris’ Jazz Cafe for the last 15 years of the club’s 25-year history, Mark DeNinno looks back fondly at the young musicians who got their start on the stage at Chris’ and went on to become jazz superstars – names like guitarist Kurt Rosenwinkel and drummer Ari Hoenig. In his other role as chef, DeNinno’s memories also extend to the meals he’s made them.
http://www.philly.com/philly/entertainment/music/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html?viewGallery=y
For Hoenig’s regular returns to the club, DeNinno says, it’s always crab cakes, unless crawfish are in season. Pianist Helen Sung loves lamb Bolognese. Before Philly organ great Joey DeFrancesco changed his eating habits, it was veal osso buco with picci. The fact that Pat Martino’s annual visits are on Thanksgiving weekend adds an extra family feeling. Before the guitar great switched to a raw diet, DeNinno would always serve him penne with clams.
“It warms my heart, because I know what they like to eat, so I make their favorite foods when they come back,” DeNinno says proudly. “I’m kind of like their restaurant dad.”
If DeNinno wants to play that role for the musicians who will play Chris’ to celebrate the Sansom Street club’s 25th anniversary, he’ll have a lot of cooking to do. From Thursday to Saturday, eight artists will perform shows that will add up to 25 hours of jazz in honor of the club’s silver anniversary.
From a happy-hour set on Thursday to a late-night set Saturday, the lineup will include bass great Mike Boone; vocalist Michelle Lordi; drummer Webb Thomas; and the All-Star Jazz Trio, featuring veteran drummer Bruce Klauber, pianist Andy Kahn, and bassist Bruce Kaminsky.
“These are the stalwarts of the jazz community,” DeNinno says, “and we’re celebrating them, as well. Without them, obviously, the club wouldn’t be here.”
The numbers game will extend to the menu, which will offer a three-course chef tasting and show for $25, along with bottles of wine at the same price. The bar will offer throwback cocktails from 1991, though DeNinno insists the drinks will be crafted with modern flair.
“It won’t just be a Malibu Bay Breeze with no garnish,” he says with a laugh.
Restaurateur Christ “Chris” Dhimitri opened Chris’ Jazz Cafe in 1991 and ran it as an unassuming piano bar for its first decade. Three regulars bought the place, though that didn’t bring much beyond enthusiasm to the table. Enter DeNinno, a veteran restaurant consultant who came to Chris’ in that capacity in 2001 and took over as majority owner a year later.
At the time, Chris’ Jazz Cafe was still more of a bar with jazz on the side than a true jazz club. Though booking agent Al McMahon (who DeNinno says “keeps Chris’ alive”) already was bringing in name acts like the Bad Plus, performers were crammed into a corner near the front of the bar, and the back third of the space was given over to a pool table, pinball game, and cigarette machine.
That changed in 2005, when those amusements were dumped and a true stage was installed in their place, with new lighting, sound system, and a baby grand in place of the club’s notorious, perpetually out-of-tune instrument. “We knew that we needed to center jazz in the restaurant and make it the focus,” DeNinno says. (Though given the competition that bands often face from the noisy bar, not every patron seems to have gotten that message, even a decade later.)
Fittingly for a club that has welcomed back so many artists who had their earliest gigs there, Chris’ continues to offer a mix of young local talent and national touring acts.
Major jazz names like Brad Mehldau, Fred Hersch, Chris Potter, and Christian McBride all have played there, and local giants like Bootsie Barnes, Jimmy Bruno, and Larry McKenna have frequented its stage at various times.
Vibraphonist Tony Miceli, who has been a regular for most of that history, says: “We’re so lucky to have Chris’ right in Center City. I’ve loved the club for 25 years now, and it’s evolved into an incredible place where the greatest names in jazz come to play. Mark could throw in a bunch of big TVs and put on sports and probably pack that place, but he really loves the music.”
With his duties in the kitchen and overseeing the operation, DeNinno doesn’t often get to stop and enjoy that music. A particularly compelling performance will force him to pause and take in the band for a moment, though.
A recent performance by the Bill Charlap Trio was one such occasion, though his favorite remains an appearance by pianist Junior Mance and his trio in 2006.
The combination of music and food remains DeNinno’s passion. “I leave here many nights exhausted, and I go out, dust the flour off my shoes, get in my 12-year-old Ford pickup truck, and I’m content,” he says. “I know tomorrow I’ll either have to go to the market and fill up my cooler, or go pick up an amp somewhere.”
“25 Hours of Jazz,” various artists, Thursday-Saturday, Chris’ Jazz Cafe, 1421 Sansom St. 215-568-3131, chrisjazzcafe.com.
Published: May 3, 2016 — 7:40 AM EDT | Updated: May 3, 2016 — 9:02 AM EDT
The Philadelphia Inquirer
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=220fc74199) | 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=220fc74199&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
Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
http://www.jazzpromoservices.com/
http://www.philly.com/philly/entertainment/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html
** Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
————————————————————
by , For The Inquirer
As the owner of Chris’ Jazz Cafe for the last 15 years of the club’s 25-year history, Mark DeNinno looks back fondly at the young musicians who got their start on the stage at Chris’ and went on to become jazz superstars – names like guitarist Kurt Rosenwinkel and drummer Ari Hoenig. In his other role as chef, DeNinno’s memories also extend to the meals he’s made them.
http://www.philly.com/philly/entertainment/music/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html?viewGallery=y
For Hoenig’s regular returns to the club, DeNinno says, it’s always crab cakes, unless crawfish are in season. Pianist Helen Sung loves lamb Bolognese. Before Philly organ great Joey DeFrancesco changed his eating habits, it was veal osso buco with picci. The fact that Pat Martino’s annual visits are on Thanksgiving weekend adds an extra family feeling. Before the guitar great switched to a raw diet, DeNinno would always serve him penne with clams.
“It warms my heart, because I know what they like to eat, so I make their favorite foods when they come back,” DeNinno says proudly. “I’m kind of like their restaurant dad.”
If DeNinno wants to play that role for the musicians who will play Chris’ to celebrate the Sansom Street club’s 25th anniversary, he’ll have a lot of cooking to do. From Thursday to Saturday, eight artists will perform shows that will add up to 25 hours of jazz in honor of the club’s silver anniversary.
From a happy-hour set on Thursday to a late-night set Saturday, the lineup will include bass great Mike Boone; vocalist Michelle Lordi; drummer Webb Thomas; and the All-Star Jazz Trio, featuring veteran drummer Bruce Klauber, pianist Andy Kahn, and bassist Bruce Kaminsky.
“These are the stalwarts of the jazz community,” DeNinno says, “and we’re celebrating them, as well. Without them, obviously, the club wouldn’t be here.”
The numbers game will extend to the menu, which will offer a three-course chef tasting and show for $25, along with bottles of wine at the same price. The bar will offer throwback cocktails from 1991, though DeNinno insists the drinks will be crafted with modern flair.
“It won’t just be a Malibu Bay Breeze with no garnish,” he says with a laugh.
Restaurateur Christ “Chris” Dhimitri opened Chris’ Jazz Cafe in 1991 and ran it as an unassuming piano bar for its first decade. Three regulars bought the place, though that didn’t bring much beyond enthusiasm to the table. Enter DeNinno, a veteran restaurant consultant who came to Chris’ in that capacity in 2001 and took over as majority owner a year later.
At the time, Chris’ Jazz Cafe was still more of a bar with jazz on the side than a true jazz club. Though booking agent Al McMahon (who DeNinno says “keeps Chris’ alive”) already was bringing in name acts like the Bad Plus, performers were crammed into a corner near the front of the bar, and the back third of the space was given over to a pool table, pinball game, and cigarette machine.
That changed in 2005, when those amusements were dumped and a true stage was installed in their place, with new lighting, sound system, and a baby grand in place of the club’s notorious, perpetually out-of-tune instrument. “We knew that we needed to center jazz in the restaurant and make it the focus,” DeNinno says. (Though given the competition that bands often face from the noisy bar, not every patron seems to have gotten that message, even a decade later.)
Fittingly for a club that has welcomed back so many artists who had their earliest gigs there, Chris’ continues to offer a mix of young local talent and national touring acts.
Major jazz names like Brad Mehldau, Fred Hersch, Chris Potter, and Christian McBride all have played there, and local giants like Bootsie Barnes, Jimmy Bruno, and Larry McKenna have frequented its stage at various times.
Vibraphonist Tony Miceli, who has been a regular for most of that history, says: “We’re so lucky to have Chris’ right in Center City. I’ve loved the club for 25 years now, and it’s evolved into an incredible place where the greatest names in jazz come to play. Mark could throw in a bunch of big TVs and put on sports and probably pack that place, but he really loves the music.”
With his duties in the kitchen and overseeing the operation, DeNinno doesn’t often get to stop and enjoy that music. A particularly compelling performance will force him to pause and take in the band for a moment, though.
A recent performance by the Bill Charlap Trio was one such occasion, though his favorite remains an appearance by pianist Junior Mance and his trio in 2006.
The combination of music and food remains DeNinno’s passion. “I leave here many nights exhausted, and I go out, dust the flour off my shoes, get in my 12-year-old Ford pickup truck, and I’m content,” he says. “I know tomorrow I’ll either have to go to the market and fill up my cooler, or go pick up an amp somewhere.”
“25 Hours of Jazz,” various artists, Thursday-Saturday, Chris’ Jazz Cafe, 1421 Sansom St. 215-568-3131, chrisjazzcafe.com.
Published: May 3, 2016 — 7:40 AM EDT | Updated: May 3, 2016 — 9:02 AM EDT
The Philadelphia Inquirer
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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Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
http://www.jazzpromoservices.com/
http://www.philly.com/philly/entertainment/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html
** Chris’ Jazz Cafe celebrates serving up tasty music for 25 years
————————————————————
by , For The Inquirer
As the owner of Chris’ Jazz Cafe for the last 15 years of the club’s 25-year history, Mark DeNinno looks back fondly at the young musicians who got their start on the stage at Chris’ and went on to become jazz superstars – names like guitarist Kurt Rosenwinkel and drummer Ari Hoenig. In his other role as chef, DeNinno’s memories also extend to the meals he’s made them.
http://www.philly.com/philly/entertainment/music/20160503_Chris__Jazz_Cafe_celebrates_serving_up_tasty_music_for_25_years.html?viewGallery=y
For Hoenig’s regular returns to the club, DeNinno says, it’s always crab cakes, unless crawfish are in season. Pianist Helen Sung loves lamb Bolognese. Before Philly organ great Joey DeFrancesco changed his eating habits, it was veal osso buco with picci. The fact that Pat Martino’s annual visits are on Thanksgiving weekend adds an extra family feeling. Before the guitar great switched to a raw diet, DeNinno would always serve him penne with clams.
“It warms my heart, because I know what they like to eat, so I make their favorite foods when they come back,” DeNinno says proudly. “I’m kind of like their restaurant dad.”
If DeNinno wants to play that role for the musicians who will play Chris’ to celebrate the Sansom Street club’s 25th anniversary, he’ll have a lot of cooking to do. From Thursday to Saturday, eight artists will perform shows that will add up to 25 hours of jazz in honor of the club’s silver anniversary.
From a happy-hour set on Thursday to a late-night set Saturday, the lineup will include bass great Mike Boone; vocalist Michelle Lordi; drummer Webb Thomas; and the All-Star Jazz Trio, featuring veteran drummer Bruce Klauber, pianist Andy Kahn, and bassist Bruce Kaminsky.
“These are the stalwarts of the jazz community,” DeNinno says, “and we’re celebrating them, as well. Without them, obviously, the club wouldn’t be here.”
The numbers game will extend to the menu, which will offer a three-course chef tasting and show for $25, along with bottles of wine at the same price. The bar will offer throwback cocktails from 1991, though DeNinno insists the drinks will be crafted with modern flair.
“It won’t just be a Malibu Bay Breeze with no garnish,” he says with a laugh.
Restaurateur Christ “Chris” Dhimitri opened Chris’ Jazz Cafe in 1991 and ran it as an unassuming piano bar for its first decade. Three regulars bought the place, though that didn’t bring much beyond enthusiasm to the table. Enter DeNinno, a veteran restaurant consultant who came to Chris’ in that capacity in 2001 and took over as majority owner a year later.
At the time, Chris’ Jazz Cafe was still more of a bar with jazz on the side than a true jazz club. Though booking agent Al McMahon (who DeNinno says “keeps Chris’ alive”) already was bringing in name acts like the Bad Plus, performers were crammed into a corner near the front of the bar, and the back third of the space was given over to a pool table, pinball game, and cigarette machine.
That changed in 2005, when those amusements were dumped and a true stage was installed in their place, with new lighting, sound system, and a baby grand in place of the club’s notorious, perpetually out-of-tune instrument. “We knew that we needed to center jazz in the restaurant and make it the focus,” DeNinno says. (Though given the competition that bands often face from the noisy bar, not every patron seems to have gotten that message, even a decade later.)
Fittingly for a club that has welcomed back so many artists who had their earliest gigs there, Chris’ continues to offer a mix of young local talent and national touring acts.
Major jazz names like Brad Mehldau, Fred Hersch, Chris Potter, and Christian McBride all have played there, and local giants like Bootsie Barnes, Jimmy Bruno, and Larry McKenna have frequented its stage at various times.
Vibraphonist Tony Miceli, who has been a regular for most of that history, says: “We’re so lucky to have Chris’ right in Center City. I’ve loved the club for 25 years now, and it’s evolved into an incredible place where the greatest names in jazz come to play. Mark could throw in a bunch of big TVs and put on sports and probably pack that place, but he really loves the music.”
With his duties in the kitchen and overseeing the operation, DeNinno doesn’t often get to stop and enjoy that music. A particularly compelling performance will force him to pause and take in the band for a moment, though.
A recent performance by the Bill Charlap Trio was one such occasion, though his favorite remains an appearance by pianist Junior Mance and his trio in 2006.
The combination of music and food remains DeNinno’s passion. “I leave here many nights exhausted, and I go out, dust the flour off my shoes, get in my 12-year-old Ford pickup truck, and I’m content,” he says. “I know tomorrow I’ll either have to go to the market and fill up my cooler, or go pick up an amp somewhere.”
“25 Hours of Jazz,” various artists, Thursday-Saturday, Chris’ Jazz Cafe, 1421 Sansom St. 215-568-3131, chrisjazzcafe.com.
Published: May 3, 2016 — 7:40 AM EDT | Updated: May 3, 2016 — 9:02 AM EDT
The Philadelphia Inquirer
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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Doug Raney (1956-2016) RIP : Jazz Guitar Life
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http://www.jazzguitarlife.com/doug-raney-rip/
** Doug Raney (1956-2016) RIP
————————————————————
http://www.jazzguitarlife.com/wp-content/uploads/2016/05/Doug-Raney.jpgI woke up this morning to the sad news that Jazz Guitarist Doug Raney who was just 59 and the son of legendary Jazz Guitarist Jimmy Raney, had passed away. As of this moment I have no specific news other than he was in bad health these past few years. My deepest condolences go to the Raney family at this sad time.
Jon Raney – Doug’s younger brother – wrote a beautiful blog post. If interested, you can view it at: http://www.jonraney.com/2016/05/02/goodbye-my-brother/
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Doug Raney (1956-2016) RIP : Jazz Guitar Life
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http://www.jazzguitarlife.com/doug-raney-rip/
** Doug Raney (1956-2016) RIP
————————————————————
http://www.jazzguitarlife.com/wp-content/uploads/2016/05/Doug-Raney.jpgI woke up this morning to the sad news that Jazz Guitarist Doug Raney who was just 59 and the son of legendary Jazz Guitarist Jimmy Raney, had passed away. As of this moment I have no specific news other than he was in bad health these past few years. My deepest condolences go to the Raney family at this sad time.
Jon Raney – Doug’s younger brother – wrote a beautiful blog post. If interested, you can view it at: http://www.jonraney.com/2016/05/02/goodbye-my-brother/
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
Doug Raney (1956-2016) RIP : Jazz Guitar Life
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http://www.jazzguitarlife.com/doug-raney-rip/
** Doug Raney (1956-2016) RIP
————————————————————
http://www.jazzguitarlife.com/wp-content/uploads/2016/05/Doug-Raney.jpgI woke up this morning to the sad news that Jazz Guitarist Doug Raney who was just 59 and the son of legendary Jazz Guitarist Jimmy Raney, had passed away. As of this moment I have no specific news other than he was in bad health these past few years. My deepest condolences go to the Raney family at this sad time.
Jon Raney – Doug’s younger brother – wrote a beautiful blog post. If interested, you can view it at: http://www.jonraney.com/2016/05/02/goodbye-my-brother/
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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Remo Belli dies at 88; musician developed synthetic drumheads – LA Times
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http://www.latimes.com/local/obituaries/la-me-remo-belli-20160503-story.html
** Remo Belli dies at 88; musician developed synthetic drumheads
————————————————————
Remo Belli dies at 88; musician developed synthetic drumheads
Frustrated by the limitations of animal-skin drumheads, Remo Belli and his collaborators perfected and began marketing one of the first artificial drumheads.
(Brian Vander Brug / Los Angeles Times)
Christopher Weber
Remo Belli, a musician who pioneered the synthetic drumhead just in time to help a generation of rock-and-rollers shape their sound and then saw it become standard on kits across genres, has died.
Belli, who founded Remo Inc., was 88 and had been treated for pneumonia at a Pasadena hospital, where he died April 25, said Sue Kincade, the company’s advertising manager.
Belli was a young professional drummer in the 1950s, backing singer Anita O’Day and others, when he grew frustrated with the limitations of animal-skin drumheads, which could wilt or expand depending on the weather.
In 1957, he and his collaborators perfected and began marketing one of the first artificial drumheads made of a resilient polyester film manufactured under various brand names, including Mylar, made by DuPont. He dubbed that first product the Weather King, a signal that it was durable no matter the atmospheric conditions of the gig, unlike finicky cow-skin drums.
A few years later, a 20-inch Remo drumhead was seen on Ringo Starr’s Ludwig kit when the Beatles played on the “Ed Sullivan Show.” Rockers quickly caught on and eventually even jazz purists began embracing synthetic heads, which are now standard on kits of drummers in all genres.
Notable deaths of 2016
Belli’s modest Los Angeles store, Drum City, grew into Remo Inc., now located in Valencia.
Belli and his wife, Ami, a doctor, worked with neurologists and educators to incorporate rhythm into wellness regimens. He promoted drum circles and was convinced that drumming could reduce stress, improve moods, boost creativity and even strengthen immune systems.
Remo Delmo Belli was born in Mishawaka, Ind., near South Bend, on June 22, 1927. As a child, he loved listening to his uncle’s polka band. His father urged him to learn the accordion, but he chose the drums instead. He began playing professionally in jazz bands at age 16, while still in high school.
Last year the Remo drumhead used by Starr on “Ed Sullivan” sold at auction for $2.1 million.
Weber is a writer for the Associated Press.
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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Remo Belli dies at 88; musician developed synthetic drumheads – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-remo-belli-20160503-story.html
** Remo Belli dies at 88; musician developed synthetic drumheads
————————————————————
Remo Belli dies at 88; musician developed synthetic drumheads
Frustrated by the limitations of animal-skin drumheads, Remo Belli and his collaborators perfected and began marketing one of the first artificial drumheads.
(Brian Vander Brug / Los Angeles Times)
Christopher Weber
Remo Belli, a musician who pioneered the synthetic drumhead just in time to help a generation of rock-and-rollers shape their sound and then saw it become standard on kits across genres, has died.
Belli, who founded Remo Inc., was 88 and had been treated for pneumonia at a Pasadena hospital, where he died April 25, said Sue Kincade, the company’s advertising manager.
Belli was a young professional drummer in the 1950s, backing singer Anita O’Day and others, when he grew frustrated with the limitations of animal-skin drumheads, which could wilt or expand depending on the weather.
In 1957, he and his collaborators perfected and began marketing one of the first artificial drumheads made of a resilient polyester film manufactured under various brand names, including Mylar, made by DuPont. He dubbed that first product the Weather King, a signal that it was durable no matter the atmospheric conditions of the gig, unlike finicky cow-skin drums.
A few years later, a 20-inch Remo drumhead was seen on Ringo Starr’s Ludwig kit when the Beatles played on the “Ed Sullivan Show.” Rockers quickly caught on and eventually even jazz purists began embracing synthetic heads, which are now standard on kits of drummers in all genres.
Notable deaths of 2016
Belli’s modest Los Angeles store, Drum City, grew into Remo Inc., now located in Valencia.
Belli and his wife, Ami, a doctor, worked with neurologists and educators to incorporate rhythm into wellness regimens. He promoted drum circles and was convinced that drumming could reduce stress, improve moods, boost creativity and even strengthen immune systems.
Remo Delmo Belli was born in Mishawaka, Ind., near South Bend, on June 22, 1927. As a child, he loved listening to his uncle’s polka band. His father urged him to learn the accordion, but he chose the drums instead. He began playing professionally in jazz bands at age 16, while still in high school.
Last year the Remo drumhead used by Starr on “Ed Sullivan” sold at auction for $2.1 million.
Weber is a writer for the Associated Press.
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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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
Remo Belli dies at 88; musician developed synthetic drumheads – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/local/obituaries/la-me-remo-belli-20160503-story.html
** Remo Belli dies at 88; musician developed synthetic drumheads
————————————————————
Remo Belli dies at 88; musician developed synthetic drumheads
Frustrated by the limitations of animal-skin drumheads, Remo Belli and his collaborators perfected and began marketing one of the first artificial drumheads.
(Brian Vander Brug / Los Angeles Times)
Christopher Weber
Remo Belli, a musician who pioneered the synthetic drumhead just in time to help a generation of rock-and-rollers shape their sound and then saw it become standard on kits across genres, has died.
Belli, who founded Remo Inc., was 88 and had been treated for pneumonia at a Pasadena hospital, where he died April 25, said Sue Kincade, the company’s advertising manager.
Belli was a young professional drummer in the 1950s, backing singer Anita O’Day and others, when he grew frustrated with the limitations of animal-skin drumheads, which could wilt or expand depending on the weather.
In 1957, he and his collaborators perfected and began marketing one of the first artificial drumheads made of a resilient polyester film manufactured under various brand names, including Mylar, made by DuPont. He dubbed that first product the Weather King, a signal that it was durable no matter the atmospheric conditions of the gig, unlike finicky cow-skin drums.
A few years later, a 20-inch Remo drumhead was seen on Ringo Starr’s Ludwig kit when the Beatles played on the “Ed Sullivan Show.” Rockers quickly caught on and eventually even jazz purists began embracing synthetic heads, which are now standard on kits of drummers in all genres.
Notable deaths of 2016
Belli’s modest Los Angeles store, Drum City, grew into Remo Inc., now located in Valencia.
Belli and his wife, Ami, a doctor, worked with neurologists and educators to incorporate rhythm into wellness regimens. He promoted drum circles and was convinced that drumming could reduce stress, improve moods, boost creativity and even strengthen immune systems.
Remo Delmo Belli was born in Mishawaka, Ind., near South Bend, on June 22, 1927. As a child, he loved listening to his uncle’s polka band. His father urged him to learn the accordion, but he chose the drums instead. He began playing professionally in jazz bands at age 16, while still in high school.
Last year the Remo drumhead used by Starr on “Ed Sullivan” sold at auction for $2.1 million.
Weber is a writer for the Associated Press.
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=f95578c57c) | 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=f95578c57c&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Ike Turner and The Kings Of Rhythm. Party Time-Complete-1959 – YouTube
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https://www.youtube.com/watch?v=oauMyJlLbUw
This might be one of the greatest kinescopes floating around. It’s the complete 1959 Party Time show with Ike and the gang. I’ve seen clips from this show but here it is complete with pretty cool original original commercials. One of the other fun parts of the show is when the swing dance champion does a dance with his new partner. She is supposed to go under his leg but lifts her head up too soon (about 10:31 (https://www.youtube.com/watch?v=oauMyJlLbUw#) ). Ouch.
There is a clip of the Treniers singing “Calypso Joe” stuck on at the end by mistake. Enjoy it. This is posted for historical purposes and is fair use.
I buy old concert posters and handbills. If you like Ike, the you will enjoy the vintage posters at my site. www.kardboardkid.com
https://www.youtube.com/watch?v=oauMyJlLbUw
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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Ike Turner and The Kings Of Rhythm. Party Time-Complete-1959 – YouTube
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https://www.youtube.com/watch?v=oauMyJlLbUw
This might be one of the greatest kinescopes floating around. It’s the complete 1959 Party Time show with Ike and the gang. I’ve seen clips from this show but here it is complete with pretty cool original original commercials. One of the other fun parts of the show is when the swing dance champion does a dance with his new partner. She is supposed to go under his leg but lifts her head up too soon (about 10:31 (https://www.youtube.com/watch?v=oauMyJlLbUw#) ). Ouch.
There is a clip of the Treniers singing “Calypso Joe” stuck on at the end by mistake. Enjoy it. This is posted for historical purposes and is fair use.
I buy old concert posters and handbills. If you like Ike, the you will enjoy the vintage posters at my site. www.kardboardkid.com
https://www.youtube.com/watch?v=oauMyJlLbUw
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Ike Turner and The Kings Of Rhythm. Party Time-Complete-1959 – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=oauMyJlLbUw
This might be one of the greatest kinescopes floating around. It’s the complete 1959 Party Time show with Ike and the gang. I’ve seen clips from this show but here it is complete with pretty cool original original commercials. One of the other fun parts of the show is when the swing dance champion does a dance with his new partner. She is supposed to go under his leg but lifts her head up too soon (about 10:31 (https://www.youtube.com/watch?v=oauMyJlLbUw#) ). Ouch.
There is a clip of the Treniers singing “Calypso Joe” stuck on at the end by mistake. Enjoy it. This is posted for historical purposes and is fair use.
I buy old concert posters and handbills. If you like Ike, the you will enjoy the vintage posters at my site. www.kardboardkid.com
https://www.youtube.com/watch?v=oauMyJlLbUw
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
USA
Local jazz movement to keep Thelonious Monk spirit alive :: WRAL.com
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http://www.wral.com/news/local/video/15644106/
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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269 State Route 94 South
Warwick, Ny 10990
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Local jazz movement to keep Thelonious Monk spirit alive :: WRAL.com
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http://www.wral.com/news/local/video/15644106/
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Local jazz movement to keep Thelonious Monk spirit alive :: WRAL.com
http://www.jazzpromoservices.com/
http://www.wral.com/news/local/video/15644106/
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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Quincy Jones band – Melba Liston(tb) Municipal Theatre in Lausanne May 20,1960- YouTube
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https://www.youtube.com/watch?v=ojwANp_D_fE
https://www.youtube.com/watch?v=ojwANp_D_fE
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Quincy Jones band – Melba Liston(tb) Municipal Theatre in Lausanne May 20,1960- YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=ojwANp_D_fE
https://www.youtube.com/watch?v=ojwANp_D_fE
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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269 State Route 94 South
Warwick, Ny 10990
USA
Quincy Jones band – Melba Liston(tb) Municipal Theatre in Lausanne May 20,1960- YouTube
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https://www.youtube.com/watch?v=ojwANp_D_fE
https://www.youtube.com/watch?v=ojwANp_D_fE
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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Philip Kives of K-tel – the man who invented the compilation album | Music | The Guardian
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http://www.theguardian.com/music/musicblog/2016/apr/29/philip-kives-k-tel-compilation-album?CMP=share_btn_fb#_=_
** Philip Kives of K-tel – the man who invented the compilation album
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By applying the principle of pile ’em high, sell ’em cheap to music, Philip Kives revolutionised the industry
http://www.theguardian.com/music/musicblog/2016/apr/29/philip-kives-k-tel-compilation-album?CMP=share_btn_fb#img-1
Philip Kives … No space for indulgence. Photograph: Wayne Glowacki/AP
Eamonn Forde (http://www.theguardian.com/profile/eamonnforde)
Friday 29 April 2016 08.17 EDTLast modified on Friday 29 April 2016 08.18 EDT
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While not as celebrated as someone like Ahmet Ertegun, the urbane force behind Atlantic Records, K-tel founder Philip Kives still had a profound effect on the record business – an industry that he, by his own admission, entered by accident.
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The marketing and sales techniques pioneered in the 1960s by Kives, who died on Thursday at the age of 87 (http://www.theguardian.com/media/2016/apr/28/philip-kives-ktel-infomercial-dies-87) , might seem crude and simplistic viewed from a half-century’s distance. But they remain part of the DNA of record label marketing departments today.
He is hailed as having invented the infomercial, producing a live, five-minute TV ad for a Teflon non-stick frying pan. The product might not have been great – “Unfortunately, tephlon was a new product, and the tephlon peeled off the fry pan leaving a lot of tephlon-coated eggs,” he explained on his company’s website – but the format stood him in good stead when he diversified from homeware and into music in 1966.
Facebook (https://www.facebook.com/dialog/share?app_id=180444840287&href=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D8nuikcvYocU&redirect_uri=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D8nuikcvYocU&picture=) Twitter (https://twitter.com/intent/tweet?text=&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D8nuikcvYocU) Pinterest (http://www.pinterest.com/pin/create/button/?description=&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D8nuikcvYocU&media=)
Like every self-made millionaire, his background is essential as a lens through which to understand his business philosophies. Born in early 1929 in Oungre, a hamlet with a population of about 200 in west-central Canada, Kives was shaped by the Great Depression that hit soon after his birth and defined the next decade. At the age of eight, he started trapping weasels and selling their fur. It was, he says, “my first entrepreneurial venture”. It could also be, if we are being ungenerous, the single greatest metaphor for the record business he was to upend three decades later.
Towards the end of 1966, he put out K-tel’s first record – 25 Country Hits. At the time, the idea of a multi-artist compilation was a rarity, because record companies were not keen to have their artists on the same LP as artists signed to competitors. “I didn’t look upon it as a long-term deal,” said Kives. “I looked upon it as a one-time product.” This was the logic of the huckster – try something, if it doesn’t work, try something else. But it did work and the follow up, 25 Polka Greats, sold half a million copies in North America and a new type of product had made its mark on the record business. “Record companies in those days didn’t know what compilation albums were,” he said. “They had vast catalogues of music they didn’t know what to do with.” They soon learned.
Facebook (https://www.facebook.com/dialog/share?app_id=180444840287&href=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DfkU1teKNjwQ&redirect_uri=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DfkU1teKNjwQ&picture=) Twitter (https://twitter.com/intent/tweet?text=&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DfkU1teKNjwQ) Pinterest (http://www.pinterest.com/pin/create/button/?description=&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DfkU1teKNjwQ&media=)
Few were the households in the 1970s that didn’t have some sort of K-tel release propped up beside the stereo in a manner that makes the supposed ubiquity of an act like Adele today pale in comparison. By 1981, K-tel had moved beyond compiling other labels’ music and created the Hooked on Classics album, featuring the Royal Philharmonic Orchestra doing souped-up versions of well-known classical pieces. It had Kives’s fingerprints all over it. Some would argue it was a crass dumbing down of high art; Kives would argue it was about making previously inaccessible music available to the masses.
His approach to sales was unapologetically mainstream. The marketing language was simple and unswerving at a time when, as illustrated by Mad Men, the advertising industry was attempting to elevate itself to a level of erudition and sophistication that perhaps it didn’t quite deserve. For Kives, the sales message should have no space for indulgence or purple prose.
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The voiceover for the TV ad for his Best of Hooked on Classics album (https://www.youtube.com/watch?v=EPhNrFcivbY) demonstrates this perfectly. “Over 100 classical favourites, the smash hit single, the best from the original album, the best from Can’t Stop the Classics, the best from Journey Through the Classics,” it breathlessly booms. “But hurry! Snap up one of the first 30,000 LPs and get the Hooked on Christmas single free.” Populist, direct and promising a reward for the quickest to open their wallets.
And it worked. The original Hooked on Classics sold 10m copies and Kives claimed that K-tel had sold half a billion records by the mid 1980s. This, however, was when the wheels started to come off his business. Certainly not helped by selling the massively misjudged Minipops albums featuring young children (http://popcultureaddict.com/music-3/the-controversial-rise-and-fall-of-the-mini-pops/) , the company had overreached itself and by 1984 had filed for Chapter 11 bankruptcy protection after running up losses of $60m (£41m). It was eventually rescued by the appointment of a new CEO, Mickey Elfenbein, but the label’s glory days were now gone.
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Ironically this was an era that was seeing the first stirrings of the CD and Now That’s What I Call Music (http://www.theguardian.com/culture/2014/dec/09/how-we-made-now-thats-what-i-call-music) , a series that had clearly listened attentively to K-tel. These were to dramatically swell the record industry’s coffers over the next 15 years but K-tel was effectively out of the game when the real gold rush happened.
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For Kives, music was just another product like the Patty Stacker (https://www.youtube.com/watch?v=pYqMEF8I7qk) , the Bottle Cutter, the Veg-o-Matic food cutter (https://www.youtube.com/watch?v=9JD3OzFmO_A) and the Miracle Brush (the latter his biggest success, with sales of 28m). While artists might bristle at the idea of being sold in the same way as a tool for chopping vegetables or cleaning suede, for Kives it was still the boardwalk and he was gripped by the thrill of sell, sell, sell.
Today, marketing executives like to regard themselves as super-sophisticated, guiding what they do with endless data, market research and analysis; but they are still working on many of the same principles that Kives perfected half a century ago. Except he was arguably much closer to the audience, understood them better and respected them more.
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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