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Miles Davis and Chet Baker films show dangers and rewards of music bios – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-miles-ahead-commentary-ae-0410-20160406-column.html
** Miles Davis and Chet Baker films show dangers and rewards of music bios
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#nt=byline)
Pity the filmmaker who attempts to capture musical genius on screen.
The thrills that a brilliant performer creates on stage for an admiring audience do not easily translate from three dimensions to two. Even the most skilled actors tend to emulate — not inhabit — the persona of a singular musician. And directors and screenwriters face inherent, persistent conflict between what really happened and what raises dramatic sparks on film.
Two newly released jazz movies — “Miles Ahead,” about Miles Davis, and “Born to be Blue,” about Chet Baker — crystallize these challenges, though one proves far more successful than the other.
I hasten to note that the occasional miracle has occurred, with some films managing to convey at least a sense of a great musician’s art and manner. Gary Busey practically became the protagonist in “The Buddy Holly Story” (1978); director Bertrand Tavernier evoked the joys and melancholy of the jazz life in ” ‘Round Midnight” (1986); Joaquin Phoenix (safari-reader://www.chicagotribune.com/topic/entertainment/movies/joaquin-phoenix-PECLB003418-topic.html) illuminated the dark sides of Johnny Cash in “Walk the Line” (2005); and co-directors Tono Errando, Javier Mariscal and Fernando Trueba poetically told the story of Afro-Cuban jazz in the animated, Oscar-nominated masterpiece “Chico & Rita” (2010).
RELATED: MOST READ ENTERTAINMENT NEWS THIS HOUR (http://www.chicagotribune.com/entertainment/trending/)
But in the wake of these appealing films, uncounted others have shown the perils of the music-bio genre. Remember Forest Whitaker (safari-reader://www.chicagotribune.com/topic/entertainment/forest-whitaker-PECLB003957-topic.html) portraying alto saxophone genius Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) as a drug-addled buffoon in Clint Eastwood’s plodding “Bird” (1988)? Cornel Wilde dripping fake blood on the piano in the pulpy Frederic Chopin biopic “A Song to Remember” (1945)? Director Damien Chazelle laughably presenting jazz as both gladiatorial sport and overwrought soap opera — complete with rock-and-roll drum playing — in the Oscar-nominated “Whiplash” (2014)?
These films, and piles more, attest to the hazards of trying to grasp on screen the most intangible of art forms: music.
Nowhere is the gulf between the elusive allure of a magnetic performer and the usually doomed attempt to document it more obvious than in actor-director Don Cheadle’s “Miles Ahead.” A project years in the planning and years more in the making, “Miles Ahead” attempts to examine the period in the 1970s when trumpeter-conceptualist Davis dropped out of the scene. In effect, the film quixotically tries to address not only an iconic jazz artist’s life but a particularly private chapter of it, quite a task.
Alas, to see Cheadle as Davis hobbling around his apartment and phoning a radio station asking for a piece of his music to be broadcast badly diminishes the subject. As Cheadle wanders Manhattan barking insults — presumably the film’s way of depicting Davis’ notoriously volatile personality — the legendary trumpeter appears slight, petty, insignificant. A plotline that has Davis and a fictional journalist chasing a stolen tape of Davis’ music, complete with car chase and gunfire, renders the towering musician more fool than visionary.
Even jazz — a music by its nature swathed in nocturnal glamour — looks dull, flat and prosaic in “Miles Ahead.” Compare Davis’ riveting concert appearances with Cheadle’s impersonation, and you have the difference between the palpable charisma of a jazz master and a smaller-than-life imitation. And a closing sequence in which former Davis collaborators such as Herbie Hancock and Wayne Shorter perform alongside younger musicians Robert Glasper, Esperanza Spalding and others feels more like promotion than anything else. What a sorry spectacle.
Director Robert Budreau’s “Born to Be Blue” fares better with a similarly ephemeral but decidedly less celebrated figure. In the 1950s, though, Chet Baker commanded a measure of popularity, his soft-spoken, plaintive trumpet work and practically whispered, high-pitched vocals attracting listeners with an easy accessibility and a West Coast, cool-jazz ethos.
But Baker suffered from chronic drug addiction, a subject that apparently never ceases to intrigue filmmakers drawn to jazz. Were it not for Ethan Hawke’s performance as a doomed Baker, “Born to Be Blue” might have devolved into another cliche on jazz and vice, complete with syringes. Hawke, however, gently evokes the plain-talking, vulnerable, oft-manipulative junkie shown in the fascinating Baker documentary “Let’s Get Lost” (1988).
Say what you will about the herky-jerky rhythms, non-linear structure and dreamy tone of both Baker films, Hawke’s characterization distills the everyman simplicity and directness of Baker’s manner of speech, as well as the con-man charm that addicts often employ to get what they need. And when Hawke sings as Baker, the unadorned quality of his phrases and quiet intensity of his delivery remind you of what listeners admired in Baker’s minimalist crooning. Hawke doesn’t so much mimic the tone of Baker’s voice as burrow into the character of it.
Baker aficionados will be disappointed that we don’t hear the man’s silvery instrumental work in “Born to Be Blue,” that element provided by trumpeter Kevin Turcotte. And the poor souls asked to portray Dizzy Gillespie and Miles Davis in “Born to Be Blue” suffer quite the same fate as Cheadle does in “Miles Ahead,” turning larger-than-life artists into mere second bananas (or should we say third?).
But at least some of the essence of who Baker was comes across in “Born to be Blue,” notwithstanding its many fictions, conceits and flat-footed passages.
In the end, though, both “Miles Ahead” and “Born to Be Blue” remind us that what happens between a gifted musician and his fervent listeners occurs in real time, in real life. Everything else is but a facsimile.
Howard Reich is a Tribune critic.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
RELATED STORIES:
‘Miles Ahead’ review: Don Cheadle’s inventive, freewheeling slice of jazz legend’s life (safari-reader://www.chicagotribune.com/entertainment/music/reich/sc-miles-ahead-movie-review-0404-20160404-column.html)
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=5442c10612) | 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=5442c10612&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
Miles Davis and Chet Baker films show dangers and rewards of music bios – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-miles-ahead-commentary-ae-0410-20160406-column.html
** Miles Davis and Chet Baker films show dangers and rewards of music bios
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#nt=byline)
Pity the filmmaker who attempts to capture musical genius on screen.
The thrills that a brilliant performer creates on stage for an admiring audience do not easily translate from three dimensions to two. Even the most skilled actors tend to emulate — not inhabit — the persona of a singular musician. And directors and screenwriters face inherent, persistent conflict between what really happened and what raises dramatic sparks on film.
Two newly released jazz movies — “Miles Ahead,” about Miles Davis, and “Born to be Blue,” about Chet Baker — crystallize these challenges, though one proves far more successful than the other.
I hasten to note that the occasional miracle has occurred, with some films managing to convey at least a sense of a great musician’s art and manner. Gary Busey practically became the protagonist in “The Buddy Holly Story” (1978); director Bertrand Tavernier evoked the joys and melancholy of the jazz life in ” ‘Round Midnight” (1986); Joaquin Phoenix (safari-reader://www.chicagotribune.com/topic/entertainment/movies/joaquin-phoenix-PECLB003418-topic.html) illuminated the dark sides of Johnny Cash in “Walk the Line” (2005); and co-directors Tono Errando, Javier Mariscal and Fernando Trueba poetically told the story of Afro-Cuban jazz in the animated, Oscar-nominated masterpiece “Chico & Rita” (2010).
RELATED: MOST READ ENTERTAINMENT NEWS THIS HOUR (http://www.chicagotribune.com/entertainment/trending/)
But in the wake of these appealing films, uncounted others have shown the perils of the music-bio genre. Remember Forest Whitaker (safari-reader://www.chicagotribune.com/topic/entertainment/forest-whitaker-PECLB003957-topic.html) portraying alto saxophone genius Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) as a drug-addled buffoon in Clint Eastwood’s plodding “Bird” (1988)? Cornel Wilde dripping fake blood on the piano in the pulpy Frederic Chopin biopic “A Song to Remember” (1945)? Director Damien Chazelle laughably presenting jazz as both gladiatorial sport and overwrought soap opera — complete with rock-and-roll drum playing — in the Oscar-nominated “Whiplash” (2014)?
These films, and piles more, attest to the hazards of trying to grasp on screen the most intangible of art forms: music.
Nowhere is the gulf between the elusive allure of a magnetic performer and the usually doomed attempt to document it more obvious than in actor-director Don Cheadle’s “Miles Ahead.” A project years in the planning and years more in the making, “Miles Ahead” attempts to examine the period in the 1970s when trumpeter-conceptualist Davis dropped out of the scene. In effect, the film quixotically tries to address not only an iconic jazz artist’s life but a particularly private chapter of it, quite a task.
Alas, to see Cheadle as Davis hobbling around his apartment and phoning a radio station asking for a piece of his music to be broadcast badly diminishes the subject. As Cheadle wanders Manhattan barking insults — presumably the film’s way of depicting Davis’ notoriously volatile personality — the legendary trumpeter appears slight, petty, insignificant. A plotline that has Davis and a fictional journalist chasing a stolen tape of Davis’ music, complete with car chase and gunfire, renders the towering musician more fool than visionary.
Even jazz — a music by its nature swathed in nocturnal glamour — looks dull, flat and prosaic in “Miles Ahead.” Compare Davis’ riveting concert appearances with Cheadle’s impersonation, and you have the difference between the palpable charisma of a jazz master and a smaller-than-life imitation. And a closing sequence in which former Davis collaborators such as Herbie Hancock and Wayne Shorter perform alongside younger musicians Robert Glasper, Esperanza Spalding and others feels more like promotion than anything else. What a sorry spectacle.
Director Robert Budreau’s “Born to Be Blue” fares better with a similarly ephemeral but decidedly less celebrated figure. In the 1950s, though, Chet Baker commanded a measure of popularity, his soft-spoken, plaintive trumpet work and practically whispered, high-pitched vocals attracting listeners with an easy accessibility and a West Coast, cool-jazz ethos.
But Baker suffered from chronic drug addiction, a subject that apparently never ceases to intrigue filmmakers drawn to jazz. Were it not for Ethan Hawke’s performance as a doomed Baker, “Born to Be Blue” might have devolved into another cliche on jazz and vice, complete with syringes. Hawke, however, gently evokes the plain-talking, vulnerable, oft-manipulative junkie shown in the fascinating Baker documentary “Let’s Get Lost” (1988).
Say what you will about the herky-jerky rhythms, non-linear structure and dreamy tone of both Baker films, Hawke’s characterization distills the everyman simplicity and directness of Baker’s manner of speech, as well as the con-man charm that addicts often employ to get what they need. And when Hawke sings as Baker, the unadorned quality of his phrases and quiet intensity of his delivery remind you of what listeners admired in Baker’s minimalist crooning. Hawke doesn’t so much mimic the tone of Baker’s voice as burrow into the character of it.
Baker aficionados will be disappointed that we don’t hear the man’s silvery instrumental work in “Born to Be Blue,” that element provided by trumpeter Kevin Turcotte. And the poor souls asked to portray Dizzy Gillespie and Miles Davis in “Born to Be Blue” suffer quite the same fate as Cheadle does in “Miles Ahead,” turning larger-than-life artists into mere second bananas (or should we say third?).
But at least some of the essence of who Baker was comes across in “Born to be Blue,” notwithstanding its many fictions, conceits and flat-footed passages.
In the end, though, both “Miles Ahead” and “Born to Be Blue” remind us that what happens between a gifted musician and his fervent listeners occurs in real time, in real life. Everything else is but a facsimile.
Howard Reich is a Tribune critic.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
RELATED STORIES:
‘Miles Ahead’ review: Don Cheadle’s inventive, freewheeling slice of jazz legend’s life (safari-reader://www.chicagotribune.com/entertainment/music/reich/sc-miles-ahead-movie-review-0404-20160404-column.html)
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=5442c10612) | 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=5442c10612&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
Miles Davis and Chet Baker films show dangers and rewards of music bios – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-miles-ahead-commentary-ae-0410-20160406-column.html
** Miles Davis and Chet Baker films show dangers and rewards of music bios
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#nt=byline)
Pity the filmmaker who attempts to capture musical genius on screen.
The thrills that a brilliant performer creates on stage for an admiring audience do not easily translate from three dimensions to two. Even the most skilled actors tend to emulate — not inhabit — the persona of a singular musician. And directors and screenwriters face inherent, persistent conflict between what really happened and what raises dramatic sparks on film.
Two newly released jazz movies — “Miles Ahead,” about Miles Davis, and “Born to be Blue,” about Chet Baker — crystallize these challenges, though one proves far more successful than the other.
I hasten to note that the occasional miracle has occurred, with some films managing to convey at least a sense of a great musician’s art and manner. Gary Busey practically became the protagonist in “The Buddy Holly Story” (1978); director Bertrand Tavernier evoked the joys and melancholy of the jazz life in ” ‘Round Midnight” (1986); Joaquin Phoenix (safari-reader://www.chicagotribune.com/topic/entertainment/movies/joaquin-phoenix-PECLB003418-topic.html) illuminated the dark sides of Johnny Cash in “Walk the Line” (2005); and co-directors Tono Errando, Javier Mariscal and Fernando Trueba poetically told the story of Afro-Cuban jazz in the animated, Oscar-nominated masterpiece “Chico & Rita” (2010).
RELATED: MOST READ ENTERTAINMENT NEWS THIS HOUR (http://www.chicagotribune.com/entertainment/trending/)
But in the wake of these appealing films, uncounted others have shown the perils of the music-bio genre. Remember Forest Whitaker (safari-reader://www.chicagotribune.com/topic/entertainment/forest-whitaker-PECLB003957-topic.html) portraying alto saxophone genius Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) as a drug-addled buffoon in Clint Eastwood’s plodding “Bird” (1988)? Cornel Wilde dripping fake blood on the piano in the pulpy Frederic Chopin biopic “A Song to Remember” (1945)? Director Damien Chazelle laughably presenting jazz as both gladiatorial sport and overwrought soap opera — complete with rock-and-roll drum playing — in the Oscar-nominated “Whiplash” (2014)?
These films, and piles more, attest to the hazards of trying to grasp on screen the most intangible of art forms: music.
Nowhere is the gulf between the elusive allure of a magnetic performer and the usually doomed attempt to document it more obvious than in actor-director Don Cheadle’s “Miles Ahead.” A project years in the planning and years more in the making, “Miles Ahead” attempts to examine the period in the 1970s when trumpeter-conceptualist Davis dropped out of the scene. In effect, the film quixotically tries to address not only an iconic jazz artist’s life but a particularly private chapter of it, quite a task.
Alas, to see Cheadle as Davis hobbling around his apartment and phoning a radio station asking for a piece of his music to be broadcast badly diminishes the subject. As Cheadle wanders Manhattan barking insults — presumably the film’s way of depicting Davis’ notoriously volatile personality — the legendary trumpeter appears slight, petty, insignificant. A plotline that has Davis and a fictional journalist chasing a stolen tape of Davis’ music, complete with car chase and gunfire, renders the towering musician more fool than visionary.
Even jazz — a music by its nature swathed in nocturnal glamour — looks dull, flat and prosaic in “Miles Ahead.” Compare Davis’ riveting concert appearances with Cheadle’s impersonation, and you have the difference between the palpable charisma of a jazz master and a smaller-than-life imitation. And a closing sequence in which former Davis collaborators such as Herbie Hancock and Wayne Shorter perform alongside younger musicians Robert Glasper, Esperanza Spalding and others feels more like promotion than anything else. What a sorry spectacle.
Director Robert Budreau’s “Born to Be Blue” fares better with a similarly ephemeral but decidedly less celebrated figure. In the 1950s, though, Chet Baker commanded a measure of popularity, his soft-spoken, plaintive trumpet work and practically whispered, high-pitched vocals attracting listeners with an easy accessibility and a West Coast, cool-jazz ethos.
But Baker suffered from chronic drug addiction, a subject that apparently never ceases to intrigue filmmakers drawn to jazz. Were it not for Ethan Hawke’s performance as a doomed Baker, “Born to Be Blue” might have devolved into another cliche on jazz and vice, complete with syringes. Hawke, however, gently evokes the plain-talking, vulnerable, oft-manipulative junkie shown in the fascinating Baker documentary “Let’s Get Lost” (1988).
Say what you will about the herky-jerky rhythms, non-linear structure and dreamy tone of both Baker films, Hawke’s characterization distills the everyman simplicity and directness of Baker’s manner of speech, as well as the con-man charm that addicts often employ to get what they need. And when Hawke sings as Baker, the unadorned quality of his phrases and quiet intensity of his delivery remind you of what listeners admired in Baker’s minimalist crooning. Hawke doesn’t so much mimic the tone of Baker’s voice as burrow into the character of it.
Baker aficionados will be disappointed that we don’t hear the man’s silvery instrumental work in “Born to Be Blue,” that element provided by trumpeter Kevin Turcotte. And the poor souls asked to portray Dizzy Gillespie and Miles Davis in “Born to Be Blue” suffer quite the same fate as Cheadle does in “Miles Ahead,” turning larger-than-life artists into mere second bananas (or should we say third?).
But at least some of the essence of who Baker was comes across in “Born to be Blue,” notwithstanding its many fictions, conceits and flat-footed passages.
In the end, though, both “Miles Ahead” and “Born to Be Blue” remind us that what happens between a gifted musician and his fervent listeners occurs in real time, in real life. Everything else is but a facsimile.
Howard Reich is a Tribune critic.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
RELATED STORIES:
‘Miles Ahead’ review: Don Cheadle’s inventive, freewheeling slice of jazz legend’s life (safari-reader://www.chicagotribune.com/entertainment/music/reich/sc-miles-ahead-movie-review-0404-20160404-column.html)
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=5442c10612) | 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=5442c10612&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
Miles Davis and Chet Baker films show dangers and rewards of music bios – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/entertainment/music/reich/ct-miles-ahead-commentary-ae-0410-20160406-column.html
** Miles Davis and Chet Baker films show dangers and rewards of music bios
————————————————————
Howard Reich (http://www.chicagotribune.com/entertainment/music/reich/chinews-howard-reich-20130507-staff.html#nt=byline)
Pity the filmmaker who attempts to capture musical genius on screen.
The thrills that a brilliant performer creates on stage for an admiring audience do not easily translate from three dimensions to two. Even the most skilled actors tend to emulate — not inhabit — the persona of a singular musician. And directors and screenwriters face inherent, persistent conflict between what really happened and what raises dramatic sparks on film.
Two newly released jazz movies — “Miles Ahead,” about Miles Davis, and “Born to be Blue,” about Chet Baker — crystallize these challenges, though one proves far more successful than the other.
I hasten to note that the occasional miracle has occurred, with some films managing to convey at least a sense of a great musician’s art and manner. Gary Busey practically became the protagonist in “The Buddy Holly Story” (1978); director Bertrand Tavernier evoked the joys and melancholy of the jazz life in ” ‘Round Midnight” (1986); Joaquin Phoenix (safari-reader://www.chicagotribune.com/topic/entertainment/movies/joaquin-phoenix-PECLB003418-topic.html) illuminated the dark sides of Johnny Cash in “Walk the Line” (2005); and co-directors Tono Errando, Javier Mariscal and Fernando Trueba poetically told the story of Afro-Cuban jazz in the animated, Oscar-nominated masterpiece “Chico & Rita” (2010).
RELATED: MOST READ ENTERTAINMENT NEWS THIS HOUR (http://www.chicagotribune.com/entertainment/trending/)
But in the wake of these appealing films, uncounted others have shown the perils of the music-bio genre. Remember Forest Whitaker (safari-reader://www.chicagotribune.com/topic/entertainment/forest-whitaker-PECLB003957-topic.html) portraying alto saxophone genius Charlie Parker (safari-reader://www.chicagotribune.com/topic/entertainment/music/charlie-parker-PECLB003372-topic.html) as a drug-addled buffoon in Clint Eastwood’s plodding “Bird” (1988)? Cornel Wilde dripping fake blood on the piano in the pulpy Frederic Chopin biopic “A Song to Remember” (1945)? Director Damien Chazelle laughably presenting jazz as both gladiatorial sport and overwrought soap opera — complete with rock-and-roll drum playing — in the Oscar-nominated “Whiplash” (2014)?
These films, and piles more, attest to the hazards of trying to grasp on screen the most intangible of art forms: music.
Nowhere is the gulf between the elusive allure of a magnetic performer and the usually doomed attempt to document it more obvious than in actor-director Don Cheadle’s “Miles Ahead.” A project years in the planning and years more in the making, “Miles Ahead” attempts to examine the period in the 1970s when trumpeter-conceptualist Davis dropped out of the scene. In effect, the film quixotically tries to address not only an iconic jazz artist’s life but a particularly private chapter of it, quite a task.
Alas, to see Cheadle as Davis hobbling around his apartment and phoning a radio station asking for a piece of his music to be broadcast badly diminishes the subject. As Cheadle wanders Manhattan barking insults — presumably the film’s way of depicting Davis’ notoriously volatile personality — the legendary trumpeter appears slight, petty, insignificant. A plotline that has Davis and a fictional journalist chasing a stolen tape of Davis’ music, complete with car chase and gunfire, renders the towering musician more fool than visionary.
Even jazz — a music by its nature swathed in nocturnal glamour — looks dull, flat and prosaic in “Miles Ahead.” Compare Davis’ riveting concert appearances with Cheadle’s impersonation, and you have the difference between the palpable charisma of a jazz master and a smaller-than-life imitation. And a closing sequence in which former Davis collaborators such as Herbie Hancock and Wayne Shorter perform alongside younger musicians Robert Glasper, Esperanza Spalding and others feels more like promotion than anything else. What a sorry spectacle.
Director Robert Budreau’s “Born to Be Blue” fares better with a similarly ephemeral but decidedly less celebrated figure. In the 1950s, though, Chet Baker commanded a measure of popularity, his soft-spoken, plaintive trumpet work and practically whispered, high-pitched vocals attracting listeners with an easy accessibility and a West Coast, cool-jazz ethos.
But Baker suffered from chronic drug addiction, a subject that apparently never ceases to intrigue filmmakers drawn to jazz. Were it not for Ethan Hawke’s performance as a doomed Baker, “Born to Be Blue” might have devolved into another cliche on jazz and vice, complete with syringes. Hawke, however, gently evokes the plain-talking, vulnerable, oft-manipulative junkie shown in the fascinating Baker documentary “Let’s Get Lost” (1988).
Say what you will about the herky-jerky rhythms, non-linear structure and dreamy tone of both Baker films, Hawke’s characterization distills the everyman simplicity and directness of Baker’s manner of speech, as well as the con-man charm that addicts often employ to get what they need. And when Hawke sings as Baker, the unadorned quality of his phrases and quiet intensity of his delivery remind you of what listeners admired in Baker’s minimalist crooning. Hawke doesn’t so much mimic the tone of Baker’s voice as burrow into the character of it.
Baker aficionados will be disappointed that we don’t hear the man’s silvery instrumental work in “Born to Be Blue,” that element provided by trumpeter Kevin Turcotte. And the poor souls asked to portray Dizzy Gillespie and Miles Davis in “Born to Be Blue” suffer quite the same fate as Cheadle does in “Miles Ahead,” turning larger-than-life artists into mere second bananas (or should we say third?).
But at least some of the essence of who Baker was comes across in “Born to be Blue,” notwithstanding its many fictions, conceits and flat-footed passages.
In the end, though, both “Miles Ahead” and “Born to Be Blue” remind us that what happens between a gifted musician and his fervent listeners occurs in real time, in real life. Everything else is but a facsimile.
Howard Reich is a Tribune critic.
hreich@tribpub.com (mailto:hreich@tribpub.com)
Twitter @howardreich
RELATED STORIES:
‘Miles Ahead’ review: Don Cheadle’s inventive, freewheeling slice of jazz legend’s life (safari-reader://www.chicagotribune.com/entertainment/music/reich/sc-miles-ahead-movie-review-0404-20160404-column.html)
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Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/?no-ist
** Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic
————————————————————
By Jackie Mansky (http://www.smithsonianmag.com/author/jackie-mansky/)
smithsonian.com
April 6, 2016
Read more: http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/#VuagEbxIJ1c4BXe4.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
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Don Cheadle as Miles Davis
“Free booze, free blues, that’s Freddie,” sings James Zimmerman (http://americanhistory.si.edu/profile/549) , a jazz scholar and a senior producer at the National Museum of American History, who served as the Smithsonian Jazz Masterworks Orchestra’s producer and executive producer for 11 years.
Zimmerman’s voice mimics the smooth, dreamy instrumentation of “Freddie Freeloader,” found on Miles Davis’ 1959 masterpiece Kind of Blue. He uses the words that lyricist and singer Jon Hendricks penned for the complex arrangement years later. Words so fitting that one could imagine Davis approaching Hendricks to say, “Mother [expletive], what are you doing writing words to my song?”
Leaving the theater after seeing Don Cheadle’s new film Miles Ahead about the raspy-voiced Davis, Zimmerman is singing to prove his point.
“Miles was the greatest singer on the open mouth trumpet that there’s ever been,” he says, echoing the words of jazz great Gil Evans. It’s what first attracted Zimmerman, himself an accomplish vocalist, to Davis’ music in the ’80s.
Davis was a middle-class son of a dentist, born into a racially divided America, who once was clubbed on the head by a white policeman for standing outside of a venue where he was performing. In addition to numerous Grammy Awards, Davis has a star on the Hollywood Walk of Fame, was inducted into the Rock and Roll Hall of Fame and even had his work honored by Congress (http://jazztimes.com/articles/25503-congress-honors-kind-of-blue) . Different versions of Davis exist side by side: He was an unquestionable genius, who had an electrifying stage presence, a great affection for his children, but also, as Francis Davis writes in the Atlantic (http://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/) , the troubled artist was “peacock vain,” addled by drugs, and, by his own account, physically abused his spouses.
Miles Davis, Max Jacoby Miles Davis by Max Jacoby, 1991 (National Portrait Gallery)
“[B]eing a Gemini I’m already two,” Davis wrote in his 1990 autobiography Miles (http://www.amazon.com/Miles-The-Autobiography-Davis/dp/0671725823) . “Two people without the coke and two more with the coke. I was four different people; two of them people had consciences and two didn’t.”
Rather than attempt to reconcile the varied pieces of the legendary jazz trumpeter and bandleader, Cheadle’s film takes the form of an impressionistic snapshot, aiming to tell a “gangster pic” about the jazz great that Davis himself would have wanted to star in.
The film’s title, Miles Ahead, Zimmerman speculates—also the name of his second album that he did with Evans—alludes to how Davis was always moving forward with his music, from the origins of “cool jazz,” collaborating with Evans in the late 1940s, moving to “hard bop” in the 1950s, changing the game again with modal improvisation in the late ’50s, then taking rock influences to create a fusion sound, as heard in his 1969 jazz-rock album In a Silent Way (https://www.youtube.com/watch?v=lQKt7DTKyJU) .
Miles Davis Custom Versace Jacket Davis wore this custom Versace jacket during his one of his last performances with Quincy Jones at the 1991 Montreaux Jazz Festival in Switzerland. (National Museum of American History)
“He was always with the times,” says Zimmerman. “He was listening and he was willing to be a risk taker, without any doubts, without any thoughts of failing. That was the way he was.”
The film grounds itself what has been called Davis’ “silent period,” from 1975 to 1980, when the musician was riddled by depression and drugs and couldn’t play the trumpet. It’s an interesting choice, seeing as his sound expressed who he was. “He described his music as his voice,” says Zimmerman. “Sometimes, he wouldn’t talk, he’d just say, ‘Hey let the music speak for itself,’ because he was pouring everything into that.”
In a way, that’s what the movie does, though. The decidedly anti-biopic riffs from one imagined scenario to another, articulating long notes and short trills over a timeline of Davis’ life in the late ’50s and early ’60s. The film often relies on music to explore his relationship with his wife Frances Taylor, as well as his work with musicians John Coltrane and Red Garland and Paul Chambers and Art Taylor.
Miles Davis, bronze sculpture Bronze sculpture of Miles Dewey Davis III (1926 – 1991) by Ed Dwight, Denver, Colorado, 1990(National Museum of American History)
“The music is hot, the music is very athletic, there’s all kinds of musical gymnastics going on when he meets Frances,” Zimmerman says. A prima ballerina, she was involved with the theater and Broadway. Davis was captivated by her beauty, but perhaps was more drawn to her as an artist. He would go to her shows, and it opened him up to new sounds and influences.
“Broadway, you have a pit orchestra, so he was hearing different things, and I think that got inside of him,” says Zimmerman, guiding Davis away from the hot, energetic music of bebop into the passionate, emotive music that he would create in Sketches of Spain and Porgy and Bess.
While Taylor arguably wasn’t his first wife (Irene Birth, who he had three children with, came first though they had a common-law marriage), nor would she be his last, Zimmerman can see why the film chose to focus on their relationship.
“Frances just sort of got into his heart in a deep way,” says Zimmerman. “That makes me think of [Frank] Sinatra and Ava Gardner and how Ava Gardner dug into his heart and he could never overcome Ava Gardner.”
The silent period comes after Taylor leaves him. Davis was heavily into drugs, was likely dealing with emotional exhaustion from his already 30 years of work as a musical pioneer and was physically worn out. He suffered from sickle-cell anemia and his condition, coupled with the pain from injuries he sustained in a 1972 car crash, had worsened. Still it was a shock to the jazz cats that he stopped playing during that period.
“For someone to be in the limelight for so long to stop recording and leave recording—lots of people talk about that, but they don’t necessarily do it because the music is very much apart of them,” says Zimmerman. “Miles said that and he really didn’t play. The hole was there, but he didn’t play.”
Though the film uses the dynamic between Davis and a fictional Rolling Stone journalist to push Davis to return to the music, it was George Butler (http://www.nytimes.com/2008/04/20/nyregion/20butler.html?_r=0) , a jazz record executive, who helped persuade Davis to get back into the studio, even sending him a piano. So too did the new music he was hearing.
“The electronic music, the synthesizers, those kinds of things were intriguing to Miles,” says Zimmerman. It took him awhile after being out so long to build up his embouchere.
“That’s everything to a trumpet player,” says Zimmerman. “It took him awhile to get back, but he was listening and playing and working compositions and determining who he could make a statement with.”
In 1989, Zimmerman saw Davis play at Wolf Trap National Park for the Performing Arts in Vienna, Virginia. He performed with a seven-piece band that included saxophonist Kenny Garrett, guitarist Foley and Ricky Wellman, the former drummer for Chuck Brown, Washington D.C.’s renowned “Father of Go Go.” All of these musicians appeared on Davis’ latest album, Amandla. Zimmerman remembers the sound as funky, with some Go-Go influences to it.
“It was sort of him, of the times,” says Zimmerman. “The times were always changing and he was going along with that.”
While the film might not have gotten all of the facts, Zimmerman says it pulled at a greater sense of who Davis was.
“The reality is fiction has foundation in truth, in nonfiction,” says Zimmerman. “I think they got his personality dead on.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Copyright (C) 2016 All rights reserved.
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Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/?no-ist
** Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic
————————————————————
By Jackie Mansky (http://www.smithsonianmag.com/author/jackie-mansky/)
smithsonian.com
April 6, 2016
Read more: http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/#VuagEbxIJ1c4BXe4.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter
Don Cheadle as Miles Davis
“Free booze, free blues, that’s Freddie,” sings James Zimmerman (http://americanhistory.si.edu/profile/549) , a jazz scholar and a senior producer at the National Museum of American History, who served as the Smithsonian Jazz Masterworks Orchestra’s producer and executive producer for 11 years.
Zimmerman’s voice mimics the smooth, dreamy instrumentation of “Freddie Freeloader,” found on Miles Davis’ 1959 masterpiece Kind of Blue. He uses the words that lyricist and singer Jon Hendricks penned for the complex arrangement years later. Words so fitting that one could imagine Davis approaching Hendricks to say, “Mother [expletive], what are you doing writing words to my song?”
Leaving the theater after seeing Don Cheadle’s new film Miles Ahead about the raspy-voiced Davis, Zimmerman is singing to prove his point.
“Miles was the greatest singer on the open mouth trumpet that there’s ever been,” he says, echoing the words of jazz great Gil Evans. It’s what first attracted Zimmerman, himself an accomplish vocalist, to Davis’ music in the ’80s.
Davis was a middle-class son of a dentist, born into a racially divided America, who once was clubbed on the head by a white policeman for standing outside of a venue where he was performing. In addition to numerous Grammy Awards, Davis has a star on the Hollywood Walk of Fame, was inducted into the Rock and Roll Hall of Fame and even had his work honored by Congress (http://jazztimes.com/articles/25503-congress-honors-kind-of-blue) . Different versions of Davis exist side by side: He was an unquestionable genius, who had an electrifying stage presence, a great affection for his children, but also, as Francis Davis writes in the Atlantic (http://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/) , the troubled artist was “peacock vain,” addled by drugs, and, by his own account, physically abused his spouses.
Miles Davis, Max Jacoby Miles Davis by Max Jacoby, 1991 (National Portrait Gallery)
“[B]eing a Gemini I’m already two,” Davis wrote in his 1990 autobiography Miles (http://www.amazon.com/Miles-The-Autobiography-Davis/dp/0671725823) . “Two people without the coke and two more with the coke. I was four different people; two of them people had consciences and two didn’t.”
Rather than attempt to reconcile the varied pieces of the legendary jazz trumpeter and bandleader, Cheadle’s film takes the form of an impressionistic snapshot, aiming to tell a “gangster pic” about the jazz great that Davis himself would have wanted to star in.
The film’s title, Miles Ahead, Zimmerman speculates—also the name of his second album that he did with Evans—alludes to how Davis was always moving forward with his music, from the origins of “cool jazz,” collaborating with Evans in the late 1940s, moving to “hard bop” in the 1950s, changing the game again with modal improvisation in the late ’50s, then taking rock influences to create a fusion sound, as heard in his 1969 jazz-rock album In a Silent Way (https://www.youtube.com/watch?v=lQKt7DTKyJU) .
Miles Davis Custom Versace Jacket Davis wore this custom Versace jacket during his one of his last performances with Quincy Jones at the 1991 Montreaux Jazz Festival in Switzerland. (National Museum of American History)
“He was always with the times,” says Zimmerman. “He was listening and he was willing to be a risk taker, without any doubts, without any thoughts of failing. That was the way he was.”
The film grounds itself what has been called Davis’ “silent period,” from 1975 to 1980, when the musician was riddled by depression and drugs and couldn’t play the trumpet. It’s an interesting choice, seeing as his sound expressed who he was. “He described his music as his voice,” says Zimmerman. “Sometimes, he wouldn’t talk, he’d just say, ‘Hey let the music speak for itself,’ because he was pouring everything into that.”
In a way, that’s what the movie does, though. The decidedly anti-biopic riffs from one imagined scenario to another, articulating long notes and short trills over a timeline of Davis’ life in the late ’50s and early ’60s. The film often relies on music to explore his relationship with his wife Frances Taylor, as well as his work with musicians John Coltrane and Red Garland and Paul Chambers and Art Taylor.
Miles Davis, bronze sculpture Bronze sculpture of Miles Dewey Davis III (1926 – 1991) by Ed Dwight, Denver, Colorado, 1990(National Museum of American History)
“The music is hot, the music is very athletic, there’s all kinds of musical gymnastics going on when he meets Frances,” Zimmerman says. A prima ballerina, she was involved with the theater and Broadway. Davis was captivated by her beauty, but perhaps was more drawn to her as an artist. He would go to her shows, and it opened him up to new sounds and influences.
“Broadway, you have a pit orchestra, so he was hearing different things, and I think that got inside of him,” says Zimmerman, guiding Davis away from the hot, energetic music of bebop into the passionate, emotive music that he would create in Sketches of Spain and Porgy and Bess.
While Taylor arguably wasn’t his first wife (Irene Birth, who he had three children with, came first though they had a common-law marriage), nor would she be his last, Zimmerman can see why the film chose to focus on their relationship.
“Frances just sort of got into his heart in a deep way,” says Zimmerman. “That makes me think of [Frank] Sinatra and Ava Gardner and how Ava Gardner dug into his heart and he could never overcome Ava Gardner.”
The silent period comes after Taylor leaves him. Davis was heavily into drugs, was likely dealing with emotional exhaustion from his already 30 years of work as a musical pioneer and was physically worn out. He suffered from sickle-cell anemia and his condition, coupled with the pain from injuries he sustained in a 1972 car crash, had worsened. Still it was a shock to the jazz cats that he stopped playing during that period.
“For someone to be in the limelight for so long to stop recording and leave recording—lots of people talk about that, but they don’t necessarily do it because the music is very much apart of them,” says Zimmerman. “Miles said that and he really didn’t play. The hole was there, but he didn’t play.”
Though the film uses the dynamic between Davis and a fictional Rolling Stone journalist to push Davis to return to the music, it was George Butler (http://www.nytimes.com/2008/04/20/nyregion/20butler.html?_r=0) , a jazz record executive, who helped persuade Davis to get back into the studio, even sending him a piano. So too did the new music he was hearing.
“The electronic music, the synthesizers, those kinds of things were intriguing to Miles,” says Zimmerman. It took him awhile after being out so long to build up his embouchere.
“That’s everything to a trumpet player,” says Zimmerman. “It took him awhile to get back, but he was listening and playing and working compositions and determining who he could make a statement with.”
In 1989, Zimmerman saw Davis play at Wolf Trap National Park for the Performing Arts in Vienna, Virginia. He performed with a seven-piece band that included saxophonist Kenny Garrett, guitarist Foley and Ricky Wellman, the former drummer for Chuck Brown, Washington D.C.’s renowned “Father of Go Go.” All of these musicians appeared on Davis’ latest album, Amandla. Zimmerman remembers the sound as funky, with some Go-Go influences to it.
“It was sort of him, of the times,” says Zimmerman. “The times were always changing and he was going along with that.”
While the film might not have gotten all of the facts, Zimmerman says it pulled at a greater sense of who Davis was.
“The reality is fiction has foundation in truth, in nonfiction,” says Zimmerman. “I think they got his personality dead on.”
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 Jazz Expert Gives Liner Notes to the New Miles Davis Biopic | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/?no-ist
** Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic
————————————————————
By Jackie Mansky (http://www.smithsonianmag.com/author/jackie-mansky/)
smithsonian.com
April 6, 2016
Read more: http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/#VuagEbxIJ1c4BXe4.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter
Don Cheadle as Miles Davis
“Free booze, free blues, that’s Freddie,” sings James Zimmerman (http://americanhistory.si.edu/profile/549) , a jazz scholar and a senior producer at the National Museum of American History, who served as the Smithsonian Jazz Masterworks Orchestra’s producer and executive producer for 11 years.
Zimmerman’s voice mimics the smooth, dreamy instrumentation of “Freddie Freeloader,” found on Miles Davis’ 1959 masterpiece Kind of Blue. He uses the words that lyricist and singer Jon Hendricks penned for the complex arrangement years later. Words so fitting that one could imagine Davis approaching Hendricks to say, “Mother [expletive], what are you doing writing words to my song?”
Leaving the theater after seeing Don Cheadle’s new film Miles Ahead about the raspy-voiced Davis, Zimmerman is singing to prove his point.
“Miles was the greatest singer on the open mouth trumpet that there’s ever been,” he says, echoing the words of jazz great Gil Evans. It’s what first attracted Zimmerman, himself an accomplish vocalist, to Davis’ music in the ’80s.
Davis was a middle-class son of a dentist, born into a racially divided America, who once was clubbed on the head by a white policeman for standing outside of a venue where he was performing. In addition to numerous Grammy Awards, Davis has a star on the Hollywood Walk of Fame, was inducted into the Rock and Roll Hall of Fame and even had his work honored by Congress (http://jazztimes.com/articles/25503-congress-honors-kind-of-blue) . Different versions of Davis exist side by side: He was an unquestionable genius, who had an electrifying stage presence, a great affection for his children, but also, as Francis Davis writes in the Atlantic (http://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/) , the troubled artist was “peacock vain,” addled by drugs, and, by his own account, physically abused his spouses.
Miles Davis, Max Jacoby Miles Davis by Max Jacoby, 1991 (National Portrait Gallery)
“[B]eing a Gemini I’m already two,” Davis wrote in his 1990 autobiography Miles (http://www.amazon.com/Miles-The-Autobiography-Davis/dp/0671725823) . “Two people without the coke and two more with the coke. I was four different people; two of them people had consciences and two didn’t.”
Rather than attempt to reconcile the varied pieces of the legendary jazz trumpeter and bandleader, Cheadle’s film takes the form of an impressionistic snapshot, aiming to tell a “gangster pic” about the jazz great that Davis himself would have wanted to star in.
The film’s title, Miles Ahead, Zimmerman speculates—also the name of his second album that he did with Evans—alludes to how Davis was always moving forward with his music, from the origins of “cool jazz,” collaborating with Evans in the late 1940s, moving to “hard bop” in the 1950s, changing the game again with modal improvisation in the late ’50s, then taking rock influences to create a fusion sound, as heard in his 1969 jazz-rock album In a Silent Way (https://www.youtube.com/watch?v=lQKt7DTKyJU) .
Miles Davis Custom Versace Jacket Davis wore this custom Versace jacket during his one of his last performances with Quincy Jones at the 1991 Montreaux Jazz Festival in Switzerland. (National Museum of American History)
“He was always with the times,” says Zimmerman. “He was listening and he was willing to be a risk taker, without any doubts, without any thoughts of failing. That was the way he was.”
The film grounds itself what has been called Davis’ “silent period,” from 1975 to 1980, when the musician was riddled by depression and drugs and couldn’t play the trumpet. It’s an interesting choice, seeing as his sound expressed who he was. “He described his music as his voice,” says Zimmerman. “Sometimes, he wouldn’t talk, he’d just say, ‘Hey let the music speak for itself,’ because he was pouring everything into that.”
In a way, that’s what the movie does, though. The decidedly anti-biopic riffs from one imagined scenario to another, articulating long notes and short trills over a timeline of Davis’ life in the late ’50s and early ’60s. The film often relies on music to explore his relationship with his wife Frances Taylor, as well as his work with musicians John Coltrane and Red Garland and Paul Chambers and Art Taylor.
Miles Davis, bronze sculpture Bronze sculpture of Miles Dewey Davis III (1926 – 1991) by Ed Dwight, Denver, Colorado, 1990(National Museum of American History)
“The music is hot, the music is very athletic, there’s all kinds of musical gymnastics going on when he meets Frances,” Zimmerman says. A prima ballerina, she was involved with the theater and Broadway. Davis was captivated by her beauty, but perhaps was more drawn to her as an artist. He would go to her shows, and it opened him up to new sounds and influences.
“Broadway, you have a pit orchestra, so he was hearing different things, and I think that got inside of him,” says Zimmerman, guiding Davis away from the hot, energetic music of bebop into the passionate, emotive music that he would create in Sketches of Spain and Porgy and Bess.
While Taylor arguably wasn’t his first wife (Irene Birth, who he had three children with, came first though they had a common-law marriage), nor would she be his last, Zimmerman can see why the film chose to focus on their relationship.
“Frances just sort of got into his heart in a deep way,” says Zimmerman. “That makes me think of [Frank] Sinatra and Ava Gardner and how Ava Gardner dug into his heart and he could never overcome Ava Gardner.”
The silent period comes after Taylor leaves him. Davis was heavily into drugs, was likely dealing with emotional exhaustion from his already 30 years of work as a musical pioneer and was physically worn out. He suffered from sickle-cell anemia and his condition, coupled with the pain from injuries he sustained in a 1972 car crash, had worsened. Still it was a shock to the jazz cats that he stopped playing during that period.
“For someone to be in the limelight for so long to stop recording and leave recording—lots of people talk about that, but they don’t necessarily do it because the music is very much apart of them,” says Zimmerman. “Miles said that and he really didn’t play. The hole was there, but he didn’t play.”
Though the film uses the dynamic between Davis and a fictional Rolling Stone journalist to push Davis to return to the music, it was George Butler (http://www.nytimes.com/2008/04/20/nyregion/20butler.html?_r=0) , a jazz record executive, who helped persuade Davis to get back into the studio, even sending him a piano. So too did the new music he was hearing.
“The electronic music, the synthesizers, those kinds of things were intriguing to Miles,” says Zimmerman. It took him awhile after being out so long to build up his embouchere.
“That’s everything to a trumpet player,” says Zimmerman. “It took him awhile to get back, but he was listening and playing and working compositions and determining who he could make a statement with.”
In 1989, Zimmerman saw Davis play at Wolf Trap National Park for the Performing Arts in Vienna, Virginia. He performed with a seven-piece band that included saxophonist Kenny Garrett, guitarist Foley and Ricky Wellman, the former drummer for Chuck Brown, Washington D.C.’s renowned “Father of Go Go.” All of these musicians appeared on Davis’ latest album, Amandla. Zimmerman remembers the sound as funky, with some Go-Go influences to it.
“It was sort of him, of the times,” says Zimmerman. “The times were always changing and he was going along with that.”
While the film might not have gotten all of the facts, Zimmerman says it pulled at a greater sense of who Davis was.
“The reality is fiction has foundation in truth, in nonfiction,” says Zimmerman. “I think they got his personality dead on.”
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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Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic | At the Smithsonian | Smithsonian
http://www.jazzpromoservices.com/
http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/?no-ist
** Smithsonian Jazz Expert Gives Liner Notes to the New Miles Davis Biopic
————————————————————
By Jackie Mansky (http://www.smithsonianmag.com/author/jackie-mansky/)
smithsonian.com
April 6, 2016
Read more: http://www.smithsonianmag.com/smithsonian-institution/Smithsonian-jazz-expert-gives-liner-notes-to-new-miles-davis-biopic-180958658/#VuagEbxIJ1c4BXe4.99
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Don Cheadle as Miles Davis
“Free booze, free blues, that’s Freddie,” sings James Zimmerman (http://americanhistory.si.edu/profile/549) , a jazz scholar and a senior producer at the National Museum of American History, who served as the Smithsonian Jazz Masterworks Orchestra’s producer and executive producer for 11 years.
Zimmerman’s voice mimics the smooth, dreamy instrumentation of “Freddie Freeloader,” found on Miles Davis’ 1959 masterpiece Kind of Blue. He uses the words that lyricist and singer Jon Hendricks penned for the complex arrangement years later. Words so fitting that one could imagine Davis approaching Hendricks to say, “Mother [expletive], what are you doing writing words to my song?”
Leaving the theater after seeing Don Cheadle’s new film Miles Ahead about the raspy-voiced Davis, Zimmerman is singing to prove his point.
“Miles was the greatest singer on the open mouth trumpet that there’s ever been,” he says, echoing the words of jazz great Gil Evans. It’s what first attracted Zimmerman, himself an accomplish vocalist, to Davis’ music in the ’80s.
Davis was a middle-class son of a dentist, born into a racially divided America, who once was clubbed on the head by a white policeman for standing outside of a venue where he was performing. In addition to numerous Grammy Awards, Davis has a star on the Hollywood Walk of Fame, was inducted into the Rock and Roll Hall of Fame and even had his work honored by Congress (http://jazztimes.com/articles/25503-congress-honors-kind-of-blue) . Different versions of Davis exist side by side: He was an unquestionable genius, who had an electrifying stage presence, a great affection for his children, but also, as Francis Davis writes in the Atlantic (http://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/) , the troubled artist was “peacock vain,” addled by drugs, and, by his own account, physically abused his spouses.
Miles Davis, Max Jacoby Miles Davis by Max Jacoby, 1991 (National Portrait Gallery)
“[B]eing a Gemini I’m already two,” Davis wrote in his 1990 autobiography Miles (http://www.amazon.com/Miles-The-Autobiography-Davis/dp/0671725823) . “Two people without the coke and two more with the coke. I was four different people; two of them people had consciences and two didn’t.”
Rather than attempt to reconcile the varied pieces of the legendary jazz trumpeter and bandleader, Cheadle’s film takes the form of an impressionistic snapshot, aiming to tell a “gangster pic” about the jazz great that Davis himself would have wanted to star in.
The film’s title, Miles Ahead, Zimmerman speculates—also the name of his second album that he did with Evans—alludes to how Davis was always moving forward with his music, from the origins of “cool jazz,” collaborating with Evans in the late 1940s, moving to “hard bop” in the 1950s, changing the game again with modal improvisation in the late ’50s, then taking rock influences to create a fusion sound, as heard in his 1969 jazz-rock album In a Silent Way (https://www.youtube.com/watch?v=lQKt7DTKyJU) .
Miles Davis Custom Versace Jacket Davis wore this custom Versace jacket during his one of his last performances with Quincy Jones at the 1991 Montreaux Jazz Festival in Switzerland. (National Museum of American History)
“He was always with the times,” says Zimmerman. “He was listening and he was willing to be a risk taker, without any doubts, without any thoughts of failing. That was the way he was.”
The film grounds itself what has been called Davis’ “silent period,” from 1975 to 1980, when the musician was riddled by depression and drugs and couldn’t play the trumpet. It’s an interesting choice, seeing as his sound expressed who he was. “He described his music as his voice,” says Zimmerman. “Sometimes, he wouldn’t talk, he’d just say, ‘Hey let the music speak for itself,’ because he was pouring everything into that.”
In a way, that’s what the movie does, though. The decidedly anti-biopic riffs from one imagined scenario to another, articulating long notes and short trills over a timeline of Davis’ life in the late ’50s and early ’60s. The film often relies on music to explore his relationship with his wife Frances Taylor, as well as his work with musicians John Coltrane and Red Garland and Paul Chambers and Art Taylor.
Miles Davis, bronze sculpture Bronze sculpture of Miles Dewey Davis III (1926 – 1991) by Ed Dwight, Denver, Colorado, 1990(National Museum of American History)
“The music is hot, the music is very athletic, there’s all kinds of musical gymnastics going on when he meets Frances,” Zimmerman says. A prima ballerina, she was involved with the theater and Broadway. Davis was captivated by her beauty, but perhaps was more drawn to her as an artist. He would go to her shows, and it opened him up to new sounds and influences.
“Broadway, you have a pit orchestra, so he was hearing different things, and I think that got inside of him,” says Zimmerman, guiding Davis away from the hot, energetic music of bebop into the passionate, emotive music that he would create in Sketches of Spain and Porgy and Bess.
While Taylor arguably wasn’t his first wife (Irene Birth, who he had three children with, came first though they had a common-law marriage), nor would she be his last, Zimmerman can see why the film chose to focus on their relationship.
“Frances just sort of got into his heart in a deep way,” says Zimmerman. “That makes me think of [Frank] Sinatra and Ava Gardner and how Ava Gardner dug into his heart and he could never overcome Ava Gardner.”
The silent period comes after Taylor leaves him. Davis was heavily into drugs, was likely dealing with emotional exhaustion from his already 30 years of work as a musical pioneer and was physically worn out. He suffered from sickle-cell anemia and his condition, coupled with the pain from injuries he sustained in a 1972 car crash, had worsened. Still it was a shock to the jazz cats that he stopped playing during that period.
“For someone to be in the limelight for so long to stop recording and leave recording—lots of people talk about that, but they don’t necessarily do it because the music is very much apart of them,” says Zimmerman. “Miles said that and he really didn’t play. The hole was there, but he didn’t play.”
Though the film uses the dynamic between Davis and a fictional Rolling Stone journalist to push Davis to return to the music, it was George Butler (http://www.nytimes.com/2008/04/20/nyregion/20butler.html?_r=0) , a jazz record executive, who helped persuade Davis to get back into the studio, even sending him a piano. So too did the new music he was hearing.
“The electronic music, the synthesizers, those kinds of things were intriguing to Miles,” says Zimmerman. It took him awhile after being out so long to build up his embouchere.
“That’s everything to a trumpet player,” says Zimmerman. “It took him awhile to get back, but he was listening and playing and working compositions and determining who he could make a statement with.”
In 1989, Zimmerman saw Davis play at Wolf Trap National Park for the Performing Arts in Vienna, Virginia. He performed with a seven-piece band that included saxophonist Kenny Garrett, guitarist Foley and Ricky Wellman, the former drummer for Chuck Brown, Washington D.C.’s renowned “Father of Go Go.” All of these musicians appeared on Davis’ latest album, Amandla. Zimmerman remembers the sound as funky, with some Go-Go influences to it.
“It was sort of him, of the times,” says Zimmerman. “The times were always changing and he was going along with that.”
While the film might not have gotten all of the facts, Zimmerman says it pulled at a greater sense of who Davis was.
“The reality is fiction has foundation in truth, in nonfiction,” says Zimmerman. “I think they got his personality dead on.”
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.
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Jazz great Sonny Rollins still not finished at 85
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/artists/jazz-great-sonny-rollins-still-not-finished-at-85/
** Jazz great Sonny Rollins still not finished at 85
————————————————————
*
*
Sonny Rollins Sonny Rollins CREDIT: REX
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
6 APRIL 2016 • 9:44PM
One of the last in a generation of jazz greats, Sonny Rollins once thought music could change the world. His optimism about humanity has since vanished but, at 85, he still has much he wants to say.
The “Saxophone Colossus”, a nickname that was also the title of his seminal 1956 album, is among a handful of sax players including John Coltrane, Charlie Parker and Coleman Hawkins who defined the instrument, with Rollins creating a heavy-charging, mordant style that was also readily experimental.
The hard-working tenor saxophonist has taken several extended sabbaticals, most famously when he temporarily retired – yet would practice on New York’s Williamsburg Bridge. He later moved to India and Japan to explore spirituality.
His latest break is less intentional – respiratory problems have kept him from playing since 2012.
“I am not finished with what I want to do musically, so I definitely want to do more and I am hoping that I will be able to,” Rollins said in a reflective interview on a career spanning more than 65 years.
Rollins voiced confidence that “new, modern medication” would help him return to form. Eager to keep releasing music in the meantime, he has been reaching into his vault of live recordings to put out collections.
His latest, Holding the Stage: Road Shows, Vol. 4, features 10 tracks, some of them never recorded in studio, of performances since 1979 across the United States and Europe.
Highlights include songs from his nerve-wracking yet emotionally resonant performance that he went ahead with days after the September 11, 2001 attacks, which the native New Yorker witnessed firsthand as he lived near the fallen World Trade Center.
Sonny Rollins Sonny Rollins CREDIT: REX
Fueling his desire to record, Rollins said he saw music as commentary on happenings around him. Another of his classic works, 1958’s Freedom Suite, was driven by a strong, confident tenor sax that reflected the burgeoning movement for African American civil rights.
The saxophone legend now says he is no longer driven by current events and instead wants to reflect musically on “the bigger picture – not this world, the infinite world”.
In the Sixties, Rollins said that he and like-minded artists “were thinking that music could change the world”.
“At one time in my life I thought that this world could change and get more peaceful, with everybody loving each other and all this hope. But then I learned, and I lived a little longer,” he said.
“I realised that this world will never change. This world is meant to be a place of war, killing, everything – sickness, illness, death. That’s this world.”
Rollins – mellow and affable with his striking shock of white hair – however does not sound bitter, rather believing that the “purpose of life is to serve others” – in his case, by bringing joy through music.
“I’m very fortunate that I was blessed to live my life playing my music,” he said.
Sonny Rollins Sonny Rollins CREDIT: REX
Raised in Harlem to parents from the US Virgin Islands, Rollins was inspired into a career in music when Frank Sinatra visited his school and successfully appealed to end fighting between young Italian and African Americans.
By his twenties, Rollins had managed to play with some of the biggest names in jazz history including Parker, Miles Davis, Max Roach and Thelonious Monk, with the young Rollins hanging out at the pianist’s apartment and playing on Monk’s classic 1957 album Brilliant Corners.
His most complicated relationship may have been with Coltrane, who was a friend but often described as a rival until Coltrane’s death from cancer in 1967.
Rollins called Coltrane “a beautiful, beautiful human being” and said that he had struggled as a young prodigy to fit in with the legends.
“I look back on my relationship with Coltrane, and my relationship with Monk – a lot of stupid things I did with those people that I would not have done if I was more mature,” he said.
Rollins nevertheless said he had no regrets musically about his past. Besides his playing style of heavy inflections, Rollins pioneered jazz performances without piano and was perhaps most inventive with his improvisation in rhythm.
St Thomas, his best-known song, incorporated Caribbean calypso he remembered as a child. Most known for his hard bop, Rollins later played with The Rolling Stones and brought elements of rock and even disco into his own music.
Two jazz legends close to Rollins, Ornette Coleman and Horace Silver, have died since 2014. Coleman was instrumental in the creation of flowing “free jazz”, while Silver, a frequent collaborator who is eulogised musically on Rollins’ latest album, was a leading hard bop pianist.
“We are not supposed to be in this world forever, so you can’t look at so-called death as some kind of bad thing,” Rollins said of his friends.
“They gave the world jazz, which is a never-ending phenomenon. That is wonderful.”
Rollins credited his longevity in part to yoga, which has helped him concentrate and to stay off drugs and drinking after trouble in his youth.
But mostly, he points to his creative spirit.
“I’m still alive because I’m still learning.”
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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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6945ba8074) | 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=6945ba8074&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz great Sonny Rollins still not finished at 85
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/artists/jazz-great-sonny-rollins-still-not-finished-at-85/
** Jazz great Sonny Rollins still not finished at 85
————————————————————
*
*
Sonny Rollins Sonny Rollins CREDIT: REX
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
6 APRIL 2016 • 9:44PM
One of the last in a generation of jazz greats, Sonny Rollins once thought music could change the world. His optimism about humanity has since vanished but, at 85, he still has much he wants to say.
The “Saxophone Colossus”, a nickname that was also the title of his seminal 1956 album, is among a handful of sax players including John Coltrane, Charlie Parker and Coleman Hawkins who defined the instrument, with Rollins creating a heavy-charging, mordant style that was also readily experimental.
The hard-working tenor saxophonist has taken several extended sabbaticals, most famously when he temporarily retired – yet would practice on New York’s Williamsburg Bridge. He later moved to India and Japan to explore spirituality.
His latest break is less intentional – respiratory problems have kept him from playing since 2012.
“I am not finished with what I want to do musically, so I definitely want to do more and I am hoping that I will be able to,” Rollins said in a reflective interview on a career spanning more than 65 years.
Rollins voiced confidence that “new, modern medication” would help him return to form. Eager to keep releasing music in the meantime, he has been reaching into his vault of live recordings to put out collections.
His latest, Holding the Stage: Road Shows, Vol. 4, features 10 tracks, some of them never recorded in studio, of performances since 1979 across the United States and Europe.
Highlights include songs from his nerve-wracking yet emotionally resonant performance that he went ahead with days after the September 11, 2001 attacks, which the native New Yorker witnessed firsthand as he lived near the fallen World Trade Center.
Sonny Rollins Sonny Rollins CREDIT: REX
Fueling his desire to record, Rollins said he saw music as commentary on happenings around him. Another of his classic works, 1958’s Freedom Suite, was driven by a strong, confident tenor sax that reflected the burgeoning movement for African American civil rights.
The saxophone legend now says he is no longer driven by current events and instead wants to reflect musically on “the bigger picture – not this world, the infinite world”.
In the Sixties, Rollins said that he and like-minded artists “were thinking that music could change the world”.
“At one time in my life I thought that this world could change and get more peaceful, with everybody loving each other and all this hope. But then I learned, and I lived a little longer,” he said.
“I realised that this world will never change. This world is meant to be a place of war, killing, everything – sickness, illness, death. That’s this world.”
Rollins – mellow and affable with his striking shock of white hair – however does not sound bitter, rather believing that the “purpose of life is to serve others” – in his case, by bringing joy through music.
“I’m very fortunate that I was blessed to live my life playing my music,” he said.
Sonny Rollins Sonny Rollins CREDIT: REX
Raised in Harlem to parents from the US Virgin Islands, Rollins was inspired into a career in music when Frank Sinatra visited his school and successfully appealed to end fighting between young Italian and African Americans.
By his twenties, Rollins had managed to play with some of the biggest names in jazz history including Parker, Miles Davis, Max Roach and Thelonious Monk, with the young Rollins hanging out at the pianist’s apartment and playing on Monk’s classic 1957 album Brilliant Corners.
His most complicated relationship may have been with Coltrane, who was a friend but often described as a rival until Coltrane’s death from cancer in 1967.
Rollins called Coltrane “a beautiful, beautiful human being” and said that he had struggled as a young prodigy to fit in with the legends.
“I look back on my relationship with Coltrane, and my relationship with Monk – a lot of stupid things I did with those people that I would not have done if I was more mature,” he said.
Rollins nevertheless said he had no regrets musically about his past. Besides his playing style of heavy inflections, Rollins pioneered jazz performances without piano and was perhaps most inventive with his improvisation in rhythm.
St Thomas, his best-known song, incorporated Caribbean calypso he remembered as a child. Most known for his hard bop, Rollins later played with The Rolling Stones and brought elements of rock and even disco into his own music.
Two jazz legends close to Rollins, Ornette Coleman and Horace Silver, have died since 2014. Coleman was instrumental in the creation of flowing “free jazz”, while Silver, a frequent collaborator who is eulogised musically on Rollins’ latest album, was a leading hard bop pianist.
“We are not supposed to be in this world forever, so you can’t look at so-called death as some kind of bad thing,” Rollins said of his friends.
“They gave the world jazz, which is a never-ending phenomenon. That is wonderful.”
Rollins credited his longevity in part to yoga, which has helped him concentrate and to stay off drugs and drinking after trouble in his youth.
But mostly, he points to his creative spirit.
“I’m still alive because I’m still learning.”
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=6945ba8074) | 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=6945ba8074&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
Jazz great Sonny Rollins still not finished at 85
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/artists/jazz-great-sonny-rollins-still-not-finished-at-85/
** Jazz great Sonny Rollins still not finished at 85
————————————————————
*
*
Sonny Rollins Sonny Rollins CREDIT: REX
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
6 APRIL 2016 • 9:44PM
One of the last in a generation of jazz greats, Sonny Rollins once thought music could change the world. His optimism about humanity has since vanished but, at 85, he still has much he wants to say.
The “Saxophone Colossus”, a nickname that was also the title of his seminal 1956 album, is among a handful of sax players including John Coltrane, Charlie Parker and Coleman Hawkins who defined the instrument, with Rollins creating a heavy-charging, mordant style that was also readily experimental.
The hard-working tenor saxophonist has taken several extended sabbaticals, most famously when he temporarily retired – yet would practice on New York’s Williamsburg Bridge. He later moved to India and Japan to explore spirituality.
His latest break is less intentional – respiratory problems have kept him from playing since 2012.
“I am not finished with what I want to do musically, so I definitely want to do more and I am hoping that I will be able to,” Rollins said in a reflective interview on a career spanning more than 65 years.
Rollins voiced confidence that “new, modern medication” would help him return to form. Eager to keep releasing music in the meantime, he has been reaching into his vault of live recordings to put out collections.
His latest, Holding the Stage: Road Shows, Vol. 4, features 10 tracks, some of them never recorded in studio, of performances since 1979 across the United States and Europe.
Highlights include songs from his nerve-wracking yet emotionally resonant performance that he went ahead with days after the September 11, 2001 attacks, which the native New Yorker witnessed firsthand as he lived near the fallen World Trade Center.
Sonny Rollins Sonny Rollins CREDIT: REX
Fueling his desire to record, Rollins said he saw music as commentary on happenings around him. Another of his classic works, 1958’s Freedom Suite, was driven by a strong, confident tenor sax that reflected the burgeoning movement for African American civil rights.
The saxophone legend now says he is no longer driven by current events and instead wants to reflect musically on “the bigger picture – not this world, the infinite world”.
In the Sixties, Rollins said that he and like-minded artists “were thinking that music could change the world”.
“At one time in my life I thought that this world could change and get more peaceful, with everybody loving each other and all this hope. But then I learned, and I lived a little longer,” he said.
“I realised that this world will never change. This world is meant to be a place of war, killing, everything – sickness, illness, death. That’s this world.”
Rollins – mellow and affable with his striking shock of white hair – however does not sound bitter, rather believing that the “purpose of life is to serve others” – in his case, by bringing joy through music.
“I’m very fortunate that I was blessed to live my life playing my music,” he said.
Sonny Rollins Sonny Rollins CREDIT: REX
Raised in Harlem to parents from the US Virgin Islands, Rollins was inspired into a career in music when Frank Sinatra visited his school and successfully appealed to end fighting between young Italian and African Americans.
By his twenties, Rollins had managed to play with some of the biggest names in jazz history including Parker, Miles Davis, Max Roach and Thelonious Monk, with the young Rollins hanging out at the pianist’s apartment and playing on Monk’s classic 1957 album Brilliant Corners.
His most complicated relationship may have been with Coltrane, who was a friend but often described as a rival until Coltrane’s death from cancer in 1967.
Rollins called Coltrane “a beautiful, beautiful human being” and said that he had struggled as a young prodigy to fit in with the legends.
“I look back on my relationship with Coltrane, and my relationship with Monk – a lot of stupid things I did with those people that I would not have done if I was more mature,” he said.
Rollins nevertheless said he had no regrets musically about his past. Besides his playing style of heavy inflections, Rollins pioneered jazz performances without piano and was perhaps most inventive with his improvisation in rhythm.
St Thomas, his best-known song, incorporated Caribbean calypso he remembered as a child. Most known for his hard bop, Rollins later played with The Rolling Stones and brought elements of rock and even disco into his own music.
Two jazz legends close to Rollins, Ornette Coleman and Horace Silver, have died since 2014. Coleman was instrumental in the creation of flowing “free jazz”, while Silver, a frequent collaborator who is eulogised musically on Rollins’ latest album, was a leading hard bop pianist.
“We are not supposed to be in this world forever, so you can’t look at so-called death as some kind of bad thing,” Rollins said of his friends.
“They gave the world jazz, which is a never-ending phenomenon. That is wonderful.”
Rollins credited his longevity in part to yoga, which has helped him concentrate and to stay off drugs and drinking after trouble in his youth.
But mostly, he points to his creative spirit.
“I’m still alive because I’m still learning.”
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=6945ba8074) | 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=6945ba8074&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
Jazz great Sonny Rollins still not finished at 85
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/artists/jazz-great-sonny-rollins-still-not-finished-at-85/
** Jazz great Sonny Rollins still not finished at 85
————————————————————
*
*
Sonny Rollins Sonny Rollins CREDIT: REX
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
6 APRIL 2016 • 9:44PM
One of the last in a generation of jazz greats, Sonny Rollins once thought music could change the world. His optimism about humanity has since vanished but, at 85, he still has much he wants to say.
The “Saxophone Colossus”, a nickname that was also the title of his seminal 1956 album, is among a handful of sax players including John Coltrane, Charlie Parker and Coleman Hawkins who defined the instrument, with Rollins creating a heavy-charging, mordant style that was also readily experimental.
The hard-working tenor saxophonist has taken several extended sabbaticals, most famously when he temporarily retired – yet would practice on New York’s Williamsburg Bridge. He later moved to India and Japan to explore spirituality.
His latest break is less intentional – respiratory problems have kept him from playing since 2012.
“I am not finished with what I want to do musically, so I definitely want to do more and I am hoping that I will be able to,” Rollins said in a reflective interview on a career spanning more than 65 years.
Rollins voiced confidence that “new, modern medication” would help him return to form. Eager to keep releasing music in the meantime, he has been reaching into his vault of live recordings to put out collections.
His latest, Holding the Stage: Road Shows, Vol. 4, features 10 tracks, some of them never recorded in studio, of performances since 1979 across the United States and Europe.
Highlights include songs from his nerve-wracking yet emotionally resonant performance that he went ahead with days after the September 11, 2001 attacks, which the native New Yorker witnessed firsthand as he lived near the fallen World Trade Center.
Sonny Rollins Sonny Rollins CREDIT: REX
Fueling his desire to record, Rollins said he saw music as commentary on happenings around him. Another of his classic works, 1958’s Freedom Suite, was driven by a strong, confident tenor sax that reflected the burgeoning movement for African American civil rights.
The saxophone legend now says he is no longer driven by current events and instead wants to reflect musically on “the bigger picture – not this world, the infinite world”.
In the Sixties, Rollins said that he and like-minded artists “were thinking that music could change the world”.
“At one time in my life I thought that this world could change and get more peaceful, with everybody loving each other and all this hope. But then I learned, and I lived a little longer,” he said.
“I realised that this world will never change. This world is meant to be a place of war, killing, everything – sickness, illness, death. That’s this world.”
Rollins – mellow and affable with his striking shock of white hair – however does not sound bitter, rather believing that the “purpose of life is to serve others” – in his case, by bringing joy through music.
“I’m very fortunate that I was blessed to live my life playing my music,” he said.
Sonny Rollins Sonny Rollins CREDIT: REX
Raised in Harlem to parents from the US Virgin Islands, Rollins was inspired into a career in music when Frank Sinatra visited his school and successfully appealed to end fighting between young Italian and African Americans.
By his twenties, Rollins had managed to play with some of the biggest names in jazz history including Parker, Miles Davis, Max Roach and Thelonious Monk, with the young Rollins hanging out at the pianist’s apartment and playing on Monk’s classic 1957 album Brilliant Corners.
His most complicated relationship may have been with Coltrane, who was a friend but often described as a rival until Coltrane’s death from cancer in 1967.
Rollins called Coltrane “a beautiful, beautiful human being” and said that he had struggled as a young prodigy to fit in with the legends.
“I look back on my relationship with Coltrane, and my relationship with Monk – a lot of stupid things I did with those people that I would not have done if I was more mature,” he said.
Rollins nevertheless said he had no regrets musically about his past. Besides his playing style of heavy inflections, Rollins pioneered jazz performances without piano and was perhaps most inventive with his improvisation in rhythm.
St Thomas, his best-known song, incorporated Caribbean calypso he remembered as a child. Most known for his hard bop, Rollins later played with The Rolling Stones and brought elements of rock and even disco into his own music.
Two jazz legends close to Rollins, Ornette Coleman and Horace Silver, have died since 2014. Coleman was instrumental in the creation of flowing “free jazz”, while Silver, a frequent collaborator who is eulogised musically on Rollins’ latest album, was a leading hard bop pianist.
“We are not supposed to be in this world forever, so you can’t look at so-called death as some kind of bad thing,” Rollins said of his friends.
“They gave the world jazz, which is a never-ending phenomenon. That is wonderful.”
Rollins credited his longevity in part to yoga, which has helped him concentrate and to stay off drugs and drinking after trouble in his youth.
But mostly, he points to his creative spirit.
“I’m still alive because I’m still learning.”
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=6945ba8074) | 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=6945ba8074&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
The Queen of Jazz and her love of baseball | National Museum of American History
http://www.jazzpromoservices.com/
http://americanhistory.si.edu/blog/queen-jazz-and-her-love-baseball
** The Queen of Jazz and her love of baseball
————————————————————
By Marissa Del Toro, April 4, 2016
http://americanhistory.si.edu/collections/search/object/nmah_1190868
Baseball, signed by the 1984 San Francisco Giants. The autographed baseball was collected by American jazz singer Ella Fitzgerald (1917–1996), who was an avid baseball fan. Autographs include George Riley, Joel Youngblood, Mark Calvert, Bob Brenly, Dusty Baker, Chris Brown, John Rabb, Dan Gladden, Steve Nicosia, Mark Grant, Bill Laskey, Scot Thompson, Fran Mullins, John Clark, and Duane Kuiper. (http://americanhistory.si.edu/collections/search/object/nmah_1190868)
Red thread is woven in and out of leather, uniting two different pieces into a single object that represents America’s favorite pastime and an important part of American identity: baseball. Just as the thread unites the pieces, baseball itself bridges diverse communities and experiences in America. Many people from dramatically different backgrounds share the experience of going to a ball game, cheering for the home team, and eating peanuts and crackerjacks. In my research at the museum, I learned that baseball connects with another mainstay of American culture: jazz.
http://americanhistory.si.edu/latinos-and-baseball
The collecting initiative “Latinos and Baseball: In the Barrios and the Big Leagues” focuses on how Latino communities have been shaped by the game. Players from the big leagues to the barrios will be represented in this upcoming project. (http://americanhistory.si.edu/latinos-and-baseball)
Helping to develop a public program and work on the “Latinos and Baseball: In the Barrios and the Big Leagues (http://americanhistory.si.edu/latinos-and-baseball) ” collecting initiative, I had the opportunity to explore connections between baseball and communities and realized there is a story connecting sports, music, and American communities of color. In particular, I was surprised to learn that Ella Fitzgerald, the Queen of Jazz, was a dedicated and devoted baseball fan. The museum preserves a significant part of her signed baseball collection with autographs from the Los Angeles Dodgers, the San Francisco Giants, and players of the 1984 Major League Baseball All-Star Game. She met and mingled with baseball legends Jackie Robinson and Willie Mays.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus
Ella Fitzgerald performing on stage at the Downbeat Club in New York City, 1949. Herman Leonard Photographic Collection, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus)
http://americanhistory.si.edu/collections/search/object/nmah_1190867
Baseball signed by the 1971 Los Angeles Dodgers collected by Ella Fitzgerald. Autographs include Bill Sudakis, Willie Crawford, Jim Lefebvre, Bill Grabarkewitz, Jim Brewer, Sandy Vance, Don Sutton, Willie Crawford, Bill Buckner, Bill Singer, Hoyt Wilhelm, Bob O’Brien, Al Downing, Pete Mikkelsen, Maury Wills, Bill Russell, Tom Haller. (http://americanhistory.si.edu/collections/search/object/nmah_1190867)
Both jazz and baseball have greatly contributed to identity-making in America. Like many people, Fitzgerald fell in love with baseball when she was young. During her youth she would play neighborhood baseball games between exploring her other passions: dancing and singing. As her musical career skyrocketed, Fitzgerald never lost her love for baseball. Her appreciation for America’s pastime actually intensified as she was given several opportunities to sing the national anthem at various ball games.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus
A player from the New York Cubans leaps in the air to make the winning catch. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus)
Jazz and baseball have connections beyond Fitzgerald. While jazz was growing increasingly popular in American society in the 1920s, baseball also provided an important hotspot for black America and African American entertainers. African American jazz musicians were known to frequently attend baseball games, cheering for their team and mingling with their favorite players.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
A batter from the New York Cubans warms up as he prepares to hit a home run. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
According to historian Jules Tygiel, Negro Leagues baseball symbolized a source of pride and accomplishment for African American communities, businesses, religion, politics, and entertainment. Baseball offered a protected arena for civil rights activities to occur and flourish against a culture monopolized by whites. The sport allowed African Americans to navigate through a world in which they constantly experienced discrimination. In many communities, baseball has been a sport that is able to transcend language, place, and time; it bridges gaps between communities and brings possibilities for hope of a better life. As Fitzgerald once sang, “This could be the start of something big.”
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
Baseball used in the 1937 Negro League East-West All-Star Game, played on August 8, 1937, at Comiskey Park in Chicago, Illinois. Buck Leonard (1907–1997), first baseman for the Homestead Grays, hit a home run to help the East win 7-2, keeping this baseball as a souvenir. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html
Ella Fitzgerald poses with Willie Mays, who was a player for the San Francisco Giants. Ella Fitzgerald Collection, Archives Center, National Museum of American History. (http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html)
Marissa Del Toro was a Latino Museum Studies Program Fellow, summer 2015.
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=633a2923a1) | 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=633a2923a1&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
The Queen of Jazz and her love of baseball | National Museum of American History
http://www.jazzpromoservices.com/
http://americanhistory.si.edu/blog/queen-jazz-and-her-love-baseball
** The Queen of Jazz and her love of baseball
————————————————————
By Marissa Del Toro, April 4, 2016
http://americanhistory.si.edu/collections/search/object/nmah_1190868
Baseball, signed by the 1984 San Francisco Giants. The autographed baseball was collected by American jazz singer Ella Fitzgerald (1917–1996), who was an avid baseball fan. Autographs include George Riley, Joel Youngblood, Mark Calvert, Bob Brenly, Dusty Baker, Chris Brown, John Rabb, Dan Gladden, Steve Nicosia, Mark Grant, Bill Laskey, Scot Thompson, Fran Mullins, John Clark, and Duane Kuiper. (http://americanhistory.si.edu/collections/search/object/nmah_1190868)
Red thread is woven in and out of leather, uniting two different pieces into a single object that represents America’s favorite pastime and an important part of American identity: baseball. Just as the thread unites the pieces, baseball itself bridges diverse communities and experiences in America. Many people from dramatically different backgrounds share the experience of going to a ball game, cheering for the home team, and eating peanuts and crackerjacks. In my research at the museum, I learned that baseball connects with another mainstay of American culture: jazz.
http://americanhistory.si.edu/latinos-and-baseball
The collecting initiative “Latinos and Baseball: In the Barrios and the Big Leagues” focuses on how Latino communities have been shaped by the game. Players from the big leagues to the barrios will be represented in this upcoming project. (http://americanhistory.si.edu/latinos-and-baseball)
Helping to develop a public program and work on the “Latinos and Baseball: In the Barrios and the Big Leagues (http://americanhistory.si.edu/latinos-and-baseball) ” collecting initiative, I had the opportunity to explore connections between baseball and communities and realized there is a story connecting sports, music, and American communities of color. In particular, I was surprised to learn that Ella Fitzgerald, the Queen of Jazz, was a dedicated and devoted baseball fan. The museum preserves a significant part of her signed baseball collection with autographs from the Los Angeles Dodgers, the San Francisco Giants, and players of the 1984 Major League Baseball All-Star Game. She met and mingled with baseball legends Jackie Robinson and Willie Mays.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus
Ella Fitzgerald performing on stage at the Downbeat Club in New York City, 1949. Herman Leonard Photographic Collection, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus)
http://americanhistory.si.edu/collections/search/object/nmah_1190867
Baseball signed by the 1971 Los Angeles Dodgers collected by Ella Fitzgerald. Autographs include Bill Sudakis, Willie Crawford, Jim Lefebvre, Bill Grabarkewitz, Jim Brewer, Sandy Vance, Don Sutton, Willie Crawford, Bill Buckner, Bill Singer, Hoyt Wilhelm, Bob O’Brien, Al Downing, Pete Mikkelsen, Maury Wills, Bill Russell, Tom Haller. (http://americanhistory.si.edu/collections/search/object/nmah_1190867)
Both jazz and baseball have greatly contributed to identity-making in America. Like many people, Fitzgerald fell in love with baseball when she was young. During her youth she would play neighborhood baseball games between exploring her other passions: dancing and singing. As her musical career skyrocketed, Fitzgerald never lost her love for baseball. Her appreciation for America’s pastime actually intensified as she was given several opportunities to sing the national anthem at various ball games.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus
A player from the New York Cubans leaps in the air to make the winning catch. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus)
Jazz and baseball have connections beyond Fitzgerald. While jazz was growing increasingly popular in American society in the 1920s, baseball also provided an important hotspot for black America and African American entertainers. African American jazz musicians were known to frequently attend baseball games, cheering for their team and mingling with their favorite players.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
A batter from the New York Cubans warms up as he prepares to hit a home run. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
According to historian Jules Tygiel, Negro Leagues baseball symbolized a source of pride and accomplishment for African American communities, businesses, religion, politics, and entertainment. Baseball offered a protected arena for civil rights activities to occur and flourish against a culture monopolized by whites. The sport allowed African Americans to navigate through a world in which they constantly experienced discrimination. In many communities, baseball has been a sport that is able to transcend language, place, and time; it bridges gaps between communities and brings possibilities for hope of a better life. As Fitzgerald once sang, “This could be the start of something big.”
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
Baseball used in the 1937 Negro League East-West All-Star Game, played on August 8, 1937, at Comiskey Park in Chicago, Illinois. Buck Leonard (1907–1997), first baseman for the Homestead Grays, hit a home run to help the East win 7-2, keeping this baseball as a souvenir. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html
Ella Fitzgerald poses with Willie Mays, who was a player for the San Francisco Giants. Ella Fitzgerald Collection, Archives Center, National Museum of American History. (http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html)
Marissa Del Toro was a Latino Museum Studies Program Fellow, summer 2015.
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=633a2923a1) | 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=633a2923a1&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
The Queen of Jazz and her love of baseball | National Museum of American History
http://www.jazzpromoservices.com/
http://americanhistory.si.edu/blog/queen-jazz-and-her-love-baseball
** The Queen of Jazz and her love of baseball
————————————————————
By Marissa Del Toro, April 4, 2016
http://americanhistory.si.edu/collections/search/object/nmah_1190868
Baseball, signed by the 1984 San Francisco Giants. The autographed baseball was collected by American jazz singer Ella Fitzgerald (1917–1996), who was an avid baseball fan. Autographs include George Riley, Joel Youngblood, Mark Calvert, Bob Brenly, Dusty Baker, Chris Brown, John Rabb, Dan Gladden, Steve Nicosia, Mark Grant, Bill Laskey, Scot Thompson, Fran Mullins, John Clark, and Duane Kuiper. (http://americanhistory.si.edu/collections/search/object/nmah_1190868)
Red thread is woven in and out of leather, uniting two different pieces into a single object that represents America’s favorite pastime and an important part of American identity: baseball. Just as the thread unites the pieces, baseball itself bridges diverse communities and experiences in America. Many people from dramatically different backgrounds share the experience of going to a ball game, cheering for the home team, and eating peanuts and crackerjacks. In my research at the museum, I learned that baseball connects with another mainstay of American culture: jazz.
http://americanhistory.si.edu/latinos-and-baseball
The collecting initiative “Latinos and Baseball: In the Barrios and the Big Leagues” focuses on how Latino communities have been shaped by the game. Players from the big leagues to the barrios will be represented in this upcoming project. (http://americanhistory.si.edu/latinos-and-baseball)
Helping to develop a public program and work on the “Latinos and Baseball: In the Barrios and the Big Leagues (http://americanhistory.si.edu/latinos-and-baseball) ” collecting initiative, I had the opportunity to explore connections between baseball and communities and realized there is a story connecting sports, music, and American communities of color. In particular, I was surprised to learn that Ella Fitzgerald, the Queen of Jazz, was a dedicated and devoted baseball fan. The museum preserves a significant part of her signed baseball collection with autographs from the Los Angeles Dodgers, the San Francisco Giants, and players of the 1984 Major League Baseball All-Star Game. She met and mingled with baseball legends Jackie Robinson and Willie Mays.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus
Ella Fitzgerald performing on stage at the Downbeat Club in New York City, 1949. Herman Leonard Photographic Collection, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus)
http://americanhistory.si.edu/collections/search/object/nmah_1190867
Baseball signed by the 1971 Los Angeles Dodgers collected by Ella Fitzgerald. Autographs include Bill Sudakis, Willie Crawford, Jim Lefebvre, Bill Grabarkewitz, Jim Brewer, Sandy Vance, Don Sutton, Willie Crawford, Bill Buckner, Bill Singer, Hoyt Wilhelm, Bob O’Brien, Al Downing, Pete Mikkelsen, Maury Wills, Bill Russell, Tom Haller. (http://americanhistory.si.edu/collections/search/object/nmah_1190867)
Both jazz and baseball have greatly contributed to identity-making in America. Like many people, Fitzgerald fell in love with baseball when she was young. During her youth she would play neighborhood baseball games between exploring her other passions: dancing and singing. As her musical career skyrocketed, Fitzgerald never lost her love for baseball. Her appreciation for America’s pastime actually intensified as she was given several opportunities to sing the national anthem at various ball games.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus
A player from the New York Cubans leaps in the air to make the winning catch. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus)
Jazz and baseball have connections beyond Fitzgerald. While jazz was growing increasingly popular in American society in the 1920s, baseball also provided an important hotspot for black America and African American entertainers. African American jazz musicians were known to frequently attend baseball games, cheering for their team and mingling with their favorite players.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
A batter from the New York Cubans warms up as he prepares to hit a home run. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
According to historian Jules Tygiel, Negro Leagues baseball symbolized a source of pride and accomplishment for African American communities, businesses, religion, politics, and entertainment. Baseball offered a protected arena for civil rights activities to occur and flourish against a culture monopolized by whites. The sport allowed African Americans to navigate through a world in which they constantly experienced discrimination. In many communities, baseball has been a sport that is able to transcend language, place, and time; it bridges gaps between communities and brings possibilities for hope of a better life. As Fitzgerald once sang, “This could be the start of something big.”
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
Baseball used in the 1937 Negro League East-West All-Star Game, played on August 8, 1937, at Comiskey Park in Chicago, Illinois. Buck Leonard (1907–1997), first baseman for the Homestead Grays, hit a home run to help the East win 7-2, keeping this baseball as a souvenir. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html
Ella Fitzgerald poses with Willie Mays, who was a player for the San Francisco Giants. Ella Fitzgerald Collection, Archives Center, National Museum of American History. (http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html)
Marissa Del Toro was a Latino Museum Studies Program Fellow, summer 2015.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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The Queen of Jazz and her love of baseball | National Museum of American History
http://www.jazzpromoservices.com/
http://americanhistory.si.edu/blog/queen-jazz-and-her-love-baseball
** The Queen of Jazz and her love of baseball
————————————————————
By Marissa Del Toro, April 4, 2016
http://americanhistory.si.edu/collections/search/object/nmah_1190868
Baseball, signed by the 1984 San Francisco Giants. The autographed baseball was collected by American jazz singer Ella Fitzgerald (1917–1996), who was an avid baseball fan. Autographs include George Riley, Joel Youngblood, Mark Calvert, Bob Brenly, Dusty Baker, Chris Brown, John Rabb, Dan Gladden, Steve Nicosia, Mark Grant, Bill Laskey, Scot Thompson, Fran Mullins, John Clark, and Duane Kuiper. (http://americanhistory.si.edu/collections/search/object/nmah_1190868)
Red thread is woven in and out of leather, uniting two different pieces into a single object that represents America’s favorite pastime and an important part of American identity: baseball. Just as the thread unites the pieces, baseball itself bridges diverse communities and experiences in America. Many people from dramatically different backgrounds share the experience of going to a ball game, cheering for the home team, and eating peanuts and crackerjacks. In my research at the museum, I learned that baseball connects with another mainstay of American culture: jazz.
http://americanhistory.si.edu/latinos-and-baseball
The collecting initiative “Latinos and Baseball: In the Barrios and the Big Leagues” focuses on how Latino communities have been shaped by the game. Players from the big leagues to the barrios will be represented in this upcoming project. (http://americanhistory.si.edu/latinos-and-baseball)
Helping to develop a public program and work on the “Latinos and Baseball: In the Barrios and the Big Leagues (http://americanhistory.si.edu/latinos-and-baseball) ” collecting initiative, I had the opportunity to explore connections between baseball and communities and realized there is a story connecting sports, music, and American communities of color. In particular, I was surprised to learn that Ella Fitzgerald, the Queen of Jazz, was a dedicated and devoted baseball fan. The museum preserves a significant part of her signed baseball collection with autographs from the Los Angeles Dodgers, the San Francisco Giants, and players of the 1984 Major League Baseball All-Star Game. She met and mingled with baseball legends Jackie Robinson and Willie Mays.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus
Ella Fitzgerald performing on stage at the Downbeat Club in New York City, 1949. Herman Leonard Photographic Collection, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!281782~!0#focus)
http://americanhistory.si.edu/collections/search/object/nmah_1190867
Baseball signed by the 1971 Los Angeles Dodgers collected by Ella Fitzgerald. Autographs include Bill Sudakis, Willie Crawford, Jim Lefebvre, Bill Grabarkewitz, Jim Brewer, Sandy Vance, Don Sutton, Willie Crawford, Bill Buckner, Bill Singer, Hoyt Wilhelm, Bob O’Brien, Al Downing, Pete Mikkelsen, Maury Wills, Bill Russell, Tom Haller. (http://americanhistory.si.edu/collections/search/object/nmah_1190867)
Both jazz and baseball have greatly contributed to identity-making in America. Like many people, Fitzgerald fell in love with baseball when she was young. During her youth she would play neighborhood baseball games between exploring her other passions: dancing and singing. As her musical career skyrocketed, Fitzgerald never lost her love for baseball. Her appreciation for America’s pastime actually intensified as she was given several opportunities to sing the national anthem at various ball games.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus
A player from the New York Cubans leaps in the air to make the winning catch. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262124~!0#focus)
Jazz and baseball have connections beyond Fitzgerald. While jazz was growing increasingly popular in American society in the 1920s, baseball also provided an important hotspot for black America and African American entertainers. African American jazz musicians were known to frequently attend baseball games, cheering for their team and mingling with their favorite players.
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
A batter from the New York Cubans warms up as he prepares to hit a home run. George H. Scurlock. Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
According to historian Jules Tygiel, Negro Leagues baseball symbolized a source of pride and accomplishment for African American communities, businesses, religion, politics, and entertainment. Baseball offered a protected arena for civil rights activities to occur and flourish against a culture monopolized by whites. The sport allowed African Americans to navigate through a world in which they constantly experienced discrimination. In many communities, baseball has been a sport that is able to transcend language, place, and time; it bridges gaps between communities and brings possibilities for hope of a better life. As Fitzgerald once sang, “This could be the start of something big.”
http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus
Baseball used in the 1937 Negro League East-West All-Star Game, played on August 8, 1937, at Comiskey Park in Chicago, Illinois. Buck Leonard (1907–1997), first baseman for the Homestead Grays, hit a home run to help the East win 7-2, keeping this baseball as a souvenir. (http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!262123~!0#focus)
http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html
Ella Fitzgerald poses with Willie Mays, who was a player for the San Francisco Giants. Ella Fitzgerald Collection, Archives Center, National Museum of American History. (http://americanhistory.si.edu/blog/2012/06/guest-blog-ella-fitzgerald-first-lady-of-humanity.html)
Marissa Del Toro was a Latino Museum Studies Program Fellow, summer 2015.
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
Bill Henderson Dead: Jazz Vocalist, Actor Dies at 90 | Variety
http://www.jazzpromoservices.com/
http://variety.com/2016/music/news/bill-henderson-dead-dies-jazz-vocalist-1201747492/
** Bill Henderson, Jazz Vocalist and Actor, Dies at 90
————————————————————
http://variety.com/author/variety-staff/
** Variety Staff (http://variety.com/author/variety-staff/)
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Bill Henderson Dead
COURTESY OF LYNNE ROBIN GREEN APRIL 6, 2016 | 12:55PM PT
Bill Henderson (http://variety.com/t/bill-henderson/) , jazz vocalist and actor, died of natural causes in Los Angeles on Sunday. He was 90.
Henderson’s break came in 1957 when he recorded for the Vee-Jay label and recorded his first album “Bill Henderson Sings” in 1959. Henderson sang with the Ramsey Lewis Trio, Dizzie Gillespie, Count Basie, Frank Sinatra, Tony Bennett, Quincy Jones, and the Charlie Haden Quintet. His 1963 recording “Bill Henderson with the Oscar Peterson Trio” remains a classic in the jazz vernacular. He was a fixture on the Playboy circuit in the 1970s and appeared often at many jazz festivals, including Playboy Jazz at the Hollywood Bowl, Monterey Jazz and the Litchfield Jazz Festival.
“Henderson’s phrasing is virtually his own copyright,” Leonard Feather observed. “He tends to space certain words as if the syllables were separated by commas, even semicolons; yet everything winds up as a perfectly constructed sentence.” Henderson’s voice was deliberate and thoughtful, feeling all the way through, but still natural and smooth.
Although known mostly for his music, Henderson also ventured into acting. His stage credits include film and television projects such as “City Slickers,” “Maverick,” “Lethal Weapon 4,” “Buckaroo Banzai,” “White Men Can’t Jump,” “Smiling Fish & Goat on Fire,” “ER,” “Hill Street Blues,” “The Twilight Zone,” “Happy Days,” “Sanford and Son,” “The Jeffersons,” “Good Times,” “MacGyver,” “Benson,” “NYPD Blues” and “My Name Is Earl.”
William Randall Henderson made his show business debut as a singer and dancer at age 4. His father taught him the value of singing softly. He spent his teens and 20s fluctuating between school, day jobs and trying to make it as a singer. A stint in the Army provided him an opportunity to work with Vic Damone, and in 1956, Henderson made his way to New York, where he soon became part of the jazz community.
As Henderson aged he resumed singing and toured in his 80s, appearing at the Kennedy Center, the Hotel Algonquin’s famed Oak Room and at Lincoln Center. During this period, he released a self- produced CD entitled, “Beautiful Memory,” co-produced by Lynne Robin Green.
Henderson raised his daughter, Mariko, as a single father. He is survived by her and by his granddaughter, Mya; his son-in-law, Marc; his nephew, Finis E. Henderson III; and his niece, Henreene Hyler.
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
Bill Henderson Dead: Jazz Vocalist, Actor Dies at 90 | Variety
http://www.jazzpromoservices.com/
http://variety.com/2016/music/news/bill-henderson-dead-dies-jazz-vocalist-1201747492/
** Bill Henderson, Jazz Vocalist and Actor, Dies at 90
————————————————————
http://variety.com/author/variety-staff/
** Variety Staff (http://variety.com/author/variety-staff/)
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Bill Henderson Dead
COURTESY OF LYNNE ROBIN GREEN APRIL 6, 2016 | 12:55PM PT
Bill Henderson (http://variety.com/t/bill-henderson/) , jazz vocalist and actor, died of natural causes in Los Angeles on Sunday. He was 90.
Henderson’s break came in 1957 when he recorded for the Vee-Jay label and recorded his first album “Bill Henderson Sings” in 1959. Henderson sang with the Ramsey Lewis Trio, Dizzie Gillespie, Count Basie, Frank Sinatra, Tony Bennett, Quincy Jones, and the Charlie Haden Quintet. His 1963 recording “Bill Henderson with the Oscar Peterson Trio” remains a classic in the jazz vernacular. He was a fixture on the Playboy circuit in the 1970s and appeared often at many jazz festivals, including Playboy Jazz at the Hollywood Bowl, Monterey Jazz and the Litchfield Jazz Festival.
“Henderson’s phrasing is virtually his own copyright,” Leonard Feather observed. “He tends to space certain words as if the syllables were separated by commas, even semicolons; yet everything winds up as a perfectly constructed sentence.” Henderson’s voice was deliberate and thoughtful, feeling all the way through, but still natural and smooth.
Although known mostly for his music, Henderson also ventured into acting. His stage credits include film and television projects such as “City Slickers,” “Maverick,” “Lethal Weapon 4,” “Buckaroo Banzai,” “White Men Can’t Jump,” “Smiling Fish & Goat on Fire,” “ER,” “Hill Street Blues,” “The Twilight Zone,” “Happy Days,” “Sanford and Son,” “The Jeffersons,” “Good Times,” “MacGyver,” “Benson,” “NYPD Blues” and “My Name Is Earl.”
William Randall Henderson made his show business debut as a singer and dancer at age 4. His father taught him the value of singing softly. He spent his teens and 20s fluctuating between school, day jobs and trying to make it as a singer. A stint in the Army provided him an opportunity to work with Vic Damone, and in 1956, Henderson made his way to New York, where he soon became part of the jazz community.
As Henderson aged he resumed singing and toured in his 80s, appearing at the Kennedy Center, the Hotel Algonquin’s famed Oak Room and at Lincoln Center. During this period, he released a self- produced CD entitled, “Beautiful Memory,” co-produced by Lynne Robin Green.
Henderson raised his daughter, Mariko, as a single father. He is survived by her and by his granddaughter, Mya; his son-in-law, Marc; his nephew, Finis E. Henderson III; and his niece, Henreene Hyler.
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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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
Bill Henderson Dead: Jazz Vocalist, Actor Dies at 90 | Variety
http://www.jazzpromoservices.com/
http://variety.com/2016/music/news/bill-henderson-dead-dies-jazz-vocalist-1201747492/
** Bill Henderson, Jazz Vocalist and Actor, Dies at 90
————————————————————
http://variety.com/author/variety-staff/
** Variety Staff (http://variety.com/author/variety-staff/)
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Follow Us on Twitter@Variety (http://twitter.com/@Variety)
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Bill Henderson Dead
COURTESY OF LYNNE ROBIN GREEN APRIL 6, 2016 | 12:55PM PT
Bill Henderson (http://variety.com/t/bill-henderson/) , jazz vocalist and actor, died of natural causes in Los Angeles on Sunday. He was 90.
Henderson’s break came in 1957 when he recorded for the Vee-Jay label and recorded his first album “Bill Henderson Sings” in 1959. Henderson sang with the Ramsey Lewis Trio, Dizzie Gillespie, Count Basie, Frank Sinatra, Tony Bennett, Quincy Jones, and the Charlie Haden Quintet. His 1963 recording “Bill Henderson with the Oscar Peterson Trio” remains a classic in the jazz vernacular. He was a fixture on the Playboy circuit in the 1970s and appeared often at many jazz festivals, including Playboy Jazz at the Hollywood Bowl, Monterey Jazz and the Litchfield Jazz Festival.
“Henderson’s phrasing is virtually his own copyright,” Leonard Feather observed. “He tends to space certain words as if the syllables were separated by commas, even semicolons; yet everything winds up as a perfectly constructed sentence.” Henderson’s voice was deliberate and thoughtful, feeling all the way through, but still natural and smooth.
Although known mostly for his music, Henderson also ventured into acting. His stage credits include film and television projects such as “City Slickers,” “Maverick,” “Lethal Weapon 4,” “Buckaroo Banzai,” “White Men Can’t Jump,” “Smiling Fish & Goat on Fire,” “ER,” “Hill Street Blues,” “The Twilight Zone,” “Happy Days,” “Sanford and Son,” “The Jeffersons,” “Good Times,” “MacGyver,” “Benson,” “NYPD Blues” and “My Name Is Earl.”
William Randall Henderson made his show business debut as a singer and dancer at age 4. His father taught him the value of singing softly. He spent his teens and 20s fluctuating between school, day jobs and trying to make it as a singer. A stint in the Army provided him an opportunity to work with Vic Damone, and in 1956, Henderson made his way to New York, where he soon became part of the jazz community.
As Henderson aged he resumed singing and toured in his 80s, appearing at the Kennedy Center, the Hotel Algonquin’s famed Oak Room and at Lincoln Center. During this period, he released a self- produced CD entitled, “Beautiful Memory,” co-produced by Lynne Robin Green.
Henderson raised his daughter, Mariko, as a single father. He is survived by her and by his granddaughter, Mya; his son-in-law, Marc; his nephew, Finis E. Henderson III; and his niece, Henreene Hyler.
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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Don “Terry” Plumeri, Hollywood composer, murdered in Florida home – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/police-don-terry-plumeri-hollywood-composer-murdered-in-florida-home/
** Hollywood composer “Terry” Plumeri murdered in Florida home
————————————————————
Don “Terry” Plumeri
IMAGE VIA TERRYPLUMERI.COM
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*
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*
* Email (mailto:?subject=Your%20friend%20has%20shared%20a%20CBSNews%20link%20with%20you&body=Hollywood%20composer%20%22Terry%22%20Plumeri%20murdered%20in%20Florida%20home%0Dhttp%3A%2F%2Fwww.cbsnews.com%2Fnews%2Fpolice-don-terry-plumeri-hollywood-composer-murdered-in-florida-home)
DUNELLON, Fla. –Detectives believe a string of burglaries in rural Florida may be connected to the brutal murder of a composer who scored dozens of movies and was a recent conductor of the Moscow Philharmonic.
Deputies in Citrus County, Forida say Don Terryl “Terry” Plumeri, 71, was found dead due to extensive upper body trauma on April 1. Plumeri had rented the home in tiny Dunellon, about 80 miles northwest of Orlando, for many years, according to the Citrus County Sheriff’s Office.
The sheriff’s office said there were signs of forced entry into Plumeri’s home, and investigators believe composer’s murder might be connected to a string of daytime burglaries “in which homes, many in rural ares, are being forced into and guns, jewelry, cash and other items are being stolen.”
Citrus County has experienced at least 12 such burglaries since mid-January, the sheriff’s office said.
Sheriff Jeff Dawsy released a statement urging residents in the county to be cautious.
“It is not known at this time if the burglaries are related to the homicide, but in an abundance of caution I’m urging all of our residents to take this advisory seriously and report all suspicious activity immediately to 911,” Dawsy said. “Lock your doors, leave outside lights on at night, set alarm systems and if you see something, say something.”
Plumeri’s family has been notified of his death, according to the sheriff. Plumeri wrote music for 57 movies, according to his website, and in 2012 released the first in what was to be a series of four concert DVDs of performances as composer and conductor of the Moscow Philharmonic.
© 2016 CBS Interactive Inc. All Rights Reserved.
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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Jazz Promo Services
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Warwick, Ny 10990
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Don “Terry” Plumeri, Hollywood composer, murdered in Florida home – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/police-don-terry-plumeri-hollywood-composer-murdered-in-florida-home/
** Hollywood composer “Terry” Plumeri murdered in Florida home
————————————————————
Don “Terry” Plumeri
IMAGE VIA TERRYPLUMERI.COM
*
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*
*
*
*
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*
* Email (mailto:?subject=Your%20friend%20has%20shared%20a%20CBSNews%20link%20with%20you&body=Hollywood%20composer%20%22Terry%22%20Plumeri%20murdered%20in%20Florida%20home%0Dhttp%3A%2F%2Fwww.cbsnews.com%2Fnews%2Fpolice-don-terry-plumeri-hollywood-composer-murdered-in-florida-home)
DUNELLON, Fla. –Detectives believe a string of burglaries in rural Florida may be connected to the brutal murder of a composer who scored dozens of movies and was a recent conductor of the Moscow Philharmonic.
Deputies in Citrus County, Forida say Don Terryl “Terry” Plumeri, 71, was found dead due to extensive upper body trauma on April 1. Plumeri had rented the home in tiny Dunellon, about 80 miles northwest of Orlando, for many years, according to the Citrus County Sheriff’s Office.
The sheriff’s office said there were signs of forced entry into Plumeri’s home, and investigators believe composer’s murder might be connected to a string of daytime burglaries “in which homes, many in rural ares, are being forced into and guns, jewelry, cash and other items are being stolen.”
Citrus County has experienced at least 12 such burglaries since mid-January, the sheriff’s office said.
Sheriff Jeff Dawsy released a statement urging residents in the county to be cautious.
“It is not known at this time if the burglaries are related to the homicide, but in an abundance of caution I’m urging all of our residents to take this advisory seriously and report all suspicious activity immediately to 911,” Dawsy said. “Lock your doors, leave outside lights on at night, set alarm systems and if you see something, say something.”
Plumeri’s family has been notified of his death, according to the sheriff. Plumeri wrote music for 57 movies, according to his website, and in 2012 released the first in what was to be a series of four concert DVDs of performances as composer and conductor of the Moscow Philharmonic.
© 2016 CBS Interactive Inc. All Rights Reserved.
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=002e8f0433) | 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=002e8f0433&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Don “Terry” Plumeri, Hollywood composer, murdered in Florida home – CBS News
http://www.jazzpromoservices.com/
http://www.cbsnews.com/news/police-don-terry-plumeri-hollywood-composer-murdered-in-florida-home/
** Hollywood composer “Terry” Plumeri murdered in Florida home
————————————————————
Don “Terry” Plumeri
IMAGE VIA TERRYPLUMERI.COM
*
*
*
*
*
*
*
*
* Email (mailto:?subject=Your%20friend%20has%20shared%20a%20CBSNews%20link%20with%20you&body=Hollywood%20composer%20%22Terry%22%20Plumeri%20murdered%20in%20Florida%20home%0Dhttp%3A%2F%2Fwww.cbsnews.com%2Fnews%2Fpolice-don-terry-plumeri-hollywood-composer-murdered-in-florida-home)
DUNELLON, Fla. –Detectives believe a string of burglaries in rural Florida may be connected to the brutal murder of a composer who scored dozens of movies and was a recent conductor of the Moscow Philharmonic.
Deputies in Citrus County, Forida say Don Terryl “Terry” Plumeri, 71, was found dead due to extensive upper body trauma on April 1. Plumeri had rented the home in tiny Dunellon, about 80 miles northwest of Orlando, for many years, according to the Citrus County Sheriff’s Office.
The sheriff’s office said there were signs of forced entry into Plumeri’s home, and investigators believe composer’s murder might be connected to a string of daytime burglaries “in which homes, many in rural ares, are being forced into and guns, jewelry, cash and other items are being stolen.”
Citrus County has experienced at least 12 such burglaries since mid-January, the sheriff’s office said.
Sheriff Jeff Dawsy released a statement urging residents in the county to be cautious.
“It is not known at this time if the burglaries are related to the homicide, but in an abundance of caution I’m urging all of our residents to take this advisory seriously and report all suspicious activity immediately to 911,” Dawsy said. “Lock your doors, leave outside lights on at night, set alarm systems and if you see something, say something.”
Plumeri’s family has been notified of his death, according to the sheriff. Plumeri wrote music for 57 movies, according to his website, and in 2012 released the first in what was to be a series of four concert DVDs of performances as composer and conductor of the Moscow Philharmonic.
© 2016 CBS Interactive Inc. All Rights Reserved.
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
A Great Night For Jazz In DC!
http://www.jazzpromoservices.com/
A Great Night For Jazz In DC!
NEA Jazz Masters April 4, 2016
Kennedy Center Washington DC
I uploaded my photos here:
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
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
A Great Night For Jazz In DC!
http://www.jazzpromoservices.com/
A Great Night For Jazz In DC!
NEA Jazz Masters April 4, 2016
Kennedy Center Washington DC
I uploaded my photos here:
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
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
A Great Night For Jazz In DC!
http://www.jazzpromoservices.com/
A Great Night For Jazz In DC!
NEA Jazz Masters April 4, 2016
Kennedy Center Washington DC
I uploaded my photos here:
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
https://www.youtube.com/watch?v=NAsPTE2l2tA&feature=youtu.be
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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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters DownBeat Magazine
http://www.jazzpromoservices.com/
http://downbeat.com/default.asp?sect=news
** DownBeat Magazine
————————————————————
Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters
Posted 4/5/2016
Linda Oh (left, with bass), Jimmy Heath, Lakecia Benjamin and Karriem Riggins perform at the NEA Jazz Masters ceremony in Washington, D.C., on April 4 (Photo: Shannon Finney/NEA)
Vibraphonist Gary Burton, saxophonists Pharoah Sanders and Archie Shepp, and Jazz Foundation of America Executive Director Wendy Oxenhorn were honored as Jazz Masters by the National Endowment of the Arts on April 4 at a star-studded concert streamed live from the Kennedy Center in Washington, D.C.
The swiftly moving program, less than two hours long, marked the 34th year of Jazz Masters tributes and the 50th anniversary of the establishment of the NEA.
After introductory remarks by pianist Jason Moran, the Kennedy Center’s artistic director for jazz, and NEA chairperson Jane Chu, brief video portraits of each of the Masters (with testimonials from artists they’d influenced) intermingled with ensemble performances and remarks by the Masters themselves. Kennedy Center president Deborah F. Rutter also spoke.
To represent Shepp’s music, a rowdy octet of Moran, tenor saxophonist David Murray, alto saxophonist Rudresh Mahanthappa, trumpeter Ambrose Akinmusire, trombonist Roswell Rudd, bassist Linda Oh, drummer Karriem Riggins and conguero Pedrito Martinez blew on Shepp’s multi-themed, politically conscious compositions “Hambone” and “Blues For Brother George Jackson.”
Pianist Chick Corea reprised “Crystal Silence,” a 1974 duet with Burton that commenced their 42-year creative partnership, this time with Stefon Harris on vibes. Referring to the spiritual dimension ascribed to Sanders’ music, pianist Randy Weston offered his own composition “The Healers,” abetted by tenor saxophonist Billy Harper.
To toast Oxenhorn, tenor saxophonist Jimmy Heath led a spirited band through his bluesy “Gingerbread Boy” with alto saxophonist Lakecia Benjamin, pianist Justin Kauflin, Oh and Riggins. There were personal connections here: Kauflin and Benjamin, when suffering from health crises, had both received support from the Jazz Foundation of America, and Heath has been a fervent supporter of the organization.
For the finale, that ensemble backed vocalist Catherine Russell on “I Wish I Knew How It Felt To Be Free,” a gospel-tinged song written by the late Dr. Billy Taylor—who was the first artistic director for jazz at the Kennedy Center, and also a Jazz Foundation founder. The audience clapped along, congregation-style, emphasizing beats two and four.
Corea, Weston and Heath are previously named Jazz Masters, among the 140 musicians who have been so designated by the NEA, and it was inevitable to conjecture about the number of future Jazz Masters onstage.
While all the musicians demonstrated the expected high level of virtuosity and expressivity, it was particularly gratifying to hear Weston, who celebrates his 90th birthday on April 6, and Heath, turning 90 on Oct. 25, both play with undiminished vitality and sheer musicality.
In addition to the prestige, Masters receive a $25,000 honorarium. Shepp was gracious but incisive, urging artists to be activists, too, and insisting that the arts should not only be available to middle class Americans but to everyone. He noted that the arts should be included in public educational programs as a method for “creating hope where there is despair.”
Burton, lauded for his four-mallet technical innovations and pioneering fusion of jazz with elements of rock ’n’ roll, classical and country music, was characteristically modest, and spoke of his pride in the accomplishments of students he’d mentored during his long tenure at Berklee School of Music.
Sanders, who extended saxophone vocabulary into extreme high registers and multi-phonics, has often been described as soft-spoken. In his speech, he alluded to his best known recording, “The Creator Has A Master Plan” and thanked “all the musicians tonight here who got together to play this beautiful music.”
Oxenhorn, who received the NEA’s A.B. Spellman Award for Jazz Advocacy, was described in the NEA’s video portrait as an “angel” for her dedication to musicians in need of not only financial assistance but also work that provides dignity.
She spoke passionately about music as the result and response to pain, the universality of human experience and her faith that “everything is going to be all right.” Asserting that the Jazz Foundation’s mission is to help people who would seldom if ever ask for help themselves, she concluded by thanking her staff and “the people who make the music.”
The Kennedy Center’s Concert Hall was not quite full to capacity, but the audience included many musicians and music activists. This concert was the most publicly accessible of several events surrounding the Jazz Masters investitures, which included a “listening party” at National Public Radio headquarters, a “Tiny Desk Concert” at NPR by Gary Burton and Chick Corea, and a master class for D.C. public school students, held at the Duke Ellington High School for the Arts.
(Note: To learn more about the 2016 NEA Jazz Masters, click here (https://www.arts.gov/honors/jazz/year/2016) . To read a 2013 review of Pharoah Sanders performing at the Jazz Em Agosto Festival in Portugal, click here (http://downbeat.com/default.asp?sect=news&subsect=news_detail&nid=2219) .)
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=275c710d9f) | 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=275c710d9f&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
Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters DownBeat Magazine
http://www.jazzpromoservices.com/
http://downbeat.com/default.asp?sect=news
** DownBeat Magazine
————————————————————
Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters
Posted 4/5/2016
Linda Oh (left, with bass), Jimmy Heath, Lakecia Benjamin and Karriem Riggins perform at the NEA Jazz Masters ceremony in Washington, D.C., on April 4 (Photo: Shannon Finney/NEA)
Vibraphonist Gary Burton, saxophonists Pharoah Sanders and Archie Shepp, and Jazz Foundation of America Executive Director Wendy Oxenhorn were honored as Jazz Masters by the National Endowment of the Arts on April 4 at a star-studded concert streamed live from the Kennedy Center in Washington, D.C.
The swiftly moving program, less than two hours long, marked the 34th year of Jazz Masters tributes and the 50th anniversary of the establishment of the NEA.
After introductory remarks by pianist Jason Moran, the Kennedy Center’s artistic director for jazz, and NEA chairperson Jane Chu, brief video portraits of each of the Masters (with testimonials from artists they’d influenced) intermingled with ensemble performances and remarks by the Masters themselves. Kennedy Center president Deborah F. Rutter also spoke.
To represent Shepp’s music, a rowdy octet of Moran, tenor saxophonist David Murray, alto saxophonist Rudresh Mahanthappa, trumpeter Ambrose Akinmusire, trombonist Roswell Rudd, bassist Linda Oh, drummer Karriem Riggins and conguero Pedrito Martinez blew on Shepp’s multi-themed, politically conscious compositions “Hambone” and “Blues For Brother George Jackson.”
Pianist Chick Corea reprised “Crystal Silence,” a 1974 duet with Burton that commenced their 42-year creative partnership, this time with Stefon Harris on vibes. Referring to the spiritual dimension ascribed to Sanders’ music, pianist Randy Weston offered his own composition “The Healers,” abetted by tenor saxophonist Billy Harper.
To toast Oxenhorn, tenor saxophonist Jimmy Heath led a spirited band through his bluesy “Gingerbread Boy” with alto saxophonist Lakecia Benjamin, pianist Justin Kauflin, Oh and Riggins. There were personal connections here: Kauflin and Benjamin, when suffering from health crises, had both received support from the Jazz Foundation of America, and Heath has been a fervent supporter of the organization.
For the finale, that ensemble backed vocalist Catherine Russell on “I Wish I Knew How It Felt To Be Free,” a gospel-tinged song written by the late Dr. Billy Taylor—who was the first artistic director for jazz at the Kennedy Center, and also a Jazz Foundation founder. The audience clapped along, congregation-style, emphasizing beats two and four.
Corea, Weston and Heath are previously named Jazz Masters, among the 140 musicians who have been so designated by the NEA, and it was inevitable to conjecture about the number of future Jazz Masters onstage.
While all the musicians demonstrated the expected high level of virtuosity and expressivity, it was particularly gratifying to hear Weston, who celebrates his 90th birthday on April 6, and Heath, turning 90 on Oct. 25, both play with undiminished vitality and sheer musicality.
In addition to the prestige, Masters receive a $25,000 honorarium. Shepp was gracious but incisive, urging artists to be activists, too, and insisting that the arts should not only be available to middle class Americans but to everyone. He noted that the arts should be included in public educational programs as a method for “creating hope where there is despair.”
Burton, lauded for his four-mallet technical innovations and pioneering fusion of jazz with elements of rock ’n’ roll, classical and country music, was characteristically modest, and spoke of his pride in the accomplishments of students he’d mentored during his long tenure at Berklee School of Music.
Sanders, who extended saxophone vocabulary into extreme high registers and multi-phonics, has often been described as soft-spoken. In his speech, he alluded to his best known recording, “The Creator Has A Master Plan” and thanked “all the musicians tonight here who got together to play this beautiful music.”
Oxenhorn, who received the NEA’s A.B. Spellman Award for Jazz Advocacy, was described in the NEA’s video portrait as an “angel” for her dedication to musicians in need of not only financial assistance but also work that provides dignity.
She spoke passionately about music as the result and response to pain, the universality of human experience and her faith that “everything is going to be all right.” Asserting that the Jazz Foundation’s mission is to help people who would seldom if ever ask for help themselves, she concluded by thanking her staff and “the people who make the music.”
The Kennedy Center’s Concert Hall was not quite full to capacity, but the audience included many musicians and music activists. This concert was the most publicly accessible of several events surrounding the Jazz Masters investitures, which included a “listening party” at National Public Radio headquarters, a “Tiny Desk Concert” at NPR by Gary Burton and Chick Corea, and a master class for D.C. public school students, held at the Duke Ellington High School for the Arts.
(Note: To learn more about the 2016 NEA Jazz Masters, click here (https://www.arts.gov/honors/jazz/year/2016) . To read a 2013 review of Pharoah Sanders performing at the Jazz Em Agosto Festival in Portugal, click here (http://downbeat.com/default.asp?sect=news&subsect=news_detail&nid=2219) .)
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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Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters DownBeat Magazine
http://www.jazzpromoservices.com/
http://downbeat.com/default.asp?sect=news
** DownBeat Magazine
————————————————————
Stars Converge in Nation’s Capital to Honor 2016 NEA Jazz Masters
Posted 4/5/2016
Linda Oh (left, with bass), Jimmy Heath, Lakecia Benjamin and Karriem Riggins perform at the NEA Jazz Masters ceremony in Washington, D.C., on April 4 (Photo: Shannon Finney/NEA)
Vibraphonist Gary Burton, saxophonists Pharoah Sanders and Archie Shepp, and Jazz Foundation of America Executive Director Wendy Oxenhorn were honored as Jazz Masters by the National Endowment of the Arts on April 4 at a star-studded concert streamed live from the Kennedy Center in Washington, D.C.
The swiftly moving program, less than two hours long, marked the 34th year of Jazz Masters tributes and the 50th anniversary of the establishment of the NEA.
After introductory remarks by pianist Jason Moran, the Kennedy Center’s artistic director for jazz, and NEA chairperson Jane Chu, brief video portraits of each of the Masters (with testimonials from artists they’d influenced) intermingled with ensemble performances and remarks by the Masters themselves. Kennedy Center president Deborah F. Rutter also spoke.
To represent Shepp’s music, a rowdy octet of Moran, tenor saxophonist David Murray, alto saxophonist Rudresh Mahanthappa, trumpeter Ambrose Akinmusire, trombonist Roswell Rudd, bassist Linda Oh, drummer Karriem Riggins and conguero Pedrito Martinez blew on Shepp’s multi-themed, politically conscious compositions “Hambone” and “Blues For Brother George Jackson.”
Pianist Chick Corea reprised “Crystal Silence,” a 1974 duet with Burton that commenced their 42-year creative partnership, this time with Stefon Harris on vibes. Referring to the spiritual dimension ascribed to Sanders’ music, pianist Randy Weston offered his own composition “The Healers,” abetted by tenor saxophonist Billy Harper.
To toast Oxenhorn, tenor saxophonist Jimmy Heath led a spirited band through his bluesy “Gingerbread Boy” with alto saxophonist Lakecia Benjamin, pianist Justin Kauflin, Oh and Riggins. There were personal connections here: Kauflin and Benjamin, when suffering from health crises, had both received support from the Jazz Foundation of America, and Heath has been a fervent supporter of the organization.
For the finale, that ensemble backed vocalist Catherine Russell on “I Wish I Knew How It Felt To Be Free,” a gospel-tinged song written by the late Dr. Billy Taylor—who was the first artistic director for jazz at the Kennedy Center, and also a Jazz Foundation founder. The audience clapped along, congregation-style, emphasizing beats two and four.
Corea, Weston and Heath are previously named Jazz Masters, among the 140 musicians who have been so designated by the NEA, and it was inevitable to conjecture about the number of future Jazz Masters onstage.
While all the musicians demonstrated the expected high level of virtuosity and expressivity, it was particularly gratifying to hear Weston, who celebrates his 90th birthday on April 6, and Heath, turning 90 on Oct. 25, both play with undiminished vitality and sheer musicality.
In addition to the prestige, Masters receive a $25,000 honorarium. Shepp was gracious but incisive, urging artists to be activists, too, and insisting that the arts should not only be available to middle class Americans but to everyone. He noted that the arts should be included in public educational programs as a method for “creating hope where there is despair.”
Burton, lauded for his four-mallet technical innovations and pioneering fusion of jazz with elements of rock ’n’ roll, classical and country music, was characteristically modest, and spoke of his pride in the accomplishments of students he’d mentored during his long tenure at Berklee School of Music.
Sanders, who extended saxophone vocabulary into extreme high registers and multi-phonics, has often been described as soft-spoken. In his speech, he alluded to his best known recording, “The Creator Has A Master Plan” and thanked “all the musicians tonight here who got together to play this beautiful music.”
Oxenhorn, who received the NEA’s A.B. Spellman Award for Jazz Advocacy, was described in the NEA’s video portrait as an “angel” for her dedication to musicians in need of not only financial assistance but also work that provides dignity.
She spoke passionately about music as the result and response to pain, the universality of human experience and her faith that “everything is going to be all right.” Asserting that the Jazz Foundation’s mission is to help people who would seldom if ever ask for help themselves, she concluded by thanking her staff and “the people who make the music.”
The Kennedy Center’s Concert Hall was not quite full to capacity, but the audience included many musicians and music activists. This concert was the most publicly accessible of several events surrounding the Jazz Masters investitures, which included a “listening party” at National Public Radio headquarters, a “Tiny Desk Concert” at NPR by Gary Burton and Chick Corea, and a master class for D.C. public school students, held at the Duke Ellington High School for the Arts.
(Note: To learn more about the 2016 NEA Jazz Masters, click here (https://www.arts.gov/honors/jazz/year/2016) . To read a 2013 review of Pharoah Sanders performing at the Jazz Em Agosto Festival in Portugal, click here (http://downbeat.com/default.asp?sect=news&subsect=news_detail&nid=2219) .)
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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Trombone Shorty – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html
————————————————————
** Trombone Shorty
————————————————————
Download (http://www.nytimes.com/column/sunday-review-download)
By KATE MURPHY APRIL 2, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html#story-continues-1) Share This Page
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C Flanigan/FilmMagic, via Getty Images
Troy Andrews, perhaps better known as Trombone Shorty, is a multi-instrumentalist and music producer from New Orleans. In addition to leading his own band, Orleans Avenue (http://www.tromboneshorty.com/#!bio/cee5) , he has played or recorded with a range of performers, including Dierks Bentley, Lenny Kravitz and the Foo Fighters.
READING “Eleven Rings” (http://www.penguinrandomhouse.com/books/311883/eleven-rings-by-phil-jackson-and-hugh-delehanty/9780143125341/) by Phil Jackson. I’m a big fan of Phil Jackson and the way he coaches. In the book, he makes a lot of references to music. He talks about playing basketball in 4/4 time, and to be a great championship team or a great band, everyone has to feel equal and do just as much work. I identify with that because if something happens and I throw a pass to my guitar player like, a solo, I know he can drive it in and we will score.
LISTENING When I’m not listening to the hum of the tour bus generator, the Global Top 50 (https://play.spotify.com/user/radio_nova/playlist/58aaJD18Uauy7P3dS2I3G5?play=true&utm_source=open.spotify.com&utm_medium=open) on Spotify. It’s basically all the top music from different countries. Most of it I’ve never heard of so it makes me aware of what’s happening in music today. And then I’m also always listening to demos of the songs I am working on, or tracks that people ask me to record parts on.
WATCHING I watch “Power” (http://www.starz.com/originals/power/featured) with 50 Cent when I have some downtime. The story line is a guy who’s a drug dealer but is trying to get away from that life and be a better man for his family. But most of the time I’m watching clouds out the airplane window because when I’m not on the tour bus, I’m on an airplane. Looking at the clouds outside is when I come up with ideas.
FOLLOWING I’ve been following Kobe Bryant’s (http://www.nba.com/playerfile/kobe_bryant/) final N.B.A. season online. He works extremely hard and he doesn’t make excuses. I connect with his work ethic and playing through times when you’re hurting. I also follow what might be going on around New Orleans on nola.com (http://www.nba.com/playerfile/kobe_bryant/) . On Instagram, I follow Lenny Kravitz (https://www.instagram.com/lennykravitz/?hl=en) . I joined his band right out of high school. He’s been a big influence in my life musically and personally.
EATING Every day, my grandmother cooks. She’ll cook gumbo, shrimp étouffée, red beans and rice, everything New Orleans. So every day it’s like a family reunion because we all want to eat her food. We’re talking about 20 or 30 people. My grandma just turned 86, and she’s stronger than all of us. And her food keeps the family close. The family is so entertaining and funny that our phones just get put to the side. If we do touch the phone, it’s to videotape one of our crazy uncles telling a crazy story.
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=fd37fe8d7c) | 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=fd37fe8d7c&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
Trombone Shorty – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html
————————————————————
** Trombone Shorty
————————————————————
Download (http://www.nytimes.com/column/sunday-review-download)
By KATE MURPHY APRIL 2, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html#story-continues-1) Share This Page
*
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*
*
*
C Flanigan/FilmMagic, via Getty Images
Troy Andrews, perhaps better known as Trombone Shorty, is a multi-instrumentalist and music producer from New Orleans. In addition to leading his own band, Orleans Avenue (http://www.tromboneshorty.com/#!bio/cee5) , he has played or recorded with a range of performers, including Dierks Bentley, Lenny Kravitz and the Foo Fighters.
READING “Eleven Rings” (http://www.penguinrandomhouse.com/books/311883/eleven-rings-by-phil-jackson-and-hugh-delehanty/9780143125341/) by Phil Jackson. I’m a big fan of Phil Jackson and the way he coaches. In the book, he makes a lot of references to music. He talks about playing basketball in 4/4 time, and to be a great championship team or a great band, everyone has to feel equal and do just as much work. I identify with that because if something happens and I throw a pass to my guitar player like, a solo, I know he can drive it in and we will score.
LISTENING When I’m not listening to the hum of the tour bus generator, the Global Top 50 (https://play.spotify.com/user/radio_nova/playlist/58aaJD18Uauy7P3dS2I3G5?play=true&utm_source=open.spotify.com&utm_medium=open) on Spotify. It’s basically all the top music from different countries. Most of it I’ve never heard of so it makes me aware of what’s happening in music today. And then I’m also always listening to demos of the songs I am working on, or tracks that people ask me to record parts on.
WATCHING I watch “Power” (http://www.starz.com/originals/power/featured) with 50 Cent when I have some downtime. The story line is a guy who’s a drug dealer but is trying to get away from that life and be a better man for his family. But most of the time I’m watching clouds out the airplane window because when I’m not on the tour bus, I’m on an airplane. Looking at the clouds outside is when I come up with ideas.
FOLLOWING I’ve been following Kobe Bryant’s (http://www.nba.com/playerfile/kobe_bryant/) final N.B.A. season online. He works extremely hard and he doesn’t make excuses. I connect with his work ethic and playing through times when you’re hurting. I also follow what might be going on around New Orleans on nola.com (http://www.nba.com/playerfile/kobe_bryant/) . On Instagram, I follow Lenny Kravitz (https://www.instagram.com/lennykravitz/?hl=en) . I joined his band right out of high school. He’s been a big influence in my life musically and personally.
EATING Every day, my grandmother cooks. She’ll cook gumbo, shrimp étouffée, red beans and rice, everything New Orleans. So every day it’s like a family reunion because we all want to eat her food. We’re talking about 20 or 30 people. My grandma just turned 86, and she’s stronger than all of us. And her food keeps the family close. The family is so entertaining and funny that our phones just get put to the side. If we do touch the phone, it’s to videotape one of our crazy uncles telling a crazy story.
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=fd37fe8d7c) | 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=fd37fe8d7c&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
Trombone Shorty – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html
————————————————————
** Trombone Shorty
————————————————————
Download (http://www.nytimes.com/column/sunday-review-download)
By KATE MURPHY APRIL 2, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/03/opinion/sunday/trombone-shorty.html#story-continues-1) Share This Page
*
*
*
*
*
C Flanigan/FilmMagic, via Getty Images
Troy Andrews, perhaps better known as Trombone Shorty, is a multi-instrumentalist and music producer from New Orleans. In addition to leading his own band, Orleans Avenue (http://www.tromboneshorty.com/#!bio/cee5) , he has played or recorded with a range of performers, including Dierks Bentley, Lenny Kravitz and the Foo Fighters.
READING “Eleven Rings” (http://www.penguinrandomhouse.com/books/311883/eleven-rings-by-phil-jackson-and-hugh-delehanty/9780143125341/) by Phil Jackson. I’m a big fan of Phil Jackson and the way he coaches. In the book, he makes a lot of references to music. He talks about playing basketball in 4/4 time, and to be a great championship team or a great band, everyone has to feel equal and do just as much work. I identify with that because if something happens and I throw a pass to my guitar player like, a solo, I know he can drive it in and we will score.
LISTENING When I’m not listening to the hum of the tour bus generator, the Global Top 50 (https://play.spotify.com/user/radio_nova/playlist/58aaJD18Uauy7P3dS2I3G5?play=true&utm_source=open.spotify.com&utm_medium=open) on Spotify. It’s basically all the top music from different countries. Most of it I’ve never heard of so it makes me aware of what’s happening in music today. And then I’m also always listening to demos of the songs I am working on, or tracks that people ask me to record parts on.
WATCHING I watch “Power” (http://www.starz.com/originals/power/featured) with 50 Cent when I have some downtime. The story line is a guy who’s a drug dealer but is trying to get away from that life and be a better man for his family. But most of the time I’m watching clouds out the airplane window because when I’m not on the tour bus, I’m on an airplane. Looking at the clouds outside is when I come up with ideas.
FOLLOWING I’ve been following Kobe Bryant’s (http://www.nba.com/playerfile/kobe_bryant/) final N.B.A. season online. He works extremely hard and he doesn’t make excuses. I connect with his work ethic and playing through times when you’re hurting. I also follow what might be going on around New Orleans on nola.com (http://www.nba.com/playerfile/kobe_bryant/) . On Instagram, I follow Lenny Kravitz (https://www.instagram.com/lennykravitz/?hl=en) . I joined his band right out of high school. He’s been a big influence in my life musically and personally.
EATING Every day, my grandmother cooks. She’ll cook gumbo, shrimp étouffée, red beans and rice, everything New Orleans. So every day it’s like a family reunion because we all want to eat her food. We’re talking about 20 or 30 people. My grandma just turned 86, and she’s stronger than all of us. And her food keeps the family close. The family is so entertaining and funny that our phones just get put to the side. If we do touch the phone, it’s to videotape one of our crazy uncles telling a crazy story.
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=fd37fe8d7c) | 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=fd37fe8d7c&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
Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/04/04/arts/music/review-charlie-parkers-yardbird-at-the-apollo-hails-a-bebop-giant.html?emc=edit_tnt_20160403
** Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant
————————————————————
By ZACHARY WOOLFEAPRIL 3, 2016
Lawrence Brownlee plays the title role in “Charlie Parker’s Yardbird,” a collaboration between Opera Philadelphia and the Apollo Theater. Michelle V. Agins/The New York Times
Charlie Parker (http://topics.nytimes.com/top/reference/timestopics/people/p/charlie_parker/index.html?inline=nyt-per) came into his own in the jazz clubs of Harlem, so there was undeniable poetry in his return to the neighborhood in operatic form. But “Charlie Parker’s Yardbird (http://www.nytimes.com/2015/05/31/arts/music/charlie-parkers-yardbird-ties-jazz-and-opera-together-in-philadelphia.html) ,” given its New York premiere on Friday at the Apollo Theater (https://www.apollotheater.org/) , evoked none of that masterly saxophonist and composer’s wild beauty and mesmerizing focus.
Instead, this slack sketch of an opera, introduced last year (http://www.nytimes.com/2015/06/08/arts/music/review-charlie-parkers-yardbird-uses-opera-to-tell-a-jazz-story.html) by Opera Philadelphia (https://www.operaphila.org/) and brought to the Apollo by that enterprising company, offered wanly jazz-flavored music, by Daniel Schnyder; a confusing libretto, by Bridgette A. Wimberly; and stodgy direction, by Ron Daniels.
The plot’s framing conceit is that Parker’s ghost has traveled to Birdland, the Midtown club named for him, to write a musical masterpiece. That is the shaggily supernatural setup for a standard if needlessly scattered sprint through biographical highlights: Parker’s childhood in Kansas City, Mo., his collaboration with Dizzy Gillespie, his addictions, his romantic liaisons, his incarceration in a California mental hospital.
None of these episodes or characters come to life; the women, in particular, are barely differentiated. In both its low-slung swinging and jazzily peppy modes, the 90-minute score, conducted by Corrado Rovaris, is a weak echo of “Porgy and Bess.” A handful of personal touches — like an eerie solo flute line weaving through the mental institution scene — have little dramatic effect, nor does the overly literal libretto (“I’m blowing all my pain out through my horn”).
The tenor Lawrence Brownlee, a bel-canto star, sang with classy polish as Parker, showing how close scatting can be to Rossinian coloratura. But he struggled at the low end of his range. The baritone Will Liverman was a vibrant Gillespie.
Continue reading the main story
Angela Brown crooned and belted as Parker’s mother, Addie. The incisive, lively soprano Emily Pogorelc stood out among the other women in the musician’s life (Elena Perroni, Chrystal E. Williams, Tamara Mumford).
The Apollo and Opera Philadelphia — which teamed up (http://artsbeat.blogs.nytimes.com/2015/12/09/charlie-parker-opera-will-go-on-after-all/) to present “Yardbird” when Gotham Chamber Opera, an original co-commissioner, closed in the fall — recently announced plans to collaborate more in coming years. Good news, but this was a disheartening start.
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!
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Warwick, Ny 10990
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Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/04/04/arts/music/review-charlie-parkers-yardbird-at-the-apollo-hails-a-bebop-giant.html?emc=edit_tnt_20160403
** Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant
————————————————————
By ZACHARY WOOLFEAPRIL 3, 2016
Lawrence Brownlee plays the title role in “Charlie Parker’s Yardbird,” a collaboration between Opera Philadelphia and the Apollo Theater. Michelle V. Agins/The New York Times
Charlie Parker (http://topics.nytimes.com/top/reference/timestopics/people/p/charlie_parker/index.html?inline=nyt-per) came into his own in the jazz clubs of Harlem, so there was undeniable poetry in his return to the neighborhood in operatic form. But “Charlie Parker’s Yardbird (http://www.nytimes.com/2015/05/31/arts/music/charlie-parkers-yardbird-ties-jazz-and-opera-together-in-philadelphia.html) ,” given its New York premiere on Friday at the Apollo Theater (https://www.apollotheater.org/) , evoked none of that masterly saxophonist and composer’s wild beauty and mesmerizing focus.
Instead, this slack sketch of an opera, introduced last year (http://www.nytimes.com/2015/06/08/arts/music/review-charlie-parkers-yardbird-uses-opera-to-tell-a-jazz-story.html) by Opera Philadelphia (https://www.operaphila.org/) and brought to the Apollo by that enterprising company, offered wanly jazz-flavored music, by Daniel Schnyder; a confusing libretto, by Bridgette A. Wimberly; and stodgy direction, by Ron Daniels.
The plot’s framing conceit is that Parker’s ghost has traveled to Birdland, the Midtown club named for him, to write a musical masterpiece. That is the shaggily supernatural setup for a standard if needlessly scattered sprint through biographical highlights: Parker’s childhood in Kansas City, Mo., his collaboration with Dizzy Gillespie, his addictions, his romantic liaisons, his incarceration in a California mental hospital.
None of these episodes or characters come to life; the women, in particular, are barely differentiated. In both its low-slung swinging and jazzily peppy modes, the 90-minute score, conducted by Corrado Rovaris, is a weak echo of “Porgy and Bess.” A handful of personal touches — like an eerie solo flute line weaving through the mental institution scene — have little dramatic effect, nor does the overly literal libretto (“I’m blowing all my pain out through my horn”).
The tenor Lawrence Brownlee, a bel-canto star, sang with classy polish as Parker, showing how close scatting can be to Rossinian coloratura. But he struggled at the low end of his range. The baritone Will Liverman was a vibrant Gillespie.
Continue reading the main story
Angela Brown crooned and belted as Parker’s mother, Addie. The incisive, lively soprano Emily Pogorelc stood out among the other women in the musician’s life (Elena Perroni, Chrystal E. Williams, Tamara Mumford).
The Apollo and Opera Philadelphia — which teamed up (http://artsbeat.blogs.nytimes.com/2015/12/09/charlie-parker-opera-will-go-on-after-all/) to present “Yardbird” when Gotham Chamber Opera, an original co-commissioner, closed in the fall — recently announced plans to collaborate more in coming years. Good news, but this was a disheartening start.
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.
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269 State Route 94 South
Warwick, Ny 10990
USA
Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/04/04/arts/music/review-charlie-parkers-yardbird-at-the-apollo-hails-a-bebop-giant.html?emc=edit_tnt_20160403
** Review: ‘Charlie Parker’s Yardbird’ at the Apollo Hails a Bebop Giant
————————————————————
By ZACHARY WOOLFEAPRIL 3, 2016
Lawrence Brownlee plays the title role in “Charlie Parker’s Yardbird,” a collaboration between Opera Philadelphia and the Apollo Theater. Michelle V. Agins/The New York Times
Charlie Parker (http://topics.nytimes.com/top/reference/timestopics/people/p/charlie_parker/index.html?inline=nyt-per) came into his own in the jazz clubs of Harlem, so there was undeniable poetry in his return to the neighborhood in operatic form. But “Charlie Parker’s Yardbird (http://www.nytimes.com/2015/05/31/arts/music/charlie-parkers-yardbird-ties-jazz-and-opera-together-in-philadelphia.html) ,” given its New York premiere on Friday at the Apollo Theater (https://www.apollotheater.org/) , evoked none of that masterly saxophonist and composer’s wild beauty and mesmerizing focus.
Instead, this slack sketch of an opera, introduced last year (http://www.nytimes.com/2015/06/08/arts/music/review-charlie-parkers-yardbird-uses-opera-to-tell-a-jazz-story.html) by Opera Philadelphia (https://www.operaphila.org/) and brought to the Apollo by that enterprising company, offered wanly jazz-flavored music, by Daniel Schnyder; a confusing libretto, by Bridgette A. Wimberly; and stodgy direction, by Ron Daniels.
The plot’s framing conceit is that Parker’s ghost has traveled to Birdland, the Midtown club named for him, to write a musical masterpiece. That is the shaggily supernatural setup for a standard if needlessly scattered sprint through biographical highlights: Parker’s childhood in Kansas City, Mo., his collaboration with Dizzy Gillespie, his addictions, his romantic liaisons, his incarceration in a California mental hospital.
None of these episodes or characters come to life; the women, in particular, are barely differentiated. In both its low-slung swinging and jazzily peppy modes, the 90-minute score, conducted by Corrado Rovaris, is a weak echo of “Porgy and Bess.” A handful of personal touches — like an eerie solo flute line weaving through the mental institution scene — have little dramatic effect, nor does the overly literal libretto (“I’m blowing all my pain out through my horn”).
The tenor Lawrence Brownlee, a bel-canto star, sang with classy polish as Parker, showing how close scatting can be to Rossinian coloratura. But he struggled at the low end of his range. The baritone Will Liverman was a vibrant Gillespie.
Continue reading the main story
Angela Brown crooned and belted as Parker’s mother, Addie. The incisive, lively soprano Emily Pogorelc stood out among the other women in the musician’s life (Elena Perroni, Chrystal E. Williams, Tamara Mumford).
The Apollo and Opera Philadelphia — which teamed up (http://artsbeat.blogs.nytimes.com/2015/12/09/charlie-parker-opera-will-go-on-after-all/) to present “Yardbird” when Gotham Chamber Opera, an original co-commissioner, closed in the fall — recently announced plans to collaborate more in coming years. Good news, but this was a disheartening start.
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
Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced – The New York Times
http://www.jazzpromoservices.com/
**
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http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1
** Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced
————————————————————
By ALAN FEUER (http://topics.nytimes.com/top/reference/timestopics/people/f/alan_feuer/index.html) APRIL 4, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1#story-continues-1) Share This Page
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Noel Muir, in court in February, was sentenced to prison on Monday for stealing prize money from the jazz pianist Cecil Taylor. Bryan R. Smith for The New York Times
A Long Island contractor was sentenced on Monday to one to three years in prison for stealing nearly $500,000 in prize money awarded to his friend, the jazz pianist Cecil Taylor (http://www.allmusic.com/artist/cecil-taylor-mn0000988386) .
The contractor, Noel Muir, 55, of Uniondale, N.Y., pleaded guilty to larceny last month for having stolen the money awarded (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize/) to Mr. Taylor by the Inamori Foundation of Japan in June 2013 as part of his Kyoto Prize. The prizes recognize cultural, scientific and spiritual achievements.
Mr. Taylor spoke outside of a Brooklyn courtroom in February. Bryan R. Smith for The New York Times
Mr. Muir, who befriended Mr. Taylor while working on his brownstone in Fort Greene, (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) Brooklyn (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) , accompanied the jazz musician to Japan in November 2013 and then arranged to have the prize money — $492,722.55 — deposited into his own Citibank account. Documents that Mr. Muir sent to the foundation falsely stated that the name on that account was the Cecil Taylor Foundation.
Mr. Muir has returned $200,000 to Mr. Taylor, the Brooklyn district attorney’s office said, and has promised to give back the rest.
The defendant “shamefully bilked an elderly, vulnerable man,” Ken Thompson, the district attorney, said in a statement on Monday. “In doing so,” Mr. Thompson added, “the defendant pretended to be Cecil Taylor’s friend, but this guilty plea and sentence show that he was just a thief.”
Correction: April 4, 2016
An earlier version of this article misstated the name of the prize that Mr. Taylor had won. It is the Kyoto Prize, not the Kyoto Award.
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=ab4b3f1e74) | 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=ab4b3f1e74&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
Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1
** Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced
————————————————————
By ALAN FEUER (http://topics.nytimes.com/top/reference/timestopics/people/f/alan_feuer/index.html) APRIL 4, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1#story-continues-1) Share This Page
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*
*
*
Noel Muir, in court in February, was sentenced to prison on Monday for stealing prize money from the jazz pianist Cecil Taylor. Bryan R. Smith for The New York Times
A Long Island contractor was sentenced on Monday to one to three years in prison for stealing nearly $500,000 in prize money awarded to his friend, the jazz pianist Cecil Taylor (http://www.allmusic.com/artist/cecil-taylor-mn0000988386) .
The contractor, Noel Muir, 55, of Uniondale, N.Y., pleaded guilty to larceny last month for having stolen the money awarded (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize/) to Mr. Taylor by the Inamori Foundation of Japan in June 2013 as part of his Kyoto Prize. The prizes recognize cultural, scientific and spiritual achievements.
Mr. Taylor spoke outside of a Brooklyn courtroom in February. Bryan R. Smith for The New York Times
Mr. Muir, who befriended Mr. Taylor while working on his brownstone in Fort Greene, (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) Brooklyn (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) , accompanied the jazz musician to Japan in November 2013 and then arranged to have the prize money — $492,722.55 — deposited into his own Citibank account. Documents that Mr. Muir sent to the foundation falsely stated that the name on that account was the Cecil Taylor Foundation.
Mr. Muir has returned $200,000 to Mr. Taylor, the Brooklyn district attorney’s office said, and has promised to give back the rest.
The defendant “shamefully bilked an elderly, vulnerable man,” Ken Thompson, the district attorney, said in a statement on Monday. “In doing so,” Mr. Thompson added, “the defendant pretended to be Cecil Taylor’s friend, but this guilty plea and sentence show that he was just a thief.”
Correction: April 4, 2016
An earlier version of this article misstated the name of the prize that Mr. Taylor had won. It is the Kyoto Prize, not the Kyoto Award.
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=ab4b3f1e74) | 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=ab4b3f1e74&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
Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1
** Man Who Stole Jazz Pianist Cecil Taylor’s Prize Money Is Sentenced
————————————————————
By ALAN FEUER (http://topics.nytimes.com/top/reference/timestopics/people/f/alan_feuer/index.html) APRIL 4, 2016
Continue reading the main story (http://www.nytimes.com/2016/04/05/nyregion/man-who-stole-jazz-pianist-cecil-taylors-prize-money-is-sentenced.html?_r=1#story-continues-1) Share This Page
*
*
*
*
*
Noel Muir, in court in February, was sentenced to prison on Monday for stealing prize money from the jazz pianist Cecil Taylor. Bryan R. Smith for The New York Times
A Long Island contractor was sentenced on Monday to one to three years in prison for stealing nearly $500,000 in prize money awarded to his friend, the jazz pianist Cecil Taylor (http://www.allmusic.com/artist/cecil-taylor-mn0000988386) .
The contractor, Noel Muir, 55, of Uniondale, N.Y., pleaded guilty to larceny last month for having stolen the money awarded (http://artsbeat.blogs.nytimes.com/2013/06/21/cecil-taylor-wins-the-kyoto-prize/) to Mr. Taylor by the Inamori Foundation of Japan in June 2013 as part of his Kyoto Prize. The prizes recognize cultural, scientific and spiritual achievements.
Mr. Taylor spoke outside of a Brooklyn courtroom in February. Bryan R. Smith for The New York Times
Mr. Muir, who befriended Mr. Taylor while working on his brownstone in Fort Greene, (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) Brooklyn (http://www.nytimes.com/2014/08/13/nyregion/man-accused-of-stealing-prize-money-from-jazz-genius.html) , accompanied the jazz musician to Japan in November 2013 and then arranged to have the prize money — $492,722.55 — deposited into his own Citibank account. Documents that Mr. Muir sent to the foundation falsely stated that the name on that account was the Cecil Taylor Foundation.
Mr. Muir has returned $200,000 to Mr. Taylor, the Brooklyn district attorney’s office said, and has promised to give back the rest.
The defendant “shamefully bilked an elderly, vulnerable man,” Ken Thompson, the district attorney, said in a statement on Monday. “In doing so,” Mr. Thompson added, “the defendant pretended to be Cecil Taylor’s friend, but this guilty plea and sentence show that he was just a thief.”
Correction: April 4, 2016
An earlier version of this article misstated the name of the prize that Mr. Taylor had won. It is the Kyoto Prize, not the Kyoto Award.
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=ab4b3f1e74) | 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=ab4b3f1e74&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
The 2016 NEA Jazz Masters Tribute Concert Streamed Live Tonight : NPR
http://www.jazzpromoservices.com/
**
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http://www.npr.org/event/music/467831394/the-2016-nea-jazz-masters-concert?utm_source=npr_newsletter&utm_medium=email&utm_content=20160404&utm_campaign=jazz&utm_term=music
http://www.npr.org/event/music/467831394/the-2016-nea-jazz-masters-concert?utm_source=npr_newsletter&utm_medium=email&utm_content=20160404&utm_campaign=jazz&utm_term=music
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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The 2016 NEA Jazz Masters Tribute Concert Streamed Live Tonight : NPR
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http://www.npr.org/event/music/467831394/the-2016-nea-jazz-masters-concert?utm_source=npr_newsletter&utm_medium=email&utm_content=20160404&utm_campaign=jazz&utm_term=music
http://www.npr.org/event/music/467831394/the-2016-nea-jazz-masters-concert?utm_source=npr_newsletter&utm_medium=email&utm_content=20160404&utm_campaign=jazz&utm_term=music
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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Harlem’s reopened National Jazz Museum can see for Mies and Miles | Music | The Guardian
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http://www.theguardian.com/music/2016/apr/02/national-jazz-museum-harlem-mies-miles
** Harlem’s reopened National Jazz Museum can see for Mies and Miles
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Martin Pengelly (http://www.theguardian.com/profile/martin-pengelly)
National Jazz Museum in Harlem
One of Tim Porter’s first projects as chairman of the board at the newly reopened National Jazz Museum in Harlem, in New York City, will be a series of talks and performances under the title Mies and Miles (http://jazzmuseuminharlem.org/events/sound-architecture-and-music/) . The great modernist Mies van der Rohe (http://www.theguardian.com/world/2012/jan/31/mies-van-der-rohe-villa-tugendhat) ; the great trumpeter Miles Davis (http://www.theguardian.com/music/2015/nov/16/miles-davis-voted-greatest-jazz-artist-of-all-time) . Porter’s programme will explore the links between architecture and music.
“Daniel Libeskind (http://www.newyorker.com/business/currency/daniel-libeskinds-world-trade-center-change-of-heart) , the architect of the new World Trade Center tower, said without music we could not have architecture, and without architecture we could not have music,” said Porter, himself a jazz mandolinist (http://www.timportermusic.com/) of wide repute. “Goethe said architecture was ‘frozen music’.”
In the museum’s new space a permanent exhibit, Vibrations, furthers Porter’s point. It includes an enlargement of part of the score for Harlem Air Shaft by Duke Ellington (https://www.youtube.com/watch?v=Ga7Hh6EzV0o) , a piece which, Porter said, expresses in music sounds heard in – or through – a building in the museum’s own neighbourhood.
“It’s architecture into music,” Porter said, “in the same way that Bud Powell put the sounds of the Champs d’Élysées into A Parisian Thoroughfare.”
He added: “This music which we call jazz owes so much to Harlem, and in Harlem it set off vibrations that went off throughout the world.”
The National Jazz Museum was founded in 1997 by Leonard Garment (http://www.nytimes.com/2013/07/16/us/politics/leonard-garment-nixon-lawyer-and-watergate-figure-dies-at-89.html) , who was both counsel to President Nixon and a professional jazz musician. It first operated from a fourth-floor space in East Harlem. After a long and sometimes difficult search for a new home, supervised by the saxophonist, pianist and jazz historian Loren Schoenberg (http://www.lorenschoenberg.com/) , it has crossed to the other side of the island.
The new premises are on West 129th street, just off Malcolm X Boulevard and “a couple of blocks from Sylvia’s Restaurant”, the hallowed soul food joint where presidents (http://www.npr.org/sections/thesalt/2012/07/20/157108843/soul-food-fans-say-goodbye-to-queen-sylvia) – and would-be presidents (http://www.theguardian.com/us-news/2016/feb/10/bernie-sanders-meets-al-sharpton-harlem) – pay court. The museum has become, in Porter’s words, “a lot more visible”, ready to play an active part in a thriving Harlem arts scene.
A formal reopening was held this week. Attendees, Porter said, formed a “who’s who of the jazz world, including George Wein (http://www.npr.org/event/music/444784781/weins-world-george-wein-at-90) , founder of the Newport Jazz Festival, Mercedes Ellington (http://www.thenational.ae/arts-culture/sophisticated-lady-an-interview-with-mercedes-ellington) , granddaughter of Duke, and the daughter of [jazz critic] Albert Murray (http://www.theguardian.com/world/2013/aug/23/albert-murray) ”.
Harlem Air Shaft, by Duke Ellington.
The museum is an affiliate of the Smithsonian Institution (https://www.si.edu/) , and can thus borrow from Smithsonian collections to document the history of jazz. But it has always seen performance, lectures and discussions as central to its role in keeping one of the 20th century’s dominant musical forms alive and thriving.
“This new exhibition space we’ve got is not huge,” Porter said, “but it’s sort of the Goldilocks principle – it’s just the right size for us and we’re able easily to separate exhibit space from performance space.
“The performance piece of the museum extends throughout the age range. We have programmes for kids to get them interested in jazz and we have a programme that we do for seniors, who might otherwise be left out of the arts scene. We are involved with every age range in between.”
The board of trustees now chaired by Porter includes the trumpeter Wynton Marsalis (http://www.theguardian.com/film/wynton-marsalis) , the pianist and Late Show bandleader Jon Batiste (http://www.eonline.com/news/694725/8-things-to-know-about-jon-batiste-the-late-show-with-stephen-colbert-s-bandleader-who-s-stealing-the-show) and the documentary film-maker Ken Burns (http://www.pbs.org/kenburns/jazz/home/) .
Among the exhibits in the new space are excerpts from the Savory collection (http://www.theguardian.com/music/2010/aug/18/jazz-treasure-trove) , a horde of 70-year-old discs with a remarkable provenance and value that includes performances by Louis Armstrong, Billie Holiday, Count Basie and more.
“The Savory collection is one of the prize jewels of the museum,” Porter said. “It’s a collection of recordings that [sound engineer] William Savory recorded off the radio in the 1930s and 1940s … performances that were not necessarily recorded anywhere else.”
CBS News reports on the discovery of the Savory collection.
Savory’s 12in and 16in discs could hold more music than standard commercial releases of the day: many contain unique takes on widely loved jazz standards. For example, there is a six-minute version of Body and Soul (https://www.youtube.com/watch?v=zUFg6HvljDE) , by Coleman Hawkins.
Savory died in 2004. In 2010, the museum acquired his discs from his son (http://www.nytimes.com/2010/08/17/arts/music/17jazz.html?_r=0) . Some of the recordings were in good condition, some were not, some were one play away from disintegration. The savable has been saved; efforts to track down permissions to propagate it go on.
“This is really a unique collection and we have been looking to ensure that this music gets out to the public,” Porter said. “We have been looking at ways of doing it online (http://jazzmuseuminharlem.org/the-museum/collections/the-savory-collection/) .
“We have managed to get the permissions we need for certain pieces but when you’ve got a big band recording, there’s a whole lot of people and they’ve got a whole bunch of heirs. Yes, that’s the tricky part …
“But now you can come into the museum and hear everything that is within the Savory collection. It’s a major draw for us and it really distinguishes the museum.”
* The National Jazz Museum in Harlem is located at 58 West 129th Street, New York City. More details here (http://jazzmuseuminharlem.org/) .
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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