Author: Bash Daily Group Archive Feed

Why Vinyl Records and Other ‘Old’ Technologies Die Hard – The New York Times

http://www.jazzpromoservices.com/

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http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0

** Why Vinyl Records and Other ‘Old’ Technologies Die Hard
————————————————————

Disruptions (http://www.nytimes.com/column/disruptions)

By NICK BILTON (http://topics.nytimes.com/top/reference/timestopics/people/b/nick_bilton/index.html) MARCH 16, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0#story-continues-1) Share This Page
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*
*
*
*
*

Ellen Weinstein

For a glimpse of what teenagers are into these days, all you have to do is visit Abbot Kinney Boulevard (http://abbotkinneyblvd.com/) in the Venice neighborhood of Los Angeles. On weekend nights, the half-mile shopping drag is packed with style-conscious kids who traipse past coffee shops, ice cream parlors and boutiques, often while taking selfies.

Yet one of the most popular destinations for these teenagers is a white, single-story building with big pink letters on the roof that spell “Vnyl.” The store sells vinyl records, and the kids who gather there are often in awe.

“I’d say half of the teens who hang out in my store have never seen a record player before,” said Nick Alt (https://twitter.com/nickalt) , the founder of Vnyl (https://vnyl.org/) . “They will walk up to the turntable, and they have no concept where to put the needle.” But once they figure out that the needle goes into the outermost groove, those smartphone-toting teenagers are hooked.

Whenever a new technology comes out, we often believe it will make an older technology obsolete. As a reporter who has been covering technology for The New York Times for more than a decade, I’ve made such proclamations, saying that theiPad would kill the Kindle (http://bits.blogs.nytimes.com/2010/01/27/three-reasons-why-the-ipad-will-kill-amazons-kindle/) (I later realized the error of my ways, and now own both), that eBooks would be the death of print (I later reversed myself (http://www.nytimes.com/2015/05/14/style/in-a-mothers-library-bound-in-spirit-and-in-print.html) , several times), and that driverless cars will make driving passé and allow us to nap in the front seat (this has yet to be disproved).

But what I’ve come to realize is that while the new thing gets people excited, the old thing often doesn’t go away. And if it does, it takes a very long time to meet its demise.

Just look at film cameras. You would think they have been vanquished from the planet, but millions of people still use them. In 2012, more than 35 million rolls of camera film were sold, compared with 20 million the year before.

And while Polaroid has filed for bankruptcy (twice) in the age of digital cameras, the company is making a resurgence (again). One of Polaroid’s largest growing demographics, surprisingly, is teenagers (http://www.fastcompany.com/3030562/bottom-line/how-polaroid-saved-itself-from-certain-death) who want a tangible photo but also don’t want to wait. (Polaroid has also become the go-to camera (http://www.theguardian.com/artanddesign/2014/nov/08/why-stars-love-polaroid-no-embarrassing-uploads) for people who take nude photos and fear that their phones could be hacked.)
Continue reading the main story

Other types of physical media have also held on.

More than 571 million print books (http://qz.com/578025/against-all-odds-print-books-are-on-the-rise-again-in-the-us/) were sold in the United States in 2014. About 55 million newspapers still land on doorsteps every morning. As for those vinyl records, 13 million LPs were sold in 2014, the highest count (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html?_r=0) in 25 years, according to the Recording Industry Association of America. (Records are also one of the few growth areas for the beleaguered industry.)

So why does old tech survive and, in some cases, undergo a revival? For some consumers, it’s about familiarity (e.g., newspapers and print books), while for others, it’s about nostalgia (e.g., record players and film cameras).

For example, I’ve been taking photos for over 25 years, and what made me fall in love with photography was the dirt, grit and grime of film (I used to shoot with Tri-X 3200 for the film nerds out there). And as much as I love my digital cameras, I’ve been shooting with film again to capture some of that visceral quality I no longer get with pixels.

The resurgence of old tech doesn’t stop with physical media.

For example, tens of millions of Americans still own a landline; millions of USB thumb drives are still being used, even though you can store anything in the cloud free; and people still use and buy (http://www.statista.com/statistics/225371/feature-phone-and-smartphone-shipment-forecast-in-north-america/) tens of millions of flip phones every year, including (http://www.huffingtonpost.com/entry/flip-phones-smartphones_us_55afd793e4b07af29d5729ae) such notables as Mayor Bill de Blasio, Anna Wintour, Warren Buffett, Iggy Pop and Rihanna. Pagers also never completely died.

You’ve probably heard the saying that the minute that you drive a car off a dealer’s lot, it loses value. Well, that is no longer true for old cars. Some vintage cars have increased in value by 500 percent (http://www.investmentnews.com/article/20150702/FREE/150709968/classic-car-prices-have-surged-but-investing-in-them-is-another-story) . (One reason for this is that younger car owners want to be able to fix and tinker with their own cars. Try doing that with a Tesla, and you’ll void the warranty.)

Of course, there are some outdated technologies that die a fateful death and never return. I don’t know many people with a dedicated car phone, for example. (Though I’m sure some hipster just posted one to Instagram.)

To be fair, we have been wrongly predicting the demise of old technologies for some time. In 1876, for example, when The New York Times first wrote about the telephone (http://query.nytimes.com/mem/archive-free/pdf?res=9806E4D71E3FE73BBC4A51DFB566838D669FDE) , and later the phonograph, the writers of the day said that these devices would empty the concert halls and churches, as no one would ever want to leave home again.

And yet, just this month, Diplo held a concert for an estimated half-million people (http://www.nytimes.com/2016/03/08/arts/music/diplo-and-major-lazer-bring-their-brand-of-music-to-cuba.html) in Cuba. Something tells me that some of those people will also be buying the performer’s album on vinyl.

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=6012804dc0) | 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=6012804dc0&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

Why Vinyl Records and Other ‘Old’ Technologies Die Hard – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0

** Why Vinyl Records and Other ‘Old’ Technologies Die Hard
————————————————————

Disruptions (http://www.nytimes.com/column/disruptions)

By NICK BILTON (http://topics.nytimes.com/top/reference/timestopics/people/b/nick_bilton/index.html) MARCH 16, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/17/style/vinyl-records-books-film-cameras-die-hard.html?_r=0#story-continues-1) Share This Page
*
*
*
*
*
*

Ellen Weinstein

For a glimpse of what teenagers are into these days, all you have to do is visit Abbot Kinney Boulevard (http://abbotkinneyblvd.com/) in the Venice neighborhood of Los Angeles. On weekend nights, the half-mile shopping drag is packed with style-conscious kids who traipse past coffee shops, ice cream parlors and boutiques, often while taking selfies.

Yet one of the most popular destinations for these teenagers is a white, single-story building with big pink letters on the roof that spell “Vnyl.” The store sells vinyl records, and the kids who gather there are often in awe.

“I’d say half of the teens who hang out in my store have never seen a record player before,” said Nick Alt (https://twitter.com/nickalt) , the founder of Vnyl (https://vnyl.org/) . “They will walk up to the turntable, and they have no concept where to put the needle.” But once they figure out that the needle goes into the outermost groove, those smartphone-toting teenagers are hooked.

Whenever a new technology comes out, we often believe it will make an older technology obsolete. As a reporter who has been covering technology for The New York Times for more than a decade, I’ve made such proclamations, saying that theiPad would kill the Kindle (http://bits.blogs.nytimes.com/2010/01/27/three-reasons-why-the-ipad-will-kill-amazons-kindle/) (I later realized the error of my ways, and now own both), that eBooks would be the death of print (I later reversed myself (http://www.nytimes.com/2015/05/14/style/in-a-mothers-library-bound-in-spirit-and-in-print.html) , several times), and that driverless cars will make driving passé and allow us to nap in the front seat (this has yet to be disproved).

But what I’ve come to realize is that while the new thing gets people excited, the old thing often doesn’t go away. And if it does, it takes a very long time to meet its demise.

Just look at film cameras. You would think they have been vanquished from the planet, but millions of people still use them. In 2012, more than 35 million rolls of camera film were sold, compared with 20 million the year before.

And while Polaroid has filed for bankruptcy (twice) in the age of digital cameras, the company is making a resurgence (again). One of Polaroid’s largest growing demographics, surprisingly, is teenagers (http://www.fastcompany.com/3030562/bottom-line/how-polaroid-saved-itself-from-certain-death) who want a tangible photo but also don’t want to wait. (Polaroid has also become the go-to camera (http://www.theguardian.com/artanddesign/2014/nov/08/why-stars-love-polaroid-no-embarrassing-uploads) for people who take nude photos and fear that their phones could be hacked.)
Continue reading the main story

Other types of physical media have also held on.

More than 571 million print books (http://qz.com/578025/against-all-odds-print-books-are-on-the-rise-again-in-the-us/) were sold in the United States in 2014. About 55 million newspapers still land on doorsteps every morning. As for those vinyl records, 13 million LPs were sold in 2014, the highest count (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html?_r=0) in 25 years, according to the Recording Industry Association of America. (Records are also one of the few growth areas for the beleaguered industry.)

So why does old tech survive and, in some cases, undergo a revival? For some consumers, it’s about familiarity (e.g., newspapers and print books), while for others, it’s about nostalgia (e.g., record players and film cameras).

For example, I’ve been taking photos for over 25 years, and what made me fall in love with photography was the dirt, grit and grime of film (I used to shoot with Tri-X 3200 for the film nerds out there). And as much as I love my digital cameras, I’ve been shooting with film again to capture some of that visceral quality I no longer get with pixels.

The resurgence of old tech doesn’t stop with physical media.

For example, tens of millions of Americans still own a landline; millions of USB thumb drives are still being used, even though you can store anything in the cloud free; and people still use and buy (http://www.statista.com/statistics/225371/feature-phone-and-smartphone-shipment-forecast-in-north-america/) tens of millions of flip phones every year, including (http://www.huffingtonpost.com/entry/flip-phones-smartphones_us_55afd793e4b07af29d5729ae) such notables as Mayor Bill de Blasio, Anna Wintour, Warren Buffett, Iggy Pop and Rihanna. Pagers also never completely died.

You’ve probably heard the saying that the minute that you drive a car off a dealer’s lot, it loses value. Well, that is no longer true for old cars. Some vintage cars have increased in value by 500 percent (http://www.investmentnews.com/article/20150702/FREE/150709968/classic-car-prices-have-surged-but-investing-in-them-is-another-story) . (One reason for this is that younger car owners want to be able to fix and tinker with their own cars. Try doing that with a Tesla, and you’ll void the warranty.)

Of course, there are some outdated technologies that die a fateful death and never return. I don’t know many people with a dedicated car phone, for example. (Though I’m sure some hipster just posted one to Instagram.)

To be fair, we have been wrongly predicting the demise of old technologies for some time. In 1876, for example, when The New York Times first wrote about the telephone (http://query.nytimes.com/mem/archive-free/pdf?res=9806E4D71E3FE73BBC4A51DFB566838D669FDE) , and later the phonograph, the writers of the day said that these devices would empty the concert halls and churches, as no one would ever want to leave home again.

And yet, just this month, Diplo held a concert for an estimated half-million people (http://www.nytimes.com/2016/03/08/arts/music/diplo-and-major-lazer-bring-their-brand-of-music-to-cuba.html) in Cuba. Something tells me that some of those people will also be buying the performer’s album on vinyl.

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=6012804dc0) | 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=6012804dc0&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

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack

http://www.jazzpromoservices.com/

**
————————————————————
http://www.brownpapertickets.com/event/2522857

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack
LOST AND FOUND!
Thomas White
WHO’S CRAZY?

1966, 73 min, 35mm-to-digital, b&w. Digitized and distributed by Grand Motel Films; special thanks to Vanessa McDonnnell, Aaron Schimberg, and Spectacle.

“It’s almost Dalí.” -Salvador Dalí

Accompanied by a frenetic original soundtrack by the great Ornette Coleman, insane asylum inmates escape their confinement and hole up in a deserted Belgian farmhouse, where they cook large quantities of eggs and condemn one of their own in an impromptu court. The actors don’t have much need for words when they can dance around, light things on fire, and drip hot wax on each other instead.

Ornette Coleman and the other members of his trio – David Izenzon and Charles Moffett – recorded their score for WHO’S CRAZY? in one go while the film was projected for them, and the result feels like a bizarre silent film with the greatest possible accompaniment. The soundtrack also features a young Marianne Faithfull singing what are probably her most experimental riffs – written for her especially by Ornette – as she asks, “Is God man? Is man God?” in an original track titled “Sadness”.

WHO’S CRAZY? was long thought to be lost by jazz-on-film scholars and the Library of Congress. In early 2015, the only surviving copy of the film, a 35mm print struck for the films debut at Cannes in 1966, was salvaged from director Thomas White’s garage after sitting on a shelf there for decades. Ornette’s soundtrack exists as a hard-to-find LP, but audiences have never before had the opportunity to see what Ornette saw when he composed it. The cast consists of actors from New York’s experimental theater troupe, the Living Theatre, who also performed in Shirley Clarke’s THE CONNECTION; and speaking of connections, Clarke would later direct the fantastic ORNETTE: MADE IN AMERICA (1984).

The 35mm print of WHO’S CRAZY? was repaired by John Klacsmann, archivist at Anthology Film Archives.

More info about the film can be found here: http://www.grandmotelfilms.com/WhosCrazy.html

SCREENING DETAILS:
Thomas White
WHO’S CRAZY?
1966, 73 min, 35mm-to-digital, b&w.
– Friday, March 25 through Sunday, March 27 at 8:00PM each night

info/trailer:
http://www.grandmotelfilms.com/WhosCrazy.html

https://www.youtube.com/watch?v=s0sAuMPhFt8

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=a10de05531) | 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=a10de05531&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

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack

http://www.jazzpromoservices.com/

**
————————————————————
http://www.brownpapertickets.com/event/2522857

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack
LOST AND FOUND!
Thomas White
WHO’S CRAZY?

1966, 73 min, 35mm-to-digital, b&w. Digitized and distributed by Grand Motel Films; special thanks to Vanessa McDonnnell, Aaron Schimberg, and Spectacle.

“It’s almost Dalí.” -Salvador Dalí

Accompanied by a frenetic original soundtrack by the great Ornette Coleman, insane asylum inmates escape their confinement and hole up in a deserted Belgian farmhouse, where they cook large quantities of eggs and condemn one of their own in an impromptu court. The actors don’t have much need for words when they can dance around, light things on fire, and drip hot wax on each other instead.

Ornette Coleman and the other members of his trio – David Izenzon and Charles Moffett – recorded their score for WHO’S CRAZY? in one go while the film was projected for them, and the result feels like a bizarre silent film with the greatest possible accompaniment. The soundtrack also features a young Marianne Faithfull singing what are probably her most experimental riffs – written for her especially by Ornette – as she asks, “Is God man? Is man God?” in an original track titled “Sadness”.

WHO’S CRAZY? was long thought to be lost by jazz-on-film scholars and the Library of Congress. In early 2015, the only surviving copy of the film, a 35mm print struck for the films debut at Cannes in 1966, was salvaged from director Thomas White’s garage after sitting on a shelf there for decades. Ornette’s soundtrack exists as a hard-to-find LP, but audiences have never before had the opportunity to see what Ornette saw when he composed it. The cast consists of actors from New York’s experimental theater troupe, the Living Theatre, who also performed in Shirley Clarke’s THE CONNECTION; and speaking of connections, Clarke would later direct the fantastic ORNETTE: MADE IN AMERICA (1984).

The 35mm print of WHO’S CRAZY? was repaired by John Klacsmann, archivist at Anthology Film Archives.

More info about the film can be found here: http://www.grandmotelfilms.com/WhosCrazy.html

SCREENING DETAILS:
Thomas White
WHO’S CRAZY?
1966, 73 min, 35mm-to-digital, b&w.
– Friday, March 25 through Sunday, March 27 at 8:00PM each night

info/trailer:
http://www.grandmotelfilms.com/WhosCrazy.html

https://www.youtube.com/watch?v=s0sAuMPhFt8

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=a10de05531) | 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=a10de05531&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

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack

http://www.jazzpromoservices.com/

**
————————————————————
http://www.brownpapertickets.com/event/2522857

First NY screening in 50 years! Thomas White’s WHO’S CRAZY?, featuring Ornette Coleman soundtrack
LOST AND FOUND!
Thomas White
WHO’S CRAZY?

1966, 73 min, 35mm-to-digital, b&w. Digitized and distributed by Grand Motel Films; special thanks to Vanessa McDonnnell, Aaron Schimberg, and Spectacle.

“It’s almost Dalí.” -Salvador Dalí

Accompanied by a frenetic original soundtrack by the great Ornette Coleman, insane asylum inmates escape their confinement and hole up in a deserted Belgian farmhouse, where they cook large quantities of eggs and condemn one of their own in an impromptu court. The actors don’t have much need for words when they can dance around, light things on fire, and drip hot wax on each other instead.

Ornette Coleman and the other members of his trio – David Izenzon and Charles Moffett – recorded their score for WHO’S CRAZY? in one go while the film was projected for them, and the result feels like a bizarre silent film with the greatest possible accompaniment. The soundtrack also features a young Marianne Faithfull singing what are probably her most experimental riffs – written for her especially by Ornette – as she asks, “Is God man? Is man God?” in an original track titled “Sadness”.

WHO’S CRAZY? was long thought to be lost by jazz-on-film scholars and the Library of Congress. In early 2015, the only surviving copy of the film, a 35mm print struck for the films debut at Cannes in 1966, was salvaged from director Thomas White’s garage after sitting on a shelf there for decades. Ornette’s soundtrack exists as a hard-to-find LP, but audiences have never before had the opportunity to see what Ornette saw when he composed it. The cast consists of actors from New York’s experimental theater troupe, the Living Theatre, who also performed in Shirley Clarke’s THE CONNECTION; and speaking of connections, Clarke would later direct the fantastic ORNETTE: MADE IN AMERICA (1984).

The 35mm print of WHO’S CRAZY? was repaired by John Klacsmann, archivist at Anthology Film Archives.

More info about the film can be found here: http://www.grandmotelfilms.com/WhosCrazy.html

SCREENING DETAILS:
Thomas White
WHO’S CRAZY?
1966, 73 min, 35mm-to-digital, b&w.
– Friday, March 25 through Sunday, March 27 at 8:00PM each night

info/trailer:
http://www.grandmotelfilms.com/WhosCrazy.html

https://www.youtube.com/watch?v=s0sAuMPhFt8

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=a10de05531) | 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=a10de05531&e=[UNIQID])

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Review: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325

** Review: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict
————————————————————

By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325&nl=movies&nlid=6925576&_r=0#story-continues-1) Share This Page
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Ethan Hawke as Chet Baker in “Born to Be Blue,” a film directed by Robert Budreau. Caitlin Cronenberg/IFC Films

“It makes me happy.”

That explanation of his heroin addiction, voiced by the jazz trumpeter and singer Chet Baker (http://topics.nytimes.com/top/reference/timestopics/people/b/chet_baker/index.html?inline=nyt-per) (Ethan Hawke (http://movies.nytimes.com/person/31094/Ethan-Hawke?inline=nyt-per) ) in Robert Budreau (http://www.hollywoodreporter.com/news/tokyo-film-fest-robert-budreau-835037) ’s moody biographical fantasia, “Born to Be Blue (https://www.youtube.com/watch?v=MzEpGrR0GUQ) ,” says it all.

The words are uttered without apology in the plaintive tone of a stubborn little boy who insists on having everything his way.

Suffering from stage fright on the eve of his comeback late in this haunting film, he tearfully tries to explain the relationship between his addiction and playing his instrument. “It gives me confidence,” he explains in a husky whisper. “Time gets wider, not just longer, and I can get inside every note.”

In Mr. Hawke (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) ’s extraordinary performance, this glamorous enigma becomes a credible, if pathetic character who lives for only two things: to play the trumpet and to shoot heroin. He likes sex, too, especially when he’s high.

The movie begins in the 1960s with a scene of Baker on the set of a screen biography that was never made, then flashes back to a 1954 performance attended by Dizzy Gillespie and Miles Davis at Birdland, when Baker was the jazz (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) world’s hottest sensation. Afterward he asks Davis (Kedar Brown) whether he liked it, and Davis scoffs in a gravelly voice, “It was sweet, like candy” and condescendingly advises him to come back when he has lived a little more.
Continue reading the main story

Out of earshot, Baker murmurs: “Hello, Dizzy, hello, Miles. There’s a little white cat on the West Coast gonna eat you up.”

In his singing and playing, Baker, who was called “the James Dean of jazz,” personified the West Coast style of cool jazz that was later echoed in the harmonies of the Beach Boys. His voice and trumpet expressed a cosmic languor shaded with romantic melancholy. East Coast bebop was more angular and staccato and emotionally volatile.

As the pieces of this portrait come together, the movie alternates between black-and-white and color. Baker emerges as a frightened, defiant, arrogant and entirely self-centered musician, who, by his own admission, excelled at only one thing. The rest of his life was a shambles.

Baker was forced to take a career break when drug dealers to whom he owed money knocked out his front teeth, and he had to relearn trumpet technique, wearing dentures that kept slipping. Scenes of Baker trying to play in an empty bathtub after the beating, blood streaming from the sides of his mouth, are agonizing to watch.

In a telling sequence, Baker visits his parents at their Oklahoma farm and has a poisonous confrontation with his jealous father (Stephen McHattie), a former musician himself, who sneers at his son for singing like a girl and accuses him of “dragging the family name through the mud.”

Because Baker was a beautiful young man (as seen in well-known photographs (http://www.williamclaxton.com/chet-baker.html) taken by William Claxton), he attracted no end of eager female caretakers. In an astute casting decision, the many women in his life are distilled into a single character, Jane, an aspiring actress, played by Carmen Ejogo (Coretta Scott King from “Selma”), who brings remarkable vitality to this invented composite. The only other continuing character is Baker’s sympathetic producer, Dick Bock (Callum Keith Rennie), who founded Pacific Jazz Records.

As for the music, the makers of “Born to Be Blue” made the risky decision not to use Baker’s original recordings. The jazz trumpeter Kevin Turcotte conjures Baker’s trumpet at different phases, including the period after he loses his teeth and is struggling to make any sound from the instrument. If Mr. Hawke does a reasonably good imitation of Baker’s plain, vibratoless voice singing “My Funny Valentine” and “I’ve Never Been in Love Before,” he only fitfully captures the fragility embodied in that voice.

Baker’s glamour never completely faded. As seen in Bruce Weber’s 1988 documentary, “Let’s Get Lost (https://www.youtube.com/watch?v=9PfdYQzeJk0) ,” Baker, ravaged by his addiction, appeared wrapped in a narcotic haze. Even then, to some die-hard admirers, he remained an object of worship. The alluring mystique of the beautiful lost boy still clung to him, as it does today.

“Born To Be Blue” is not rated. Running time: 1 hour 38 minutes.

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

Review: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325

** Review: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict
————————————————————

By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325&nl=movies&nlid=6925576&_r=0#story-continues-1) Share This Page
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Ethan Hawke as Chet Baker in “Born to Be Blue,” a film directed by Robert Budreau. Caitlin Cronenberg/IFC Films

“It makes me happy.”

That explanation of his heroin addiction, voiced by the jazz trumpeter and singer Chet Baker (http://topics.nytimes.com/top/reference/timestopics/people/b/chet_baker/index.html?inline=nyt-per) (Ethan Hawke (http://movies.nytimes.com/person/31094/Ethan-Hawke?inline=nyt-per) ) in Robert Budreau (http://www.hollywoodreporter.com/news/tokyo-film-fest-robert-budreau-835037) ’s moody biographical fantasia, “Born to Be Blue (https://www.youtube.com/watch?v=MzEpGrR0GUQ) ,” says it all.

The words are uttered without apology in the plaintive tone of a stubborn little boy who insists on having everything his way.

Suffering from stage fright on the eve of his comeback late in this haunting film, he tearfully tries to explain the relationship between his addiction and playing his instrument. “It gives me confidence,” he explains in a husky whisper. “Time gets wider, not just longer, and I can get inside every note.”

In Mr. Hawke (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) ’s extraordinary performance, this glamorous enigma becomes a credible, if pathetic character who lives for only two things: to play the trumpet and to shoot heroin. He likes sex, too, especially when he’s high.

The movie begins in the 1960s with a scene of Baker on the set of a screen biography that was never made, then flashes back to a 1954 performance attended by Dizzy Gillespie and Miles Davis at Birdland, when Baker was the jazz (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) world’s hottest sensation. Afterward he asks Davis (Kedar Brown) whether he liked it, and Davis scoffs in a gravelly voice, “It was sweet, like candy” and condescendingly advises him to come back when he has lived a little more.
Continue reading the main story

Out of earshot, Baker murmurs: “Hello, Dizzy, hello, Miles. There’s a little white cat on the West Coast gonna eat you up.”

In his singing and playing, Baker, who was called “the James Dean of jazz,” personified the West Coast style of cool jazz that was later echoed in the harmonies of the Beach Boys. His voice and trumpet expressed a cosmic languor shaded with romantic melancholy. East Coast bebop was more angular and staccato and emotionally volatile.

As the pieces of this portrait come together, the movie alternates between black-and-white and color. Baker emerges as a frightened, defiant, arrogant and entirely self-centered musician, who, by his own admission, excelled at only one thing. The rest of his life was a shambles.

Baker was forced to take a career break when drug dealers to whom he owed money knocked out his front teeth, and he had to relearn trumpet technique, wearing dentures that kept slipping. Scenes of Baker trying to play in an empty bathtub after the beating, blood streaming from the sides of his mouth, are agonizing to watch.

In a telling sequence, Baker visits his parents at their Oklahoma farm and has a poisonous confrontation with his jealous father (Stephen McHattie), a former musician himself, who sneers at his son for singing like a girl and accuses him of “dragging the family name through the mud.”

Because Baker was a beautiful young man (as seen in well-known photographs (http://www.williamclaxton.com/chet-baker.html) taken by William Claxton), he attracted no end of eager female caretakers. In an astute casting decision, the many women in his life are distilled into a single character, Jane, an aspiring actress, played by Carmen Ejogo (Coretta Scott King from “Selma”), who brings remarkable vitality to this invented composite. The only other continuing character is Baker’s sympathetic producer, Dick Bock (Callum Keith Rennie), who founded Pacific Jazz Records.

As for the music, the makers of “Born to Be Blue” made the risky decision not to use Baker’s original recordings. The jazz trumpeter Kevin Turcotte conjures Baker’s trumpet at different phases, including the period after he loses his teeth and is struggling to make any sound from the instrument. If Mr. Hawke does a reasonably good imitation of Baker’s plain, vibratoless voice singing “My Funny Valentine” and “I’ve Never Been in Love Before,” he only fitfully captures the fragility embodied in that voice.

Baker’s glamour never completely faded. As seen in Bruce Weber’s 1988 documentary, “Let’s Get Lost (https://www.youtube.com/watch?v=9PfdYQzeJk0) ,” Baker, ravaged by his addiction, appeared wrapped in a narcotic haze. Even then, to some die-hard admirers, he remained an object of worship. The alluring mystique of the beautiful lost boy still clung to him, as it does today.

“Born To Be Blue” is not rated. Running time: 1 hour 38 minutes.

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=f100b433d1) | 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=f100b433d1&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: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325

** Review: ‘Born to Be Blue,’ Portrait of a Trumpeter as a Heroin Addict
————————————————————

By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/movies/born-to-be-blue-review-ethan-hawke-chet-baker.html?emc=edit_fm_20160325&nl=movies&nlid=6925576&_r=0#story-continues-1) Share This Page
*
*
*
*
*
*

Ethan Hawke as Chet Baker in “Born to Be Blue,” a film directed by Robert Budreau. Caitlin Cronenberg/IFC Films

“It makes me happy.”

That explanation of his heroin addiction, voiced by the jazz trumpeter and singer Chet Baker (http://topics.nytimes.com/top/reference/timestopics/people/b/chet_baker/index.html?inline=nyt-per) (Ethan Hawke (http://movies.nytimes.com/person/31094/Ethan-Hawke?inline=nyt-per) ) in Robert Budreau (http://www.hollywoodreporter.com/news/tokyo-film-fest-robert-budreau-835037) ’s moody biographical fantasia, “Born to Be Blue (https://www.youtube.com/watch?v=MzEpGrR0GUQ) ,” says it all.

The words are uttered without apology in the plaintive tone of a stubborn little boy who insists on having everything his way.

Suffering from stage fright on the eve of his comeback late in this haunting film, he tearfully tries to explain the relationship between his addiction and playing his instrument. “It gives me confidence,” he explains in a husky whisper. “Time gets wider, not just longer, and I can get inside every note.”

In Mr. Hawke (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) ’s extraordinary performance, this glamorous enigma becomes a credible, if pathetic character who lives for only two things: to play the trumpet and to shoot heroin. He likes sex, too, especially when he’s high.

The movie begins in the 1960s with a scene of Baker on the set of a screen biography that was never made, then flashes back to a 1954 performance attended by Dizzy Gillespie and Miles Davis at Birdland, when Baker was the jazz (http://www.nytimes.com/2016/03/16/movies/ethan-hawke-born-to-be-blue.html) world’s hottest sensation. Afterward he asks Davis (Kedar Brown) whether he liked it, and Davis scoffs in a gravelly voice, “It was sweet, like candy” and condescendingly advises him to come back when he has lived a little more.
Continue reading the main story

Out of earshot, Baker murmurs: “Hello, Dizzy, hello, Miles. There’s a little white cat on the West Coast gonna eat you up.”

In his singing and playing, Baker, who was called “the James Dean of jazz,” personified the West Coast style of cool jazz that was later echoed in the harmonies of the Beach Boys. His voice and trumpet expressed a cosmic languor shaded with romantic melancholy. East Coast bebop was more angular and staccato and emotionally volatile.

As the pieces of this portrait come together, the movie alternates between black-and-white and color. Baker emerges as a frightened, defiant, arrogant and entirely self-centered musician, who, by his own admission, excelled at only one thing. The rest of his life was a shambles.

Baker was forced to take a career break when drug dealers to whom he owed money knocked out his front teeth, and he had to relearn trumpet technique, wearing dentures that kept slipping. Scenes of Baker trying to play in an empty bathtub after the beating, blood streaming from the sides of his mouth, are agonizing to watch.

In a telling sequence, Baker visits his parents at their Oklahoma farm and has a poisonous confrontation with his jealous father (Stephen McHattie), a former musician himself, who sneers at his son for singing like a girl and accuses him of “dragging the family name through the mud.”

Because Baker was a beautiful young man (as seen in well-known photographs (http://www.williamclaxton.com/chet-baker.html) taken by William Claxton), he attracted no end of eager female caretakers. In an astute casting decision, the many women in his life are distilled into a single character, Jane, an aspiring actress, played by Carmen Ejogo (Coretta Scott King from “Selma”), who brings remarkable vitality to this invented composite. The only other continuing character is Baker’s sympathetic producer, Dick Bock (Callum Keith Rennie), who founded Pacific Jazz Records.

As for the music, the makers of “Born to Be Blue” made the risky decision not to use Baker’s original recordings. The jazz trumpeter Kevin Turcotte conjures Baker’s trumpet at different phases, including the period after he loses his teeth and is struggling to make any sound from the instrument. If Mr. Hawke does a reasonably good imitation of Baker’s plain, vibratoless voice singing “My Funny Valentine” and “I’ve Never Been in Love Before,” he only fitfully captures the fragility embodied in that voice.

Baker’s glamour never completely faded. As seen in Bruce Weber’s 1988 documentary, “Let’s Get Lost (https://www.youtube.com/watch?v=9PfdYQzeJk0) ,” Baker, ravaged by his addiction, appeared wrapped in a narcotic haze. Even then, to some die-hard admirers, he remained an object of worship. The alluring mystique of the beautiful lost boy still clung to him, as it does today.

“Born To Be Blue” is not rated. Running time: 1 hour 38 minutes.

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=f100b433d1) | 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=f100b433d1&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

Bohemian Caverns’ Inventory is Up for Auction – Arts Desk

http://www.jazzpromoservices.com/

**
————————————————————
http://www.washingtoncitypaper.com/blogs/artsdesk/music/2016/03/23/bohemian-caverns-inventory-is-up-for-auction/

** http://www.washingtoncitypaper.com/blogs/artsdesk/
————————————————————

** Bohemian Caverns’ Inventory is Up for Auction
————————————————————
Posted by Michael J. West (http://www.washingtoncitypaper.com/blogs/artsdesk/author/mwest/) on March 23, 2016 at 1:20 pm

Bohemian Caverns

You might say that Bohemian Caverns is for sale—piece by piece.

The final performances at the Caverns (http://www.washingtoncitypaper.com/articles/47998/bohemian-caverns-to-close-legendary-u-street-jazz-club/) will take place this weekend. When they are complete, Omrao Brown and his partners (collectively known as Mahogany, LLC) will begin the process of liquidating their assets. Part of that will include selling off the furniture, instruments (the house keyboards and drum kit), and every other item within the property, right down to the microphones, stage lights, and tablecloths.

Everything, including the property at the ground-floor Tap and Parlour restaurant and second-/third-floor Liv Nightclub, will be featured in an online-only auction hosted by Rasmus.com (http://rasmus.com/) . You can preview the items for sale at the club on Sunday, March 27. The auction will begin to close at 1:07 p.m. on Monday. By Wednesday at 5 p.m. the premises must be completely empty.

For fans of the club, this is a strange circumstance. There’s something unsettling about picking through the club’s belonging like a scavenger—and yet it’s also a last chance to have a memento of an important part of D.C. jazz.

Photo by Darrow Montgomery

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=d4cf3612bb) | 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=d4cf3612bb&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

Bohemian Caverns’ Inventory is Up for Auction – Arts Desk

http://www.jazzpromoservices.com/

**
————————————————————
http://www.washingtoncitypaper.com/blogs/artsdesk/music/2016/03/23/bohemian-caverns-inventory-is-up-for-auction/

** http://www.washingtoncitypaper.com/blogs/artsdesk/
————————————————————

** Bohemian Caverns’ Inventory is Up for Auction
————————————————————
Posted by Michael J. West (http://www.washingtoncitypaper.com/blogs/artsdesk/author/mwest/) on March 23, 2016 at 1:20 pm

Bohemian Caverns

You might say that Bohemian Caverns is for sale—piece by piece.

The final performances at the Caverns (http://www.washingtoncitypaper.com/articles/47998/bohemian-caverns-to-close-legendary-u-street-jazz-club/) will take place this weekend. When they are complete, Omrao Brown and his partners (collectively known as Mahogany, LLC) will begin the process of liquidating their assets. Part of that will include selling off the furniture, instruments (the house keyboards and drum kit), and every other item within the property, right down to the microphones, stage lights, and tablecloths.

Everything, including the property at the ground-floor Tap and Parlour restaurant and second-/third-floor Liv Nightclub, will be featured in an online-only auction hosted by Rasmus.com (http://rasmus.com/) . You can preview the items for sale at the club on Sunday, March 27. The auction will begin to close at 1:07 p.m. on Monday. By Wednesday at 5 p.m. the premises must be completely empty.

For fans of the club, this is a strange circumstance. There’s something unsettling about picking through the club’s belonging like a scavenger—and yet it’s also a last chance to have a memento of an important part of D.C. jazz.

Photo by Darrow Montgomery

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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Bohemian Caverns’ Inventory is Up for Auction – Arts Desk

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http://www.washingtoncitypaper.com/blogs/artsdesk/music/2016/03/23/bohemian-caverns-inventory-is-up-for-auction/

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** Bohemian Caverns’ Inventory is Up for Auction
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Posted by Michael J. West (http://www.washingtoncitypaper.com/blogs/artsdesk/author/mwest/) on March 23, 2016 at 1:20 pm

Bohemian Caverns

You might say that Bohemian Caverns is for sale—piece by piece.

The final performances at the Caverns (http://www.washingtoncitypaper.com/articles/47998/bohemian-caverns-to-close-legendary-u-street-jazz-club/) will take place this weekend. When they are complete, Omrao Brown and his partners (collectively known as Mahogany, LLC) will begin the process of liquidating their assets. Part of that will include selling off the furniture, instruments (the house keyboards and drum kit), and every other item within the property, right down to the microphones, stage lights, and tablecloths.

Everything, including the property at the ground-floor Tap and Parlour restaurant and second-/third-floor Liv Nightclub, will be featured in an online-only auction hosted by Rasmus.com (http://rasmus.com/) . You can preview the items for sale at the club on Sunday, March 27. The auction will begin to close at 1:07 p.m. on Monday. By Wednesday at 5 p.m. the premises must be completely empty.

For fans of the club, this is a strange circumstance. There’s something unsettling about picking through the club’s belonging like a scavenger—and yet it’s also a last chance to have a memento of an important part of D.C. jazz.

Photo by Darrow Montgomery

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RIP Hammond Organist Michael Torsone

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Michael J. Torsone of Poughkeepsie, New York | 1953 – 2016 (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984) | Obituary (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984)

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This is Michael Torsone killin’ it at Trumpets Jazz Club as Jimmy McGriff looks on. Jerry Weldon has a ridiculous sax solo in this one. This is a raw un-see clip from the award-winning documentary about the Hammond Organ called Killer B3. It’s a long clip, but worth the look. “Like” us on Facebook. Search Killer B3 for more information. Please share with other fans of Hammond Organ music. Thank you for your support. Visit us at www.killerb3.com.

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RIP Hammond Organist Michael Torsone

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Michael J. Torsone of Poughkeepsie, New York | 1953 – 2016 (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984) | Obituary (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984)

https://www.youtube.com/watch?v=yCiPmVSXss0

This is Michael Torsone killin’ it at Trumpets Jazz Club as Jimmy McGriff looks on. Jerry Weldon has a ridiculous sax solo in this one. This is a raw un-see clip from the award-winning documentary about the Hammond Organ called Killer B3. It’s a long clip, but worth the look. “Like” us on Facebook. Search Killer B3 for more information. Please share with other fans of Hammond Organ music. Thank you for your support. Visit us at www.killerb3.com.

https://www.youtube.com/watch?v=yCiPmVSXss0

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RIP Hammond Organist Michael Torsone

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Michael J. Torsone of Poughkeepsie, New York | 1953 – 2016 (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984) | Obituary (http://www.torsonememorial.com/home/index.cfm/obituaries/view/fh_id/14920/id/3634984)

https://www.youtube.com/watch?v=yCiPmVSXss0

This is Michael Torsone killin’ it at Trumpets Jazz Club as Jimmy McGriff looks on. Jerry Weldon has a ridiculous sax solo in this one. This is a raw un-see clip from the award-winning documentary about the Hammond Organ called Killer B3. It’s a long clip, but worth the look. “Like” us on Facebook. Search Killer B3 for more information. Please share with other fans of Hammond Organ music. Thank you for your support. Visit us at www.killerb3.com.

https://www.youtube.com/watch?v=yCiPmVSXss0

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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Don Cheadle on Becoming Miles Davis – The New York Times

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http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5

** Don Cheadle on Becoming Miles Davis
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By ROBERT ITOMARCH 23, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-1) Share This Page
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Don Cheadle directed and stars in “Miles Ahead” as the jazz trumpeter Miles Davis, a project he had been involved in for years.CreditElizabeth Weinberg for The New York Times

BEVERLY HILLS, Calif. — Don Cheadle was not looking to play Miles Davis (http://movies.nytimes.com/person/720031/Miles-Davis?inline=nyt-per) . He had done biopics before, starring as Sammy Davis Jr. in “The Rat Pack” (1998), which earned him a Golden Globe (http://topics.nytimes.com/top/reference/timestopics/subjects/g/golden_globes_awards/index.html?inline=nyt-classifier) , and as the hotelier and accidental humanitarian Paul Rusesabagina in the 2004 film “Hotel Rwanda,” for which he received an Academy Award nomination. Mr. Cheadle had played the street hoops star Earl Manigault, a.k.a. the Goat, in “Rebound” and the radio D.J. Petey Greene in “Talk to Me”.

Such Hollywood biographies were, he learned, approximations at best. “I sat next to Paul Rusesabagina (http://hrrfoundation.org/) during ‘Hotel Rwanda,’ and I’d look over at him and go, was it like that?” Mr. Cheadle said. “And he’d be like: ‘No, not really. But it’s close.’”

This weekend Mr. Cheadle arrives in “Miles Ahead (https://www.youtube.com/watch?v=vvywqj_C1sM) ,” a decidedly nonbiopic-like film about the towering jazz trumpeter and composer. Far from the typical linear film narrative, in which a great jazz voice is inevitably brought down, often for good, by drink or drugs (think “Bird,” “’Round Midnight,” “Let’s Get Lost” or “Lady Sings the Blues”), “Miles Ahead” focuses on a period in the late 1970s when Davis wasn’t performing at all. “I loved the incongruity,” Mr. Cheadle said. “The Miles ‘play what’s not there’ idea of it.”

Since its premiere at the New York Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_film_festival/index.html?inline=nyt-classifier) in October, the movie has earned praise for its unconventional portrait of the influential musician. David Rooney of The Hollywood Reporter called (http://www.hollywoodreporter.com/review/don-cheadles-miles-davis-biopic-831212) it “an adventurous, music-saturated depiction of one of the genre’s undisputed greats,” while A. O. Scott of The New York Times wrote (http://www.nytimes.com/2015/10/07/movies/new-york-film-festival-offers-quiet-treasures-and-a-little-jazz.html) that “anyone who wants to get a jump on possible Oscar nominees for 2017” should see the film.

Earlier this month, Mr. Cheadle was at the Four Seasons here explaining how he got roped into not only playing Miles Davis but also directing the film and writing the screenplay with Steven Baigelman. Dressed in black jeans and a black T-shirt, Mr. Cheadle rode up on his motorcycle and later ordered a bowl of plain oatmeal (“I’m pre-prediabetic,” he explained). He spent much of the time recounting funny stories about the trumpeter in his best Miles Davis rasp, geeking out about great jazz albums he listened to as a kid (Davis’s classic “Kind of Blue,” “Julian Cannonball Adderley and Strings”), and singing beloved bass lines from Herbie Hancock’s 1973 album “Head Hunters.”
Photo
Mr. Cheadle as Miles Davis in “Miles Ahead,” which takes place in the late 1970s.CreditBrian Douglas/Sony Pictures Classics

Mr. Cheadle’s involvement in the film started with a single bold pronouncement from someone he didn’t even know. After Davis, who died in 1991, was inducted in the Rock and Roll Hall of Fame (https://rockhall.com/inductees/miles-davis/) in 2006, Mr. Cheadle recalled, Vince Wilburn, Davis’s nephew, was asked “if they were ever going to do a movie about his life. And he said: ‘Yeah. And Don Cheadle’s going to play him.’”

This was all news to Mr. Cheadle, but calls were made and he found himself slowly drawn into the project. He read a few scripts and hated all of them. He asked himself: What sort of movie would Davis himself want to be in? Here’s someone whose outsized love for expensive cars, guns, women and cocaine was the stuff of American music lore, a man who attained rock-star status playing jazz trumpet. “If you make a movie about Miles Davis, it’s got to be gangster, it’s got to be a heist movie, it’s got to be crazy,” Mr. Cheadle said. “It’s got to be as creative and varied and visceral as all of his music is.”

No such screenplay existed, so Mr. Cheadle set about helping to write one, with Mr. Baigelman. To prepare for the role, he mastered Davis’s customary whisper and watched a lot of film of him at work and play. Although Mr. Cheadle had never directed a feature before, he had a clear vision of what he wanted.
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“But once it was time to do the work, he lets you fly on your own, which was so freeing,” said Emayatzy Corinealdi, who plays Davis’s first wife, Frances Taylor. “It was very close to how Miles was with his bandmates. He didn’t like people to rehearse; he wanted things to be pure and on the spot. And that’s really how Don worked.”

At times, he even directed as Miles. “It wasn’t like, ‘Don’t anybody call me Don,’” Mr. Cheadle recalled wryly. “‘I’m Miles all day today.’ I just wanted to stay as close to the character as I could.”

That closeness extended to the musical numbers. Mr. Cheadle, who played alto saxophone in high school, learned to play the trumpet with help from the Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning Wynton Marsalis, an old friend.

Kristen Bell, Mr. Cheadle’s co-star on “House of Lies,” the Showtime comedy about management consultants, noted that he had been working on this project since they first met six years ago. “I’ve watched my friend go back to his trailer between almost every shooting scene and practice that trumpet,” she said.

Ewan McGregor plays a scoop-seeking journalist looking to interview the reclusive musician. Speaking at the Berlin Film Festival, Mr. Cheadle said that “having a white actor in this film turned out to be a financial imperative,” a comment that generated headlines, not surprising during the season of #OscarsSoWhite.

“No one said specifically, ‘You must go hire this one actor to make this happen,’” he clarified in the interview. “I could have probably hired a major Japanese actor if I wanted to shoot the movie in Japan. But there was kind of a list of actors that would make the money go.”

So it wasn’t, like, I’ve got to hire Ewan McGregor?

“Yeah, right, like that’s a bad thing,” Mr. Cheadle said with a laugh.

Mr. Cheadle also generated headlines with an offhand tweet he sent to Chris Rock before the comedian hosted the Oscars in February. “Yo, Chris,” he wrote (https://twitter.com/iamdoncheadle/status/688778401151234048) . “Come check me out at #TheOscars this year. They got me parking cars on G level.”

The tweet went viral. “That’s why Twitter’s dangerous,” Mr. Cheadle said. “It was just me sitting in a room and tweeting it, and the next thing you know, people have seized on it, and it’s on CNN.”

“Chris did a great job at the Oscars,” he continued. “But I think he could have broadened his diversity scope a bit, instead of just making it black and white, because that’s not what it was about to me.”

The next two months are busy for Mr. Cheadle. “House of Lies” returns for a fifth season beginning April 10. The relationship between his character and Ms. Bell’s is one of TV’s most enchantingly dysfunctional. “It’s a dark Ping-Pong match between the two of us,” Ms. Bell said by phone. “But we love it. He is truly one of my favorite people currently residing on the planet.”

In May, he’ll reprise his role as War Machine in “Captain America: Civil War,” a film that he’s loath to talk about, following the Marvel studio’s directives. “I’m shadowed wherever I go,” he said. “If I start to talk, I see red dots on my chest.”

As for “Miles Ahead,” he hopes that the film will let audiences see Davis in all of his complexity. “He was very sensitive, and he kind of created this persona to protect himself,” Mr. Cheadle said. Then, recalling what a Davis bandmate noted, he added: “This is the guy who you think is the coolest dude in the world, and he talks about not knowing if it was cooler to tap his whole foot, or to tap his foot inside of his shoe. Tony Williams said he used to throw up before every performance they had, and not because he was high.”

A version of this article appears in print on March 27, 2016, on page AR13 of the New York edition with the headline: Becoming the Man With the Horn. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2016%2F03%2F27%2Fmovies%2Fdon-cheadle-on-becoming-miles-davis.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1271&title=Don+Cheadle+on+Becoming+Miles+Davis&publicationDate=March+23%2C+2016&author=By%20Robert%20Ito) | Today’s Paper (http://www.nytimes.com/pages/todayspaper/index.html) |Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY)

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Don Cheadle on Becoming Miles Davis – The New York Times

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http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5

** Don Cheadle on Becoming Miles Davis
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By ROBERT ITOMARCH 23, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-1) Share This Page
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Don Cheadle directed and stars in “Miles Ahead” as the jazz trumpeter Miles Davis, a project he had been involved in for years.CreditElizabeth Weinberg for The New York Times

BEVERLY HILLS, Calif. — Don Cheadle was not looking to play Miles Davis (http://movies.nytimes.com/person/720031/Miles-Davis?inline=nyt-per) . He had done biopics before, starring as Sammy Davis Jr. in “The Rat Pack” (1998), which earned him a Golden Globe (http://topics.nytimes.com/top/reference/timestopics/subjects/g/golden_globes_awards/index.html?inline=nyt-classifier) , and as the hotelier and accidental humanitarian Paul Rusesabagina in the 2004 film “Hotel Rwanda,” for which he received an Academy Award nomination. Mr. Cheadle had played the street hoops star Earl Manigault, a.k.a. the Goat, in “Rebound” and the radio D.J. Petey Greene in “Talk to Me”.

Such Hollywood biographies were, he learned, approximations at best. “I sat next to Paul Rusesabagina (http://hrrfoundation.org/) during ‘Hotel Rwanda,’ and I’d look over at him and go, was it like that?” Mr. Cheadle said. “And he’d be like: ‘No, not really. But it’s close.’”

This weekend Mr. Cheadle arrives in “Miles Ahead (https://www.youtube.com/watch?v=vvywqj_C1sM) ,” a decidedly nonbiopic-like film about the towering jazz trumpeter and composer. Far from the typical linear film narrative, in which a great jazz voice is inevitably brought down, often for good, by drink or drugs (think “Bird,” “’Round Midnight,” “Let’s Get Lost” or “Lady Sings the Blues”), “Miles Ahead” focuses on a period in the late 1970s when Davis wasn’t performing at all. “I loved the incongruity,” Mr. Cheadle said. “The Miles ‘play what’s not there’ idea of it.”

Since its premiere at the New York Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_film_festival/index.html?inline=nyt-classifier) in October, the movie has earned praise for its unconventional portrait of the influential musician. David Rooney of The Hollywood Reporter called (http://www.hollywoodreporter.com/review/don-cheadles-miles-davis-biopic-831212) it “an adventurous, music-saturated depiction of one of the genre’s undisputed greats,” while A. O. Scott of The New York Times wrote (http://www.nytimes.com/2015/10/07/movies/new-york-film-festival-offers-quiet-treasures-and-a-little-jazz.html) that “anyone who wants to get a jump on possible Oscar nominees for 2017” should see the film.

Earlier this month, Mr. Cheadle was at the Four Seasons here explaining how he got roped into not only playing Miles Davis but also directing the film and writing the screenplay with Steven Baigelman. Dressed in black jeans and a black T-shirt, Mr. Cheadle rode up on his motorcycle and later ordered a bowl of plain oatmeal (“I’m pre-prediabetic,” he explained). He spent much of the time recounting funny stories about the trumpeter in his best Miles Davis rasp, geeking out about great jazz albums he listened to as a kid (Davis’s classic “Kind of Blue,” “Julian Cannonball Adderley and Strings”), and singing beloved bass lines from Herbie Hancock’s 1973 album “Head Hunters.”
Photo
Mr. Cheadle as Miles Davis in “Miles Ahead,” which takes place in the late 1970s.CreditBrian Douglas/Sony Pictures Classics

Mr. Cheadle’s involvement in the film started with a single bold pronouncement from someone he didn’t even know. After Davis, who died in 1991, was inducted in the Rock and Roll Hall of Fame (https://rockhall.com/inductees/miles-davis/) in 2006, Mr. Cheadle recalled, Vince Wilburn, Davis’s nephew, was asked “if they were ever going to do a movie about his life. And he said: ‘Yeah. And Don Cheadle’s going to play him.’”

This was all news to Mr. Cheadle, but calls were made and he found himself slowly drawn into the project. He read a few scripts and hated all of them. He asked himself: What sort of movie would Davis himself want to be in? Here’s someone whose outsized love for expensive cars, guns, women and cocaine was the stuff of American music lore, a man who attained rock-star status playing jazz trumpet. “If you make a movie about Miles Davis, it’s got to be gangster, it’s got to be a heist movie, it’s got to be crazy,” Mr. Cheadle said. “It’s got to be as creative and varied and visceral as all of his music is.”

No such screenplay existed, so Mr. Cheadle set about helping to write one, with Mr. Baigelman. To prepare for the role, he mastered Davis’s customary whisper and watched a lot of film of him at work and play. Although Mr. Cheadle had never directed a feature before, he had a clear vision of what he wanted.
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-2)

** Diversions (http://www.nytimes.com/spotlight/diversions)
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** A break from the day’s grimmer news.
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** Better Than Pot Brownies, by a James Beard Award-Winning Chef MAR 24 (http://www.nytimes.com/2016/03/24/t-magazine/marijuana-chocolate-candy-mindy-segal.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** 36 Hours in Hong Kong MAR 24 (http://www.nytimes.com/interactive/2016/03/24/travel/what-to-do-36-hours-in-hong-kong.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** Gordon Parks’s “Segregation Story” MAR 24 (http://www.nytimes.com/slideshow/2016/03/24/t-magazine/gordon-parkss-segregation-story.html?rref=collection%2Fspotlightcollection%2FDiversions)
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See More » (http://www.nytimes.com/spotlight/diversions)

“But once it was time to do the work, he lets you fly on your own, which was so freeing,” said Emayatzy Corinealdi, who plays Davis’s first wife, Frances Taylor. “It was very close to how Miles was with his bandmates. He didn’t like people to rehearse; he wanted things to be pure and on the spot. And that’s really how Don worked.”

At times, he even directed as Miles. “It wasn’t like, ‘Don’t anybody call me Don,’” Mr. Cheadle recalled wryly. “‘I’m Miles all day today.’ I just wanted to stay as close to the character as I could.”

That closeness extended to the musical numbers. Mr. Cheadle, who played alto saxophone in high school, learned to play the trumpet with help from the Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning Wynton Marsalis, an old friend.

Kristen Bell, Mr. Cheadle’s co-star on “House of Lies,” the Showtime comedy about management consultants, noted that he had been working on this project since they first met six years ago. “I’ve watched my friend go back to his trailer between almost every shooting scene and practice that trumpet,” she said.

Ewan McGregor plays a scoop-seeking journalist looking to interview the reclusive musician. Speaking at the Berlin Film Festival, Mr. Cheadle said that “having a white actor in this film turned out to be a financial imperative,” a comment that generated headlines, not surprising during the season of #OscarsSoWhite.

“No one said specifically, ‘You must go hire this one actor to make this happen,’” he clarified in the interview. “I could have probably hired a major Japanese actor if I wanted to shoot the movie in Japan. But there was kind of a list of actors that would make the money go.”

So it wasn’t, like, I’ve got to hire Ewan McGregor?

“Yeah, right, like that’s a bad thing,” Mr. Cheadle said with a laugh.

Mr. Cheadle also generated headlines with an offhand tweet he sent to Chris Rock before the comedian hosted the Oscars in February. “Yo, Chris,” he wrote (https://twitter.com/iamdoncheadle/status/688778401151234048) . “Come check me out at #TheOscars this year. They got me parking cars on G level.”

The tweet went viral. “That’s why Twitter’s dangerous,” Mr. Cheadle said. “It was just me sitting in a room and tweeting it, and the next thing you know, people have seized on it, and it’s on CNN.”

“Chris did a great job at the Oscars,” he continued. “But I think he could have broadened his diversity scope a bit, instead of just making it black and white, because that’s not what it was about to me.”

The next two months are busy for Mr. Cheadle. “House of Lies” returns for a fifth season beginning April 10. The relationship between his character and Ms. Bell’s is one of TV’s most enchantingly dysfunctional. “It’s a dark Ping-Pong match between the two of us,” Ms. Bell said by phone. “But we love it. He is truly one of my favorite people currently residing on the planet.”

In May, he’ll reprise his role as War Machine in “Captain America: Civil War,” a film that he’s loath to talk about, following the Marvel studio’s directives. “I’m shadowed wherever I go,” he said. “If I start to talk, I see red dots on my chest.”

As for “Miles Ahead,” he hopes that the film will let audiences see Davis in all of his complexity. “He was very sensitive, and he kind of created this persona to protect himself,” Mr. Cheadle said. Then, recalling what a Davis bandmate noted, he added: “This is the guy who you think is the coolest dude in the world, and he talks about not knowing if it was cooler to tap his whole foot, or to tap his foot inside of his shoe. Tony Williams said he used to throw up before every performance they had, and not because he was high.”

A version of this article appears in print on March 27, 2016, on page AR13 of the New York edition with the headline: Becoming the Man With the Horn. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2016%2F03%2F27%2Fmovies%2Fdon-cheadle-on-becoming-miles-davis.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1271&title=Don+Cheadle+on+Becoming+Miles+Davis&publicationDate=March+23%2C+2016&author=By%20Robert%20Ito) | Today’s Paper (http://www.nytimes.com/pages/todayspaper/index.html) |Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY)

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Don Cheadle on Becoming Miles Davis – The New York Times

http://www.jazzpromoservices.com/

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http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5

** Don Cheadle on Becoming Miles Davis
————————————————————

By ROBERT ITOMARCH 23, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-1) Share This Page
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Photo
Don Cheadle directed and stars in “Miles Ahead” as the jazz trumpeter Miles Davis, a project he had been involved in for years.CreditElizabeth Weinberg for The New York Times

BEVERLY HILLS, Calif. — Don Cheadle was not looking to play Miles Davis (http://movies.nytimes.com/person/720031/Miles-Davis?inline=nyt-per) . He had done biopics before, starring as Sammy Davis Jr. in “The Rat Pack” (1998), which earned him a Golden Globe (http://topics.nytimes.com/top/reference/timestopics/subjects/g/golden_globes_awards/index.html?inline=nyt-classifier) , and as the hotelier and accidental humanitarian Paul Rusesabagina in the 2004 film “Hotel Rwanda,” for which he received an Academy Award nomination. Mr. Cheadle had played the street hoops star Earl Manigault, a.k.a. the Goat, in “Rebound” and the radio D.J. Petey Greene in “Talk to Me”.

Such Hollywood biographies were, he learned, approximations at best. “I sat next to Paul Rusesabagina (http://hrrfoundation.org/) during ‘Hotel Rwanda,’ and I’d look over at him and go, was it like that?” Mr. Cheadle said. “And he’d be like: ‘No, not really. But it’s close.’”

This weekend Mr. Cheadle arrives in “Miles Ahead (https://www.youtube.com/watch?v=vvywqj_C1sM) ,” a decidedly nonbiopic-like film about the towering jazz trumpeter and composer. Far from the typical linear film narrative, in which a great jazz voice is inevitably brought down, often for good, by drink or drugs (think “Bird,” “’Round Midnight,” “Let’s Get Lost” or “Lady Sings the Blues”), “Miles Ahead” focuses on a period in the late 1970s when Davis wasn’t performing at all. “I loved the incongruity,” Mr. Cheadle said. “The Miles ‘play what’s not there’ idea of it.”

Since its premiere at the New York Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_film_festival/index.html?inline=nyt-classifier) in October, the movie has earned praise for its unconventional portrait of the influential musician. David Rooney of The Hollywood Reporter called (http://www.hollywoodreporter.com/review/don-cheadles-miles-davis-biopic-831212) it “an adventurous, music-saturated depiction of one of the genre’s undisputed greats,” while A. O. Scott of The New York Times wrote (http://www.nytimes.com/2015/10/07/movies/new-york-film-festival-offers-quiet-treasures-and-a-little-jazz.html) that “anyone who wants to get a jump on possible Oscar nominees for 2017” should see the film.

Earlier this month, Mr. Cheadle was at the Four Seasons here explaining how he got roped into not only playing Miles Davis but also directing the film and writing the screenplay with Steven Baigelman. Dressed in black jeans and a black T-shirt, Mr. Cheadle rode up on his motorcycle and later ordered a bowl of plain oatmeal (“I’m pre-prediabetic,” he explained). He spent much of the time recounting funny stories about the trumpeter in his best Miles Davis rasp, geeking out about great jazz albums he listened to as a kid (Davis’s classic “Kind of Blue,” “Julian Cannonball Adderley and Strings”), and singing beloved bass lines from Herbie Hancock’s 1973 album “Head Hunters.”
Photo
Mr. Cheadle as Miles Davis in “Miles Ahead,” which takes place in the late 1970s.CreditBrian Douglas/Sony Pictures Classics

Mr. Cheadle’s involvement in the film started with a single bold pronouncement from someone he didn’t even know. After Davis, who died in 1991, was inducted in the Rock and Roll Hall of Fame (https://rockhall.com/inductees/miles-davis/) in 2006, Mr. Cheadle recalled, Vince Wilburn, Davis’s nephew, was asked “if they were ever going to do a movie about his life. And he said: ‘Yeah. And Don Cheadle’s going to play him.’”

This was all news to Mr. Cheadle, but calls were made and he found himself slowly drawn into the project. He read a few scripts and hated all of them. He asked himself: What sort of movie would Davis himself want to be in? Here’s someone whose outsized love for expensive cars, guns, women and cocaine was the stuff of American music lore, a man who attained rock-star status playing jazz trumpet. “If you make a movie about Miles Davis, it’s got to be gangster, it’s got to be a heist movie, it’s got to be crazy,” Mr. Cheadle said. “It’s got to be as creative and varied and visceral as all of his music is.”

No such screenplay existed, so Mr. Cheadle set about helping to write one, with Mr. Baigelman. To prepare for the role, he mastered Davis’s customary whisper and watched a lot of film of him at work and play. Although Mr. Cheadle had never directed a feature before, he had a clear vision of what he wanted.
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-2)

** Diversions (http://www.nytimes.com/spotlight/diversions)
————————————————————

** A break from the day’s grimmer news.
————————————————————
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** Better Than Pot Brownies, by a James Beard Award-Winning Chef MAR 24 (http://www.nytimes.com/2016/03/24/t-magazine/marijuana-chocolate-candy-mindy-segal.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** 36 Hours in Hong Kong MAR 24 (http://www.nytimes.com/interactive/2016/03/24/travel/what-to-do-36-hours-in-hong-kong.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** California Grapes That Flourish in Splendid Isolation MAR 24 (http://www.nytimes.com/2016/03/30/dining/wine-mendocino-county-alder-springs-vineyard.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** In California Desert, Father and Daughter Find the Sublime MAR 24 (http://www.nytimes.com/2016/03/27/travel/camping-southern-california-desert.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** Gordon Parks’s “Segregation Story” MAR 24 (http://www.nytimes.com/slideshow/2016/03/24/t-magazine/gordon-parkss-segregation-story.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————

See More » (http://www.nytimes.com/spotlight/diversions)

“But once it was time to do the work, he lets you fly on your own, which was so freeing,” said Emayatzy Corinealdi, who plays Davis’s first wife, Frances Taylor. “It was very close to how Miles was with his bandmates. He didn’t like people to rehearse; he wanted things to be pure and on the spot. And that’s really how Don worked.”

At times, he even directed as Miles. “It wasn’t like, ‘Don’t anybody call me Don,’” Mr. Cheadle recalled wryly. “‘I’m Miles all day today.’ I just wanted to stay as close to the character as I could.”

That closeness extended to the musical numbers. Mr. Cheadle, who played alto saxophone in high school, learned to play the trumpet with help from the Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning Wynton Marsalis, an old friend.

Kristen Bell, Mr. Cheadle’s co-star on “House of Lies,” the Showtime comedy about management consultants, noted that he had been working on this project since they first met six years ago. “I’ve watched my friend go back to his trailer between almost every shooting scene and practice that trumpet,” she said.

Ewan McGregor plays a scoop-seeking journalist looking to interview the reclusive musician. Speaking at the Berlin Film Festival, Mr. Cheadle said that “having a white actor in this film turned out to be a financial imperative,” a comment that generated headlines, not surprising during the season of #OscarsSoWhite.

“No one said specifically, ‘You must go hire this one actor to make this happen,’” he clarified in the interview. “I could have probably hired a major Japanese actor if I wanted to shoot the movie in Japan. But there was kind of a list of actors that would make the money go.”

So it wasn’t, like, I’ve got to hire Ewan McGregor?

“Yeah, right, like that’s a bad thing,” Mr. Cheadle said with a laugh.

Mr. Cheadle also generated headlines with an offhand tweet he sent to Chris Rock before the comedian hosted the Oscars in February. “Yo, Chris,” he wrote (https://twitter.com/iamdoncheadle/status/688778401151234048) . “Come check me out at #TheOscars this year. They got me parking cars on G level.”

The tweet went viral. “That’s why Twitter’s dangerous,” Mr. Cheadle said. “It was just me sitting in a room and tweeting it, and the next thing you know, people have seized on it, and it’s on CNN.”

“Chris did a great job at the Oscars,” he continued. “But I think he could have broadened his diversity scope a bit, instead of just making it black and white, because that’s not what it was about to me.”

The next two months are busy for Mr. Cheadle. “House of Lies” returns for a fifth season beginning April 10. The relationship between his character and Ms. Bell’s is one of TV’s most enchantingly dysfunctional. “It’s a dark Ping-Pong match between the two of us,” Ms. Bell said by phone. “But we love it. He is truly one of my favorite people currently residing on the planet.”

In May, he’ll reprise his role as War Machine in “Captain America: Civil War,” a film that he’s loath to talk about, following the Marvel studio’s directives. “I’m shadowed wherever I go,” he said. “If I start to talk, I see red dots on my chest.”

As for “Miles Ahead,” he hopes that the film will let audiences see Davis in all of his complexity. “He was very sensitive, and he kind of created this persona to protect himself,” Mr. Cheadle said. Then, recalling what a Davis bandmate noted, he added: “This is the guy who you think is the coolest dude in the world, and he talks about not knowing if it was cooler to tap his whole foot, or to tap his foot inside of his shoe. Tony Williams said he used to throw up before every performance they had, and not because he was high.”

A version of this article appears in print on March 27, 2016, on page AR13 of the New York edition with the headline: Becoming the Man With the Horn. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2016%2F03%2F27%2Fmovies%2Fdon-cheadle-on-becoming-miles-davis.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1271&title=Don+Cheadle+on+Becoming+Miles+Davis&publicationDate=March+23%2C+2016&author=By%20Robert%20Ito) | Today’s Paper (http://www.nytimes.com/pages/todayspaper/index.html) |Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY)

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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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Warwick, Ny 10990
USA

Don Cheadle on Becoming Miles Davis – The New York Times

http://www.jazzpromoservices.com/

**
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http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5

** Don Cheadle on Becoming Miles Davis
————————————————————

By ROBERT ITOMARCH 23, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-1) Share This Page
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Photo
Don Cheadle directed and stars in “Miles Ahead” as the jazz trumpeter Miles Davis, a project he had been involved in for years.CreditElizabeth Weinberg for The New York Times

BEVERLY HILLS, Calif. — Don Cheadle was not looking to play Miles Davis (http://movies.nytimes.com/person/720031/Miles-Davis?inline=nyt-per) . He had done biopics before, starring as Sammy Davis Jr. in “The Rat Pack” (1998), which earned him a Golden Globe (http://topics.nytimes.com/top/reference/timestopics/subjects/g/golden_globes_awards/index.html?inline=nyt-classifier) , and as the hotelier and accidental humanitarian Paul Rusesabagina in the 2004 film “Hotel Rwanda,” for which he received an Academy Award nomination. Mr. Cheadle had played the street hoops star Earl Manigault, a.k.a. the Goat, in “Rebound” and the radio D.J. Petey Greene in “Talk to Me”.

Such Hollywood biographies were, he learned, approximations at best. “I sat next to Paul Rusesabagina (http://hrrfoundation.org/) during ‘Hotel Rwanda,’ and I’d look over at him and go, was it like that?” Mr. Cheadle said. “And he’d be like: ‘No, not really. But it’s close.’”

This weekend Mr. Cheadle arrives in “Miles Ahead (https://www.youtube.com/watch?v=vvywqj_C1sM) ,” a decidedly nonbiopic-like film about the towering jazz trumpeter and composer. Far from the typical linear film narrative, in which a great jazz voice is inevitably brought down, often for good, by drink or drugs (think “Bird,” “’Round Midnight,” “Let’s Get Lost” or “Lady Sings the Blues”), “Miles Ahead” focuses on a period in the late 1970s when Davis wasn’t performing at all. “I loved the incongruity,” Mr. Cheadle said. “The Miles ‘play what’s not there’ idea of it.”

Since its premiere at the New York Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_film_festival/index.html?inline=nyt-classifier) in October, the movie has earned praise for its unconventional portrait of the influential musician. David Rooney of The Hollywood Reporter called (http://www.hollywoodreporter.com/review/don-cheadles-miles-davis-biopic-831212) it “an adventurous, music-saturated depiction of one of the genre’s undisputed greats,” while A. O. Scott of The New York Times wrote (http://www.nytimes.com/2015/10/07/movies/new-york-film-festival-offers-quiet-treasures-and-a-little-jazz.html) that “anyone who wants to get a jump on possible Oscar nominees for 2017” should see the film.

Earlier this month, Mr. Cheadle was at the Four Seasons here explaining how he got roped into not only playing Miles Davis but also directing the film and writing the screenplay with Steven Baigelman. Dressed in black jeans and a black T-shirt, Mr. Cheadle rode up on his motorcycle and later ordered a bowl of plain oatmeal (“I’m pre-prediabetic,” he explained). He spent much of the time recounting funny stories about the trumpeter in his best Miles Davis rasp, geeking out about great jazz albums he listened to as a kid (Davis’s classic “Kind of Blue,” “Julian Cannonball Adderley and Strings”), and singing beloved bass lines from Herbie Hancock’s 1973 album “Head Hunters.”
Photo
Mr. Cheadle as Miles Davis in “Miles Ahead,” which takes place in the late 1970s.CreditBrian Douglas/Sony Pictures Classics

Mr. Cheadle’s involvement in the film started with a single bold pronouncement from someone he didn’t even know. After Davis, who died in 1991, was inducted in the Rock and Roll Hall of Fame (https://rockhall.com/inductees/miles-davis/) in 2006, Mr. Cheadle recalled, Vince Wilburn, Davis’s nephew, was asked “if they were ever going to do a movie about his life. And he said: ‘Yeah. And Don Cheadle’s going to play him.’”

This was all news to Mr. Cheadle, but calls were made and he found himself slowly drawn into the project. He read a few scripts and hated all of them. He asked himself: What sort of movie would Davis himself want to be in? Here’s someone whose outsized love for expensive cars, guns, women and cocaine was the stuff of American music lore, a man who attained rock-star status playing jazz trumpet. “If you make a movie about Miles Davis, it’s got to be gangster, it’s got to be a heist movie, it’s got to be crazy,” Mr. Cheadle said. “It’s got to be as creative and varied and visceral as all of his music is.”

No such screenplay existed, so Mr. Cheadle set about helping to write one, with Mr. Baigelman. To prepare for the role, he mastered Davis’s customary whisper and watched a lot of film of him at work and play. Although Mr. Cheadle had never directed a feature before, he had a clear vision of what he wanted.
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-2)

** Diversions (http://www.nytimes.com/spotlight/diversions)
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** A break from the day’s grimmer news.
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** Better Than Pot Brownies, by a James Beard Award-Winning Chef MAR 24 (http://www.nytimes.com/2016/03/24/t-magazine/marijuana-chocolate-candy-mindy-segal.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** 36 Hours in Hong Kong MAR 24 (http://www.nytimes.com/interactive/2016/03/24/travel/what-to-do-36-hours-in-hong-kong.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** California Grapes That Flourish in Splendid Isolation MAR 24 (http://www.nytimes.com/2016/03/30/dining/wine-mendocino-county-alder-springs-vineyard.html?rref=collection%2Fspotlightcollection%2FDiversions)
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** In California Desert, Father and Daughter Find the Sublime MAR 24 (http://www.nytimes.com/2016/03/27/travel/camping-southern-california-desert.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** Gordon Parks’s “Segregation Story” MAR 24 (http://www.nytimes.com/slideshow/2016/03/24/t-magazine/gordon-parkss-segregation-story.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————

See More » (http://www.nytimes.com/spotlight/diversions)

“But once it was time to do the work, he lets you fly on your own, which was so freeing,” said Emayatzy Corinealdi, who plays Davis’s first wife, Frances Taylor. “It was very close to how Miles was with his bandmates. He didn’t like people to rehearse; he wanted things to be pure and on the spot. And that’s really how Don worked.”

At times, he even directed as Miles. “It wasn’t like, ‘Don’t anybody call me Don,’” Mr. Cheadle recalled wryly. “‘I’m Miles all day today.’ I just wanted to stay as close to the character as I could.”

That closeness extended to the musical numbers. Mr. Cheadle, who played alto saxophone in high school, learned to play the trumpet with help from the Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning Wynton Marsalis, an old friend.

Kristen Bell, Mr. Cheadle’s co-star on “House of Lies,” the Showtime comedy about management consultants, noted that he had been working on this project since they first met six years ago. “I’ve watched my friend go back to his trailer between almost every shooting scene and practice that trumpet,” she said.

Ewan McGregor plays a scoop-seeking journalist looking to interview the reclusive musician. Speaking at the Berlin Film Festival, Mr. Cheadle said that “having a white actor in this film turned out to be a financial imperative,” a comment that generated headlines, not surprising during the season of #OscarsSoWhite.

“No one said specifically, ‘You must go hire this one actor to make this happen,’” he clarified in the interview. “I could have probably hired a major Japanese actor if I wanted to shoot the movie in Japan. But there was kind of a list of actors that would make the money go.”

So it wasn’t, like, I’ve got to hire Ewan McGregor?

“Yeah, right, like that’s a bad thing,” Mr. Cheadle said with a laugh.

Mr. Cheadle also generated headlines with an offhand tweet he sent to Chris Rock before the comedian hosted the Oscars in February. “Yo, Chris,” he wrote (https://twitter.com/iamdoncheadle/status/688778401151234048) . “Come check me out at #TheOscars this year. They got me parking cars on G level.”

The tweet went viral. “That’s why Twitter’s dangerous,” Mr. Cheadle said. “It was just me sitting in a room and tweeting it, and the next thing you know, people have seized on it, and it’s on CNN.”

“Chris did a great job at the Oscars,” he continued. “But I think he could have broadened his diversity scope a bit, instead of just making it black and white, because that’s not what it was about to me.”

The next two months are busy for Mr. Cheadle. “House of Lies” returns for a fifth season beginning April 10. The relationship between his character and Ms. Bell’s is one of TV’s most enchantingly dysfunctional. “It’s a dark Ping-Pong match between the two of us,” Ms. Bell said by phone. “But we love it. He is truly one of my favorite people currently residing on the planet.”

In May, he’ll reprise his role as War Machine in “Captain America: Civil War,” a film that he’s loath to talk about, following the Marvel studio’s directives. “I’m shadowed wherever I go,” he said. “If I start to talk, I see red dots on my chest.”

As for “Miles Ahead,” he hopes that the film will let audiences see Davis in all of his complexity. “He was very sensitive, and he kind of created this persona to protect himself,” Mr. Cheadle said. Then, recalling what a Davis bandmate noted, he added: “This is the guy who you think is the coolest dude in the world, and he talks about not knowing if it was cooler to tap his whole foot, or to tap his foot inside of his shoe. Tony Williams said he used to throw up before every performance they had, and not because he was high.”

A version of this article appears in print on March 27, 2016, on page AR13 of the New York edition with the headline: Becoming the Man With the Horn. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2016%2F03%2F27%2Fmovies%2Fdon-cheadle-on-becoming-miles-davis.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1271&title=Don+Cheadle+on+Becoming+Miles+Davis&publicationDate=March+23%2C+2016&author=By%20Robert%20Ito) | Today’s Paper (http://www.nytimes.com/pages/todayspaper/index.html) |Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY)

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Don Cheadle on Becoming Miles Davis – The New York Times

http://www.jazzpromoservices.com/

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http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5

** Don Cheadle on Becoming Miles Davis
————————————————————

By ROBERT ITOMARCH 23, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-1) Share This Page
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Photo
Don Cheadle directed and stars in “Miles Ahead” as the jazz trumpeter Miles Davis, a project he had been involved in for years.CreditElizabeth Weinberg for The New York Times

BEVERLY HILLS, Calif. — Don Cheadle was not looking to play Miles Davis (http://movies.nytimes.com/person/720031/Miles-Davis?inline=nyt-per) . He had done biopics before, starring as Sammy Davis Jr. in “The Rat Pack” (1998), which earned him a Golden Globe (http://topics.nytimes.com/top/reference/timestopics/subjects/g/golden_globes_awards/index.html?inline=nyt-classifier) , and as the hotelier and accidental humanitarian Paul Rusesabagina in the 2004 film “Hotel Rwanda,” for which he received an Academy Award nomination. Mr. Cheadle had played the street hoops star Earl Manigault, a.k.a. the Goat, in “Rebound” and the radio D.J. Petey Greene in “Talk to Me”.

Such Hollywood biographies were, he learned, approximations at best. “I sat next to Paul Rusesabagina (http://hrrfoundation.org/) during ‘Hotel Rwanda,’ and I’d look over at him and go, was it like that?” Mr. Cheadle said. “And he’d be like: ‘No, not really. But it’s close.’”

This weekend Mr. Cheadle arrives in “Miles Ahead (https://www.youtube.com/watch?v=vvywqj_C1sM) ,” a decidedly nonbiopic-like film about the towering jazz trumpeter and composer. Far from the typical linear film narrative, in which a great jazz voice is inevitably brought down, often for good, by drink or drugs (think “Bird,” “’Round Midnight,” “Let’s Get Lost” or “Lady Sings the Blues”), “Miles Ahead” focuses on a period in the late 1970s when Davis wasn’t performing at all. “I loved the incongruity,” Mr. Cheadle said. “The Miles ‘play what’s not there’ idea of it.”

Since its premiere at the New York Film Festival (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_film_festival/index.html?inline=nyt-classifier) in October, the movie has earned praise for its unconventional portrait of the influential musician. David Rooney of The Hollywood Reporter called (http://www.hollywoodreporter.com/review/don-cheadles-miles-davis-biopic-831212) it “an adventurous, music-saturated depiction of one of the genre’s undisputed greats,” while A. O. Scott of The New York Times wrote (http://www.nytimes.com/2015/10/07/movies/new-york-film-festival-offers-quiet-treasures-and-a-little-jazz.html) that “anyone who wants to get a jump on possible Oscar nominees for 2017” should see the film.

Earlier this month, Mr. Cheadle was at the Four Seasons here explaining how he got roped into not only playing Miles Davis but also directing the film and writing the screenplay with Steven Baigelman. Dressed in black jeans and a black T-shirt, Mr. Cheadle rode up on his motorcycle and later ordered a bowl of plain oatmeal (“I’m pre-prediabetic,” he explained). He spent much of the time recounting funny stories about the trumpeter in his best Miles Davis rasp, geeking out about great jazz albums he listened to as a kid (Davis’s classic “Kind of Blue,” “Julian Cannonball Adderley and Strings”), and singing beloved bass lines from Herbie Hancock’s 1973 album “Head Hunters.”
Photo
Mr. Cheadle as Miles Davis in “Miles Ahead,” which takes place in the late 1970s.CreditBrian Douglas/Sony Pictures Classics

Mr. Cheadle’s involvement in the film started with a single bold pronouncement from someone he didn’t even know. After Davis, who died in 1991, was inducted in the Rock and Roll Hall of Fame (https://rockhall.com/inductees/miles-davis/) in 2006, Mr. Cheadle recalled, Vince Wilburn, Davis’s nephew, was asked “if they were ever going to do a movie about his life. And he said: ‘Yeah. And Don Cheadle’s going to play him.’”

This was all news to Mr. Cheadle, but calls were made and he found himself slowly drawn into the project. He read a few scripts and hated all of them. He asked himself: What sort of movie would Davis himself want to be in? Here’s someone whose outsized love for expensive cars, guns, women and cocaine was the stuff of American music lore, a man who attained rock-star status playing jazz trumpet. “If you make a movie about Miles Davis, it’s got to be gangster, it’s got to be a heist movie, it’s got to be crazy,” Mr. Cheadle said. “It’s got to be as creative and varied and visceral as all of his music is.”

No such screenplay existed, so Mr. Cheadle set about helping to write one, with Mr. Baigelman. To prepare for the role, he mastered Davis’s customary whisper and watched a lot of film of him at work and play. Although Mr. Cheadle had never directed a feature before, he had a clear vision of what he wanted.
Continue reading the main story (http://www.nytimes.com/2016/03/27/movies/don-cheadle-on-becoming-miles-davis.html?ribbon-ad-idx=5&rref=arts/music&module=Ribbon&version=context&region=Header&action=click&contentCollection=Music&pgtype=article#story-continues-2)

** Diversions (http://www.nytimes.com/spotlight/diversions)
————————————————————

** A break from the day’s grimmer news.
————————————————————
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** Better Than Pot Brownies, by a James Beard Award-Winning Chef MAR 24 (http://www.nytimes.com/2016/03/24/t-magazine/marijuana-chocolate-candy-mindy-segal.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** 36 Hours in Hong Kong MAR 24 (http://www.nytimes.com/interactive/2016/03/24/travel/what-to-do-36-hours-in-hong-kong.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** California Grapes That Flourish in Splendid Isolation MAR 24 (http://www.nytimes.com/2016/03/30/dining/wine-mendocino-county-alder-springs-vineyard.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** In California Desert, Father and Daughter Find the Sublime MAR 24 (http://www.nytimes.com/2016/03/27/travel/camping-southern-california-desert.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————
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** Gordon Parks’s “Segregation Story” MAR 24 (http://www.nytimes.com/slideshow/2016/03/24/t-magazine/gordon-parkss-segregation-story.html?rref=collection%2Fspotlightcollection%2FDiversions)
————————————————————

See More » (http://www.nytimes.com/spotlight/diversions)

“But once it was time to do the work, he lets you fly on your own, which was so freeing,” said Emayatzy Corinealdi, who plays Davis’s first wife, Frances Taylor. “It was very close to how Miles was with his bandmates. He didn’t like people to rehearse; he wanted things to be pure and on the spot. And that’s really how Don worked.”

At times, he even directed as Miles. “It wasn’t like, ‘Don’t anybody call me Don,’” Mr. Cheadle recalled wryly. “‘I’m Miles all day today.’ I just wanted to stay as close to the character as I could.”

That closeness extended to the musical numbers. Mr. Cheadle, who played alto saxophone in high school, learned to play the trumpet with help from the Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -winning Wynton Marsalis, an old friend.

Kristen Bell, Mr. Cheadle’s co-star on “House of Lies,” the Showtime comedy about management consultants, noted that he had been working on this project since they first met six years ago. “I’ve watched my friend go back to his trailer between almost every shooting scene and practice that trumpet,” she said.

Ewan McGregor plays a scoop-seeking journalist looking to interview the reclusive musician. Speaking at the Berlin Film Festival, Mr. Cheadle said that “having a white actor in this film turned out to be a financial imperative,” a comment that generated headlines, not surprising during the season of #OscarsSoWhite.

“No one said specifically, ‘You must go hire this one actor to make this happen,’” he clarified in the interview. “I could have probably hired a major Japanese actor if I wanted to shoot the movie in Japan. But there was kind of a list of actors that would make the money go.”

So it wasn’t, like, I’ve got to hire Ewan McGregor?

“Yeah, right, like that’s a bad thing,” Mr. Cheadle said with a laugh.

Mr. Cheadle also generated headlines with an offhand tweet he sent to Chris Rock before the comedian hosted the Oscars in February. “Yo, Chris,” he wrote (https://twitter.com/iamdoncheadle/status/688778401151234048) . “Come check me out at #TheOscars this year. They got me parking cars on G level.”

The tweet went viral. “That’s why Twitter’s dangerous,” Mr. Cheadle said. “It was just me sitting in a room and tweeting it, and the next thing you know, people have seized on it, and it’s on CNN.”

“Chris did a great job at the Oscars,” he continued. “But I think he could have broadened his diversity scope a bit, instead of just making it black and white, because that’s not what it was about to me.”

The next two months are busy for Mr. Cheadle. “House of Lies” returns for a fifth season beginning April 10. The relationship between his character and Ms. Bell’s is one of TV’s most enchantingly dysfunctional. “It’s a dark Ping-Pong match between the two of us,” Ms. Bell said by phone. “But we love it. He is truly one of my favorite people currently residing on the planet.”

In May, he’ll reprise his role as War Machine in “Captain America: Civil War,” a film that he’s loath to talk about, following the Marvel studio’s directives. “I’m shadowed wherever I go,” he said. “If I start to talk, I see red dots on my chest.”

As for “Miles Ahead,” he hopes that the film will let audiences see Davis in all of his complexity. “He was very sensitive, and he kind of created this persona to protect himself,” Mr. Cheadle said. Then, recalling what a Davis bandmate noted, he added: “This is the guy who you think is the coolest dude in the world, and he talks about not knowing if it was cooler to tap his whole foot, or to tap his foot inside of his shoe. Tony Williams said he used to throw up before every performance they had, and not because he was high.”

A version of this article appears in print on March 27, 2016, on page AR13 of the New York edition with the headline: Becoming the Man With the Horn. Order Reprints (https://s100.copyright.com/AppDispatchServlet?contentID=http%3A%2F%2Fwww.nytimes.com%2F2016%2F03%2F27%2Fmovies%2Fdon-cheadle-on-becoming-miles-davis.html&publisherName=The+New+York+Times&publication=nytimes.com&token=&orderBeanReset=true&postType=&wordCount=1271&title=Don+Cheadle+on+Becoming+Miles+Davis&publicationDate=March+23%2C+2016&author=By%20Robert%20Ito) | Today’s Paper (http://www.nytimes.com/pages/todayspaper/index.html) |Subscribe (http://www.nytimes.com/subscriptions/Multiproduct/lp839RF.html?campaignId=48JQY)

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http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

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Popcast: Jazz’s Takeover of Hallowed Museum Spaces – The New York Times

http://www.jazzpromoservices.com/

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http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324

** Popcast: Jazz’s Takeover of Hallowed Museum Spaces
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By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Mark Turner on saxophone and the pianist Vijay Iyer at the Met Bruer. Todd Heisler/The New York Times

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In the 1980s and 1990s, one of the big conversations around improvised music in New York was the institutionalization of it, particularly with regard to Jazz at Lincoln Center, which did it in the classical-music way: it defined what “jazz” meant, created a house ensemble and repertory, amassed a subscriber base, and put jazz in luxe theater spaces instead of clubs.

Right now we seem to be witnessing the institutionalization of improvised music in New York, part two. It’s not always jazz per se. It’s not always music per se. It’s broad and imaginative and interdisciplinary at the core.

On this week’s Popcast, Nate Chinen and I talk about the confluence of three excellent current series in New York institutions, built around contemporary jazz-related pianists: Vijay Iyer, Jason Moran and Cecil Taylor.

Mr. Iyer’s in the middle of a performance residency called “Relation” at the Met Breuer through the end of the month, where he’s playing daytime and evening sets with his usual groups, as well as collaborations with artists including the tabla player Nitin Mitta, the flutist Elena Pinderhughes, the singer Martha Redbone and the writer Teju Cole. Mr. Moran has programmed a series of solo and duo performances called “Artists Studio” in the newly reopened Veterans Room at the Park Avenue Armory, including the classical composer Louis Andriessen, the free-jazz drummer Milford Graves, and the video artists Ryan Trecartin and Lizzie Fitch. Mr. Taylor is the focus of a two-week exhibition at the Whitney Museum, “Open Plan,” about his life and work involving live performances, films, photography, poetry and ephemera. (The details are to be released by the museum early next week.)

Perhaps Mr. Taylor and his history is the best way to tie these three events together. He is often understood as a jazz musician, but that’s only part of the story. He has been performing in art museums since the 1960s, and there is a line of thinking about his work (as expressed by Mr. Iyer, among others) that it can only be properly understood as an interrelation of music, spoken poetry, and physical movement. The Whitney exhibition opens on April 15. If he can be defined, will it properly define him?

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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269 State Route 94 South
Warwick, Ny 10990
USA

Popcast: Jazz’s Takeover of Hallowed Museum Spaces – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324

** Popcast: Jazz’s Takeover of Hallowed Museum Spaces
————————————————————

By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Mark Turner on saxophone and the pianist Vijay Iyer at the Met Bruer. Todd Heisler/The New York Times

Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/03/25/arts/music/25popcast-pod/032516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)

In the 1980s and 1990s, one of the big conversations around improvised music in New York was the institutionalization of it, particularly with regard to Jazz at Lincoln Center, which did it in the classical-music way: it defined what “jazz” meant, created a house ensemble and repertory, amassed a subscriber base, and put jazz in luxe theater spaces instead of clubs.

Right now we seem to be witnessing the institutionalization of improvised music in New York, part two. It’s not always jazz per se. It’s not always music per se. It’s broad and imaginative and interdisciplinary at the core.

On this week’s Popcast, Nate Chinen and I talk about the confluence of three excellent current series in New York institutions, built around contemporary jazz-related pianists: Vijay Iyer, Jason Moran and Cecil Taylor.

Mr. Iyer’s in the middle of a performance residency called “Relation” at the Met Breuer through the end of the month, where he’s playing daytime and evening sets with his usual groups, as well as collaborations with artists including the tabla player Nitin Mitta, the flutist Elena Pinderhughes, the singer Martha Redbone and the writer Teju Cole. Mr. Moran has programmed a series of solo and duo performances called “Artists Studio” in the newly reopened Veterans Room at the Park Avenue Armory, including the classical composer Louis Andriessen, the free-jazz drummer Milford Graves, and the video artists Ryan Trecartin and Lizzie Fitch. Mr. Taylor is the focus of a two-week exhibition at the Whitney Museum, “Open Plan,” about his life and work involving live performances, films, photography, poetry and ephemera. (The details are to be released by the museum early next week.)

Perhaps Mr. Taylor and his history is the best way to tie these three events together. He is often understood as a jazz musician, but that’s only part of the story. He has been performing in art museums since the 1960s, and there is a line of thinking about his work (as expressed by Mr. Iyer, among others) that it can only be properly understood as an interrelation of music, spoken poetry, and physical movement. The Whitney exhibition opens on April 15. If he can be defined, will it properly define him?

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

Popcast: Jazz’s Takeover of Hallowed Museum Spaces – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324

** Popcast: Jazz’s Takeover of Hallowed Museum Spaces
————————————————————

By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Mark Turner on saxophone and the pianist Vijay Iyer at the Met Bruer. Todd Heisler/The New York Times

Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/03/25/arts/music/25popcast-pod/032516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)

In the 1980s and 1990s, one of the big conversations around improvised music in New York was the institutionalization of it, particularly with regard to Jazz at Lincoln Center, which did it in the classical-music way: it defined what “jazz” meant, created a house ensemble and repertory, amassed a subscriber base, and put jazz in luxe theater spaces instead of clubs.

Right now we seem to be witnessing the institutionalization of improvised music in New York, part two. It’s not always jazz per se. It’s not always music per se. It’s broad and imaginative and interdisciplinary at the core.

On this week’s Popcast, Nate Chinen and I talk about the confluence of three excellent current series in New York institutions, built around contemporary jazz-related pianists: Vijay Iyer, Jason Moran and Cecil Taylor.

Mr. Iyer’s in the middle of a performance residency called “Relation” at the Met Breuer through the end of the month, where he’s playing daytime and evening sets with his usual groups, as well as collaborations with artists including the tabla player Nitin Mitta, the flutist Elena Pinderhughes, the singer Martha Redbone and the writer Teju Cole. Mr. Moran has programmed a series of solo and duo performances called “Artists Studio” in the newly reopened Veterans Room at the Park Avenue Armory, including the classical composer Louis Andriessen, the free-jazz drummer Milford Graves, and the video artists Ryan Trecartin and Lizzie Fitch. Mr. Taylor is the focus of a two-week exhibition at the Whitney Museum, “Open Plan,” about his life and work involving live performances, films, photography, poetry and ephemera. (The details are to be released by the museum early next week.)

Perhaps Mr. Taylor and his history is the best way to tie these three events together. He is often understood as a jazz musician, but that’s only part of the story. He has been performing in art museums since the 1960s, and there is a line of thinking about his work (as expressed by Mr. Iyer, among others) that it can only be properly understood as an interrelation of music, spoken poetry, and physical movement. The Whitney exhibition opens on April 15. If he can be defined, will it properly define him?

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=277a77db1c) | 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=277a77db1c&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

Popcast: Jazz’s Takeover of Hallowed Museum Spaces – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324

** Popcast: Jazz’s Takeover of Hallowed Museum Spaces
————————————————————

By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Mark Turner on saxophone and the pianist Vijay Iyer at the Met Bruer. Todd Heisler/The New York Times

Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/03/25/arts/music/25popcast-pod/032516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)

In the 1980s and 1990s, one of the big conversations around improvised music in New York was the institutionalization of it, particularly with regard to Jazz at Lincoln Center, which did it in the classical-music way: it defined what “jazz” meant, created a house ensemble and repertory, amassed a subscriber base, and put jazz in luxe theater spaces instead of clubs.

Right now we seem to be witnessing the institutionalization of improvised music in New York, part two. It’s not always jazz per se. It’s not always music per se. It’s broad and imaginative and interdisciplinary at the core.

On this week’s Popcast, Nate Chinen and I talk about the confluence of three excellent current series in New York institutions, built around contemporary jazz-related pianists: Vijay Iyer, Jason Moran and Cecil Taylor.

Mr. Iyer’s in the middle of a performance residency called “Relation” at the Met Breuer through the end of the month, where he’s playing daytime and evening sets with his usual groups, as well as collaborations with artists including the tabla player Nitin Mitta, the flutist Elena Pinderhughes, the singer Martha Redbone and the writer Teju Cole. Mr. Moran has programmed a series of solo and duo performances called “Artists Studio” in the newly reopened Veterans Room at the Park Avenue Armory, including the classical composer Louis Andriessen, the free-jazz drummer Milford Graves, and the video artists Ryan Trecartin and Lizzie Fitch. Mr. Taylor is the focus of a two-week exhibition at the Whitney Museum, “Open Plan,” about his life and work involving live performances, films, photography, poetry and ephemera. (The details are to be released by the museum early next week.)

Perhaps Mr. Taylor and his history is the best way to tie these three events together. He is often understood as a jazz musician, but that’s only part of the story. He has been performing in art museums since the 1960s, and there is a line of thinking about his work (as expressed by Mr. Iyer, among others) that it can only be properly understood as an interrelation of music, spoken poetry, and physical movement. The Whitney exhibition opens on April 15. If he can be defined, will it properly define him?

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=277a77db1c) | 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=277a77db1c&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

Popcast: Jazz’s Takeover of Hallowed Museum Spaces – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324

** Popcast: Jazz’s Takeover of Hallowed Museum Spaces
————————————————————

By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/popcast-jazzs-takeover-of-hallowed-museum-spaces.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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Mark Turner on saxophone and the pianist Vijay Iyer at the Met Bruer. Todd Heisler/The New York Times

Listen to this week’s podcast (http://podcasts.nytimes.com/podcasts/2016/03/25/arts/music/25popcast-pod/032516popcast.mp3) | Subscribe: iTunes (https://itunes.apple.com/us/podcast/music-popcast/id120315823) | RSS (http://www.nytimes.com/services/xml/rss/nyt/podcasts/musicreview.xml) | Stitcher (http://www.stitcher.com/podcast/music-popcast) | Audioboom (https://audioboom.com/channel/musicpopcast)

In the 1980s and 1990s, one of the big conversations around improvised music in New York was the institutionalization of it, particularly with regard to Jazz at Lincoln Center, which did it in the classical-music way: it defined what “jazz” meant, created a house ensemble and repertory, amassed a subscriber base, and put jazz in luxe theater spaces instead of clubs.

Right now we seem to be witnessing the institutionalization of improvised music in New York, part two. It’s not always jazz per se. It’s not always music per se. It’s broad and imaginative and interdisciplinary at the core.

On this week’s Popcast, Nate Chinen and I talk about the confluence of three excellent current series in New York institutions, built around contemporary jazz-related pianists: Vijay Iyer, Jason Moran and Cecil Taylor.

Mr. Iyer’s in the middle of a performance residency called “Relation” at the Met Breuer through the end of the month, where he’s playing daytime and evening sets with his usual groups, as well as collaborations with artists including the tabla player Nitin Mitta, the flutist Elena Pinderhughes, the singer Martha Redbone and the writer Teju Cole. Mr. Moran has programmed a series of solo and duo performances called “Artists Studio” in the newly reopened Veterans Room at the Park Avenue Armory, including the classical composer Louis Andriessen, the free-jazz drummer Milford Graves, and the video artists Ryan Trecartin and Lizzie Fitch. Mr. Taylor is the focus of a two-week exhibition at the Whitney Museum, “Open Plan,” about his life and work involving live performances, films, photography, poetry and ephemera. (The details are to be released by the museum early next week.)

Perhaps Mr. Taylor and his history is the best way to tie these three events together. He is often understood as a jazz musician, but that’s only part of the story. He has been performing in art museums since the 1960s, and there is a line of thinking about his work (as expressed by Mr. Iyer, among others) that it can only be properly understood as an interrelation of music, spoken poetry, and physical movement. The Whitney exhibition opens on April 15. If he can be defined, will it properly define him?

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=277a77db1c) | 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=277a77db1c&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 Records Reissued, Thanks to Readers of The Times – The New York Times

http://www.jazzpromoservices.com/

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————————————————————
http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324

** Jazz Records Reissued, Thanks to Readers of The Times
————————————————————

By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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A couple of years ago, as part of its 75th anniversary celebration, Blue Note Records announced a series of 100 reissues on high-quality vinyl. This initiative was designed to help the label’s celebrated back catalog take advantage of the contemporary vinyl boom, but it also amounted to an in-house canon formation. Writing on The New York Times’s ArtsBeat blog, Larry Rohter scanned the release list and posed a question: Which jazz greats were left off the Blue Note 100? (http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/)

Mr. Rohter floated a few answers himself, lobbying for the tenor saxophonist and flutist Sam Rivers, and in particular his breakthrough 1964 debut, “Fuchsia Swing Song.” But the post also proved a rare instance when the cardinal rule of the Internet — “Don’t read the comments” — could not be said to apply. Dozens of readers chimed in, with feedback that was overwhelmingly earnest and informed. Don Was, the president of Blue Note, responded to many of the points directly.

Now a new batch of reissues (http://www.bluenote.com/vinylreissues.html) is due out on May 6, based on suggestions generated by the ArtsBeat post. “I considered every comment carefully and was really moved by the passionate and articulate responses,” Mr. Was wrote in an email. “Ultimately, we selected the five most egregious oversights and moved swiftly to rectify them.”

These five albums were all released during the early-to-mid-1960s, but they otherwise cover a fair stylistic range. “Fuchsia Swing Song” is the most restless of the bunch, a sterling example of postbop’s mid-60s experimental fringe. “The Thing to Do,” by the trumpeter Blue Mitchell — another object of Mr. Rohter’s advocacy — pursues a center-lane, hard-bop sound, with a 23-year-old Chick Corea on piano.

The other titles came from the commentariat and reflect the tastes of a connoisseur. “Blue and Sentimental” is a sensuous, evocative album by the tenor saxophonist Ike Quebec, who also worked as a talent scout for the label. (“Ike Quebec was a key figure at Blue Note,” wrote one commenter, R. L. from Kew Gardens, “and leaving his great album ‘Blue and Sentimental’ off the list is a travesty.”) And “Let ’Em Roll” is a characteristically soulful effort by the Hammond B-3 organist Big John Patton.
Continue reading the main story

Finally, “Portrait of Sheila” is the auspicious 1963 debut by Sheila Jordan, the first Blue Note album by a jazz singer (https://www.youtube.com/watch?v=ew4R_9frzq0) . “I’m surprised and honored,” Ms. Jordan, informed of the release, said by phone from upstate New York. “I thought that album was off the market.”

Now 87, and a National Endowment for the Arts Jazz Master, Ms. Jordan said she had often heard from younger vocalists that “Portrait of Sheila” was their introduction to her career and a source of inspiration. But she added that she was too self-critical to listen to her own recordings; she hasn’t heard the album, she estimated, since shortly after it was released.

“I guess maybe Blue Note will send me a copy,” she said, chuckling, “and maybe I’ll listen to it. Maybe.”

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

Jazz Records Reissued, Thanks to Readers of The Times – The New York Times

http://www.jazzpromoservices.com/

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————————————————————
http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324

** Jazz Records Reissued, Thanks to Readers of The Times
————————————————————

By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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A couple of years ago, as part of its 75th anniversary celebration, Blue Note Records announced a series of 100 reissues on high-quality vinyl. This initiative was designed to help the label’s celebrated back catalog take advantage of the contemporary vinyl boom, but it also amounted to an in-house canon formation. Writing on The New York Times’s ArtsBeat blog, Larry Rohter scanned the release list and posed a question: Which jazz greats were left off the Blue Note 100? (http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/)

Mr. Rohter floated a few answers himself, lobbying for the tenor saxophonist and flutist Sam Rivers, and in particular his breakthrough 1964 debut, “Fuchsia Swing Song.” But the post also proved a rare instance when the cardinal rule of the Internet — “Don’t read the comments” — could not be said to apply. Dozens of readers chimed in, with feedback that was overwhelmingly earnest and informed. Don Was, the president of Blue Note, responded to many of the points directly.

Now a new batch of reissues (http://www.bluenote.com/vinylreissues.html) is due out on May 6, based on suggestions generated by the ArtsBeat post. “I considered every comment carefully and was really moved by the passionate and articulate responses,” Mr. Was wrote in an email. “Ultimately, we selected the five most egregious oversights and moved swiftly to rectify them.”

These five albums were all released during the early-to-mid-1960s, but they otherwise cover a fair stylistic range. “Fuchsia Swing Song” is the most restless of the bunch, a sterling example of postbop’s mid-60s experimental fringe. “The Thing to Do,” by the trumpeter Blue Mitchell — another object of Mr. Rohter’s advocacy — pursues a center-lane, hard-bop sound, with a 23-year-old Chick Corea on piano.

The other titles came from the commentariat and reflect the tastes of a connoisseur. “Blue and Sentimental” is a sensuous, evocative album by the tenor saxophonist Ike Quebec, who also worked as a talent scout for the label. (“Ike Quebec was a key figure at Blue Note,” wrote one commenter, R. L. from Kew Gardens, “and leaving his great album ‘Blue and Sentimental’ off the list is a travesty.”) And “Let ’Em Roll” is a characteristically soulful effort by the Hammond B-3 organist Big John Patton.
Continue reading the main story

Finally, “Portrait of Sheila” is the auspicious 1963 debut by Sheila Jordan, the first Blue Note album by a jazz singer (https://www.youtube.com/watch?v=ew4R_9frzq0) . “I’m surprised and honored,” Ms. Jordan, informed of the release, said by phone from upstate New York. “I thought that album was off the market.”

Now 87, and a National Endowment for the Arts Jazz Master, Ms. Jordan said she had often heard from younger vocalists that “Portrait of Sheila” was their introduction to her career and a source of inspiration. But she added that she was too self-critical to listen to her own recordings; she hasn’t heard the album, she estimated, since shortly after it was released.

“I guess maybe Blue Note will send me a copy,” she said, chuckling, “and maybe I’ll listen to it. Maybe.”

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=a2eec0ce81) | 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=a2eec0ce81&e=[UNIQID])

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Warwick, Ny 10990
USA

Jazz Records Reissued, Thanks to Readers of The Times – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324

** Jazz Records Reissued, Thanks to Readers of The Times
————————————————————

By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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A couple of years ago, as part of its 75th anniversary celebration, Blue Note Records announced a series of 100 reissues on high-quality vinyl. This initiative was designed to help the label’s celebrated back catalog take advantage of the contemporary vinyl boom, but it also amounted to an in-house canon formation. Writing on The New York Times’s ArtsBeat blog, Larry Rohter scanned the release list and posed a question: Which jazz greats were left off the Blue Note 100? (http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/)

Mr. Rohter floated a few answers himself, lobbying for the tenor saxophonist and flutist Sam Rivers, and in particular his breakthrough 1964 debut, “Fuchsia Swing Song.” But the post also proved a rare instance when the cardinal rule of the Internet — “Don’t read the comments” — could not be said to apply. Dozens of readers chimed in, with feedback that was overwhelmingly earnest and informed. Don Was, the president of Blue Note, responded to many of the points directly.

Now a new batch of reissues (http://www.bluenote.com/vinylreissues.html) is due out on May 6, based on suggestions generated by the ArtsBeat post. “I considered every comment carefully and was really moved by the passionate and articulate responses,” Mr. Was wrote in an email. “Ultimately, we selected the five most egregious oversights and moved swiftly to rectify them.”

These five albums were all released during the early-to-mid-1960s, but they otherwise cover a fair stylistic range. “Fuchsia Swing Song” is the most restless of the bunch, a sterling example of postbop’s mid-60s experimental fringe. “The Thing to Do,” by the trumpeter Blue Mitchell — another object of Mr. Rohter’s advocacy — pursues a center-lane, hard-bop sound, with a 23-year-old Chick Corea on piano.

The other titles came from the commentariat and reflect the tastes of a connoisseur. “Blue and Sentimental” is a sensuous, evocative album by the tenor saxophonist Ike Quebec, who also worked as a talent scout for the label. (“Ike Quebec was a key figure at Blue Note,” wrote one commenter, R. L. from Kew Gardens, “and leaving his great album ‘Blue and Sentimental’ off the list is a travesty.”) And “Let ’Em Roll” is a characteristically soulful effort by the Hammond B-3 organist Big John Patton.
Continue reading the main story

Finally, “Portrait of Sheila” is the auspicious 1963 debut by Sheila Jordan, the first Blue Note album by a jazz singer (https://www.youtube.com/watch?v=ew4R_9frzq0) . “I’m surprised and honored,” Ms. Jordan, informed of the release, said by phone from upstate New York. “I thought that album was off the market.”

Now 87, and a National Endowment for the Arts Jazz Master, Ms. Jordan said she had often heard from younger vocalists that “Portrait of Sheila” was their introduction to her career and a source of inspiration. But she added that she was too self-critical to listen to her own recordings; she hasn’t heard the album, she estimated, since shortly after it was released.

“I guess maybe Blue Note will send me a copy,” she said, chuckling, “and maybe I’ll listen to it. Maybe.”

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=a2eec0ce81) | 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=a2eec0ce81&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 Records Reissued, Thanks to Readers of The Times – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324

** Jazz Records Reissued, Thanks to Readers of The Times
————————————————————

By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
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*
*
*

A couple of years ago, as part of its 75th anniversary celebration, Blue Note Records announced a series of 100 reissues on high-quality vinyl. This initiative was designed to help the label’s celebrated back catalog take advantage of the contemporary vinyl boom, but it also amounted to an in-house canon formation. Writing on The New York Times’s ArtsBeat blog, Larry Rohter scanned the release list and posed a question: Which jazz greats were left off the Blue Note 100? (http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/)

Mr. Rohter floated a few answers himself, lobbying for the tenor saxophonist and flutist Sam Rivers, and in particular his breakthrough 1964 debut, “Fuchsia Swing Song.” But the post also proved a rare instance when the cardinal rule of the Internet — “Don’t read the comments” — could not be said to apply. Dozens of readers chimed in, with feedback that was overwhelmingly earnest and informed. Don Was, the president of Blue Note, responded to many of the points directly.

Now a new batch of reissues (http://www.bluenote.com/vinylreissues.html) is due out on May 6, based on suggestions generated by the ArtsBeat post. “I considered every comment carefully and was really moved by the passionate and articulate responses,” Mr. Was wrote in an email. “Ultimately, we selected the five most egregious oversights and moved swiftly to rectify them.”

These five albums were all released during the early-to-mid-1960s, but they otherwise cover a fair stylistic range. “Fuchsia Swing Song” is the most restless of the bunch, a sterling example of postbop’s mid-60s experimental fringe. “The Thing to Do,” by the trumpeter Blue Mitchell — another object of Mr. Rohter’s advocacy — pursues a center-lane, hard-bop sound, with a 23-year-old Chick Corea on piano.

The other titles came from the commentariat and reflect the tastes of a connoisseur. “Blue and Sentimental” is a sensuous, evocative album by the tenor saxophonist Ike Quebec, who also worked as a talent scout for the label. (“Ike Quebec was a key figure at Blue Note,” wrote one commenter, R. L. from Kew Gardens, “and leaving his great album ‘Blue and Sentimental’ off the list is a travesty.”) And “Let ’Em Roll” is a characteristically soulful effort by the Hammond B-3 organist Big John Patton.
Continue reading the main story

Finally, “Portrait of Sheila” is the auspicious 1963 debut by Sheila Jordan, the first Blue Note album by a jazz singer (https://www.youtube.com/watch?v=ew4R_9frzq0) . “I’m surprised and honored,” Ms. Jordan, informed of the release, said by phone from upstate New York. “I thought that album was off the market.”

Now 87, and a National Endowment for the Arts Jazz Master, Ms. Jordan said she had often heard from younger vocalists that “Portrait of Sheila” was their introduction to her career and a source of inspiration. But she added that she was too self-critical to listen to her own recordings; she hasn’t heard the album, she estimated, since shortly after it was released.

“I guess maybe Blue Note will send me a copy,” she said, chuckling, “and maybe I’ll listen to it. Maybe.”

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=a2eec0ce81) | 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=a2eec0ce81&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 Records Reissued, Thanks to Readers of The Times – The New York Times

http://www.jazzpromoservices.com/

**
————————————————————
http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324

** Jazz Records Reissued, Thanks to Readers of The Times
————————————————————

By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) MARCH 24, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/25/arts/music/jazz-records-reissued-thanks-to-readers-of-the-times.html?emc=edit_tnt_20160324&nlid=16833052&tntemail0=y#story-continues-1) Share This Page
*
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*
*
*
*

A couple of years ago, as part of its 75th anniversary celebration, Blue Note Records announced a series of 100 reissues on high-quality vinyl. This initiative was designed to help the label’s celebrated back catalog take advantage of the contemporary vinyl boom, but it also amounted to an in-house canon formation. Writing on The New York Times’s ArtsBeat blog, Larry Rohter scanned the release list and posed a question: Which jazz greats were left off the Blue Note 100? (http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/)

Mr. Rohter floated a few answers himself, lobbying for the tenor saxophonist and flutist Sam Rivers, and in particular his breakthrough 1964 debut, “Fuchsia Swing Song.” But the post also proved a rare instance when the cardinal rule of the Internet — “Don’t read the comments” — could not be said to apply. Dozens of readers chimed in, with feedback that was overwhelmingly earnest and informed. Don Was, the president of Blue Note, responded to many of the points directly.

Now a new batch of reissues (http://www.bluenote.com/vinylreissues.html) is due out on May 6, based on suggestions generated by the ArtsBeat post. “I considered every comment carefully and was really moved by the passionate and articulate responses,” Mr. Was wrote in an email. “Ultimately, we selected the five most egregious oversights and moved swiftly to rectify them.”

These five albums were all released during the early-to-mid-1960s, but they otherwise cover a fair stylistic range. “Fuchsia Swing Song” is the most restless of the bunch, a sterling example of postbop’s mid-60s experimental fringe. “The Thing to Do,” by the trumpeter Blue Mitchell — another object of Mr. Rohter’s advocacy — pursues a center-lane, hard-bop sound, with a 23-year-old Chick Corea on piano.

The other titles came from the commentariat and reflect the tastes of a connoisseur. “Blue and Sentimental” is a sensuous, evocative album by the tenor saxophonist Ike Quebec, who also worked as a talent scout for the label. (“Ike Quebec was a key figure at Blue Note,” wrote one commenter, R. L. from Kew Gardens, “and leaving his great album ‘Blue and Sentimental’ off the list is a travesty.”) And “Let ’Em Roll” is a characteristically soulful effort by the Hammond B-3 organist Big John Patton.
Continue reading the main story

Finally, “Portrait of Sheila” is the auspicious 1963 debut by Sheila Jordan, the first Blue Note album by a jazz singer (https://www.youtube.com/watch?v=ew4R_9frzq0) . “I’m surprised and honored,” Ms. Jordan, informed of the release, said by phone from upstate New York. “I thought that album was off the market.”

Now 87, and a National Endowment for the Arts Jazz Master, Ms. Jordan said she had often heard from younger vocalists that “Portrait of Sheila” was their introduction to her career and a source of inspiration. But she added that she was too self-critical to listen to her own recordings; she hasn’t heard the album, she estimated, since shortly after it was released.

“I guess maybe Blue Note will send me a copy,” she said, chuckling, “and maybe I’ll listen to it. Maybe.”

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=a2eec0ce81) | 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=a2eec0ce81&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

Critics At Large : That Old Feeling: Robert Budreau’s Born to Be Blue

http://www.jazzpromoservices.com/

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http://www.criticsatlarge.ca/2016/03/robert-budreau-born-blue-chet-baker.html?utm_source=feedburner

** That Old Feeling: Robert Budreau’s Born to Be Blue
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https://2.bp.blogspot.com/-XK_icSqi4OQ/VvLOg27dLUI/AAAAAAAAgRk/TN20Rhwk8LQrNYEa1wkAuWZPgYUwaaWvg/s1600/born-to-be-blue-chet-baker-ethan-hawke.jpg
Ethan Hawke as Chet Baker in Born to Be Blue.

Whenever a movie comes out about a musician I have high expectations. Will the movie fall into clichés about the troubled artist who’s abused by the wrong people? Or will we witness the story of a gifted individual who sins against his talent? One of the worst films for me was Sidney Furie’s Lady Sings the Blues, the overly melodramatic portrait of Billie Holiday that came out in 1972. One of the best was 2014’s Love & Mercy (http://www.criticsatlarge.ca/2015/07/salvation-love-mercy.html) , a beautifully rendered portrait of Brian Wilson. That picture not only captured Wilson’s talent as a composer, it also took the risk of embracing his mental health and how he was able to find creative relief in his music in spite of the voices he heard in his head.

The story of the troubled-yet-gifted jazz musician Chet Baker is nicely rendered in Robert Budreau’s movie Born to Be Blue, but it falls short of making the most important connection of Baker with his muse. Ethan Hawke, who plays the famous trumpeter, immerses himself into Baker’s troubled soul with complete abandon. Baker, a heroin addict to the end of his life (he died in 1988 at the age of 58), was one of the biggest stars in music during the mid-fifties with his James Dean look and his romantic music. To make his point, Budreau contrasts Baker’s career with two musicians from the New York jazz establishment, namely Miles Davis and Dizzy Gillespie, who believed Baker was too cute to be taken seriously in be-bop circles. To them a jazz musician “had to live” in order to be credible. The point is made, but the one-dimensional Miles and Dizzy characters seem like props rather than real people. Actor Kevin Hansard ingratiates Gillespie with humour while degrading Baker on his
“flat” singing style. Kedar Brown plays Davis with so much attitude that he left me cold. Miles was edgy and smug by most accounts, but he wasn’t always the prick of the hour.

For the first third of Born to Be Blue the director steers us in an interesting way by using the stylized black & white film (within the movie) to dramatize Baker’s early success and his first encounter with the drug that seduce him. But Budreau has a hard time focusing on why that period of time is important in understanding Baker’s present, as it were. Part of the issue has to do with Baker (Hawke) playing himself in the pseudo-drama along with his co-star Jane, played by Carmen Ejogo. But Baker’s drug-induced sense of reality is distorted, as the director of the pseudo film, played by Tony Nardi, winds up cancelling the production because Baker can’t kick his habit. Ironically Budreau actually drops the technique by the middle of the picture. At this critical point, Baker loses his front teeth to some dealers looking to collect from him. Baker now has to relearn the instrument and since he has no money, decides to visit his parents in Oklahoma begins his recovery. This
part of the story contains some redemptive qualities that humanize Baker, but it’s the weakest part of the writing as Baker is ostracized by his former musician father (played by Stephen McHattie) and his slightly over-bearing mother (played by Janet Laine-Green), who immediately embraces her son while shooting down his girlfriend Elaine, “You look like Jane, Chet’s first wife. I never liked Jane.” Fortunately Budreau doesn’t belabor the point, and Baker leaves the homestead after getting his chops back and heads back to California with Elaine. At this point, the movie became more engaging for me.

https://3.bp.blogspot.com/-zmCV_g5NZvU/VvLPFO0SczI/AAAAAAAAgRo/ZmbeLJqEdDMbvX-chEDGqdgYlQG4fwtJw/s1600/Born-To-Be-Blue-Ethan-Hawke-and-Carmen-Ejogo.jpg
Ethan Hawke and Carmen Ejogo in Born to Be Blue.

Hawke really steps up and finds the character’s inner life. But, even if you don’t know who Chet Baker is, the broken personality of an addict staggering forward is unpleasant to watch but Hawke’s nuanced performance succeeds. We see a gifted musician passive-aggressively manipulating the people around him into giving him a second chance. Baker gets that chance but has no willpower, and just as he returns to the New York stage to make his comeback, he self-injects heroin in the dressing room. While he makes beautiful music it’s at the expense of the people who love him. This is nicely rendered in the final scenes of the movie.

I really liked Hawke’s performance. We see a man trapped by his addiction and while he kicks the habit for a short time, his sense of loneliness and depression are too painful for him to endure so turning to heroin allows him to “experience love.”British actress Carmen Ejogo (Elaine) is equally strong in her performance in the movie because she brings out the humanity in Baker without the pity. Elaine, seduced by his charm and talent, loves him but she can’t save him. Ejogo has presence in every scene. Her character relies not only on her good looks, but also on her passion for being an artist in her own right. (Elaine is a struggling actress in the movie.)

Another strength of the picture is the music. Budreau hired some of Canada’s best musicians to play in the spirit of Chet Baker: Kevin Turcotte, in the all-important trumpet chair, and pianist David Braid, who arranged the music we hear in the film. Budreau also uses the music to advance the narrative with complete performances spread out over the 97-minute feature. Hawke sings in his own voice but mimics the valve movement on trumpet. Ben Promane of Toronto coached Hawke successfully because the actor is quite convincing during the instrumentals. (A soundtrack is scheduled for release in April.)

Born to Be Blue borrows heavily from Bruce Weber’s 1988 documentary Let’s Get Lost. Shot in black &white, Weber’s film combined interviews with Chet and his family with scenes from Baker’s life as a young and dashing star. That film, which is one of the best documentaries about a musician, holds nothing back in evaluating Baker’s artistry, with insights from fellow musician Jack Sheldon to the ruins of his addiction that left most of his family broken and distraught. By the end of the documentary Baker is a pathetic man who accepts some responsibility for his actions but has little remorse. In Born to Be Blue, Hawke plays Baker with just enough pathos to induce sympathy from the audience, a trait heard in every note ever played by Chet Baker.

http://4.bp.blogspot.com/-WtXhE9QmKaI/Up9VJTBN9nI/AAAAAAAAWKE/Ftdyw7cBko4/s1600/Corcelli.jpg
– John Corcelli (http://www.criticsatlarge.ca/search/label/John%20Corcelli) is a music critic, broadcast/producer, musician and member of the Festival Wind Orchestra. He’s just finished Frank Zappa FAQ: All That’s Left to Know About the Father of Invention (Backbeat Books) to be released in September.

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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Critics At Large : That Old Feeling: Robert Budreau’s Born to Be Blue

http://www.jazzpromoservices.com/

**
————————————————————
http://www.criticsatlarge.ca/2016/03/robert-budreau-born-blue-chet-baker.html?utm_source=feedburner

** That Old Feeling: Robert Budreau’s Born to Be Blue
————————————————————
https://2.bp.blogspot.com/-XK_icSqi4OQ/VvLOg27dLUI/AAAAAAAAgRk/TN20Rhwk8LQrNYEa1wkAuWZPgYUwaaWvg/s1600/born-to-be-blue-chet-baker-ethan-hawke.jpg
Ethan Hawke as Chet Baker in Born to Be Blue.

Whenever a movie comes out about a musician I have high expectations. Will the movie fall into clichés about the troubled artist who’s abused by the wrong people? Or will we witness the story of a gifted individual who sins against his talent? One of the worst films for me was Sidney Furie’s Lady Sings the Blues, the overly melodramatic portrait of Billie Holiday that came out in 1972. One of the best was 2014’s Love & Mercy (http://www.criticsatlarge.ca/2015/07/salvation-love-mercy.html) , a beautifully rendered portrait of Brian Wilson. That picture not only captured Wilson’s talent as a composer, it also took the risk of embracing his mental health and how he was able to find creative relief in his music in spite of the voices he heard in his head.

The story of the troubled-yet-gifted jazz musician Chet Baker is nicely rendered in Robert Budreau’s movie Born to Be Blue, but it falls short of making the most important connection of Baker with his muse. Ethan Hawke, who plays the famous trumpeter, immerses himself into Baker’s troubled soul with complete abandon. Baker, a heroin addict to the end of his life (he died in 1988 at the age of 58), was one of the biggest stars in music during the mid-fifties with his James Dean look and his romantic music. To make his point, Budreau contrasts Baker’s career with two musicians from the New York jazz establishment, namely Miles Davis and Dizzy Gillespie, who believed Baker was too cute to be taken seriously in be-bop circles. To them a jazz musician “had to live” in order to be credible. The point is made, but the one-dimensional Miles and Dizzy characters seem like props rather than real people. Actor Kevin Hansard ingratiates Gillespie with humour while degrading Baker on his
“flat” singing style. Kedar Brown plays Davis with so much attitude that he left me cold. Miles was edgy and smug by most accounts, but he wasn’t always the prick of the hour.

For the first third of Born to Be Blue the director steers us in an interesting way by using the stylized black & white film (within the movie) to dramatize Baker’s early success and his first encounter with the drug that seduce him. But Budreau has a hard time focusing on why that period of time is important in understanding Baker’s present, as it were. Part of the issue has to do with Baker (Hawke) playing himself in the pseudo-drama along with his co-star Jane, played by Carmen Ejogo. But Baker’s drug-induced sense of reality is distorted, as the director of the pseudo film, played by Tony Nardi, winds up cancelling the production because Baker can’t kick his habit. Ironically Budreau actually drops the technique by the middle of the picture. At this critical point, Baker loses his front teeth to some dealers looking to collect from him. Baker now has to relearn the instrument and since he has no money, decides to visit his parents in Oklahoma begins his recovery. This
part of the story contains some redemptive qualities that humanize Baker, but it’s the weakest part of the writing as Baker is ostracized by his former musician father (played by Stephen McHattie) and his slightly over-bearing mother (played by Janet Laine-Green), who immediately embraces her son while shooting down his girlfriend Elaine, “You look like Jane, Chet’s first wife. I never liked Jane.” Fortunately Budreau doesn’t belabor the point, and Baker leaves the homestead after getting his chops back and heads back to California with Elaine. At this point, the movie became more engaging for me.

https://3.bp.blogspot.com/-zmCV_g5NZvU/VvLPFO0SczI/AAAAAAAAgRo/ZmbeLJqEdDMbvX-chEDGqdgYlQG4fwtJw/s1600/Born-To-Be-Blue-Ethan-Hawke-and-Carmen-Ejogo.jpg
Ethan Hawke and Carmen Ejogo in Born to Be Blue.

Hawke really steps up and finds the character’s inner life. But, even if you don’t know who Chet Baker is, the broken personality of an addict staggering forward is unpleasant to watch but Hawke’s nuanced performance succeeds. We see a gifted musician passive-aggressively manipulating the people around him into giving him a second chance. Baker gets that chance but has no willpower, and just as he returns to the New York stage to make his comeback, he self-injects heroin in the dressing room. While he makes beautiful music it’s at the expense of the people who love him. This is nicely rendered in the final scenes of the movie.

I really liked Hawke’s performance. We see a man trapped by his addiction and while he kicks the habit for a short time, his sense of loneliness and depression are too painful for him to endure so turning to heroin allows him to “experience love.”British actress Carmen Ejogo (Elaine) is equally strong in her performance in the movie because she brings out the humanity in Baker without the pity. Elaine, seduced by his charm and talent, loves him but she can’t save him. Ejogo has presence in every scene. Her character relies not only on her good looks, but also on her passion for being an artist in her own right. (Elaine is a struggling actress in the movie.)

Another strength of the picture is the music. Budreau hired some of Canada’s best musicians to play in the spirit of Chet Baker: Kevin Turcotte, in the all-important trumpet chair, and pianist David Braid, who arranged the music we hear in the film. Budreau also uses the music to advance the narrative with complete performances spread out over the 97-minute feature. Hawke sings in his own voice but mimics the valve movement on trumpet. Ben Promane of Toronto coached Hawke successfully because the actor is quite convincing during the instrumentals. (A soundtrack is scheduled for release in April.)

Born to Be Blue borrows heavily from Bruce Weber’s 1988 documentary Let’s Get Lost. Shot in black &white, Weber’s film combined interviews with Chet and his family with scenes from Baker’s life as a young and dashing star. That film, which is one of the best documentaries about a musician, holds nothing back in evaluating Baker’s artistry, with insights from fellow musician Jack Sheldon to the ruins of his addiction that left most of his family broken and distraught. By the end of the documentary Baker is a pathetic man who accepts some responsibility for his actions but has little remorse. In Born to Be Blue, Hawke plays Baker with just enough pathos to induce sympathy from the audience, a trait heard in every note ever played by Chet Baker.

http://4.bp.blogspot.com/-WtXhE9QmKaI/Up9VJTBN9nI/AAAAAAAAWKE/Ftdyw7cBko4/s1600/Corcelli.jpg
– John Corcelli (http://www.criticsatlarge.ca/search/label/John%20Corcelli) is a music critic, broadcast/producer, musician and member of the Festival Wind Orchestra. He’s just finished Frank Zappa FAQ: All That’s Left to Know About the Father of Invention (Backbeat Books) to be released in September.

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=cebc06d314) | 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=cebc06d314&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

Critics At Large : That Old Feeling: Robert Budreau’s Born to Be Blue

http://www.jazzpromoservices.com/

**
————————————————————
http://www.criticsatlarge.ca/2016/03/robert-budreau-born-blue-chet-baker.html?utm_source=feedburner

** That Old Feeling: Robert Budreau’s Born to Be Blue
————————————————————
https://2.bp.blogspot.com/-XK_icSqi4OQ/VvLOg27dLUI/AAAAAAAAgRk/TN20Rhwk8LQrNYEa1wkAuWZPgYUwaaWvg/s1600/born-to-be-blue-chet-baker-ethan-hawke.jpg
Ethan Hawke as Chet Baker in Born to Be Blue.

Whenever a movie comes out about a musician I have high expectations. Will the movie fall into clichés about the troubled artist who’s abused by the wrong people? Or will we witness the story of a gifted individual who sins against his talent? One of the worst films for me was Sidney Furie’s Lady Sings the Blues, the overly melodramatic portrait of Billie Holiday that came out in 1972. One of the best was 2014’s Love & Mercy (http://www.criticsatlarge.ca/2015/07/salvation-love-mercy.html) , a beautifully rendered portrait of Brian Wilson. That picture not only captured Wilson’s talent as a composer, it also took the risk of embracing his mental health and how he was able to find creative relief in his music in spite of the voices he heard in his head.

The story of the troubled-yet-gifted jazz musician Chet Baker is nicely rendered in Robert Budreau’s movie Born to Be Blue, but it falls short of making the most important connection of Baker with his muse. Ethan Hawke, who plays the famous trumpeter, immerses himself into Baker’s troubled soul with complete abandon. Baker, a heroin addict to the end of his life (he died in 1988 at the age of 58), was one of the biggest stars in music during the mid-fifties with his James Dean look and his romantic music. To make his point, Budreau contrasts Baker’s career with two musicians from the New York jazz establishment, namely Miles Davis and Dizzy Gillespie, who believed Baker was too cute to be taken seriously in be-bop circles. To them a jazz musician “had to live” in order to be credible. The point is made, but the one-dimensional Miles and Dizzy characters seem like props rather than real people. Actor Kevin Hansard ingratiates Gillespie with humour while degrading Baker on his
“flat” singing style. Kedar Brown plays Davis with so much attitude that he left me cold. Miles was edgy and smug by most accounts, but he wasn’t always the prick of the hour.

For the first third of Born to Be Blue the director steers us in an interesting way by using the stylized black & white film (within the movie) to dramatize Baker’s early success and his first encounter with the drug that seduce him. But Budreau has a hard time focusing on why that period of time is important in understanding Baker’s present, as it were. Part of the issue has to do with Baker (Hawke) playing himself in the pseudo-drama along with his co-star Jane, played by Carmen Ejogo. But Baker’s drug-induced sense of reality is distorted, as the director of the pseudo film, played by Tony Nardi, winds up cancelling the production because Baker can’t kick his habit. Ironically Budreau actually drops the technique by the middle of the picture. At this critical point, Baker loses his front teeth to some dealers looking to collect from him. Baker now has to relearn the instrument and since he has no money, decides to visit his parents in Oklahoma begins his recovery. This
part of the story contains some redemptive qualities that humanize Baker, but it’s the weakest part of the writing as Baker is ostracized by his former musician father (played by Stephen McHattie) and his slightly over-bearing mother (played by Janet Laine-Green), who immediately embraces her son while shooting down his girlfriend Elaine, “You look like Jane, Chet’s first wife. I never liked Jane.” Fortunately Budreau doesn’t belabor the point, and Baker leaves the homestead after getting his chops back and heads back to California with Elaine. At this point, the movie became more engaging for me.

https://3.bp.blogspot.com/-zmCV_g5NZvU/VvLPFO0SczI/AAAAAAAAgRo/ZmbeLJqEdDMbvX-chEDGqdgYlQG4fwtJw/s1600/Born-To-Be-Blue-Ethan-Hawke-and-Carmen-Ejogo.jpg
Ethan Hawke and Carmen Ejogo in Born to Be Blue.

Hawke really steps up and finds the character’s inner life. But, even if you don’t know who Chet Baker is, the broken personality of an addict staggering forward is unpleasant to watch but Hawke’s nuanced performance succeeds. We see a gifted musician passive-aggressively manipulating the people around him into giving him a second chance. Baker gets that chance but has no willpower, and just as he returns to the New York stage to make his comeback, he self-injects heroin in the dressing room. While he makes beautiful music it’s at the expense of the people who love him. This is nicely rendered in the final scenes of the movie.

I really liked Hawke’s performance. We see a man trapped by his addiction and while he kicks the habit for a short time, his sense of loneliness and depression are too painful for him to endure so turning to heroin allows him to “experience love.”British actress Carmen Ejogo (Elaine) is equally strong in her performance in the movie because she brings out the humanity in Baker without the pity. Elaine, seduced by his charm and talent, loves him but she can’t save him. Ejogo has presence in every scene. Her character relies not only on her good looks, but also on her passion for being an artist in her own right. (Elaine is a struggling actress in the movie.)

Another strength of the picture is the music. Budreau hired some of Canada’s best musicians to play in the spirit of Chet Baker: Kevin Turcotte, in the all-important trumpet chair, and pianist David Braid, who arranged the music we hear in the film. Budreau also uses the music to advance the narrative with complete performances spread out over the 97-minute feature. Hawke sings in his own voice but mimics the valve movement on trumpet. Ben Promane of Toronto coached Hawke successfully because the actor is quite convincing during the instrumentals. (A soundtrack is scheduled for release in April.)

Born to Be Blue borrows heavily from Bruce Weber’s 1988 documentary Let’s Get Lost. Shot in black &white, Weber’s film combined interviews with Chet and his family with scenes from Baker’s life as a young and dashing star. That film, which is one of the best documentaries about a musician, holds nothing back in evaluating Baker’s artistry, with insights from fellow musician Jack Sheldon to the ruins of his addiction that left most of his family broken and distraught. By the end of the documentary Baker is a pathetic man who accepts some responsibility for his actions but has little remorse. In Born to Be Blue, Hawke plays Baker with just enough pathos to induce sympathy from the audience, a trait heard in every note ever played by Chet Baker.

http://4.bp.blogspot.com/-WtXhE9QmKaI/Up9VJTBN9nI/AAAAAAAAWKE/Ftdyw7cBko4/s1600/Corcelli.jpg
– John Corcelli (http://www.criticsatlarge.ca/search/label/John%20Corcelli) is a music critic, broadcast/producer, musician and member of the Festival Wind Orchestra. He’s just finished Frank Zappa FAQ: All That’s Left to Know About the Father of Invention (Backbeat Books) to be released in September.

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=cebc06d314) | 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=cebc06d314&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

Critics At Large : That Old Feeling: Robert Budreau’s Born to Be Blue

http://www.jazzpromoservices.com/

**
————————————————————
http://www.criticsatlarge.ca/2016/03/robert-budreau-born-blue-chet-baker.html?utm_source=feedburner

** That Old Feeling: Robert Budreau’s Born to Be Blue
————————————————————
https://2.bp.blogspot.com/-XK_icSqi4OQ/VvLOg27dLUI/AAAAAAAAgRk/TN20Rhwk8LQrNYEa1wkAuWZPgYUwaaWvg/s1600/born-to-be-blue-chet-baker-ethan-hawke.jpg
Ethan Hawke as Chet Baker in Born to Be Blue.

Whenever a movie comes out about a musician I have high expectations. Will the movie fall into clichés about the troubled artist who’s abused by the wrong people? Or will we witness the story of a gifted individual who sins against his talent? One of the worst films for me was Sidney Furie’s Lady Sings the Blues, the overly melodramatic portrait of Billie Holiday that came out in 1972. One of the best was 2014’s Love & Mercy (http://www.criticsatlarge.ca/2015/07/salvation-love-mercy.html) , a beautifully rendered portrait of Brian Wilson. That picture not only captured Wilson’s talent as a composer, it also took the risk of embracing his mental health and how he was able to find creative relief in his music in spite of the voices he heard in his head.

The story of the troubled-yet-gifted jazz musician Chet Baker is nicely rendered in Robert Budreau’s movie Born to Be Blue, but it falls short of making the most important connection of Baker with his muse. Ethan Hawke, who plays the famous trumpeter, immerses himself into Baker’s troubled soul with complete abandon. Baker, a heroin addict to the end of his life (he died in 1988 at the age of 58), was one of the biggest stars in music during the mid-fifties with his James Dean look and his romantic music. To make his point, Budreau contrasts Baker’s career with two musicians from the New York jazz establishment, namely Miles Davis and Dizzy Gillespie, who believed Baker was too cute to be taken seriously in be-bop circles. To them a jazz musician “had to live” in order to be credible. The point is made, but the one-dimensional Miles and Dizzy characters seem like props rather than real people. Actor Kevin Hansard ingratiates Gillespie with humour while degrading Baker on his
“flat” singing style. Kedar Brown plays Davis with so much attitude that he left me cold. Miles was edgy and smug by most accounts, but he wasn’t always the prick of the hour.

For the first third of Born to Be Blue the director steers us in an interesting way by using the stylized black & white film (within the movie) to dramatize Baker’s early success and his first encounter with the drug that seduce him. But Budreau has a hard time focusing on why that period of time is important in understanding Baker’s present, as it were. Part of the issue has to do with Baker (Hawke) playing himself in the pseudo-drama along with his co-star Jane, played by Carmen Ejogo. But Baker’s drug-induced sense of reality is distorted, as the director of the pseudo film, played by Tony Nardi, winds up cancelling the production because Baker can’t kick his habit. Ironically Budreau actually drops the technique by the middle of the picture. At this critical point, Baker loses his front teeth to some dealers looking to collect from him. Baker now has to relearn the instrument and since he has no money, decides to visit his parents in Oklahoma begins his recovery. This
part of the story contains some redemptive qualities that humanize Baker, but it’s the weakest part of the writing as Baker is ostracized by his former musician father (played by Stephen McHattie) and his slightly over-bearing mother (played by Janet Laine-Green), who immediately embraces her son while shooting down his girlfriend Elaine, “You look like Jane, Chet’s first wife. I never liked Jane.” Fortunately Budreau doesn’t belabor the point, and Baker leaves the homestead after getting his chops back and heads back to California with Elaine. At this point, the movie became more engaging for me.

https://3.bp.blogspot.com/-zmCV_g5NZvU/VvLPFO0SczI/AAAAAAAAgRo/ZmbeLJqEdDMbvX-chEDGqdgYlQG4fwtJw/s1600/Born-To-Be-Blue-Ethan-Hawke-and-Carmen-Ejogo.jpg
Ethan Hawke and Carmen Ejogo in Born to Be Blue.

Hawke really steps up and finds the character’s inner life. But, even if you don’t know who Chet Baker is, the broken personality of an addict staggering forward is unpleasant to watch but Hawke’s nuanced performance succeeds. We see a gifted musician passive-aggressively manipulating the people around him into giving him a second chance. Baker gets that chance but has no willpower, and just as he returns to the New York stage to make his comeback, he self-injects heroin in the dressing room. While he makes beautiful music it’s at the expense of the people who love him. This is nicely rendered in the final scenes of the movie.

I really liked Hawke’s performance. We see a man trapped by his addiction and while he kicks the habit for a short time, his sense of loneliness and depression are too painful for him to endure so turning to heroin allows him to “experience love.”British actress Carmen Ejogo (Elaine) is equally strong in her performance in the movie because she brings out the humanity in Baker without the pity. Elaine, seduced by his charm and talent, loves him but she can’t save him. Ejogo has presence in every scene. Her character relies not only on her good looks, but also on her passion for being an artist in her own right. (Elaine is a struggling actress in the movie.)

Another strength of the picture is the music. Budreau hired some of Canada’s best musicians to play in the spirit of Chet Baker: Kevin Turcotte, in the all-important trumpet chair, and pianist David Braid, who arranged the music we hear in the film. Budreau also uses the music to advance the narrative with complete performances spread out over the 97-minute feature. Hawke sings in his own voice but mimics the valve movement on trumpet. Ben Promane of Toronto coached Hawke successfully because the actor is quite convincing during the instrumentals. (A soundtrack is scheduled for release in April.)

Born to Be Blue borrows heavily from Bruce Weber’s 1988 documentary Let’s Get Lost. Shot in black &white, Weber’s film combined interviews with Chet and his family with scenes from Baker’s life as a young and dashing star. That film, which is one of the best documentaries about a musician, holds nothing back in evaluating Baker’s artistry, with insights from fellow musician Jack Sheldon to the ruins of his addiction that left most of his family broken and distraught. By the end of the documentary Baker is a pathetic man who accepts some responsibility for his actions but has little remorse. In Born to Be Blue, Hawke plays Baker with just enough pathos to induce sympathy from the audience, a trait heard in every note ever played by Chet Baker.

http://4.bp.blogspot.com/-WtXhE9QmKaI/Up9VJTBN9nI/AAAAAAAAWKE/Ftdyw7cBko4/s1600/Corcelli.jpg
– John Corcelli (http://www.criticsatlarge.ca/search/label/John%20Corcelli) is a music critic, broadcast/producer, musician and member of the Festival Wind Orchestra. He’s just finished Frank Zappa FAQ: All That’s Left to Know About the Father of Invention (Backbeat Books) to be released in September.

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=cebc06d314) | 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=cebc06d314&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

Critics At Large : That Old Feeling: Robert Budreau’s Born to Be Blue

http://www.jazzpromoservices.com/

**
————————————————————
http://www.criticsatlarge.ca/2016/03/robert-budreau-born-blue-chet-baker.html?utm_source=feedburner

** That Old Feeling: Robert Budreau’s Born to Be Blue
————————————————————
https://2.bp.blogspot.com/-XK_icSqi4OQ/VvLOg27dLUI/AAAAAAAAgRk/TN20Rhwk8LQrNYEa1wkAuWZPgYUwaaWvg/s1600/born-to-be-blue-chet-baker-ethan-hawke.jpg
Ethan Hawke as Chet Baker in Born to Be Blue.

Whenever a movie comes out about a musician I have high expectations. Will the movie fall into clichés about the troubled artist who’s abused by the wrong people? Or will we witness the story of a gifted individual who sins against his talent? One of the worst films for me was Sidney Furie’s Lady Sings the Blues, the overly melodramatic portrait of Billie Holiday that came out in 1972. One of the best was 2014’s Love & Mercy (http://www.criticsatlarge.ca/2015/07/salvation-love-mercy.html) , a beautifully rendered portrait of Brian Wilson. That picture not only captured Wilson’s talent as a composer, it also took the risk of embracing his mental health and how he was able to find creative relief in his music in spite of the voices he heard in his head.

The story of the troubled-yet-gifted jazz musician Chet Baker is nicely rendered in Robert Budreau’s movie Born to Be Blue, but it falls short of making the most important connection of Baker with his muse. Ethan Hawke, who plays the famous trumpeter, immerses himself into Baker’s troubled soul with complete abandon. Baker, a heroin addict to the end of his life (he died in 1988 at the age of 58), was one of the biggest stars in music during the mid-fifties with his James Dean look and his romantic music. To make his point, Budreau contrasts Baker’s career with two musicians from the New York jazz establishment, namely Miles Davis and Dizzy Gillespie, who believed Baker was too cute to be taken seriously in be-bop circles. To them a jazz musician “had to live” in order to be credible. The point is made, but the one-dimensional Miles and Dizzy characters seem like props rather than real people. Actor Kevin Hansard ingratiates Gillespie with humour while degrading Baker on his
“flat” singing style. Kedar Brown plays Davis with so much attitude that he left me cold. Miles was edgy and smug by most accounts, but he wasn’t always the prick of the hour.

For the first third of Born to Be Blue the director steers us in an interesting way by using the stylized black & white film (within the movie) to dramatize Baker’s early success and his first encounter with the drug that seduce him. But Budreau has a hard time focusing on why that period of time is important in understanding Baker’s present, as it were. Part of the issue has to do with Baker (Hawke) playing himself in the pseudo-drama along with his co-star Jane, played by Carmen Ejogo. But Baker’s drug-induced sense of reality is distorted, as the director of the pseudo film, played by Tony Nardi, winds up cancelling the production because Baker can’t kick his habit. Ironically Budreau actually drops the technique by the middle of the picture. At this critical point, Baker loses his front teeth to some dealers looking to collect from him. Baker now has to relearn the instrument and since he has no money, decides to visit his parents in Oklahoma begins his recovery. This
part of the story contains some redemptive qualities that humanize Baker, but it’s the weakest part of the writing as Baker is ostracized by his former musician father (played by Stephen McHattie) and his slightly over-bearing mother (played by Janet Laine-Green), who immediately embraces her son while shooting down his girlfriend Elaine, “You look like Jane, Chet’s first wife. I never liked Jane.” Fortunately Budreau doesn’t belabor the point, and Baker leaves the homestead after getting his chops back and heads back to California with Elaine. At this point, the movie became more engaging for me.

https://3.bp.blogspot.com/-zmCV_g5NZvU/VvLPFO0SczI/AAAAAAAAgRo/ZmbeLJqEdDMbvX-chEDGqdgYlQG4fwtJw/s1600/Born-To-Be-Blue-Ethan-Hawke-and-Carmen-Ejogo.jpg
Ethan Hawke and Carmen Ejogo in Born to Be Blue.

Hawke really steps up and finds the character’s inner life. But, even if you don’t know who Chet Baker is, the broken personality of an addict staggering forward is unpleasant to watch but Hawke’s nuanced performance succeeds. We see a gifted musician passive-aggressively manipulating the people around him into giving him a second chance. Baker gets that chance but has no willpower, and just as he returns to the New York stage to make his comeback, he self-injects heroin in the dressing room. While he makes beautiful music it’s at the expense of the people who love him. This is nicely rendered in the final scenes of the movie.

I really liked Hawke’s performance. We see a man trapped by his addiction and while he kicks the habit for a short time, his sense of loneliness and depression are too painful for him to endure so turning to heroin allows him to “experience love.”British actress Carmen Ejogo (Elaine) is equally strong in her performance in the movie because she brings out the humanity in Baker without the pity. Elaine, seduced by his charm and talent, loves him but she can’t save him. Ejogo has presence in every scene. Her character relies not only on her good looks, but also on her passion for being an artist in her own right. (Elaine is a struggling actress in the movie.)

Another strength of the picture is the music. Budreau hired some of Canada’s best musicians to play in the spirit of Chet Baker: Kevin Turcotte, in the all-important trumpet chair, and pianist David Braid, who arranged the music we hear in the film. Budreau also uses the music to advance the narrative with complete performances spread out over the 97-minute feature. Hawke sings in his own voice but mimics the valve movement on trumpet. Ben Promane of Toronto coached Hawke successfully because the actor is quite convincing during the instrumentals. (A soundtrack is scheduled for release in April.)

Born to Be Blue borrows heavily from Bruce Weber’s 1988 documentary Let’s Get Lost. Shot in black &white, Weber’s film combined interviews with Chet and his family with scenes from Baker’s life as a young and dashing star. That film, which is one of the best documentaries about a musician, holds nothing back in evaluating Baker’s artistry, with insights from fellow musician Jack Sheldon to the ruins of his addiction that left most of his family broken and distraught. By the end of the documentary Baker is a pathetic man who accepts some responsibility for his actions but has little remorse. In Born to Be Blue, Hawke plays Baker with just enough pathos to induce sympathy from the audience, a trait heard in every note ever played by Chet Baker.

http://4.bp.blogspot.com/-WtXhE9QmKaI/Up9VJTBN9nI/AAAAAAAAWKE/Ftdyw7cBko4/s1600/Corcelli.jpg
– John Corcelli (http://www.criticsatlarge.ca/search/label/John%20Corcelli) is a music critic, broadcast/producer, musician and member of the Festival Wind Orchestra. He’s just finished Frank Zappa FAQ: All That’s Left to Know About the Father of Invention (Backbeat Books) to be released in September.

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

‘And Vinyly’ make vinyl records from cremation ASHES | Daily Mail Online

http://www.jazzpromoservices.com/

**
————————————————————
http://www.dailymail.co.uk/sciencetech/article-2381244/And-Vinyly-make-vinyl-records-cremation-ASHES.html

** Music from beyond the grave: The UK firm making vinyl records from cremation ASHES
————————————————————
* ‘And Vinyly’ mixes cremated ashes into vinyl from £250
* The idea was developed by music producer Jason Leach who as inspired by an American who put his ashes into fireworks

By Daniel Bates (safari-reader://www.dailymail.co.uk/home/search.html?s=&authornamef=Daniel+Bates)

Published: 10:36 EST, 30 July 2013 | Updated: 10:46 EST, 30 July 2013

A vinyl pressing service is mixing the ashes of dead people into records to create a somewhat macabre memento.

A UK company called (somewhat appropriately) And Vinyly put the cremated body parts into raw vinyl that is used to make the discs and turns them into a macabre memento of a person’s life.

Basic packages cost £2,000 for up to 30 discs – far less than the cremation or traditional burial.
Vinyl

And Vinyly claims that for £10,000 you can have your entire funeral planned around the death song. If you can’t choose a song, predetermined backing tracks are available for £250 each

The hard part is supposedly choosing a record, with some opting for 12 minutes of laughter or songs with puns in the title.

For those who prefer a ‘minimal’ approach, And Vinyly can press the ashes into the vinyl with no song.

The process involves sprinkling the ash onto a piece of vinyl, known as a puck or biscuit.

The vinyl is then pressed by plates to create grooves and press the ash into the record.

And Vinyly was founded by British music producer Jason Leach in 2009 but has seen a surge in interest recently.
Vinyl memories

And Vinyly was founded by British music producer Jason Leach in 2009 but has seen a surge in interest recently. One of his clients was a DJ whose family wanted him ‘to be played at his favourite clubs a few more times’ after he died

Leach co-founded the techno group and record label Subhead in the 1990s and has since founded a number of other labels, including House of Fix, Daftwerk and Death to Vinyl.

One of his clients was a DJ whose family wanted him ‘to be played at his favourite clubs a few more times’ after he died.

Ashes from dead pets can also be used, and are the same fee.

On the And Vinyly website is says that for £10,000 you can have your entire funeral planned around the death song.
Ashes

Leach was inspired by an American who put his ashes into fireworks, though others have had them put into gun powder and fired out of shotguns

If you can’t choose a song predetermined backing tracks are available for £250 each, or if you want some bespoke music it costs from £500.

Other options include having your record sent to shops around the world to be sold just like any other album.

If you are still not sure how it all works, the website features a death-like character holding a scythe with a needle head on it, a pair of headphones on his head and a record bag on his shoulder.

The website states: ‘Please note, despite the light hearted tone, all services are carried out with the utmost respect and care’.

Surprisingly, putting your ashes into vinyl is far from the most bizarre thing you can do with them.

Leach said he was inspired by an American who put his ashes into fireworks, though others have had them put into gun powder and fired out of shotguns.

Space burial company Celestis will send your ashes into orbit for around £1,500 or into deep space for £8,000.

Rolling Stones guitarist Keith Richards once claimed to have snorted a line of his father’s ashes because he ‘couldn’t resist grinding him up with a little bit of blow’.

And U.S. designer Edward ‘Steady Ed’ Headrick, who revolutionised the Frisbee, told his children that he wanted his ashes mixed into a batch of the plastic objects.

When he died in 2002, his son Daniel did as he asked and said: ‘He said he wanted to end up in a Frisbee that accidentally lands on someone’s roof.’
Rolling Stones guitarist Keith Richards

Rolling Stones guitarist Keith Richards once claimed to have snorted a line of his father’s ashes because he ‘couldn’t resist grinding him up with a little bit of blow’

** MEMORIAL BODY INK USING THE CREMATED REMAINS OF LOVED ONES
————————————————————

When you lose a loved one, it is common to keep something belonging to them so you can feel that you have a part of them forever.

But this has been taken to a whole new level in a craze which sees cremated remains from loved ones turned into ink and used as tattoos.

Using cremation ashes, known as cremains, are being used by more and more people to be injected into their skin.

Bob Johnson of Finest Lines tattoo parlour in Wickliffe, Ohio, has been doing the commemorative tattoos for 30 years.

He explains the process, adding that the amount of ashes they actually use is microscopic: ‘The preparation is different but it’s the same way we would do any tattoo. We sterilize them first in an autoclave as we would the rest of the equipment, and them make sure it’s fine powder and mix it with the ink.’

But some health and safety experts worry about the practice and that it may be unhygienic or harmful to clients.

Proponents say the ash is made sterile and poses no health risk.

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=873e0c592f) | 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=873e0c592f&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

‘And Vinyly’ make vinyl records from cremation ASHES | Daily Mail Online

http://www.jazzpromoservices.com/

**
————————————————————
http://www.dailymail.co.uk/sciencetech/article-2381244/And-Vinyly-make-vinyl-records-cremation-ASHES.html

** Music from beyond the grave: The UK firm making vinyl records from cremation ASHES
————————————————————
* ‘And Vinyly’ mixes cremated ashes into vinyl from £250
* The idea was developed by music producer Jason Leach who as inspired by an American who put his ashes into fireworks

By Daniel Bates (safari-reader://www.dailymail.co.uk/home/search.html?s=&authornamef=Daniel+Bates)

Published: 10:36 EST, 30 July 2013 | Updated: 10:46 EST, 30 July 2013

A vinyl pressing service is mixing the ashes of dead people into records to create a somewhat macabre memento.

A UK company called (somewhat appropriately) And Vinyly put the cremated body parts into raw vinyl that is used to make the discs and turns them into a macabre memento of a person’s life.

Basic packages cost £2,000 for up to 30 discs – far less than the cremation or traditional burial.
Vinyl

And Vinyly claims that for £10,000 you can have your entire funeral planned around the death song. If you can’t choose a song, predetermined backing tracks are available for £250 each

The hard part is supposedly choosing a record, with some opting for 12 minutes of laughter or songs with puns in the title.

For those who prefer a ‘minimal’ approach, And Vinyly can press the ashes into the vinyl with no song.

The process involves sprinkling the ash onto a piece of vinyl, known as a puck or biscuit.

The vinyl is then pressed by plates to create grooves and press the ash into the record.

And Vinyly was founded by British music producer Jason Leach in 2009 but has seen a surge in interest recently.
Vinyl memories

And Vinyly was founded by British music producer Jason Leach in 2009 but has seen a surge in interest recently. One of his clients was a DJ whose family wanted him ‘to be played at his favourite clubs a few more times’ after he died

Leach co-founded the techno group and record label Subhead in the 1990s and has since founded a number of other labels, including House of Fix, Daftwerk and Death to Vinyl.

One of his clients was a DJ whose family wanted him ‘to be played at his favourite clubs a few more times’ after he died.

Ashes from dead pets can also be used, and are the same fee.

On the And Vinyly website is says that for £10,000 you can have your entire funeral planned around the death song.
Ashes

Leach was inspired by an American who put his ashes into fireworks, though others have had them put into gun powder and fired out of shotguns

If you can’t choose a song predetermined backing tracks are available for £250 each, or if you want some bespoke music it costs from £500.

Other options include having your record sent to shops around the world to be sold just like any other album.

If you are still not sure how it all works, the website features a death-like character holding a scythe with a needle head on it, a pair of headphones on his head and a record bag on his shoulder.

The website states: ‘Please note, despite the light hearted tone, all services are carried out with the utmost respect and care’.

Surprisingly, putting your ashes into vinyl is far from the most bizarre thing you can do with them.

Leach said he was inspired by an American who put his ashes into fireworks, though others have had them put into gun powder and fired out of shotguns.

Space burial company Celestis will send your ashes into orbit for around £1,500 or into deep space for £8,000.

Rolling Stones guitarist Keith Richards once claimed to have snorted a line of his father’s ashes because he ‘couldn’t resist grinding him up with a little bit of blow’.

And U.S. designer Edward ‘Steady Ed’ Headrick, who revolutionised the Frisbee, told his children that he wanted his ashes mixed into a batch of the plastic objects.

When he died in 2002, his son Daniel did as he asked and said: ‘He said he wanted to end up in a Frisbee that accidentally lands on someone’s roof.’
Rolling Stones guitarist Keith Richards

Rolling Stones guitarist Keith Richards once claimed to have snorted a line of his father’s ashes because he ‘couldn’t resist grinding him up with a little bit of blow’

** MEMORIAL BODY INK USING THE CREMATED REMAINS OF LOVED ONES
————————————————————

When you lose a loved one, it is common to keep something belonging to them so you can feel that you have a part of them forever.

But this has been taken to a whole new level in a craze which sees cremated remains from loved ones turned into ink and used as tattoos.

Using cremation ashes, known as cremains, are being used by more and more people to be injected into their skin.

Bob Johnson of Finest Lines tattoo parlour in Wickliffe, Ohio, has been doing the commemorative tattoos for 30 years.

He explains the process, adding that the amount of ashes they actually use is microscopic: ‘The preparation is different but it’s the same way we would do any tattoo. We sterilize them first in an autoclave as we would the rest of the equipment, and them make sure it’s fine powder and mix it with the ink.’

But some health and safety experts worry about the practice and that it may be unhygienic or harmful to clients.

Proponents say the ash is made sterile and poses no health risk.

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=873e0c592f) | 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=873e0c592f&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