Author: Bash Daily Group Archive Feed
‘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
‘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
Paul Whiteman’s TV Teen Club Leslie Uggams – YouTube
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=jTb1T2LHsV0
Here’s eight-year-old LESLIE UGGAMS winning a national talent contest on Paul Whiteman’s TV TEEN CLUB program on ABC-TV on February 9, 1952.
https://www.youtube.com/watch?v=jTb1T2LHsV0
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=930396cfa2) | 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=930396cfa2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Whiteman’s TV Teen Club Leslie Uggams – YouTube
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=jTb1T2LHsV0
Here’s eight-year-old LESLIE UGGAMS winning a national talent contest on Paul Whiteman’s TV TEEN CLUB program on ABC-TV on February 9, 1952.
https://www.youtube.com/watch?v=jTb1T2LHsV0
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=930396cfa2) | 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=930396cfa2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Whiteman’s TV Teen Club Leslie Uggams – YouTube
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=jTb1T2LHsV0
Here’s eight-year-old LESLIE UGGAMS winning a national talent contest on Paul Whiteman’s TV TEEN CLUB program on ABC-TV on February 9, 1952.
https://www.youtube.com/watch?v=jTb1T2LHsV0
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=930396cfa2) | 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=930396cfa2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Whiteman’s TV Teen Club Leslie Uggams – YouTube
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=jTb1T2LHsV0
Here’s eight-year-old LESLIE UGGAMS winning a national talent contest on Paul Whiteman’s TV TEEN CLUB program on ABC-TV on February 9, 1952.
https://www.youtube.com/watch?v=jTb1T2LHsV0
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=930396cfa2) | 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=930396cfa2&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Paul Whiteman’s TV Teen Club Leslie Uggams – YouTube
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=jTb1T2LHsV0
Here’s eight-year-old LESLIE UGGAMS winning a national talent contest on Paul Whiteman’s TV TEEN CLUB program on ABC-TV on February 9, 1952.
https://www.youtube.com/watch?v=jTb1T2LHsV0
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
John McKellen Dead: MCA Music Exec and Jazz Expert Dies at 85 | Variety
http://www.jazzpromoservices.com/
**
————————————————————
http://variety.com/2016/music/people-news/john-mckellen-dead-dies-mca-music-exec-jazz-1201736377/
Veteran music executive John McKellen (http://variety.com/t/john-mckellen/) died March 15 after a short illness in New York City. He was 85.
Carmel Dagan
A jazz aficionado, McKellen was particularly inclined toward bebop, and he became an authority on the works of Charlie Parker and Bud Powell. McKellen took an administrative position with Leeds Music in 1958, and stayed on with MCA after the company acquired Leeds Music in the early 1960s. He was appointed vice president of MCA Music Publishing in 1973, senior VP in 1982 and global president in 1992. He retired at the age of 65 in 1995.
McKellen also served on the boards of ASCAP and the National Music Publishers Association.
Born in London, he was evacuated to the country during World War II, along with many other young children at that time. Considered a member of the “lower classes,” he was sent to trade school rather than an academic high school, and became a bricklayer and plasterer. However, a lifelong love of music led to his emigration to the U.S. in 1952 to study the tenor saxophone with Lennie Tristano and eventually to his career as an executive in the music business.
He is survived by his wife, Tess McKellen; his daughter, Matilda; a grandson; and many nieces and nephews.
Donations may be sent to either the National Jazz Museum (http://jazzmuseuminharlem.org/donate/) in Harlem or the Louis Armstrong House Museum (https://www.louisarmstronghouse.org/support/member_form.htm) in Corona, Queens.
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
John McKellen Dead: MCA Music Exec and Jazz Expert Dies at 85 | Variety
http://www.jazzpromoservices.com/
**
————————————————————
http://variety.com/2016/music/people-news/john-mckellen-dead-dies-mca-music-exec-jazz-1201736377/
Veteran music executive John McKellen (http://variety.com/t/john-mckellen/) died March 15 after a short illness in New York City. He was 85.
Carmel Dagan
A jazz aficionado, McKellen was particularly inclined toward bebop, and he became an authority on the works of Charlie Parker and Bud Powell. McKellen took an administrative position with Leeds Music in 1958, and stayed on with MCA after the company acquired Leeds Music in the early 1960s. He was appointed vice president of MCA Music Publishing in 1973, senior VP in 1982 and global president in 1992. He retired at the age of 65 in 1995.
McKellen also served on the boards of ASCAP and the National Music Publishers Association.
Born in London, he was evacuated to the country during World War II, along with many other young children at that time. Considered a member of the “lower classes,” he was sent to trade school rather than an academic high school, and became a bricklayer and plasterer. However, a lifelong love of music led to his emigration to the U.S. in 1952 to study the tenor saxophone with Lennie Tristano and eventually to his career as an executive in the music business.
He is survived by his wife, Tess McKellen; his daughter, Matilda; a grandson; and many nieces and nephews.
Donations may be sent to either the National Jazz Museum (http://jazzmuseuminharlem.org/donate/) in Harlem or the Louis Armstrong House Museum (https://www.louisarmstronghouse.org/support/member_form.htm) in Corona, Queens.
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=da1598cc55) | 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=da1598cc55&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
John McKellen Dead: MCA Music Exec and Jazz Expert Dies at 85 | Variety
http://www.jazzpromoservices.com/
**
————————————————————
http://variety.com/2016/music/people-news/john-mckellen-dead-dies-mca-music-exec-jazz-1201736377/
Veteran music executive John McKellen (http://variety.com/t/john-mckellen/) died March 15 after a short illness in New York City. He was 85.
Carmel Dagan
A jazz aficionado, McKellen was particularly inclined toward bebop, and he became an authority on the works of Charlie Parker and Bud Powell. McKellen took an administrative position with Leeds Music in 1958, and stayed on with MCA after the company acquired Leeds Music in the early 1960s. He was appointed vice president of MCA Music Publishing in 1973, senior VP in 1982 and global president in 1992. He retired at the age of 65 in 1995.
McKellen also served on the boards of ASCAP and the National Music Publishers Association.
Born in London, he was evacuated to the country during World War II, along with many other young children at that time. Considered a member of the “lower classes,” he was sent to trade school rather than an academic high school, and became a bricklayer and plasterer. However, a lifelong love of music led to his emigration to the U.S. in 1952 to study the tenor saxophone with Lennie Tristano and eventually to his career as an executive in the music business.
He is survived by his wife, Tess McKellen; his daughter, Matilda; a grandson; and many nieces and nephews.
Donations may be sent to either the National Jazz Museum (http://jazzmuseuminharlem.org/donate/) in Harlem or the Louis Armstrong House Museum (https://www.louisarmstronghouse.org/support/member_form.htm) in Corona, Queens.
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=da1598cc55) | 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=da1598cc55&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
John McKellen Dead: MCA Music Exec and Jazz Expert Dies at 85 | Variety
http://www.jazzpromoservices.com/
**
————————————————————
http://variety.com/2016/music/people-news/john-mckellen-dead-dies-mca-music-exec-jazz-1201736377/
Veteran music executive John McKellen (http://variety.com/t/john-mckellen/) died March 15 after a short illness in New York City. He was 85.
Carmel Dagan
A jazz aficionado, McKellen was particularly inclined toward bebop, and he became an authority on the works of Charlie Parker and Bud Powell. McKellen took an administrative position with Leeds Music in 1958, and stayed on with MCA after the company acquired Leeds Music in the early 1960s. He was appointed vice president of MCA Music Publishing in 1973, senior VP in 1982 and global president in 1992. He retired at the age of 65 in 1995.
McKellen also served on the boards of ASCAP and the National Music Publishers Association.
Born in London, he was evacuated to the country during World War II, along with many other young children at that time. Considered a member of the “lower classes,” he was sent to trade school rather than an academic high school, and became a bricklayer and plasterer. However, a lifelong love of music led to his emigration to the U.S. in 1952 to study the tenor saxophone with Lennie Tristano and eventually to his career as an executive in the music business.
He is survived by his wife, Tess McKellen; his daughter, Matilda; a grandson; and many nieces and nephews.
Donations may be sent to either the National Jazz Museum (http://jazzmuseuminharlem.org/donate/) in Harlem or the Louis Armstrong House Museum (https://www.louisarmstronghouse.org/support/member_form.htm) in Corona, Queens.
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=da1598cc55) | 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=da1598cc55&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
John McKellen Dead: MCA Music Exec and Jazz Expert Dies at 85 | Variety
http://www.jazzpromoservices.com/
**
————————————————————
http://variety.com/2016/music/people-news/john-mckellen-dead-dies-mca-music-exec-jazz-1201736377/
Veteran music executive John McKellen (http://variety.com/t/john-mckellen/) died March 15 after a short illness in New York City. He was 85.
Carmel Dagan
A jazz aficionado, McKellen was particularly inclined toward bebop, and he became an authority on the works of Charlie Parker and Bud Powell. McKellen took an administrative position with Leeds Music in 1958, and stayed on with MCA after the company acquired Leeds Music in the early 1960s. He was appointed vice president of MCA Music Publishing in 1973, senior VP in 1982 and global president in 1992. He retired at the age of 65 in 1995.
McKellen also served on the boards of ASCAP and the National Music Publishers Association.
Born in London, he was evacuated to the country during World War II, along with many other young children at that time. Considered a member of the “lower classes,” he was sent to trade school rather than an academic high school, and became a bricklayer and plasterer. However, a lifelong love of music led to his emigration to the U.S. in 1952 to study the tenor saxophone with Lennie Tristano and eventually to his career as an executive in the music business.
He is survived by his wife, Tess McKellen; his daughter, Matilda; a grandson; and many nieces and nephews.
Donations may be sent to either the National Jazz Museum (http://jazzmuseuminharlem.org/donate/) in Harlem or the Louis Armstrong House Museum (https://www.louisarmstronghouse.org/support/member_form.htm) in Corona, Queens.
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=da1598cc55) | 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=da1598cc55&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 legend Sarah Vaughan gets commemorative stamp March 29 – Music – NorthJersey.com
http://www.jazzpromoservices.com/
**
————————————————————
http://www.northjersey.com/arts-and-entertainment/music/jazz-great-gets-her-stamp-of-approval-from-postal-service-1.1531145
** Jazz legend Sarah Vaughan gets commemorative stamp March 29
————————————————————
BY JIM BECKMAN
WHAT: Sarah Vaughan Dedication and Unveiling Ceremony.
Sarah Vaughan’s Forever stamp.
WHEN: 11 a.m. March 29.
WHERE: Sarah Vaughan Concert Hall, Newark Symphony Hall, 1020 Broad St., Newark. 973-643-8014 or newarksymphonyhall.org.
HOW MUCH: Free admission; reservations must be obtained at the box office in advance.
MORE INFO: ResonanceRecords.org
To be “sent” by a jazz performer is, in the lingo of ’30s hepcats, to be thrilled — transported. The way singer Sarah Vaughan sent three generations of jazz fans.
And now — thanks to the U.S. Postal Service — you’ll be able to say that you sent Sarah Vaughan.
Her glamorous image will now grace your envelopes and postcards, in the form of a “Commemorative Forever Stamp” being issued March 29 to honor the Newark-born jazz legend, who also lived in the early 1960s in Englewood Cliffs.
“I’m very glad they did it,” says Dan Morgenstern, the Grammy-winning director emeritus of the Institute of Jazz Studies at Rutgers-Newark, and former editor of DownBeat magazine, who served as a consultant for the Postal Service.
Vaughan joins distinguished company: other jazz greats honored with stamps include Billie Holiday (1994), Louis Armstrong (1995), Ella Fitzgerald (2007) and Miles Davis (2012).
“They’ve had a series of stamps with great singers and great musicians, and she’s certainly someone who belongs up there,” Morgenstern says. “And of course, she’s from New Jersey.”
A dedication ceremony and concert at Newark Symphony Hall, at 11 a.m. that morning, will include Tony-winning singer Melba Moore, Newark’s Mount Zion Baptist Church Choir (where Vaughan got her start), ace jazz vocalists Carrie Jackson and Jazzmeia Horn, Newark Mayor Ras Baraka, and WBGO-FM (88.3) host Rhonda Hamilton.
Coinciding with the stamp, and the ceremony, is a new double-album of never-before-released Sarah Vaughan live material. “Sarah Vaughan Live at Rosy’s” ($24.98) released by Resonance Records in cooperation with National Public Radio, is a gig recorded at Rosy’s jazz club on Valence Street in New Orleans on May 31, 1978. The tracks, featuring Vaughan and her trio (Carl Schroeder, piano; Walter Booker, bass; Jimmy Cobb, drums) were originally recorded for an NPR radio series, “Jazz Alive!,” and diligently tracked down by producer Zev Feldman, who also got hold of additional material recorded that night and not broadcast.
“She was playing a club, which was very unusual,” Feldman says. “At this time, she was playing concert halls all over the world. She would be playing Radio City Music Hall. This is so intimate, such a charged performance.”
Among the cuts on the album are tunes that became identified with Vaughan, such as Stephen Sondheim’s “Send in the Clowns” and a number of Gershwin standards: “Somebody Loves Me,” “The Man I Love,” “Fascinating Rhythm.” Also: a tune that is definitely not identified with Vaughan. When one poor sap in the audience requests “A-Tisket, A-Tasket” — famously the signature song of Vaughan’s colleague, Ella Fitzgerald — Vaughan responds with a sardonic “Well, I’ll be damned!” and then proceeds to sing the song in her inimitable fashion. “I’ll tell you who I am when I finish,” she quips.
Not for nothing was Vaughan nicknamed “Sassy.” “That just tells you how she would take charge of a situation,” Feldman says. “She was so humorous.”
Her other nickname, “The Divine One, “is a more serious tribute to her skill as a singer, the warmth of her tone, and her incredible range: said to be close to four octaves. “Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor,” Frank Sinatra said in 1972 (Vaughan died in 1990).
“She’s almost operatic,” says David Demsey, coordinator of jazz studies at William Paterson University in Wayne. “She’s certainly one of the great voices in jazz. Her voice was an instrument. She’s considered a parallel to any one of the great horn players of jazz — Charlie Parker, John Coltrane, Dizzy Gillespie. And there’s that blues and drama in her voice, whether she’s singing a jazz standard or ‘Send in the Clowns.’ ”
Vaughan, born in Newark in 1924, was a child of the Great Migration: her parents came North from Virginia during World War I. She made her mark, as so many others have done, at the Apollo Theater Amateur Night; an appearance there in the fall of 1942, when she was 18, led to her being hired to open for Ella Fitzgerald, and in short order she became the singer for two top bandleaders in succession, Earl “Fatha” Hines and Billy Eckstine. Soon after, she launched a solo career, with a succession of hits (“Tenderly,” “I Cried for You,” “Make Yourself Comfortable,” “Serenata” ) on a succession of labels (Musicraft, Columbia, Mercury, Roulette).
“She was not just a vocalist,” Feldman says. “She had a natural gift. She could formulate her musical ideas like an instrumentalist.”
Most jazz historians today consider her one of the triumvirate of great female vocalists — the two others being Fitzgerald and Holiday (blues singer Bessie Smith and trumpeter Louis Armstrong could be said to have begotten all three). “Those three are in a class by themselves,” Morgenstern says. Though — he adds — all three are quite different.
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=b50b619701) | 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=b50b619701&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 legend Sarah Vaughan gets commemorative stamp March 29 – Music – NorthJersey.com
http://www.jazzpromoservices.com/
**
————————————————————
http://www.northjersey.com/arts-and-entertainment/music/jazz-great-gets-her-stamp-of-approval-from-postal-service-1.1531145
** Jazz legend Sarah Vaughan gets commemorative stamp March 29
————————————————————
BY JIM BECKMAN
WHAT: Sarah Vaughan Dedication and Unveiling Ceremony.
Sarah Vaughan’s Forever stamp.
WHEN: 11 a.m. March 29.
WHERE: Sarah Vaughan Concert Hall, Newark Symphony Hall, 1020 Broad St., Newark. 973-643-8014 or newarksymphonyhall.org.
HOW MUCH: Free admission; reservations must be obtained at the box office in advance.
MORE INFO: ResonanceRecords.org
To be “sent” by a jazz performer is, in the lingo of ’30s hepcats, to be thrilled — transported. The way singer Sarah Vaughan sent three generations of jazz fans.
And now — thanks to the U.S. Postal Service — you’ll be able to say that you sent Sarah Vaughan.
Her glamorous image will now grace your envelopes and postcards, in the form of a “Commemorative Forever Stamp” being issued March 29 to honor the Newark-born jazz legend, who also lived in the early 1960s in Englewood Cliffs.
“I’m very glad they did it,” says Dan Morgenstern, the Grammy-winning director emeritus of the Institute of Jazz Studies at Rutgers-Newark, and former editor of DownBeat magazine, who served as a consultant for the Postal Service.
Vaughan joins distinguished company: other jazz greats honored with stamps include Billie Holiday (1994), Louis Armstrong (1995), Ella Fitzgerald (2007) and Miles Davis (2012).
“They’ve had a series of stamps with great singers and great musicians, and she’s certainly someone who belongs up there,” Morgenstern says. “And of course, she’s from New Jersey.”
A dedication ceremony and concert at Newark Symphony Hall, at 11 a.m. that morning, will include Tony-winning singer Melba Moore, Newark’s Mount Zion Baptist Church Choir (where Vaughan got her start), ace jazz vocalists Carrie Jackson and Jazzmeia Horn, Newark Mayor Ras Baraka, and WBGO-FM (88.3) host Rhonda Hamilton.
Coinciding with the stamp, and the ceremony, is a new double-album of never-before-released Sarah Vaughan live material. “Sarah Vaughan Live at Rosy’s” ($24.98) released by Resonance Records in cooperation with National Public Radio, is a gig recorded at Rosy’s jazz club on Valence Street in New Orleans on May 31, 1978. The tracks, featuring Vaughan and her trio (Carl Schroeder, piano; Walter Booker, bass; Jimmy Cobb, drums) were originally recorded for an NPR radio series, “Jazz Alive!,” and diligently tracked down by producer Zev Feldman, who also got hold of additional material recorded that night and not broadcast.
“She was playing a club, which was very unusual,” Feldman says. “At this time, she was playing concert halls all over the world. She would be playing Radio City Music Hall. This is so intimate, such a charged performance.”
Among the cuts on the album are tunes that became identified with Vaughan, such as Stephen Sondheim’s “Send in the Clowns” and a number of Gershwin standards: “Somebody Loves Me,” “The Man I Love,” “Fascinating Rhythm.” Also: a tune that is definitely not identified with Vaughan. When one poor sap in the audience requests “A-Tisket, A-Tasket” — famously the signature song of Vaughan’s colleague, Ella Fitzgerald — Vaughan responds with a sardonic “Well, I’ll be damned!” and then proceeds to sing the song in her inimitable fashion. “I’ll tell you who I am when I finish,” she quips.
Not for nothing was Vaughan nicknamed “Sassy.” “That just tells you how she would take charge of a situation,” Feldman says. “She was so humorous.”
Her other nickname, “The Divine One, “is a more serious tribute to her skill as a singer, the warmth of her tone, and her incredible range: said to be close to four octaves. “Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor,” Frank Sinatra said in 1972 (Vaughan died in 1990).
“She’s almost operatic,” says David Demsey, coordinator of jazz studies at William Paterson University in Wayne. “She’s certainly one of the great voices in jazz. Her voice was an instrument. She’s considered a parallel to any one of the great horn players of jazz — Charlie Parker, John Coltrane, Dizzy Gillespie. And there’s that blues and drama in her voice, whether she’s singing a jazz standard or ‘Send in the Clowns.’ ”
Vaughan, born in Newark in 1924, was a child of the Great Migration: her parents came North from Virginia during World War I. She made her mark, as so many others have done, at the Apollo Theater Amateur Night; an appearance there in the fall of 1942, when she was 18, led to her being hired to open for Ella Fitzgerald, and in short order she became the singer for two top bandleaders in succession, Earl “Fatha” Hines and Billy Eckstine. Soon after, she launched a solo career, with a succession of hits (“Tenderly,” “I Cried for You,” “Make Yourself Comfortable,” “Serenata” ) on a succession of labels (Musicraft, Columbia, Mercury, Roulette).
“She was not just a vocalist,” Feldman says. “She had a natural gift. She could formulate her musical ideas like an instrumentalist.”
Most jazz historians today consider her one of the triumvirate of great female vocalists — the two others being Fitzgerald and Holiday (blues singer Bessie Smith and trumpeter Louis Armstrong could be said to have begotten all three). “Those three are in a class by themselves,” Morgenstern says. Though — he adds — all three are quite different.
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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USA
Jazz legend Sarah Vaughan gets commemorative stamp March 29 – Music – NorthJersey.com
http://www.jazzpromoservices.com/
**
————————————————————
http://www.northjersey.com/arts-and-entertainment/music/jazz-great-gets-her-stamp-of-approval-from-postal-service-1.1531145
** Jazz legend Sarah Vaughan gets commemorative stamp March 29
————————————————————
BY JIM BECKMAN
WHAT: Sarah Vaughan Dedication and Unveiling Ceremony.
Sarah Vaughan’s Forever stamp.
WHEN: 11 a.m. March 29.
WHERE: Sarah Vaughan Concert Hall, Newark Symphony Hall, 1020 Broad St., Newark. 973-643-8014 or newarksymphonyhall.org.
HOW MUCH: Free admission; reservations must be obtained at the box office in advance.
MORE INFO: ResonanceRecords.org
To be “sent” by a jazz performer is, in the lingo of ’30s hepcats, to be thrilled — transported. The way singer Sarah Vaughan sent three generations of jazz fans.
And now — thanks to the U.S. Postal Service — you’ll be able to say that you sent Sarah Vaughan.
Her glamorous image will now grace your envelopes and postcards, in the form of a “Commemorative Forever Stamp” being issued March 29 to honor the Newark-born jazz legend, who also lived in the early 1960s in Englewood Cliffs.
“I’m very glad they did it,” says Dan Morgenstern, the Grammy-winning director emeritus of the Institute of Jazz Studies at Rutgers-Newark, and former editor of DownBeat magazine, who served as a consultant for the Postal Service.
Vaughan joins distinguished company: other jazz greats honored with stamps include Billie Holiday (1994), Louis Armstrong (1995), Ella Fitzgerald (2007) and Miles Davis (2012).
“They’ve had a series of stamps with great singers and great musicians, and she’s certainly someone who belongs up there,” Morgenstern says. “And of course, she’s from New Jersey.”
A dedication ceremony and concert at Newark Symphony Hall, at 11 a.m. that morning, will include Tony-winning singer Melba Moore, Newark’s Mount Zion Baptist Church Choir (where Vaughan got her start), ace jazz vocalists Carrie Jackson and Jazzmeia Horn, Newark Mayor Ras Baraka, and WBGO-FM (88.3) host Rhonda Hamilton.
Coinciding with the stamp, and the ceremony, is a new double-album of never-before-released Sarah Vaughan live material. “Sarah Vaughan Live at Rosy’s” ($24.98) released by Resonance Records in cooperation with National Public Radio, is a gig recorded at Rosy’s jazz club on Valence Street in New Orleans on May 31, 1978. The tracks, featuring Vaughan and her trio (Carl Schroeder, piano; Walter Booker, bass; Jimmy Cobb, drums) were originally recorded for an NPR radio series, “Jazz Alive!,” and diligently tracked down by producer Zev Feldman, who also got hold of additional material recorded that night and not broadcast.
“She was playing a club, which was very unusual,” Feldman says. “At this time, she was playing concert halls all over the world. She would be playing Radio City Music Hall. This is so intimate, such a charged performance.”
Among the cuts on the album are tunes that became identified with Vaughan, such as Stephen Sondheim’s “Send in the Clowns” and a number of Gershwin standards: “Somebody Loves Me,” “The Man I Love,” “Fascinating Rhythm.” Also: a tune that is definitely not identified with Vaughan. When one poor sap in the audience requests “A-Tisket, A-Tasket” — famously the signature song of Vaughan’s colleague, Ella Fitzgerald — Vaughan responds with a sardonic “Well, I’ll be damned!” and then proceeds to sing the song in her inimitable fashion. “I’ll tell you who I am when I finish,” she quips.
Not for nothing was Vaughan nicknamed “Sassy.” “That just tells you how she would take charge of a situation,” Feldman says. “She was so humorous.”
Her other nickname, “The Divine One, “is a more serious tribute to her skill as a singer, the warmth of her tone, and her incredible range: said to be close to four octaves. “Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor,” Frank Sinatra said in 1972 (Vaughan died in 1990).
“She’s almost operatic,” says David Demsey, coordinator of jazz studies at William Paterson University in Wayne. “She’s certainly one of the great voices in jazz. Her voice was an instrument. She’s considered a parallel to any one of the great horn players of jazz — Charlie Parker, John Coltrane, Dizzy Gillespie. And there’s that blues and drama in her voice, whether she’s singing a jazz standard or ‘Send in the Clowns.’ ”
Vaughan, born in Newark in 1924, was a child of the Great Migration: her parents came North from Virginia during World War I. She made her mark, as so many others have done, at the Apollo Theater Amateur Night; an appearance there in the fall of 1942, when she was 18, led to her being hired to open for Ella Fitzgerald, and in short order she became the singer for two top bandleaders in succession, Earl “Fatha” Hines and Billy Eckstine. Soon after, she launched a solo career, with a succession of hits (“Tenderly,” “I Cried for You,” “Make Yourself Comfortable,” “Serenata” ) on a succession of labels (Musicraft, Columbia, Mercury, Roulette).
“She was not just a vocalist,” Feldman says. “She had a natural gift. She could formulate her musical ideas like an instrumentalist.”
Most jazz historians today consider her one of the triumvirate of great female vocalists — the two others being Fitzgerald and Holiday (blues singer Bessie Smith and trumpeter Louis Armstrong could be said to have begotten all three). “Those three are in a class by themselves,” Morgenstern says. Though — he adds — all three are quite different.
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=b50b619701) | 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=b50b619701&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 legend Sarah Vaughan gets commemorative stamp March 29 – Music – NorthJersey.com
http://www.jazzpromoservices.com/
**
————————————————————
http://www.northjersey.com/arts-and-entertainment/music/jazz-great-gets-her-stamp-of-approval-from-postal-service-1.1531145
** Jazz legend Sarah Vaughan gets commemorative stamp March 29
————————————————————
BY JIM BECKMAN
WHAT: Sarah Vaughan Dedication and Unveiling Ceremony.
Sarah Vaughan’s Forever stamp.
WHEN: 11 a.m. March 29.
WHERE: Sarah Vaughan Concert Hall, Newark Symphony Hall, 1020 Broad St., Newark. 973-643-8014 or newarksymphonyhall.org.
HOW MUCH: Free admission; reservations must be obtained at the box office in advance.
MORE INFO: ResonanceRecords.org
To be “sent” by a jazz performer is, in the lingo of ’30s hepcats, to be thrilled — transported. The way singer Sarah Vaughan sent three generations of jazz fans.
And now — thanks to the U.S. Postal Service — you’ll be able to say that you sent Sarah Vaughan.
Her glamorous image will now grace your envelopes and postcards, in the form of a “Commemorative Forever Stamp” being issued March 29 to honor the Newark-born jazz legend, who also lived in the early 1960s in Englewood Cliffs.
“I’m very glad they did it,” says Dan Morgenstern, the Grammy-winning director emeritus of the Institute of Jazz Studies at Rutgers-Newark, and former editor of DownBeat magazine, who served as a consultant for the Postal Service.
Vaughan joins distinguished company: other jazz greats honored with stamps include Billie Holiday (1994), Louis Armstrong (1995), Ella Fitzgerald (2007) and Miles Davis (2012).
“They’ve had a series of stamps with great singers and great musicians, and she’s certainly someone who belongs up there,” Morgenstern says. “And of course, she’s from New Jersey.”
A dedication ceremony and concert at Newark Symphony Hall, at 11 a.m. that morning, will include Tony-winning singer Melba Moore, Newark’s Mount Zion Baptist Church Choir (where Vaughan got her start), ace jazz vocalists Carrie Jackson and Jazzmeia Horn, Newark Mayor Ras Baraka, and WBGO-FM (88.3) host Rhonda Hamilton.
Coinciding with the stamp, and the ceremony, is a new double-album of never-before-released Sarah Vaughan live material. “Sarah Vaughan Live at Rosy’s” ($24.98) released by Resonance Records in cooperation with National Public Radio, is a gig recorded at Rosy’s jazz club on Valence Street in New Orleans on May 31, 1978. The tracks, featuring Vaughan and her trio (Carl Schroeder, piano; Walter Booker, bass; Jimmy Cobb, drums) were originally recorded for an NPR radio series, “Jazz Alive!,” and diligently tracked down by producer Zev Feldman, who also got hold of additional material recorded that night and not broadcast.
“She was playing a club, which was very unusual,” Feldman says. “At this time, she was playing concert halls all over the world. She would be playing Radio City Music Hall. This is so intimate, such a charged performance.”
Among the cuts on the album are tunes that became identified with Vaughan, such as Stephen Sondheim’s “Send in the Clowns” and a number of Gershwin standards: “Somebody Loves Me,” “The Man I Love,” “Fascinating Rhythm.” Also: a tune that is definitely not identified with Vaughan. When one poor sap in the audience requests “A-Tisket, A-Tasket” — famously the signature song of Vaughan’s colleague, Ella Fitzgerald — Vaughan responds with a sardonic “Well, I’ll be damned!” and then proceeds to sing the song in her inimitable fashion. “I’ll tell you who I am when I finish,” she quips.
Not for nothing was Vaughan nicknamed “Sassy.” “That just tells you how she would take charge of a situation,” Feldman says. “She was so humorous.”
Her other nickname, “The Divine One, “is a more serious tribute to her skill as a singer, the warmth of her tone, and her incredible range: said to be close to four octaves. “Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor,” Frank Sinatra said in 1972 (Vaughan died in 1990).
“She’s almost operatic,” says David Demsey, coordinator of jazz studies at William Paterson University in Wayne. “She’s certainly one of the great voices in jazz. Her voice was an instrument. She’s considered a parallel to any one of the great horn players of jazz — Charlie Parker, John Coltrane, Dizzy Gillespie. And there’s that blues and drama in her voice, whether she’s singing a jazz standard or ‘Send in the Clowns.’ ”
Vaughan, born in Newark in 1924, was a child of the Great Migration: her parents came North from Virginia during World War I. She made her mark, as so many others have done, at the Apollo Theater Amateur Night; an appearance there in the fall of 1942, when she was 18, led to her being hired to open for Ella Fitzgerald, and in short order she became the singer for two top bandleaders in succession, Earl “Fatha” Hines and Billy Eckstine. Soon after, she launched a solo career, with a succession of hits (“Tenderly,” “I Cried for You,” “Make Yourself Comfortable,” “Serenata” ) on a succession of labels (Musicraft, Columbia, Mercury, Roulette).
“She was not just a vocalist,” Feldman says. “She had a natural gift. She could formulate her musical ideas like an instrumentalist.”
Most jazz historians today consider her one of the triumvirate of great female vocalists — the two others being Fitzgerald and Holiday (blues singer Bessie Smith and trumpeter Louis Armstrong could be said to have begotten all three). “Those three are in a class by themselves,” Morgenstern says. Though — he adds — all three are quite different.
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=b50b619701) | 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=b50b619701&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 legend Sarah Vaughan gets commemorative stamp March 29 – Music – NorthJersey.com
http://www.jazzpromoservices.com/
**
————————————————————
http://www.northjersey.com/arts-and-entertainment/music/jazz-great-gets-her-stamp-of-approval-from-postal-service-1.1531145
** Jazz legend Sarah Vaughan gets commemorative stamp March 29
————————————————————
BY JIM BECKMAN
WHAT: Sarah Vaughan Dedication and Unveiling Ceremony.
Sarah Vaughan’s Forever stamp.
WHEN: 11 a.m. March 29.
WHERE: Sarah Vaughan Concert Hall, Newark Symphony Hall, 1020 Broad St., Newark. 973-643-8014 or newarksymphonyhall.org.
HOW MUCH: Free admission; reservations must be obtained at the box office in advance.
MORE INFO: ResonanceRecords.org
To be “sent” by a jazz performer is, in the lingo of ’30s hepcats, to be thrilled — transported. The way singer Sarah Vaughan sent three generations of jazz fans.
And now — thanks to the U.S. Postal Service — you’ll be able to say that you sent Sarah Vaughan.
Her glamorous image will now grace your envelopes and postcards, in the form of a “Commemorative Forever Stamp” being issued March 29 to honor the Newark-born jazz legend, who also lived in the early 1960s in Englewood Cliffs.
“I’m very glad they did it,” says Dan Morgenstern, the Grammy-winning director emeritus of the Institute of Jazz Studies at Rutgers-Newark, and former editor of DownBeat magazine, who served as a consultant for the Postal Service.
Vaughan joins distinguished company: other jazz greats honored with stamps include Billie Holiday (1994), Louis Armstrong (1995), Ella Fitzgerald (2007) and Miles Davis (2012).
“They’ve had a series of stamps with great singers and great musicians, and she’s certainly someone who belongs up there,” Morgenstern says. “And of course, she’s from New Jersey.”
A dedication ceremony and concert at Newark Symphony Hall, at 11 a.m. that morning, will include Tony-winning singer Melba Moore, Newark’s Mount Zion Baptist Church Choir (where Vaughan got her start), ace jazz vocalists Carrie Jackson and Jazzmeia Horn, Newark Mayor Ras Baraka, and WBGO-FM (88.3) host Rhonda Hamilton.
Coinciding with the stamp, and the ceremony, is a new double-album of never-before-released Sarah Vaughan live material. “Sarah Vaughan Live at Rosy’s” ($24.98) released by Resonance Records in cooperation with National Public Radio, is a gig recorded at Rosy’s jazz club on Valence Street in New Orleans on May 31, 1978. The tracks, featuring Vaughan and her trio (Carl Schroeder, piano; Walter Booker, bass; Jimmy Cobb, drums) were originally recorded for an NPR radio series, “Jazz Alive!,” and diligently tracked down by producer Zev Feldman, who also got hold of additional material recorded that night and not broadcast.
“She was playing a club, which was very unusual,” Feldman says. “At this time, she was playing concert halls all over the world. She would be playing Radio City Music Hall. This is so intimate, such a charged performance.”
Among the cuts on the album are tunes that became identified with Vaughan, such as Stephen Sondheim’s “Send in the Clowns” and a number of Gershwin standards: “Somebody Loves Me,” “The Man I Love,” “Fascinating Rhythm.” Also: a tune that is definitely not identified with Vaughan. When one poor sap in the audience requests “A-Tisket, A-Tasket” — famously the signature song of Vaughan’s colleague, Ella Fitzgerald — Vaughan responds with a sardonic “Well, I’ll be damned!” and then proceeds to sing the song in her inimitable fashion. “I’ll tell you who I am when I finish,” she quips.
Not for nothing was Vaughan nicknamed “Sassy.” “That just tells you how she would take charge of a situation,” Feldman says. “She was so humorous.”
Her other nickname, “The Divine One, “is a more serious tribute to her skill as a singer, the warmth of her tone, and her incredible range: said to be close to four octaves. “Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor,” Frank Sinatra said in 1972 (Vaughan died in 1990).
“She’s almost operatic,” says David Demsey, coordinator of jazz studies at William Paterson University in Wayne. “She’s certainly one of the great voices in jazz. Her voice was an instrument. She’s considered a parallel to any one of the great horn players of jazz — Charlie Parker, John Coltrane, Dizzy Gillespie. And there’s that blues and drama in her voice, whether she’s singing a jazz standard or ‘Send in the Clowns.’ ”
Vaughan, born in Newark in 1924, was a child of the Great Migration: her parents came North from Virginia during World War I. She made her mark, as so many others have done, at the Apollo Theater Amateur Night; an appearance there in the fall of 1942, when she was 18, led to her being hired to open for Ella Fitzgerald, and in short order she became the singer for two top bandleaders in succession, Earl “Fatha” Hines and Billy Eckstine. Soon after, she launched a solo career, with a succession of hits (“Tenderly,” “I Cried for You,” “Make Yourself Comfortable,” “Serenata” ) on a succession of labels (Musicraft, Columbia, Mercury, Roulette).
“She was not just a vocalist,” Feldman says. “She had a natural gift. She could formulate her musical ideas like an instrumentalist.”
Most jazz historians today consider her one of the triumvirate of great female vocalists — the two others being Fitzgerald and Holiday (blues singer Bessie Smith and trumpeter Louis Armstrong could be said to have begotten all three). “Those three are in a class by themselves,” Morgenstern says. Though — he adds — all three are quite different.
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=b50b619701) | 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=b50b619701&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
50 years on, a Monday night tradition keeps the Village Vanguard swinging | PBS NewsHour
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http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
50 years on, a Monday night tradition keeps the Village Vanguard swinging | PBS NewsHour
http://www.jazzpromoservices.com/
**
————————————————————
http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
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=bb1ed1010e) | 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=bb1ed1010e&e=[UNIQID])
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50 years on, a Monday night tradition keeps the Village Vanguard swinging | PBS NewsHour
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http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
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Warwick, Ny 10990
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50 years on, a Monday night tradition keeps the Village Vanguard swinging | PBS NewsHour
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http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
http://www.pbs.org/newshour/bb/50-years-on-a-monday-night-tradition-keeps-the-village-vanguard-swinging/#
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50 years on, a Monday night tradition keeps the Village Vanguard swinging | PBS NewsHour
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Don Cheadle on Miles Davis and Hollywood — Vulture
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http://www.vulture.com/2016/03/don-cheadle-talks-miles-davis.html?om_rid=AAVYcp
** Don Cheadle Talks Miles Davis and the Whiteness of Hollywood
————————————————————
By Jada Juan encounter (safari-reader://www.vulture.com/news/encounter/) March 20, 2016 9:00 p.m. By Jada Yuan (safari-reader://nymag.com/author/Jada%20Yuan/) Follow @jadabird (http://twitter.com/jadabird) Don Cheadle, who plays Miles Davis in his directorial debut, ?Miles Ahead.” Don Cheadle. Photo: Williams + Hirakawa/The New York Times
He’d never make you feel bad for asking, but Don Cheadle has for a decade now been telling the same story about how he wound up directing and co-writing his first feature. In the highly unconventional biopic Miles Ahead (http://www.vulture.com/2016/02/see-the-trailer-for-don-cheadles-miles-ahead.html) , he plays Miles Davis (or rather the essence of Miles Davis, with the truths thrown up in the air and rearranged in the key of B-flat). When the iconic trumpeter was inducted into the Rock and Roll Hall of Fame in 2006, reporters asked Davis’s nephew Vince Wilburn Jr. if the family was planning to make a movie of his uncle’s life. “He said, ‘Yeah! And Don Cheadle’s gonna star in it!’ ” says Cheadle, bugging his eyes out for effect. Cheadle is in the midst of a series of Q&As at the 2016 South by Southwest Film and Music Festival (SXSW) in Austin, Texas, and he waits for the laughter to die down before pointing out Vince in the crowd. “People started calling me, saying, ‘Well,
Vince says you’re doing the movie.’ ‘What movie?!’ ” He and Vince had never met.
I first heard Cheadle tell that story at the movie’s world premiere at the New York Film Festival in October, and again in person when he and I met up to talk in Austin, and yet again when he introduced the movie at its SXSW premiere the following night (which was running so late Cheadle joked that it was on “CPT,” or “Colored People’s Time”). Somehow, though, he’s wrung a laugh out of me every time. The movie finally opens April 1, but Cheadle seems to be getting looser and more animated, like a stand-up or, yes, a jazz musician, getting high off riffing on the same material a different way every night. Which means switching on his Miles Davis rasp to tell the story of Herbie Hancock’s first session with Davis: “Herbie’s looking at Miles, like, ‘What am I supposed to play?’ And he’s like” — rasp — “ ‘The piano, motherfucker!’ ” (Later, asked why he doesn’t do more comedies, Cheadle snaps back that no one ever asks. “Kevin Hart is doing all of them.” Pause fo
r laughter. “Fucking Kevin Hart.” Pause again. “Who actually was a contributor on the film. Thank you, Kevin.”)
Don Cheadle walks into a room like he’s casing it out, confident but watchful from behind dark sunglasses that, at least when talking to me, he never takes off. A wiry five-foot-eight, Cheadle has a sharpness to him, an air of constant thoughtfulness that makes him the most interesting part of most movies he’s in. As we sit on a bench in the sun-drenched backyard of Austin’s Four Seasons Hotel, Cheadle tells me about the first play he ever did, a fifth-grade production of Charlotte’s Web, in which he played Templeton the Rat. “I remember going to a little café up the street and studying my lines,” says Cheadle. “I wanted to be off-book very early. I wanted to know what a rat was thinking and feeling.”
It’s an energy not unlike Davis’s, who, despite his Birth of the Cool reputation, Cheadle tells me, used to throw up before he went onstage, every time. For years people who actually knew Davis, like legendary drummer Albert “Tootie” Heath, had been telling Cheadle he ought to play him. But Cheadle wasn’t interested in a straightforward cradle-to-grave treatment like Ray or Walk the Line and felt confident that Davis, who hadn’t liked Clint Eastwood’s 1988 Charlie Parker biopic,Bird, wouldn’t want to be the subject of one.
He suggested the idea of a heist movie, set during Davis’s cocaine-addicted dark period, from 1975 to 1980, when he stopped making music and holed up, Howard Hughes style, in an apparently fetid Upper West Side mansion. In the final version, there are gunfights and car chases, all over the possession of the single unheard session tape Davis made in this period. “I just thought that a movie about this person needed to be as mercurial and unexpected and improvisational as his music was,” Cheadle tells me. “As opposed to a movie that’s, like, checking off all the boxes about Miles Davis’s life.”
The marquee Cheadle imagined, he says, was “ ‘Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.’ ” Certain things did actually happen, such as Davis’s 1959 beating and arrest at the hands of the NYPD outside the jazz club Birdland for escorting a white woman to a cab. As for the rest, Cheadle says elliptically, “What’s true is the spirit, what’s ‘real’ is that it’s truly Miles Davis–esque.” Some people may quibble about omissions, that, for instance, the movie doesn’t focus enough on Davis’s spousal abuse. “Twitter beef? Blog shit. Whatever,” says Cheadle.
As he struggled for years to secure financing — eventually turning to an Indiegogo campaign after an HBO theatrical-distribution deal fell through — Cheadle went deep on the role, reading every book written about Davis and taking up boxing, a passion of the musician’s, even though there are only about two minutes of screen time when he actually needs it. He also spent eight years learning to play the trumpet: He’d always been annoyed by movies about musicians where the actors’ fingers don’t move in sync with the notes and wanted to make sure that whenever the moment came, he’d get it right.
Eventually, Cheadle persuaded the Davis family to let him bring in screenwriter Steven Baigelman to help retool the script into something more palatable to foreign-sales teams, which meant writing in a role for a white co-star. Enter Ewan McGregor as David Braden, a shady but game-for-anything Rolling Stone reporter aiming to write Davis’s comeback story. The racial issues involved in making Miles Aheadseem particularly pointed given the recent uproar over the all-white field of acting nominations at the Academy Awards this year. When the nominations were announced, Cheadle tweeted to Oscars host Chris Rock that he’d see him there: “They got me parking cars on G level.” (And Cheadle is someone who’s actually gotten a Best Actor Oscar nomination, for 2004’s Hotel Rwanda — and might be in the mix again for this movie.) He didn’t go this year, he says, not because he was boycotting but because “it’s not fun.” He believes the problems that led to #OscarsSoWhite
(http://www.vulture.com/news/%23oscarssowhite/) don’t lie entirely at the feet of the Academy. “That’s a symptom of things that are not happening inside the halls of power where movies are being decided,” he says.
Spike Lee has said things won’t change on a fundamental level in Hollywood until people of color are in the room. Does Cheadle’s position at Showtime’s House of Lies — on which he has been a producer, writer, and star for five seasons — count? “I don’t know,” he says. “I’m in a room. I’m in my room. I think the rooms change, and it depends on when you ask. Come back in five years, it’s like, Oh, you’re not in the room anymore. This business retires you. You don’t retire from the business very often. I know very few people who’ve ‘made it’ and feel like they are just good now and don’t have to hustle anymore. There are probably three or four, and two of them are wrong.” It’s a good line, and I’ll hear it twice more from him before leaving Austin. Just part of the hustle.
*This article appears in the March 21, 2016 issue of New York Magazine.
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=add501f002) | 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=add501f002&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Don Cheadle on Miles Davis and Hollywood — Vulture
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vulture.com/2016/03/don-cheadle-talks-miles-davis.html?om_rid=AAVYcp
** Don Cheadle Talks Miles Davis and the Whiteness of Hollywood
————————————————————
By Jada Juan encounter (safari-reader://www.vulture.com/news/encounter/) March 20, 2016 9:00 p.m. By Jada Yuan (safari-reader://nymag.com/author/Jada%20Yuan/) Follow @jadabird (http://twitter.com/jadabird) Don Cheadle, who plays Miles Davis in his directorial debut, ?Miles Ahead.” Don Cheadle. Photo: Williams + Hirakawa/The New York Times
He’d never make you feel bad for asking, but Don Cheadle has for a decade now been telling the same story about how he wound up directing and co-writing his first feature. In the highly unconventional biopic Miles Ahead (http://www.vulture.com/2016/02/see-the-trailer-for-don-cheadles-miles-ahead.html) , he plays Miles Davis (or rather the essence of Miles Davis, with the truths thrown up in the air and rearranged in the key of B-flat). When the iconic trumpeter was inducted into the Rock and Roll Hall of Fame in 2006, reporters asked Davis’s nephew Vince Wilburn Jr. if the family was planning to make a movie of his uncle’s life. “He said, ‘Yeah! And Don Cheadle’s gonna star in it!’ ” says Cheadle, bugging his eyes out for effect. Cheadle is in the midst of a series of Q&As at the 2016 South by Southwest Film and Music Festival (SXSW) in Austin, Texas, and he waits for the laughter to die down before pointing out Vince in the crowd. “People started calling me, saying, ‘Well,
Vince says you’re doing the movie.’ ‘What movie?!’ ” He and Vince had never met.
I first heard Cheadle tell that story at the movie’s world premiere at the New York Film Festival in October, and again in person when he and I met up to talk in Austin, and yet again when he introduced the movie at its SXSW premiere the following night (which was running so late Cheadle joked that it was on “CPT,” or “Colored People’s Time”). Somehow, though, he’s wrung a laugh out of me every time. The movie finally opens April 1, but Cheadle seems to be getting looser and more animated, like a stand-up or, yes, a jazz musician, getting high off riffing on the same material a different way every night. Which means switching on his Miles Davis rasp to tell the story of Herbie Hancock’s first session with Davis: “Herbie’s looking at Miles, like, ‘What am I supposed to play?’ And he’s like” — rasp — “ ‘The piano, motherfucker!’ ” (Later, asked why he doesn’t do more comedies, Cheadle snaps back that no one ever asks. “Kevin Hart is doing all of them.” Pause fo
r laughter. “Fucking Kevin Hart.” Pause again. “Who actually was a contributor on the film. Thank you, Kevin.”)
Don Cheadle walks into a room like he’s casing it out, confident but watchful from behind dark sunglasses that, at least when talking to me, he never takes off. A wiry five-foot-eight, Cheadle has a sharpness to him, an air of constant thoughtfulness that makes him the most interesting part of most movies he’s in. As we sit on a bench in the sun-drenched backyard of Austin’s Four Seasons Hotel, Cheadle tells me about the first play he ever did, a fifth-grade production of Charlotte’s Web, in which he played Templeton the Rat. “I remember going to a little café up the street and studying my lines,” says Cheadle. “I wanted to be off-book very early. I wanted to know what a rat was thinking and feeling.”
It’s an energy not unlike Davis’s, who, despite his Birth of the Cool reputation, Cheadle tells me, used to throw up before he went onstage, every time. For years people who actually knew Davis, like legendary drummer Albert “Tootie” Heath, had been telling Cheadle he ought to play him. But Cheadle wasn’t interested in a straightforward cradle-to-grave treatment like Ray or Walk the Line and felt confident that Davis, who hadn’t liked Clint Eastwood’s 1988 Charlie Parker biopic,Bird, wouldn’t want to be the subject of one.
He suggested the idea of a heist movie, set during Davis’s cocaine-addicted dark period, from 1975 to 1980, when he stopped making music and holed up, Howard Hughes style, in an apparently fetid Upper West Side mansion. In the final version, there are gunfights and car chases, all over the possession of the single unheard session tape Davis made in this period. “I just thought that a movie about this person needed to be as mercurial and unexpected and improvisational as his music was,” Cheadle tells me. “As opposed to a movie that’s, like, checking off all the boxes about Miles Davis’s life.”
The marquee Cheadle imagined, he says, was “ ‘Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.’ ” Certain things did actually happen, such as Davis’s 1959 beating and arrest at the hands of the NYPD outside the jazz club Birdland for escorting a white woman to a cab. As for the rest, Cheadle says elliptically, “What’s true is the spirit, what’s ‘real’ is that it’s truly Miles Davis–esque.” Some people may quibble about omissions, that, for instance, the movie doesn’t focus enough on Davis’s spousal abuse. “Twitter beef? Blog shit. Whatever,” says Cheadle.
As he struggled for years to secure financing — eventually turning to an Indiegogo campaign after an HBO theatrical-distribution deal fell through — Cheadle went deep on the role, reading every book written about Davis and taking up boxing, a passion of the musician’s, even though there are only about two minutes of screen time when he actually needs it. He also spent eight years learning to play the trumpet: He’d always been annoyed by movies about musicians where the actors’ fingers don’t move in sync with the notes and wanted to make sure that whenever the moment came, he’d get it right.
Eventually, Cheadle persuaded the Davis family to let him bring in screenwriter Steven Baigelman to help retool the script into something more palatable to foreign-sales teams, which meant writing in a role for a white co-star. Enter Ewan McGregor as David Braden, a shady but game-for-anything Rolling Stone reporter aiming to write Davis’s comeback story. The racial issues involved in making Miles Aheadseem particularly pointed given the recent uproar over the all-white field of acting nominations at the Academy Awards this year. When the nominations were announced, Cheadle tweeted to Oscars host Chris Rock that he’d see him there: “They got me parking cars on G level.” (And Cheadle is someone who’s actually gotten a Best Actor Oscar nomination, for 2004’s Hotel Rwanda — and might be in the mix again for this movie.) He didn’t go this year, he says, not because he was boycotting but because “it’s not fun.” He believes the problems that led to #OscarsSoWhite
(http://www.vulture.com/news/%23oscarssowhite/) don’t lie entirely at the feet of the Academy. “That’s a symptom of things that are not happening inside the halls of power where movies are being decided,” he says.
Spike Lee has said things won’t change on a fundamental level in Hollywood until people of color are in the room. Does Cheadle’s position at Showtime’s House of Lies — on which he has been a producer, writer, and star for five seasons — count? “I don’t know,” he says. “I’m in a room. I’m in my room. I think the rooms change, and it depends on when you ask. Come back in five years, it’s like, Oh, you’re not in the room anymore. This business retires you. You don’t retire from the business very often. I know very few people who’ve ‘made it’ and feel like they are just good now and don’t have to hustle anymore. There are probably three or four, and two of them are wrong.” It’s a good line, and I’ll hear it twice more from him before leaving Austin. Just part of the hustle.
*This article appears in the March 21, 2016 issue of New York Magazine.
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=add501f002) | 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=add501f002&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
Don Cheadle on Miles Davis and Hollywood — Vulture
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vulture.com/2016/03/don-cheadle-talks-miles-davis.html?om_rid=AAVYcp
** Don Cheadle Talks Miles Davis and the Whiteness of Hollywood
————————————————————
By Jada Juan encounter (safari-reader://www.vulture.com/news/encounter/) March 20, 2016 9:00 p.m. By Jada Yuan (safari-reader://nymag.com/author/Jada%20Yuan/) Follow @jadabird (http://twitter.com/jadabird) Don Cheadle, who plays Miles Davis in his directorial debut, ?Miles Ahead.” Don Cheadle. Photo: Williams + Hirakawa/The New York Times
He’d never make you feel bad for asking, but Don Cheadle has for a decade now been telling the same story about how he wound up directing and co-writing his first feature. In the highly unconventional biopic Miles Ahead (http://www.vulture.com/2016/02/see-the-trailer-for-don-cheadles-miles-ahead.html) , he plays Miles Davis (or rather the essence of Miles Davis, with the truths thrown up in the air and rearranged in the key of B-flat). When the iconic trumpeter was inducted into the Rock and Roll Hall of Fame in 2006, reporters asked Davis’s nephew Vince Wilburn Jr. if the family was planning to make a movie of his uncle’s life. “He said, ‘Yeah! And Don Cheadle’s gonna star in it!’ ” says Cheadle, bugging his eyes out for effect. Cheadle is in the midst of a series of Q&As at the 2016 South by Southwest Film and Music Festival (SXSW) in Austin, Texas, and he waits for the laughter to die down before pointing out Vince in the crowd. “People started calling me, saying, ‘Well,
Vince says you’re doing the movie.’ ‘What movie?!’ ” He and Vince had never met.
I first heard Cheadle tell that story at the movie’s world premiere at the New York Film Festival in October, and again in person when he and I met up to talk in Austin, and yet again when he introduced the movie at its SXSW premiere the following night (which was running so late Cheadle joked that it was on “CPT,” or “Colored People’s Time”). Somehow, though, he’s wrung a laugh out of me every time. The movie finally opens April 1, but Cheadle seems to be getting looser and more animated, like a stand-up or, yes, a jazz musician, getting high off riffing on the same material a different way every night. Which means switching on his Miles Davis rasp to tell the story of Herbie Hancock’s first session with Davis: “Herbie’s looking at Miles, like, ‘What am I supposed to play?’ And he’s like” — rasp — “ ‘The piano, motherfucker!’ ” (Later, asked why he doesn’t do more comedies, Cheadle snaps back that no one ever asks. “Kevin Hart is doing all of them.” Pause fo
r laughter. “Fucking Kevin Hart.” Pause again. “Who actually was a contributor on the film. Thank you, Kevin.”)
Don Cheadle walks into a room like he’s casing it out, confident but watchful from behind dark sunglasses that, at least when talking to me, he never takes off. A wiry five-foot-eight, Cheadle has a sharpness to him, an air of constant thoughtfulness that makes him the most interesting part of most movies he’s in. As we sit on a bench in the sun-drenched backyard of Austin’s Four Seasons Hotel, Cheadle tells me about the first play he ever did, a fifth-grade production of Charlotte’s Web, in which he played Templeton the Rat. “I remember going to a little café up the street and studying my lines,” says Cheadle. “I wanted to be off-book very early. I wanted to know what a rat was thinking and feeling.”
It’s an energy not unlike Davis’s, who, despite his Birth of the Cool reputation, Cheadle tells me, used to throw up before he went onstage, every time. For years people who actually knew Davis, like legendary drummer Albert “Tootie” Heath, had been telling Cheadle he ought to play him. But Cheadle wasn’t interested in a straightforward cradle-to-grave treatment like Ray or Walk the Line and felt confident that Davis, who hadn’t liked Clint Eastwood’s 1988 Charlie Parker biopic,Bird, wouldn’t want to be the subject of one.
He suggested the idea of a heist movie, set during Davis’s cocaine-addicted dark period, from 1975 to 1980, when he stopped making music and holed up, Howard Hughes style, in an apparently fetid Upper West Side mansion. In the final version, there are gunfights and car chases, all over the possession of the single unheard session tape Davis made in this period. “I just thought that a movie about this person needed to be as mercurial and unexpected and improvisational as his music was,” Cheadle tells me. “As opposed to a movie that’s, like, checking off all the boxes about Miles Davis’s life.”
The marquee Cheadle imagined, he says, was “ ‘Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.’ ” Certain things did actually happen, such as Davis’s 1959 beating and arrest at the hands of the NYPD outside the jazz club Birdland for escorting a white woman to a cab. As for the rest, Cheadle says elliptically, “What’s true is the spirit, what’s ‘real’ is that it’s truly Miles Davis–esque.” Some people may quibble about omissions, that, for instance, the movie doesn’t focus enough on Davis’s spousal abuse. “Twitter beef? Blog shit. Whatever,” says Cheadle.
As he struggled for years to secure financing — eventually turning to an Indiegogo campaign after an HBO theatrical-distribution deal fell through — Cheadle went deep on the role, reading every book written about Davis and taking up boxing, a passion of the musician’s, even though there are only about two minutes of screen time when he actually needs it. He also spent eight years learning to play the trumpet: He’d always been annoyed by movies about musicians where the actors’ fingers don’t move in sync with the notes and wanted to make sure that whenever the moment came, he’d get it right.
Eventually, Cheadle persuaded the Davis family to let him bring in screenwriter Steven Baigelman to help retool the script into something more palatable to foreign-sales teams, which meant writing in a role for a white co-star. Enter Ewan McGregor as David Braden, a shady but game-for-anything Rolling Stone reporter aiming to write Davis’s comeback story. The racial issues involved in making Miles Aheadseem particularly pointed given the recent uproar over the all-white field of acting nominations at the Academy Awards this year. When the nominations were announced, Cheadle tweeted to Oscars host Chris Rock that he’d see him there: “They got me parking cars on G level.” (And Cheadle is someone who’s actually gotten a Best Actor Oscar nomination, for 2004’s Hotel Rwanda — and might be in the mix again for this movie.) He didn’t go this year, he says, not because he was boycotting but because “it’s not fun.” He believes the problems that led to #OscarsSoWhite
(http://www.vulture.com/news/%23oscarssowhite/) don’t lie entirely at the feet of the Academy. “That’s a symptom of things that are not happening inside the halls of power where movies are being decided,” he says.
Spike Lee has said things won’t change on a fundamental level in Hollywood until people of color are in the room. Does Cheadle’s position at Showtime’s House of Lies — on which he has been a producer, writer, and star for five seasons — count? “I don’t know,” he says. “I’m in a room. I’m in my room. I think the rooms change, and it depends on when you ask. Come back in five years, it’s like, Oh, you’re not in the room anymore. This business retires you. You don’t retire from the business very often. I know very few people who’ve ‘made it’ and feel like they are just good now and don’t have to hustle anymore. There are probably three or four, and two of them are wrong.” It’s a good line, and I’ll hear it twice more from him before leaving Austin. Just part of the hustle.
*This article appears in the March 21, 2016 issue of New York Magazine.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
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Warwick, Ny 10990
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Don Cheadle on Miles Davis and Hollywood — Vulture
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vulture.com/2016/03/don-cheadle-talks-miles-davis.html?om_rid=AAVYcp
** Don Cheadle Talks Miles Davis and the Whiteness of Hollywood
————————————————————
By Jada Juan encounter (safari-reader://www.vulture.com/news/encounter/) March 20, 2016 9:00 p.m. By Jada Yuan (safari-reader://nymag.com/author/Jada%20Yuan/) Follow @jadabird (http://twitter.com/jadabird) Don Cheadle, who plays Miles Davis in his directorial debut, ?Miles Ahead.” Don Cheadle. Photo: Williams + Hirakawa/The New York Times
He’d never make you feel bad for asking, but Don Cheadle has for a decade now been telling the same story about how he wound up directing and co-writing his first feature. In the highly unconventional biopic Miles Ahead (http://www.vulture.com/2016/02/see-the-trailer-for-don-cheadles-miles-ahead.html) , he plays Miles Davis (or rather the essence of Miles Davis, with the truths thrown up in the air and rearranged in the key of B-flat). When the iconic trumpeter was inducted into the Rock and Roll Hall of Fame in 2006, reporters asked Davis’s nephew Vince Wilburn Jr. if the family was planning to make a movie of his uncle’s life. “He said, ‘Yeah! And Don Cheadle’s gonna star in it!’ ” says Cheadle, bugging his eyes out for effect. Cheadle is in the midst of a series of Q&As at the 2016 South by Southwest Film and Music Festival (SXSW) in Austin, Texas, and he waits for the laughter to die down before pointing out Vince in the crowd. “People started calling me, saying, ‘Well,
Vince says you’re doing the movie.’ ‘What movie?!’ ” He and Vince had never met.
I first heard Cheadle tell that story at the movie’s world premiere at the New York Film Festival in October, and again in person when he and I met up to talk in Austin, and yet again when he introduced the movie at its SXSW premiere the following night (which was running so late Cheadle joked that it was on “CPT,” or “Colored People’s Time”). Somehow, though, he’s wrung a laugh out of me every time. The movie finally opens April 1, but Cheadle seems to be getting looser and more animated, like a stand-up or, yes, a jazz musician, getting high off riffing on the same material a different way every night. Which means switching on his Miles Davis rasp to tell the story of Herbie Hancock’s first session with Davis: “Herbie’s looking at Miles, like, ‘What am I supposed to play?’ And he’s like” — rasp — “ ‘The piano, motherfucker!’ ” (Later, asked why he doesn’t do more comedies, Cheadle snaps back that no one ever asks. “Kevin Hart is doing all of them.” Pause fo
r laughter. “Fucking Kevin Hart.” Pause again. “Who actually was a contributor on the film. Thank you, Kevin.”)
Don Cheadle walks into a room like he’s casing it out, confident but watchful from behind dark sunglasses that, at least when talking to me, he never takes off. A wiry five-foot-eight, Cheadle has a sharpness to him, an air of constant thoughtfulness that makes him the most interesting part of most movies he’s in. As we sit on a bench in the sun-drenched backyard of Austin’s Four Seasons Hotel, Cheadle tells me about the first play he ever did, a fifth-grade production of Charlotte’s Web, in which he played Templeton the Rat. “I remember going to a little café up the street and studying my lines,” says Cheadle. “I wanted to be off-book very early. I wanted to know what a rat was thinking and feeling.”
It’s an energy not unlike Davis’s, who, despite his Birth of the Cool reputation, Cheadle tells me, used to throw up before he went onstage, every time. For years people who actually knew Davis, like legendary drummer Albert “Tootie” Heath, had been telling Cheadle he ought to play him. But Cheadle wasn’t interested in a straightforward cradle-to-grave treatment like Ray or Walk the Line and felt confident that Davis, who hadn’t liked Clint Eastwood’s 1988 Charlie Parker biopic,Bird, wouldn’t want to be the subject of one.
He suggested the idea of a heist movie, set during Davis’s cocaine-addicted dark period, from 1975 to 1980, when he stopped making music and holed up, Howard Hughes style, in an apparently fetid Upper West Side mansion. In the final version, there are gunfights and car chases, all over the possession of the single unheard session tape Davis made in this period. “I just thought that a movie about this person needed to be as mercurial and unexpected and improvisational as his music was,” Cheadle tells me. “As opposed to a movie that’s, like, checking off all the boxes about Miles Davis’s life.”
The marquee Cheadle imagined, he says, was “ ‘Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.’ ” Certain things did actually happen, such as Davis’s 1959 beating and arrest at the hands of the NYPD outside the jazz club Birdland for escorting a white woman to a cab. As for the rest, Cheadle says elliptically, “What’s true is the spirit, what’s ‘real’ is that it’s truly Miles Davis–esque.” Some people may quibble about omissions, that, for instance, the movie doesn’t focus enough on Davis’s spousal abuse. “Twitter beef? Blog shit. Whatever,” says Cheadle.
As he struggled for years to secure financing — eventually turning to an Indiegogo campaign after an HBO theatrical-distribution deal fell through — Cheadle went deep on the role, reading every book written about Davis and taking up boxing, a passion of the musician’s, even though there are only about two minutes of screen time when he actually needs it. He also spent eight years learning to play the trumpet: He’d always been annoyed by movies about musicians where the actors’ fingers don’t move in sync with the notes and wanted to make sure that whenever the moment came, he’d get it right.
Eventually, Cheadle persuaded the Davis family to let him bring in screenwriter Steven Baigelman to help retool the script into something more palatable to foreign-sales teams, which meant writing in a role for a white co-star. Enter Ewan McGregor as David Braden, a shady but game-for-anything Rolling Stone reporter aiming to write Davis’s comeback story. The racial issues involved in making Miles Aheadseem particularly pointed given the recent uproar over the all-white field of acting nominations at the Academy Awards this year. When the nominations were announced, Cheadle tweeted to Oscars host Chris Rock that he’d see him there: “They got me parking cars on G level.” (And Cheadle is someone who’s actually gotten a Best Actor Oscar nomination, for 2004’s Hotel Rwanda — and might be in the mix again for this movie.) He didn’t go this year, he says, not because he was boycotting but because “it’s not fun.” He believes the problems that led to #OscarsSoWhite
(http://www.vulture.com/news/%23oscarssowhite/) don’t lie entirely at the feet of the Academy. “That’s a symptom of things that are not happening inside the halls of power where movies are being decided,” he says.
Spike Lee has said things won’t change on a fundamental level in Hollywood until people of color are in the room. Does Cheadle’s position at Showtime’s House of Lies — on which he has been a producer, writer, and star for five seasons — count? “I don’t know,” he says. “I’m in a room. I’m in my room. I think the rooms change, and it depends on when you ask. Come back in five years, it’s like, Oh, you’re not in the room anymore. This business retires you. You don’t retire from the business very often. I know very few people who’ve ‘made it’ and feel like they are just good now and don’t have to hustle anymore. There are probably three or four, and two of them are wrong.” It’s a good line, and I’ll hear it twice more from him before leaving Austin. Just part of the hustle.
*This article appears in the March 21, 2016 issue of New York Magazine.
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=add501f002) | 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=add501f002&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
Don Cheadle on Miles Davis and Hollywood — Vulture
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vulture.com/2016/03/don-cheadle-talks-miles-davis.html?om_rid=AAVYcp
** Don Cheadle Talks Miles Davis and the Whiteness of Hollywood
————————————————————
By Jada Juan encounter (safari-reader://www.vulture.com/news/encounter/) March 20, 2016 9:00 p.m. By Jada Yuan (safari-reader://nymag.com/author/Jada%20Yuan/) Follow @jadabird (http://twitter.com/jadabird) Don Cheadle, who plays Miles Davis in his directorial debut, ?Miles Ahead.” Don Cheadle. Photo: Williams + Hirakawa/The New York Times
He’d never make you feel bad for asking, but Don Cheadle has for a decade now been telling the same story about how he wound up directing and co-writing his first feature. In the highly unconventional biopic Miles Ahead (http://www.vulture.com/2016/02/see-the-trailer-for-don-cheadles-miles-ahead.html) , he plays Miles Davis (or rather the essence of Miles Davis, with the truths thrown up in the air and rearranged in the key of B-flat). When the iconic trumpeter was inducted into the Rock and Roll Hall of Fame in 2006, reporters asked Davis’s nephew Vince Wilburn Jr. if the family was planning to make a movie of his uncle’s life. “He said, ‘Yeah! And Don Cheadle’s gonna star in it!’ ” says Cheadle, bugging his eyes out for effect. Cheadle is in the midst of a series of Q&As at the 2016 South by Southwest Film and Music Festival (SXSW) in Austin, Texas, and he waits for the laughter to die down before pointing out Vince in the crowd. “People started calling me, saying, ‘Well,
Vince says you’re doing the movie.’ ‘What movie?!’ ” He and Vince had never met.
I first heard Cheadle tell that story at the movie’s world premiere at the New York Film Festival in October, and again in person when he and I met up to talk in Austin, and yet again when he introduced the movie at its SXSW premiere the following night (which was running so late Cheadle joked that it was on “CPT,” or “Colored People’s Time”). Somehow, though, he’s wrung a laugh out of me every time. The movie finally opens April 1, but Cheadle seems to be getting looser and more animated, like a stand-up or, yes, a jazz musician, getting high off riffing on the same material a different way every night. Which means switching on his Miles Davis rasp to tell the story of Herbie Hancock’s first session with Davis: “Herbie’s looking at Miles, like, ‘What am I supposed to play?’ And he’s like” — rasp — “ ‘The piano, motherfucker!’ ” (Later, asked why he doesn’t do more comedies, Cheadle snaps back that no one ever asks. “Kevin Hart is doing all of them.” Pause fo
r laughter. “Fucking Kevin Hart.” Pause again. “Who actually was a contributor on the film. Thank you, Kevin.”)
Don Cheadle walks into a room like he’s casing it out, confident but watchful from behind dark sunglasses that, at least when talking to me, he never takes off. A wiry five-foot-eight, Cheadle has a sharpness to him, an air of constant thoughtfulness that makes him the most interesting part of most movies he’s in. As we sit on a bench in the sun-drenched backyard of Austin’s Four Seasons Hotel, Cheadle tells me about the first play he ever did, a fifth-grade production of Charlotte’s Web, in which he played Templeton the Rat. “I remember going to a little café up the street and studying my lines,” says Cheadle. “I wanted to be off-book very early. I wanted to know what a rat was thinking and feeling.”
It’s an energy not unlike Davis’s, who, despite his Birth of the Cool reputation, Cheadle tells me, used to throw up before he went onstage, every time. For years people who actually knew Davis, like legendary drummer Albert “Tootie” Heath, had been telling Cheadle he ought to play him. But Cheadle wasn’t interested in a straightforward cradle-to-grave treatment like Ray or Walk the Line and felt confident that Davis, who hadn’t liked Clint Eastwood’s 1988 Charlie Parker biopic,Bird, wouldn’t want to be the subject of one.
He suggested the idea of a heist movie, set during Davis’s cocaine-addicted dark period, from 1975 to 1980, when he stopped making music and holed up, Howard Hughes style, in an apparently fetid Upper West Side mansion. In the final version, there are gunfights and car chases, all over the possession of the single unheard session tape Davis made in this period. “I just thought that a movie about this person needed to be as mercurial and unexpected and improvisational as his music was,” Cheadle tells me. “As opposed to a movie that’s, like, checking off all the boxes about Miles Davis’s life.”
The marquee Cheadle imagined, he says, was “ ‘Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.’ ” Certain things did actually happen, such as Davis’s 1959 beating and arrest at the hands of the NYPD outside the jazz club Birdland for escorting a white woman to a cab. As for the rest, Cheadle says elliptically, “What’s true is the spirit, what’s ‘real’ is that it’s truly Miles Davis–esque.” Some people may quibble about omissions, that, for instance, the movie doesn’t focus enough on Davis’s spousal abuse. “Twitter beef? Blog shit. Whatever,” says Cheadle.
As he struggled for years to secure financing — eventually turning to an Indiegogo campaign after an HBO theatrical-distribution deal fell through — Cheadle went deep on the role, reading every book written about Davis and taking up boxing, a passion of the musician’s, even though there are only about two minutes of screen time when he actually needs it. He also spent eight years learning to play the trumpet: He’d always been annoyed by movies about musicians where the actors’ fingers don’t move in sync with the notes and wanted to make sure that whenever the moment came, he’d get it right.
Eventually, Cheadle persuaded the Davis family to let him bring in screenwriter Steven Baigelman to help retool the script into something more palatable to foreign-sales teams, which meant writing in a role for a white co-star. Enter Ewan McGregor as David Braden, a shady but game-for-anything Rolling Stone reporter aiming to write Davis’s comeback story. The racial issues involved in making Miles Aheadseem particularly pointed given the recent uproar over the all-white field of acting nominations at the Academy Awards this year. When the nominations were announced, Cheadle tweeted to Oscars host Chris Rock that he’d see him there: “They got me parking cars on G level.” (And Cheadle is someone who’s actually gotten a Best Actor Oscar nomination, for 2004’s Hotel Rwanda — and might be in the mix again for this movie.) He didn’t go this year, he says, not because he was boycotting but because “it’s not fun.” He believes the problems that led to #OscarsSoWhite
(http://www.vulture.com/news/%23oscarssowhite/) don’t lie entirely at the feet of the Academy. “That’s a symptom of things that are not happening inside the halls of power where movies are being decided,” he says.
Spike Lee has said things won’t change on a fundamental level in Hollywood until people of color are in the room. Does Cheadle’s position at Showtime’s House of Lies — on which he has been a producer, writer, and star for five seasons — count? “I don’t know,” he says. “I’m in a room. I’m in my room. I think the rooms change, and it depends on when you ask. Come back in five years, it’s like, Oh, you’re not in the room anymore. This business retires you. You don’t retire from the business very often. I know very few people who’ve ‘made it’ and feel like they are just good now and don’t have to hustle anymore. There are probably three or four, and two of them are wrong.” It’s a good line, and I’ll hear it twice more from him before leaving Austin. Just part of the hustle.
*This article appears in the March 21, 2016 issue of New York Magazine.
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=add501f002) | 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=add501f002&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
In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city – The Washington Post
http://www.jazzpromoservices.com/
**
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https://www.washingtonpost.com/local/in-the-1920s-dcs-top-female-cop-tried-to-clean-up-our-vice-filled-city/2016/03/19/e148b478-eca7-11e5-b0fd-073d5930a7b7_story.html
** In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city
————————————————————
By John Kelly (http://www.washingtonpost.com/people/john-kelly) Columnist March 19
Folk music is communist. Rock-and-roll is immoral. Go-go music is dangerous.
It seems that every new generation’s form of music disgusts previous generations. If it isn’t the music itself, it’s the venues where it’s performed.
John Kelly writes “John Kelly’s Washington,” a daily look at Washington’s less-famous side. Born in Washington, John started at The Post in 1989 as deputy editor in the Weekend section. View Archive (http://www.washingtonpost.com/people/john-kelly)
Such was the case with Penn Gardens, recounted in last week’s column. The dance hall at 21st Street and Pennsylvania Avenue NW, later known as the Jardin de St. Marks, operated from 1914 to 1924 and often attracted police attention.
[A century ago, Washingtonians danced at the Penn Gardens amusement palace (https://www.washingtonpost.com/local/a-century-ago-washingtonians-danced-at-the-penn-gardens-amusement-palace/2016/03/12/3e20b3a6-e62e-11e5-b0fd-073d5930a7b7_story.html) ]
The attention got so bad that the hall’s owner, Edmund K. Fox, sued several city officials. The constant attention, especially from policewomen interrogating female patrons, was stifling business. Among those Fox sued was Mrs. Mina C. Van Winkle.
In Answer Man’s experience, an interesting name often indicates an interesting life. Such was the case with Wilhelmina “Mina” Caroline Ginger, born in 1875 in New Jersey. As a young woman, she threw herself into the fight for female suffrage. When a ballot initiative in New Jersey failed, she told a reporter from the New York Times, “Any woman who took any part in the anti-suffrage campaign should be ashamed to come out into the sunlight.”
Mina added “Van Winkle” to her name after marrying Abraham Van Winkle, a New Jersey chemical manufacturer 36 years her senior who owned his own island in the Bahamas. (He’d wanted an island ever since reading “Robinson Crusoe.”)
Abraham died in 1915. Two years later, Mina Van Winkle moved to Washington to work at the newly-established U.S. Food Administration. In 1918, she became one of the District’s first policewomen. In 1919, she was named head of the Women’s Bureau.
Although Van Winkle reported to the chief of police, she had incredible autonomy over the handful of “female Sherlock Holmeses” in the Women’s Bureau, which had oversight of: “Any friendless, homeless or incorrigible girls or boys. Any conditions making for or persons causing delinquency. Any girl or woman who is violating the law.”
Van Winkle’s “coppettes” patrolled places girls might loiter, looking for runaways, shoplifters and prostitutes. The policewomen were a regular presence at Union Station and supervised dance halls and movie theaters.
Mina Van Winkle did not like what she saw. She harbored a belief that hairdressers were fronts for prostitution. She was suspicious of the saxophone and believed that some music was “indecent.” (Which music? “That tom-tommy sort of Oriental music that makes men forget home and babies,” she told a reporter.”) The Charleston, she said, was “one of our greatest contributors to sexual delinquency today.”
In April 1923, she criticized the craze for dance marathons, which had just reached Washington. She lamented that she had no grounds to stop them despite the ruin they were likely to cause.
“A dance epidemic always precedes national disaster, as clouds precede a storm,” she said. “A prominent historian tells us that dance fevers always come before revolution. America is dancing herself into war.”
(Mina wasn’t alone in her disdain: The assistant surgeon general also felt dance marathons were dangerous.)
Unlike some social reformers, Van Winkle had a rather stern attitude toward those who needed her help, thinking it better to criticize than coddle. She said that “cabaret life and cheap literature” were making American girls unfit to become wives and mothers.
“Too many women,” she said, “want a career in business, away from home. The only career in every girl’s life should be the developing of a real home.”
In 1925, Van Winkle lobbied to broaden the powers of the Women’s Bureau and enlarge its staff, so that, The Washington Post wrote, its officers “could keep constant watch on all families in the city and step in whenever they believed that parents are not rearing their children properly or are permitting them to keep bad company or too late hours or to develop bad habits.”
Her requests were denied. Van Winkle was swimming against the tide. There was a growing consensus that “social diseases” were better handled by charitable groups rather than by the police.
Nearly a century later, it’s easy to see Van Winkle as laughable — saxophones? — but it probably wasn’t easy for a strong woman trying to make a mark in a male-dominated arena.
“Prejudice against our bureau is inherent in the male,” she said. “Judges are tolerant of evil in their fellow males. If we had women on the bench, the story would be different.”
It’s hard to argue with that. And there’s doubtless some truth in Van Winkle’s belief that “parents who make no attractive home life for their children are directly and wholly responsible for their delinquency.”
But her zeal seems to have spilled over into zealotry.
Mina Van Winkle — the socialite social worker once known for her blue serge suit, white kid gloves, veil and “a faint hint of perfume” — died in 1933 at age 57. The Post lauded her “untiring devotion” and noted that she had “labored in sordid surroundings, among those whose lives seemed to be beyond hope.”
Twitter: @johnkelly
Have a question about your sordid surroundings? Send it to answerman@washpost.com (mailto:johnkelly) .
For previous columns, visit washingtonpost.com/johnkelly (http://www.washingtonpost.com/johnkelly.com) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city – The Washington Post
http://www.jazzpromoservices.com/
**
————————————————————
https://www.washingtonpost.com/local/in-the-1920s-dcs-top-female-cop-tried-to-clean-up-our-vice-filled-city/2016/03/19/e148b478-eca7-11e5-b0fd-073d5930a7b7_story.html
** In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city
————————————————————
By John Kelly (http://www.washingtonpost.com/people/john-kelly) Columnist March 19
Folk music is communist. Rock-and-roll is immoral. Go-go music is dangerous.
It seems that every new generation’s form of music disgusts previous generations. If it isn’t the music itself, it’s the venues where it’s performed.
John Kelly writes “John Kelly’s Washington,” a daily look at Washington’s less-famous side. Born in Washington, John started at The Post in 1989 as deputy editor in the Weekend section. View Archive (http://www.washingtonpost.com/people/john-kelly)
Such was the case with Penn Gardens, recounted in last week’s column. The dance hall at 21st Street and Pennsylvania Avenue NW, later known as the Jardin de St. Marks, operated from 1914 to 1924 and often attracted police attention.
[A century ago, Washingtonians danced at the Penn Gardens amusement palace (https://www.washingtonpost.com/local/a-century-ago-washingtonians-danced-at-the-penn-gardens-amusement-palace/2016/03/12/3e20b3a6-e62e-11e5-b0fd-073d5930a7b7_story.html) ]
The attention got so bad that the hall’s owner, Edmund K. Fox, sued several city officials. The constant attention, especially from policewomen interrogating female patrons, was stifling business. Among those Fox sued was Mrs. Mina C. Van Winkle.
In Answer Man’s experience, an interesting name often indicates an interesting life. Such was the case with Wilhelmina “Mina” Caroline Ginger, born in 1875 in New Jersey. As a young woman, she threw herself into the fight for female suffrage. When a ballot initiative in New Jersey failed, she told a reporter from the New York Times, “Any woman who took any part in the anti-suffrage campaign should be ashamed to come out into the sunlight.”
Mina added “Van Winkle” to her name after marrying Abraham Van Winkle, a New Jersey chemical manufacturer 36 years her senior who owned his own island in the Bahamas. (He’d wanted an island ever since reading “Robinson Crusoe.”)
Abraham died in 1915. Two years later, Mina Van Winkle moved to Washington to work at the newly-established U.S. Food Administration. In 1918, she became one of the District’s first policewomen. In 1919, she was named head of the Women’s Bureau.
Although Van Winkle reported to the chief of police, she had incredible autonomy over the handful of “female Sherlock Holmeses” in the Women’s Bureau, which had oversight of: “Any friendless, homeless or incorrigible girls or boys. Any conditions making for or persons causing delinquency. Any girl or woman who is violating the law.”
Van Winkle’s “coppettes” patrolled places girls might loiter, looking for runaways, shoplifters and prostitutes. The policewomen were a regular presence at Union Station and supervised dance halls and movie theaters.
Mina Van Winkle did not like what she saw. She harbored a belief that hairdressers were fronts for prostitution. She was suspicious of the saxophone and believed that some music was “indecent.” (Which music? “That tom-tommy sort of Oriental music that makes men forget home and babies,” she told a reporter.”) The Charleston, she said, was “one of our greatest contributors to sexual delinquency today.”
In April 1923, she criticized the craze for dance marathons, which had just reached Washington. She lamented that she had no grounds to stop them despite the ruin they were likely to cause.
“A dance epidemic always precedes national disaster, as clouds precede a storm,” she said. “A prominent historian tells us that dance fevers always come before revolution. America is dancing herself into war.”
(Mina wasn’t alone in her disdain: The assistant surgeon general also felt dance marathons were dangerous.)
Unlike some social reformers, Van Winkle had a rather stern attitude toward those who needed her help, thinking it better to criticize than coddle. She said that “cabaret life and cheap literature” were making American girls unfit to become wives and mothers.
“Too many women,” she said, “want a career in business, away from home. The only career in every girl’s life should be the developing of a real home.”
In 1925, Van Winkle lobbied to broaden the powers of the Women’s Bureau and enlarge its staff, so that, The Washington Post wrote, its officers “could keep constant watch on all families in the city and step in whenever they believed that parents are not rearing their children properly or are permitting them to keep bad company or too late hours or to develop bad habits.”
Her requests were denied. Van Winkle was swimming against the tide. There was a growing consensus that “social diseases” were better handled by charitable groups rather than by the police.
Nearly a century later, it’s easy to see Van Winkle as laughable — saxophones? — but it probably wasn’t easy for a strong woman trying to make a mark in a male-dominated arena.
“Prejudice against our bureau is inherent in the male,” she said. “Judges are tolerant of evil in their fellow males. If we had women on the bench, the story would be different.”
It’s hard to argue with that. And there’s doubtless some truth in Van Winkle’s belief that “parents who make no attractive home life for their children are directly and wholly responsible for their delinquency.”
But her zeal seems to have spilled over into zealotry.
Mina Van Winkle — the socialite social worker once known for her blue serge suit, white kid gloves, veil and “a faint hint of perfume” — died in 1933 at age 57. The Post lauded her “untiring devotion” and noted that she had “labored in sordid surroundings, among those whose lives seemed to be beyond hope.”
Twitter: @johnkelly
Have a question about your sordid surroundings? Send it to answerman@washpost.com (mailto:johnkelly) .
For previous columns, visit washingtonpost.com/johnkelly (http://www.washingtonpost.com/johnkelly.com) .
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=0a1d201a5a) | 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=0a1d201a5a&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
In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city – The Washington Post
http://www.jazzpromoservices.com/
**
————————————————————
https://www.washingtonpost.com/local/in-the-1920s-dcs-top-female-cop-tried-to-clean-up-our-vice-filled-city/2016/03/19/e148b478-eca7-11e5-b0fd-073d5930a7b7_story.html
** In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city
————————————————————
By John Kelly (http://www.washingtonpost.com/people/john-kelly) Columnist March 19
Folk music is communist. Rock-and-roll is immoral. Go-go music is dangerous.
It seems that every new generation’s form of music disgusts previous generations. If it isn’t the music itself, it’s the venues where it’s performed.
John Kelly writes “John Kelly’s Washington,” a daily look at Washington’s less-famous side. Born in Washington, John started at The Post in 1989 as deputy editor in the Weekend section. View Archive (http://www.washingtonpost.com/people/john-kelly)
Such was the case with Penn Gardens, recounted in last week’s column. The dance hall at 21st Street and Pennsylvania Avenue NW, later known as the Jardin de St. Marks, operated from 1914 to 1924 and often attracted police attention.
[A century ago, Washingtonians danced at the Penn Gardens amusement palace (https://www.washingtonpost.com/local/a-century-ago-washingtonians-danced-at-the-penn-gardens-amusement-palace/2016/03/12/3e20b3a6-e62e-11e5-b0fd-073d5930a7b7_story.html) ]
The attention got so bad that the hall’s owner, Edmund K. Fox, sued several city officials. The constant attention, especially from policewomen interrogating female patrons, was stifling business. Among those Fox sued was Mrs. Mina C. Van Winkle.
In Answer Man’s experience, an interesting name often indicates an interesting life. Such was the case with Wilhelmina “Mina” Caroline Ginger, born in 1875 in New Jersey. As a young woman, she threw herself into the fight for female suffrage. When a ballot initiative in New Jersey failed, she told a reporter from the New York Times, “Any woman who took any part in the anti-suffrage campaign should be ashamed to come out into the sunlight.”
Mina added “Van Winkle” to her name after marrying Abraham Van Winkle, a New Jersey chemical manufacturer 36 years her senior who owned his own island in the Bahamas. (He’d wanted an island ever since reading “Robinson Crusoe.”)
Abraham died in 1915. Two years later, Mina Van Winkle moved to Washington to work at the newly-established U.S. Food Administration. In 1918, she became one of the District’s first policewomen. In 1919, she was named head of the Women’s Bureau.
Although Van Winkle reported to the chief of police, she had incredible autonomy over the handful of “female Sherlock Holmeses” in the Women’s Bureau, which had oversight of: “Any friendless, homeless or incorrigible girls or boys. Any conditions making for or persons causing delinquency. Any girl or woman who is violating the law.”
Van Winkle’s “coppettes” patrolled places girls might loiter, looking for runaways, shoplifters and prostitutes. The policewomen were a regular presence at Union Station and supervised dance halls and movie theaters.
Mina Van Winkle did not like what she saw. She harbored a belief that hairdressers were fronts for prostitution. She was suspicious of the saxophone and believed that some music was “indecent.” (Which music? “That tom-tommy sort of Oriental music that makes men forget home and babies,” she told a reporter.”) The Charleston, she said, was “one of our greatest contributors to sexual delinquency today.”
In April 1923, she criticized the craze for dance marathons, which had just reached Washington. She lamented that she had no grounds to stop them despite the ruin they were likely to cause.
“A dance epidemic always precedes national disaster, as clouds precede a storm,” she said. “A prominent historian tells us that dance fevers always come before revolution. America is dancing herself into war.”
(Mina wasn’t alone in her disdain: The assistant surgeon general also felt dance marathons were dangerous.)
Unlike some social reformers, Van Winkle had a rather stern attitude toward those who needed her help, thinking it better to criticize than coddle. She said that “cabaret life and cheap literature” were making American girls unfit to become wives and mothers.
“Too many women,” she said, “want a career in business, away from home. The only career in every girl’s life should be the developing of a real home.”
In 1925, Van Winkle lobbied to broaden the powers of the Women’s Bureau and enlarge its staff, so that, The Washington Post wrote, its officers “could keep constant watch on all families in the city and step in whenever they believed that parents are not rearing their children properly or are permitting them to keep bad company or too late hours or to develop bad habits.”
Her requests were denied. Van Winkle was swimming against the tide. There was a growing consensus that “social diseases” were better handled by charitable groups rather than by the police.
Nearly a century later, it’s easy to see Van Winkle as laughable — saxophones? — but it probably wasn’t easy for a strong woman trying to make a mark in a male-dominated arena.
“Prejudice against our bureau is inherent in the male,” she said. “Judges are tolerant of evil in their fellow males. If we had women on the bench, the story would be different.”
It’s hard to argue with that. And there’s doubtless some truth in Van Winkle’s belief that “parents who make no attractive home life for their children are directly and wholly responsible for their delinquency.”
But her zeal seems to have spilled over into zealotry.
Mina Van Winkle — the socialite social worker once known for her blue serge suit, white kid gloves, veil and “a faint hint of perfume” — died in 1933 at age 57. The Post lauded her “untiring devotion” and noted that she had “labored in sordid surroundings, among those whose lives seemed to be beyond hope.”
Twitter: @johnkelly
Have a question about your sordid surroundings? Send it to answerman@washpost.com (mailto:johnkelly) .
For previous columns, visit washingtonpost.com/johnkelly (http://www.washingtonpost.com/johnkelly.com) .
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=0a1d201a5a) | 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=0a1d201a5a&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
In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city – The Washington Post
http://www.jazzpromoservices.com/
**
————————————————————
https://www.washingtonpost.com/local/in-the-1920s-dcs-top-female-cop-tried-to-clean-up-our-vice-filled-city/2016/03/19/e148b478-eca7-11e5-b0fd-073d5930a7b7_story.html
** In the 1920s, D.C.’s top female cop tried to clean up our vice-filled city
————————————————————
By John Kelly (http://www.washingtonpost.com/people/john-kelly) Columnist March 19
Folk music is communist. Rock-and-roll is immoral. Go-go music is dangerous.
It seems that every new generation’s form of music disgusts previous generations. If it isn’t the music itself, it’s the venues where it’s performed.
John Kelly writes “John Kelly’s Washington,” a daily look at Washington’s less-famous side. Born in Washington, John started at The Post in 1989 as deputy editor in the Weekend section. View Archive (http://www.washingtonpost.com/people/john-kelly)
Such was the case with Penn Gardens, recounted in last week’s column. The dance hall at 21st Street and Pennsylvania Avenue NW, later known as the Jardin de St. Marks, operated from 1914 to 1924 and often attracted police attention.
[A century ago, Washingtonians danced at the Penn Gardens amusement palace (https://www.washingtonpost.com/local/a-century-ago-washingtonians-danced-at-the-penn-gardens-amusement-palace/2016/03/12/3e20b3a6-e62e-11e5-b0fd-073d5930a7b7_story.html) ]
The attention got so bad that the hall’s owner, Edmund K. Fox, sued several city officials. The constant attention, especially from policewomen interrogating female patrons, was stifling business. Among those Fox sued was Mrs. Mina C. Van Winkle.
In Answer Man’s experience, an interesting name often indicates an interesting life. Such was the case with Wilhelmina “Mina” Caroline Ginger, born in 1875 in New Jersey. As a young woman, she threw herself into the fight for female suffrage. When a ballot initiative in New Jersey failed, she told a reporter from the New York Times, “Any woman who took any part in the anti-suffrage campaign should be ashamed to come out into the sunlight.”
Mina added “Van Winkle” to her name after marrying Abraham Van Winkle, a New Jersey chemical manufacturer 36 years her senior who owned his own island in the Bahamas. (He’d wanted an island ever since reading “Robinson Crusoe.”)
Abraham died in 1915. Two years later, Mina Van Winkle moved to Washington to work at the newly-established U.S. Food Administration. In 1918, she became one of the District’s first policewomen. In 1919, she was named head of the Women’s Bureau.
Although Van Winkle reported to the chief of police, she had incredible autonomy over the handful of “female Sherlock Holmeses” in the Women’s Bureau, which had oversight of: “Any friendless, homeless or incorrigible girls or boys. Any conditions making for or persons causing delinquency. Any girl or woman who is violating the law.”
Van Winkle’s “coppettes” patrolled places girls might loiter, looking for runaways, shoplifters and prostitutes. The policewomen were a regular presence at Union Station and supervised dance halls and movie theaters.
Mina Van Winkle did not like what she saw. She harbored a belief that hairdressers were fronts for prostitution. She was suspicious of the saxophone and believed that some music was “indecent.” (Which music? “That tom-tommy sort of Oriental music that makes men forget home and babies,” she told a reporter.”) The Charleston, she said, was “one of our greatest contributors to sexual delinquency today.”
In April 1923, she criticized the craze for dance marathons, which had just reached Washington. She lamented that she had no grounds to stop them despite the ruin they were likely to cause.
“A dance epidemic always precedes national disaster, as clouds precede a storm,” she said. “A prominent historian tells us that dance fevers always come before revolution. America is dancing herself into war.”
(Mina wasn’t alone in her disdain: The assistant surgeon general also felt dance marathons were dangerous.)
Unlike some social reformers, Van Winkle had a rather stern attitude toward those who needed her help, thinking it better to criticize than coddle. She said that “cabaret life and cheap literature” were making American girls unfit to become wives and mothers.
“Too many women,” she said, “want a career in business, away from home. The only career in every girl’s life should be the developing of a real home.”
In 1925, Van Winkle lobbied to broaden the powers of the Women’s Bureau and enlarge its staff, so that, The Washington Post wrote, its officers “could keep constant watch on all families in the city and step in whenever they believed that parents are not rearing their children properly or are permitting them to keep bad company or too late hours or to develop bad habits.”
Her requests were denied. Van Winkle was swimming against the tide. There was a growing consensus that “social diseases” were better handled by charitable groups rather than by the police.
Nearly a century later, it’s easy to see Van Winkle as laughable — saxophones? — but it probably wasn’t easy for a strong woman trying to make a mark in a male-dominated arena.
“Prejudice against our bureau is inherent in the male,” she said. “Judges are tolerant of evil in their fellow males. If we had women on the bench, the story would be different.”
It’s hard to argue with that. And there’s doubtless some truth in Van Winkle’s belief that “parents who make no attractive home life for their children are directly and wholly responsible for their delinquency.”
But her zeal seems to have spilled over into zealotry.
Mina Van Winkle — the socialite social worker once known for her blue serge suit, white kid gloves, veil and “a faint hint of perfume” — died in 1933 at age 57. The Post lauded her “untiring devotion” and noted that she had “labored in sordid surroundings, among those whose lives seemed to be beyond hope.”
Twitter: @johnkelly
Have a question about your sordid surroundings? Send it to answerman@washpost.com (mailto:johnkelly) .
For previous columns, visit washingtonpost.com/johnkelly (http://www.washingtonpost.com/johnkelly.com) .
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=0a1d201a5a) | 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=0a1d201a5a&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
Dave Hubbard R.I.P.
http://www.jazzpromoservices.com/
**
————————————————————
https://www.facebook.com/search/top/?q=dr%20lonnie%20smith
Lonnie Smith (https://www.facebook.com/lonnie.smith.92123?ref=br_rs&fref=nf) to Dr. Lonnie Smith…Funkiest B3 Burner On The Planet!!! (https://www.facebook.com/groups/drlonniesmith/?fref=nf)
March 19 at 3:02am (https://www.facebook.com/groups/drlonniesmith/permalink/10154108616878678/) ·
So very sad to hear of the passing of my close friend and fellow musician saxophonist David Hubbard. I have many wonderful memories of recording with Dave and memories of our friendship that lasted decades. We always had each other’s backs. He was an amazing artist and human being. He will be missed. Rest in peace Dave.
https://www.youtube.com/watch?v=ggUlX7UjbIc
Lonnie Smith (vocals, organ); Dave Hubbard (tenor saxophone); Ronnie Cuber (baritone saxophone); George Benson, Larry McGee (guitar); Joe Thomas (drums); Gary Jones (conga); Clifford Mack (tambourine)
Recorded live at Club Mozambique, Detroit, Michigan on May 21, 1970
http://www.davehubbard.net
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=98e894c1d6) | 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=98e894c1d6&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
Dave Hubbard R.I.P.
http://www.jazzpromoservices.com/
**
————————————————————
https://www.facebook.com/search/top/?q=dr%20lonnie%20smith
Lonnie Smith (https://www.facebook.com/lonnie.smith.92123?ref=br_rs&fref=nf) to Dr. Lonnie Smith…Funkiest B3 Burner On The Planet!!! (https://www.facebook.com/groups/drlonniesmith/?fref=nf)
March 19 at 3:02am (https://www.facebook.com/groups/drlonniesmith/permalink/10154108616878678/) ·
So very sad to hear of the passing of my close friend and fellow musician saxophonist David Hubbard. I have many wonderful memories of recording with Dave and memories of our friendship that lasted decades. We always had each other’s backs. He was an amazing artist and human being. He will be missed. Rest in peace Dave.
https://www.youtube.com/watch?v=ggUlX7UjbIc
Lonnie Smith (vocals, organ); Dave Hubbard (tenor saxophone); Ronnie Cuber (baritone saxophone); George Benson, Larry McGee (guitar); Joe Thomas (drums); Gary Jones (conga); Clifford Mack (tambourine)
Recorded live at Club Mozambique, Detroit, Michigan on May 21, 1970
http://www.davehubbard.net
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
Dave Hubbard R.I.P.
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**
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https://www.facebook.com/search/top/?q=dr%20lonnie%20smith
Lonnie Smith (https://www.facebook.com/lonnie.smith.92123?ref=br_rs&fref=nf) to Dr. Lonnie Smith…Funkiest B3 Burner On The Planet!!! (https://www.facebook.com/groups/drlonniesmith/?fref=nf)
March 19 at 3:02am (https://www.facebook.com/groups/drlonniesmith/permalink/10154108616878678/) ·
So very sad to hear of the passing of my close friend and fellow musician saxophonist David Hubbard. I have many wonderful memories of recording with Dave and memories of our friendship that lasted decades. We always had each other’s backs. He was an amazing artist and human being. He will be missed. Rest in peace Dave.
https://www.youtube.com/watch?v=ggUlX7UjbIc
Lonnie Smith (vocals, organ); Dave Hubbard (tenor saxophone); Ronnie Cuber (baritone saxophone); George Benson, Larry McGee (guitar); Joe Thomas (drums); Gary Jones (conga); Clifford Mack (tambourine)
Recorded live at Club Mozambique, Detroit, Michigan on May 21, 1970
http://www.davehubbard.net
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=98e894c1d6) | 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=98e894c1d6&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Dave Hubbard R.I.P.
http://www.jazzpromoservices.com/
**
————————————————————
https://www.facebook.com/search/top/?q=dr%20lonnie%20smith
Lonnie Smith (https://www.facebook.com/lonnie.smith.92123?ref=br_rs&fref=nf) to Dr. Lonnie Smith…Funkiest B3 Burner On The Planet!!! (https://www.facebook.com/groups/drlonniesmith/?fref=nf)
March 19 at 3:02am (https://www.facebook.com/groups/drlonniesmith/permalink/10154108616878678/) ·
So very sad to hear of the passing of my close friend and fellow musician saxophonist David Hubbard. I have many wonderful memories of recording with Dave and memories of our friendship that lasted decades. We always had each other’s backs. He was an amazing artist and human being. He will be missed. Rest in peace Dave.
https://www.youtube.com/watch?v=ggUlX7UjbIc
Lonnie Smith (vocals, organ); Dave Hubbard (tenor saxophone); Ronnie Cuber (baritone saxophone); George Benson, Larry McGee (guitar); Joe Thomas (drums); Gary Jones (conga); Clifford Mack (tambourine)
Recorded live at Club Mozambique, Detroit, Michigan on May 21, 1970
http://www.davehubbard.net
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=98e894c1d6) | 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=98e894c1d6&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: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html
** Review: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era
————————————————————
By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 20, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html#story-continues-1) Share This Page
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Debby Boone and Billy Stritch in “Witchcraft: The Jazz Magic of Cy Coleman,” at the 92nd Street Y. Richard Termine
By the end of Saturday’s opening-night performance of “Witchcraft: The Jazz Magic of Cy Coleman (http://www.92y.org/Event/L-L-Jazz-Magic-of-Cy-Coleman) ” at the 92nd Street Y, anyone present could be forgiven for imagining that the clock had magically been turned back to 1965 or thereabouts. In a shimmering musical mirage, the bygone Manhattan night life of 50 years ago came into view.
Since Coleman’s death in 2004 (http://www.nytimes.com/2004/11/20/theater/cy-coleman-composer-whose-jazzfired-musicals-blazed-on-broadway-dies-at-75.html) there have been many tributes, but most have concentrated on his Broadway scores. “Witchcraft,” part of the 92nd Street Y’s venerable Lyrics and Lyricists series, focuses on his seldom-heard stand-alone pop songs, many of which are wittier and more refined than his brash, swinging show tunes. Coming out of the Cole Porter tradition, they revel in an urbanity that has all but disappeared from the pop landscape.
Billy Stritch, the singer, pianist, and arranger, hosted the show, which he wrote with Andy Propst, and he led a cast that included Debby Boone, La Tanya Hall, Nicolas King and Gabrielle Stravelli. Jay Leonhart played bass and Rick Montalbano, drums. Mr. Stritch is a vocal disciple of Mel Tormé and a pianistic descendant of Coleman, a keyboard prodigy who rebelled against classical music and became the Count Basie of lounge pianists before he began writing shows.
As the notes rippled out from under Mr. Stritch’s fingertips, lush harmonies flashed by like scenery glimpsed from the windows of a bullet train. He not only does it all but also makes it look easy. Always a polished, genial singer, he has grown more expressive. A high point of the evening was his emotion-choked rendition of “It Amazes Me (https://www.youtube.com/watch?v=x68YWIBIaeQ) ,” with lyrics by Coleman’s greatest collaborator, Carolyn Leigh.
Several numbers featured machine-perfect four- and five-part vocal harmonies. Each guest had at least one outstanding solo. Ms. Stravelli infused the little-known torch song “A Moment of Madness” with fire. Ms. Hall brought a sultry, slow-burning intensity to “Why Try to Change Me Now? (https://www.youtube.com/watch?v=6Zi3vSPZyhU) ,” with lyrics by Joseph McCarthy Jr.
Continue reading the main story
Mr. King, who is only 25, polished “I Walk a Little Faster (https://www.youtube.com/watch?v=zh2n5yQHxCw) ” to a high buff. Ms. Boone’s warmest moment was “Pink Taffeta Sample Size 10,” a song cut from “Sweet Charity.” The show’s comic standout was Mr. Leonhart’s rendition of a novelty about aardvarks with lyrics by Allan Sherman.
Not to sound nostalgic, but those were the days when the now-torn and tattered word “sophisticated” really meant something.
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=caf87b491b) | 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=caf87b491b&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: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html
** Review: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era
————————————————————
By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 20, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html#story-continues-1) Share This Page
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Debby Boone and Billy Stritch in “Witchcraft: The Jazz Magic of Cy Coleman,” at the 92nd Street Y. Richard Termine
By the end of Saturday’s opening-night performance of “Witchcraft: The Jazz Magic of Cy Coleman (http://www.92y.org/Event/L-L-Jazz-Magic-of-Cy-Coleman) ” at the 92nd Street Y, anyone present could be forgiven for imagining that the clock had magically been turned back to 1965 or thereabouts. In a shimmering musical mirage, the bygone Manhattan night life of 50 years ago came into view.
Since Coleman’s death in 2004 (http://www.nytimes.com/2004/11/20/theater/cy-coleman-composer-whose-jazzfired-musicals-blazed-on-broadway-dies-at-75.html) there have been many tributes, but most have concentrated on his Broadway scores. “Witchcraft,” part of the 92nd Street Y’s venerable Lyrics and Lyricists series, focuses on his seldom-heard stand-alone pop songs, many of which are wittier and more refined than his brash, swinging show tunes. Coming out of the Cole Porter tradition, they revel in an urbanity that has all but disappeared from the pop landscape.
Billy Stritch, the singer, pianist, and arranger, hosted the show, which he wrote with Andy Propst, and he led a cast that included Debby Boone, La Tanya Hall, Nicolas King and Gabrielle Stravelli. Jay Leonhart played bass and Rick Montalbano, drums. Mr. Stritch is a vocal disciple of Mel Tormé and a pianistic descendant of Coleman, a keyboard prodigy who rebelled against classical music and became the Count Basie of lounge pianists before he began writing shows.
As the notes rippled out from under Mr. Stritch’s fingertips, lush harmonies flashed by like scenery glimpsed from the windows of a bullet train. He not only does it all but also makes it look easy. Always a polished, genial singer, he has grown more expressive. A high point of the evening was his emotion-choked rendition of “It Amazes Me (https://www.youtube.com/watch?v=x68YWIBIaeQ) ,” with lyrics by Coleman’s greatest collaborator, Carolyn Leigh.
Several numbers featured machine-perfect four- and five-part vocal harmonies. Each guest had at least one outstanding solo. Ms. Stravelli infused the little-known torch song “A Moment of Madness” with fire. Ms. Hall brought a sultry, slow-burning intensity to “Why Try to Change Me Now? (https://www.youtube.com/watch?v=6Zi3vSPZyhU) ,” with lyrics by Joseph McCarthy Jr.
Continue reading the main story
Mr. King, who is only 25, polished “I Walk a Little Faster (https://www.youtube.com/watch?v=zh2n5yQHxCw) ” to a high buff. Ms. Boone’s warmest moment was “Pink Taffeta Sample Size 10,” a song cut from “Sweet Charity.” The show’s comic standout was Mr. Leonhart’s rendition of a novelty about aardvarks with lyrics by Allan Sherman.
Not to sound nostalgic, but those were the days when the now-torn and tattered word “sophisticated” really meant something.
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=caf87b491b) | 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=caf87b491b&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: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html
** Review: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era
————————————————————
By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 20, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html#story-continues-1) Share This Page
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Debby Boone and Billy Stritch in “Witchcraft: The Jazz Magic of Cy Coleman,” at the 92nd Street Y. Richard Termine
By the end of Saturday’s opening-night performance of “Witchcraft: The Jazz Magic of Cy Coleman (http://www.92y.org/Event/L-L-Jazz-Magic-of-Cy-Coleman) ” at the 92nd Street Y, anyone present could be forgiven for imagining that the clock had magically been turned back to 1965 or thereabouts. In a shimmering musical mirage, the bygone Manhattan night life of 50 years ago came into view.
Since Coleman’s death in 2004 (http://www.nytimes.com/2004/11/20/theater/cy-coleman-composer-whose-jazzfired-musicals-blazed-on-broadway-dies-at-75.html) there have been many tributes, but most have concentrated on his Broadway scores. “Witchcraft,” part of the 92nd Street Y’s venerable Lyrics and Lyricists series, focuses on his seldom-heard stand-alone pop songs, many of which are wittier and more refined than his brash, swinging show tunes. Coming out of the Cole Porter tradition, they revel in an urbanity that has all but disappeared from the pop landscape.
Billy Stritch, the singer, pianist, and arranger, hosted the show, which he wrote with Andy Propst, and he led a cast that included Debby Boone, La Tanya Hall, Nicolas King and Gabrielle Stravelli. Jay Leonhart played bass and Rick Montalbano, drums. Mr. Stritch is a vocal disciple of Mel Tormé and a pianistic descendant of Coleman, a keyboard prodigy who rebelled against classical music and became the Count Basie of lounge pianists before he began writing shows.
As the notes rippled out from under Mr. Stritch’s fingertips, lush harmonies flashed by like scenery glimpsed from the windows of a bullet train. He not only does it all but also makes it look easy. Always a polished, genial singer, he has grown more expressive. A high point of the evening was his emotion-choked rendition of “It Amazes Me (https://www.youtube.com/watch?v=x68YWIBIaeQ) ,” with lyrics by Coleman’s greatest collaborator, Carolyn Leigh.
Several numbers featured machine-perfect four- and five-part vocal harmonies. Each guest had at least one outstanding solo. Ms. Stravelli infused the little-known torch song “A Moment of Madness” with fire. Ms. Hall brought a sultry, slow-burning intensity to “Why Try to Change Me Now? (https://www.youtube.com/watch?v=6Zi3vSPZyhU) ,” with lyrics by Joseph McCarthy Jr.
Continue reading the main story
Mr. King, who is only 25, polished “I Walk a Little Faster (https://www.youtube.com/watch?v=zh2n5yQHxCw) ” to a high buff. Ms. Boone’s warmest moment was “Pink Taffeta Sample Size 10,” a song cut from “Sweet Charity.” The show’s comic standout was Mr. Leonhart’s rendition of a novelty about aardvarks with lyrics by Allan Sherman.
Not to sound nostalgic, but those were the days when the now-torn and tattered word “sophisticated” really meant something.
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=caf87b491b) | 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=caf87b491b&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: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era – The New York Times
http://www.jazzpromoservices.com/
**
————————————————————
http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html
** Review: ‘Witchcraft: The Jazz Magic of Cy Coleman’ Summons a Bygone Era
————————————————————
By STEPHEN HOLDEN (http://topics.nytimes.com/top/reference/timestopics/people/h/stephen_holden/index.html) MARCH 20, 2016
Continue reading the main story (http://www.nytimes.com/2016/03/21/arts/music/review-witchcraft-the-jazz-magic-of-cy-coleman-summons-a-bygone-era.html#story-continues-1) Share This Page
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Debby Boone and Billy Stritch in “Witchcraft: The Jazz Magic of Cy Coleman,” at the 92nd Street Y. Richard Termine
By the end of Saturday’s opening-night performance of “Witchcraft: The Jazz Magic of Cy Coleman (http://www.92y.org/Event/L-L-Jazz-Magic-of-Cy-Coleman) ” at the 92nd Street Y, anyone present could be forgiven for imagining that the clock had magically been turned back to 1965 or thereabouts. In a shimmering musical mirage, the bygone Manhattan night life of 50 years ago came into view.
Since Coleman’s death in 2004 (http://www.nytimes.com/2004/11/20/theater/cy-coleman-composer-whose-jazzfired-musicals-blazed-on-broadway-dies-at-75.html) there have been many tributes, but most have concentrated on his Broadway scores. “Witchcraft,” part of the 92nd Street Y’s venerable Lyrics and Lyricists series, focuses on his seldom-heard stand-alone pop songs, many of which are wittier and more refined than his brash, swinging show tunes. Coming out of the Cole Porter tradition, they revel in an urbanity that has all but disappeared from the pop landscape.
Billy Stritch, the singer, pianist, and arranger, hosted the show, which he wrote with Andy Propst, and he led a cast that included Debby Boone, La Tanya Hall, Nicolas King and Gabrielle Stravelli. Jay Leonhart played bass and Rick Montalbano, drums. Mr. Stritch is a vocal disciple of Mel Tormé and a pianistic descendant of Coleman, a keyboard prodigy who rebelled against classical music and became the Count Basie of lounge pianists before he began writing shows.
As the notes rippled out from under Mr. Stritch’s fingertips, lush harmonies flashed by like scenery glimpsed from the windows of a bullet train. He not only does it all but also makes it look easy. Always a polished, genial singer, he has grown more expressive. A high point of the evening was his emotion-choked rendition of “It Amazes Me (https://www.youtube.com/watch?v=x68YWIBIaeQ) ,” with lyrics by Coleman’s greatest collaborator, Carolyn Leigh.
Several numbers featured machine-perfect four- and five-part vocal harmonies. Each guest had at least one outstanding solo. Ms. Stravelli infused the little-known torch song “A Moment of Madness” with fire. Ms. Hall brought a sultry, slow-burning intensity to “Why Try to Change Me Now? (https://www.youtube.com/watch?v=6Zi3vSPZyhU) ,” with lyrics by Joseph McCarthy Jr.
Continue reading the main story
Mr. King, who is only 25, polished “I Walk a Little Faster (https://www.youtube.com/watch?v=zh2n5yQHxCw) ” to a high buff. Ms. Boone’s warmest moment was “Pink Taffeta Sample Size 10,” a song cut from “Sweet Charity.” The show’s comic standout was Mr. Leonhart’s rendition of a novelty about aardvarks with lyrics by Allan Sherman.
Not to sound nostalgic, but those were the days when the now-torn and tattered word “sophisticated” really meant something.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA