Author: Bash Daily Group Archive Feed
Passings: Gogi Grant (1924 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
**
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http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Gogi Grant (1924 – 2016) (http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html)
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2:15 PM Gogi Grant (http://www.vintagevinylnews.com/search/label/Gogi%20Grant) , Passings (http://www.vintagevinylnews.com/search/label/Passings) , Pop (http://www.vintagevinylnews.com/search/label/Pop) 1 comment (https://www.blogger.com/comment.g?blogID=26817478&postID=5713728068370807753)
http://www.amazon.com/Her-Very-Best-Gogi-Grant/dp/B000063VER/ref=as_li_ss_il?ie=UTF8&qid=1457810103&sr=8-1&keywords=gogi+grant&linkCode=li3&tag=winkscoll-20&linkId=22e4a9b72da32bc06dcbe375ee78e98aGogi Grant, who topped the charts in 1956 with The Wayward Wind, died on Thursday at the age of 91.
Grant was born Myrtle Arinsberg in Philadelphia on September 20, 1924 and was the oldest of six children to Russian Orthodox parents. At the age of 12, her family moved to Los Angeles where she attended Venice High School.
While she did participate in talent shows and appeared on local TV as a teen, she originally entered the workforce as a car saleswoman. In the early-50’s, she was heard at one of the talent showcases and was signed by the MCA talent agency.
In 1952, Myrtle signed with RCA Records and changed her name, first to Audrey Brown then Audrey Grant and, finally, at the urging of RCA executive Dave Kapp, to Gogi Grant. Her first record for the label, Where There’s Smoke There’s Fire, failed to find buyers as did subsequent releases and Grant made most of her money singing in the New York and Pennsylvania area in the Borscht Belt.
In 1955, she signed with ERA records and had her first breakout hit, Suddenly There’s a Valley (1955 / #9), which became the biggest version of the song that also saw recordings by Jo Stafford, Julius LaRosa, the Mills Brothers and Patty Andrews reach the charts at the same time.
The next year, ERA owner Herb Newman remembered a song he had written years before with UCLA classmate Stan Lebousky and brought it to Grant to record. Gogi recorded The Wayward Wind in two takes in May of 1956 and a short five weeks later, the song knocked Elvis Presley’s Heartbreak Hotel from the top of the charts. The record stayed number 1 for six weeks and became one of the top selling singles of the year.
The Wayward Wind was Grant’s last major charting hit although she made the Billboard Hot 100 three more times, including Wind making it back to number 50 in 1961, but her career as an artist, both in the studio and live, continued. In 1957, she dubbed the singing for Ann Blythe in The Helen Morgan Story. In addition, although not strictly a country singer, she appeared in a number of musical shorts with Eddy Arnold.
Over the next decade, she recorded fifteen albums for a series of labels and appeared three different times on the Academy Awards singing nominated songs. She would leave the music business in 1967, for twenty years, to raise her family before returning to the live circuit.
Grant had two children with husband Robert Rifkind, a daughter, Jeri Brown, and a son, Joshua Beckett.
Here is Grant from 2004 on one of the PBS specials performing her biggest hit.
https://www.youtube.com/watch?v=bD_4IzbsbOM
https://www.youtube.com/watch?v=bD_4IzbsbOM
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=841d719ee3) | 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=841d719ee3&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
Passings: Gogi Grant (1924 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
**
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http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Gogi Grant (1924 – 2016) (http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html)
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2:15 PM Gogi Grant (http://www.vintagevinylnews.com/search/label/Gogi%20Grant) , Passings (http://www.vintagevinylnews.com/search/label/Passings) , Pop (http://www.vintagevinylnews.com/search/label/Pop) 1 comment (https://www.blogger.com/comment.g?blogID=26817478&postID=5713728068370807753)
http://www.amazon.com/Her-Very-Best-Gogi-Grant/dp/B000063VER/ref=as_li_ss_il?ie=UTF8&qid=1457810103&sr=8-1&keywords=gogi+grant&linkCode=li3&tag=winkscoll-20&linkId=22e4a9b72da32bc06dcbe375ee78e98aGogi Grant, who topped the charts in 1956 with The Wayward Wind, died on Thursday at the age of 91.
Grant was born Myrtle Arinsberg in Philadelphia on September 20, 1924 and was the oldest of six children to Russian Orthodox parents. At the age of 12, her family moved to Los Angeles where she attended Venice High School.
While she did participate in talent shows and appeared on local TV as a teen, she originally entered the workforce as a car saleswoman. In the early-50’s, she was heard at one of the talent showcases and was signed by the MCA talent agency.
In 1952, Myrtle signed with RCA Records and changed her name, first to Audrey Brown then Audrey Grant and, finally, at the urging of RCA executive Dave Kapp, to Gogi Grant. Her first record for the label, Where There’s Smoke There’s Fire, failed to find buyers as did subsequent releases and Grant made most of her money singing in the New York and Pennsylvania area in the Borscht Belt.
In 1955, she signed with ERA records and had her first breakout hit, Suddenly There’s a Valley (1955 / #9), which became the biggest version of the song that also saw recordings by Jo Stafford, Julius LaRosa, the Mills Brothers and Patty Andrews reach the charts at the same time.
The next year, ERA owner Herb Newman remembered a song he had written years before with UCLA classmate Stan Lebousky and brought it to Grant to record. Gogi recorded The Wayward Wind in two takes in May of 1956 and a short five weeks later, the song knocked Elvis Presley’s Heartbreak Hotel from the top of the charts. The record stayed number 1 for six weeks and became one of the top selling singles of the year.
The Wayward Wind was Grant’s last major charting hit although she made the Billboard Hot 100 three more times, including Wind making it back to number 50 in 1961, but her career as an artist, both in the studio and live, continued. In 1957, she dubbed the singing for Ann Blythe in The Helen Morgan Story. In addition, although not strictly a country singer, she appeared in a number of musical shorts with Eddy Arnold.
Over the next decade, she recorded fifteen albums for a series of labels and appeared three different times on the Academy Awards singing nominated songs. She would leave the music business in 1967, for twenty years, to raise her family before returning to the live circuit.
Grant had two children with husband Robert Rifkind, a daughter, Jeri Brown, and a son, Joshua Beckett.
Here is Grant from 2004 on one of the PBS specials performing her biggest hit.
https://www.youtube.com/watch?v=bD_4IzbsbOM
https://www.youtube.com/watch?v=bD_4IzbsbOM
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=841d719ee3) | 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=841d719ee3&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
Passings: Gogi Grant (1924 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
**
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http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Gogi Grant (1924 – 2016) (http://www.vintagevinylnews.com/2016/03/passings-gogi-grant-1924-2016.html)
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2:15 PM Gogi Grant (http://www.vintagevinylnews.com/search/label/Gogi%20Grant) , Passings (http://www.vintagevinylnews.com/search/label/Passings) , Pop (http://www.vintagevinylnews.com/search/label/Pop) 1 comment (https://www.blogger.com/comment.g?blogID=26817478&postID=5713728068370807753)
http://www.amazon.com/Her-Very-Best-Gogi-Grant/dp/B000063VER/ref=as_li_ss_il?ie=UTF8&qid=1457810103&sr=8-1&keywords=gogi+grant&linkCode=li3&tag=winkscoll-20&linkId=22e4a9b72da32bc06dcbe375ee78e98aGogi Grant, who topped the charts in 1956 with The Wayward Wind, died on Thursday at the age of 91.
Grant was born Myrtle Arinsberg in Philadelphia on September 20, 1924 and was the oldest of six children to Russian Orthodox parents. At the age of 12, her family moved to Los Angeles where she attended Venice High School.
While she did participate in talent shows and appeared on local TV as a teen, she originally entered the workforce as a car saleswoman. In the early-50’s, she was heard at one of the talent showcases and was signed by the MCA talent agency.
In 1952, Myrtle signed with RCA Records and changed her name, first to Audrey Brown then Audrey Grant and, finally, at the urging of RCA executive Dave Kapp, to Gogi Grant. Her first record for the label, Where There’s Smoke There’s Fire, failed to find buyers as did subsequent releases and Grant made most of her money singing in the New York and Pennsylvania area in the Borscht Belt.
In 1955, she signed with ERA records and had her first breakout hit, Suddenly There’s a Valley (1955 / #9), which became the biggest version of the song that also saw recordings by Jo Stafford, Julius LaRosa, the Mills Brothers and Patty Andrews reach the charts at the same time.
The next year, ERA owner Herb Newman remembered a song he had written years before with UCLA classmate Stan Lebousky and brought it to Grant to record. Gogi recorded The Wayward Wind in two takes in May of 1956 and a short five weeks later, the song knocked Elvis Presley’s Heartbreak Hotel from the top of the charts. The record stayed number 1 for six weeks and became one of the top selling singles of the year.
The Wayward Wind was Grant’s last major charting hit although she made the Billboard Hot 100 three more times, including Wind making it back to number 50 in 1961, but her career as an artist, both in the studio and live, continued. In 1957, she dubbed the singing for Ann Blythe in The Helen Morgan Story. In addition, although not strictly a country singer, she appeared in a number of musical shorts with Eddy Arnold.
Over the next decade, she recorded fifteen albums for a series of labels and appeared three different times on the Academy Awards singing nominated songs. She would leave the music business in 1967, for twenty years, to raise her family before returning to the live circuit.
Grant had two children with husband Robert Rifkind, a daughter, Jeri Brown, and a son, Joshua Beckett.
Here is Grant from 2004 on one of the PBS specials performing her biggest hit.
https://www.youtube.com/watch?v=bD_4IzbsbOM
https://www.youtube.com/watch?v=bD_4IzbsbOM
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=841d719ee3) | 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=841d719ee3&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
Joe Ascione Funeral Arrangements
http://www.jazzpromoservices.com/
**
————————————————————
Funeral Arrangements
Monday, March 14
9 AM at Giove Funeral Home,
1000 Middle Country Rd, Selden, NY 11784
11AM Mass at St Margaret’s Church
81 College Rd, Selden, NY 11784
1PM at Holy Sepulchre Cemeteries
3442 NY-112, Coram, NY 11727
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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=c403be329d) | 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=c403be329d&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
Joe Ascione Funeral Arrangements
http://www.jazzpromoservices.com/
**
————————————————————
Funeral Arrangements
Monday, March 14
9 AM at Giove Funeral Home,
1000 Middle Country Rd, Selden, NY 11784
11AM Mass at St Margaret’s Church
81 College Rd, Selden, NY 11784
1PM at Holy Sepulchre Cemeteries
3442 NY-112, Coram, NY 11727
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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=c403be329d) | 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=c403be329d&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
Joe Ascione Funeral Arrangements
http://www.jazzpromoservices.com/
**
————————————————————
Funeral Arrangements
Monday, March 14
9 AM at Giove Funeral Home,
1000 Middle Country Rd, Selden, NY 11784
11AM Mass at St Margaret’s Church
81 College Rd, Selden, NY 11784
1PM at Holy Sepulchre Cemeteries
3442 NY-112, Coram, NY 11727
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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=c403be329d) | 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=c403be329d&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
RIP Drummer Joe Ascione
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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
RIP Drummer Joe Ascione
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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=5b071af7f5) | 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=5b071af7f5&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
RIP Drummer Joe Ascione
http://www.jazzpromoservices.com/
**
————————————————————
https://www.youtube.com/watch?v=RD19aJnQw8M
it is with great sadness that today we, as a family, mourn the loss of not only an inspirational musician, but a loving Uncle, brother, godfather & friend. He passed this morning with a shy smile on his face; never once losing his sense of humor, love for his family, friends & fans. Thank you for inspiring him to continue on for as long as he could. Bringing joy to everyone was Uncle Joe’s greatest gift and he never disappointed. We love you Uncle Joe. Your legacy will live on. We will celebrate your life & your first birthday in Heaven on Monday (3/14). God bless you. Rest in Peace now. You deserve it. With love always xoxo Kate McCourt (https://www.youtube.com/channel/UCSPKyKJlI62wfgXY1fsR38g)
https://www.youtube.com/watch?v=RD19aJnQw8M
Joe Ascione was an American jazz drummer. Ascione began playing drums at age 2. His parents bought him his first drum set at age 4, and he was playing professionally by the time he was 12. As a teenager, he was a roadie for Buddy Rich. Wikipedia (http://en.wikipedia.org/wiki/Joe_Ascione)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&noj=1&q=joe+ascione+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3SDJLNzRP0RLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkA6ntHYyYAAAA&sa=X&ved=0ahUKEwi8-5jmkr7LAhVC7D4KHcJPB_EQ6BMIjAEoADAT) : March 14, 1961
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=5b071af7f5) | 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=5b071af7f5&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
Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71 – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/03/12/arts/music/keith-emerson-70s-rock-showman-with-a-taste-for-spectacle-dies-at-71.html?_r=0
————————————————————
** Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 11, 2016 Keith Emerson in the 1970s, when he became an early adopter and customizer of the Moog synthesizer.Chris Walter/WireImage
Keith Emerson (http://www.keithemerson.com/) , the keyboardist of the English supergroup Emerson, Lake (http://emersonlakepalmer.com/) & (http://emersonlakepalmer.com/) Palmer (http://emersonlakepalmer.com/) and one of the key figures of the progressive-rock era in the 1970s, was found dead on Friday at his home in Santa Monica, Calif. He was 71.
His death was confirmed by Martin Darvill, an associate of Mr. Emerson’s longtime manager, Stewart Young. The Santa Monica Police Department said the cause appeared to be a self-inflicted gunshot wound to the head.
Mr. Emerson had a background in classical music through private lessons, and an interest in jazz, particularly as played on the Hammond organ by Jimmy Smith and others in the 1950s and ’60s.
This mixture of influences had its most powerful apotheosis in Emerson, Lake & Palmer (https://www.facebook.com/EmersonLakePalmer/) , on songs like “Knife-Edge,” from 1970 (https://www.youtube.com/watch?v=klvU8-9BMRc) , with its overdriven organ sound and musical borrowing from Janacek’s “Sinfonietta.”
Likewise, “The Barbarian” borrowed from Bartok’s “Allegro Barbaro” and “Toccata” from Alberto Ginastera’s Piano Concerto No. 1. “Pictures at an Exhibition,” released in 1971, was an album-length arrangement of Mussorgsky’s suite of the same name.
Drawn to spectacle and bombast, and often criticized for it, the band concluded some live performances with cannon fire.
The other members were the bassist, guitarist and vocalist Greg Lake and the drummer Carl Palmer. Mr. Emerson was a showman, standing up and playing fluidly on multiple keyboards, sometimes turning an organ over on top of himself or stabbing knives into the keyboard (https://www.youtube.com/watch?v=xggFzkyd288) to hold down a note.
He became an early adopter and customizer of the Moog synthesizer, from which he coaxed rumbles and sirens and thick, swooping tones. He positioned the Moog onstage so that it towered above his keyboards, sprouting patch cords like spaghetti. His solo on the 1970 record “Lucky Man,” (https://www.youtube.com/watch?v=89g1P_J40JA) a rock-radio hit then and thereafter, includes one of the first well-known solos on that instrument.
Emerson, Lake & Palmer around 1970 with, from left, Keith Emerson, Carl Palmer and Greg Lake. Michael Ochs Archives, via Getty Images
Keith Noel Emerson was born in Todmorden, Yorkshire, on Nov. 2, 1944, while his father, an amateur musician, was serving with the British Army. He took piano lessons from an early age and joined a blues band, Gary Farr and the T-Bones, before helping to form the Nice, which combined psychedelic rock, jazz and symphonic music, interpolating Dvorak, Sibelius and Leonard Bernstein’s “America,” among other sources.
The Nice, which lasted from 1967 to 1970, toured with Jimi Hendrix and Pink Floyd.
In a 2015 interview (http://www.innerviews.org/inner/emerson.html) with Anil Prasad of the website Innerviews, Mr. Emerson explained his adaptations of classical music and jazz as purely a matter of harnessing force.
“I think playing music of the greats such as Mussorgsky or Alberto Ginastera can be an explosive experience,” he said. “The energy just comes at you.”
He left the Nice in 1970 and joined forces with Mr. Lake, who had played in King Crimson, and Mr. Palmer, who had played with the Crazy World of Arthur Brown and Atomic Rooster. With the advance from the band’s first album, Mr. Emerson bought his first Moog synthesizer.
Emerson, Lake & Palmer lasted from 1970 to 1979, making seven albums, then reformed in 1991 and stayed together until 1998. (Before the band reunited, Mr. Emerson and Mr. Lake recorded one album with the drummer Cozy Powell as Emerson, Lake & Powell.) The band played a single reunion concert at the High Voltage Festival in London in 2010.
Emerson, Lake & Palmer’s tours were complicated and expensive, often using quadraphonic sound: According to an article in New Musical Express in 1974, the group traveled with 40 tons of equipment. In some mid-’70s performances, Mr. Emerson rose above the stage on a wire while seated at the bench of a grand piano, which was strapped in place and spinning end over end as he appeared to keep playing. (Mr. Lake (https://www.youtube.com/watch?v=yfJ9iWQ6M10) later explained that the piano had no insides. (https://www.youtube.com/watch?v=yfJ9iWQ6M10) )
Mr. Emerson lived in Santa Monica with his companion, Mari Kawaguchi. She survives him, as do two sons, Aaron Ole Emerson and Damon Keith Emerson, both from his marriage to Elinor Emerson.
Mr. Emerson also wrote music for films, including the 1980 horror movie “Inferno” and the 1981 Sylvester Stallone crime drama “Nighthawks.”
He toured with Mr. Lake in 2010, performed at the music and technology festival Moogfest in 2014 and wrote classical music.
For around a decade he had been leading the Keith Emerson Band, which was preparing to tour Japan next month.
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=67b9a893b4) | 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=67b9a893b4&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
Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71 – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/03/12/arts/music/keith-emerson-70s-rock-showman-with-a-taste-for-spectacle-dies-at-71.html?_r=0
————————————————————
** Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 11, 2016 Keith Emerson in the 1970s, when he became an early adopter and customizer of the Moog synthesizer.Chris Walter/WireImage
Keith Emerson (http://www.keithemerson.com/) , the keyboardist of the English supergroup Emerson, Lake (http://emersonlakepalmer.com/) & (http://emersonlakepalmer.com/) Palmer (http://emersonlakepalmer.com/) and one of the key figures of the progressive-rock era in the 1970s, was found dead on Friday at his home in Santa Monica, Calif. He was 71.
His death was confirmed by Martin Darvill, an associate of Mr. Emerson’s longtime manager, Stewart Young. The Santa Monica Police Department said the cause appeared to be a self-inflicted gunshot wound to the head.
Mr. Emerson had a background in classical music through private lessons, and an interest in jazz, particularly as played on the Hammond organ by Jimmy Smith and others in the 1950s and ’60s.
This mixture of influences had its most powerful apotheosis in Emerson, Lake & Palmer (https://www.facebook.com/EmersonLakePalmer/) , on songs like “Knife-Edge,” from 1970 (https://www.youtube.com/watch?v=klvU8-9BMRc) , with its overdriven organ sound and musical borrowing from Janacek’s “Sinfonietta.”
Likewise, “The Barbarian” borrowed from Bartok’s “Allegro Barbaro” and “Toccata” from Alberto Ginastera’s Piano Concerto No. 1. “Pictures at an Exhibition,” released in 1971, was an album-length arrangement of Mussorgsky’s suite of the same name.
Drawn to spectacle and bombast, and often criticized for it, the band concluded some live performances with cannon fire.
The other members were the bassist, guitarist and vocalist Greg Lake and the drummer Carl Palmer. Mr. Emerson was a showman, standing up and playing fluidly on multiple keyboards, sometimes turning an organ over on top of himself or stabbing knives into the keyboard (https://www.youtube.com/watch?v=xggFzkyd288) to hold down a note.
He became an early adopter and customizer of the Moog synthesizer, from which he coaxed rumbles and sirens and thick, swooping tones. He positioned the Moog onstage so that it towered above his keyboards, sprouting patch cords like spaghetti. His solo on the 1970 record “Lucky Man,” (https://www.youtube.com/watch?v=89g1P_J40JA) a rock-radio hit then and thereafter, includes one of the first well-known solos on that instrument.
Emerson, Lake & Palmer around 1970 with, from left, Keith Emerson, Carl Palmer and Greg Lake. Michael Ochs Archives, via Getty Images
Keith Noel Emerson was born in Todmorden, Yorkshire, on Nov. 2, 1944, while his father, an amateur musician, was serving with the British Army. He took piano lessons from an early age and joined a blues band, Gary Farr and the T-Bones, before helping to form the Nice, which combined psychedelic rock, jazz and symphonic music, interpolating Dvorak, Sibelius and Leonard Bernstein’s “America,” among other sources.
The Nice, which lasted from 1967 to 1970, toured with Jimi Hendrix and Pink Floyd.
In a 2015 interview (http://www.innerviews.org/inner/emerson.html) with Anil Prasad of the website Innerviews, Mr. Emerson explained his adaptations of classical music and jazz as purely a matter of harnessing force.
“I think playing music of the greats such as Mussorgsky or Alberto Ginastera can be an explosive experience,” he said. “The energy just comes at you.”
He left the Nice in 1970 and joined forces with Mr. Lake, who had played in King Crimson, and Mr. Palmer, who had played with the Crazy World of Arthur Brown and Atomic Rooster. With the advance from the band’s first album, Mr. Emerson bought his first Moog synthesizer.
Emerson, Lake & Palmer lasted from 1970 to 1979, making seven albums, then reformed in 1991 and stayed together until 1998. (Before the band reunited, Mr. Emerson and Mr. Lake recorded one album with the drummer Cozy Powell as Emerson, Lake & Powell.) The band played a single reunion concert at the High Voltage Festival in London in 2010.
Emerson, Lake & Palmer’s tours were complicated and expensive, often using quadraphonic sound: According to an article in New Musical Express in 1974, the group traveled with 40 tons of equipment. In some mid-’70s performances, Mr. Emerson rose above the stage on a wire while seated at the bench of a grand piano, which was strapped in place and spinning end over end as he appeared to keep playing. (Mr. Lake (https://www.youtube.com/watch?v=yfJ9iWQ6M10) later explained that the piano had no insides. (https://www.youtube.com/watch?v=yfJ9iWQ6M10) )
Mr. Emerson lived in Santa Monica with his companion, Mari Kawaguchi. She survives him, as do two sons, Aaron Ole Emerson and Damon Keith Emerson, both from his marriage to Elinor Emerson.
Mr. Emerson also wrote music for films, including the 1980 horror movie “Inferno” and the 1981 Sylvester Stallone crime drama “Nighthawks.”
He toured with Mr. Lake in 2010, performed at the music and technology festival Moogfest in 2014 and wrote classical music.
For around a decade he had been leading the Keith Emerson Band, which was preparing to tour Japan next month.
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=67b9a893b4) | 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=67b9a893b4&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
Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71 – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/03/12/arts/music/keith-emerson-70s-rock-showman-with-a-taste-for-spectacle-dies-at-71.html?_r=0
————————————————————
** Keith Emerson, ’70s Rock Showman With a Taste for Spectacle, Dies at 71
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) MARCH 11, 2016 Keith Emerson in the 1970s, when he became an early adopter and customizer of the Moog synthesizer.Chris Walter/WireImage
Keith Emerson (http://www.keithemerson.com/) , the keyboardist of the English supergroup Emerson, Lake (http://emersonlakepalmer.com/) & (http://emersonlakepalmer.com/) Palmer (http://emersonlakepalmer.com/) and one of the key figures of the progressive-rock era in the 1970s, was found dead on Friday at his home in Santa Monica, Calif. He was 71.
His death was confirmed by Martin Darvill, an associate of Mr. Emerson’s longtime manager, Stewart Young. The Santa Monica Police Department said the cause appeared to be a self-inflicted gunshot wound to the head.
Mr. Emerson had a background in classical music through private lessons, and an interest in jazz, particularly as played on the Hammond organ by Jimmy Smith and others in the 1950s and ’60s.
This mixture of influences had its most powerful apotheosis in Emerson, Lake & Palmer (https://www.facebook.com/EmersonLakePalmer/) , on songs like “Knife-Edge,” from 1970 (https://www.youtube.com/watch?v=klvU8-9BMRc) , with its overdriven organ sound and musical borrowing from Janacek’s “Sinfonietta.”
Likewise, “The Barbarian” borrowed from Bartok’s “Allegro Barbaro” and “Toccata” from Alberto Ginastera’s Piano Concerto No. 1. “Pictures at an Exhibition,” released in 1971, was an album-length arrangement of Mussorgsky’s suite of the same name.
Drawn to spectacle and bombast, and often criticized for it, the band concluded some live performances with cannon fire.
The other members were the bassist, guitarist and vocalist Greg Lake and the drummer Carl Palmer. Mr. Emerson was a showman, standing up and playing fluidly on multiple keyboards, sometimes turning an organ over on top of himself or stabbing knives into the keyboard (https://www.youtube.com/watch?v=xggFzkyd288) to hold down a note.
He became an early adopter and customizer of the Moog synthesizer, from which he coaxed rumbles and sirens and thick, swooping tones. He positioned the Moog onstage so that it towered above his keyboards, sprouting patch cords like spaghetti. His solo on the 1970 record “Lucky Man,” (https://www.youtube.com/watch?v=89g1P_J40JA) a rock-radio hit then and thereafter, includes one of the first well-known solos on that instrument.
Emerson, Lake & Palmer around 1970 with, from left, Keith Emerson, Carl Palmer and Greg Lake. Michael Ochs Archives, via Getty Images
Keith Noel Emerson was born in Todmorden, Yorkshire, on Nov. 2, 1944, while his father, an amateur musician, was serving with the British Army. He took piano lessons from an early age and joined a blues band, Gary Farr and the T-Bones, before helping to form the Nice, which combined psychedelic rock, jazz and symphonic music, interpolating Dvorak, Sibelius and Leonard Bernstein’s “America,” among other sources.
The Nice, which lasted from 1967 to 1970, toured with Jimi Hendrix and Pink Floyd.
In a 2015 interview (http://www.innerviews.org/inner/emerson.html) with Anil Prasad of the website Innerviews, Mr. Emerson explained his adaptations of classical music and jazz as purely a matter of harnessing force.
“I think playing music of the greats such as Mussorgsky or Alberto Ginastera can be an explosive experience,” he said. “The energy just comes at you.”
He left the Nice in 1970 and joined forces with Mr. Lake, who had played in King Crimson, and Mr. Palmer, who had played with the Crazy World of Arthur Brown and Atomic Rooster. With the advance from the band’s first album, Mr. Emerson bought his first Moog synthesizer.
Emerson, Lake & Palmer lasted from 1970 to 1979, making seven albums, then reformed in 1991 and stayed together until 1998. (Before the band reunited, Mr. Emerson and Mr. Lake recorded one album with the drummer Cozy Powell as Emerson, Lake & Powell.) The band played a single reunion concert at the High Voltage Festival in London in 2010.
Emerson, Lake & Palmer’s tours were complicated and expensive, often using quadraphonic sound: According to an article in New Musical Express in 1974, the group traveled with 40 tons of equipment. In some mid-’70s performances, Mr. Emerson rose above the stage on a wire while seated at the bench of a grand piano, which was strapped in place and spinning end over end as he appeared to keep playing. (Mr. Lake (https://www.youtube.com/watch?v=yfJ9iWQ6M10) later explained that the piano had no insides. (https://www.youtube.com/watch?v=yfJ9iWQ6M10) )
Mr. Emerson lived in Santa Monica with his companion, Mari Kawaguchi. She survives him, as do two sons, Aaron Ole Emerson and Damon Keith Emerson, both from his marriage to Elinor Emerson.
Mr. Emerson also wrote music for films, including the 1980 horror movie “Inferno” and the 1981 Sylvester Stallone crime drama “Nighthawks.”
He toured with Mr. Lake in 2010, performed at the music and technology festival Moogfest in 2014 and wrote classical music.
For around a decade he had been leading the Keith Emerson Band, which was preparing to tour Japan next month.
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 great Ernestine Anderson dies | The Seattle Times
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** http://www.seattletimes.com/seattle-news/obituaries/jazz-great-ernestine-anderson-dies/
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** Jazz great Ernestine Anderson dies
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By Paul de Barros (http://www.seattletimes.com/author/paul-de-barros/)
The celebrated singer, once described by Quincy Jones as having the sound of “honey at dusk,” died Thursday, March 10, in the Seattle area. She was 87.
Ernestine Anderson, the internationally renowned and much-loved Seattle jazz vocalist with a voice once described by her childhood friend Quincy Jones as the sound of “honey at dusk,” died Thursday, March 10. Ms. Anderson was 87.
Vivian Phillips, a family friend, reported that the singer passed away “peacefully, surrounded by her family.” Ms. Anderson had resided since 2011 at the Northhaven retirement community and Shoreline Rehab.
Over the course of a six-decade career, Ms. Anderson received four Grammy nominations and performed all over the world, from the Kennedy Center and Carnegie Hall to the first Monterey Jazz Festival, in 1958, and at festivals in South America, Europe and Japan. She was included in the Smithsonian Institution’s “Jazz Singers” anthology and along with notables such as Alice Walker and Shirley Chisholm in photographer Brian Lanker’s tribute to African-American women, “I Dream a World.”
In 2002, Seattle’s Bumbershoot arts festival awarded Ms. Anderson its Golden Umbrella, an honor that evolved into the Mayor’s Arts Awards. And in 2012, the Low Income Housing Institute named one of its projects Ernestine Anderson Place.
Ernestine Anderson singing in Berlin in 1978. (Uploaded on YouTube by JazzVocalFan)
Born in Houston in 1928 to a construction worker and homemaker, Ms. Anderson began singing in church when she was 3 years old. At age 12, she won a talent contest at Houston’s Eldorado Ballroom and for four months afterward, sang there once a week.
In 1944, with war work beckoning many, Ms. Anderson’s father decided to move to the West Coast. Afraid that his daughter’s grades were slipping and that the jazz life was fraught with temptation, he chose Seattle because a family friend told him it was a sleepy town with no nightlife. To the contrary, Seattle’s Jackson Street was musically on fire, and Ms. Anderson, who entered Garfield High School that year, soon found herself singing with the Bumps Blackwell Junior Band, featuring Jones, saxophonist (and later bassist) Buddy Catlett and others.
By 1946, Ms. Anderson was headlining her own breakfast show at the 411 Club, an International District after-hours joint on Maynard Avenue. The following year, Ms. Anderson dropped out of school to join Los Angeles R&B bandleader Johnny Otis’ band and spent most of the next year on the road with Otis.
“She was out with Johnny Otis and those bands before anybody,” Jones told The Seattle Times. “Everyone was in awe of anybody that had gone on the road with a professional band.”
In 1948, Otis disbanded in Los Angeles, where Ms. Anderson remained, recording her first single, “K.C. Lover/Good Lovin’ Babe,” for the Black & White label, and also marrying for the first time. In 1952, Ms. Anderson was back in Seattle, where she auditioned for swing bandleader Lionel Hampton at the home of Georgia Kemp, a jazz patron who had been Ray Charles’ landlord when he lived in Seattle. Ms. Anderson went on the road with Hampton for 15 months, including a performance at the presidential inauguration of Dwight D. Eisenhower.
In New York, Ms. Anderson recorded with Jones, Russell Jacquet, tenor saxophonist Clifford “King” Solomon and others, and also worked at the Page Three, a gay nightclub where other up-and-coming singers such as Sheila Jordan were trying to gain exposure. In 1955, she appeared on two tracks of an album by alto saxophonist Gigi Gryce, “Nica’s Dream,” which also featured trumpeter Art Farmer, with whom she later lived for several years.
Frustrated by her slow career growth in New York, in 1956 Ms. Anderson accepted an offer from Swedish bandleader Rolf Ericson to tour Europe, which she said was the first place she ever “felt really free,” because of prejudice and segregation back home.
In Europe, Ms. Anderson recorded an album with bandleader Harry Arnold for the Metronome label, which was eventually released by Mercury in 1958.
“Hot Cargo” netted Ms. Anderson rave write-ups in Time magazine and The New York Times, whose critic compared her to Ella Fitzgerald. The following year, she was toasted by the critics of the country’s leading jazz magazine, Down Beat, as a “new star” of the year.
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Ms. Anderson settled in Los Angeles in 1959, releasing six albums on Mercury, including the much-praised “Moanin’,” but as the ’60s rock revolution gathered steam, her career subsided. In 1964 she moved to London, where there was still a strong audience for jazz. But by 1966, discouraged with the music business, she returned to Seattle and retired from music, working as a hotel maid and at a telephone answering service.
In 1968 she moved back to Los Angeles, and after returning to Seattle in 1973 she was coaxed back to performing by Seattle jazz critic Maggie Hawthorn. By 1976 she had signed with the Concord Jazz label. Ms. Anderson released “Hello, Like Before” in 1977 and followed it with more than a dozen albums over the next 15 years.
A finger-popping blues song by B.B. King, “Never Make Your Move Too Soon,” which she recorded on her Grammy-nominated 1981 album of the same name, became Ms. Anderson’s signature song.
In 1993, Ms. Anderson was signed by Jones’ label, Qwest, which presented her in a soul-jazz mode, netting Grammy nominations and strong sales for “Now and Then” (1993) and “Blues, Dues & Love News” (1996). In 1998, Ms. Anderson was feted at Seattle’s Paramount Theatre for her 70th birthday.
Unable to live any longer on her singing career, she refinanced the family home in the Central District and in 2008 found herself in danger of foreclosure. Jones and others stepped forward to save the home from repossession.
In 2015, the High Note label released a 1962 live recording from Seattle’s Penthouse nightclub, “Ernestine Anderson Swings the Penthouse” (HighNote), produced by jazz DJ Jim Wilke. The record was a reminder of how pure and moving Ms. Anderson’s voice had been in her early career.
Ms. Anderson is survived by three children, eight grandchildren and four great-grandchildren.
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The Ensembles of Miles Davis Epitomized Cool – The New York Times
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** http://www.nytimes.com/2016/03/13/fashion/mens-style/miles-davis-style-icon.html?emc=edit_tnt_20160311
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** The Ensembles of Miles Davis Epitomized Cool
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By MICHAEL J. AGOVINOMARCH 11, 2016 Miles Davis in 1958. On the fashion front, “I got my looks from my mother and also my love of clothes and sense of style,” he wrote. Dennis Stock/Magnum Photos
Midway through “Miles Ahead,” the soon-to-be-released movie (http://artsbeat.blogs.nytimes.com/2015/07/22/don-cheadles-biopic-of-miles-davis-to-close-new-york-film-festival/?rref=collection%2Ftimestopic%2FDavis%2C%20Miles&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection&_r=0) about Miles Davis (http://topics.nytimes.com/top/reference/timestopics/people/d/miles_davis/index.html?inline=nyt-per) , directed by and starring Don Cheadle, the famously irascible musician tells a freelance writer (played by Ewan McGregor) in a dowdy corduroy blazer, “You’re not driving me around looking like that no more.”
It’s 1979. Earth, Wind & Fire’s “Getaway” had just been blasting on the stereo in Davis’s West 77th Street apartment. (http://streeteasy.com/building/312-west-77-street-new_york) He slides open the door to a walk-in closet and the journalist sees a collection of silks, furs, scarves and lamé jackets.
“From Brooks Brothers sharp to Issey Miyake prints, leather and bright colors, Miles wore it all and was always cool doing it,” Mr. Cheadle said. “He made the clothes.”
Gersha Phillips, the costume designer who also made all the clothes for “Miles Ahead,” including a kimono in habutai, did not know how fashionable the trumpeter was until she started her research. “I was quite amazed,” she said. “I just feel like he was always forward-thinking, and just the way he was with his music he was with fashion: ahead of his time.”
The main action takes place as Davis is considering a comeback after a five-year, self-imposed exile on the Upper West Side, with deft swings back to the 1950s and ’60s. No matter the decade — as a sideman to Charlie Parker in the 1940s; birthing cool jazz with Gil Evans in the early ’50s; moving further ahead with John Coltrane in the late-’50s and then the mid-’60s, before an electric period from 1968-75 — Davis is the focal point, in part because of what he wore.
Davis, at the Newport Jazz Festival in 1969, was not afraid to change with the times, either in the music he made or in the way he dressed. David Redfern/Getty Images
With Davis, it wasn’t a case of style over substance. His style was essential to his substance.
“His music, of course, everyone is familiar with,” said Marcus Miller, the bassist, composer and producer who was part of Davis’s band in 1980. “But when I knew him, he was painting as much as playing, and that was a real reflection of him, as well — and then his clothes. It was all the same thing. It was a statement of who he was and how he wanted to present himself.
“He was conscious that people were looking at him,” Mr. Miller said. “And the clothes were so important back then, particularly in the ’40s and ’50s, because this was an era when black artists were fighting to be recognized as more than simple entertainers. It was like, ‘We’re going to be as sharp as possible and we’re going to command respect.’”
“He grew up like that,” said the tenor saxophonist and composer Wayne Shorter, who also played with Davis. “He always dressed well, always in tune with fine things, and he didn’t see any reason why fine things should be denied to anyone.”
Miles Dewey Davis III (http://www.nytimes.com/learning/general/onthisday/bday/0525.html) was born into upper-middle-class comfort in Alton, Ill., in 1926. His father was an oral surgeon and his mother was a music teacher; the family moved to East St. Louis when Davis was 1.
In his profane and profound 1989 autobiography, written with Quincy Troupe, he credited his mother for his fashion sense. “She had mink coats, diamonds,” he wrote. “She was a very glamorous woman who was into all kinds of hats and things, and all my mother’s friends seemed just as glamorous to me as she was. She always dressed to kill. I got my looks from my mother and also my love of clothes and sense of style.”
Later, he took his cues from movie stars like Fred Astaire and Cary Grant. “I created a kind of hip, quasi-black English look: Brooks Brothers suits, butcher boy shoes, high top pants, shirts with high tab collars that were so stiff with starch I could hardly move my neck,” he wrote.
In late-1940s New York, when West 52nd was known as Swing Street, Coleman Hawkins, a titanic figure in jazz, was a role model for the young Davis: “Bean taught me a lot about music,” Miles wrote, using Hawkins’s nickname. “Plus he used to give me clothes,” he wrote. “He bought the clothes from a hip store on Broadway and 52nd Street, then gave them to me for almost nothing.”
The debonair saxophonist Dexter Gordon (http://www.pbs.org/jazz/biography/artist_id_gordon_dexter.htm) was another sartorial influence. “Dexter hipped me to the importance of looking sharp,” Davis wrote. “I thought he was the cleanest cat around.”
Like many jazz musicians, Davis was hampered in the early ’50s by heroin addiction, which took about four years to kick. When he finally did, he credited the discipline he observed in the boxer Sugar Ray Robinson (http://www.nytimes.com/2009/11/26/nyregion/26sugar.html?_r=0) . Davis eventually took up a boxing program to stay fit; it’s one of the reasons clothes draped so well on him.
As difficult as Davis was — and Mr. Cheadle’s film doesn’t shy away from this — he didn’t pressure his bandmates to dress a certain way. “He left it up to us,” Mr. Shorter said. “Except when I first joined his band, he sent me to his tailor, who was down the street from his home, and he got me a tuxedo made to open up at the Hollywood Bowl.”
Herbie Hancock, who was in the same group (and who, like Mr. Shorter, makes a cameo in “Miles Ahead”), said, “When I first joined his band, the idea of playing with Miles meant you automatically sensed that you would wear something that was appropriate for Miles’s kind of presentation.”
Davis, who died in 1991, was a rock star before there were rock stars, gangsta long before hip-hop. He had run-ins with police, especially when he was in one of his Ferraris. In the late ’60s, he was stopped outside the Plaza Hotel for not having a registration sticker. In his memoir, Davis cited a different reason for this brush with the law: “I was sitting in my red Ferrari, dressed in a turban, cobra-skinned pants and a sheepskin coat, with a real fine woman.”
In 1969, when he was the victim of a drive-by shooting, his sense of style may have saved his life: “The guy must have shot five bullets at me, but I had on a leather suit that was kind of loose-fitting,” Davis wrote. “If it hadn’t been for that leather jacket and the fact they shot through the door of a well-built Ferrari, I would have been dead.”
Davis was not afraid to change with the times, either in the music he made or in the way he dressed. In the late 1960s he wore dashikis and loose Indian shirts and suede pants from the young African-American designer Stephen Burrows.
He adapted his style, once again, in the early 1980s. “I remember once, in 1981, I’m hanging out in his house,” Mr. Miller said, “and he said, ‘Find me something to wear.’ So I went into the closet and it was all the baddest stuff I’d ever seen. But they were all from, like, 1973. Everything was bell-bottoms, fringes, vests, everything had 14 colors. I came out and said, ‘Miles, I can’t find anything for you in there, they’re too old.’ And he said, ‘Oh, man!’ and walked in there and cobbled something together. But once he got back on his feet, ’82, ’83, he began to re-establish himself in terms of his style.”
Envelope-pushing Japanese designers like Kohshin Satoh (http://www.kohshinsatoh.jp/profile-e/index.html) sent him stuff. In 1987, Davis modeled for a Satoh presentation at the Tunnel with Andy Warhol. He also wore his designs during a White House visit with Cicely Tyson, his wife at the time.
“Miles was always the hippest guy around,” Mr. Hancock said. “The way he moved, the way he walked, the way he stood when he played, what came out of his horn, and the cars he drove, all of that was stylish. That was part of his persona.”
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Jazz great Ernestine Anderson dies | The Seattle Times
http://www.jazzpromoservices.com/
** http://www.seattletimes.com/seattle-news/obituaries/jazz-great-ernestine-anderson-dies/
————————————————————
** Jazz great Ernestine Anderson dies
————————————————————
By Paul de Barros (http://www.seattletimes.com/author/paul-de-barros/)
The celebrated singer, once described by Quincy Jones as having the sound of “honey at dusk,” died Thursday, March 10, in the Seattle area. She was 87.
Ernestine Anderson, the internationally renowned and much-loved Seattle jazz vocalist with a voice once described by her childhood friend Quincy Jones as the sound of “honey at dusk,” died Thursday, March 10. Ms. Anderson was 87.
Vivian Phillips, a family friend, reported that the singer passed away “peacefully, surrounded by her family.” Ms. Anderson had resided since 2011 at the Northhaven retirement community and Shoreline Rehab.
Over the course of a six-decade career, Ms. Anderson received four Grammy nominations and performed all over the world, from the Kennedy Center and Carnegie Hall to the first Monterey Jazz Festival, in 1958, and at festivals in South America, Europe and Japan. She was included in the Smithsonian Institution’s “Jazz Singers” anthology and along with notables such as Alice Walker and Shirley Chisholm in photographer Brian Lanker’s tribute to African-American women, “I Dream a World.”
In 2002, Seattle’s Bumbershoot arts festival awarded Ms. Anderson its Golden Umbrella, an honor that evolved into the Mayor’s Arts Awards. And in 2012, the Low Income Housing Institute named one of its projects Ernestine Anderson Place.
Ernestine Anderson singing in Berlin in 1978. (Uploaded on YouTube by JazzVocalFan)
Born in Houston in 1928 to a construction worker and homemaker, Ms. Anderson began singing in church when she was 3 years old. At age 12, she won a talent contest at Houston’s Eldorado Ballroom and for four months afterward, sang there once a week.
In 1944, with war work beckoning many, Ms. Anderson’s father decided to move to the West Coast. Afraid that his daughter’s grades were slipping and that the jazz life was fraught with temptation, he chose Seattle because a family friend told him it was a sleepy town with no nightlife. To the contrary, Seattle’s Jackson Street was musically on fire, and Ms. Anderson, who entered Garfield High School that year, soon found herself singing with the Bumps Blackwell Junior Band, featuring Jones, saxophonist (and later bassist) Buddy Catlett and others.
By 1946, Ms. Anderson was headlining her own breakfast show at the 411 Club, an International District after-hours joint on Maynard Avenue. The following year, Ms. Anderson dropped out of school to join Los Angeles R&B bandleader Johnny Otis’ band and spent most of the next year on the road with Otis.
“She was out with Johnny Otis and those bands before anybody,” Jones told The Seattle Times. “Everyone was in awe of anybody that had gone on the road with a professional band.”
In 1948, Otis disbanded in Los Angeles, where Ms. Anderson remained, recording her first single, “K.C. Lover/Good Lovin’ Babe,” for the Black & White label, and also marrying for the first time. In 1952, Ms. Anderson was back in Seattle, where she auditioned for swing bandleader Lionel Hampton at the home of Georgia Kemp, a jazz patron who had been Ray Charles’ landlord when he lived in Seattle. Ms. Anderson went on the road with Hampton for 15 months, including a performance at the presidential inauguration of Dwight D. Eisenhower.
In New York, Ms. Anderson recorded with Jones, Russell Jacquet, tenor saxophonist Clifford “King” Solomon and others, and also worked at the Page Three, a gay nightclub where other up-and-coming singers such as Sheila Jordan were trying to gain exposure. In 1955, she appeared on two tracks of an album by alto saxophonist Gigi Gryce, “Nica’s Dream,” which also featured trumpeter Art Farmer, with whom she later lived for several years.
Frustrated by her slow career growth in New York, in 1956 Ms. Anderson accepted an offer from Swedish bandleader Rolf Ericson to tour Europe, which she said was the first place she ever “felt really free,” because of prejudice and segregation back home.
In Europe, Ms. Anderson recorded an album with bandleader Harry Arnold for the Metronome label, which was eventually released by Mercury in 1958.
“Hot Cargo” netted Ms. Anderson rave write-ups in Time magazine and The New York Times, whose critic compared her to Ella Fitzgerald. The following year, she was toasted by the critics of the country’s leading jazz magazine, Down Beat, as a “new star” of the year.
Unlimited Digital Access. $1 for 4 weeks. (http://www.seattletimes.com/subscribe/signup/?icn=promo-most-read&ici=subscribe)
Ms. Anderson settled in Los Angeles in 1959, releasing six albums on Mercury, including the much-praised “Moanin’,” but as the ’60s rock revolution gathered steam, her career subsided. In 1964 she moved to London, where there was still a strong audience for jazz. But by 1966, discouraged with the music business, she returned to Seattle and retired from music, working as a hotel maid and at a telephone answering service.
In 1968 she moved back to Los Angeles, and after returning to Seattle in 1973 she was coaxed back to performing by Seattle jazz critic Maggie Hawthorn. By 1976 she had signed with the Concord Jazz label. Ms. Anderson released “Hello, Like Before” in 1977 and followed it with more than a dozen albums over the next 15 years.
A finger-popping blues song by B.B. King, “Never Make Your Move Too Soon,” which she recorded on her Grammy-nominated 1981 album of the same name, became Ms. Anderson’s signature song.
In 1993, Ms. Anderson was signed by Jones’ label, Qwest, which presented her in a soul-jazz mode, netting Grammy nominations and strong sales for “Now and Then” (1993) and “Blues, Dues & Love News” (1996). In 1998, Ms. Anderson was feted at Seattle’s Paramount Theatre for her 70th birthday.
Unable to live any longer on her singing career, she refinanced the family home in the Central District and in 2008 found herself in danger of foreclosure. Jones and others stepped forward to save the home from repossession.
In 2015, the High Note label released a 1962 live recording from Seattle’s Penthouse nightclub, “Ernestine Anderson Swings the Penthouse” (HighNote), produced by jazz DJ Jim Wilke. The record was a reminder of how pure and moving Ms. Anderson’s voice had been in her early career.
Ms. Anderson is survived by three children, eight grandchildren and four great-grandchildren.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz great Ernestine Anderson dies | The Seattle Times
http://www.jazzpromoservices.com/
** http://www.seattletimes.com/seattle-news/obituaries/jazz-great-ernestine-anderson-dies/
————————————————————
** Jazz great Ernestine Anderson dies
————————————————————
By Paul de Barros (http://www.seattletimes.com/author/paul-de-barros/)
The celebrated singer, once described by Quincy Jones as having the sound of “honey at dusk,” died Thursday, March 10, in the Seattle area. She was 87.
Ernestine Anderson, the internationally renowned and much-loved Seattle jazz vocalist with a voice once described by her childhood friend Quincy Jones as the sound of “honey at dusk,” died Thursday, March 10. Ms. Anderson was 87.
Vivian Phillips, a family friend, reported that the singer passed away “peacefully, surrounded by her family.” Ms. Anderson had resided since 2011 at the Northhaven retirement community and Shoreline Rehab.
Over the course of a six-decade career, Ms. Anderson received four Grammy nominations and performed all over the world, from the Kennedy Center and Carnegie Hall to the first Monterey Jazz Festival, in 1958, and at festivals in South America, Europe and Japan. She was included in the Smithsonian Institution’s “Jazz Singers” anthology and along with notables such as Alice Walker and Shirley Chisholm in photographer Brian Lanker’s tribute to African-American women, “I Dream a World.”
In 2002, Seattle’s Bumbershoot arts festival awarded Ms. Anderson its Golden Umbrella, an honor that evolved into the Mayor’s Arts Awards. And in 2012, the Low Income Housing Institute named one of its projects Ernestine Anderson Place.
Ernestine Anderson singing in Berlin in 1978. (Uploaded on YouTube by JazzVocalFan)
Born in Houston in 1928 to a construction worker and homemaker, Ms. Anderson began singing in church when she was 3 years old. At age 12, she won a talent contest at Houston’s Eldorado Ballroom and for four months afterward, sang there once a week.
In 1944, with war work beckoning many, Ms. Anderson’s father decided to move to the West Coast. Afraid that his daughter’s grades were slipping and that the jazz life was fraught with temptation, he chose Seattle because a family friend told him it was a sleepy town with no nightlife. To the contrary, Seattle’s Jackson Street was musically on fire, and Ms. Anderson, who entered Garfield High School that year, soon found herself singing with the Bumps Blackwell Junior Band, featuring Jones, saxophonist (and later bassist) Buddy Catlett and others.
By 1946, Ms. Anderson was headlining her own breakfast show at the 411 Club, an International District after-hours joint on Maynard Avenue. The following year, Ms. Anderson dropped out of school to join Los Angeles R&B bandleader Johnny Otis’ band and spent most of the next year on the road with Otis.
“She was out with Johnny Otis and those bands before anybody,” Jones told The Seattle Times. “Everyone was in awe of anybody that had gone on the road with a professional band.”
In 1948, Otis disbanded in Los Angeles, where Ms. Anderson remained, recording her first single, “K.C. Lover/Good Lovin’ Babe,” for the Black & White label, and also marrying for the first time. In 1952, Ms. Anderson was back in Seattle, where she auditioned for swing bandleader Lionel Hampton at the home of Georgia Kemp, a jazz patron who had been Ray Charles’ landlord when he lived in Seattle. Ms. Anderson went on the road with Hampton for 15 months, including a performance at the presidential inauguration of Dwight D. Eisenhower.
In New York, Ms. Anderson recorded with Jones, Russell Jacquet, tenor saxophonist Clifford “King” Solomon and others, and also worked at the Page Three, a gay nightclub where other up-and-coming singers such as Sheila Jordan were trying to gain exposure. In 1955, she appeared on two tracks of an album by alto saxophonist Gigi Gryce, “Nica’s Dream,” which also featured trumpeter Art Farmer, with whom she later lived for several years.
Frustrated by her slow career growth in New York, in 1956 Ms. Anderson accepted an offer from Swedish bandleader Rolf Ericson to tour Europe, which she said was the first place she ever “felt really free,” because of prejudice and segregation back home.
In Europe, Ms. Anderson recorded an album with bandleader Harry Arnold for the Metronome label, which was eventually released by Mercury in 1958.
“Hot Cargo” netted Ms. Anderson rave write-ups in Time magazine and The New York Times, whose critic compared her to Ella Fitzgerald. The following year, she was toasted by the critics of the country’s leading jazz magazine, Down Beat, as a “new star” of the year.
Unlimited Digital Access. $1 for 4 weeks. (http://www.seattletimes.com/subscribe/signup/?icn=promo-most-read&ici=subscribe)
Ms. Anderson settled in Los Angeles in 1959, releasing six albums on Mercury, including the much-praised “Moanin’,” but as the ’60s rock revolution gathered steam, her career subsided. In 1964 she moved to London, where there was still a strong audience for jazz. But by 1966, discouraged with the music business, she returned to Seattle and retired from music, working as a hotel maid and at a telephone answering service.
In 1968 she moved back to Los Angeles, and after returning to Seattle in 1973 she was coaxed back to performing by Seattle jazz critic Maggie Hawthorn. By 1976 she had signed with the Concord Jazz label. Ms. Anderson released “Hello, Like Before” in 1977 and followed it with more than a dozen albums over the next 15 years.
A finger-popping blues song by B.B. King, “Never Make Your Move Too Soon,” which she recorded on her Grammy-nominated 1981 album of the same name, became Ms. Anderson’s signature song.
In 1993, Ms. Anderson was signed by Jones’ label, Qwest, which presented her in a soul-jazz mode, netting Grammy nominations and strong sales for “Now and Then” (1993) and “Blues, Dues & Love News” (1996). In 1998, Ms. Anderson was feted at Seattle’s Paramount Theatre for her 70th birthday.
Unable to live any longer on her singing career, she refinanced the family home in the Central District and in 2008 found herself in danger of foreclosure. Jones and others stepped forward to save the home from repossession.
In 2015, the High Note label released a 1962 live recording from Seattle’s Penthouse nightclub, “Ernestine Anderson Swings the Penthouse” (HighNote), produced by jazz DJ Jim Wilke. The record was a reminder of how pure and moving Ms. Anderson’s voice had been in her early career.
Ms. Anderson is survived by three children, eight grandchildren and four great-grandchildren.
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=633217d467) | 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=633217d467&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Ensembles of Miles Davis Epitomized Cool – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/03/13/fashion/mens-style/miles-davis-style-icon.html?emc=edit_tnt_20160311
————————————————————
** The Ensembles of Miles Davis Epitomized Cool
————————————————————
By MICHAEL J. AGOVINOMARCH 11, 2016 Miles Davis in 1958. On the fashion front, “I got my looks from my mother and also my love of clothes and sense of style,” he wrote. Dennis Stock/Magnum Photos
Midway through “Miles Ahead,” the soon-to-be-released movie (http://artsbeat.blogs.nytimes.com/2015/07/22/don-cheadles-biopic-of-miles-davis-to-close-new-york-film-festival/?rref=collection%2Ftimestopic%2FDavis%2C%20Miles&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection&_r=0) about Miles Davis (http://topics.nytimes.com/top/reference/timestopics/people/d/miles_davis/index.html?inline=nyt-per) , directed by and starring Don Cheadle, the famously irascible musician tells a freelance writer (played by Ewan McGregor) in a dowdy corduroy blazer, “You’re not driving me around looking like that no more.”
It’s 1979. Earth, Wind & Fire’s “Getaway” had just been blasting on the stereo in Davis’s West 77th Street apartment. (http://streeteasy.com/building/312-west-77-street-new_york) He slides open the door to a walk-in closet and the journalist sees a collection of silks, furs, scarves and lamé jackets.
“From Brooks Brothers sharp to Issey Miyake prints, leather and bright colors, Miles wore it all and was always cool doing it,” Mr. Cheadle said. “He made the clothes.”
Gersha Phillips, the costume designer who also made all the clothes for “Miles Ahead,” including a kimono in habutai, did not know how fashionable the trumpeter was until she started her research. “I was quite amazed,” she said. “I just feel like he was always forward-thinking, and just the way he was with his music he was with fashion: ahead of his time.”
The main action takes place as Davis is considering a comeback after a five-year, self-imposed exile on the Upper West Side, with deft swings back to the 1950s and ’60s. No matter the decade — as a sideman to Charlie Parker in the 1940s; birthing cool jazz with Gil Evans in the early ’50s; moving further ahead with John Coltrane in the late-’50s and then the mid-’60s, before an electric period from 1968-75 — Davis is the focal point, in part because of what he wore.
Davis, at the Newport Jazz Festival in 1969, was not afraid to change with the times, either in the music he made or in the way he dressed. David Redfern/Getty Images
With Davis, it wasn’t a case of style over substance. His style was essential to his substance.
“His music, of course, everyone is familiar with,” said Marcus Miller, the bassist, composer and producer who was part of Davis’s band in 1980. “But when I knew him, he was painting as much as playing, and that was a real reflection of him, as well — and then his clothes. It was all the same thing. It was a statement of who he was and how he wanted to present himself.
“He was conscious that people were looking at him,” Mr. Miller said. “And the clothes were so important back then, particularly in the ’40s and ’50s, because this was an era when black artists were fighting to be recognized as more than simple entertainers. It was like, ‘We’re going to be as sharp as possible and we’re going to command respect.’”
“He grew up like that,” said the tenor saxophonist and composer Wayne Shorter, who also played with Davis. “He always dressed well, always in tune with fine things, and he didn’t see any reason why fine things should be denied to anyone.”
Miles Dewey Davis III (http://www.nytimes.com/learning/general/onthisday/bday/0525.html) was born into upper-middle-class comfort in Alton, Ill., in 1926. His father was an oral surgeon and his mother was a music teacher; the family moved to East St. Louis when Davis was 1.
In his profane and profound 1989 autobiography, written with Quincy Troupe, he credited his mother for his fashion sense. “She had mink coats, diamonds,” he wrote. “She was a very glamorous woman who was into all kinds of hats and things, and all my mother’s friends seemed just as glamorous to me as she was. She always dressed to kill. I got my looks from my mother and also my love of clothes and sense of style.”
Later, he took his cues from movie stars like Fred Astaire and Cary Grant. “I created a kind of hip, quasi-black English look: Brooks Brothers suits, butcher boy shoes, high top pants, shirts with high tab collars that were so stiff with starch I could hardly move my neck,” he wrote.
In late-1940s New York, when West 52nd was known as Swing Street, Coleman Hawkins, a titanic figure in jazz, was a role model for the young Davis: “Bean taught me a lot about music,” Miles wrote, using Hawkins’s nickname. “Plus he used to give me clothes,” he wrote. “He bought the clothes from a hip store on Broadway and 52nd Street, then gave them to me for almost nothing.”
The debonair saxophonist Dexter Gordon (http://www.pbs.org/jazz/biography/artist_id_gordon_dexter.htm) was another sartorial influence. “Dexter hipped me to the importance of looking sharp,” Davis wrote. “I thought he was the cleanest cat around.”
Like many jazz musicians, Davis was hampered in the early ’50s by heroin addiction, which took about four years to kick. When he finally did, he credited the discipline he observed in the boxer Sugar Ray Robinson (http://www.nytimes.com/2009/11/26/nyregion/26sugar.html?_r=0) . Davis eventually took up a boxing program to stay fit; it’s one of the reasons clothes draped so well on him.
As difficult as Davis was — and Mr. Cheadle’s film doesn’t shy away from this — he didn’t pressure his bandmates to dress a certain way. “He left it up to us,” Mr. Shorter said. “Except when I first joined his band, he sent me to his tailor, who was down the street from his home, and he got me a tuxedo made to open up at the Hollywood Bowl.”
Herbie Hancock, who was in the same group (and who, like Mr. Shorter, makes a cameo in “Miles Ahead”), said, “When I first joined his band, the idea of playing with Miles meant you automatically sensed that you would wear something that was appropriate for Miles’s kind of presentation.”
Davis, who died in 1991, was a rock star before there were rock stars, gangsta long before hip-hop. He had run-ins with police, especially when he was in one of his Ferraris. In the late ’60s, he was stopped outside the Plaza Hotel for not having a registration sticker. In his memoir, Davis cited a different reason for this brush with the law: “I was sitting in my red Ferrari, dressed in a turban, cobra-skinned pants and a sheepskin coat, with a real fine woman.”
In 1969, when he was the victim of a drive-by shooting, his sense of style may have saved his life: “The guy must have shot five bullets at me, but I had on a leather suit that was kind of loose-fitting,” Davis wrote. “If it hadn’t been for that leather jacket and the fact they shot through the door of a well-built Ferrari, I would have been dead.”
Davis was not afraid to change with the times, either in the music he made or in the way he dressed. In the late 1960s he wore dashikis and loose Indian shirts and suede pants from the young African-American designer Stephen Burrows.
He adapted his style, once again, in the early 1980s. “I remember once, in 1981, I’m hanging out in his house,” Mr. Miller said, “and he said, ‘Find me something to wear.’ So I went into the closet and it was all the baddest stuff I’d ever seen. But they were all from, like, 1973. Everything was bell-bottoms, fringes, vests, everything had 14 colors. I came out and said, ‘Miles, I can’t find anything for you in there, they’re too old.’ And he said, ‘Oh, man!’ and walked in there and cobbled something together. But once he got back on his feet, ’82, ’83, he began to re-establish himself in terms of his style.”
Envelope-pushing Japanese designers like Kohshin Satoh (http://www.kohshinsatoh.jp/profile-e/index.html) sent him stuff. In 1987, Davis modeled for a Satoh presentation at the Tunnel with Andy Warhol. He also wore his designs during a White House visit with Cicely Tyson, his wife at the time.
“Miles was always the hippest guy around,” Mr. Hancock said. “The way he moved, the way he walked, the way he stood when he played, what came out of his horn, and the cars he drove, all of that was stylish. That was part of his persona.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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The Ensembles of Miles Davis Epitomized Cool – The New York Times
http://www.jazzpromoservices.com/
** http://www.nytimes.com/2016/03/13/fashion/mens-style/miles-davis-style-icon.html?emc=edit_tnt_20160311
————————————————————
** The Ensembles of Miles Davis Epitomized Cool
————————————————————
By MICHAEL J. AGOVINOMARCH 11, 2016 Miles Davis in 1958. On the fashion front, “I got my looks from my mother and also my love of clothes and sense of style,” he wrote. Dennis Stock/Magnum Photos
Midway through “Miles Ahead,” the soon-to-be-released movie (http://artsbeat.blogs.nytimes.com/2015/07/22/don-cheadles-biopic-of-miles-davis-to-close-new-york-film-festival/?rref=collection%2Ftimestopic%2FDavis%2C%20Miles&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection&_r=0) about Miles Davis (http://topics.nytimes.com/top/reference/timestopics/people/d/miles_davis/index.html?inline=nyt-per) , directed by and starring Don Cheadle, the famously irascible musician tells a freelance writer (played by Ewan McGregor) in a dowdy corduroy blazer, “You’re not driving me around looking like that no more.”
It’s 1979. Earth, Wind & Fire’s “Getaway” had just been blasting on the stereo in Davis’s West 77th Street apartment. (http://streeteasy.com/building/312-west-77-street-new_york) He slides open the door to a walk-in closet and the journalist sees a collection of silks, furs, scarves and lamé jackets.
“From Brooks Brothers sharp to Issey Miyake prints, leather and bright colors, Miles wore it all and was always cool doing it,” Mr. Cheadle said. “He made the clothes.”
Gersha Phillips, the costume designer who also made all the clothes for “Miles Ahead,” including a kimono in habutai, did not know how fashionable the trumpeter was until she started her research. “I was quite amazed,” she said. “I just feel like he was always forward-thinking, and just the way he was with his music he was with fashion: ahead of his time.”
The main action takes place as Davis is considering a comeback after a five-year, self-imposed exile on the Upper West Side, with deft swings back to the 1950s and ’60s. No matter the decade — as a sideman to Charlie Parker in the 1940s; birthing cool jazz with Gil Evans in the early ’50s; moving further ahead with John Coltrane in the late-’50s and then the mid-’60s, before an electric period from 1968-75 — Davis is the focal point, in part because of what he wore.
Davis, at the Newport Jazz Festival in 1969, was not afraid to change with the times, either in the music he made or in the way he dressed. David Redfern/Getty Images
With Davis, it wasn’t a case of style over substance. His style was essential to his substance.
“His music, of course, everyone is familiar with,” said Marcus Miller, the bassist, composer and producer who was part of Davis’s band in 1980. “But when I knew him, he was painting as much as playing, and that was a real reflection of him, as well — and then his clothes. It was all the same thing. It was a statement of who he was and how he wanted to present himself.
“He was conscious that people were looking at him,” Mr. Miller said. “And the clothes were so important back then, particularly in the ’40s and ’50s, because this was an era when black artists were fighting to be recognized as more than simple entertainers. It was like, ‘We’re going to be as sharp as possible and we’re going to command respect.’”
“He grew up like that,” said the tenor saxophonist and composer Wayne Shorter, who also played with Davis. “He always dressed well, always in tune with fine things, and he didn’t see any reason why fine things should be denied to anyone.”
Miles Dewey Davis III (http://www.nytimes.com/learning/general/onthisday/bday/0525.html) was born into upper-middle-class comfort in Alton, Ill., in 1926. His father was an oral surgeon and his mother was a music teacher; the family moved to East St. Louis when Davis was 1.
In his profane and profound 1989 autobiography, written with Quincy Troupe, he credited his mother for his fashion sense. “She had mink coats, diamonds,” he wrote. “She was a very glamorous woman who was into all kinds of hats and things, and all my mother’s friends seemed just as glamorous to me as she was. She always dressed to kill. I got my looks from my mother and also my love of clothes and sense of style.”
Later, he took his cues from movie stars like Fred Astaire and Cary Grant. “I created a kind of hip, quasi-black English look: Brooks Brothers suits, butcher boy shoes, high top pants, shirts with high tab collars that were so stiff with starch I could hardly move my neck,” he wrote.
In late-1940s New York, when West 52nd was known as Swing Street, Coleman Hawkins, a titanic figure in jazz, was a role model for the young Davis: “Bean taught me a lot about music,” Miles wrote, using Hawkins’s nickname. “Plus he used to give me clothes,” he wrote. “He bought the clothes from a hip store on Broadway and 52nd Street, then gave them to me for almost nothing.”
The debonair saxophonist Dexter Gordon (http://www.pbs.org/jazz/biography/artist_id_gordon_dexter.htm) was another sartorial influence. “Dexter hipped me to the importance of looking sharp,” Davis wrote. “I thought he was the cleanest cat around.”
Like many jazz musicians, Davis was hampered in the early ’50s by heroin addiction, which took about four years to kick. When he finally did, he credited the discipline he observed in the boxer Sugar Ray Robinson (http://www.nytimes.com/2009/11/26/nyregion/26sugar.html?_r=0) . Davis eventually took up a boxing program to stay fit; it’s one of the reasons clothes draped so well on him.
As difficult as Davis was — and Mr. Cheadle’s film doesn’t shy away from this — he didn’t pressure his bandmates to dress a certain way. “He left it up to us,” Mr. Shorter said. “Except when I first joined his band, he sent me to his tailor, who was down the street from his home, and he got me a tuxedo made to open up at the Hollywood Bowl.”
Herbie Hancock, who was in the same group (and who, like Mr. Shorter, makes a cameo in “Miles Ahead”), said, “When I first joined his band, the idea of playing with Miles meant you automatically sensed that you would wear something that was appropriate for Miles’s kind of presentation.”
Davis, who died in 1991, was a rock star before there were rock stars, gangsta long before hip-hop. He had run-ins with police, especially when he was in one of his Ferraris. In the late ’60s, he was stopped outside the Plaza Hotel for not having a registration sticker. In his memoir, Davis cited a different reason for this brush with the law: “I was sitting in my red Ferrari, dressed in a turban, cobra-skinned pants and a sheepskin coat, with a real fine woman.”
In 1969, when he was the victim of a drive-by shooting, his sense of style may have saved his life: “The guy must have shot five bullets at me, but I had on a leather suit that was kind of loose-fitting,” Davis wrote. “If it hadn’t been for that leather jacket and the fact they shot through the door of a well-built Ferrari, I would have been dead.”
Davis was not afraid to change with the times, either in the music he made or in the way he dressed. In the late 1960s he wore dashikis and loose Indian shirts and suede pants from the young African-American designer Stephen Burrows.
He adapted his style, once again, in the early 1980s. “I remember once, in 1981, I’m hanging out in his house,” Mr. Miller said, “and he said, ‘Find me something to wear.’ So I went into the closet and it was all the baddest stuff I’d ever seen. But they were all from, like, 1973. Everything was bell-bottoms, fringes, vests, everything had 14 colors. I came out and said, ‘Miles, I can’t find anything for you in there, they’re too old.’ And he said, ‘Oh, man!’ and walked in there and cobbled something together. But once he got back on his feet, ’82, ’83, he began to re-establish himself in terms of his style.”
Envelope-pushing Japanese designers like Kohshin Satoh (http://www.kohshinsatoh.jp/profile-e/index.html) sent him stuff. In 1987, Davis modeled for a Satoh presentation at the Tunnel with Andy Warhol. He also wore his designs during a White House visit with Cicely Tyson, his wife at the time.
“Miles was always the hippest guy around,” Mr. Hancock said. “The way he moved, the way he walked, the way he stood when he played, what came out of his horn, and the cars he drove, all of that was stylish. That was part of his persona.”
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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Hopkins store owner scores 100,000 mint records from Texas basement – StarTribune.com
http://www.jazzpromoservices.com/
** http://www.startribune.com/hopkins-store-owner-scores-100-000-virgin-vinyl-records-from-west-texas-basement/370671871/
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** Hopkins store owner scores 100,000 mint-condition records from West Texas basement
————————————————————
By John Reinan (http://www.startribune.com/john-reinan/273043871/) Star Tribune
MARCH 2, 2016 — 10:34AM
itemprop
Rob Sheeley thought he might die, right there in that West Texas basement.
Eyes bugged out. Heart pounding. Hyperventilating. They’d find him in a fetal ball at the bottom of the stairs, passed out from sheer excitement.
That’s what can happen when dreams come true.
“It took everything I had to keep it together,” Sheeley said, describing the January day he walked down those stairs in Big Spring and gazed upon row after row of shelves holding 100,000 virgin discs, the entire vinyl inventory of a record store that closed its doors in 1984.
From Abba to Zappa, it was there. Bruce Springsteen. James Brown. The Ramones. Ozzy Osbourne. Prince. All sealed in their original wrappers.
Within five minutes, Sheeley bought the whole lot for close to $100,000 and began planning how to get it onto the shelves of his store, Mill City Sound in Hopkins.
“I dream about this stuff,” said Sheeley, 60, a lifelong record lover who opened his store in 2014 after selling a successful audio/visual business. He decided it was finally time to do what he’d always wanted to do: “Get the coolest records in the world.”
When the music business went all-in on CDs in the 1980s, generations of vinyl records were abandoned. Those records from the 1980s and earlier are the treasures collectors are hunting for today. And the Twin Cities area is home to some big-game hunters.
John Kass has more than 600,000 records, and he got about half of them for free. Kass, of Maplewood, started collecting vinyl in the 1990s, when people were just tossing it in the trash.
“Everybody was throwing out their records. Even record stores,” Kass said. “I’m the guy who got them.”
For Kass and other collectors, the appeal of vinyl is not only in the richer sound, but in the whole sensory experience: the feel, the smell, the look of the albums and their covers. Kass recently sold about 300,000 of his records to Flashlight Vinyl, a new store in northeast Minneapolis.
But those records won’t show up right away on Flashlight’s shelves. No, Kass plans to spend a couple of years curating the collection. Sorting the records. Cleaning them. Giving them one last, loving fondle before letting go.
“That’s what I’m doing now,” he said. “What I like is putting my hands on every single record I can, getting it ready for the shop.”
Mark Trehus, owner of Treehouse Records in south Minneapolis, has been in the vinyl business for more than 30 years. When other shops had no vinyl on their shelves, fans could always find it at Treehouse and its predecessor, Oarfolkjokeopus. But the competition for used vinyl is heating up, Trehus said.
“I’m going out more and looking for it in the wild,” he said. “Used to be, I could sit on my butt and it would come in. Now there are probably 25 competitors. Even antique shops will have a little record section, because it’s cool.”
Yul Brynner sings
The scent of fresh-cut wood permeates the basement of Mill City Sound, residue of the vast shelves newly built to hold Sheeley’s Texas treasure. His massive haul of “old store stock” is rare, he explained, because of the way it accumulated.
In the heyday of vinyl, record stores would buy albums in boxes of 25, then return the unsold records for credit. But the owner of the Big Spring store — the Record Shop — never sent back his unsold albums. He stored them in a climate-controlled basement. So Sheeley’s collection includes multiple copies of rare, sought-after albums.
Sheeley was an animated host as he gave a tour of his collection.
“Look at this!” he exclaimed, pulling records off the shelf. “Do you want to see something funny?” “Let me tell you about this!” “This is a very cool record!” “This is amazing!”
Probably the rarest item he has found to date (he hasn’t gone through his entire trove yet) is a 1968 issue of MC5’s “Kick Out the Jams.” The Minneapolis scene is well represented in the new haul, with records by Hüsker Dü, the Replacements and Alexander O’Neal.
But for every treasure, there’s trash — and we’re not talking about the Trashmen.
Anyone looking for “Yul Brynner Sings Gypsy Songs”? He’s also got a dozen copies of “The Best of the Mom and Dads.”
“I can only hope my grandmother or someone like her is still alive and wants to buy this,” Sheeley said. “There may be a ceremonial burn at some point.”
Sheeley plans to expand his store layout to make room for more vinyl, making room in the displays for 20,000 more albums.
“There are diamonds, and there’s coal,” he said. “A lot of coal. But that’s the whole treasure hunt thing.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Hopkins store owner scores 100,000 mint records from Texas basement – StarTribune.com
http://www.jazzpromoservices.com/
** http://www.startribune.com/hopkins-store-owner-scores-100-000-virgin-vinyl-records-from-west-texas-basement/370671871/
————————————————————
** Hopkins store owner scores 100,000 mint-condition records from West Texas basement
————————————————————
By John Reinan (http://www.startribune.com/john-reinan/273043871/) Star Tribune
MARCH 2, 2016 — 10:34AM
itemprop
Rob Sheeley thought he might die, right there in that West Texas basement.
Eyes bugged out. Heart pounding. Hyperventilating. They’d find him in a fetal ball at the bottom of the stairs, passed out from sheer excitement.
That’s what can happen when dreams come true.
“It took everything I had to keep it together,” Sheeley said, describing the January day he walked down those stairs in Big Spring and gazed upon row after row of shelves holding 100,000 virgin discs, the entire vinyl inventory of a record store that closed its doors in 1984.
From Abba to Zappa, it was there. Bruce Springsteen. James Brown. The Ramones. Ozzy Osbourne. Prince. All sealed in their original wrappers.
Within five minutes, Sheeley bought the whole lot for close to $100,000 and began planning how to get it onto the shelves of his store, Mill City Sound in Hopkins.
“I dream about this stuff,” said Sheeley, 60, a lifelong record lover who opened his store in 2014 after selling a successful audio/visual business. He decided it was finally time to do what he’d always wanted to do: “Get the coolest records in the world.”
When the music business went all-in on CDs in the 1980s, generations of vinyl records were abandoned. Those records from the 1980s and earlier are the treasures collectors are hunting for today. And the Twin Cities area is home to some big-game hunters.
John Kass has more than 600,000 records, and he got about half of them for free. Kass, of Maplewood, started collecting vinyl in the 1990s, when people were just tossing it in the trash.
“Everybody was throwing out their records. Even record stores,” Kass said. “I’m the guy who got them.”
For Kass and other collectors, the appeal of vinyl is not only in the richer sound, but in the whole sensory experience: the feel, the smell, the look of the albums and their covers. Kass recently sold about 300,000 of his records to Flashlight Vinyl, a new store in northeast Minneapolis.
But those records won’t show up right away on Flashlight’s shelves. No, Kass plans to spend a couple of years curating the collection. Sorting the records. Cleaning them. Giving them one last, loving fondle before letting go.
“That’s what I’m doing now,” he said. “What I like is putting my hands on every single record I can, getting it ready for the shop.”
Mark Trehus, owner of Treehouse Records in south Minneapolis, has been in the vinyl business for more than 30 years. When other shops had no vinyl on their shelves, fans could always find it at Treehouse and its predecessor, Oarfolkjokeopus. But the competition for used vinyl is heating up, Trehus said.
“I’m going out more and looking for it in the wild,” he said. “Used to be, I could sit on my butt and it would come in. Now there are probably 25 competitors. Even antique shops will have a little record section, because it’s cool.”
Yul Brynner sings
The scent of fresh-cut wood permeates the basement of Mill City Sound, residue of the vast shelves newly built to hold Sheeley’s Texas treasure. His massive haul of “old store stock” is rare, he explained, because of the way it accumulated.
In the heyday of vinyl, record stores would buy albums in boxes of 25, then return the unsold records for credit. But the owner of the Big Spring store — the Record Shop — never sent back his unsold albums. He stored them in a climate-controlled basement. So Sheeley’s collection includes multiple copies of rare, sought-after albums.
Sheeley was an animated host as he gave a tour of his collection.
“Look at this!” he exclaimed, pulling records off the shelf. “Do you want to see something funny?” “Let me tell you about this!” “This is a very cool record!” “This is amazing!”
Probably the rarest item he has found to date (he hasn’t gone through his entire trove yet) is a 1968 issue of MC5’s “Kick Out the Jams.” The Minneapolis scene is well represented in the new haul, with records by Hüsker Dü, the Replacements and Alexander O’Neal.
But for every treasure, there’s trash — and we’re not talking about the Trashmen.
Anyone looking for “Yul Brynner Sings Gypsy Songs”? He’s also got a dozen copies of “The Best of the Mom and Dads.”
“I can only hope my grandmother or someone like her is still alive and wants to buy this,” Sheeley said. “There may be a ceremonial burn at some point.”
Sheeley plans to expand his store layout to make room for more vinyl, making room in the displays for 20,000 more albums.
“There are diamonds, and there’s coal,” he said. “A lot of coal. But that’s the whole treasure hunt thing.”
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
Hopkins store owner scores 100,000 mint records from Texas basement – StarTribune.com
http://www.jazzpromoservices.com/
** http://www.startribune.com/hopkins-store-owner-scores-100-000-virgin-vinyl-records-from-west-texas-basement/370671871/
————————————————————
** Hopkins store owner scores 100,000 mint-condition records from West Texas basement
————————————————————
By John Reinan (http://www.startribune.com/john-reinan/273043871/) Star Tribune
MARCH 2, 2016 — 10:34AM
itemprop
Rob Sheeley thought he might die, right there in that West Texas basement.
Eyes bugged out. Heart pounding. Hyperventilating. They’d find him in a fetal ball at the bottom of the stairs, passed out from sheer excitement.
That’s what can happen when dreams come true.
“It took everything I had to keep it together,” Sheeley said, describing the January day he walked down those stairs in Big Spring and gazed upon row after row of shelves holding 100,000 virgin discs, the entire vinyl inventory of a record store that closed its doors in 1984.
From Abba to Zappa, it was there. Bruce Springsteen. James Brown. The Ramones. Ozzy Osbourne. Prince. All sealed in their original wrappers.
Within five minutes, Sheeley bought the whole lot for close to $100,000 and began planning how to get it onto the shelves of his store, Mill City Sound in Hopkins.
“I dream about this stuff,” said Sheeley, 60, a lifelong record lover who opened his store in 2014 after selling a successful audio/visual business. He decided it was finally time to do what he’d always wanted to do: “Get the coolest records in the world.”
When the music business went all-in on CDs in the 1980s, generations of vinyl records were abandoned. Those records from the 1980s and earlier are the treasures collectors are hunting for today. And the Twin Cities area is home to some big-game hunters.
John Kass has more than 600,000 records, and he got about half of them for free. Kass, of Maplewood, started collecting vinyl in the 1990s, when people were just tossing it in the trash.
“Everybody was throwing out their records. Even record stores,” Kass said. “I’m the guy who got them.”
For Kass and other collectors, the appeal of vinyl is not only in the richer sound, but in the whole sensory experience: the feel, the smell, the look of the albums and their covers. Kass recently sold about 300,000 of his records to Flashlight Vinyl, a new store in northeast Minneapolis.
But those records won’t show up right away on Flashlight’s shelves. No, Kass plans to spend a couple of years curating the collection. Sorting the records. Cleaning them. Giving them one last, loving fondle before letting go.
“That’s what I’m doing now,” he said. “What I like is putting my hands on every single record I can, getting it ready for the shop.”
Mark Trehus, owner of Treehouse Records in south Minneapolis, has been in the vinyl business for more than 30 years. When other shops had no vinyl on their shelves, fans could always find it at Treehouse and its predecessor, Oarfolkjokeopus. But the competition for used vinyl is heating up, Trehus said.
“I’m going out more and looking for it in the wild,” he said. “Used to be, I could sit on my butt and it would come in. Now there are probably 25 competitors. Even antique shops will have a little record section, because it’s cool.”
Yul Brynner sings
The scent of fresh-cut wood permeates the basement of Mill City Sound, residue of the vast shelves newly built to hold Sheeley’s Texas treasure. His massive haul of “old store stock” is rare, he explained, because of the way it accumulated.
In the heyday of vinyl, record stores would buy albums in boxes of 25, then return the unsold records for credit. But the owner of the Big Spring store — the Record Shop — never sent back his unsold albums. He stored them in a climate-controlled basement. So Sheeley’s collection includes multiple copies of rare, sought-after albums.
Sheeley was an animated host as he gave a tour of his collection.
“Look at this!” he exclaimed, pulling records off the shelf. “Do you want to see something funny?” “Let me tell you about this!” “This is a very cool record!” “This is amazing!”
Probably the rarest item he has found to date (he hasn’t gone through his entire trove yet) is a 1968 issue of MC5’s “Kick Out the Jams.” The Minneapolis scene is well represented in the new haul, with records by Hüsker Dü, the Replacements and Alexander O’Neal.
But for every treasure, there’s trash — and we’re not talking about the Trashmen.
Anyone looking for “Yul Brynner Sings Gypsy Songs”? He’s also got a dozen copies of “The Best of the Mom and Dads.”
“I can only hope my grandmother or someone like her is still alive and wants to buy this,” Sheeley said. “There may be a ceremonial burn at some point.”
Sheeley plans to expand his store layout to make room for more vinyl, making room in the displays for 20,000 more albums.
“There are diamonds, and there’s coal,” he said. “A lot of coal. But that’s the whole treasure hunt thing.”
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
1,000 hours of early jazz music released online. | Music Blog | montereycountyweekly.com
http://www.jazzpromoservices.com/
** http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html
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** 1,000 hours of early jazz music released online.
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* Nic Coury (https://montereycountyweekly-dot-com.bloxcms-ny1.com/users/profile/Nic%20Coury)
*
* 22 hrs ago
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http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html#1
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A collection of early jazz recordings, including works by Louis Armstrong, Duke Ellington and Jelly Roll Morton, has been meticulously archived and released online.
At archive.org (http://archive.org/) , 650 cassette tapes from the personal collection of David Niven are available to listen to. The archive includes handwritten liner notes and narration by Niven introducing the recordings.
The archive includes a lot of very early jazz music going back to 1921, much of which is difficult to find recordings of.
You can listen to the collection here. (https://archive.org/details/davidwnivenjazz&tab=about)
“Any time we have the capability of a realistic look at actual recording of how something actually happened, we get a clearer picture of where the music came from, and where it’s going,” says Paul Contos, education director at the Monterey Jazz Festival.
“This kind of stuff is like the archeology of jazz.”
In his archive.org (http://archive.org/) biography, Niven says he first listened to jazz at the age of 10 with his cousin. It was a Louis Armstrong record. His collection started there and lasted throughout his adult life. The archive project started when Niven wanted to introduce his children to the jazz music he was positively affected by.
“This is an extraordinary collection,” archivist Kevin J. Powers writes on archive.org (http://archive.org/) introducing the collection. “It has been Mr. Niven’s life’s work. It represents the very finest American music of the 20th century, and because Mr. Niven took the time and care to record these commentaries, he has produced a library that is accessible to everyone from jazz aficionados to jazz novices.”
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
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1,000 hours of early jazz music released online. | Music Blog | montereycountyweekly.com
http://www.jazzpromoservices.com/
** http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html
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** 1,000 hours of early jazz music released online.
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* Nic Coury (https://montereycountyweekly-dot-com.bloxcms-ny1.com/users/profile/Nic%20Coury)
*
* 22 hrs ago
*
* 0 (http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html#comments)
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http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html#1
* Nic Coury
*
*
*
*
A collection of early jazz recordings, including works by Louis Armstrong, Duke Ellington and Jelly Roll Morton, has been meticulously archived and released online.
At archive.org (http://archive.org/) , 650 cassette tapes from the personal collection of David Niven are available to listen to. The archive includes handwritten liner notes and narration by Niven introducing the recordings.
The archive includes a lot of very early jazz music going back to 1921, much of which is difficult to find recordings of.
You can listen to the collection here. (https://archive.org/details/davidwnivenjazz&tab=about)
“Any time we have the capability of a realistic look at actual recording of how something actually happened, we get a clearer picture of where the music came from, and where it’s going,” says Paul Contos, education director at the Monterey Jazz Festival.
“This kind of stuff is like the archeology of jazz.”
In his archive.org (http://archive.org/) biography, Niven says he first listened to jazz at the age of 10 with his cousin. It was a Louis Armstrong record. His collection started there and lasted throughout his adult life. The archive project started when Niven wanted to introduce his children to the jazz music he was positively affected by.
“This is an extraordinary collection,” archivist Kevin J. Powers writes on archive.org (http://archive.org/) introducing the collection. “It has been Mr. Niven’s life’s work. It represents the very finest American music of the 20th century, and because Mr. Niven took the time and care to record these commentaries, he has produced a library that is accessible to everyone from jazz aficionados to jazz novices.”
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=379d7d7401) | 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=379d7d7401&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
1,000 hours of early jazz music released online. | Music Blog | montereycountyweekly.com
http://www.jazzpromoservices.com/
** http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html
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** 1,000 hours of early jazz music released online.
————————————————————
* Nic Coury (https://montereycountyweekly-dot-com.bloxcms-ny1.com/users/profile/Nic%20Coury)
*
* 22 hrs ago
*
* 0 (http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html#comments)
*
*
*
http://www.montereycountyweekly.com/blogs/music_blog/hours-of-early-jazz-music-released-online/article_2ae4f3ac-e62d-11e5-8741-a775a4a6d334.html#1
* Nic Coury
*
*
*
*
A collection of early jazz recordings, including works by Louis Armstrong, Duke Ellington and Jelly Roll Morton, has been meticulously archived and released online.
At archive.org (http://archive.org/) , 650 cassette tapes from the personal collection of David Niven are available to listen to. The archive includes handwritten liner notes and narration by Niven introducing the recordings.
The archive includes a lot of very early jazz music going back to 1921, much of which is difficult to find recordings of.
You can listen to the collection here. (https://archive.org/details/davidwnivenjazz&tab=about)
“Any time we have the capability of a realistic look at actual recording of how something actually happened, we get a clearer picture of where the music came from, and where it’s going,” says Paul Contos, education director at the Monterey Jazz Festival.
“This kind of stuff is like the archeology of jazz.”
In his archive.org (http://archive.org/) biography, Niven says he first listened to jazz at the age of 10 with his cousin. It was a Louis Armstrong record. His collection started there and lasted throughout his adult life. The archive project started when Niven wanted to introduce his children to the jazz music he was positively affected by.
“This is an extraordinary collection,” archivist Kevin J. Powers writes on archive.org (http://archive.org/) introducing the collection. “It has been Mr. Niven’s life’s work. It represents the very finest American music of the 20th century, and because Mr. Niven took the time and care to record these commentaries, he has produced a library that is accessible to everyone from jazz aficionados to jazz novices.”
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=379d7d7401) | 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=379d7d7401&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz great Nana Vasconcelos dies | Otago Daily Times Online News : Otago, South Island, New Zealand
http://www.jazzpromoservices.com/
** http://www.odt.co.nz/entertainment/music/375855/jazz-great-nana-vasconcelos-dies
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**
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** Jazz great Nana Vasconcelos dies
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Nana Vasconcelos, the eight-time Grammy Award-winning Brazilian percussionist known for his wide instrumental range and major role in the free-spirited jazz and world music of the 1970s and 1980s, has died. He was 71.
A master of the berimbau, a single-string, multi-toned Afro-Brazilian instrument, he is best known for collaborations with Brazilians Milton Nascimento and Egberto Gismonti, Argentine Gato Barbieri and Americans Don Cherry and Pat Metheny.
Vasconcelos died iin Recife, Brazil, on Wednesday.
His inventiveness with bongos, bells, gourds, maracas and other Afro-Latin musical instruments added the same rich, mysterious complexity to the period’s percussion as his collaborators added to melody, harmony and song structure.
“He made what looked like rudimentary music sophisticated,” said Geraldo Magalhaes, a friend and music producer. “He was a free spirit, loved all over the world.”
The influential American jazz magazine DownBeat named Vasconcelos percussionist of the year each year from 1983 to 1991 in its critics poll.
“When I started to play berimbau differently … the idea came into my mind that instruments have no limitations,” he told Modern Drummer magazine in a 2000 interview.
“This idea came from Jimi Hendrix: instruments have no limitations, and I started to treat music in that way.”
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=15c6a46409) | 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=15c6a46409&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz great Nana Vasconcelos dies | Otago Daily Times Online News : Otago, South Island, New Zealand
http://www.jazzpromoservices.com/
** http://www.odt.co.nz/entertainment/music/375855/jazz-great-nana-vasconcelos-dies
————————————————————
**
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** Jazz great Nana Vasconcelos dies
————————————————————
Nana Vasconcelos, the eight-time Grammy Award-winning Brazilian percussionist known for his wide instrumental range and major role in the free-spirited jazz and world music of the 1970s and 1980s, has died. He was 71.
A master of the berimbau, a single-string, multi-toned Afro-Brazilian instrument, he is best known for collaborations with Brazilians Milton Nascimento and Egberto Gismonti, Argentine Gato Barbieri and Americans Don Cherry and Pat Metheny.
Vasconcelos died iin Recife, Brazil, on Wednesday.
His inventiveness with bongos, bells, gourds, maracas and other Afro-Latin musical instruments added the same rich, mysterious complexity to the period’s percussion as his collaborators added to melody, harmony and song structure.
“He made what looked like rudimentary music sophisticated,” said Geraldo Magalhaes, a friend and music producer. “He was a free spirit, loved all over the world.”
The influential American jazz magazine DownBeat named Vasconcelos percussionist of the year each year from 1983 to 1991 in its critics poll.
“When I started to play berimbau differently … the idea came into my mind that instruments have no limitations,” he told Modern Drummer magazine in a 2000 interview.
“This idea came from Jimi Hendrix: instruments have no limitations, and I started to treat music in that way.”
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=15c6a46409) | 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=15c6a46409&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz great Nana Vasconcelos dies | Otago Daily Times Online News : Otago, South Island, New Zealand
http://www.jazzpromoservices.com/
** http://www.odt.co.nz/entertainment/music/375855/jazz-great-nana-vasconcelos-dies
————————————————————
**
————————————————————
** Jazz great Nana Vasconcelos dies
————————————————————
Nana Vasconcelos, the eight-time Grammy Award-winning Brazilian percussionist known for his wide instrumental range and major role in the free-spirited jazz and world music of the 1970s and 1980s, has died. He was 71.
A master of the berimbau, a single-string, multi-toned Afro-Brazilian instrument, he is best known for collaborations with Brazilians Milton Nascimento and Egberto Gismonti, Argentine Gato Barbieri and Americans Don Cherry and Pat Metheny.
Vasconcelos died iin Recife, Brazil, on Wednesday.
His inventiveness with bongos, bells, gourds, maracas and other Afro-Latin musical instruments added the same rich, mysterious complexity to the period’s percussion as his collaborators added to melody, harmony and song structure.
“He made what looked like rudimentary music sophisticated,” said Geraldo Magalhaes, a friend and music producer. “He was a free spirit, loved all over the world.”
The influential American jazz magazine DownBeat named Vasconcelos percussionist of the year each year from 1983 to 1991 in its critics poll.
“When I started to play berimbau differently … the idea came into my mind that instruments have no limitations,” he told Modern Drummer magazine in a 2000 interview.
“This idea came from Jimi Hendrix: instruments have no limitations, and I started to treat music in that way.”
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=15c6a46409) | 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=15c6a46409&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz great Nana Vasconcelos dies | Otago Daily Times Online News : Otago, South Island, New Zealand
http://www.jazzpromoservices.com/
** http://www.odt.co.nz/entertainment/music/375855/jazz-great-nana-vasconcelos-dies
————————————————————
**
————————————————————
** Jazz great Nana Vasconcelos dies
————————————————————
Nana Vasconcelos, the eight-time Grammy Award-winning Brazilian percussionist known for his wide instrumental range and major role in the free-spirited jazz and world music of the 1970s and 1980s, has died. He was 71.
A master of the berimbau, a single-string, multi-toned Afro-Brazilian instrument, he is best known for collaborations with Brazilians Milton Nascimento and Egberto Gismonti, Argentine Gato Barbieri and Americans Don Cherry and Pat Metheny.
Vasconcelos died iin Recife, Brazil, on Wednesday.
His inventiveness with bongos, bells, gourds, maracas and other Afro-Latin musical instruments added the same rich, mysterious complexity to the period’s percussion as his collaborators added to melody, harmony and song structure.
“He made what looked like rudimentary music sophisticated,” said Geraldo Magalhaes, a friend and music producer. “He was a free spirit, loved all over the world.”
The influential American jazz magazine DownBeat named Vasconcelos percussionist of the year each year from 1983 to 1991 in its critics poll.
“When I started to play berimbau differently … the idea came into my mind that instruments have no limitations,” he told Modern Drummer magazine in a 2000 interview.
“This idea came from Jimi Hendrix: instruments have no limitations, and I started to treat music in that way.”
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=15c6a46409) | 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=15c6a46409&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
George Martin, Redefining Producer Who Guided the Beatles, Dies at 90 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/10/arts/music/george-martin-producer-of-the-beatles-dies-at-90.html?_r=0
** George Martin, Redefining Producer Who Guided the Beatles, Dies at 90
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By ALLAN KOZINN (http://topics.nytimes.com/top/reference/timestopics/people/k/allan_kozinn/index.html) MARCH 9, 2016 From left: Paul McCartney, George Harrison, Ringo Starr, George Martin and John Lennon in 1963, the year after Mr. Martin signed the Beatles to a recording contract. Michael Ochs Archives, via Getty Images
George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died on Tuesday. He was 90.
“We can confirm that Sir George Martin passed away peacefully at home yesterday evening,” Adam Sharp, a founder of CA Management, a British company that represented Mr. Martin, said on Wednesday in an email. Mr. Sharp did not say how Mr. Martin had died.
“God bless George Martin,” Ringo Starr, the former Beatle, wrote on Twitter (https://twitter.com/ringostarrmusic/status/707420462620381184) .
Mr. Martin helped redefine a record producer’s role in pop music. He was one of a handful of pop producers — Phil Spector and Quincy Jones among them — to become almost as famous as the musicians they recorded. And when he left Parlophone, a subsidiary of EMI Records, to start his own production company in 1965, his reputation as the producer of the Beatles helped raise the stature of record production as an independent career, rather than a record label function.
Mr. Martin in the early 1960s. He was one of a handful of pop producers to become almost as famous as the musicians they recorded. Reuters
In the dozen years before he met the Beatles, Mr. Martin produced symphonic, chamber and choral recordings, jazz albums and a string of popular comedy records by Peter Ustinov, Peter Sellers and Spike Milligan. In the 1960s, as the recordings he made with the Beatles rode the top of the charts, he also produced hits by other British Invasion acts, among them Gerry and the Pacemakers, Cilla Black, and Billy J. Kramer and the Dakotas. He later worked with a diverse roster of pop and jazz performers, including Ella Fitzgerald, the Bee Gees, Jeff Beck, the Mahavishnu Orchestra, Paul Winter, Cheap Trick, America and Ultravox.
His collaboration with the Beatles inevitably overshadowed his other accomplishments. Between 1962 and 1970, Mr. Martin produced 13 albums and 22 singles for the group, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. After the Beatles broke up, he virtually doubled that output, overseeing archival releases drawn from the group’s concerts at the Hollywood Bowl, BBC radio performances and unreleased studio recordings that reveal a great deal about the Beatles’ working process.
Musicians, celebrities and political leaders paid tribute to Mr. Martin on social media on Wednesday, including the producers Mark Ronson and Quincy Jones, who described him on a Facebook post (https://www.facebook.com/QuincyJones/posts/10153939609269631) as “my musical brother” who “knew the secrets of our craft that so few know today.”
Thank you Sir George Martin: the greatest British record producer of all time. We will never stop living in the world you helped create.
— Mark Ronson (@MarkRonson) March 9, 2016 (https://twitter.com/MarkRonson/status/707457887271043072)
How very sad to wake to the news Sir George Martin has left us. He made my first Bond film sound brilliant!
— Sir Roger Moore (@sirrogermoore) March 9, 2016 (https://twitter.com/sirrogermoore/status/707459511347445760)
Sir George Martin was a giant of music – working with the Fab Four to create the world’s most enduring pop music.
— David Cameron (@David_Cameron) March 9, 2016 (https://twitter.com/David_Cameron/status/707455101192036352)
A modest man who had been trained as a classical pianist and oboist, Mr. Martin always deflected credit for the Beatles’ success, telling interviewers over the years that his own efforts were secondary to the songwriting genius of John Lennon, Paul McCartney and, to a lesser extent, George Harrison. The Beatles, for their part, recognized that Mr. Martin came to the job with a virtually infallible ear for arrangements. His advice and his behind-the-scenes scoring and editing gave some of the Beatles’ greatest recordings their characteristic sound.
When the Beatles played “Please Please Me” for him for the first time, for example, it was in a slow arrangement meant to evoke the style of Roy Orbison, one of their heroes. Mr. Martin told them the song sounded dreary, and insisted that they pick up the tempo and add a simple harmonica introduction. His suggestions transformed “Please Please Me,” which became their first big hit.
Interviews with George Martin and members of The Beatles about the making of the hit song “Please Please Me.” Video by DrSotosOctopus
Always intent on expanding the Beatles’ horizons, Mr. Martin began chipping away at the group’s resistance to using orchestral musicians on its recordings in early 1965. While recording the “Help!” album that year, he brought in flutists for the simple adornment that enlivens Lennon’s “You’ve Got to Hide Your Love Away,” and he convinced Mr. McCartney, against his initial resistance, that “Yesterday” should be accompanied by a string quartet.
A year later, during the recording of the album “Revolver,” Mr. Martin no longer had to cajole: The Beatles prevailed on him to augment their recordings with arrangements for strings (on “Eleanor Rigby”), brass (on “Got to Get You Into My Life”), marching band (on “Yellow Submarine”) and solo French horn (on “For No One”), as well as a tabla player for Harrison’s Indian-influenced song “Love You To.”
It was also at least partly through Mr. Martin’s encouragement that the Beatles became increasingly interested in electronic sound. Noting their inquisitiveness about both the technical and musical sides of recording, Mr. Martin ignored the traditional barrier between performers and technicians and invited the group into the control room, where he showed them how the recording equipment at EMI’s Abbey Road studios worked. He also introduced them to unorthodox recording techniques, including toying with tape speeds and playing tapes backward.
Mr. Martin had used some of these techniques in his comedy and novelty recordings, long before he began working with the Beatles.
“When I joined EMI,” he told The New York Times (http://www.nytimes.com/2003/06/17/books/beatles-producer-still-with-stories-tell-george-martin-has-found-life-after.html) in 2003, “the criterion by which recordings were judged was their faithfulness to the original. If you made a recording that was so good that you couldn’t tell the difference between the recording and the actual performance, that was the acme. And I questioned that. I thought, O.K., we’re all taking photographs of an existing event. But we don’t have to make a photograph; we can paint. And that prompted me to experiment.”
Soon the Beatles themselves became intent on searching for new sounds, and Mr. Martin created another that the group adopted in 1966 (followed by many others). During the sessions for “Rain,” Mr. Martin took part of Lennon’s lead vocal and overlaid it, running backward, over the song’s coda.
“From that moment,” Mr. Martin said, “they wanted to do everything backwards. They wanted guitars backwards and drums backwards, and everything backwards, and it became a bore.” The technique did, however, benefit “I’m Only Sleeping” (with backward guitars) and “Strawberry Fields Forever” (with backward drums).
Mr. Martin next to a sculpture of John Lennon in a Havana park in 2002. From 1962 to 1970, Mr. Martin produced 13 albums and 22 singles for the Beatles, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. Rafael Perez/Reuters
Mr. Martin was never particularly trendy, and when the Beatles adopted the flowery fashions of psychedelia in 1966 and 1967 he continued to attend sessions in a white shirt and tie, his hair combed back in a schoolmasterly pre-Beatles style. Musically, though, he was fully in step with them. When Lennon wanted a circus sound for his “Being for the Benefit of Mr. Kite,” Mr. Martin recorded a barrel organ and, following the example of John Cage, cut the tape into small pieces and reassembled them at random. His avant-garde orchestration and spacey production techniques made “A Day in the Life” into a monumental finale for the kaleidoscopic album “Sgt. Pepper’s Lonely Hearts Club Band.”
Continue reading the main story
George Henry Martin was born in London on Jan. 3, 1926, to Henry and Bertha Martin. As a child, he was a talented and largely self-taught pianist who had perfect pitch and was able to learn classical pieces and popular tunes by ear. While a student at Bromley Grammar School he formed a dance band, George Martin and the Four Tune Tellers. He continued a part-time career as a pianist during World War II, when he was a pilot in the Fleet Air Arm of the British Navy. When one of his performances attracted the attention of a BBC producer, he was invited to play one of his compositions, a piano prelude, on the “Navy Mixture” radio program.
After the war Mr. Martin attended the Guildhall School of Music, where he took up the oboe in addition to studying composition, conducting and piano. He worked briefly as a freelance oboist and as a clerk in the BBC’s music library before he was invited to become an assistant to Oscar Preuss, the recording manager at Parlophone Records. When he succeeded Mr. Preuss in 1955, at 29, he was the youngest label manager at EMI.
Parlophone was a poor relation among EMI’s labels — HMV and Columbia were more prestigious — but it had a varied roster when Mr. Martin joined its staff in 1950. He was first assigned to the company’s classical projects, including recordings by the London Baroque Ensemble and the conductors Malcolm Sargent and Charles Mackerras. But he soon moved on to orchestral pops, with Sidney Torch and the Queen’s Hall Light Orchestra; jazz, with John Dankworth and Humphrey Lyttelton; popular vocal music, with Matt Monro; and comedy, with Mr. Ustinov, Mr. Sellers and the “Beyond the Fringe” troupe of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.
For all its diversity, though, Parlophone had little success with rock ’n’ roll until Mr. Martin began recording the Beatles. When Brian Epstein, the group’s manager, called on Mr. Martin in early 1962, the Beatles had already been rejected by virtually every British record label, including the other EMI subsidiaries. Mr. Martin turned them down, too.
But Sid Colman, the director of EMI’s publishing arm, Ardmore & Beechwood, had heard demonstration discs of some early Lennon-McCartney songs, and pushed EMI to sign the group so that he could publish their music. The company resisted at first, but finally agreed, and assigned the band to Mr. Martin’s Parlophone label.
Mr. Martin remained uninterested, assigning the group’s first session, on June 6, 1962, to Ron Richards, his assistant. But Mr. Richards found the Beatles interesting enough to send for Mr. Martin, who took over the session and was quickly won over by their charm and originality.
Still, he had doubts. He told the Beatles that their drummer at the time, Pete Best, was not good enough to record. They had their own doubts about Mr. Best, and quickly replaced him with Mr. Starr. Mr. Martin also had qualms about the first Lennon-McCartney songs he heard — “Love Me Do,” “P.S. I Love You” and “Hello Little Girl” — regarding them as derivative. He helped them find the spark that soon became their hallmark by insisting that they think carefully about their vocal harmonies and such niceties of the arranger’s art as introductions and endings. They quickly internalized his advice.
By the end of 1963 Mr. Martin was virtually coining money for EMI, not only with the Beatles’ recordings but also with the hits he was producing for Gerry and the Pacemakers, Cilla Black and others.
Mr. Martin did not at first share in the wealth these successes generated. When Mr. Epstein offered him a share of the Beatles’ publishing, he turned it down on the grounds that it would be a conflict of interest. He had, however, been arguing since early 1962 that EMI should pay him a royalty on his productions, instead of a salary. In August 1965, when EMI refused to offer Mr. Martin more than a token bonus, he left the company and formed his own production company, Associated Independent Recording (AIR), along with two other producers from EMI and the competing Decca label. The Beatles insisted that EMI continue to engage Mr. Martin as their producer after AIR was established, as did most of Mr. Martin’s other artists.
In 1966, not long after he established AIR, Mr. Martin married Judy Lockhart-Smith, who had been his secretary at Parlophone. An earlier marriage, to Sheena Chisolm, ended in divorce.
AIR opened its own studio in London in 1970, and a Caribbean branch, on the Caribbean island Montserrat, in 1979. When the Montserrat studio was destroyed in a hurricane in 1989, Mr. Martin decided not to rebuild. But he compiled an album of recordings made at the studio by Mr. McCartney, the Rolling Stones, Dire Straits, the Police, Elton John and others as a charity for the 12,000 people who lost their homes in the storm.
In 1993 Mr. Martin opened AIR Lyndhurst, a state-of-the-art studio in a converted Victorian church in London, which has become an important studio for orchestral film soundtrack recording. Mr. Martin remained involved in its operation long after he stopped producing recordings in the late 1990s.
“I’m there every week,” he said in 2003. “I listen to my friends who come and do film recording. I love sitting in a 100-piece orchestra and listening. And I still do a bit of writing, and I help a bit with studio work sometimes.”
As a composer, Mr. Martin supplied incidental music to the soundtracks of several films, including the Beatles’ “A Hard Day’s Night” and “Yellow Submarine” as well as “Live and Let Die,” “Honky Tonk Freeway” and “Pulp.” He wrote the music for a recording of Dylan Thomas’s “Under Milk Wood” that he produced in 1989, using an entirely Welsh cast of actors and singers. Having made several recordings of his own arrangements of Beatles songs in the 1960s, he periodically conducted orchestras, mostly in Europe and Latin America, in concerts of Beatles music.
In the late 1990s, he toured as a lecturer, speaking about the making of “Sgt. Pepper” and tantalizing listeners with excerpts from the unreleased session tapes for that album. His last Beatles project was a collaboration with his son, Giles Martin, on the 2006 soundtrack for “Love,” the Cirque du Soleil show for which Beatles recordings were remixed and recombined.
Mr. Martin was also the host of several television programs, including “The Making of Sgt. Pepper” in 1992 and “The Glory of Gershwin” in 1993, and he wrote a handful of books, among them “All You Need Is Ears” (1979), “Summer of Love: The Making of Sgt. Pepper” (1994) and a lavishly illustrated limited-edition autobiography, “Playback” (2003). He was made a Commander of the British Empire in 1988 and was awarded a knighthood in 1996.
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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George Martin, Redefining Producer Who Guided the Beatles, Dies at 90 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/10/arts/music/george-martin-producer-of-the-beatles-dies-at-90.html?_r=0
** George Martin, Redefining Producer Who Guided the Beatles, Dies at 90
————————————————————
By ALLAN KOZINN (http://topics.nytimes.com/top/reference/timestopics/people/k/allan_kozinn/index.html) MARCH 9, 2016 From left: Paul McCartney, George Harrison, Ringo Starr, George Martin and John Lennon in 1963, the year after Mr. Martin signed the Beatles to a recording contract. Michael Ochs Archives, via Getty Images
George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died on Tuesday. He was 90.
“We can confirm that Sir George Martin passed away peacefully at home yesterday evening,” Adam Sharp, a founder of CA Management, a British company that represented Mr. Martin, said on Wednesday in an email. Mr. Sharp did not say how Mr. Martin had died.
“God bless George Martin,” Ringo Starr, the former Beatle, wrote on Twitter (https://twitter.com/ringostarrmusic/status/707420462620381184) .
Mr. Martin helped redefine a record producer’s role in pop music. He was one of a handful of pop producers — Phil Spector and Quincy Jones among them — to become almost as famous as the musicians they recorded. And when he left Parlophone, a subsidiary of EMI Records, to start his own production company in 1965, his reputation as the producer of the Beatles helped raise the stature of record production as an independent career, rather than a record label function.
Mr. Martin in the early 1960s. He was one of a handful of pop producers to become almost as famous as the musicians they recorded. Reuters
In the dozen years before he met the Beatles, Mr. Martin produced symphonic, chamber and choral recordings, jazz albums and a string of popular comedy records by Peter Ustinov, Peter Sellers and Spike Milligan. In the 1960s, as the recordings he made with the Beatles rode the top of the charts, he also produced hits by other British Invasion acts, among them Gerry and the Pacemakers, Cilla Black, and Billy J. Kramer and the Dakotas. He later worked with a diverse roster of pop and jazz performers, including Ella Fitzgerald, the Bee Gees, Jeff Beck, the Mahavishnu Orchestra, Paul Winter, Cheap Trick, America and Ultravox.
His collaboration with the Beatles inevitably overshadowed his other accomplishments. Between 1962 and 1970, Mr. Martin produced 13 albums and 22 singles for the group, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. After the Beatles broke up, he virtually doubled that output, overseeing archival releases drawn from the group’s concerts at the Hollywood Bowl, BBC radio performances and unreleased studio recordings that reveal a great deal about the Beatles’ working process.
Musicians, celebrities and political leaders paid tribute to Mr. Martin on social media on Wednesday, including the producers Mark Ronson and Quincy Jones, who described him on a Facebook post (https://www.facebook.com/QuincyJones/posts/10153939609269631) as “my musical brother” who “knew the secrets of our craft that so few know today.”
Thank you Sir George Martin: the greatest British record producer of all time. We will never stop living in the world you helped create.
— Mark Ronson (@MarkRonson) March 9, 2016 (https://twitter.com/MarkRonson/status/707457887271043072)
How very sad to wake to the news Sir George Martin has left us. He made my first Bond film sound brilliant!
— Sir Roger Moore (@sirrogermoore) March 9, 2016 (https://twitter.com/sirrogermoore/status/707459511347445760)
Sir George Martin was a giant of music – working with the Fab Four to create the world’s most enduring pop music.
— David Cameron (@David_Cameron) March 9, 2016 (https://twitter.com/David_Cameron/status/707455101192036352)
A modest man who had been trained as a classical pianist and oboist, Mr. Martin always deflected credit for the Beatles’ success, telling interviewers over the years that his own efforts were secondary to the songwriting genius of John Lennon, Paul McCartney and, to a lesser extent, George Harrison. The Beatles, for their part, recognized that Mr. Martin came to the job with a virtually infallible ear for arrangements. His advice and his behind-the-scenes scoring and editing gave some of the Beatles’ greatest recordings their characteristic sound.
When the Beatles played “Please Please Me” for him for the first time, for example, it was in a slow arrangement meant to evoke the style of Roy Orbison, one of their heroes. Mr. Martin told them the song sounded dreary, and insisted that they pick up the tempo and add a simple harmonica introduction. His suggestions transformed “Please Please Me,” which became their first big hit.
Interviews with George Martin and members of The Beatles about the making of the hit song “Please Please Me.” Video by DrSotosOctopus
Always intent on expanding the Beatles’ horizons, Mr. Martin began chipping away at the group’s resistance to using orchestral musicians on its recordings in early 1965. While recording the “Help!” album that year, he brought in flutists for the simple adornment that enlivens Lennon’s “You’ve Got to Hide Your Love Away,” and he convinced Mr. McCartney, against his initial resistance, that “Yesterday” should be accompanied by a string quartet.
A year later, during the recording of the album “Revolver,” Mr. Martin no longer had to cajole: The Beatles prevailed on him to augment their recordings with arrangements for strings (on “Eleanor Rigby”), brass (on “Got to Get You Into My Life”), marching band (on “Yellow Submarine”) and solo French horn (on “For No One”), as well as a tabla player for Harrison’s Indian-influenced song “Love You To.”
It was also at least partly through Mr. Martin’s encouragement that the Beatles became increasingly interested in electronic sound. Noting their inquisitiveness about both the technical and musical sides of recording, Mr. Martin ignored the traditional barrier between performers and technicians and invited the group into the control room, where he showed them how the recording equipment at EMI’s Abbey Road studios worked. He also introduced them to unorthodox recording techniques, including toying with tape speeds and playing tapes backward.
Mr. Martin had used some of these techniques in his comedy and novelty recordings, long before he began working with the Beatles.
“When I joined EMI,” he told The New York Times (http://www.nytimes.com/2003/06/17/books/beatles-producer-still-with-stories-tell-george-martin-has-found-life-after.html) in 2003, “the criterion by which recordings were judged was their faithfulness to the original. If you made a recording that was so good that you couldn’t tell the difference between the recording and the actual performance, that was the acme. And I questioned that. I thought, O.K., we’re all taking photographs of an existing event. But we don’t have to make a photograph; we can paint. And that prompted me to experiment.”
Soon the Beatles themselves became intent on searching for new sounds, and Mr. Martin created another that the group adopted in 1966 (followed by many others). During the sessions for “Rain,” Mr. Martin took part of Lennon’s lead vocal and overlaid it, running backward, over the song’s coda.
“From that moment,” Mr. Martin said, “they wanted to do everything backwards. They wanted guitars backwards and drums backwards, and everything backwards, and it became a bore.” The technique did, however, benefit “I’m Only Sleeping” (with backward guitars) and “Strawberry Fields Forever” (with backward drums).
Mr. Martin next to a sculpture of John Lennon in a Havana park in 2002. From 1962 to 1970, Mr. Martin produced 13 albums and 22 singles for the Beatles, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. Rafael Perez/Reuters
Mr. Martin was never particularly trendy, and when the Beatles adopted the flowery fashions of psychedelia in 1966 and 1967 he continued to attend sessions in a white shirt and tie, his hair combed back in a schoolmasterly pre-Beatles style. Musically, though, he was fully in step with them. When Lennon wanted a circus sound for his “Being for the Benefit of Mr. Kite,” Mr. Martin recorded a barrel organ and, following the example of John Cage, cut the tape into small pieces and reassembled them at random. His avant-garde orchestration and spacey production techniques made “A Day in the Life” into a monumental finale for the kaleidoscopic album “Sgt. Pepper’s Lonely Hearts Club Band.”
Continue reading the main story
George Henry Martin was born in London on Jan. 3, 1926, to Henry and Bertha Martin. As a child, he was a talented and largely self-taught pianist who had perfect pitch and was able to learn classical pieces and popular tunes by ear. While a student at Bromley Grammar School he formed a dance band, George Martin and the Four Tune Tellers. He continued a part-time career as a pianist during World War II, when he was a pilot in the Fleet Air Arm of the British Navy. When one of his performances attracted the attention of a BBC producer, he was invited to play one of his compositions, a piano prelude, on the “Navy Mixture” radio program.
After the war Mr. Martin attended the Guildhall School of Music, where he took up the oboe in addition to studying composition, conducting and piano. He worked briefly as a freelance oboist and as a clerk in the BBC’s music library before he was invited to become an assistant to Oscar Preuss, the recording manager at Parlophone Records. When he succeeded Mr. Preuss in 1955, at 29, he was the youngest label manager at EMI.
Parlophone was a poor relation among EMI’s labels — HMV and Columbia were more prestigious — but it had a varied roster when Mr. Martin joined its staff in 1950. He was first assigned to the company’s classical projects, including recordings by the London Baroque Ensemble and the conductors Malcolm Sargent and Charles Mackerras. But he soon moved on to orchestral pops, with Sidney Torch and the Queen’s Hall Light Orchestra; jazz, with John Dankworth and Humphrey Lyttelton; popular vocal music, with Matt Monro; and comedy, with Mr. Ustinov, Mr. Sellers and the “Beyond the Fringe” troupe of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.
For all its diversity, though, Parlophone had little success with rock ’n’ roll until Mr. Martin began recording the Beatles. When Brian Epstein, the group’s manager, called on Mr. Martin in early 1962, the Beatles had already been rejected by virtually every British record label, including the other EMI subsidiaries. Mr. Martin turned them down, too.
But Sid Colman, the director of EMI’s publishing arm, Ardmore & Beechwood, had heard demonstration discs of some early Lennon-McCartney songs, and pushed EMI to sign the group so that he could publish their music. The company resisted at first, but finally agreed, and assigned the band to Mr. Martin’s Parlophone label.
Mr. Martin remained uninterested, assigning the group’s first session, on June 6, 1962, to Ron Richards, his assistant. But Mr. Richards found the Beatles interesting enough to send for Mr. Martin, who took over the session and was quickly won over by their charm and originality.
Still, he had doubts. He told the Beatles that their drummer at the time, Pete Best, was not good enough to record. They had their own doubts about Mr. Best, and quickly replaced him with Mr. Starr. Mr. Martin also had qualms about the first Lennon-McCartney songs he heard — “Love Me Do,” “P.S. I Love You” and “Hello Little Girl” — regarding them as derivative. He helped them find the spark that soon became their hallmark by insisting that they think carefully about their vocal harmonies and such niceties of the arranger’s art as introductions and endings. They quickly internalized his advice.
By the end of 1963 Mr. Martin was virtually coining money for EMI, not only with the Beatles’ recordings but also with the hits he was producing for Gerry and the Pacemakers, Cilla Black and others.
Mr. Martin did not at first share in the wealth these successes generated. When Mr. Epstein offered him a share of the Beatles’ publishing, he turned it down on the grounds that it would be a conflict of interest. He had, however, been arguing since early 1962 that EMI should pay him a royalty on his productions, instead of a salary. In August 1965, when EMI refused to offer Mr. Martin more than a token bonus, he left the company and formed his own production company, Associated Independent Recording (AIR), along with two other producers from EMI and the competing Decca label. The Beatles insisted that EMI continue to engage Mr. Martin as their producer after AIR was established, as did most of Mr. Martin’s other artists.
In 1966, not long after he established AIR, Mr. Martin married Judy Lockhart-Smith, who had been his secretary at Parlophone. An earlier marriage, to Sheena Chisolm, ended in divorce.
AIR opened its own studio in London in 1970, and a Caribbean branch, on the Caribbean island Montserrat, in 1979. When the Montserrat studio was destroyed in a hurricane in 1989, Mr. Martin decided not to rebuild. But he compiled an album of recordings made at the studio by Mr. McCartney, the Rolling Stones, Dire Straits, the Police, Elton John and others as a charity for the 12,000 people who lost their homes in the storm.
In 1993 Mr. Martin opened AIR Lyndhurst, a state-of-the-art studio in a converted Victorian church in London, which has become an important studio for orchestral film soundtrack recording. Mr. Martin remained involved in its operation long after he stopped producing recordings in the late 1990s.
“I’m there every week,” he said in 2003. “I listen to my friends who come and do film recording. I love sitting in a 100-piece orchestra and listening. And I still do a bit of writing, and I help a bit with studio work sometimes.”
As a composer, Mr. Martin supplied incidental music to the soundtracks of several films, including the Beatles’ “A Hard Day’s Night” and “Yellow Submarine” as well as “Live and Let Die,” “Honky Tonk Freeway” and “Pulp.” He wrote the music for a recording of Dylan Thomas’s “Under Milk Wood” that he produced in 1989, using an entirely Welsh cast of actors and singers. Having made several recordings of his own arrangements of Beatles songs in the 1960s, he periodically conducted orchestras, mostly in Europe and Latin America, in concerts of Beatles music.
In the late 1990s, he toured as a lecturer, speaking about the making of “Sgt. Pepper” and tantalizing listeners with excerpts from the unreleased session tapes for that album. His last Beatles project was a collaboration with his son, Giles Martin, on the 2006 soundtrack for “Love,” the Cirque du Soleil show for which Beatles recordings were remixed and recombined.
Mr. Martin was also the host of several television programs, including “The Making of Sgt. Pepper” in 1992 and “The Glory of Gershwin” in 1993, and he wrote a handful of books, among them “All You Need Is Ears” (1979), “Summer of Love: The Making of Sgt. Pepper” (1994) and a lavishly illustrated limited-edition autobiography, “Playback” (2003). He was made a Commander of the British Empire in 1988 and was awarded a knighthood in 1996.
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
George Martin, Redefining Producer Who Guided the Beatles, Dies at 90 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/10/arts/music/george-martin-producer-of-the-beatles-dies-at-90.html?_r=0
** George Martin, Redefining Producer Who Guided the Beatles, Dies at 90
————————————————————
By ALLAN KOZINN (http://topics.nytimes.com/top/reference/timestopics/people/k/allan_kozinn/index.html) MARCH 9, 2016 From left: Paul McCartney, George Harrison, Ringo Starr, George Martin and John Lennon in 1963, the year after Mr. Martin signed the Beatles to a recording contract. Michael Ochs Archives, via Getty Images
George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died on Tuesday. He was 90.
“We can confirm that Sir George Martin passed away peacefully at home yesterday evening,” Adam Sharp, a founder of CA Management, a British company that represented Mr. Martin, said on Wednesday in an email. Mr. Sharp did not say how Mr. Martin had died.
“God bless George Martin,” Ringo Starr, the former Beatle, wrote on Twitter (https://twitter.com/ringostarrmusic/status/707420462620381184) .
Mr. Martin helped redefine a record producer’s role in pop music. He was one of a handful of pop producers — Phil Spector and Quincy Jones among them — to become almost as famous as the musicians they recorded. And when he left Parlophone, a subsidiary of EMI Records, to start his own production company in 1965, his reputation as the producer of the Beatles helped raise the stature of record production as an independent career, rather than a record label function.
Mr. Martin in the early 1960s. He was one of a handful of pop producers to become almost as famous as the musicians they recorded. Reuters
In the dozen years before he met the Beatles, Mr. Martin produced symphonic, chamber and choral recordings, jazz albums and a string of popular comedy records by Peter Ustinov, Peter Sellers and Spike Milligan. In the 1960s, as the recordings he made with the Beatles rode the top of the charts, he also produced hits by other British Invasion acts, among them Gerry and the Pacemakers, Cilla Black, and Billy J. Kramer and the Dakotas. He later worked with a diverse roster of pop and jazz performers, including Ella Fitzgerald, the Bee Gees, Jeff Beck, the Mahavishnu Orchestra, Paul Winter, Cheap Trick, America and Ultravox.
His collaboration with the Beatles inevitably overshadowed his other accomplishments. Between 1962 and 1970, Mr. Martin produced 13 albums and 22 singles for the group, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. After the Beatles broke up, he virtually doubled that output, overseeing archival releases drawn from the group’s concerts at the Hollywood Bowl, BBC radio performances and unreleased studio recordings that reveal a great deal about the Beatles’ working process.
Musicians, celebrities and political leaders paid tribute to Mr. Martin on social media on Wednesday, including the producers Mark Ronson and Quincy Jones, who described him on a Facebook post (https://www.facebook.com/QuincyJones/posts/10153939609269631) as “my musical brother” who “knew the secrets of our craft that so few know today.”
Thank you Sir George Martin: the greatest British record producer of all time. We will never stop living in the world you helped create.
— Mark Ronson (@MarkRonson) March 9, 2016 (https://twitter.com/MarkRonson/status/707457887271043072)
How very sad to wake to the news Sir George Martin has left us. He made my first Bond film sound brilliant!
— Sir Roger Moore (@sirrogermoore) March 9, 2016 (https://twitter.com/sirrogermoore/status/707459511347445760)
Sir George Martin was a giant of music – working with the Fab Four to create the world’s most enduring pop music.
— David Cameron (@David_Cameron) March 9, 2016 (https://twitter.com/David_Cameron/status/707455101192036352)
A modest man who had been trained as a classical pianist and oboist, Mr. Martin always deflected credit for the Beatles’ success, telling interviewers over the years that his own efforts were secondary to the songwriting genius of John Lennon, Paul McCartney and, to a lesser extent, George Harrison. The Beatles, for their part, recognized that Mr. Martin came to the job with a virtually infallible ear for arrangements. His advice and his behind-the-scenes scoring and editing gave some of the Beatles’ greatest recordings their characteristic sound.
When the Beatles played “Please Please Me” for him for the first time, for example, it was in a slow arrangement meant to evoke the style of Roy Orbison, one of their heroes. Mr. Martin told them the song sounded dreary, and insisted that they pick up the tempo and add a simple harmonica introduction. His suggestions transformed “Please Please Me,” which became their first big hit.
Interviews with George Martin and members of The Beatles about the making of the hit song “Please Please Me.” Video by DrSotosOctopus
Always intent on expanding the Beatles’ horizons, Mr. Martin began chipping away at the group’s resistance to using orchestral musicians on its recordings in early 1965. While recording the “Help!” album that year, he brought in flutists for the simple adornment that enlivens Lennon’s “You’ve Got to Hide Your Love Away,” and he convinced Mr. McCartney, against his initial resistance, that “Yesterday” should be accompanied by a string quartet.
A year later, during the recording of the album “Revolver,” Mr. Martin no longer had to cajole: The Beatles prevailed on him to augment their recordings with arrangements for strings (on “Eleanor Rigby”), brass (on “Got to Get You Into My Life”), marching band (on “Yellow Submarine”) and solo French horn (on “For No One”), as well as a tabla player for Harrison’s Indian-influenced song “Love You To.”
It was also at least partly through Mr. Martin’s encouragement that the Beatles became increasingly interested in electronic sound. Noting their inquisitiveness about both the technical and musical sides of recording, Mr. Martin ignored the traditional barrier between performers and technicians and invited the group into the control room, where he showed them how the recording equipment at EMI’s Abbey Road studios worked. He also introduced them to unorthodox recording techniques, including toying with tape speeds and playing tapes backward.
Mr. Martin had used some of these techniques in his comedy and novelty recordings, long before he began working with the Beatles.
“When I joined EMI,” he told The New York Times (http://www.nytimes.com/2003/06/17/books/beatles-producer-still-with-stories-tell-george-martin-has-found-life-after.html) in 2003, “the criterion by which recordings were judged was their faithfulness to the original. If you made a recording that was so good that you couldn’t tell the difference between the recording and the actual performance, that was the acme. And I questioned that. I thought, O.K., we’re all taking photographs of an existing event. But we don’t have to make a photograph; we can paint. And that prompted me to experiment.”
Soon the Beatles themselves became intent on searching for new sounds, and Mr. Martin created another that the group adopted in 1966 (followed by many others). During the sessions for “Rain,” Mr. Martin took part of Lennon’s lead vocal and overlaid it, running backward, over the song’s coda.
“From that moment,” Mr. Martin said, “they wanted to do everything backwards. They wanted guitars backwards and drums backwards, and everything backwards, and it became a bore.” The technique did, however, benefit “I’m Only Sleeping” (with backward guitars) and “Strawberry Fields Forever” (with backward drums).
Mr. Martin next to a sculpture of John Lennon in a Havana park in 2002. From 1962 to 1970, Mr. Martin produced 13 albums and 22 singles for the Beatles, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. Rafael Perez/Reuters
Mr. Martin was never particularly trendy, and when the Beatles adopted the flowery fashions of psychedelia in 1966 and 1967 he continued to attend sessions in a white shirt and tie, his hair combed back in a schoolmasterly pre-Beatles style. Musically, though, he was fully in step with them. When Lennon wanted a circus sound for his “Being for the Benefit of Mr. Kite,” Mr. Martin recorded a barrel organ and, following the example of John Cage, cut the tape into small pieces and reassembled them at random. His avant-garde orchestration and spacey production techniques made “A Day in the Life” into a monumental finale for the kaleidoscopic album “Sgt. Pepper’s Lonely Hearts Club Band.”
Continue reading the main story
George Henry Martin was born in London on Jan. 3, 1926, to Henry and Bertha Martin. As a child, he was a talented and largely self-taught pianist who had perfect pitch and was able to learn classical pieces and popular tunes by ear. While a student at Bromley Grammar School he formed a dance band, George Martin and the Four Tune Tellers. He continued a part-time career as a pianist during World War II, when he was a pilot in the Fleet Air Arm of the British Navy. When one of his performances attracted the attention of a BBC producer, he was invited to play one of his compositions, a piano prelude, on the “Navy Mixture” radio program.
After the war Mr. Martin attended the Guildhall School of Music, where he took up the oboe in addition to studying composition, conducting and piano. He worked briefly as a freelance oboist and as a clerk in the BBC’s music library before he was invited to become an assistant to Oscar Preuss, the recording manager at Parlophone Records. When he succeeded Mr. Preuss in 1955, at 29, he was the youngest label manager at EMI.
Parlophone was a poor relation among EMI’s labels — HMV and Columbia were more prestigious — but it had a varied roster when Mr. Martin joined its staff in 1950. He was first assigned to the company’s classical projects, including recordings by the London Baroque Ensemble and the conductors Malcolm Sargent and Charles Mackerras. But he soon moved on to orchestral pops, with Sidney Torch and the Queen’s Hall Light Orchestra; jazz, with John Dankworth and Humphrey Lyttelton; popular vocal music, with Matt Monro; and comedy, with Mr. Ustinov, Mr. Sellers and the “Beyond the Fringe” troupe of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.
For all its diversity, though, Parlophone had little success with rock ’n’ roll until Mr. Martin began recording the Beatles. When Brian Epstein, the group’s manager, called on Mr. Martin in early 1962, the Beatles had already been rejected by virtually every British record label, including the other EMI subsidiaries. Mr. Martin turned them down, too.
But Sid Colman, the director of EMI’s publishing arm, Ardmore & Beechwood, had heard demonstration discs of some early Lennon-McCartney songs, and pushed EMI to sign the group so that he could publish their music. The company resisted at first, but finally agreed, and assigned the band to Mr. Martin’s Parlophone label.
Mr. Martin remained uninterested, assigning the group’s first session, on June 6, 1962, to Ron Richards, his assistant. But Mr. Richards found the Beatles interesting enough to send for Mr. Martin, who took over the session and was quickly won over by their charm and originality.
Still, he had doubts. He told the Beatles that their drummer at the time, Pete Best, was not good enough to record. They had their own doubts about Mr. Best, and quickly replaced him with Mr. Starr. Mr. Martin also had qualms about the first Lennon-McCartney songs he heard — “Love Me Do,” “P.S. I Love You” and “Hello Little Girl” — regarding them as derivative. He helped them find the spark that soon became their hallmark by insisting that they think carefully about their vocal harmonies and such niceties of the arranger’s art as introductions and endings. They quickly internalized his advice.
By the end of 1963 Mr. Martin was virtually coining money for EMI, not only with the Beatles’ recordings but also with the hits he was producing for Gerry and the Pacemakers, Cilla Black and others.
Mr. Martin did not at first share in the wealth these successes generated. When Mr. Epstein offered him a share of the Beatles’ publishing, he turned it down on the grounds that it would be a conflict of interest. He had, however, been arguing since early 1962 that EMI should pay him a royalty on his productions, instead of a salary. In August 1965, when EMI refused to offer Mr. Martin more than a token bonus, he left the company and formed his own production company, Associated Independent Recording (AIR), along with two other producers from EMI and the competing Decca label. The Beatles insisted that EMI continue to engage Mr. Martin as their producer after AIR was established, as did most of Mr. Martin’s other artists.
In 1966, not long after he established AIR, Mr. Martin married Judy Lockhart-Smith, who had been his secretary at Parlophone. An earlier marriage, to Sheena Chisolm, ended in divorce.
AIR opened its own studio in London in 1970, and a Caribbean branch, on the Caribbean island Montserrat, in 1979. When the Montserrat studio was destroyed in a hurricane in 1989, Mr. Martin decided not to rebuild. But he compiled an album of recordings made at the studio by Mr. McCartney, the Rolling Stones, Dire Straits, the Police, Elton John and others as a charity for the 12,000 people who lost their homes in the storm.
In 1993 Mr. Martin opened AIR Lyndhurst, a state-of-the-art studio in a converted Victorian church in London, which has become an important studio for orchestral film soundtrack recording. Mr. Martin remained involved in its operation long after he stopped producing recordings in the late 1990s.
“I’m there every week,” he said in 2003. “I listen to my friends who come and do film recording. I love sitting in a 100-piece orchestra and listening. And I still do a bit of writing, and I help a bit with studio work sometimes.”
As a composer, Mr. Martin supplied incidental music to the soundtracks of several films, including the Beatles’ “A Hard Day’s Night” and “Yellow Submarine” as well as “Live and Let Die,” “Honky Tonk Freeway” and “Pulp.” He wrote the music for a recording of Dylan Thomas’s “Under Milk Wood” that he produced in 1989, using an entirely Welsh cast of actors and singers. Having made several recordings of his own arrangements of Beatles songs in the 1960s, he periodically conducted orchestras, mostly in Europe and Latin America, in concerts of Beatles music.
In the late 1990s, he toured as a lecturer, speaking about the making of “Sgt. Pepper” and tantalizing listeners with excerpts from the unreleased session tapes for that album. His last Beatles project was a collaboration with his son, Giles Martin, on the 2006 soundtrack for “Love,” the Cirque du Soleil show for which Beatles recordings were remixed and recombined.
Mr. Martin was also the host of several television programs, including “The Making of Sgt. Pepper” in 1992 and “The Glory of Gershwin” in 1993, and he wrote a handful of books, among them “All You Need Is Ears” (1979), “Summer of Love: The Making of Sgt. Pepper” (1994) and a lavishly illustrated limited-edition autobiography, “Playback” (2003). He was made a Commander of the British Empire in 1988 and was awarded a knighthood in 1996.
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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George Martin, Redefining Producer Who Guided the Beatles, Dies at 90 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/10/arts/music/george-martin-producer-of-the-beatles-dies-at-90.html?_r=0
** George Martin, Redefining Producer Who Guided the Beatles, Dies at 90
————————————————————
By ALLAN KOZINN (http://topics.nytimes.com/top/reference/timestopics/people/k/allan_kozinn/index.html) MARCH 9, 2016 From left: Paul McCartney, George Harrison, Ringo Starr, George Martin and John Lennon in 1963, the year after Mr. Martin signed the Beatles to a recording contract. Michael Ochs Archives, via Getty Images
George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died on Tuesday. He was 90.
“We can confirm that Sir George Martin passed away peacefully at home yesterday evening,” Adam Sharp, a founder of CA Management, a British company that represented Mr. Martin, said on Wednesday in an email. Mr. Sharp did not say how Mr. Martin had died.
“God bless George Martin,” Ringo Starr, the former Beatle, wrote on Twitter (https://twitter.com/ringostarrmusic/status/707420462620381184) .
Mr. Martin helped redefine a record producer’s role in pop music. He was one of a handful of pop producers — Phil Spector and Quincy Jones among them — to become almost as famous as the musicians they recorded. And when he left Parlophone, a subsidiary of EMI Records, to start his own production company in 1965, his reputation as the producer of the Beatles helped raise the stature of record production as an independent career, rather than a record label function.
Mr. Martin in the early 1960s. He was one of a handful of pop producers to become almost as famous as the musicians they recorded. Reuters
In the dozen years before he met the Beatles, Mr. Martin produced symphonic, chamber and choral recordings, jazz albums and a string of popular comedy records by Peter Ustinov, Peter Sellers and Spike Milligan. In the 1960s, as the recordings he made with the Beatles rode the top of the charts, he also produced hits by other British Invasion acts, among them Gerry and the Pacemakers, Cilla Black, and Billy J. Kramer and the Dakotas. He later worked with a diverse roster of pop and jazz performers, including Ella Fitzgerald, the Bee Gees, Jeff Beck, the Mahavishnu Orchestra, Paul Winter, Cheap Trick, America and Ultravox.
His collaboration with the Beatles inevitably overshadowed his other accomplishments. Between 1962 and 1970, Mr. Martin produced 13 albums and 22 singles for the group, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. After the Beatles broke up, he virtually doubled that output, overseeing archival releases drawn from the group’s concerts at the Hollywood Bowl, BBC radio performances and unreleased studio recordings that reveal a great deal about the Beatles’ working process.
Musicians, celebrities and political leaders paid tribute to Mr. Martin on social media on Wednesday, including the producers Mark Ronson and Quincy Jones, who described him on a Facebook post (https://www.facebook.com/QuincyJones/posts/10153939609269631) as “my musical brother” who “knew the secrets of our craft that so few know today.”
Thank you Sir George Martin: the greatest British record producer of all time. We will never stop living in the world you helped create.
— Mark Ronson (@MarkRonson) March 9, 2016 (https://twitter.com/MarkRonson/status/707457887271043072)
How very sad to wake to the news Sir George Martin has left us. He made my first Bond film sound brilliant!
— Sir Roger Moore (@sirrogermoore) March 9, 2016 (https://twitter.com/sirrogermoore/status/707459511347445760)
Sir George Martin was a giant of music – working with the Fab Four to create the world’s most enduring pop music.
— David Cameron (@David_Cameron) March 9, 2016 (https://twitter.com/David_Cameron/status/707455101192036352)
A modest man who had been trained as a classical pianist and oboist, Mr. Martin always deflected credit for the Beatles’ success, telling interviewers over the years that his own efforts were secondary to the songwriting genius of John Lennon, Paul McCartney and, to a lesser extent, George Harrison. The Beatles, for their part, recognized that Mr. Martin came to the job with a virtually infallible ear for arrangements. His advice and his behind-the-scenes scoring and editing gave some of the Beatles’ greatest recordings their characteristic sound.
When the Beatles played “Please Please Me” for him for the first time, for example, it was in a slow arrangement meant to evoke the style of Roy Orbison, one of their heroes. Mr. Martin told them the song sounded dreary, and insisted that they pick up the tempo and add a simple harmonica introduction. His suggestions transformed “Please Please Me,” which became their first big hit.
Interviews with George Martin and members of The Beatles about the making of the hit song “Please Please Me.” Video by DrSotosOctopus
Always intent on expanding the Beatles’ horizons, Mr. Martin began chipping away at the group’s resistance to using orchestral musicians on its recordings in early 1965. While recording the “Help!” album that year, he brought in flutists for the simple adornment that enlivens Lennon’s “You’ve Got to Hide Your Love Away,” and he convinced Mr. McCartney, against his initial resistance, that “Yesterday” should be accompanied by a string quartet.
A year later, during the recording of the album “Revolver,” Mr. Martin no longer had to cajole: The Beatles prevailed on him to augment their recordings with arrangements for strings (on “Eleanor Rigby”), brass (on “Got to Get You Into My Life”), marching band (on “Yellow Submarine”) and solo French horn (on “For No One”), as well as a tabla player for Harrison’s Indian-influenced song “Love You To.”
It was also at least partly through Mr. Martin’s encouragement that the Beatles became increasingly interested in electronic sound. Noting their inquisitiveness about both the technical and musical sides of recording, Mr. Martin ignored the traditional barrier between performers and technicians and invited the group into the control room, where he showed them how the recording equipment at EMI’s Abbey Road studios worked. He also introduced them to unorthodox recording techniques, including toying with tape speeds and playing tapes backward.
Mr. Martin had used some of these techniques in his comedy and novelty recordings, long before he began working with the Beatles.
“When I joined EMI,” he told The New York Times (http://www.nytimes.com/2003/06/17/books/beatles-producer-still-with-stories-tell-george-martin-has-found-life-after.html) in 2003, “the criterion by which recordings were judged was their faithfulness to the original. If you made a recording that was so good that you couldn’t tell the difference between the recording and the actual performance, that was the acme. And I questioned that. I thought, O.K., we’re all taking photographs of an existing event. But we don’t have to make a photograph; we can paint. And that prompted me to experiment.”
Soon the Beatles themselves became intent on searching for new sounds, and Mr. Martin created another that the group adopted in 1966 (followed by many others). During the sessions for “Rain,” Mr. Martin took part of Lennon’s lead vocal and overlaid it, running backward, over the song’s coda.
“From that moment,” Mr. Martin said, “they wanted to do everything backwards. They wanted guitars backwards and drums backwards, and everything backwards, and it became a bore.” The technique did, however, benefit “I’m Only Sleeping” (with backward guitars) and “Strawberry Fields Forever” (with backward drums).
Mr. Martin next to a sculpture of John Lennon in a Havana park in 2002. From 1962 to 1970, Mr. Martin produced 13 albums and 22 singles for the Beatles, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. Rafael Perez/Reuters
Mr. Martin was never particularly trendy, and when the Beatles adopted the flowery fashions of psychedelia in 1966 and 1967 he continued to attend sessions in a white shirt and tie, his hair combed back in a schoolmasterly pre-Beatles style. Musically, though, he was fully in step with them. When Lennon wanted a circus sound for his “Being for the Benefit of Mr. Kite,” Mr. Martin recorded a barrel organ and, following the example of John Cage, cut the tape into small pieces and reassembled them at random. His avant-garde orchestration and spacey production techniques made “A Day in the Life” into a monumental finale for the kaleidoscopic album “Sgt. Pepper’s Lonely Hearts Club Band.”
Continue reading the main story
George Henry Martin was born in London on Jan. 3, 1926, to Henry and Bertha Martin. As a child, he was a talented and largely self-taught pianist who had perfect pitch and was able to learn classical pieces and popular tunes by ear. While a student at Bromley Grammar School he formed a dance band, George Martin and the Four Tune Tellers. He continued a part-time career as a pianist during World War II, when he was a pilot in the Fleet Air Arm of the British Navy. When one of his performances attracted the attention of a BBC producer, he was invited to play one of his compositions, a piano prelude, on the “Navy Mixture” radio program.
After the war Mr. Martin attended the Guildhall School of Music, where he took up the oboe in addition to studying composition, conducting and piano. He worked briefly as a freelance oboist and as a clerk in the BBC’s music library before he was invited to become an assistant to Oscar Preuss, the recording manager at Parlophone Records. When he succeeded Mr. Preuss in 1955, at 29, he was the youngest label manager at EMI.
Parlophone was a poor relation among EMI’s labels — HMV and Columbia were more prestigious — but it had a varied roster when Mr. Martin joined its staff in 1950. He was first assigned to the company’s classical projects, including recordings by the London Baroque Ensemble and the conductors Malcolm Sargent and Charles Mackerras. But he soon moved on to orchestral pops, with Sidney Torch and the Queen’s Hall Light Orchestra; jazz, with John Dankworth and Humphrey Lyttelton; popular vocal music, with Matt Monro; and comedy, with Mr. Ustinov, Mr. Sellers and the “Beyond the Fringe” troupe of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.
For all its diversity, though, Parlophone had little success with rock ’n’ roll until Mr. Martin began recording the Beatles. When Brian Epstein, the group’s manager, called on Mr. Martin in early 1962, the Beatles had already been rejected by virtually every British record label, including the other EMI subsidiaries. Mr. Martin turned them down, too.
But Sid Colman, the director of EMI’s publishing arm, Ardmore & Beechwood, had heard demonstration discs of some early Lennon-McCartney songs, and pushed EMI to sign the group so that he could publish their music. The company resisted at first, but finally agreed, and assigned the band to Mr. Martin’s Parlophone label.
Mr. Martin remained uninterested, assigning the group’s first session, on June 6, 1962, to Ron Richards, his assistant. But Mr. Richards found the Beatles interesting enough to send for Mr. Martin, who took over the session and was quickly won over by their charm and originality.
Still, he had doubts. He told the Beatles that their drummer at the time, Pete Best, was not good enough to record. They had their own doubts about Mr. Best, and quickly replaced him with Mr. Starr. Mr. Martin also had qualms about the first Lennon-McCartney songs he heard — “Love Me Do,” “P.S. I Love You” and “Hello Little Girl” — regarding them as derivative. He helped them find the spark that soon became their hallmark by insisting that they think carefully about their vocal harmonies and such niceties of the arranger’s art as introductions and endings. They quickly internalized his advice.
By the end of 1963 Mr. Martin was virtually coining money for EMI, not only with the Beatles’ recordings but also with the hits he was producing for Gerry and the Pacemakers, Cilla Black and others.
Mr. Martin did not at first share in the wealth these successes generated. When Mr. Epstein offered him a share of the Beatles’ publishing, he turned it down on the grounds that it would be a conflict of interest. He had, however, been arguing since early 1962 that EMI should pay him a royalty on his productions, instead of a salary. In August 1965, when EMI refused to offer Mr. Martin more than a token bonus, he left the company and formed his own production company, Associated Independent Recording (AIR), along with two other producers from EMI and the competing Decca label. The Beatles insisted that EMI continue to engage Mr. Martin as their producer after AIR was established, as did most of Mr. Martin’s other artists.
In 1966, not long after he established AIR, Mr. Martin married Judy Lockhart-Smith, who had been his secretary at Parlophone. An earlier marriage, to Sheena Chisolm, ended in divorce.
AIR opened its own studio in London in 1970, and a Caribbean branch, on the Caribbean island Montserrat, in 1979. When the Montserrat studio was destroyed in a hurricane in 1989, Mr. Martin decided not to rebuild. But he compiled an album of recordings made at the studio by Mr. McCartney, the Rolling Stones, Dire Straits, the Police, Elton John and others as a charity for the 12,000 people who lost their homes in the storm.
In 1993 Mr. Martin opened AIR Lyndhurst, a state-of-the-art studio in a converted Victorian church in London, which has become an important studio for orchestral film soundtrack recording. Mr. Martin remained involved in its operation long after he stopped producing recordings in the late 1990s.
“I’m there every week,” he said in 2003. “I listen to my friends who come and do film recording. I love sitting in a 100-piece orchestra and listening. And I still do a bit of writing, and I help a bit with studio work sometimes.”
As a composer, Mr. Martin supplied incidental music to the soundtracks of several films, including the Beatles’ “A Hard Day’s Night” and “Yellow Submarine” as well as “Live and Let Die,” “Honky Tonk Freeway” and “Pulp.” He wrote the music for a recording of Dylan Thomas’s “Under Milk Wood” that he produced in 1989, using an entirely Welsh cast of actors and singers. Having made several recordings of his own arrangements of Beatles songs in the 1960s, he periodically conducted orchestras, mostly in Europe and Latin America, in concerts of Beatles music.
In the late 1990s, he toured as a lecturer, speaking about the making of “Sgt. Pepper” and tantalizing listeners with excerpts from the unreleased session tapes for that album. His last Beatles project was a collaboration with his son, Giles Martin, on the 2006 soundtrack for “Love,” the Cirque du Soleil show for which Beatles recordings were remixed and recombined.
Mr. Martin was also the host of several television programs, including “The Making of Sgt. Pepper” in 1992 and “The Glory of Gershwin” in 1993, and he wrote a handful of books, among them “All You Need Is Ears” (1979), “Summer of Love: The Making of Sgt. Pepper” (1994) and a lavishly illustrated limited-edition autobiography, “Playback” (2003). He was made a Commander of the British Empire in 1988 and was awarded a knighthood in 1996.
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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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Return of Joe Bataan, the Boogaloo King – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/06/nyregion/the-return-of-joe-bataan-the-boogaloo-king.html?emc=eta1
** The Return of Joe Bataan, the Boogaloo King
————————————————————
By FRED GOODMANMARCH 4, 2016 Joe Bataan on the keyboards at B.B. King Blues Club & Grill in Times Square last month. Jacob Blickenstaff for The New York Times
Joe Bataan was bouncing around behind his keyboard onstage at the B. B. King Blues Club in Times Square, turning to cue his 14-piece band and clearly enjoying himself. It was a good crowd for a Wednesday night, and the dancers were getting after it, so he was mixing in a dose of mambo with his signature doo-wop-tinged Latin soul songs like “Subway Joe” and “Ordinary Guy.” Between numbers he pointed out friends in the crowd, including a man he introduced as “Lindy from the Dragons,” a comrade from Mr. Bataan’s wild days running with New York street gangs in the 1950s.
For Mr. Bataan, 73, the performance last month was both a homecoming and a confirmation. He survived a hard start as a young hustler on the streets of East Harlem to rise to become a leading figure of boogaloo, the fusion of Latin rhythm and soul music that he helped pioneer. When his style of Latin soul was eventually supplanted — first by salsa, then by disco and rap — he vanished for years.
Now a style of music once relegated to uptown clubs is enjoying a resurgence. The most visible proof: “We Like It Like That,” (http://www.latinboogaloo.com/) a documentary on Latin boogaloo in New York City, after a successful run at film festivals is now heading to streaming services. And after years off the stage, Mr. Bataan has emerged as the face of a rediscovered scene and a barrio legend.
Joe Bataan, 73, grew up in Spanish Harlem, where as a teenager he fell into trouble, spending five years in prison for stealing a car. Growing up there, he said, “Life was very Machiavellian.” James Estrin/The New York Times
“Everybody is calling me now because of ‘We Like It Like That,’” Mr. Bataan said before the show. “When the guy came to me to do the movie I said, ‘Don’t edit me.’ And he did tell the truth.” Mr. Bataan grinned. “I made sure I was all over that movie.”
The brief but ecstatic reign of boogaloo in New York’s dance clubs still vibrates in the music of the era: the irrepressible groove of songs like Joe Cuba’s “Bang Bang,” Pete Rodriguez’s “I Like It Like That” and Joe Bataan’s funky remake of the Impressions’ “Gypsy Woman” captures the convulsions of the ’60s as Latino youth sought an identity.
The great paradox of Mr. Bataan’s career as an originator of Latin soul is that he isn’t Latino. A self-described mestizo — his mother was African-American, his father Filipino — he was born Bataan Nitollano in 1942 and raised on East 104th Street in Spanish Harlem. His family spoke English at home, but as a boy he was drawn to the language and culture of his neighborhood, and he dived in and found a place for himself. “When I look back, I think, ‘Gee, I really had a lot of nerve.’”
Continue reading the main story
Nervy would not begin to describe Mr. Bataan as a teenager. He ran track in junior high school and dreamed of attending Howard University, but he also joined a street gang, the Dragons.
“Life was very Machiavellian,” he said. “It was very much the survival of the fittest. The only way to get out of our environment was through entertainment, athletics or to be a small-time gangster.”
By the time he was 15, Joe was the leader of the Dragons, had a pregnant 13-year-old girlfriend and was on his way to the new juvenile detention center in Hunts Point. When he was 18, he was sent upstate to the Coxsackie Correctional Facility for stealing a car. He stood in court with a rosary in his hand, stunned when the judge gave him five years. “I thought I couldn’t do it,” Mr. Bataan said.
Hits and deep cuts from the catalog of one of the originators of Latin soul. (To listen, users must have a Spotify account.)
Upon his release, he was unsure of his next move. But his path became clear when he dropped by a band rehearsal to see a couple of friends he used to sing doo-wop with. The band’s leaders didn’t want the neighborhood tough hanging around and asked him to leave. Incensed, Mr. Bataan vowed to start his own band. “Of course,” he said, “I knew nothing about Latin music and couldn’t even dance the mambo. We didn’t have a piano. My mother washed laundry for a neighbor, Mrs. Katz.”
Instead, Mr. Bataan found a pair of pianos on East 106th Street, one in a junior high school and one in a church basement. Through trial and error, he stumbled onto triads, later reading up on progressions and learning the importance of the clave, the five-beat pattern that provides the foundation for a range of Afro-Cuban styles including the mambo and the cha-cha.
Armed with both newfound knowledge and a reputation, Mr. Bataan commandeered an existing band of high school musicians, declaring himself the new leader of Joe Bataan and the Latin Swingers.
What Mr. Bataan lacked in formal training, he made up for in passion, ideas and ambition. “I had an aggressiveness and sense of survival I never would have had if I’d grown up anywhere else,” he said.
To build a following and hustle up gigs, the band played in the subway and at Orchard Beach in the Bronx, combining soul music, doo-wop harmonies and Latin grooves. It was a two-trombone Latin band in the vein of Eddie Palmieri, but with a soul singer more influenced by Smokey Robinson and Frankie Lymon.
They became regulars on a local circuit of uptown and Bronx clubs like the Hunts Point Palace, attracting recording offers from several labels before signing in 1967 with the fledging Fania Records. The scene was initially very local: “Gypsy Woman” broke on New York’s WWRL in part because friends of the band and family members pounded local radio request lines.
The cover of Mr. Bataan’s third album, “Riot!,” released in 1968. Fania
“Suddenly I was a household name in the barrio,” Mr. Bataan said. “Everyone knew me, everyone came out when we played. It wasn’t just the success of ‘Gypsy Woman,’ but the fact that the band was made up of neighborhood kids and everyone who knew them from school came. Within three years we outsold everyone, including Tito Puente and Eddie Palmieri. It wasn’t just boogaloo: We were singing what’s happening on the street.”
“To me, Joe Bataan is the king of Latin soul,” said Andres Padua, a D.J. for the online radio site Salsa Warriors. “He can play doo-wop, R&B, Latin or tropical, and that’s what makes his music so intriguing. Plus the guy has 1,000 hats. He’s a singer, arranger, writer, bandleader, producer, pianist and an entrepreneur. He’s incredible.”
Fania, which would reign for several decades as the pre-eminent Latin record company, eventually became closely associated with salsa, a more sophisticated style that eclipsed boogaloo in popularity. Despite Mr. Bataan’s frequent complaints that he wasn’t being paid fairly, he recorded eight albums for the label.
His third album, “Riot!,” is credited as the biggest-selling Latin album of 1968, according to Fania Records. It prefigured the turf war between boogaloo and salsa, a rivalry driven in part by stylistic differences but also by the fact that boogaloo musicians were younger and willing to work for less money.
By 1973, Mr. Bataan had moved on from Fania, but he kept his ears to the street . He was just as likely to be found at the Fillmore East checking out the Who and, later, at discos like Paradise Garage where he chatted up D.J.s like Larry Levan.
After leaving Fania, Mr. Bataan produced his own album, “Salsoul,” for Mericana Records. The name Salsoul (Mr. Bataan says he coined the term to suggest the marriage of salsa and soul ) was then given to a new label that Mr. Bataan — its first artist — says he pitched to Mericana’s owners.
Mr. Bataan, center, with his band in 1965. via Smithsonian National Portrait Gallery
Mr. Bataan, who helped guide Salsoul into the disco era, stumbled onto the rap scene in the late 1970s and wound up recording one of its first hits, “Rap-O Clap-O.” But any money he made was lost to a gambling habit. Mr. Bataan bottomed out. “I sold my car,” he said. “I got evicted.”
By the early 1980s, Mr. Bataan was out of the music business. After six months as a machine operator in the garment district, he landed a job as a counselor at the Bridges Juvenile Center in the Bronx, the notorious detention center also known as Spofford — where he was sent when he was 15. For Mr. Bataan, it was a chance to set things right, to help move young people off a path he knew too well.
“When I projected my story, it made a difference,” he said.
He rose to supervisor and became active in union affairs, serving as vice president. “Having a civil service job and being in a union, I was able to make a family for 25 years and sort of be happy,” he said. “I wasn’t interested in music.” But that would change.
In 1994, Mr. Bataan was invited to perform at a benefit concert at Hostos Community College in the Bronx. “Everybody was there,” he said.
He found himself backstage with Tito Puente, and Mr. Bataan couldn’t help expressing surprise that people still wanted to hear him. He recalled the conversation with Mr. Puente: “He said, ‘Joe, you never left. You’ve always been here.’ ”
It was enough to get Mr. Bataan back in the studio. In 1997, he released “Last Album, Last Song” on his own label, Bataan Music. Three more followed, which would be put out by a Spanish imprint. Mr. Bataan is now touring and playing full time. He quit his day job at Spofford in 2010, and the center shut down a year later.
“I was a street singer,” Mr. Bataan said before the show in Times Square. “The neighborhood guy who said, ‘I can do that.’ And that’s what ultimately endeared me: I was like everyone else.”
Correction: March 4, 2016
Because of an editing error, an earlier version of this article misstated the timing of the documentary “We Like it Like That.” It is now heading to streaming services after a successful run at film festivals. It is not currently touring the film festival circuit.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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The Return of Joe Bataan, the Boogaloo King – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/03/06/nyregion/the-return-of-joe-bataan-the-boogaloo-king.html?emc=eta1
** The Return of Joe Bataan, the Boogaloo King
————————————————————
By FRED GOODMANMARCH 4, 2016 Joe Bataan on the keyboards at B.B. King Blues Club & Grill in Times Square last month. Jacob Blickenstaff for The New York Times
Joe Bataan was bouncing around behind his keyboard onstage at the B. B. King Blues Club in Times Square, turning to cue his 14-piece band and clearly enjoying himself. It was a good crowd for a Wednesday night, and the dancers were getting after it, so he was mixing in a dose of mambo with his signature doo-wop-tinged Latin soul songs like “Subway Joe” and “Ordinary Guy.” Between numbers he pointed out friends in the crowd, including a man he introduced as “Lindy from the Dragons,” a comrade from Mr. Bataan’s wild days running with New York street gangs in the 1950s.
For Mr. Bataan, 73, the performance last month was both a homecoming and a confirmation. He survived a hard start as a young hustler on the streets of East Harlem to rise to become a leading figure of boogaloo, the fusion of Latin rhythm and soul music that he helped pioneer. When his style of Latin soul was eventually supplanted — first by salsa, then by disco and rap — he vanished for years.
Now a style of music once relegated to uptown clubs is enjoying a resurgence. The most visible proof: “We Like It Like That,” (http://www.latinboogaloo.com/) a documentary on Latin boogaloo in New York City, after a successful run at film festivals is now heading to streaming services. And after years off the stage, Mr. Bataan has emerged as the face of a rediscovered scene and a barrio legend.
Joe Bataan, 73, grew up in Spanish Harlem, where as a teenager he fell into trouble, spending five years in prison for stealing a car. Growing up there, he said, “Life was very Machiavellian.” James Estrin/The New York Times
“Everybody is calling me now because of ‘We Like It Like That,’” Mr. Bataan said before the show. “When the guy came to me to do the movie I said, ‘Don’t edit me.’ And he did tell the truth.” Mr. Bataan grinned. “I made sure I was all over that movie.”
The brief but ecstatic reign of boogaloo in New York’s dance clubs still vibrates in the music of the era: the irrepressible groove of songs like Joe Cuba’s “Bang Bang,” Pete Rodriguez’s “I Like It Like That” and Joe Bataan’s funky remake of the Impressions’ “Gypsy Woman” captures the convulsions of the ’60s as Latino youth sought an identity.
The great paradox of Mr. Bataan’s career as an originator of Latin soul is that he isn’t Latino. A self-described mestizo — his mother was African-American, his father Filipino — he was born Bataan Nitollano in 1942 and raised on East 104th Street in Spanish Harlem. His family spoke English at home, but as a boy he was drawn to the language and culture of his neighborhood, and he dived in and found a place for himself. “When I look back, I think, ‘Gee, I really had a lot of nerve.’”
Continue reading the main story
Nervy would not begin to describe Mr. Bataan as a teenager. He ran track in junior high school and dreamed of attending Howard University, but he also joined a street gang, the Dragons.
“Life was very Machiavellian,” he said. “It was very much the survival of the fittest. The only way to get out of our environment was through entertainment, athletics or to be a small-time gangster.”
By the time he was 15, Joe was the leader of the Dragons, had a pregnant 13-year-old girlfriend and was on his way to the new juvenile detention center in Hunts Point. When he was 18, he was sent upstate to the Coxsackie Correctional Facility for stealing a car. He stood in court with a rosary in his hand, stunned when the judge gave him five years. “I thought I couldn’t do it,” Mr. Bataan said.
Hits and deep cuts from the catalog of one of the originators of Latin soul. (To listen, users must have a Spotify account.)
Upon his release, he was unsure of his next move. But his path became clear when he dropped by a band rehearsal to see a couple of friends he used to sing doo-wop with. The band’s leaders didn’t want the neighborhood tough hanging around and asked him to leave. Incensed, Mr. Bataan vowed to start his own band. “Of course,” he said, “I knew nothing about Latin music and couldn’t even dance the mambo. We didn’t have a piano. My mother washed laundry for a neighbor, Mrs. Katz.”
Instead, Mr. Bataan found a pair of pianos on East 106th Street, one in a junior high school and one in a church basement. Through trial and error, he stumbled onto triads, later reading up on progressions and learning the importance of the clave, the five-beat pattern that provides the foundation for a range of Afro-Cuban styles including the mambo and the cha-cha.
Armed with both newfound knowledge and a reputation, Mr. Bataan commandeered an existing band of high school musicians, declaring himself the new leader of Joe Bataan and the Latin Swingers.
What Mr. Bataan lacked in formal training, he made up for in passion, ideas and ambition. “I had an aggressiveness and sense of survival I never would have had if I’d grown up anywhere else,” he said.
To build a following and hustle up gigs, the band played in the subway and at Orchard Beach in the Bronx, combining soul music, doo-wop harmonies and Latin grooves. It was a two-trombone Latin band in the vein of Eddie Palmieri, but with a soul singer more influenced by Smokey Robinson and Frankie Lymon.
They became regulars on a local circuit of uptown and Bronx clubs like the Hunts Point Palace, attracting recording offers from several labels before signing in 1967 with the fledging Fania Records. The scene was initially very local: “Gypsy Woman” broke on New York’s WWRL in part because friends of the band and family members pounded local radio request lines.
The cover of Mr. Bataan’s third album, “Riot!,” released in 1968. Fania
“Suddenly I was a household name in the barrio,” Mr. Bataan said. “Everyone knew me, everyone came out when we played. It wasn’t just the success of ‘Gypsy Woman,’ but the fact that the band was made up of neighborhood kids and everyone who knew them from school came. Within three years we outsold everyone, including Tito Puente and Eddie Palmieri. It wasn’t just boogaloo: We were singing what’s happening on the street.”
“To me, Joe Bataan is the king of Latin soul,” said Andres Padua, a D.J. for the online radio site Salsa Warriors. “He can play doo-wop, R&B, Latin or tropical, and that’s what makes his music so intriguing. Plus the guy has 1,000 hats. He’s a singer, arranger, writer, bandleader, producer, pianist and an entrepreneur. He’s incredible.”
Fania, which would reign for several decades as the pre-eminent Latin record company, eventually became closely associated with salsa, a more sophisticated style that eclipsed boogaloo in popularity. Despite Mr. Bataan’s frequent complaints that he wasn’t being paid fairly, he recorded eight albums for the label.
His third album, “Riot!,” is credited as the biggest-selling Latin album of 1968, according to Fania Records. It prefigured the turf war between boogaloo and salsa, a rivalry driven in part by stylistic differences but also by the fact that boogaloo musicians were younger and willing to work for less money.
By 1973, Mr. Bataan had moved on from Fania, but he kept his ears to the street . He was just as likely to be found at the Fillmore East checking out the Who and, later, at discos like Paradise Garage where he chatted up D.J.s like Larry Levan.
After leaving Fania, Mr. Bataan produced his own album, “Salsoul,” for Mericana Records. The name Salsoul (Mr. Bataan says he coined the term to suggest the marriage of salsa and soul ) was then given to a new label that Mr. Bataan — its first artist — says he pitched to Mericana’s owners.
Mr. Bataan, center, with his band in 1965. via Smithsonian National Portrait Gallery
Mr. Bataan, who helped guide Salsoul into the disco era, stumbled onto the rap scene in the late 1970s and wound up recording one of its first hits, “Rap-O Clap-O.” But any money he made was lost to a gambling habit. Mr. Bataan bottomed out. “I sold my car,” he said. “I got evicted.”
By the early 1980s, Mr. Bataan was out of the music business. After six months as a machine operator in the garment district, he landed a job as a counselor at the Bridges Juvenile Center in the Bronx, the notorious detention center also known as Spofford — where he was sent when he was 15. For Mr. Bataan, it was a chance to set things right, to help move young people off a path he knew too well.
“When I projected my story, it made a difference,” he said.
He rose to supervisor and became active in union affairs, serving as vice president. “Having a civil service job and being in a union, I was able to make a family for 25 years and sort of be happy,” he said. “I wasn’t interested in music.” But that would change.
In 1994, Mr. Bataan was invited to perform at a benefit concert at Hostos Community College in the Bronx. “Everybody was there,” he said.
He found himself backstage with Tito Puente, and Mr. Bataan couldn’t help expressing surprise that people still wanted to hear him. He recalled the conversation with Mr. Puente: “He said, ‘Joe, you never left. You’ve always been here.’ ”
It was enough to get Mr. Bataan back in the studio. In 1997, he released “Last Album, Last Song” on his own label, Bataan Music. Three more followed, which would be put out by a Spanish imprint. Mr. Bataan is now touring and playing full time. He quit his day job at Spofford in 2010, and the center shut down a year later.
“I was a street singer,” Mr. Bataan said before the show in Times Square. “The neighborhood guy who said, ‘I can do that.’ And that’s what ultimately endeared me: I was like everyone else.”
Correction: March 4, 2016
Because of an editing error, an earlier version of this article misstated the timing of the documentary “We Like it Like That.” It is now heading to streaming services after a successful run at film festivals. It is not currently touring the film festival circuit.
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