Author: Bash Daily Group Archive Feed
John Chilton, Grammy award-winning jazz writer, dies
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/news/john-chilton-grammy-award-winning-jazz-writer-dies/
** John Chilton, Grammy award-winning jazz writer, dies
————————————————————
*
*
John Chilton John Chilton CREDIT: GETTY
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
25 FEBRUARY 2016 • 4:43PM
John Chilton (http://www.telegraph.co.uk/music/artists/ella-fitzgerald-one-of-the-greatest-singers-of-all/) , the Grammy-winning jazz writer who was also George Melly’s musical partner for nearly four decades, died on 25 February, aged 83, following a brief illness.
Melly was one of Britain’s greatest jazz stars and Chilton and his band, The Feetwarmers, were the resident Christmas act at Ronnie Scott’s club in Soho for more than 30 years. They also had their own prime-time BBC series called Good Time George.
Chilton is also known as a writer and won a Grammy Award in 1983 for his album notes on Bunny Berigan (along with Richard M Sudhalter). Chilton was runner-up for a further Grammy in 2000 for his work on Lester Young. In the same year he won the British Jazz Award for ‘Writer of the Year’.
His Who’s Who of Jazz was described by the poet Philip Larkin as “one of the essential jazz books”, and Chilton’s biographies of Coleman Hawkins and Louis Jordan both won the prestigious American Association for Recorded Sound Collections’ Award for historical recorded sound research. For his books on Sidney Bechet and Louis Armstrong, he was awarded the freedom of New Orleans by the mayor of the city.
John Chilton was awarded the Freedom of New Orleans for his jazz writing John Chilton was awarded the Freedom of New Orleans for his jazz writing
Chilton was also a songwriter and composer and one of his songs, Give Her a Little Drop More, was used in the 1985 film St Elmo’s Fire, where it was sung by some of the Hollywood Brat Pack, including Demi Moore and Rob Lowe.
John Chilton John Chilton CREDIT: GETTY
Chilton was born in London on 16 July 1932 (his father was a music hall comedian and tap-dancer) and after doing national service in the RAF (1950–1952) he formed his own jazz band, playing at Butlins in Skegness with a troupe that included comedian Dave Allen. He also worked for the Daily Telegraph in the late Fifties, as an assistant to the editor.
He worked in Bruce Turner’s Jump Band from 1958-1963. A movie of their exploits called Living Jazz was made in 1961 by director Jack Gold, who went on to make The Naked Civil Servant. Chilton later appeared in Alex Welsh’s Big Band. He played piano on some pop recordings in the Sixties, and was publicity manager for The Swinging Blue Jeans during their Hippie Hippie Shake days. Chilton also recorded The Song of a Road, one of the radio ballads of folk singers Ewan MacColl and Peggy Seeger for the BBC.
In the late Sixties he played for Mike Daniels’ Big Band before forming his own Swing Kings band, which backed some leading American jazz men who toured Britain, including Buck Clayton, Ben Webster, Bill Coleman and Charlie Shavers.
John Chilton (left) with George Melly John Chilton (left) with George Melly CREDIT: REX
He later worked with Wally Fawkes, also known as the cartoonist ‘Trog’, and in January 1974 formed The Feetwarmers, who began accompanying singer and writer Melly full time. Together they made a dozen records and toured the world. In 1983 and 1984 they had their own BBC television series called Good Time George, named after the signature tune Chilton wrote for Melly. They appeared on countless other TV shows, including Pebble Mill at One, Wogan, Parkinson, The Wheeltappers and Shunters Social Club, Aspel and This Is Your Life.
Chilton, who suffered from Parkinson’s disease in his later years, continued to play trumpet with the clarinetist Fawkes in London following Melly’s death in 2007. Chilton also played occasional guest spots, including with Kenny Davern.
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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John Chilton, Grammy award-winning jazz writer, dies
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/news/john-chilton-grammy-award-winning-jazz-writer-dies/
** John Chilton, Grammy award-winning jazz writer, dies
————————————————————
*
*
John Chilton John Chilton CREDIT: GETTY
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
25 FEBRUARY 2016 • 4:43PM
John Chilton (http://www.telegraph.co.uk/music/artists/ella-fitzgerald-one-of-the-greatest-singers-of-all/) , the Grammy-winning jazz writer who was also George Melly’s musical partner for nearly four decades, died on 25 February, aged 83, following a brief illness.
Melly was one of Britain’s greatest jazz stars and Chilton and his band, The Feetwarmers, were the resident Christmas act at Ronnie Scott’s club in Soho for more than 30 years. They also had their own prime-time BBC series called Good Time George.
Chilton is also known as a writer and won a Grammy Award in 1983 for his album notes on Bunny Berigan (along with Richard M Sudhalter). Chilton was runner-up for a further Grammy in 2000 for his work on Lester Young. In the same year he won the British Jazz Award for ‘Writer of the Year’.
His Who’s Who of Jazz was described by the poet Philip Larkin as “one of the essential jazz books”, and Chilton’s biographies of Coleman Hawkins and Louis Jordan both won the prestigious American Association for Recorded Sound Collections’ Award for historical recorded sound research. For his books on Sidney Bechet and Louis Armstrong, he was awarded the freedom of New Orleans by the mayor of the city.
John Chilton was awarded the Freedom of New Orleans for his jazz writing John Chilton was awarded the Freedom of New Orleans for his jazz writing
Chilton was also a songwriter and composer and one of his songs, Give Her a Little Drop More, was used in the 1985 film St Elmo’s Fire, where it was sung by some of the Hollywood Brat Pack, including Demi Moore and Rob Lowe.
John Chilton John Chilton CREDIT: GETTY
Chilton was born in London on 16 July 1932 (his father was a music hall comedian and tap-dancer) and after doing national service in the RAF (1950–1952) he formed his own jazz band, playing at Butlins in Skegness with a troupe that included comedian Dave Allen. He also worked for the Daily Telegraph in the late Fifties, as an assistant to the editor.
He worked in Bruce Turner’s Jump Band from 1958-1963. A movie of their exploits called Living Jazz was made in 1961 by director Jack Gold, who went on to make The Naked Civil Servant. Chilton later appeared in Alex Welsh’s Big Band. He played piano on some pop recordings in the Sixties, and was publicity manager for The Swinging Blue Jeans during their Hippie Hippie Shake days. Chilton also recorded The Song of a Road, one of the radio ballads of folk singers Ewan MacColl and Peggy Seeger for the BBC.
In the late Sixties he played for Mike Daniels’ Big Band before forming his own Swing Kings band, which backed some leading American jazz men who toured Britain, including Buck Clayton, Ben Webster, Bill Coleman and Charlie Shavers.
John Chilton (left) with George Melly John Chilton (left) with George Melly CREDIT: REX
He later worked with Wally Fawkes, also known as the cartoonist ‘Trog’, and in January 1974 formed The Feetwarmers, who began accompanying singer and writer Melly full time. Together they made a dozen records and toured the world. In 1983 and 1984 they had their own BBC television series called Good Time George, named after the signature tune Chilton wrote for Melly. They appeared on countless other TV shows, including Pebble Mill at One, Wogan, Parkinson, The Wheeltappers and Shunters Social Club, Aspel and This Is Your Life.
Chilton, who suffered from Parkinson’s disease in his later years, continued to play trumpet with the clarinetist Fawkes in London following Melly’s death in 2007. Chilton also played occasional guest spots, including with Kenny Davern.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
John Chilton, Grammy award-winning jazz writer, dies
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/news/john-chilton-grammy-award-winning-jazz-writer-dies/
** John Chilton, Grammy award-winning jazz writer, dies
————————————————————
*
*
John Chilton John Chilton CREDIT: GETTY
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
25 FEBRUARY 2016 • 4:43PM
John Chilton (http://www.telegraph.co.uk/music/artists/ella-fitzgerald-one-of-the-greatest-singers-of-all/) , the Grammy-winning jazz writer who was also George Melly’s musical partner for nearly four decades, died on 25 February, aged 83, following a brief illness.
Melly was one of Britain’s greatest jazz stars and Chilton and his band, The Feetwarmers, were the resident Christmas act at Ronnie Scott’s club in Soho for more than 30 years. They also had their own prime-time BBC series called Good Time George.
Chilton is also known as a writer and won a Grammy Award in 1983 for his album notes on Bunny Berigan (along with Richard M Sudhalter). Chilton was runner-up for a further Grammy in 2000 for his work on Lester Young. In the same year he won the British Jazz Award for ‘Writer of the Year’.
His Who’s Who of Jazz was described by the poet Philip Larkin as “one of the essential jazz books”, and Chilton’s biographies of Coleman Hawkins and Louis Jordan both won the prestigious American Association for Recorded Sound Collections’ Award for historical recorded sound research. For his books on Sidney Bechet and Louis Armstrong, he was awarded the freedom of New Orleans by the mayor of the city.
John Chilton was awarded the Freedom of New Orleans for his jazz writing John Chilton was awarded the Freedom of New Orleans for his jazz writing
Chilton was also a songwriter and composer and one of his songs, Give Her a Little Drop More, was used in the 1985 film St Elmo’s Fire, where it was sung by some of the Hollywood Brat Pack, including Demi Moore and Rob Lowe.
John Chilton John Chilton CREDIT: GETTY
Chilton was born in London on 16 July 1932 (his father was a music hall comedian and tap-dancer) and after doing national service in the RAF (1950–1952) he formed his own jazz band, playing at Butlins in Skegness with a troupe that included comedian Dave Allen. He also worked for the Daily Telegraph in the late Fifties, as an assistant to the editor.
He worked in Bruce Turner’s Jump Band from 1958-1963. A movie of their exploits called Living Jazz was made in 1961 by director Jack Gold, who went on to make The Naked Civil Servant. Chilton later appeared in Alex Welsh’s Big Band. He played piano on some pop recordings in the Sixties, and was publicity manager for The Swinging Blue Jeans during their Hippie Hippie Shake days. Chilton also recorded The Song of a Road, one of the radio ballads of folk singers Ewan MacColl and Peggy Seeger for the BBC.
In the late Sixties he played for Mike Daniels’ Big Band before forming his own Swing Kings band, which backed some leading American jazz men who toured Britain, including Buck Clayton, Ben Webster, Bill Coleman and Charlie Shavers.
John Chilton (left) with George Melly John Chilton (left) with George Melly CREDIT: REX
He later worked with Wally Fawkes, also known as the cartoonist ‘Trog’, and in January 1974 formed The Feetwarmers, who began accompanying singer and writer Melly full time. Together they made a dozen records and toured the world. In 1983 and 1984 they had their own BBC television series called Good Time George, named after the signature tune Chilton wrote for Melly. They appeared on countless other TV shows, including Pebble Mill at One, Wogan, Parkinson, The Wheeltappers and Shunters Social Club, Aspel and This Is Your Life.
Chilton, who suffered from Parkinson’s disease in his later years, continued to play trumpet with the clarinetist Fawkes in London following Melly’s death in 2007. Chilton also played occasional guest spots, including with Kenny Davern.
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=d74239afee) | 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=d74239afee&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
John Chilton, Grammy award-winning jazz writer, dies
http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/music/news/john-chilton-grammy-award-winning-jazz-writer-dies/
** John Chilton, Grammy award-winning jazz writer, dies
————————————————————
*
*
John Chilton John Chilton CREDIT: GETTY
* Telegraph Reporters (http://www.telegraph.co.uk/authors/telegraph-reporters/)
25 FEBRUARY 2016 • 4:43PM
John Chilton (http://www.telegraph.co.uk/music/artists/ella-fitzgerald-one-of-the-greatest-singers-of-all/) , the Grammy-winning jazz writer who was also George Melly’s musical partner for nearly four decades, died on 25 February, aged 83, following a brief illness.
Melly was one of Britain’s greatest jazz stars and Chilton and his band, The Feetwarmers, were the resident Christmas act at Ronnie Scott’s club in Soho for more than 30 years. They also had their own prime-time BBC series called Good Time George.
Chilton is also known as a writer and won a Grammy Award in 1983 for his album notes on Bunny Berigan (along with Richard M Sudhalter). Chilton was runner-up for a further Grammy in 2000 for his work on Lester Young. In the same year he won the British Jazz Award for ‘Writer of the Year’.
His Who’s Who of Jazz was described by the poet Philip Larkin as “one of the essential jazz books”, and Chilton’s biographies of Coleman Hawkins and Louis Jordan both won the prestigious American Association for Recorded Sound Collections’ Award for historical recorded sound research. For his books on Sidney Bechet and Louis Armstrong, he was awarded the freedom of New Orleans by the mayor of the city.
John Chilton was awarded the Freedom of New Orleans for his jazz writing John Chilton was awarded the Freedom of New Orleans for his jazz writing
Chilton was also a songwriter and composer and one of his songs, Give Her a Little Drop More, was used in the 1985 film St Elmo’s Fire, where it was sung by some of the Hollywood Brat Pack, including Demi Moore and Rob Lowe.
John Chilton John Chilton CREDIT: GETTY
Chilton was born in London on 16 July 1932 (his father was a music hall comedian and tap-dancer) and after doing national service in the RAF (1950–1952) he formed his own jazz band, playing at Butlins in Skegness with a troupe that included comedian Dave Allen. He also worked for the Daily Telegraph in the late Fifties, as an assistant to the editor.
He worked in Bruce Turner’s Jump Band from 1958-1963. A movie of their exploits called Living Jazz was made in 1961 by director Jack Gold, who went on to make The Naked Civil Servant. Chilton later appeared in Alex Welsh’s Big Band. He played piano on some pop recordings in the Sixties, and was publicity manager for The Swinging Blue Jeans during their Hippie Hippie Shake days. Chilton also recorded The Song of a Road, one of the radio ballads of folk singers Ewan MacColl and Peggy Seeger for the BBC.
In the late Sixties he played for Mike Daniels’ Big Band before forming his own Swing Kings band, which backed some leading American jazz men who toured Britain, including Buck Clayton, Ben Webster, Bill Coleman and Charlie Shavers.
John Chilton (left) with George Melly John Chilton (left) with George Melly CREDIT: REX
He later worked with Wally Fawkes, also known as the cartoonist ‘Trog’, and in January 1974 formed The Feetwarmers, who began accompanying singer and writer Melly full time. Together they made a dozen records and toured the world. In 1983 and 1984 they had their own BBC television series called Good Time George, named after the signature tune Chilton wrote for Melly. They appeared on countless other TV shows, including Pebble Mill at One, Wogan, Parkinson, The Wheeltappers and Shunters Social Club, Aspel and This Is Your Life.
Chilton, who suffered from Parkinson’s disease in his later years, continued to play trumpet with the clarinetist Fawkes in London following Melly’s death in 2007. Chilton also played occasional guest spots, including with Kenny Davern.
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
RE:VIVE: A Dutch initiative transforming the way we think about sound archives | Red Bull Music Academy Daily
http://www.jazzpromoservices.com/
http://daily.redbullmusicacademy.com/2016/02/revive-project-feature
** RE:VIVE
————————————————————
** The Netherlands Institute for Sound and Vision’s new initiative wants to change the way you think about sound archives
————————————————————
Desiré van den Berg
Alighting the train at Hilversum it is impossible to ignore the ornate, almost mosaic appearance of the building directly opposite the station. A towering cube of stained glass, it makes a striking impression as the sunlight illuminates it.
Designed by Willem Jan Neutelings and Michiel Riedijk, the building in question is the Netherlands Institute for Sound and Vision, which serves as a home for Dutch audiovisual collections considered to be of national, historical and cultural importance. Based in a media park a short train ride from the centre of Amsterdam, the institute exists to preserve, manage and exhibit what – at the time of my visit – amounted to over one million hours of material.
Desiré van den Berg
Upon entering the building, the scale of the operation begins to become apparent. A large theatre serves to exhibit parts of the archive to the public, while seven floors of office space rise upwards, containing many staff, some of whom manage to archive Dutch radio and TV broadcasts within four hours of transmission. Crossing an internal bridge, there is a five-floor drop, as 52 storage depots hold hundreds of thousands of items behind closed doors. Grey slate surfaces clash with bright orange walls, the storage floors deliberately kept underground to benefit from the cooler temperature, an extra line of preservation defence.
Desiré van den Berg Desiré van den Berg
Gregory Markus and Harry van Biessum started the RE:VIVE initiative as a way to have producers engage with the Sound and Vision archive (and, eventually, sound archives worldwide). The institute has excelled at documenting the past, but Gregory believes that the archive could be used to be hear the past.
“There’s been a lot of projects in the past few years in Europe that have been trying to generate or stimulate this creative reuse of cultural heritage content,” explains Markus. “I’ve been involved in these projects [but] I never was seeing anything that kind of stimulated me. ‘Okay, this is a really great idea’. It was missing the mark in terms of getting in touch with the right people… When I saw Matthew Herbert do a Boiler Room session at the British Library (https://www.youtube.com/watch?v=tAgBvyDqOBE) , it kind of clicked. Then that was kind of it. I started crafting the idea and trying to talk to as many people in the scene as possible.”
The RE:VIVE sample packs feature found sounds from a wide range of countries and eras. Audio of an axe-grinder sits alongside a recording of an Irish folk song, the sound of a car wash is followed by a 1930s recording of a traditional Japanese song. As long as the sounds are openly licensed and interesting, they stand the chance of being included and offered up to users to manipulate them in any way they please.
Desiré van den Berg
Last year, R&S duo Lakker (https://lakker.wordpress.com/) were invited to the institute to spend time in the archive, with the task of producing music based around the theme of water. So how did two Irishmen, based in Berlin, come to be selected for a Dutch initiative?
“I read a Pitchfork piece (http://pitchfork.com/features/rising/9654-lakker-techno-storytellers/) on Lakker about how they’re techno story tellers, and I think what got me the most was when they were mentioning field recordings and found sounds. They said, ‘the shittier the quality, the better.’ I thought, ‘Perfect, this is perfect!’”
Lakker turned in several tracks, and listening to a few within the institute, it’s hard to believe that the music originally began life as the noise of a squeaking gate. The music is immediate, complex and listenable, the original source material expertly crafted and transformed into something new.
Desiré van den Berg Desiré van den Berg
As a result of the initiative, the duo will host a sampling workshop (http://www.redbullmusicacademy.com/events/rbma-session-amsterdam-2016) in Amsterdam in association with RE:VIVE and Red Bull Music Academy, with the duo offering advice on sound design and sampling.
“We’ve gone through the collection and pulled out roughly 150 items, ranging from broadcast material to field recordings, all relating to Amsterdam, because obviously the event is taking place in Amsterdam, and so we wanted to keep it local. Participants will be given these materials and they will be challenged to answer, ‘What does Amsterdam sound like to you? If you were to write a song about Amsterdam, a neighborhood, a place or something, how would it sound?’ We’re challenging people to create something conceptual, sonically, musically, by only using sounds that relate to that theme or place.
“I mean obviously it’s taking a little from what inspired RE:VIVE,” continues Markus. “Rock concept albums, like Neutral Milk Hotel’s In the Aeroplane Over the Sea. Matthew Herbert, Matmos. Or MF Doom’s audio collages where they would just cut old radio broadcast and then create these stories. [It’s] just trying to bring all these things together and using kind of a historical part of the archive as the centre point. History as the centre point.”
Desiré van den Berg Desiré van den Berg
Getting to this point has been no easy feat. The initiative has two main tasks, making people aware of the potential of the archive and categorizing the huge amount of material at the institute’s disposal. Following the conclusion of a seven-year project to digitize hours of audiovisual material (titled Images For The Future) the end result was 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and over 2.5 million photographs. The total of all digital material is 11.5 petabytes, with an extra 1.5 petabytes being added annually.
“One of our biggest challenges now as an institution is when we get a bunch of material to make sure that it’s properly categorized, like any librarian needs to do… Getting the metadata correct, having it as rich as possible. Pulling out keywords and allowing for specific searches to deliver the results.
It’s hard for people to care about things that they can’t find or that they don’t even know exist.
Gregory Markus
“I would like to see artists become more engaged with archives, and I would like to see archives being more open to these kind of collaborations,” continues Markus. “I want to show producers who are interested in archives, not just the material but the stories behind them… I would like to see the worlds come closer together… It’s hard for people to care about things that they can’t find or that they don’t even know exist. No one’s going to sift through millions of records to find something. There’s no way to create an interface friendly enough to have someone go through all this material, but if an archive can do small curation, and it can be given then to an artist, then that artist can put it out into the public in an entirely new context.”
RE:VIVE are planning to document their work with Lakker in the form of a video documentary and track breakdown, allowing listeners to see how the samples were transformed into full songs. Markus hopes this will be the next step to “creating a more collaborative environment, because archives are dying for creative reuse. Millions of euros of funding are going into creative reuse, trying to facilitate it. We’re just trying to help it click.”
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By Chris Duncan (http://daily.redbullmusicacademy.com/author/chris-duncan) on February 24, 2016
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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RE:VIVE: A Dutch initiative transforming the way we think about sound archives | Red Bull Music Academy Daily
http://www.jazzpromoservices.com/
http://daily.redbullmusicacademy.com/2016/02/revive-project-feature
** RE:VIVE
————————————————————
** The Netherlands Institute for Sound and Vision’s new initiative wants to change the way you think about sound archives
————————————————————
Desiré van den Berg
Alighting the train at Hilversum it is impossible to ignore the ornate, almost mosaic appearance of the building directly opposite the station. A towering cube of stained glass, it makes a striking impression as the sunlight illuminates it.
Designed by Willem Jan Neutelings and Michiel Riedijk, the building in question is the Netherlands Institute for Sound and Vision, which serves as a home for Dutch audiovisual collections considered to be of national, historical and cultural importance. Based in a media park a short train ride from the centre of Amsterdam, the institute exists to preserve, manage and exhibit what – at the time of my visit – amounted to over one million hours of material.
Desiré van den Berg
Upon entering the building, the scale of the operation begins to become apparent. A large theatre serves to exhibit parts of the archive to the public, while seven floors of office space rise upwards, containing many staff, some of whom manage to archive Dutch radio and TV broadcasts within four hours of transmission. Crossing an internal bridge, there is a five-floor drop, as 52 storage depots hold hundreds of thousands of items behind closed doors. Grey slate surfaces clash with bright orange walls, the storage floors deliberately kept underground to benefit from the cooler temperature, an extra line of preservation defence.
Desiré van den Berg Desiré van den Berg
Gregory Markus and Harry van Biessum started the RE:VIVE initiative as a way to have producers engage with the Sound and Vision archive (and, eventually, sound archives worldwide). The institute has excelled at documenting the past, but Gregory believes that the archive could be used to be hear the past.
“There’s been a lot of projects in the past few years in Europe that have been trying to generate or stimulate this creative reuse of cultural heritage content,” explains Markus. “I’ve been involved in these projects [but] I never was seeing anything that kind of stimulated me. ‘Okay, this is a really great idea’. It was missing the mark in terms of getting in touch with the right people… When I saw Matthew Herbert do a Boiler Room session at the British Library (https://www.youtube.com/watch?v=tAgBvyDqOBE) , it kind of clicked. Then that was kind of it. I started crafting the idea and trying to talk to as many people in the scene as possible.”
The RE:VIVE sample packs feature found sounds from a wide range of countries and eras. Audio of an axe-grinder sits alongside a recording of an Irish folk song, the sound of a car wash is followed by a 1930s recording of a traditional Japanese song. As long as the sounds are openly licensed and interesting, they stand the chance of being included and offered up to users to manipulate them in any way they please.
Desiré van den Berg
Last year, R&S duo Lakker (https://lakker.wordpress.com/) were invited to the institute to spend time in the archive, with the task of producing music based around the theme of water. So how did two Irishmen, based in Berlin, come to be selected for a Dutch initiative?
“I read a Pitchfork piece (http://pitchfork.com/features/rising/9654-lakker-techno-storytellers/) on Lakker about how they’re techno story tellers, and I think what got me the most was when they were mentioning field recordings and found sounds. They said, ‘the shittier the quality, the better.’ I thought, ‘Perfect, this is perfect!’”
Lakker turned in several tracks, and listening to a few within the institute, it’s hard to believe that the music originally began life as the noise of a squeaking gate. The music is immediate, complex and listenable, the original source material expertly crafted and transformed into something new.
Desiré van den Berg Desiré van den Berg
As a result of the initiative, the duo will host a sampling workshop (http://www.redbullmusicacademy.com/events/rbma-session-amsterdam-2016) in Amsterdam in association with RE:VIVE and Red Bull Music Academy, with the duo offering advice on sound design and sampling.
“We’ve gone through the collection and pulled out roughly 150 items, ranging from broadcast material to field recordings, all relating to Amsterdam, because obviously the event is taking place in Amsterdam, and so we wanted to keep it local. Participants will be given these materials and they will be challenged to answer, ‘What does Amsterdam sound like to you? If you were to write a song about Amsterdam, a neighborhood, a place or something, how would it sound?’ We’re challenging people to create something conceptual, sonically, musically, by only using sounds that relate to that theme or place.
“I mean obviously it’s taking a little from what inspired RE:VIVE,” continues Markus. “Rock concept albums, like Neutral Milk Hotel’s In the Aeroplane Over the Sea. Matthew Herbert, Matmos. Or MF Doom’s audio collages where they would just cut old radio broadcast and then create these stories. [It’s] just trying to bring all these things together and using kind of a historical part of the archive as the centre point. History as the centre point.”
Desiré van den Berg Desiré van den Berg
Getting to this point has been no easy feat. The initiative has two main tasks, making people aware of the potential of the archive and categorizing the huge amount of material at the institute’s disposal. Following the conclusion of a seven-year project to digitize hours of audiovisual material (titled Images For The Future) the end result was 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and over 2.5 million photographs. The total of all digital material is 11.5 petabytes, with an extra 1.5 petabytes being added annually.
“One of our biggest challenges now as an institution is when we get a bunch of material to make sure that it’s properly categorized, like any librarian needs to do… Getting the metadata correct, having it as rich as possible. Pulling out keywords and allowing for specific searches to deliver the results.
It’s hard for people to care about things that they can’t find or that they don’t even know exist.
Gregory Markus
“I would like to see artists become more engaged with archives, and I would like to see archives being more open to these kind of collaborations,” continues Markus. “I want to show producers who are interested in archives, not just the material but the stories behind them… I would like to see the worlds come closer together… It’s hard for people to care about things that they can’t find or that they don’t even know exist. No one’s going to sift through millions of records to find something. There’s no way to create an interface friendly enough to have someone go through all this material, but if an archive can do small curation, and it can be given then to an artist, then that artist can put it out into the public in an entirely new context.”
RE:VIVE are planning to document their work with Lakker in the form of a video documentary and track breakdown, allowing listeners to see how the samples were transformed into full songs. Markus hopes this will be the next step to “creating a more collaborative environment, because archives are dying for creative reuse. Millions of euros of funding are going into creative reuse, trying to facilitate it. We’re just trying to help it click.”
Share on Twitter Share on Facebook
By Chris Duncan (http://daily.redbullmusicacademy.com/author/chris-duncan) on February 24, 2016
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
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Warwick, Ny 10990
USA
RE:VIVE: A Dutch initiative transforming the way we think about sound archives | Red Bull Music Academy Daily
http://www.jazzpromoservices.com/
http://daily.redbullmusicacademy.com/2016/02/revive-project-feature
** RE:VIVE
————————————————————
** The Netherlands Institute for Sound and Vision’s new initiative wants to change the way you think about sound archives
————————————————————
Desiré van den Berg
Alighting the train at Hilversum it is impossible to ignore the ornate, almost mosaic appearance of the building directly opposite the station. A towering cube of stained glass, it makes a striking impression as the sunlight illuminates it.
Designed by Willem Jan Neutelings and Michiel Riedijk, the building in question is the Netherlands Institute for Sound and Vision, which serves as a home for Dutch audiovisual collections considered to be of national, historical and cultural importance. Based in a media park a short train ride from the centre of Amsterdam, the institute exists to preserve, manage and exhibit what – at the time of my visit – amounted to over one million hours of material.
Desiré van den Berg
Upon entering the building, the scale of the operation begins to become apparent. A large theatre serves to exhibit parts of the archive to the public, while seven floors of office space rise upwards, containing many staff, some of whom manage to archive Dutch radio and TV broadcasts within four hours of transmission. Crossing an internal bridge, there is a five-floor drop, as 52 storage depots hold hundreds of thousands of items behind closed doors. Grey slate surfaces clash with bright orange walls, the storage floors deliberately kept underground to benefit from the cooler temperature, an extra line of preservation defence.
Desiré van den Berg Desiré van den Berg
Gregory Markus and Harry van Biessum started the RE:VIVE initiative as a way to have producers engage with the Sound and Vision archive (and, eventually, sound archives worldwide). The institute has excelled at documenting the past, but Gregory believes that the archive could be used to be hear the past.
“There’s been a lot of projects in the past few years in Europe that have been trying to generate or stimulate this creative reuse of cultural heritage content,” explains Markus. “I’ve been involved in these projects [but] I never was seeing anything that kind of stimulated me. ‘Okay, this is a really great idea’. It was missing the mark in terms of getting in touch with the right people… When I saw Matthew Herbert do a Boiler Room session at the British Library (https://www.youtube.com/watch?v=tAgBvyDqOBE) , it kind of clicked. Then that was kind of it. I started crafting the idea and trying to talk to as many people in the scene as possible.”
The RE:VIVE sample packs feature found sounds from a wide range of countries and eras. Audio of an axe-grinder sits alongside a recording of an Irish folk song, the sound of a car wash is followed by a 1930s recording of a traditional Japanese song. As long as the sounds are openly licensed and interesting, they stand the chance of being included and offered up to users to manipulate them in any way they please.
Desiré van den Berg
Last year, R&S duo Lakker (https://lakker.wordpress.com/) were invited to the institute to spend time in the archive, with the task of producing music based around the theme of water. So how did two Irishmen, based in Berlin, come to be selected for a Dutch initiative?
“I read a Pitchfork piece (http://pitchfork.com/features/rising/9654-lakker-techno-storytellers/) on Lakker about how they’re techno story tellers, and I think what got me the most was when they were mentioning field recordings and found sounds. They said, ‘the shittier the quality, the better.’ I thought, ‘Perfect, this is perfect!’”
Lakker turned in several tracks, and listening to a few within the institute, it’s hard to believe that the music originally began life as the noise of a squeaking gate. The music is immediate, complex and listenable, the original source material expertly crafted and transformed into something new.
Desiré van den Berg Desiré van den Berg
As a result of the initiative, the duo will host a sampling workshop (http://www.redbullmusicacademy.com/events/rbma-session-amsterdam-2016) in Amsterdam in association with RE:VIVE and Red Bull Music Academy, with the duo offering advice on sound design and sampling.
“We’ve gone through the collection and pulled out roughly 150 items, ranging from broadcast material to field recordings, all relating to Amsterdam, because obviously the event is taking place in Amsterdam, and so we wanted to keep it local. Participants will be given these materials and they will be challenged to answer, ‘What does Amsterdam sound like to you? If you were to write a song about Amsterdam, a neighborhood, a place or something, how would it sound?’ We’re challenging people to create something conceptual, sonically, musically, by only using sounds that relate to that theme or place.
“I mean obviously it’s taking a little from what inspired RE:VIVE,” continues Markus. “Rock concept albums, like Neutral Milk Hotel’s In the Aeroplane Over the Sea. Matthew Herbert, Matmos. Or MF Doom’s audio collages where they would just cut old radio broadcast and then create these stories. [It’s] just trying to bring all these things together and using kind of a historical part of the archive as the centre point. History as the centre point.”
Desiré van den Berg Desiré van den Berg
Getting to this point has been no easy feat. The initiative has two main tasks, making people aware of the potential of the archive and categorizing the huge amount of material at the institute’s disposal. Following the conclusion of a seven-year project to digitize hours of audiovisual material (titled Images For The Future) the end result was 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and over 2.5 million photographs. The total of all digital material is 11.5 petabytes, with an extra 1.5 petabytes being added annually.
“One of our biggest challenges now as an institution is when we get a bunch of material to make sure that it’s properly categorized, like any librarian needs to do… Getting the metadata correct, having it as rich as possible. Pulling out keywords and allowing for specific searches to deliver the results.
It’s hard for people to care about things that they can’t find or that they don’t even know exist.
Gregory Markus
“I would like to see artists become more engaged with archives, and I would like to see archives being more open to these kind of collaborations,” continues Markus. “I want to show producers who are interested in archives, not just the material but the stories behind them… I would like to see the worlds come closer together… It’s hard for people to care about things that they can’t find or that they don’t even know exist. No one’s going to sift through millions of records to find something. There’s no way to create an interface friendly enough to have someone go through all this material, but if an archive can do small curation, and it can be given then to an artist, then that artist can put it out into the public in an entirely new context.”
RE:VIVE are planning to document their work with Lakker in the form of a video documentary and track breakdown, allowing listeners to see how the samples were transformed into full songs. Markus hopes this will be the next step to “creating a more collaborative environment, because archives are dying for creative reuse. Millions of euros of funding are going into creative reuse, trying to facilitate it. We’re just trying to help it click.”
Share on Twitter Share on Facebook
By Chris Duncan (http://daily.redbullmusicacademy.com/author/chris-duncan) on February 24, 2016
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=965c111f3c) | 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=965c111f3c&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
RE:VIVE: A Dutch initiative transforming the way we think about sound archives | Red Bull Music Academy Daily
http://www.jazzpromoservices.com/
http://daily.redbullmusicacademy.com/2016/02/revive-project-feature
** RE:VIVE
————————————————————
** The Netherlands Institute for Sound and Vision’s new initiative wants to change the way you think about sound archives
————————————————————
Desiré van den Berg
Alighting the train at Hilversum it is impossible to ignore the ornate, almost mosaic appearance of the building directly opposite the station. A towering cube of stained glass, it makes a striking impression as the sunlight illuminates it.
Designed by Willem Jan Neutelings and Michiel Riedijk, the building in question is the Netherlands Institute for Sound and Vision, which serves as a home for Dutch audiovisual collections considered to be of national, historical and cultural importance. Based in a media park a short train ride from the centre of Amsterdam, the institute exists to preserve, manage and exhibit what – at the time of my visit – amounted to over one million hours of material.
Desiré van den Berg
Upon entering the building, the scale of the operation begins to become apparent. A large theatre serves to exhibit parts of the archive to the public, while seven floors of office space rise upwards, containing many staff, some of whom manage to archive Dutch radio and TV broadcasts within four hours of transmission. Crossing an internal bridge, there is a five-floor drop, as 52 storage depots hold hundreds of thousands of items behind closed doors. Grey slate surfaces clash with bright orange walls, the storage floors deliberately kept underground to benefit from the cooler temperature, an extra line of preservation defence.
Desiré van den Berg Desiré van den Berg
Gregory Markus and Harry van Biessum started the RE:VIVE initiative as a way to have producers engage with the Sound and Vision archive (and, eventually, sound archives worldwide). The institute has excelled at documenting the past, but Gregory believes that the archive could be used to be hear the past.
“There’s been a lot of projects in the past few years in Europe that have been trying to generate or stimulate this creative reuse of cultural heritage content,” explains Markus. “I’ve been involved in these projects [but] I never was seeing anything that kind of stimulated me. ‘Okay, this is a really great idea’. It was missing the mark in terms of getting in touch with the right people… When I saw Matthew Herbert do a Boiler Room session at the British Library (https://www.youtube.com/watch?v=tAgBvyDqOBE) , it kind of clicked. Then that was kind of it. I started crafting the idea and trying to talk to as many people in the scene as possible.”
The RE:VIVE sample packs feature found sounds from a wide range of countries and eras. Audio of an axe-grinder sits alongside a recording of an Irish folk song, the sound of a car wash is followed by a 1930s recording of a traditional Japanese song. As long as the sounds are openly licensed and interesting, they stand the chance of being included and offered up to users to manipulate them in any way they please.
Desiré van den Berg
Last year, R&S duo Lakker (https://lakker.wordpress.com/) were invited to the institute to spend time in the archive, with the task of producing music based around the theme of water. So how did two Irishmen, based in Berlin, come to be selected for a Dutch initiative?
“I read a Pitchfork piece (http://pitchfork.com/features/rising/9654-lakker-techno-storytellers/) on Lakker about how they’re techno story tellers, and I think what got me the most was when they were mentioning field recordings and found sounds. They said, ‘the shittier the quality, the better.’ I thought, ‘Perfect, this is perfect!’”
Lakker turned in several tracks, and listening to a few within the institute, it’s hard to believe that the music originally began life as the noise of a squeaking gate. The music is immediate, complex and listenable, the original source material expertly crafted and transformed into something new.
Desiré van den Berg Desiré van den Berg
As a result of the initiative, the duo will host a sampling workshop (http://www.redbullmusicacademy.com/events/rbma-session-amsterdam-2016) in Amsterdam in association with RE:VIVE and Red Bull Music Academy, with the duo offering advice on sound design and sampling.
“We’ve gone through the collection and pulled out roughly 150 items, ranging from broadcast material to field recordings, all relating to Amsterdam, because obviously the event is taking place in Amsterdam, and so we wanted to keep it local. Participants will be given these materials and they will be challenged to answer, ‘What does Amsterdam sound like to you? If you were to write a song about Amsterdam, a neighborhood, a place or something, how would it sound?’ We’re challenging people to create something conceptual, sonically, musically, by only using sounds that relate to that theme or place.
“I mean obviously it’s taking a little from what inspired RE:VIVE,” continues Markus. “Rock concept albums, like Neutral Milk Hotel’s In the Aeroplane Over the Sea. Matthew Herbert, Matmos. Or MF Doom’s audio collages where they would just cut old radio broadcast and then create these stories. [It’s] just trying to bring all these things together and using kind of a historical part of the archive as the centre point. History as the centre point.”
Desiré van den Berg Desiré van den Berg
Getting to this point has been no easy feat. The initiative has two main tasks, making people aware of the potential of the archive and categorizing the huge amount of material at the institute’s disposal. Following the conclusion of a seven-year project to digitize hours of audiovisual material (titled Images For The Future) the end result was 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and over 2.5 million photographs. The total of all digital material is 11.5 petabytes, with an extra 1.5 petabytes being added annually.
“One of our biggest challenges now as an institution is when we get a bunch of material to make sure that it’s properly categorized, like any librarian needs to do… Getting the metadata correct, having it as rich as possible. Pulling out keywords and allowing for specific searches to deliver the results.
It’s hard for people to care about things that they can’t find or that they don’t even know exist.
Gregory Markus
“I would like to see artists become more engaged with archives, and I would like to see archives being more open to these kind of collaborations,” continues Markus. “I want to show producers who are interested in archives, not just the material but the stories behind them… I would like to see the worlds come closer together… It’s hard for people to care about things that they can’t find or that they don’t even know exist. No one’s going to sift through millions of records to find something. There’s no way to create an interface friendly enough to have someone go through all this material, but if an archive can do small curation, and it can be given then to an artist, then that artist can put it out into the public in an entirely new context.”
RE:VIVE are planning to document their work with Lakker in the form of a video documentary and track breakdown, allowing listeners to see how the samples were transformed into full songs. Markus hopes this will be the next step to “creating a more collaborative environment, because archives are dying for creative reuse. Millions of euros of funding are going into creative reuse, trying to facilitate it. We’re just trying to help it click.”
Share on Twitter Share on Facebook
By Chris Duncan (http://daily.redbullmusicacademy.com/author/chris-duncan) on February 24, 2016
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=965c111f3c) | 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=965c111f3c&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
RE:VIVE: A Dutch initiative transforming the way we think about sound archives | Red Bull Music Academy Daily
http://www.jazzpromoservices.com/
http://daily.redbullmusicacademy.com/2016/02/revive-project-feature
** RE:VIVE
————————————————————
** The Netherlands Institute for Sound and Vision’s new initiative wants to change the way you think about sound archives
————————————————————
Desiré van den Berg
Alighting the train at Hilversum it is impossible to ignore the ornate, almost mosaic appearance of the building directly opposite the station. A towering cube of stained glass, it makes a striking impression as the sunlight illuminates it.
Designed by Willem Jan Neutelings and Michiel Riedijk, the building in question is the Netherlands Institute for Sound and Vision, which serves as a home for Dutch audiovisual collections considered to be of national, historical and cultural importance. Based in a media park a short train ride from the centre of Amsterdam, the institute exists to preserve, manage and exhibit what – at the time of my visit – amounted to over one million hours of material.
Desiré van den Berg
Upon entering the building, the scale of the operation begins to become apparent. A large theatre serves to exhibit parts of the archive to the public, while seven floors of office space rise upwards, containing many staff, some of whom manage to archive Dutch radio and TV broadcasts within four hours of transmission. Crossing an internal bridge, there is a five-floor drop, as 52 storage depots hold hundreds of thousands of items behind closed doors. Grey slate surfaces clash with bright orange walls, the storage floors deliberately kept underground to benefit from the cooler temperature, an extra line of preservation defence.
Desiré van den Berg Desiré van den Berg
Gregory Markus and Harry van Biessum started the RE:VIVE initiative as a way to have producers engage with the Sound and Vision archive (and, eventually, sound archives worldwide). The institute has excelled at documenting the past, but Gregory believes that the archive could be used to be hear the past.
“There’s been a lot of projects in the past few years in Europe that have been trying to generate or stimulate this creative reuse of cultural heritage content,” explains Markus. “I’ve been involved in these projects [but] I never was seeing anything that kind of stimulated me. ‘Okay, this is a really great idea’. It was missing the mark in terms of getting in touch with the right people… When I saw Matthew Herbert do a Boiler Room session at the British Library (https://www.youtube.com/watch?v=tAgBvyDqOBE) , it kind of clicked. Then that was kind of it. I started crafting the idea and trying to talk to as many people in the scene as possible.”
The RE:VIVE sample packs feature found sounds from a wide range of countries and eras. Audio of an axe-grinder sits alongside a recording of an Irish folk song, the sound of a car wash is followed by a 1930s recording of a traditional Japanese song. As long as the sounds are openly licensed and interesting, they stand the chance of being included and offered up to users to manipulate them in any way they please.
Desiré van den Berg
Last year, R&S duo Lakker (https://lakker.wordpress.com/) were invited to the institute to spend time in the archive, with the task of producing music based around the theme of water. So how did two Irishmen, based in Berlin, come to be selected for a Dutch initiative?
“I read a Pitchfork piece (http://pitchfork.com/features/rising/9654-lakker-techno-storytellers/) on Lakker about how they’re techno story tellers, and I think what got me the most was when they were mentioning field recordings and found sounds. They said, ‘the shittier the quality, the better.’ I thought, ‘Perfect, this is perfect!’”
Lakker turned in several tracks, and listening to a few within the institute, it’s hard to believe that the music originally began life as the noise of a squeaking gate. The music is immediate, complex and listenable, the original source material expertly crafted and transformed into something new.
Desiré van den Berg Desiré van den Berg
As a result of the initiative, the duo will host a sampling workshop (http://www.redbullmusicacademy.com/events/rbma-session-amsterdam-2016) in Amsterdam in association with RE:VIVE and Red Bull Music Academy, with the duo offering advice on sound design and sampling.
“We’ve gone through the collection and pulled out roughly 150 items, ranging from broadcast material to field recordings, all relating to Amsterdam, because obviously the event is taking place in Amsterdam, and so we wanted to keep it local. Participants will be given these materials and they will be challenged to answer, ‘What does Amsterdam sound like to you? If you were to write a song about Amsterdam, a neighborhood, a place or something, how would it sound?’ We’re challenging people to create something conceptual, sonically, musically, by only using sounds that relate to that theme or place.
“I mean obviously it’s taking a little from what inspired RE:VIVE,” continues Markus. “Rock concept albums, like Neutral Milk Hotel’s In the Aeroplane Over the Sea. Matthew Herbert, Matmos. Or MF Doom’s audio collages where they would just cut old radio broadcast and then create these stories. [It’s] just trying to bring all these things together and using kind of a historical part of the archive as the centre point. History as the centre point.”
Desiré van den Berg Desiré van den Berg
Getting to this point has been no easy feat. The initiative has two main tasks, making people aware of the potential of the archive and categorizing the huge amount of material at the institute’s disposal. Following the conclusion of a seven-year project to digitize hours of audiovisual material (titled Images For The Future) the end result was 90,000 hours of video, 20,000 hours of film, 100,000 hours of audio and over 2.5 million photographs. The total of all digital material is 11.5 petabytes, with an extra 1.5 petabytes being added annually.
“One of our biggest challenges now as an institution is when we get a bunch of material to make sure that it’s properly categorized, like any librarian needs to do… Getting the metadata correct, having it as rich as possible. Pulling out keywords and allowing for specific searches to deliver the results.
It’s hard for people to care about things that they can’t find or that they don’t even know exist.
Gregory Markus
“I would like to see artists become more engaged with archives, and I would like to see archives being more open to these kind of collaborations,” continues Markus. “I want to show producers who are interested in archives, not just the material but the stories behind them… I would like to see the worlds come closer together… It’s hard for people to care about things that they can’t find or that they don’t even know exist. No one’s going to sift through millions of records to find something. There’s no way to create an interface friendly enough to have someone go through all this material, but if an archive can do small curation, and it can be given then to an artist, then that artist can put it out into the public in an entirely new context.”
RE:VIVE are planning to document their work with Lakker in the form of a video documentary and track breakdown, allowing listeners to see how the samples were transformed into full songs. Markus hopes this will be the next step to “creating a more collaborative environment, because archives are dying for creative reuse. Millions of euros of funding are going into creative reuse, trying to facilitate it. We’re just trying to help it click.”
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By Chris Duncan (http://daily.redbullmusicacademy.com/author/chris-duncan) on February 24, 2016
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Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment | News | Culture | The Independent
http://www.jazzpromoservices.com/
http://www.independent.co.uk/arts-entertainment/music/news/the-rolling-stones-cream-the-police-albums-abbey-road-vinyl-half-speed-a6870646.html
** Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment
————————————————————
* Adam Sherwin (http://www.independent.co.uk/author/adam-sherwin) Media Correspondent
From 78s to CDs and the MP3, popular music has enjoyed countless revolutions. Now acoustic experts claim the path to perfect sonic reproduction is vinyl albums produced at the “half-speed” of 16 2/3 RPM.
Six classic albums, including The Rolling Stones’s Exile On Main Street, have been cut for release at Abbey Road Studios in London using half-speed mastering, a process that promises to reveal a new level of depth and clarity to the recordings.
An artisan process in an era of digital music reproduction, requiring hand-crafted use of a lathe, the records have been mastered by Miles Showell, one of the world’s leading exponents of half-speed cutting.
The 180g vinyl albums, expected to sell for £32, will play at the standard 33 RPM. But they promise to bring “superior high-frequency response (treble) and very solid and stable stereo images”, which will relay every Keith Richards lick and Mick Jagger whoop, as intended by the band back in 1972.
The process involves the original master tape being played back at 16 2/3 RPM, precisely half its recorded speed, while the cutting lathe is similarly turned at half the desired playback speed.
Vinyl demands: Six of the best
The Rolling Stones – Exile On Main Street Sprawling double album incorporating blues, country and gospel influences. Cut from 24bit/96khz digital transfers and made from the original ¼” tapes.
The Police – Ghost In Machine Multi-platinum 1981 album. Cut from a high-res digital transfer from the best known ¼’’ analogue tape in existence.
John Martyn – Solid Air Ground-breaking, chilled-out jazz-folk album from 1973. Cut from a high-res digital transfer from the original ¼” analogue masters
Cream – Disraeli Gears 1967 psychedelic masterpiece from supergroup led by Eric Clapton and Ginger Baker. Cut from digital transfers made from the original ¼” mono masters.
Free – Fire And Water Third album from Paul Rodgers’ blues-rockers contains big hit All Right Now. Cut from digital transfers from the original ¼” tapes.
Simple Minds – New Gold Dream Shimmering synths on Scots rockers 1982 breakthrough record. Cut from high-res digital transfer from original ½” analogue masters.
This allows the cutting head twice the time to cut the intricate groove into the master lacquer, affording considerably more accuracy over vital sonic matters such as “frequency extremes and micro-dynamic contrasts”.
Using a modified Neumann VMS-80 lathe, described as the finest cutting lathe in the business, Showell is able to cut difficult high-frequency information to mid-range. The result is a record that is capable of “extremely clean and unforced high-frequency response.” Because both the source and the cut were running at half their “normal” speeds, everything plays back at the right speed when the record is played at home.
“It takes forever, more than four times as long as cutting a normal record,” said Showell. “It brings a clear, crisp sound with much better stereo separation and attention to detail than previous versions.”
Only audiophiles will benefit, however. “You won’t get much benefit on a cheap £80 turntable, but a decent £200 turntable should show the difference,” he said.
The greatest challenge with half-speed cutting is “de-essing”, a form of processing the signal whereby the “s ss” and “t” sounds from the vocalist are controlled in order to avoid sibilance and distortion on playback.
“A lot of records are just cut on autopilot by robots in a factory,” said Showell, an award-winning engineer who has applied the half-speed technique to the Beatles and Queen catalogues.
The new releases include Simple Minds’s 1982 album New Gold Dream. “It’s a long album, 25-minutes a side, which makes it harder to cut to a good level because you run out of room on the disc to fit it all on,” Showell said. He is particularly pleased with the results of his work on John Martyn’s Solid Air, a 1973 folk-jazz classic. “It sounds lovely,” he said.
Further releases from the Universal Music catalogue will follow, and Showell said he hoped that it might encourage a generation used to listening to heavily compressed MP3 tracks through cheap earbuds to sample broader sonic horizons.
* More about:
* The Rolling Stones (safari-reader://www.independent.co.uk/topic/TheRollingStones)
* vinyl (safari-reader://www.independent.co.uk/topic/vinyl)
* Albums (safari-reader://www.independent.co.uk/topic/albums)
* The Police (safari-reader://www.independent.co.uk/topic/the-police)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment | News | Culture | The Independent
http://www.jazzpromoservices.com/
http://www.independent.co.uk/arts-entertainment/music/news/the-rolling-stones-cream-the-police-albums-abbey-road-vinyl-half-speed-a6870646.html
** Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment
————————————————————
* Adam Sherwin (http://www.independent.co.uk/author/adam-sherwin) Media Correspondent
From 78s to CDs and the MP3, popular music has enjoyed countless revolutions. Now acoustic experts claim the path to perfect sonic reproduction is vinyl albums produced at the “half-speed” of 16 2/3 RPM.
Six classic albums, including The Rolling Stones’s Exile On Main Street, have been cut for release at Abbey Road Studios in London using half-speed mastering, a process that promises to reveal a new level of depth and clarity to the recordings.
An artisan process in an era of digital music reproduction, requiring hand-crafted use of a lathe, the records have been mastered by Miles Showell, one of the world’s leading exponents of half-speed cutting.
The 180g vinyl albums, expected to sell for £32, will play at the standard 33 RPM. But they promise to bring “superior high-frequency response (treble) and very solid and stable stereo images”, which will relay every Keith Richards lick and Mick Jagger whoop, as intended by the band back in 1972.
The process involves the original master tape being played back at 16 2/3 RPM, precisely half its recorded speed, while the cutting lathe is similarly turned at half the desired playback speed.
Vinyl demands: Six of the best
The Rolling Stones – Exile On Main Street Sprawling double album incorporating blues, country and gospel influences. Cut from 24bit/96khz digital transfers and made from the original ¼” tapes.
The Police – Ghost In Machine Multi-platinum 1981 album. Cut from a high-res digital transfer from the best known ¼’’ analogue tape in existence.
John Martyn – Solid Air Ground-breaking, chilled-out jazz-folk album from 1973. Cut from a high-res digital transfer from the original ¼” analogue masters
Cream – Disraeli Gears 1967 psychedelic masterpiece from supergroup led by Eric Clapton and Ginger Baker. Cut from digital transfers made from the original ¼” mono masters.
Free – Fire And Water Third album from Paul Rodgers’ blues-rockers contains big hit All Right Now. Cut from digital transfers from the original ¼” tapes.
Simple Minds – New Gold Dream Shimmering synths on Scots rockers 1982 breakthrough record. Cut from high-res digital transfer from original ½” analogue masters.
This allows the cutting head twice the time to cut the intricate groove into the master lacquer, affording considerably more accuracy over vital sonic matters such as “frequency extremes and micro-dynamic contrasts”.
Using a modified Neumann VMS-80 lathe, described as the finest cutting lathe in the business, Showell is able to cut difficult high-frequency information to mid-range. The result is a record that is capable of “extremely clean and unforced high-frequency response.” Because both the source and the cut were running at half their “normal” speeds, everything plays back at the right speed when the record is played at home.
“It takes forever, more than four times as long as cutting a normal record,” said Showell. “It brings a clear, crisp sound with much better stereo separation and attention to detail than previous versions.”
Only audiophiles will benefit, however. “You won’t get much benefit on a cheap £80 turntable, but a decent £200 turntable should show the difference,” he said.
The greatest challenge with half-speed cutting is “de-essing”, a form of processing the signal whereby the “s ss” and “t” sounds from the vocalist are controlled in order to avoid sibilance and distortion on playback.
“A lot of records are just cut on autopilot by robots in a factory,” said Showell, an award-winning engineer who has applied the half-speed technique to the Beatles and Queen catalogues.
The new releases include Simple Minds’s 1982 album New Gold Dream. “It’s a long album, 25-minutes a side, which makes it harder to cut to a good level because you run out of room on the disc to fit it all on,” Showell said. He is particularly pleased with the results of his work on John Martyn’s Solid Air, a 1973 folk-jazz classic. “It sounds lovely,” he said.
Further releases from the Universal Music catalogue will follow, and Showell said he hoped that it might encourage a generation used to listening to heavily compressed MP3 tracks through cheap earbuds to sample broader sonic horizons.
* More about:
* The Rolling Stones (safari-reader://www.independent.co.uk/topic/TheRollingStones)
* vinyl (safari-reader://www.independent.co.uk/topic/vinyl)
* Albums (safari-reader://www.independent.co.uk/topic/albums)
* The Police (safari-reader://www.independent.co.uk/topic/the-police)
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
Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment | News | Culture | The Independent
http://www.jazzpromoservices.com/
http://www.independent.co.uk/arts-entertainment/music/news/the-rolling-stones-cream-the-police-albums-abbey-road-vinyl-half-speed-a6870646.html
** Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment
————————————————————
* Adam Sherwin (http://www.independent.co.uk/author/adam-sherwin) Media Correspondent
From 78s to CDs and the MP3, popular music has enjoyed countless revolutions. Now acoustic experts claim the path to perfect sonic reproduction is vinyl albums produced at the “half-speed” of 16 2/3 RPM.
Six classic albums, including The Rolling Stones’s Exile On Main Street, have been cut for release at Abbey Road Studios in London using half-speed mastering, a process that promises to reveal a new level of depth and clarity to the recordings.
An artisan process in an era of digital music reproduction, requiring hand-crafted use of a lathe, the records have been mastered by Miles Showell, one of the world’s leading exponents of half-speed cutting.
The 180g vinyl albums, expected to sell for £32, will play at the standard 33 RPM. But they promise to bring “superior high-frequency response (treble) and very solid and stable stereo images”, which will relay every Keith Richards lick and Mick Jagger whoop, as intended by the band back in 1972.
The process involves the original master tape being played back at 16 2/3 RPM, precisely half its recorded speed, while the cutting lathe is similarly turned at half the desired playback speed.
Vinyl demands: Six of the best
The Rolling Stones – Exile On Main Street Sprawling double album incorporating blues, country and gospel influences. Cut from 24bit/96khz digital transfers and made from the original ¼” tapes.
The Police – Ghost In Machine Multi-platinum 1981 album. Cut from a high-res digital transfer from the best known ¼’’ analogue tape in existence.
John Martyn – Solid Air Ground-breaking, chilled-out jazz-folk album from 1973. Cut from a high-res digital transfer from the original ¼” analogue masters
Cream – Disraeli Gears 1967 psychedelic masterpiece from supergroup led by Eric Clapton and Ginger Baker. Cut from digital transfers made from the original ¼” mono masters.
Free – Fire And Water Third album from Paul Rodgers’ blues-rockers contains big hit All Right Now. Cut from digital transfers from the original ¼” tapes.
Simple Minds – New Gold Dream Shimmering synths on Scots rockers 1982 breakthrough record. Cut from high-res digital transfer from original ½” analogue masters.
This allows the cutting head twice the time to cut the intricate groove into the master lacquer, affording considerably more accuracy over vital sonic matters such as “frequency extremes and micro-dynamic contrasts”.
Using a modified Neumann VMS-80 lathe, described as the finest cutting lathe in the business, Showell is able to cut difficult high-frequency information to mid-range. The result is a record that is capable of “extremely clean and unforced high-frequency response.” Because both the source and the cut were running at half their “normal” speeds, everything plays back at the right speed when the record is played at home.
“It takes forever, more than four times as long as cutting a normal record,” said Showell. “It brings a clear, crisp sound with much better stereo separation and attention to detail than previous versions.”
Only audiophiles will benefit, however. “You won’t get much benefit on a cheap £80 turntable, but a decent £200 turntable should show the difference,” he said.
The greatest challenge with half-speed cutting is “de-essing”, a form of processing the signal whereby the “s ss” and “t” sounds from the vocalist are controlled in order to avoid sibilance and distortion on playback.
“A lot of records are just cut on autopilot by robots in a factory,” said Showell, an award-winning engineer who has applied the half-speed technique to the Beatles and Queen catalogues.
The new releases include Simple Minds’s 1982 album New Gold Dream. “It’s a long album, 25-minutes a side, which makes it harder to cut to a good level because you run out of room on the disc to fit it all on,” Showell said. He is particularly pleased with the results of his work on John Martyn’s Solid Air, a 1973 folk-jazz classic. “It sounds lovely,” he said.
Further releases from the Universal Music catalogue will follow, and Showell said he hoped that it might encourage a generation used to listening to heavily compressed MP3 tracks through cheap earbuds to sample broader sonic horizons.
* More about:
* The Rolling Stones (safari-reader://www.independent.co.uk/topic/TheRollingStones)
* vinyl (safari-reader://www.independent.co.uk/topic/vinyl)
* Albums (safari-reader://www.independent.co.uk/topic/albums)
* The Police (safari-reader://www.independent.co.uk/topic/the-police)
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment | News | Culture | The Independent
http://www.jazzpromoservices.com/
http://www.independent.co.uk/arts-entertainment/music/news/the-rolling-stones-cream-the-police-albums-abbey-road-vinyl-half-speed-a6870646.html
** Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment
————————————————————
* Adam Sherwin (http://www.independent.co.uk/author/adam-sherwin) Media Correspondent
From 78s to CDs and the MP3, popular music has enjoyed countless revolutions. Now acoustic experts claim the path to perfect sonic reproduction is vinyl albums produced at the “half-speed” of 16 2/3 RPM.
Six classic albums, including The Rolling Stones’s Exile On Main Street, have been cut for release at Abbey Road Studios in London using half-speed mastering, a process that promises to reveal a new level of depth and clarity to the recordings.
An artisan process in an era of digital music reproduction, requiring hand-crafted use of a lathe, the records have been mastered by Miles Showell, one of the world’s leading exponents of half-speed cutting.
The 180g vinyl albums, expected to sell for £32, will play at the standard 33 RPM. But they promise to bring “superior high-frequency response (treble) and very solid and stable stereo images”, which will relay every Keith Richards lick and Mick Jagger whoop, as intended by the band back in 1972.
The process involves the original master tape being played back at 16 2/3 RPM, precisely half its recorded speed, while the cutting lathe is similarly turned at half the desired playback speed.
Vinyl demands: Six of the best
The Rolling Stones – Exile On Main Street Sprawling double album incorporating blues, country and gospel influences. Cut from 24bit/96khz digital transfers and made from the original ¼” tapes.
The Police – Ghost In Machine Multi-platinum 1981 album. Cut from a high-res digital transfer from the best known ¼’’ analogue tape in existence.
John Martyn – Solid Air Ground-breaking, chilled-out jazz-folk album from 1973. Cut from a high-res digital transfer from the original ¼” analogue masters
Cream – Disraeli Gears 1967 psychedelic masterpiece from supergroup led by Eric Clapton and Ginger Baker. Cut from digital transfers made from the original ¼” mono masters.
Free – Fire And Water Third album from Paul Rodgers’ blues-rockers contains big hit All Right Now. Cut from digital transfers from the original ¼” tapes.
Simple Minds – New Gold Dream Shimmering synths on Scots rockers 1982 breakthrough record. Cut from high-res digital transfer from original ½” analogue masters.
This allows the cutting head twice the time to cut the intricate groove into the master lacquer, affording considerably more accuracy over vital sonic matters such as “frequency extremes and micro-dynamic contrasts”.
Using a modified Neumann VMS-80 lathe, described as the finest cutting lathe in the business, Showell is able to cut difficult high-frequency information to mid-range. The result is a record that is capable of “extremely clean and unforced high-frequency response.” Because both the source and the cut were running at half their “normal” speeds, everything plays back at the right speed when the record is played at home.
“It takes forever, more than four times as long as cutting a normal record,” said Showell. “It brings a clear, crisp sound with much better stereo separation and attention to detail than previous versions.”
Only audiophiles will benefit, however. “You won’t get much benefit on a cheap £80 turntable, but a decent £200 turntable should show the difference,” he said.
The greatest challenge with half-speed cutting is “de-essing”, a form of processing the signal whereby the “s ss” and “t” sounds from the vocalist are controlled in order to avoid sibilance and distortion on playback.
“A lot of records are just cut on autopilot by robots in a factory,” said Showell, an award-winning engineer who has applied the half-speed technique to the Beatles and Queen catalogues.
The new releases include Simple Minds’s 1982 album New Gold Dream. “It’s a long album, 25-minutes a side, which makes it harder to cut to a good level because you run out of room on the disc to fit it all on,” Showell said. He is particularly pleased with the results of his work on John Martyn’s Solid Air, a 1973 folk-jazz classic. “It sounds lovely,” he said.
Further releases from the Universal Music catalogue will follow, and Showell said he hoped that it might encourage a generation used to listening to heavily compressed MP3 tracks through cheap earbuds to sample broader sonic horizons.
* More about:
* The Rolling Stones (safari-reader://www.independent.co.uk/topic/TheRollingStones)
* vinyl (safari-reader://www.independent.co.uk/topic/vinyl)
* Albums (safari-reader://www.independent.co.uk/topic/albums)
* The Police (safari-reader://www.independent.co.uk/topic/the-police)
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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Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment | News | Culture | The Independent
http://www.jazzpromoservices.com/
http://www.independent.co.uk/arts-entertainment/music/news/the-rolling-stones-cream-the-police-albums-abbey-road-vinyl-half-speed-a6870646.html
** Classic albums given new life at Abbey Road Studios with ‘half-speed’ vinyl treatment
————————————————————
* Adam Sherwin (http://www.independent.co.uk/author/adam-sherwin) Media Correspondent
From 78s to CDs and the MP3, popular music has enjoyed countless revolutions. Now acoustic experts claim the path to perfect sonic reproduction is vinyl albums produced at the “half-speed” of 16 2/3 RPM.
Six classic albums, including The Rolling Stones’s Exile On Main Street, have been cut for release at Abbey Road Studios in London using half-speed mastering, a process that promises to reveal a new level of depth and clarity to the recordings.
An artisan process in an era of digital music reproduction, requiring hand-crafted use of a lathe, the records have been mastered by Miles Showell, one of the world’s leading exponents of half-speed cutting.
The 180g vinyl albums, expected to sell for £32, will play at the standard 33 RPM. But they promise to bring “superior high-frequency response (treble) and very solid and stable stereo images”, which will relay every Keith Richards lick and Mick Jagger whoop, as intended by the band back in 1972.
The process involves the original master tape being played back at 16 2/3 RPM, precisely half its recorded speed, while the cutting lathe is similarly turned at half the desired playback speed.
Vinyl demands: Six of the best
The Rolling Stones – Exile On Main Street Sprawling double album incorporating blues, country and gospel influences. Cut from 24bit/96khz digital transfers and made from the original ¼” tapes.
The Police – Ghost In Machine Multi-platinum 1981 album. Cut from a high-res digital transfer from the best known ¼’’ analogue tape in existence.
John Martyn – Solid Air Ground-breaking, chilled-out jazz-folk album from 1973. Cut from a high-res digital transfer from the original ¼” analogue masters
Cream – Disraeli Gears 1967 psychedelic masterpiece from supergroup led by Eric Clapton and Ginger Baker. Cut from digital transfers made from the original ¼” mono masters.
Free – Fire And Water Third album from Paul Rodgers’ blues-rockers contains big hit All Right Now. Cut from digital transfers from the original ¼” tapes.
Simple Minds – New Gold Dream Shimmering synths on Scots rockers 1982 breakthrough record. Cut from high-res digital transfer from original ½” analogue masters.
This allows the cutting head twice the time to cut the intricate groove into the master lacquer, affording considerably more accuracy over vital sonic matters such as “frequency extremes and micro-dynamic contrasts”.
Using a modified Neumann VMS-80 lathe, described as the finest cutting lathe in the business, Showell is able to cut difficult high-frequency information to mid-range. The result is a record that is capable of “extremely clean and unforced high-frequency response.” Because both the source and the cut were running at half their “normal” speeds, everything plays back at the right speed when the record is played at home.
“It takes forever, more than four times as long as cutting a normal record,” said Showell. “It brings a clear, crisp sound with much better stereo separation and attention to detail than previous versions.”
Only audiophiles will benefit, however. “You won’t get much benefit on a cheap £80 turntable, but a decent £200 turntable should show the difference,” he said.
The greatest challenge with half-speed cutting is “de-essing”, a form of processing the signal whereby the “s ss” and “t” sounds from the vocalist are controlled in order to avoid sibilance and distortion on playback.
“A lot of records are just cut on autopilot by robots in a factory,” said Showell, an award-winning engineer who has applied the half-speed technique to the Beatles and Queen catalogues.
The new releases include Simple Minds’s 1982 album New Gold Dream. “It’s a long album, 25-minutes a side, which makes it harder to cut to a good level because you run out of room on the disc to fit it all on,” Showell said. He is particularly pleased with the results of his work on John Martyn’s Solid Air, a 1973 folk-jazz classic. “It sounds lovely,” he said.
Further releases from the Universal Music catalogue will follow, and Showell said he hoped that it might encourage a generation used to listening to heavily compressed MP3 tracks through cheap earbuds to sample broader sonic horizons.
* More about:
* The Rolling Stones (safari-reader://www.independent.co.uk/topic/TheRollingStones)
* vinyl (safari-reader://www.independent.co.uk/topic/vinyl)
* Albums (safari-reader://www.independent.co.uk/topic/albums)
* The Police (safari-reader://www.independent.co.uk/topic/the-police)
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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USA
Verve Records Celebrates 60 Years — LOS ANGELES, Feb. 24, 2016 /PRNewswire/ —
http://www.jazzpromoservices.com/
http://www.prnewswire.com/news-releases/verve-records-celebrates-60-years-300225287.html
** Verve Records Celebrates 60 Years
————————————————————
Verve Records Celebrates 60 Years
Verve Records Celebrates 60 Years
LOS ANGELES, Feb. 24, 2016 /PRNewswire/ — One of the most prestigious labels in the history of jazz, Verve Records will celebrate its 60^th anniversary throughout 2016 with a trove of historic reissues and stunning new collections from its legendary archives. The release schedule constitutes a who’s-who of jazz legends, including such pioneers as Charlie Parker, Billie Holiday, Count Basie, Oscar Peterson, Bill Evans, Wes Montgomery, Louis Armstrong, Jimmy Smith,Stan Getz, and the label’s heart and soul, Ella Fitzgerald.
Fitzgerald will be honored with the release of Jazz at the Philharmonic: The Ella Fitzgerald Set, a new compilation bringing together all of her Jazz at the Philharmonic performances previously issued by Verve on various albums, on a single collection for the first time ever. The collection—which includes concerts from 1949, 1953 and 1954 and features appearances by Parker, Lester Young, and Hank Jones among others—will feature newly re-mastered music and an essay by author Will Friedwald.
The first set of releases, due out in March 2016, is also highlighted by the new digital collection Verve 60, featuring 60 stellar tracks by 60 different artists from throughout the label’s history, spanning from Ella and Oscar through Wayne Shorter and Herbie Hancock to Diana Krall and Christian McBride. In addition, five favorites from the Verve catalogue will be reissued on vinyl, including Ella & Louis, the first pairing for the label of Fitzgerald and Armstrong; Billie Holiday’s Lady Sings the Blues; Charlie “Bird” Parker’s innovative Charlie Parker with Strings; Oscar Peterson’s Night Train; and Count Basie’s April in Paris.
Several classics will also make their debuts in HD digital audio and iTunes, including titles by Fitzgerald, Evans, Parker, Wynton Kelly, and Stan Getz. Organ master Jimmy Smith’s classic singles for the label will be compiled into a digital box set.
The release schedule continues in May and June with more vinyl and digital reissues, including Getz/Gilberto and albums by Wes Montgomery, Blossom Dearie, Coleman Hawkins, and Anita O’Day. A new CD collection will compile unreleased music by Charlie Parker, while Louis Armstrong’s complete studio recordings for the label will be collected onto one multi-disc set.
Verve was founded in 1956 by Norman Granz, the forward-thinking impresario responsible for the hugely popular Jazz at the Philharmonic concerts, which brought the music to new audiences and garnered jazz an unprecedented level of respect in the popular culture. Granz also managed Ella Fitzgerald and launched the label in large part to create new opportunities worthy of the singer’s immense talent, including her landmark series of Songbook recordings.
Under the visionary leadership of Granz and later Creed Taylor (after MGM purchased the imprint in 1961), Verve continued to set new trends. The label sparked the Bossa Nova craze with the 1964 release of the GRAMMY® Award-winning Getz/Gilberto and brought a lush, elegant new sound to jazz with the arrangements of Claus Ogerman and Oliver Nelson. Its focus also encompassed groundbreaking comedy, and later widened to embrace folk and rock recordings, including now-iconic releases by The Velvet Underground, Richie Havens, Frank Zappa & The Mothers of Invention and Janis Ian.
It was its jazz legacy that cemented Verve’s place in the popular imagination however, and after a fallow period in the ’70s and ’80s Verve was revived in the mid-1990s, again signing many of the biggest names in the music: Herbie Hancock, Wayne Shorter, John Scofield, Betty Carter, Abbey Lincoln, Jeff Lorber, Chris Bottiand Incognito all recorded for Verve during this period. Its diverse and distinguished lineage continues today through the work of artists like Diana Krall, Sarah McLachlan and Third Story.
Over the course of its six-decade history, Verve has become synonymous with the very best in jazz, venerating the music while charting its course and helping to break down racial and stylistic barriers. There’s no better way to celebrate that legacy than with the music itself, and 2016 will allow listeners to revisit the breathtaking sounds of Verve in new and exhilarating ways.
Logo – http://photos.prnewswire.com/prnh/20160223/336678LOGO
SOURCE Verve Records
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
Verve Records Celebrates 60 Years — LOS ANGELES, Feb. 24, 2016 /PRNewswire/ —
http://www.jazzpromoservices.com/
http://www.prnewswire.com/news-releases/verve-records-celebrates-60-years-300225287.html
** Verve Records Celebrates 60 Years
————————————————————
Verve Records Celebrates 60 Years
Verve Records Celebrates 60 Years
LOS ANGELES, Feb. 24, 2016 /PRNewswire/ — One of the most prestigious labels in the history of jazz, Verve Records will celebrate its 60^th anniversary throughout 2016 with a trove of historic reissues and stunning new collections from its legendary archives. The release schedule constitutes a who’s-who of jazz legends, including such pioneers as Charlie Parker, Billie Holiday, Count Basie, Oscar Peterson, Bill Evans, Wes Montgomery, Louis Armstrong, Jimmy Smith,Stan Getz, and the label’s heart and soul, Ella Fitzgerald.
Fitzgerald will be honored with the release of Jazz at the Philharmonic: The Ella Fitzgerald Set, a new compilation bringing together all of her Jazz at the Philharmonic performances previously issued by Verve on various albums, on a single collection for the first time ever. The collection—which includes concerts from 1949, 1953 and 1954 and features appearances by Parker, Lester Young, and Hank Jones among others—will feature newly re-mastered music and an essay by author Will Friedwald.
The first set of releases, due out in March 2016, is also highlighted by the new digital collection Verve 60, featuring 60 stellar tracks by 60 different artists from throughout the label’s history, spanning from Ella and Oscar through Wayne Shorter and Herbie Hancock to Diana Krall and Christian McBride. In addition, five favorites from the Verve catalogue will be reissued on vinyl, including Ella & Louis, the first pairing for the label of Fitzgerald and Armstrong; Billie Holiday’s Lady Sings the Blues; Charlie “Bird” Parker’s innovative Charlie Parker with Strings; Oscar Peterson’s Night Train; and Count Basie’s April in Paris.
Several classics will also make their debuts in HD digital audio and iTunes, including titles by Fitzgerald, Evans, Parker, Wynton Kelly, and Stan Getz. Organ master Jimmy Smith’s classic singles for the label will be compiled into a digital box set.
The release schedule continues in May and June with more vinyl and digital reissues, including Getz/Gilberto and albums by Wes Montgomery, Blossom Dearie, Coleman Hawkins, and Anita O’Day. A new CD collection will compile unreleased music by Charlie Parker, while Louis Armstrong’s complete studio recordings for the label will be collected onto one multi-disc set.
Verve was founded in 1956 by Norman Granz, the forward-thinking impresario responsible for the hugely popular Jazz at the Philharmonic concerts, which brought the music to new audiences and garnered jazz an unprecedented level of respect in the popular culture. Granz also managed Ella Fitzgerald and launched the label in large part to create new opportunities worthy of the singer’s immense talent, including her landmark series of Songbook recordings.
Under the visionary leadership of Granz and later Creed Taylor (after MGM purchased the imprint in 1961), Verve continued to set new trends. The label sparked the Bossa Nova craze with the 1964 release of the GRAMMY® Award-winning Getz/Gilberto and brought a lush, elegant new sound to jazz with the arrangements of Claus Ogerman and Oliver Nelson. Its focus also encompassed groundbreaking comedy, and later widened to embrace folk and rock recordings, including now-iconic releases by The Velvet Underground, Richie Havens, Frank Zappa & The Mothers of Invention and Janis Ian.
It was its jazz legacy that cemented Verve’s place in the popular imagination however, and after a fallow period in the ’70s and ’80s Verve was revived in the mid-1990s, again signing many of the biggest names in the music: Herbie Hancock, Wayne Shorter, John Scofield, Betty Carter, Abbey Lincoln, Jeff Lorber, Chris Bottiand Incognito all recorded for Verve during this period. Its diverse and distinguished lineage continues today through the work of artists like Diana Krall, Sarah McLachlan and Third Story.
Over the course of its six-decade history, Verve has become synonymous with the very best in jazz, venerating the music while charting its course and helping to break down racial and stylistic barriers. There’s no better way to celebrate that legacy than with the music itself, and 2016 will allow listeners to revisit the breathtaking sounds of Verve in new and exhilarating ways.
Logo – http://photos.prnewswire.com/prnh/20160223/336678LOGO
SOURCE Verve Records
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
Verve Records Celebrates 60 Years — LOS ANGELES, Feb. 24, 2016 /PRNewswire/ —
http://www.jazzpromoservices.com/
http://www.prnewswire.com/news-releases/verve-records-celebrates-60-years-300225287.html
** Verve Records Celebrates 60 Years
————————————————————
Verve Records Celebrates 60 Years
Verve Records Celebrates 60 Years
LOS ANGELES, Feb. 24, 2016 /PRNewswire/ — One of the most prestigious labels in the history of jazz, Verve Records will celebrate its 60^th anniversary throughout 2016 with a trove of historic reissues and stunning new collections from its legendary archives. The release schedule constitutes a who’s-who of jazz legends, including such pioneers as Charlie Parker, Billie Holiday, Count Basie, Oscar Peterson, Bill Evans, Wes Montgomery, Louis Armstrong, Jimmy Smith,Stan Getz, and the label’s heart and soul, Ella Fitzgerald.
Fitzgerald will be honored with the release of Jazz at the Philharmonic: The Ella Fitzgerald Set, a new compilation bringing together all of her Jazz at the Philharmonic performances previously issued by Verve on various albums, on a single collection for the first time ever. The collection—which includes concerts from 1949, 1953 and 1954 and features appearances by Parker, Lester Young, and Hank Jones among others—will feature newly re-mastered music and an essay by author Will Friedwald.
The first set of releases, due out in March 2016, is also highlighted by the new digital collection Verve 60, featuring 60 stellar tracks by 60 different artists from throughout the label’s history, spanning from Ella and Oscar through Wayne Shorter and Herbie Hancock to Diana Krall and Christian McBride. In addition, five favorites from the Verve catalogue will be reissued on vinyl, including Ella & Louis, the first pairing for the label of Fitzgerald and Armstrong; Billie Holiday’s Lady Sings the Blues; Charlie “Bird” Parker’s innovative Charlie Parker with Strings; Oscar Peterson’s Night Train; and Count Basie’s April in Paris.
Several classics will also make their debuts in HD digital audio and iTunes, including titles by Fitzgerald, Evans, Parker, Wynton Kelly, and Stan Getz. Organ master Jimmy Smith’s classic singles for the label will be compiled into a digital box set.
The release schedule continues in May and June with more vinyl and digital reissues, including Getz/Gilberto and albums by Wes Montgomery, Blossom Dearie, Coleman Hawkins, and Anita O’Day. A new CD collection will compile unreleased music by Charlie Parker, while Louis Armstrong’s complete studio recordings for the label will be collected onto one multi-disc set.
Verve was founded in 1956 by Norman Granz, the forward-thinking impresario responsible for the hugely popular Jazz at the Philharmonic concerts, which brought the music to new audiences and garnered jazz an unprecedented level of respect in the popular culture. Granz also managed Ella Fitzgerald and launched the label in large part to create new opportunities worthy of the singer’s immense talent, including her landmark series of Songbook recordings.
Under the visionary leadership of Granz and later Creed Taylor (after MGM purchased the imprint in 1961), Verve continued to set new trends. The label sparked the Bossa Nova craze with the 1964 release of the GRAMMY® Award-winning Getz/Gilberto and brought a lush, elegant new sound to jazz with the arrangements of Claus Ogerman and Oliver Nelson. Its focus also encompassed groundbreaking comedy, and later widened to embrace folk and rock recordings, including now-iconic releases by The Velvet Underground, Richie Havens, Frank Zappa & The Mothers of Invention and Janis Ian.
It was its jazz legacy that cemented Verve’s place in the popular imagination however, and after a fallow period in the ’70s and ’80s Verve was revived in the mid-1990s, again signing many of the biggest names in the music: Herbie Hancock, Wayne Shorter, John Scofield, Betty Carter, Abbey Lincoln, Jeff Lorber, Chris Bottiand Incognito all recorded for Verve during this period. Its diverse and distinguished lineage continues today through the work of artists like Diana Krall, Sarah McLachlan and Third Story.
Over the course of its six-decade history, Verve has become synonymous with the very best in jazz, venerating the music while charting its course and helping to break down racial and stylistic barriers. There’s no better way to celebrate that legacy than with the music itself, and 2016 will allow listeners to revisit the breathtaking sounds of Verve in new and exhilarating ways.
Logo – http://photos.prnewswire.com/prnh/20160223/336678LOGO
SOURCE Verve Records
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
Verve Records Celebrates 60 Years — LOS ANGELES, Feb. 24, 2016 /PRNewswire/ —
http://www.jazzpromoservices.com/
http://www.prnewswire.com/news-releases/verve-records-celebrates-60-years-300225287.html
** Verve Records Celebrates 60 Years
————————————————————
Verve Records Celebrates 60 Years
Verve Records Celebrates 60 Years
LOS ANGELES, Feb. 24, 2016 /PRNewswire/ — One of the most prestigious labels in the history of jazz, Verve Records will celebrate its 60^th anniversary throughout 2016 with a trove of historic reissues and stunning new collections from its legendary archives. The release schedule constitutes a who’s-who of jazz legends, including such pioneers as Charlie Parker, Billie Holiday, Count Basie, Oscar Peterson, Bill Evans, Wes Montgomery, Louis Armstrong, Jimmy Smith,Stan Getz, and the label’s heart and soul, Ella Fitzgerald.
Fitzgerald will be honored with the release of Jazz at the Philharmonic: The Ella Fitzgerald Set, a new compilation bringing together all of her Jazz at the Philharmonic performances previously issued by Verve on various albums, on a single collection for the first time ever. The collection—which includes concerts from 1949, 1953 and 1954 and features appearances by Parker, Lester Young, and Hank Jones among others—will feature newly re-mastered music and an essay by author Will Friedwald.
The first set of releases, due out in March 2016, is also highlighted by the new digital collection Verve 60, featuring 60 stellar tracks by 60 different artists from throughout the label’s history, spanning from Ella and Oscar through Wayne Shorter and Herbie Hancock to Diana Krall and Christian McBride. In addition, five favorites from the Verve catalogue will be reissued on vinyl, including Ella & Louis, the first pairing for the label of Fitzgerald and Armstrong; Billie Holiday’s Lady Sings the Blues; Charlie “Bird” Parker’s innovative Charlie Parker with Strings; Oscar Peterson’s Night Train; and Count Basie’s April in Paris.
Several classics will also make their debuts in HD digital audio and iTunes, including titles by Fitzgerald, Evans, Parker, Wynton Kelly, and Stan Getz. Organ master Jimmy Smith’s classic singles for the label will be compiled into a digital box set.
The release schedule continues in May and June with more vinyl and digital reissues, including Getz/Gilberto and albums by Wes Montgomery, Blossom Dearie, Coleman Hawkins, and Anita O’Day. A new CD collection will compile unreleased music by Charlie Parker, while Louis Armstrong’s complete studio recordings for the label will be collected onto one multi-disc set.
Verve was founded in 1956 by Norman Granz, the forward-thinking impresario responsible for the hugely popular Jazz at the Philharmonic concerts, which brought the music to new audiences and garnered jazz an unprecedented level of respect in the popular culture. Granz also managed Ella Fitzgerald and launched the label in large part to create new opportunities worthy of the singer’s immense talent, including her landmark series of Songbook recordings.
Under the visionary leadership of Granz and later Creed Taylor (after MGM purchased the imprint in 1961), Verve continued to set new trends. The label sparked the Bossa Nova craze with the 1964 release of the GRAMMY® Award-winning Getz/Gilberto and brought a lush, elegant new sound to jazz with the arrangements of Claus Ogerman and Oliver Nelson. Its focus also encompassed groundbreaking comedy, and later widened to embrace folk and rock recordings, including now-iconic releases by The Velvet Underground, Richie Havens, Frank Zappa & The Mothers of Invention and Janis Ian.
It was its jazz legacy that cemented Verve’s place in the popular imagination however, and after a fallow period in the ’70s and ’80s Verve was revived in the mid-1990s, again signing many of the biggest names in the music: Herbie Hancock, Wayne Shorter, John Scofield, Betty Carter, Abbey Lincoln, Jeff Lorber, Chris Bottiand Incognito all recorded for Verve during this period. Its diverse and distinguished lineage continues today through the work of artists like Diana Krall, Sarah McLachlan and Third Story.
Over the course of its six-decade history, Verve has become synonymous with the very best in jazz, venerating the music while charting its course and helping to break down racial and stylistic barriers. There’s no better way to celebrate that legacy than with the music itself, and 2016 will allow listeners to revisit the breathtaking sounds of Verve in new and exhilarating ways.
Logo – http://photos.prnewswire.com/prnh/20160223/336678LOGO
SOURCE Verve Records
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 Singers’ Review – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/jazz-singers-review-1456267666
** ‘Jazz Singers’ Review
————————————————————
By Will Friedwald
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ ENLARGE
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ Photo: Chronicle Books/Library of Congress
By
Will Friedwald
Feb. 23, 2016 5:47 p.m. ET
Washington
‘What is a jazz singer?” We are confronted with that question as soon as we walk into “Jazz Singers” at the Library of Congress. To the credit of Larry Appelbaum, the Library’s senior music specialist who curated this exhibition, there is no attempt here to directly answer that question in words—many writers have tried and usually failed. Instead, the answer comes from about 70 original drawings and watercolors, photographs and documents, supplemented by about a dozen video excerpts of representative performances.
** Jazz Singers
————————————————————
Library of Congress
Through July 23
The beating heart of the exhibition, which runs through July 23 (and will eventually reopen in modified form at the Walt Disney Concert Hall in Los Angeles), are prints from the collection of photographer William Gottlieb. There are also letters and photos from the papers of Max Roach, Chet Baker and Shirley Horn (among many others), but it was Gottlieb who shot the most stunning and instantly recognizable images of the jazz greats of the 1940s and ’50s. (The Library of Congress acquired his collection in 1995.)
The centerpiece is Gottlieb’s famous 1947 portrait of Billie Holiday in performance: mouth open in midsong but eyes closed, as if she were channeling a higher power and didn’t want to be distracted by anything so mundane as the real world. Contrast that with the images from the same year of such cut-ups and crowd-pleasing extroverts as Cab Calloway, rolling his eyes; Louis Jordan, posing jubilantly with chorus girls; and Louis Prima, captured crouching in mid-tarantella. Not everything presented here is so upbeat—there’s also a note from trumpeter and singer Chet Baker in which he threatens suicide.
Though the emphasis is on history, that’s not to suggest that the glory days of jazz singing are all in the past. There are also images of the best of today’s singers, like the stylish veteran Dee Dee Bridgewater, the impeccable contemporary star Gregory Porter and the brilliant 26-year-old Cecile McLorin Salvant.
The actual sights and sounds of the greats in action (mostly from vintage television shows) are an important part of the exhibition. Some are classic— such as Fats Waller playing and singing “Ain’t Misbehavin’” in an excerpt from the 1943 film “Stormy Weather.” Other video clips are quite rare: a little-known duet by Ella Fitzgerald and Duke Ellington from 1959, and a 1957 appearance by Abbey Lincoln—radiant in both song and dress—on “The Steve Allen Show.”
The show could hardly be a comprehensive account of jazz singing without Louis Armstrong, the first and, in the opinion of many, greatest of all jazz singers (as well as musicians). Gottlieb captured Armstrong in a moment of self-reflection—literally—backstage in 1946. We see him looking in a mirror to check out his suit just before he goes on. There are also rich illustrations from a 2008 children’s book titled “When Louis Armstrong Taught Me Scat.”
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. ENLARGE
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. Photo: William P. Gottlieb/Library of Congress
There are those who feel that scatting is an essential part of jazz singing, but there’s a much better illustration of what jazz is all about in the face of Mildred Bailey, in a particularly glorious Gottlieb photo from 1946. Her whole soul is in her face. And though a photograph can’t actually sing, you can get an idea of why Bing Crosby, Frank Sinatra and Tony Bennett all cited Bailey as a major influence. Jazz is about singing with soul, rhythm and personality, and if you want a visual and inspirational definition of what the music is all about, look no further.
Mr. Friedwald writes about music and popular culture for the Journal.
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=ff180b3304) | 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=ff180b3304&e=[UNIQID])
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‘Jazz Singers’ Review – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/jazz-singers-review-1456267666
** ‘Jazz Singers’ Review
————————————————————
By Will Friedwald
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ ENLARGE
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ Photo: Chronicle Books/Library of Congress
By
Will Friedwald
Feb. 23, 2016 5:47 p.m. ET
Washington
‘What is a jazz singer?” We are confronted with that question as soon as we walk into “Jazz Singers” at the Library of Congress. To the credit of Larry Appelbaum, the Library’s senior music specialist who curated this exhibition, there is no attempt here to directly answer that question in words—many writers have tried and usually failed. Instead, the answer comes from about 70 original drawings and watercolors, photographs and documents, supplemented by about a dozen video excerpts of representative performances.
** Jazz Singers
————————————————————
Library of Congress
Through July 23
The beating heart of the exhibition, which runs through July 23 (and will eventually reopen in modified form at the Walt Disney Concert Hall in Los Angeles), are prints from the collection of photographer William Gottlieb. There are also letters and photos from the papers of Max Roach, Chet Baker and Shirley Horn (among many others), but it was Gottlieb who shot the most stunning and instantly recognizable images of the jazz greats of the 1940s and ’50s. (The Library of Congress acquired his collection in 1995.)
The centerpiece is Gottlieb’s famous 1947 portrait of Billie Holiday in performance: mouth open in midsong but eyes closed, as if she were channeling a higher power and didn’t want to be distracted by anything so mundane as the real world. Contrast that with the images from the same year of such cut-ups and crowd-pleasing extroverts as Cab Calloway, rolling his eyes; Louis Jordan, posing jubilantly with chorus girls; and Louis Prima, captured crouching in mid-tarantella. Not everything presented here is so upbeat—there’s also a note from trumpeter and singer Chet Baker in which he threatens suicide.
Though the emphasis is on history, that’s not to suggest that the glory days of jazz singing are all in the past. There are also images of the best of today’s singers, like the stylish veteran Dee Dee Bridgewater, the impeccable contemporary star Gregory Porter and the brilliant 26-year-old Cecile McLorin Salvant.
The actual sights and sounds of the greats in action (mostly from vintage television shows) are an important part of the exhibition. Some are classic— such as Fats Waller playing and singing “Ain’t Misbehavin’” in an excerpt from the 1943 film “Stormy Weather.” Other video clips are quite rare: a little-known duet by Ella Fitzgerald and Duke Ellington from 1959, and a 1957 appearance by Abbey Lincoln—radiant in both song and dress—on “The Steve Allen Show.”
The show could hardly be a comprehensive account of jazz singing without Louis Armstrong, the first and, in the opinion of many, greatest of all jazz singers (as well as musicians). Gottlieb captured Armstrong in a moment of self-reflection—literally—backstage in 1946. We see him looking in a mirror to check out his suit just before he goes on. There are also rich illustrations from a 2008 children’s book titled “When Louis Armstrong Taught Me Scat.”
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. ENLARGE
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. Photo: William P. Gottlieb/Library of Congress
There are those who feel that scatting is an essential part of jazz singing, but there’s a much better illustration of what jazz is all about in the face of Mildred Bailey, in a particularly glorious Gottlieb photo from 1946. Her whole soul is in her face. And though a photograph can’t actually sing, you can get an idea of why Bing Crosby, Frank Sinatra and Tony Bennett all cited Bailey as a major influence. Jazz is about singing with soul, rhythm and personality, and if you want a visual and inspirational definition of what the music is all about, look no further.
Mr. Friedwald writes about music and popular culture for the Journal.
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=ff180b3304) | 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=ff180b3304&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 Singers’ Review – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/jazz-singers-review-1456267666
** ‘Jazz Singers’ Review
————————————————————
By Will Friedwald
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ ENLARGE
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ Photo: Chronicle Books/Library of Congress
By
Will Friedwald
Feb. 23, 2016 5:47 p.m. ET
Washington
‘What is a jazz singer?” We are confronted with that question as soon as we walk into “Jazz Singers” at the Library of Congress. To the credit of Larry Appelbaum, the Library’s senior music specialist who curated this exhibition, there is no attempt here to directly answer that question in words—many writers have tried and usually failed. Instead, the answer comes from about 70 original drawings and watercolors, photographs and documents, supplemented by about a dozen video excerpts of representative performances.
** Jazz Singers
————————————————————
Library of Congress
Through July 23
The beating heart of the exhibition, which runs through July 23 (and will eventually reopen in modified form at the Walt Disney Concert Hall in Los Angeles), are prints from the collection of photographer William Gottlieb. There are also letters and photos from the papers of Max Roach, Chet Baker and Shirley Horn (among many others), but it was Gottlieb who shot the most stunning and instantly recognizable images of the jazz greats of the 1940s and ’50s. (The Library of Congress acquired his collection in 1995.)
The centerpiece is Gottlieb’s famous 1947 portrait of Billie Holiday in performance: mouth open in midsong but eyes closed, as if she were channeling a higher power and didn’t want to be distracted by anything so mundane as the real world. Contrast that with the images from the same year of such cut-ups and crowd-pleasing extroverts as Cab Calloway, rolling his eyes; Louis Jordan, posing jubilantly with chorus girls; and Louis Prima, captured crouching in mid-tarantella. Not everything presented here is so upbeat—there’s also a note from trumpeter and singer Chet Baker in which he threatens suicide.
Though the emphasis is on history, that’s not to suggest that the glory days of jazz singing are all in the past. There are also images of the best of today’s singers, like the stylish veteran Dee Dee Bridgewater, the impeccable contemporary star Gregory Porter and the brilliant 26-year-old Cecile McLorin Salvant.
The actual sights and sounds of the greats in action (mostly from vintage television shows) are an important part of the exhibition. Some are classic— such as Fats Waller playing and singing “Ain’t Misbehavin’” in an excerpt from the 1943 film “Stormy Weather.” Other video clips are quite rare: a little-known duet by Ella Fitzgerald and Duke Ellington from 1959, and a 1957 appearance by Abbey Lincoln—radiant in both song and dress—on “The Steve Allen Show.”
The show could hardly be a comprehensive account of jazz singing without Louis Armstrong, the first and, in the opinion of many, greatest of all jazz singers (as well as musicians). Gottlieb captured Armstrong in a moment of self-reflection—literally—backstage in 1946. We see him looking in a mirror to check out his suit just before he goes on. There are also rich illustrations from a 2008 children’s book titled “When Louis Armstrong Taught Me Scat.”
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. ENLARGE
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. Photo: William P. Gottlieb/Library of Congress
There are those who feel that scatting is an essential part of jazz singing, but there’s a much better illustration of what jazz is all about in the face of Mildred Bailey, in a particularly glorious Gottlieb photo from 1946. Her whole soul is in her face. And though a photograph can’t actually sing, you can get an idea of why Bing Crosby, Frank Sinatra and Tony Bennett all cited Bailey as a major influence. Jazz is about singing with soul, rhythm and personality, and if you want a visual and inspirational definition of what the music is all about, look no further.
Mr. Friedwald writes about music and popular culture for the Journal.
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=ff180b3304) | 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=ff180b3304&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 Singers’ Review – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/jazz-singers-review-1456267666
** ‘Jazz Singers’ Review
————————————————————
By Will Friedwald
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ ENLARGE
An R. Gregory Christie illustration from Muriel Harris Weinstein’s ‘When Louis Armstrong Taught Me Scat.’ Photo: Chronicle Books/Library of Congress
By
Will Friedwald
Feb. 23, 2016 5:47 p.m. ET
Washington
‘What is a jazz singer?” We are confronted with that question as soon as we walk into “Jazz Singers” at the Library of Congress. To the credit of Larry Appelbaum, the Library’s senior music specialist who curated this exhibition, there is no attempt here to directly answer that question in words—many writers have tried and usually failed. Instead, the answer comes from about 70 original drawings and watercolors, photographs and documents, supplemented by about a dozen video excerpts of representative performances.
** Jazz Singers
————————————————————
Library of Congress
Through July 23
The beating heart of the exhibition, which runs through July 23 (and will eventually reopen in modified form at the Walt Disney Concert Hall in Los Angeles), are prints from the collection of photographer William Gottlieb. There are also letters and photos from the papers of Max Roach, Chet Baker and Shirley Horn (among many others), but it was Gottlieb who shot the most stunning and instantly recognizable images of the jazz greats of the 1940s and ’50s. (The Library of Congress acquired his collection in 1995.)
The centerpiece is Gottlieb’s famous 1947 portrait of Billie Holiday in performance: mouth open in midsong but eyes closed, as if she were channeling a higher power and didn’t want to be distracted by anything so mundane as the real world. Contrast that with the images from the same year of such cut-ups and crowd-pleasing extroverts as Cab Calloway, rolling his eyes; Louis Jordan, posing jubilantly with chorus girls; and Louis Prima, captured crouching in mid-tarantella. Not everything presented here is so upbeat—there’s also a note from trumpeter and singer Chet Baker in which he threatens suicide.
Though the emphasis is on history, that’s not to suggest that the glory days of jazz singing are all in the past. There are also images of the best of today’s singers, like the stylish veteran Dee Dee Bridgewater, the impeccable contemporary star Gregory Porter and the brilliant 26-year-old Cecile McLorin Salvant.
The actual sights and sounds of the greats in action (mostly from vintage television shows) are an important part of the exhibition. Some are classic— such as Fats Waller playing and singing “Ain’t Misbehavin’” in an excerpt from the 1943 film “Stormy Weather.” Other video clips are quite rare: a little-known duet by Ella Fitzgerald and Duke Ellington from 1959, and a 1957 appearance by Abbey Lincoln—radiant in both song and dress—on “The Steve Allen Show.”
The show could hardly be a comprehensive account of jazz singing without Louis Armstrong, the first and, in the opinion of many, greatest of all jazz singers (as well as musicians). Gottlieb captured Armstrong in a moment of self-reflection—literally—backstage in 1946. We see him looking in a mirror to check out his suit just before he goes on. There are also rich illustrations from a 2008 children’s book titled “When Louis Armstrong Taught Me Scat.”
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. ENLARGE
‘Portrait of Billie Holiday’ (c. 1947), by William Gottlieb. Photo: William P. Gottlieb/Library of Congress
There are those who feel that scatting is an essential part of jazz singing, but there’s a much better illustration of what jazz is all about in the face of Mildred Bailey, in a particularly glorious Gottlieb photo from 1946. Her whole soul is in her face. And though a photograph can’t actually sing, you can get an idea of why Bing Crosby, Frank Sinatra and Tony Bennett all cited Bailey as a major influence. Jazz is about singing with soul, rhythm and personality, and if you want a visual and inspirational definition of what the music is all about, look no further.
Mr. Friedwald writes about music and popular culture for the Journal.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=ff180b3304) | 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=ff180b3304&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
“Jazz” art exhibit opens at Harvard Art Museums and the Cooper Gallery | Harvard Magazine
http://www.jazzpromoservices.com/
http://harvardmagazine.com/2016/02/art-of-jazz-opens
** In “Art of Jazz,” A Multifocal Exhibit
————————————————————
by SOPHIA NGUYEN (http://harvardmagazine.com/profile/Sophia-Nguyen)
Portrait of Miles Davis
In the front hall of the Cooper Gallery on Mount Auburn Street, what appear to be two bubble-shaped lanterns hang from the ceiling—but instead of beaming down light to illuminate the art, they pipe in music for visitors standing beneath. In the rooms beyond, other sounds beckon: fuzzy radio broadcasts melting into the clean chords from a lone piano.
Showing 70 works in a range of media (including six sound installations), and bridging two of the University’s museums, the multi-part exhibition Art of Jazz: Form/Performance/Notes opened last week at the Cooper Gallery of African & African American Art and the Harvard Art Museums. The exhibition grew from the art-history course taught by visiting professor David Bindman and Clowes professor of fine arts and professor of African and African American studies Suzanne Preston Blier. Housed at the Harvard Art Museums and drawn from their permanent collection, “Form” collects 18 works—from Jackson Pollack prints to Viktor Schreckengost’s blue art deco punch bowl—that were inspired by jazz’s early and midcentury social scene, or by rhythm or improvisation. The ephemera displayed in the “Performance” section, also curated by Blier and Bindman, couldn’t fit in the museums’ teaching galleries—but on its own, couldn’t fill the Cooper Gallery, either. The two scholars suggested that
director Vera Ingrid Grant add a third, more contemporary, component: “Notes,” which collects late twentieth- and early twenty-first-century works.
“I wanted this to be a call and response, curatorially,” says Grant. Kept visually distinct, the sections feel like the individual instruments in a trio, their voices trading places and overlapping. Where “Performance” displays album covers, children’s books, and other objects in neutral white spaces, the walls for “Notes” are painted cobalt. Grant borrowed that blue from artist Lina Viktor after visiting Viktor’s New York workspace, which was drenched in the opulent hue.
In the Cooper Gallery, Viktor’s Arcadia—an art deco-inspired work painted with pure 24-karat gold—hangs, glamorous, next to elements of Christopher Myers’s Echo in the Bones, inspired by musical funeral traditions from New Orleans and Vietnam. A band uniform, embroidered with the almost rune-like symbols the National Guard sprayed on homes after Hurricane Katrina, hangs in a brass display case. Next to it stands a composition of brass instruments fused together, looking “phantasmagoric,” as Grant puts it. As a symbol of life springing from decay, the sculpture also looks distinctly, defiantly fungal.
Birds—caged and escaped, singing and flying—have figured prominently throughout the history of jazz, and of African-American arts more broadly, Grant explains: think Nina Simone’s “Blackbird” and John Coltrane’s Bye Bye Blackbird. In the exhibition, they are a visual motif stitching the installations together. Illustrated birds decorate the pages of picture books, while a black and white portrait of saxophonist Charlie “Bird” Parker by Hugh Bell hangs on the neighboring wall. Walter Davis’s painting Black Bird Totem and his collage Bird Flight recapitulate the theme in joyous colors and abstract shapes.
The flock comes home to roost at the end of the exhibit. In Whitfield Lovell’s Servilis, stuffed ravens stand on pedestals in front of a large group portrait, burned into wood, of six aproned women. The connection to music is not immediately obvious. Interpretations of Lovell’s historic subject matter typically consider the women’s servitude or freedom, and their physical solidarity: leaning on each other’s shoulders, arms looped around waists. The installation’s placement in the jazz exhibition—with its frozen, inquisitive birds—calls attention to the subjects’ silence.
Servilis stares across the room at jazz artist Jason Moran’s STAGED: Three Deuces, a mixed media installation recreating that historic New York venue, with its padded walls and ornately embossed ceiling. Three Deuces was a “jazz mecca” of the bebop era, Moran told an interviewer in 2015, when his work was originally mounted at the Venice Biennale. Its close confines didn’t allow room for dancing; listeners had to sit, instead. STAGED: Three Deuces seems like a stuffed specimen itself: a once-living thing from a now-vanished habitat, not undignified, just strangely sad, in its state of careful preservation. Next to a bass laid on its side in its case, the self-playing Steinway (performing music by Moran on the hour) takes on a ghostly aspect.
Moran extended his original composition, “He Cares,” to 12 minutes for the exhibition; other works have were also specially expanded, like the new, enlarged print of a photograph by Ming Smith, “Invisible Man With Borders,” which is displayed in a frame that shows off its emulsion edges. Though Art of Jazz: Form/Performance/Notes may seem to end on a lonely note, its different pieces add up to an exhibition less interested in pursuing a single thesis than in amplifying a conversation.
“Art of Jazz: Form/Performance/Notes“ is open at the Cooper Gallery and Harvard Art Museums through May 8, with the exception of Jason Moran’s “STAGED: Three Deuces,” on view through April 1.
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” art exhibit opens at Harvard Art Museums and the Cooper Gallery | Harvard Magazine
http://www.jazzpromoservices.com/
http://harvardmagazine.com/2016/02/art-of-jazz-opens
** In “Art of Jazz,” A Multifocal Exhibit
————————————————————
by SOPHIA NGUYEN (http://harvardmagazine.com/profile/Sophia-Nguyen)
Portrait of Miles Davis
In the front hall of the Cooper Gallery on Mount Auburn Street, what appear to be two bubble-shaped lanterns hang from the ceiling—but instead of beaming down light to illuminate the art, they pipe in music for visitors standing beneath. In the rooms beyond, other sounds beckon: fuzzy radio broadcasts melting into the clean chords from a lone piano.
Showing 70 works in a range of media (including six sound installations), and bridging two of the University’s museums, the multi-part exhibition Art of Jazz: Form/Performance/Notes opened last week at the Cooper Gallery of African & African American Art and the Harvard Art Museums. The exhibition grew from the art-history course taught by visiting professor David Bindman and Clowes professor of fine arts and professor of African and African American studies Suzanne Preston Blier. Housed at the Harvard Art Museums and drawn from their permanent collection, “Form” collects 18 works—from Jackson Pollack prints to Viktor Schreckengost’s blue art deco punch bowl—that were inspired by jazz’s early and midcentury social scene, or by rhythm or improvisation. The ephemera displayed in the “Performance” section, also curated by Blier and Bindman, couldn’t fit in the museums’ teaching galleries—but on its own, couldn’t fill the Cooper Gallery, either. The two scholars suggested that
director Vera Ingrid Grant add a third, more contemporary, component: “Notes,” which collects late twentieth- and early twenty-first-century works.
“I wanted this to be a call and response, curatorially,” says Grant. Kept visually distinct, the sections feel like the individual instruments in a trio, their voices trading places and overlapping. Where “Performance” displays album covers, children’s books, and other objects in neutral white spaces, the walls for “Notes” are painted cobalt. Grant borrowed that blue from artist Lina Viktor after visiting Viktor’s New York workspace, which was drenched in the opulent hue.
In the Cooper Gallery, Viktor’s Arcadia—an art deco-inspired work painted with pure 24-karat gold—hangs, glamorous, next to elements of Christopher Myers’s Echo in the Bones, inspired by musical funeral traditions from New Orleans and Vietnam. A band uniform, embroidered with the almost rune-like symbols the National Guard sprayed on homes after Hurricane Katrina, hangs in a brass display case. Next to it stands a composition of brass instruments fused together, looking “phantasmagoric,” as Grant puts it. As a symbol of life springing from decay, the sculpture also looks distinctly, defiantly fungal.
Birds—caged and escaped, singing and flying—have figured prominently throughout the history of jazz, and of African-American arts more broadly, Grant explains: think Nina Simone’s “Blackbird” and John Coltrane’s Bye Bye Blackbird. In the exhibition, they are a visual motif stitching the installations together. Illustrated birds decorate the pages of picture books, while a black and white portrait of saxophonist Charlie “Bird” Parker by Hugh Bell hangs on the neighboring wall. Walter Davis’s painting Black Bird Totem and his collage Bird Flight recapitulate the theme in joyous colors and abstract shapes.
The flock comes home to roost at the end of the exhibit. In Whitfield Lovell’s Servilis, stuffed ravens stand on pedestals in front of a large group portrait, burned into wood, of six aproned women. The connection to music is not immediately obvious. Interpretations of Lovell’s historic subject matter typically consider the women’s servitude or freedom, and their physical solidarity: leaning on each other’s shoulders, arms looped around waists. The installation’s placement in the jazz exhibition—with its frozen, inquisitive birds—calls attention to the subjects’ silence.
Servilis stares across the room at jazz artist Jason Moran’s STAGED: Three Deuces, a mixed media installation recreating that historic New York venue, with its padded walls and ornately embossed ceiling. Three Deuces was a “jazz mecca” of the bebop era, Moran told an interviewer in 2015, when his work was originally mounted at the Venice Biennale. Its close confines didn’t allow room for dancing; listeners had to sit, instead. STAGED: Three Deuces seems like a stuffed specimen itself: a once-living thing from a now-vanished habitat, not undignified, just strangely sad, in its state of careful preservation. Next to a bass laid on its side in its case, the self-playing Steinway (performing music by Moran on the hour) takes on a ghostly aspect.
Moran extended his original composition, “He Cares,” to 12 minutes for the exhibition; other works have were also specially expanded, like the new, enlarged print of a photograph by Ming Smith, “Invisible Man With Borders,” which is displayed in a frame that shows off its emulsion edges. Though Art of Jazz: Form/Performance/Notes may seem to end on a lonely note, its different pieces add up to an exhibition less interested in pursuing a single thesis than in amplifying a conversation.
“Art of Jazz: Form/Performance/Notes“ is open at the Cooper Gallery and Harvard Art Museums through May 8, with the exception of Jason Moran’s “STAGED: Three Deuces,” on view through April 1.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
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“Jazz” art exhibit opens at Harvard Art Museums and the Cooper Gallery | Harvard Magazine
http://www.jazzpromoservices.com/
http://harvardmagazine.com/2016/02/art-of-jazz-opens
** In “Art of Jazz,” A Multifocal Exhibit
————————————————————
by SOPHIA NGUYEN (http://harvardmagazine.com/profile/Sophia-Nguyen)
Portrait of Miles Davis
In the front hall of the Cooper Gallery on Mount Auburn Street, what appear to be two bubble-shaped lanterns hang from the ceiling—but instead of beaming down light to illuminate the art, they pipe in music for visitors standing beneath. In the rooms beyond, other sounds beckon: fuzzy radio broadcasts melting into the clean chords from a lone piano.
Showing 70 works in a range of media (including six sound installations), and bridging two of the University’s museums, the multi-part exhibition Art of Jazz: Form/Performance/Notes opened last week at the Cooper Gallery of African & African American Art and the Harvard Art Museums. The exhibition grew from the art-history course taught by visiting professor David Bindman and Clowes professor of fine arts and professor of African and African American studies Suzanne Preston Blier. Housed at the Harvard Art Museums and drawn from their permanent collection, “Form” collects 18 works—from Jackson Pollack prints to Viktor Schreckengost’s blue art deco punch bowl—that were inspired by jazz’s early and midcentury social scene, or by rhythm or improvisation. The ephemera displayed in the “Performance” section, also curated by Blier and Bindman, couldn’t fit in the museums’ teaching galleries—but on its own, couldn’t fill the Cooper Gallery, either. The two scholars suggested that
director Vera Ingrid Grant add a third, more contemporary, component: “Notes,” which collects late twentieth- and early twenty-first-century works.
“I wanted this to be a call and response, curatorially,” says Grant. Kept visually distinct, the sections feel like the individual instruments in a trio, their voices trading places and overlapping. Where “Performance” displays album covers, children’s books, and other objects in neutral white spaces, the walls for “Notes” are painted cobalt. Grant borrowed that blue from artist Lina Viktor after visiting Viktor’s New York workspace, which was drenched in the opulent hue.
In the Cooper Gallery, Viktor’s Arcadia—an art deco-inspired work painted with pure 24-karat gold—hangs, glamorous, next to elements of Christopher Myers’s Echo in the Bones, inspired by musical funeral traditions from New Orleans and Vietnam. A band uniform, embroidered with the almost rune-like symbols the National Guard sprayed on homes after Hurricane Katrina, hangs in a brass display case. Next to it stands a composition of brass instruments fused together, looking “phantasmagoric,” as Grant puts it. As a symbol of life springing from decay, the sculpture also looks distinctly, defiantly fungal.
Birds—caged and escaped, singing and flying—have figured prominently throughout the history of jazz, and of African-American arts more broadly, Grant explains: think Nina Simone’s “Blackbird” and John Coltrane’s Bye Bye Blackbird. In the exhibition, they are a visual motif stitching the installations together. Illustrated birds decorate the pages of picture books, while a black and white portrait of saxophonist Charlie “Bird” Parker by Hugh Bell hangs on the neighboring wall. Walter Davis’s painting Black Bird Totem and his collage Bird Flight recapitulate the theme in joyous colors and abstract shapes.
The flock comes home to roost at the end of the exhibit. In Whitfield Lovell’s Servilis, stuffed ravens stand on pedestals in front of a large group portrait, burned into wood, of six aproned women. The connection to music is not immediately obvious. Interpretations of Lovell’s historic subject matter typically consider the women’s servitude or freedom, and their physical solidarity: leaning on each other’s shoulders, arms looped around waists. The installation’s placement in the jazz exhibition—with its frozen, inquisitive birds—calls attention to the subjects’ silence.
Servilis stares across the room at jazz artist Jason Moran’s STAGED: Three Deuces, a mixed media installation recreating that historic New York venue, with its padded walls and ornately embossed ceiling. Three Deuces was a “jazz mecca” of the bebop era, Moran told an interviewer in 2015, when his work was originally mounted at the Venice Biennale. Its close confines didn’t allow room for dancing; listeners had to sit, instead. STAGED: Three Deuces seems like a stuffed specimen itself: a once-living thing from a now-vanished habitat, not undignified, just strangely sad, in its state of careful preservation. Next to a bass laid on its side in its case, the self-playing Steinway (performing music by Moran on the hour) takes on a ghostly aspect.
Moran extended his original composition, “He Cares,” to 12 minutes for the exhibition; other works have were also specially expanded, like the new, enlarged print of a photograph by Ming Smith, “Invisible Man With Borders,” which is displayed in a frame that shows off its emulsion edges. Though Art of Jazz: Form/Performance/Notes may seem to end on a lonely note, its different pieces add up to an exhibition less interested in pursuing a single thesis than in amplifying a conversation.
“Art of Jazz: Form/Performance/Notes“ is open at the Cooper Gallery and Harvard Art Museums through May 8, with the exception of Jason Moran’s “STAGED: Three Deuces,” on view through April 1.
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
Zoots Widow On Harper Lee
http://www.jazzpromoservices.com/
What a surprise to see this quote in the NYTs Harper Lee obit:
http://www.nytimes.com/2016/02/20/arts/harper-lee-dies.html?_r=0
“We didn’t think she was up to much,” recalled Louise Sims, the wife of the saxophonist Zoot Sims. “She said she was writing a book, and that was that.”
http://Louise Sims & Annie Ross photo by Jim Eigo
Louise Sims & Annie Ross photo by Jim Eigo
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
Zoots Widow On Harper Lee
http://www.jazzpromoservices.com/
What a surprise to see this quote in the NYTs Harper Lee obit:
http://www.nytimes.com/2016/02/20/arts/harper-lee-dies.html?_r=0
“We didn’t think she was up to much,” recalled Louise Sims, the wife of the saxophonist Zoot Sims. “She said she was writing a book, and that was that.”
http://Louise Sims & Annie Ross photo by Jim Eigo
Louise Sims & Annie Ross photo by Jim Eigo
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
Zoots Widow On Harper Lee
http://www.jazzpromoservices.com/
What a surprise to see this quote in the NYTs Harper Lee obit:
http://www.nytimes.com/2016/02/20/arts/harper-lee-dies.html?_r=0
“We didn’t think she was up to much,” recalled Louise Sims, the wife of the saxophonist Zoot Sims. “She said she was writing a book, and that was that.”
http://Louise Sims & Annie Ross photo by Jim Eigo
Louise Sims & Annie Ross photo by Jim Eigo
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=55a337f439) | 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=55a337f439&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
Cyrille Aimée: NY Times Jazz (2 articles)
http://www.jazzpromoservices.com/
**
————————————————————
** NY Times Jazz (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
————————————————————
http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACDuqzkg7rwCI1qx1kgwpr8Su5+fIa1rlBXbP2nck46gDcikpdc1EFNwiXxOfS86cpB7nAxAWbjRvFXGhP51UlUsckHlPHW8gIuvi2eQKCu6ERlcqaJDmNgYWkB2Jx5tiVoxhfU8QbkT0oQcZ5gcSS4MgzcYZm620Kg==&user_id=4873ff8143cef2a4936bff8c35112ce5&email_type=my_alerts_email&task_id=1455921082556300®i_id=16833052 (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y) SLIDE SHOW (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
A Jazz Singer Mixes Work and Pleasure (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
Cyrille Aimée is a rising star in the galaxy of jazz singers. (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
SUNDAY ROUTINE (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
How Cyrille Aimée, Jazz Singer, Spends Her Sundays (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
By SOL HURWITZ
The vocalist, who lives in Brooklyn when she’s not on the road, makes time to listen to the birds, catch up with friends and maybe catch a show.
*
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=ea9ad33967) | 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=ea9ad33967&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
Cyrille Aimée: NY Times Jazz (2 articles)
http://www.jazzpromoservices.com/
**
————————————————————
** NY Times Jazz (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
————————————————————
http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACDuqzkg7rwCI1qx1kgwpr8Su5+fIa1rlBXbP2nck46gDcikpdc1EFNwiXxOfS86cpB7nAxAWbjRvFXGhP51UlUsckHlPHW8gIuvi2eQKCu6ERlcqaJDmNgYWkB2Jx5tiVoxhfU8QbkT0oQcZ5gcSS4MgzcYZm620Kg==&user_id=4873ff8143cef2a4936bff8c35112ce5&email_type=my_alerts_email&task_id=1455921082556300®i_id=16833052 (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y) SLIDE SHOW (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
A Jazz Singer Mixes Work and Pleasure (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
Cyrille Aimée is a rising star in the galaxy of jazz singers. (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
SUNDAY ROUTINE (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
How Cyrille Aimée, Jazz Singer, Spends Her Sundays (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
By SOL HURWITZ
The vocalist, who lives in Brooklyn when she’s not on the road, makes time to listen to the birds, catch up with friends and maybe catch a show.
*
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=ea9ad33967) | 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=ea9ad33967&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
Cyrille Aimée: NY Times Jazz (2 articles)
http://www.jazzpromoservices.com/
**
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** NY Times Jazz (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
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http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACDuqzkg7rwCI1qx1kgwpr8Su5+fIa1rlBXbP2nck46gDcikpdc1EFNwiXxOfS86cpB7nAxAWbjRvFXGhP51UlUsckHlPHW8gIuvi2eQKCu6ERlcqaJDmNgYWkB2Jx5tiVoxhfU8QbkT0oQcZ5gcSS4MgzcYZm620Kg==&user_id=4873ff8143cef2a4936bff8c35112ce5&email_type=my_alerts_email&task_id=1455921082556300®i_id=16833052 (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y) SLIDE SHOW (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
A Jazz Singer Mixes Work and Pleasure (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
Cyrille Aimée is a rising star in the galaxy of jazz singers. (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
SUNDAY ROUTINE (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
How Cyrille Aimée, Jazz Singer, Spends Her Sundays (http://www.nytimes.com/2016/02/21/nyregion/how-cyrille-aimee-jazz-singer-spends-her-sundays.html?emc=edit_tnt_20160219&nlid=16833052&tntemail0=y)
By SOL HURWITZ
The vocalist, who lives in Brooklyn when she’s not on the road, makes time to listen to the birds, catch up with friends and maybe catch a show.
*
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=ea9ad33967) | 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=ea9ad33967&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
Company to Reissue Glenn Miller Music on 78’s ~ VVN Music
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vintagevinylnews.com/2016/02/company-to-reissue-glenn-miller-music.html?utm_source=VVN+Music+E-Mail+Subscribers
** Company to Reissue Glenn Miller Music on 78’s
————————————————————
https://3.bp.blogspot.com/-thWaDCUB-dI/VsSINd5GmBI/AAAAAAABDwU/iQelStLkvYg/s1600/Miller%2BSwing%2Bfor%2BJukebox.jpgThe resurgence in the sales of vinyl takes another turn backwards in time with the release of new 78’s by the Texas based company Rollofone Records (http://www.rollofone.com/) .
Right until the late 1950s, records spun at a much higher speed, at 78 revolutions per minute, allowing only a few minutes of music on a 10 inch record. Most modern record players can’t even play the old 78s, but there’s a world wide and vibrant community that cherishes, collects and plays these gems.
Those folks will soon have something new to spin on their players and in their jukeboxes. Rollofone Records announced today, that it will release a set of 5 records with 10 of the most famous tunes by Glenn Miller and his orchestra, on old fashioned 78 RPM vinyl. Company officials underlined the fact that the music has been taken and remastered from the original metal archive records, which are safely stored in vaults at RCA (now Sony) music.
“We received tremendous support from Sony,” Michaela Merz, Rollofone’s owner and sound engineer said. “Without their support, this wouldn’t have been possible.”
Even the Glenn Miller family has endorsed the project:
My father has brought joy and happiness to many people around the world. Thousands and thousands listened to his music, on the radio, playing in jukeboxes or on record players at home. Though the taste of music has changed, his tunes are not forgotten. This record collection has been lovingly created by Michaela Merz and her Rollofone team to bring the wonderful Glenn Miller sound back to where it belongs: to jukeboxes and record players. It has been taken from the valuable original metal parts, faithfully remastered with equipment that might have been used back then so that you can enjoy the music the way it was created and recorded and without unnecessary digital enhancements or effects. I wish you all the and a wonderful time listening to Glenn Miller and his orchestra.
The Glenn Miller Family
“Though the targeted market is small and the production release limited, almost half of the record sets have already been sold,” says Mrs. Merz.
The track list:
* Over The Rainbow
* American Patrol
* Yours is My Heart Alone
* Moonlight Serenaderf_listen1
* Tuxedo Junction
* Pennsylvania 6-5000
* Imagination
* To You
* Fools Rush In
* In the Mood
*
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=193ec0437f) | 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=193ec0437f&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
Company to Reissue Glenn Miller Music on 78’s ~ VVN Music
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vintagevinylnews.com/2016/02/company-to-reissue-glenn-miller-music.html?utm_source=VVN+Music+E-Mail+Subscribers
** Company to Reissue Glenn Miller Music on 78’s
————————————————————
https://3.bp.blogspot.com/-thWaDCUB-dI/VsSINd5GmBI/AAAAAAABDwU/iQelStLkvYg/s1600/Miller%2BSwing%2Bfor%2BJukebox.jpgThe resurgence in the sales of vinyl takes another turn backwards in time with the release of new 78’s by the Texas based company Rollofone Records (http://www.rollofone.com/) .
Right until the late 1950s, records spun at a much higher speed, at 78 revolutions per minute, allowing only a few minutes of music on a 10 inch record. Most modern record players can’t even play the old 78s, but there’s a world wide and vibrant community that cherishes, collects and plays these gems.
Those folks will soon have something new to spin on their players and in their jukeboxes. Rollofone Records announced today, that it will release a set of 5 records with 10 of the most famous tunes by Glenn Miller and his orchestra, on old fashioned 78 RPM vinyl. Company officials underlined the fact that the music has been taken and remastered from the original metal archive records, which are safely stored in vaults at RCA (now Sony) music.
“We received tremendous support from Sony,” Michaela Merz, Rollofone’s owner and sound engineer said. “Without their support, this wouldn’t have been possible.”
Even the Glenn Miller family has endorsed the project:
My father has brought joy and happiness to many people around the world. Thousands and thousands listened to his music, on the radio, playing in jukeboxes or on record players at home. Though the taste of music has changed, his tunes are not forgotten. This record collection has been lovingly created by Michaela Merz and her Rollofone team to bring the wonderful Glenn Miller sound back to where it belongs: to jukeboxes and record players. It has been taken from the valuable original metal parts, faithfully remastered with equipment that might have been used back then so that you can enjoy the music the way it was created and recorded and without unnecessary digital enhancements or effects. I wish you all the and a wonderful time listening to Glenn Miller and his orchestra.
The Glenn Miller Family
“Though the targeted market is small and the production release limited, almost half of the record sets have already been sold,” says Mrs. Merz.
The track list:
* Over The Rainbow
* American Patrol
* Yours is My Heart Alone
* Moonlight Serenaderf_listen1
* Tuxedo Junction
* Pennsylvania 6-5000
* Imagination
* To You
* Fools Rush In
* In the Mood
*
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=193ec0437f) | 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=193ec0437f&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
Company to Reissue Glenn Miller Music on 78’s ~ VVN Music
http://www.jazzpromoservices.com/
**
————————————————————
http://www.vintagevinylnews.com/2016/02/company-to-reissue-glenn-miller-music.html?utm_source=VVN+Music+E-Mail+Subscribers
** Company to Reissue Glenn Miller Music on 78’s
————————————————————
https://3.bp.blogspot.com/-thWaDCUB-dI/VsSINd5GmBI/AAAAAAABDwU/iQelStLkvYg/s1600/Miller%2BSwing%2Bfor%2BJukebox.jpgThe resurgence in the sales of vinyl takes another turn backwards in time with the release of new 78’s by the Texas based company Rollofone Records (http://www.rollofone.com/) .
Right until the late 1950s, records spun at a much higher speed, at 78 revolutions per minute, allowing only a few minutes of music on a 10 inch record. Most modern record players can’t even play the old 78s, but there’s a world wide and vibrant community that cherishes, collects and plays these gems.
Those folks will soon have something new to spin on their players and in their jukeboxes. Rollofone Records announced today, that it will release a set of 5 records with 10 of the most famous tunes by Glenn Miller and his orchestra, on old fashioned 78 RPM vinyl. Company officials underlined the fact that the music has been taken and remastered from the original metal archive records, which are safely stored in vaults at RCA (now Sony) music.
“We received tremendous support from Sony,” Michaela Merz, Rollofone’s owner and sound engineer said. “Without their support, this wouldn’t have been possible.”
Even the Glenn Miller family has endorsed the project:
My father has brought joy and happiness to many people around the world. Thousands and thousands listened to his music, on the radio, playing in jukeboxes or on record players at home. Though the taste of music has changed, his tunes are not forgotten. This record collection has been lovingly created by Michaela Merz and her Rollofone team to bring the wonderful Glenn Miller sound back to where it belongs: to jukeboxes and record players. It has been taken from the valuable original metal parts, faithfully remastered with equipment that might have been used back then so that you can enjoy the music the way it was created and recorded and without unnecessary digital enhancements or effects. I wish you all the and a wonderful time listening to Glenn Miller and his orchestra.
The Glenn Miller Family
“Though the targeted market is small and the production release limited, almost half of the record sets have already been sold,” says Mrs. Merz.
The track list:
* Over The Rainbow
* American Patrol
* Yours is My Heart Alone
* Moonlight Serenaderf_listen1
* Tuxedo Junction
* Pennsylvania 6-5000
* Imagination
* To You
* Fools Rush In
* In the Mood
*
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=193ec0437f) | 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=193ec0437f&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
Tony Award Winner Don Sebesky’s Papers at the Library | In The Muse: Performing Arts Blog
http://www.jazzpromoservices.com/
** http://blogs.loc.gov/music/2016/02/tony-award-winner-don-sebeskys-papers-at-the-library/?loclr=eapab
————————————————————
** Tony Award Winner Don Sebesky’s Papers at the Library
————————————————————
The Music Division is excited to announce the arrival of the Don Sebesky Papers at the Library of Congress (https://www.loc.gov/?loclr=blogmus) . Sebesky has led a distinguished career as a composer, arranger, conductor, and performer. His work has made a lasting impression on the worlds of Broadway, orchestras, film, and television. Learn more about Sebesky below.
safari-reader://blogs.loc.gov/music/files/2016/02/don-sebesky-20111230004150.jpg
Don Sebesky Conducting (2011), Courtesy of Don Sebesky
ABOUT DON SEBESKY
Don Sebesky (b. Perth Amboy, New Jersey, 1937) is an accomplished, respected and highly successful composer, arranger, conductor and performer who has worked with some of the leading symphony orchestras of the world and has a long list of Broadway theater credits. He is also well-known for his collaborations with top selling artists in pop and jazz, such as Tony Bennett, Maynard Ferguson, Freddie Hubbard, Barry Manilow, Bette Midler, Stan Kenton, Wes Montgomery, Buddy Rich and Vanessa Williams.
Sebesky has received numerous awards, including a Drama Desk Award, three GRAMMYs and two Tonys (including Best Orchestration in 2015 for An American in Paris), and he has composed and arranged for film, television and many well-known commercials. His career as an arranger took off when he joined the staff of Verve Records in 1965. He is also the author of the best-selling orchestration text book, The Contemporary Arranger. Sebesky recently donated his papers to the Library’s Music Division.
Selected Credits:
Broadway: An American in Paris (2015 Tony Award), Porgy and Bess (London production by Trevor Nunn), Sinatra at the Palladium, Sweet Charity, Kiss Me Kate(2000 Tony Award), Bells are Ringing, Parade, and Will Rogers Follies
Film: The Rosary Murders (starring Donald Sutherland), Hollow Image (with Morgan Freeman), and The Last of the Belles (with Susan Sarandon)
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-3.jpg
Don Sebesky in the studio (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
References
Don Sebesky and JDV Music and Design. “About Don Sebesky.” http://www.donsebeskymusic.com.
Masterworks Broadway. “Don Sebesky.” http://www.masterworksbroadway.com/artist/don-sebesky.
Patrick T. Will and Barry Kernfeld. “Sebesky, Don.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J401700.
RESEARCH
As many collections are stored off-site, researchers are asked to make an appointment to use the Don Sebesky Papers by contacting the Music Division (safari-reader://www.loc.gov/rr/askalib/ask-perform2.html?loclr=blogmus) in advance.
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-4.jpg
Don Sebesky pictured with colleagues (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
Selected Additional Don Sebesky Resources at the Library
Sebesky, Don. A Christmas carol / Don Sebesky ; Charles Dickens. [United States] : Cymbaline Music, c2004. (https://lccn.loc.gov/2005560538?loclr=blogmus)
1 score (173 p.) ; 43 cm.
M1500.S464 C56 2004
Sebesky, Don. The contemporary arranger / by Don Sebesky. Definitive ed. Van Nuys, CA : Alfred Pub. Co., c1994. (https://lccn.loc.gov/94033825?loclr=blogmus)
xv, 237 p. : ill. ; 31 cm.
MT70 .S4 1994
ISBN: 0882844857
Sebesky, Don. prf Don Sebesky and the jazz-rock syndrome [sound recording]. New York : Verve, [1968] (https://lccn.loc.gov/r68001480?loclr=blogmus)
1 sound disc : analog, 33 1/3 rpm, stereo. ; 12 in.
V6-8756 Verve Verve V6-8756
Sebesky, Don. Jazz ensemble, orchestra music Three works for jazz soloists and symphony orchestra [sound recording] New York, N.Y. : Gryphon, c1979. (https://lccn.loc.gov/83751487?loclr=blogmus)
2 sound discs : 33 1/3 rpm, stereo. ; 12 in.
Sondheim, Stephen. cmp Musicals Selections; arranged Symphonic Sondheim [sound recording]. Hayes, Middlesex, England : EMI Classics ; Hollywood, Calif. : Angel Records (dist.), p1991. (https://lccn.loc.gov/99581548?loclr=blogmus)
1 sound disc (53 min., 48 sec.) : digital, stereo. ; 4 3/4 in.
CDC 7 54285 2 EMI Classics SDB 13047
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=0f0259bda5) | 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=0f0259bda5&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
Tony Award Winner Don Sebesky’s Papers at the Library | In The Muse: Performing Arts Blog
http://www.jazzpromoservices.com/
** http://blogs.loc.gov/music/2016/02/tony-award-winner-don-sebeskys-papers-at-the-library/?loclr=eapab
————————————————————
** Tony Award Winner Don Sebesky’s Papers at the Library
————————————————————
The Music Division is excited to announce the arrival of the Don Sebesky Papers at the Library of Congress (https://www.loc.gov/?loclr=blogmus) . Sebesky has led a distinguished career as a composer, arranger, conductor, and performer. His work has made a lasting impression on the worlds of Broadway, orchestras, film, and television. Learn more about Sebesky below.
safari-reader://blogs.loc.gov/music/files/2016/02/don-sebesky-20111230004150.jpg
Don Sebesky Conducting (2011), Courtesy of Don Sebesky
ABOUT DON SEBESKY
Don Sebesky (b. Perth Amboy, New Jersey, 1937) is an accomplished, respected and highly successful composer, arranger, conductor and performer who has worked with some of the leading symphony orchestras of the world and has a long list of Broadway theater credits. He is also well-known for his collaborations with top selling artists in pop and jazz, such as Tony Bennett, Maynard Ferguson, Freddie Hubbard, Barry Manilow, Bette Midler, Stan Kenton, Wes Montgomery, Buddy Rich and Vanessa Williams.
Sebesky has received numerous awards, including a Drama Desk Award, three GRAMMYs and two Tonys (including Best Orchestration in 2015 for An American in Paris), and he has composed and arranged for film, television and many well-known commercials. His career as an arranger took off when he joined the staff of Verve Records in 1965. He is also the author of the best-selling orchestration text book, The Contemporary Arranger. Sebesky recently donated his papers to the Library’s Music Division.
Selected Credits:
Broadway: An American in Paris (2015 Tony Award), Porgy and Bess (London production by Trevor Nunn), Sinatra at the Palladium, Sweet Charity, Kiss Me Kate(2000 Tony Award), Bells are Ringing, Parade, and Will Rogers Follies
Film: The Rosary Murders (starring Donald Sutherland), Hollow Image (with Morgan Freeman), and The Last of the Belles (with Susan Sarandon)
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-3.jpg
Don Sebesky in the studio (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
References
Don Sebesky and JDV Music and Design. “About Don Sebesky.” http://www.donsebeskymusic.com.
Masterworks Broadway. “Don Sebesky.” http://www.masterworksbroadway.com/artist/don-sebesky.
Patrick T. Will and Barry Kernfeld. “Sebesky, Don.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J401700.
RESEARCH
As many collections are stored off-site, researchers are asked to make an appointment to use the Don Sebesky Papers by contacting the Music Division (safari-reader://www.loc.gov/rr/askalib/ask-perform2.html?loclr=blogmus) in advance.
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-4.jpg
Don Sebesky pictured with colleagues (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
Selected Additional Don Sebesky Resources at the Library
Sebesky, Don. A Christmas carol / Don Sebesky ; Charles Dickens. [United States] : Cymbaline Music, c2004. (https://lccn.loc.gov/2005560538?loclr=blogmus)
1 score (173 p.) ; 43 cm.
M1500.S464 C56 2004
Sebesky, Don. The contemporary arranger / by Don Sebesky. Definitive ed. Van Nuys, CA : Alfred Pub. Co., c1994. (https://lccn.loc.gov/94033825?loclr=blogmus)
xv, 237 p. : ill. ; 31 cm.
MT70 .S4 1994
ISBN: 0882844857
Sebesky, Don. prf Don Sebesky and the jazz-rock syndrome [sound recording]. New York : Verve, [1968] (https://lccn.loc.gov/r68001480?loclr=blogmus)
1 sound disc : analog, 33 1/3 rpm, stereo. ; 12 in.
V6-8756 Verve Verve V6-8756
Sebesky, Don. Jazz ensemble, orchestra music Three works for jazz soloists and symphony orchestra [sound recording] New York, N.Y. : Gryphon, c1979. (https://lccn.loc.gov/83751487?loclr=blogmus)
2 sound discs : 33 1/3 rpm, stereo. ; 12 in.
Sondheim, Stephen. cmp Musicals Selections; arranged Symphonic Sondheim [sound recording]. Hayes, Middlesex, England : EMI Classics ; Hollywood, Calif. : Angel Records (dist.), p1991. (https://lccn.loc.gov/99581548?loclr=blogmus)
1 sound disc (53 min., 48 sec.) : digital, stereo. ; 4 3/4 in.
CDC 7 54285 2 EMI Classics SDB 13047
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=0f0259bda5) | 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=0f0259bda5&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
Tony Award Winner Don Sebesky’s Papers at the Library | In The Muse: Performing Arts Blog
http://www.jazzpromoservices.com/
** http://blogs.loc.gov/music/2016/02/tony-award-winner-don-sebeskys-papers-at-the-library/?loclr=eapab
————————————————————
** Tony Award Winner Don Sebesky’s Papers at the Library
————————————————————
The Music Division is excited to announce the arrival of the Don Sebesky Papers at the Library of Congress (https://www.loc.gov/?loclr=blogmus) . Sebesky has led a distinguished career as a composer, arranger, conductor, and performer. His work has made a lasting impression on the worlds of Broadway, orchestras, film, and television. Learn more about Sebesky below.
safari-reader://blogs.loc.gov/music/files/2016/02/don-sebesky-20111230004150.jpg
Don Sebesky Conducting (2011), Courtesy of Don Sebesky
ABOUT DON SEBESKY
Don Sebesky (b. Perth Amboy, New Jersey, 1937) is an accomplished, respected and highly successful composer, arranger, conductor and performer who has worked with some of the leading symphony orchestras of the world and has a long list of Broadway theater credits. He is also well-known for his collaborations with top selling artists in pop and jazz, such as Tony Bennett, Maynard Ferguson, Freddie Hubbard, Barry Manilow, Bette Midler, Stan Kenton, Wes Montgomery, Buddy Rich and Vanessa Williams.
Sebesky has received numerous awards, including a Drama Desk Award, three GRAMMYs and two Tonys (including Best Orchestration in 2015 for An American in Paris), and he has composed and arranged for film, television and many well-known commercials. His career as an arranger took off when he joined the staff of Verve Records in 1965. He is also the author of the best-selling orchestration text book, The Contemporary Arranger. Sebesky recently donated his papers to the Library’s Music Division.
Selected Credits:
Broadway: An American in Paris (2015 Tony Award), Porgy and Bess (London production by Trevor Nunn), Sinatra at the Palladium, Sweet Charity, Kiss Me Kate(2000 Tony Award), Bells are Ringing, Parade, and Will Rogers Follies
Film: The Rosary Murders (starring Donald Sutherland), Hollow Image (with Morgan Freeman), and The Last of the Belles (with Susan Sarandon)
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-3.jpg
Don Sebesky in the studio (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
References
Don Sebesky and JDV Music and Design. “About Don Sebesky.” http://www.donsebeskymusic.com.
Masterworks Broadway. “Don Sebesky.” http://www.masterworksbroadway.com/artist/don-sebesky.
Patrick T. Will and Barry Kernfeld. “Sebesky, Don.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J401700.
RESEARCH
As many collections are stored off-site, researchers are asked to make an appointment to use the Don Sebesky Papers by contacting the Music Division (safari-reader://www.loc.gov/rr/askalib/ask-perform2.html?loclr=blogmus) in advance.
safari-reader://blogs.loc.gov/music/files/2016/02/DJS-4.jpg
Don Sebesky pictured with colleagues (Courtesy of Don Sebesky/Joe DeVico, JVD Music)
Selected Additional Don Sebesky Resources at the Library
Sebesky, Don. A Christmas carol / Don Sebesky ; Charles Dickens. [United States] : Cymbaline Music, c2004. (https://lccn.loc.gov/2005560538?loclr=blogmus)
1 score (173 p.) ; 43 cm.
M1500.S464 C56 2004
Sebesky, Don. The contemporary arranger / by Don Sebesky. Definitive ed. Van Nuys, CA : Alfred Pub. Co., c1994. (https://lccn.loc.gov/94033825?loclr=blogmus)
xv, 237 p. : ill. ; 31 cm.
MT70 .S4 1994
ISBN: 0882844857
Sebesky, Don. prf Don Sebesky and the jazz-rock syndrome [sound recording]. New York : Verve, [1968] (https://lccn.loc.gov/r68001480?loclr=blogmus)
1 sound disc : analog, 33 1/3 rpm, stereo. ; 12 in.
V6-8756 Verve Verve V6-8756
Sebesky, Don. Jazz ensemble, orchestra music Three works for jazz soloists and symphony orchestra [sound recording] New York, N.Y. : Gryphon, c1979. (https://lccn.loc.gov/83751487?loclr=blogmus)
2 sound discs : 33 1/3 rpm, stereo. ; 12 in.
Sondheim, Stephen. cmp Musicals Selections; arranged Symphonic Sondheim [sound recording]. Hayes, Middlesex, England : EMI Classics ; Hollywood, Calif. : Angel Records (dist.), p1991. (https://lccn.loc.gov/99581548?loclr=blogmus)
1 sound disc (53 min., 48 sec.) : digital, stereo. ; 4 3/4 in.
CDC 7 54285 2 EMI Classics SDB 13047
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=0f0259bda5) | 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=0f0259bda5&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 Prodigy Joey Alexander, 12, Receives Standing Ovation at Grammys 2016 – Hollywood Reporter
http://www.jazzpromoservices.com/
** http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
The piano prodigy is the youngest to be nominated for a Grammy Award in the jazz category.
————————————————————
http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
Joey Alexander didn’t win a trophy, but he did receive a standing ovation during Monday night’s Grammy Awards.
In a room filled with music industry heavyweights, the 12-year-old wowed the crowd to their feet when he played an original composition on the piano. He also performed earlier during the Grammy Premiere Ceremony.
The self-taught Indonesian jazz pianist is one of the youngest performers to ever be nominated for a Grammy. If he had won either of the categories in which he was nominated (best instrumental jazz album and best improvised jazz solo), he would have become the youngest ever to win in the jazz category.
READ MOREGrammys: The Complete Winners List (http://www.hollywoodreporter.com/lists/2016-grammy-winners-list-856943)
“My dad played a little bit of piano and guitar, but not that professionally,” Alexander told NPR (http://www.npr.org/2015/08/02/428082321/a-very-young-jazz-pianist-takes-giant-steps-towards-musical-mastery) about falling in love with the piano. “I saw him play and [felt] like, ‘I want to play. I want to try this instrument.'”
Taylor Swift, Adele, Kendrick Lamar and The Weeknd also performed when LL Cool J hosted the Grammy Awards from the Los Angeles Staples Center on Monday night (at 5 p.m. PT on CBS).
Watch Alexander perform “Giant Steps” from his debut album My Favorite Things below.
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=c16927c1f8) | 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=c16927c1f8&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 Prodigy Joey Alexander, 12, Receives Standing Ovation at Grammys 2016 – Hollywood Reporter
http://www.jazzpromoservices.com/
** http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
The piano prodigy is the youngest to be nominated for a Grammy Award in the jazz category.
————————————————————
http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
Joey Alexander didn’t win a trophy, but he did receive a standing ovation during Monday night’s Grammy Awards.
In a room filled with music industry heavyweights, the 12-year-old wowed the crowd to their feet when he played an original composition on the piano. He also performed earlier during the Grammy Premiere Ceremony.
The self-taught Indonesian jazz pianist is one of the youngest performers to ever be nominated for a Grammy. If he had won either of the categories in which he was nominated (best instrumental jazz album and best improvised jazz solo), he would have become the youngest ever to win in the jazz category.
READ MOREGrammys: The Complete Winners List (http://www.hollywoodreporter.com/lists/2016-grammy-winners-list-856943)
“My dad played a little bit of piano and guitar, but not that professionally,” Alexander told NPR (http://www.npr.org/2015/08/02/428082321/a-very-young-jazz-pianist-takes-giant-steps-towards-musical-mastery) about falling in love with the piano. “I saw him play and [felt] like, ‘I want to play. I want to try this instrument.'”
Taylor Swift, Adele, Kendrick Lamar and The Weeknd also performed when LL Cool J hosted the Grammy Awards from the Los Angeles Staples Center on Monday night (at 5 p.m. PT on CBS).
Watch Alexander perform “Giant Steps” from his debut album My Favorite Things below.
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=c16927c1f8) | 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=c16927c1f8&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 Prodigy Joey Alexander, 12, Receives Standing Ovation at Grammys 2016 – Hollywood Reporter
http://www.jazzpromoservices.com/
** http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
The piano prodigy is the youngest to be nominated for a Grammy Award in the jazz category.
————————————————————
http://www.hollywoodreporter.com/news/jazz-prodigy-joey-alexander-12-865729
Joey Alexander didn’t win a trophy, but he did receive a standing ovation during Monday night’s Grammy Awards.
In a room filled with music industry heavyweights, the 12-year-old wowed the crowd to their feet when he played an original composition on the piano. He also performed earlier during the Grammy Premiere Ceremony.
The self-taught Indonesian jazz pianist is one of the youngest performers to ever be nominated for a Grammy. If he had won either of the categories in which he was nominated (best instrumental jazz album and best improvised jazz solo), he would have become the youngest ever to win in the jazz category.
READ MOREGrammys: The Complete Winners List (http://www.hollywoodreporter.com/lists/2016-grammy-winners-list-856943)
“My dad played a little bit of piano and guitar, but not that professionally,” Alexander told NPR (http://www.npr.org/2015/08/02/428082321/a-very-young-jazz-pianist-takes-giant-steps-towards-musical-mastery) about falling in love with the piano. “I saw him play and [felt] like, ‘I want to play. I want to try this instrument.'”
Taylor Swift, Adele, Kendrick Lamar and The Weeknd also performed when LL Cool J hosted the Grammy Awards from the Los Angeles Staples Center on Monday night (at 5 p.m. PT on CBS).
Watch Alexander perform “Giant Steps” from his debut album My Favorite Things below.
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=c16927c1f8) | 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=c16927c1f8&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