Author: Bash Daily Group Archive Feed
Grammy Winners 2016 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/16/arts/music/grammy-winners.html?_r=0
** Grammy Winners 2016
————————————————————
Taylor Swift accepting the award for album of the year. Robyn Beck/Agence France-Presse, via Getty Images
Read our full report on the Grammys (http://www.nytimes.com/2016/02/16/arts/music/grammys.html) | A critic’s notebook on the show (http://www.nytimes.com/2016/02/16/arts/music/taylor-swift-kendrick-lamar-grammys.html)
Record of the Year
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Album of the Year
“1989,” Taylor Swift
Song of the Year
“Thinking Out Loud,” Ed Sheeran and Amy Wadge (Ed Sheeran)
New Artist
Meghan Trainor
Rap Album
“To Pimp a Butterfly,” Kendrick Lamar
Musical Theater Album
“Hamilton”
Country Album
“Traveller,” Chris Stapleton
Rock Performance
“Don’t Wanna Fight,” Alabama Shakes
** Awards Presented Before the Show
————————————————————
Pop Solo Performance
“Thinking Out Loud,” Ed Sheeran
Pop Duo/Group Performance
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Traditional Pop Vocal Album
“The Silver Lining: The Songs of Jerome Kern,” Tony Bennett & Bill Charlap
Pop Vocal Album
“1989,” Taylor Swift
Dance Recording
“Where Are Ü Now,” Skrillex and Diplo With Justin Bieber
Dance/Electronic Album
“Skrillex and Diplo Present Jack Ü,” Skrillex and Diplo
http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html
** Slide Show: Grammys Red Carpet (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
————————————————————
Jason Merritt/Getty Images for NARAS (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
Contemporary Instrumental Album
“Sylva,” Snarky Puppy & Metropole Orkest
Metal Performance
“Ghost,” Cirice
Rock Song
“Don’t Wanna Fight,” Alabama Shakes (Alabama Shakes)
Rock Album
“Drones,” Muse
Alternative Music Album
“Sound & Color,” Alabama Shakes
R&B Performance
“Earned It (Fifty Shades of Grey),” the Weeknd
Traditional R&B Performance
“Little Ghetto Boy,” Lalah Hathaway
R&B Song
“Really Love,” D’Angelo & Kendra Foster (D’Angelo and The Vanguard)
Urban Contemporary Album
“Beauty Behind the Madness,” The Weeknd
R&B Album
“Black Messiah,” D’Angelo and the Vanguard
Rap Performance
“Alright,” Kendrick Lamar
Best Rap/Sung Collaboration
“These Walls,” Kendrick Lamar, featuring Bilal, Anna Wise and Thundercat
Best Rap Song
“Alright,” Kendrick Duckworth, Kawan Prather, Mark Anthony Spears and Pharrell Williams (Kendrick Lamar)
Country Solo Performance
“Traveller,” Chris Stapleton
Country Duo/Group Performance
“Girl Crush,” Little Big Town
Country Song
“Girl Crush,” Hillary Lindsey, Lori McKenna and Liz Rose (Little Big Town)
New Age Album
“Grace,” Paul Avgerinos
Improvised Jazz Solo
“Cherokee,” Christian McBride
Jazz Vocal Album
“For One to Love,” Cécile McLorin Salvant
Jazz Instrumental Album
“Past Present,” John Scofield
Large Jazz Ensemble Album
“The Thompson Fields,” Maria Schneider Orchestra
Latin Jazz Album
“Made in Brazil,” Eliane Elias
Gospel Performance/Song
“Wanna Be Happy?,” Kirk Franklin (Kirk Franklin)
Contemporary Christian Music Performance/Song
“Holy Spirit,” Francesca Battistelli (Francesca Battistelli)
Gospel Album
Israel and Newbreed, Covered: Alive Is Asia” [Live] (Deluxe)
Contemporary Christian Music Album
“This Is Not a Test,” Tobymac
Roots Gospel Album
“Still Rockin’ My Soul,” The Fairfield Four
Latin Pop Album
“A Quien Quiera Escuchar (Deluxe Edition),” Ricky Martin
Latin Rock, Urban or Alternative Album
“Hasta La Raíz,” Natalia Lafourcade
“Dale,” Pitbull (TIE)
Regional Mexican Music Album (Including Tejano)
“Realidades — Deluxe Edition,” Los Tigres Del Norte
Tropical Latin Album
“Son De Panamá,” Rubén Blades With Roberto Delgado and Orchestra
American Roots Performance
“See That My Grave Is Kept Clean,” Mavis Staples
American Roots Song
“24 Frames,” Jason Isbell (Jason Isbell)
Americana Album
“Something More Than Free,” Jason Isbell
Bluegrass Album
“The Muscle Shoals Recordings,” The Steeldrivers
Best Blues Album
“Born to Play Guitar,” Buddy Guy
Folk Album
“Béla Fleck and Abigail Washburn,” Béla Fleck and Abigail Washburn
Regional Roots Music Album
“Go Go Juice,” Jon Cleary
Reggae Album
“Strictly Roots,” Morgan Heritage
World Music Album
“Sings,” Angelique Kidjo
Children’s Album
“Home,” Tim Kubart
Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
“A Full Life: Reflections at Ninety,” Jimmy Carter
Comedy Album
“Live at Madison Square Garden,” Louis C.K.
Compilation Soundtrack for Visual Media
“Glen Campbell: I’ll Be Me,” Julian Raymond, compilation producer
Score Soundtrack for Visual Media
“Birdman,” Antonio Sanchez, composer
Song for Visual Media
“Glory,” from “Selma,” Lonnie Lynn, Che Smith and John Stephens (Common & John Legend)
Instrumental Composition
“The Afro Latin Jazz Suite,” Arturo O’Farrill (Arturo O’Farrill and the Afro Latin Jazz Orchestra, featuring Rudresh Mahanthappa)
Arrangement, Instrumental or a Cappella
“Dance of the Sugar Plum Fairy,” Ben Bram, Mitch Grassi, Scott Hoying, Avi Kaplan, Kirstin Maldonado and Kevin Olusola (Pentatonix)
Arrangement, Instruments and Vocals
“Sue (Or in a Season of Crime),” Maria Schneider (David Bowie)
Recording Package
“Still The King: Celebrating the Music of Bob Wills and His Texas Playboys,” Sarah Dodds, Shauna Dodds and Dick Reeves, art directors (Asleep at the Wheel)
Boxed or Special Limited Edition Package
“The Rise & Fall Of Paramount Records, Volume Two (1928-32),” Susan Archie, Dean Blackwood and Jack White, art directors (Various Artists)
Album Notes
“Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced,” Joni Mitchell (Joni Mitchell)
Historical Album
“The Basement Tapes Complete: The Bootleg Series Vol. 11,” Steve Berkowitz, Jan Haust and Jeff Rosen, compilation producers; Peter J. Moore & Mark Wilder, mastering engineers (Bob Dylan and the Band)
Engineered Album, Non-Classical
“Sound & Color,” Shawn Everett, engineer; Bob Ludwig, mastering engineer (Alabama Shakes)
Remixed Recording, Non-Classical
“Uptown Funk (Dave Audé Remix),” Dave Audé, (Mark Ronson, featuring Bruno Mars)
Producer of the Year, Non-Classical
Jeff Bhasker
Surround Sound Album
“Amused To Death,” James Guthrie, surround mix engineer; James Guthrie and Joel Plante, surround mastering engineers; James Guthrie, surround producer (Roger Waters)
Engineered Album, Classical
“Ask Your Mama,” Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum and Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan and San Francisco Ballet Orchestra)
Producer of the Year, Classical
Judith Sherman
Orchestral Performance
“Shostakovich: Under Stalin’s Shadow — Symphony No. 10,” Andris Nelsons, conductor (Boston Symphony Orchestra)
Opera Recording
“Ravel: L’Enfant Et Les Sortilèges; Shéhérazade,” Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus and SKF Matsumoto Children’s Chorus)
Choral Performance
“Rachmaninoff: All-Night Vigil,” Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale)
Chamber Music/Small Ensemble Performance
“Filament,” Eighth Blackbird
Classical Instrumental Solo
“Dutilleux: Violin Concerto, L’Arbre Des Songes,” Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony)
Classical Solo Vocal Album
“Joyce & Tony — Live From Wigmore Hall,” Joyce DiDonato; Antonio Pappano, accompanist
Classical Compendium
“Paulus: Three Places of Enlightenment; Veil of Tears & Grand Concerto,” Giancarlo Guerrero, conductor; Tim Handley, producer
Contemporary Classical Composition
“Paulus: Prayers & Remembrances,” Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra)
Music Video
“Bad Blood,” Taylor Swift, featuring Kendrick Lamar
Music Film
“Amy,” Amy Winehouse
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=633fd075dc) | 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=633fd075dc&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
Grammy Winners 2016 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/16/arts/music/grammy-winners.html?_r=0
** Grammy Winners 2016
————————————————————
Taylor Swift accepting the award for album of the year. Robyn Beck/Agence France-Presse, via Getty Images
Read our full report on the Grammys (http://www.nytimes.com/2016/02/16/arts/music/grammys.html) | A critic’s notebook on the show (http://www.nytimes.com/2016/02/16/arts/music/taylor-swift-kendrick-lamar-grammys.html)
Record of the Year
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Album of the Year
“1989,” Taylor Swift
Song of the Year
“Thinking Out Loud,” Ed Sheeran and Amy Wadge (Ed Sheeran)
New Artist
Meghan Trainor
Rap Album
“To Pimp a Butterfly,” Kendrick Lamar
Musical Theater Album
“Hamilton”
Country Album
“Traveller,” Chris Stapleton
Rock Performance
“Don’t Wanna Fight,” Alabama Shakes
** Awards Presented Before the Show
————————————————————
Pop Solo Performance
“Thinking Out Loud,” Ed Sheeran
Pop Duo/Group Performance
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Traditional Pop Vocal Album
“The Silver Lining: The Songs of Jerome Kern,” Tony Bennett & Bill Charlap
Pop Vocal Album
“1989,” Taylor Swift
Dance Recording
“Where Are Ü Now,” Skrillex and Diplo With Justin Bieber
Dance/Electronic Album
“Skrillex and Diplo Present Jack Ü,” Skrillex and Diplo
http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html
** Slide Show: Grammys Red Carpet (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
————————————————————
Jason Merritt/Getty Images for NARAS (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
Contemporary Instrumental Album
“Sylva,” Snarky Puppy & Metropole Orkest
Metal Performance
“Ghost,” Cirice
Rock Song
“Don’t Wanna Fight,” Alabama Shakes (Alabama Shakes)
Rock Album
“Drones,” Muse
Alternative Music Album
“Sound & Color,” Alabama Shakes
R&B Performance
“Earned It (Fifty Shades of Grey),” the Weeknd
Traditional R&B Performance
“Little Ghetto Boy,” Lalah Hathaway
R&B Song
“Really Love,” D’Angelo & Kendra Foster (D’Angelo and The Vanguard)
Urban Contemporary Album
“Beauty Behind the Madness,” The Weeknd
R&B Album
“Black Messiah,” D’Angelo and the Vanguard
Rap Performance
“Alright,” Kendrick Lamar
Best Rap/Sung Collaboration
“These Walls,” Kendrick Lamar, featuring Bilal, Anna Wise and Thundercat
Best Rap Song
“Alright,” Kendrick Duckworth, Kawan Prather, Mark Anthony Spears and Pharrell Williams (Kendrick Lamar)
Country Solo Performance
“Traveller,” Chris Stapleton
Country Duo/Group Performance
“Girl Crush,” Little Big Town
Country Song
“Girl Crush,” Hillary Lindsey, Lori McKenna and Liz Rose (Little Big Town)
New Age Album
“Grace,” Paul Avgerinos
Improvised Jazz Solo
“Cherokee,” Christian McBride
Jazz Vocal Album
“For One to Love,” Cécile McLorin Salvant
Jazz Instrumental Album
“Past Present,” John Scofield
Large Jazz Ensemble Album
“The Thompson Fields,” Maria Schneider Orchestra
Latin Jazz Album
“Made in Brazil,” Eliane Elias
Gospel Performance/Song
“Wanna Be Happy?,” Kirk Franklin (Kirk Franklin)
Contemporary Christian Music Performance/Song
“Holy Spirit,” Francesca Battistelli (Francesca Battistelli)
Gospel Album
Israel and Newbreed, Covered: Alive Is Asia” [Live] (Deluxe)
Contemporary Christian Music Album
“This Is Not a Test,” Tobymac
Roots Gospel Album
“Still Rockin’ My Soul,” The Fairfield Four
Latin Pop Album
“A Quien Quiera Escuchar (Deluxe Edition),” Ricky Martin
Latin Rock, Urban or Alternative Album
“Hasta La Raíz,” Natalia Lafourcade
“Dale,” Pitbull (TIE)
Regional Mexican Music Album (Including Tejano)
“Realidades — Deluxe Edition,” Los Tigres Del Norte
Tropical Latin Album
“Son De Panamá,” Rubén Blades With Roberto Delgado and Orchestra
American Roots Performance
“See That My Grave Is Kept Clean,” Mavis Staples
American Roots Song
“24 Frames,” Jason Isbell (Jason Isbell)
Americana Album
“Something More Than Free,” Jason Isbell
Bluegrass Album
“The Muscle Shoals Recordings,” The Steeldrivers
Best Blues Album
“Born to Play Guitar,” Buddy Guy
Folk Album
“Béla Fleck and Abigail Washburn,” Béla Fleck and Abigail Washburn
Regional Roots Music Album
“Go Go Juice,” Jon Cleary
Reggae Album
“Strictly Roots,” Morgan Heritage
World Music Album
“Sings,” Angelique Kidjo
Children’s Album
“Home,” Tim Kubart
Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
“A Full Life: Reflections at Ninety,” Jimmy Carter
Comedy Album
“Live at Madison Square Garden,” Louis C.K.
Compilation Soundtrack for Visual Media
“Glen Campbell: I’ll Be Me,” Julian Raymond, compilation producer
Score Soundtrack for Visual Media
“Birdman,” Antonio Sanchez, composer
Song for Visual Media
“Glory,” from “Selma,” Lonnie Lynn, Che Smith and John Stephens (Common & John Legend)
Instrumental Composition
“The Afro Latin Jazz Suite,” Arturo O’Farrill (Arturo O’Farrill and the Afro Latin Jazz Orchestra, featuring Rudresh Mahanthappa)
Arrangement, Instrumental or a Cappella
“Dance of the Sugar Plum Fairy,” Ben Bram, Mitch Grassi, Scott Hoying, Avi Kaplan, Kirstin Maldonado and Kevin Olusola (Pentatonix)
Arrangement, Instruments and Vocals
“Sue (Or in a Season of Crime),” Maria Schneider (David Bowie)
Recording Package
“Still The King: Celebrating the Music of Bob Wills and His Texas Playboys,” Sarah Dodds, Shauna Dodds and Dick Reeves, art directors (Asleep at the Wheel)
Boxed or Special Limited Edition Package
“The Rise & Fall Of Paramount Records, Volume Two (1928-32),” Susan Archie, Dean Blackwood and Jack White, art directors (Various Artists)
Album Notes
“Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced,” Joni Mitchell (Joni Mitchell)
Historical Album
“The Basement Tapes Complete: The Bootleg Series Vol. 11,” Steve Berkowitz, Jan Haust and Jeff Rosen, compilation producers; Peter J. Moore & Mark Wilder, mastering engineers (Bob Dylan and the Band)
Engineered Album, Non-Classical
“Sound & Color,” Shawn Everett, engineer; Bob Ludwig, mastering engineer (Alabama Shakes)
Remixed Recording, Non-Classical
“Uptown Funk (Dave Audé Remix),” Dave Audé, (Mark Ronson, featuring Bruno Mars)
Producer of the Year, Non-Classical
Jeff Bhasker
Surround Sound Album
“Amused To Death,” James Guthrie, surround mix engineer; James Guthrie and Joel Plante, surround mastering engineers; James Guthrie, surround producer (Roger Waters)
Engineered Album, Classical
“Ask Your Mama,” Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum and Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan and San Francisco Ballet Orchestra)
Producer of the Year, Classical
Judith Sherman
Orchestral Performance
“Shostakovich: Under Stalin’s Shadow — Symphony No. 10,” Andris Nelsons, conductor (Boston Symphony Orchestra)
Opera Recording
“Ravel: L’Enfant Et Les Sortilèges; Shéhérazade,” Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus and SKF Matsumoto Children’s Chorus)
Choral Performance
“Rachmaninoff: All-Night Vigil,” Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale)
Chamber Music/Small Ensemble Performance
“Filament,” Eighth Blackbird
Classical Instrumental Solo
“Dutilleux: Violin Concerto, L’Arbre Des Songes,” Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony)
Classical Solo Vocal Album
“Joyce & Tony — Live From Wigmore Hall,” Joyce DiDonato; Antonio Pappano, accompanist
Classical Compendium
“Paulus: Three Places of Enlightenment; Veil of Tears & Grand Concerto,” Giancarlo Guerrero, conductor; Tim Handley, producer
Contemporary Classical Composition
“Paulus: Prayers & Remembrances,” Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra)
Music Video
“Bad Blood,” Taylor Swift, featuring Kendrick Lamar
Music Film
“Amy,” Amy Winehouse
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=633fd075dc) | 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=633fd075dc&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
Grammy Winners 2016 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/16/arts/music/grammy-winners.html?_r=0
** Grammy Winners 2016
————————————————————
Taylor Swift accepting the award for album of the year. Robyn Beck/Agence France-Presse, via Getty Images
Read our full report on the Grammys (http://www.nytimes.com/2016/02/16/arts/music/grammys.html) | A critic’s notebook on the show (http://www.nytimes.com/2016/02/16/arts/music/taylor-swift-kendrick-lamar-grammys.html)
Record of the Year
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Album of the Year
“1989,” Taylor Swift
Song of the Year
“Thinking Out Loud,” Ed Sheeran and Amy Wadge (Ed Sheeran)
New Artist
Meghan Trainor
Rap Album
“To Pimp a Butterfly,” Kendrick Lamar
Musical Theater Album
“Hamilton”
Country Album
“Traveller,” Chris Stapleton
Rock Performance
“Don’t Wanna Fight,” Alabama Shakes
** Awards Presented Before the Show
————————————————————
Pop Solo Performance
“Thinking Out Loud,” Ed Sheeran
Pop Duo/Group Performance
“Uptown Funk,” Mark Ronson, featuring Bruno Mars
Traditional Pop Vocal Album
“The Silver Lining: The Songs of Jerome Kern,” Tony Bennett & Bill Charlap
Pop Vocal Album
“1989,” Taylor Swift
Dance Recording
“Where Are Ü Now,” Skrillex and Diplo With Justin Bieber
Dance/Electronic Album
“Skrillex and Diplo Present Jack Ü,” Skrillex and Diplo
http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html
** Slide Show: Grammys Red Carpet (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
————————————————————
Jason Merritt/Getty Images for NARAS (http://www.nytimes.com/slideshow/2016/02/15/fashion/grammys-red-carpet-2016.html)
Contemporary Instrumental Album
“Sylva,” Snarky Puppy & Metropole Orkest
Metal Performance
“Ghost,” Cirice
Rock Song
“Don’t Wanna Fight,” Alabama Shakes (Alabama Shakes)
Rock Album
“Drones,” Muse
Alternative Music Album
“Sound & Color,” Alabama Shakes
R&B Performance
“Earned It (Fifty Shades of Grey),” the Weeknd
Traditional R&B Performance
“Little Ghetto Boy,” Lalah Hathaway
R&B Song
“Really Love,” D’Angelo & Kendra Foster (D’Angelo and The Vanguard)
Urban Contemporary Album
“Beauty Behind the Madness,” The Weeknd
R&B Album
“Black Messiah,” D’Angelo and the Vanguard
Rap Performance
“Alright,” Kendrick Lamar
Best Rap/Sung Collaboration
“These Walls,” Kendrick Lamar, featuring Bilal, Anna Wise and Thundercat
Best Rap Song
“Alright,” Kendrick Duckworth, Kawan Prather, Mark Anthony Spears and Pharrell Williams (Kendrick Lamar)
Country Solo Performance
“Traveller,” Chris Stapleton
Country Duo/Group Performance
“Girl Crush,” Little Big Town
Country Song
“Girl Crush,” Hillary Lindsey, Lori McKenna and Liz Rose (Little Big Town)
New Age Album
“Grace,” Paul Avgerinos
Improvised Jazz Solo
“Cherokee,” Christian McBride
Jazz Vocal Album
“For One to Love,” Cécile McLorin Salvant
Jazz Instrumental Album
“Past Present,” John Scofield
Large Jazz Ensemble Album
“The Thompson Fields,” Maria Schneider Orchestra
Latin Jazz Album
“Made in Brazil,” Eliane Elias
Gospel Performance/Song
“Wanna Be Happy?,” Kirk Franklin (Kirk Franklin)
Contemporary Christian Music Performance/Song
“Holy Spirit,” Francesca Battistelli (Francesca Battistelli)
Gospel Album
Israel and Newbreed, Covered: Alive Is Asia” [Live] (Deluxe)
Contemporary Christian Music Album
“This Is Not a Test,” Tobymac
Roots Gospel Album
“Still Rockin’ My Soul,” The Fairfield Four
Latin Pop Album
“A Quien Quiera Escuchar (Deluxe Edition),” Ricky Martin
Latin Rock, Urban or Alternative Album
“Hasta La Raíz,” Natalia Lafourcade
“Dale,” Pitbull (TIE)
Regional Mexican Music Album (Including Tejano)
“Realidades — Deluxe Edition,” Los Tigres Del Norte
Tropical Latin Album
“Son De Panamá,” Rubén Blades With Roberto Delgado and Orchestra
American Roots Performance
“See That My Grave Is Kept Clean,” Mavis Staples
American Roots Song
“24 Frames,” Jason Isbell (Jason Isbell)
Americana Album
“Something More Than Free,” Jason Isbell
Bluegrass Album
“The Muscle Shoals Recordings,” The Steeldrivers
Best Blues Album
“Born to Play Guitar,” Buddy Guy
Folk Album
“Béla Fleck and Abigail Washburn,” Béla Fleck and Abigail Washburn
Regional Roots Music Album
“Go Go Juice,” Jon Cleary
Reggae Album
“Strictly Roots,” Morgan Heritage
World Music Album
“Sings,” Angelique Kidjo
Children’s Album
“Home,” Tim Kubart
Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
“A Full Life: Reflections at Ninety,” Jimmy Carter
Comedy Album
“Live at Madison Square Garden,” Louis C.K.
Compilation Soundtrack for Visual Media
“Glen Campbell: I’ll Be Me,” Julian Raymond, compilation producer
Score Soundtrack for Visual Media
“Birdman,” Antonio Sanchez, composer
Song for Visual Media
“Glory,” from “Selma,” Lonnie Lynn, Che Smith and John Stephens (Common & John Legend)
Instrumental Composition
“The Afro Latin Jazz Suite,” Arturo O’Farrill (Arturo O’Farrill and the Afro Latin Jazz Orchestra, featuring Rudresh Mahanthappa)
Arrangement, Instrumental or a Cappella
“Dance of the Sugar Plum Fairy,” Ben Bram, Mitch Grassi, Scott Hoying, Avi Kaplan, Kirstin Maldonado and Kevin Olusola (Pentatonix)
Arrangement, Instruments and Vocals
“Sue (Or in a Season of Crime),” Maria Schneider (David Bowie)
Recording Package
“Still The King: Celebrating the Music of Bob Wills and His Texas Playboys,” Sarah Dodds, Shauna Dodds and Dick Reeves, art directors (Asleep at the Wheel)
Boxed or Special Limited Edition Package
“The Rise & Fall Of Paramount Records, Volume Two (1928-32),” Susan Archie, Dean Blackwood and Jack White, art directors (Various Artists)
Album Notes
“Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced,” Joni Mitchell (Joni Mitchell)
Historical Album
“The Basement Tapes Complete: The Bootleg Series Vol. 11,” Steve Berkowitz, Jan Haust and Jeff Rosen, compilation producers; Peter J. Moore & Mark Wilder, mastering engineers (Bob Dylan and the Band)
Engineered Album, Non-Classical
“Sound & Color,” Shawn Everett, engineer; Bob Ludwig, mastering engineer (Alabama Shakes)
Remixed Recording, Non-Classical
“Uptown Funk (Dave Audé Remix),” Dave Audé, (Mark Ronson, featuring Bruno Mars)
Producer of the Year, Non-Classical
Jeff Bhasker
Surround Sound Album
“Amused To Death,” James Guthrie, surround mix engineer; James Guthrie and Joel Plante, surround mastering engineers; James Guthrie, surround producer (Roger Waters)
Engineered Album, Classical
“Ask Your Mama,” Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum and Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan and San Francisco Ballet Orchestra)
Producer of the Year, Classical
Judith Sherman
Orchestral Performance
“Shostakovich: Under Stalin’s Shadow — Symphony No. 10,” Andris Nelsons, conductor (Boston Symphony Orchestra)
Opera Recording
“Ravel: L’Enfant Et Les Sortilèges; Shéhérazade,” Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus and SKF Matsumoto Children’s Chorus)
Choral Performance
“Rachmaninoff: All-Night Vigil,” Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale)
Chamber Music/Small Ensemble Performance
“Filament,” Eighth Blackbird
Classical Instrumental Solo
“Dutilleux: Violin Concerto, L’Arbre Des Songes,” Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony)
Classical Solo Vocal Album
“Joyce & Tony — Live From Wigmore Hall,” Joyce DiDonato; Antonio Pappano, accompanist
Classical Compendium
“Paulus: Three Places of Enlightenment; Veil of Tears & Grand Concerto,” Giancarlo Guerrero, conductor; Tim Handley, producer
Contemporary Classical Composition
“Paulus: Prayers & Remembrances,” Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra)
Music Video
“Bad Blood,” Taylor Swift, featuring Kendrick Lamar
Music Film
“Amy,” Amy Winehouse
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=633fd075dc) | 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=633fd075dc&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
Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/music/posts/la-et-ms-grammys-2016-cecile-mclorin-salvant-maria-schneider-jazz-winners-20160215-story.html
** Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners
————————————————————
Chris Barton (http://www.latimes.com/la-bio-chris-barton-staff.html#nt=byline) Contact Reporter (mailto:chris.barton@latimes.com?subject=Regarding:%20%22Grammys%202016:%20C%C3%A9cile%20McLorin%20Salvant%20and%20Maria%20Schneider%20are%20among%20the%20jazz%20winners%22)
Cécile McLorin Salvant
The Grammy Awards like nothing more than to be seen as getting younger, but that idea did not extend to 12-year-old piano phenom Joey Alexander in this year’s jazz category.
Seen as something of a favorite in the wake of earning multiple nominations for music on his debut album “My Favorite Things” as well as a performance slot at the Grammys pre-show and broadcast, Alexander was shut out by Grammy voters, who instead opted for more familiar faces.
Alexander can take a measure of comfort in this year’s win by 26-year-old jazz vocalist Cécile McLorin Salvant, who lost out in the jazz vocal category in her first nomination in 2014 but came back to earn honors this year for her lauded album “For One to Love.” Salvant beat out albums by Lorraine Feather, Karrin Allyson, Denise Donatelli and Jamison Ross.
Veteran guitarist John Scofield won the Grammy for jazz instrumental album with his release “Past Present,” beating out recordings by previous Grammy winner Robert Glasper as well as Alexander, Terence Blanchard and Jimmy Greene.
safari-reader://www.latimes.com/entertainment/envelope/grammys/la-et-grammys-live-updates-20160215-htmlstory.html
Bassist Christian McBride won the Grammy Award for best improvised solo for his work on “Cherokee” from his trio album “Live at the Village Vanguard,” which bested work from Alexander as well as Joshua Redman, John Scofield and saxophonist Donny McCaslin, who can also be heard backing David Bowie on his final album, “Blackstar.”
Bandleader Maria Schneider won the Grammy in the large ensemble category for her lush orchestral recording “The Thompson Fields,” and Eliane Elias’ “Made in Brazil” took home honors in the latin jazz album category.
Elsewhere, jazz drummer Antonio Sanchez also earned a measure of vindication at the Grammys with his win in the soundtrack category for his propulsive “Birdman” soundtrack, which was ineligible for honors at last year’s Oscars. And in the wake of their 2014 Grammy win in the R&B category, the dynamic jazz-funk ensemble Snarky Puppy won this year’s Grammy for contemporary instrumental album.
chris.barton@latimes.com (mailto:chris.barton@latimes.com)
Read more from me on Twitter: @chrisbarton (http://www.twitter.com/chrisbarton) .
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=289baa0c40) | 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=289baa0c40&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
Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/music/posts/la-et-ms-grammys-2016-cecile-mclorin-salvant-maria-schneider-jazz-winners-20160215-story.html
** Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners
————————————————————
Chris Barton (http://www.latimes.com/la-bio-chris-barton-staff.html#nt=byline) Contact Reporter (mailto:chris.barton@latimes.com?subject=Regarding:%20%22Grammys%202016:%20C%C3%A9cile%20McLorin%20Salvant%20and%20Maria%20Schneider%20are%20among%20the%20jazz%20winners%22)
Cécile McLorin Salvant
The Grammy Awards like nothing more than to be seen as getting younger, but that idea did not extend to 12-year-old piano phenom Joey Alexander in this year’s jazz category.
Seen as something of a favorite in the wake of earning multiple nominations for music on his debut album “My Favorite Things” as well as a performance slot at the Grammys pre-show and broadcast, Alexander was shut out by Grammy voters, who instead opted for more familiar faces.
Alexander can take a measure of comfort in this year’s win by 26-year-old jazz vocalist Cécile McLorin Salvant, who lost out in the jazz vocal category in her first nomination in 2014 but came back to earn honors this year for her lauded album “For One to Love.” Salvant beat out albums by Lorraine Feather, Karrin Allyson, Denise Donatelli and Jamison Ross.
Veteran guitarist John Scofield won the Grammy for jazz instrumental album with his release “Past Present,” beating out recordings by previous Grammy winner Robert Glasper as well as Alexander, Terence Blanchard and Jimmy Greene.
safari-reader://www.latimes.com/entertainment/envelope/grammys/la-et-grammys-live-updates-20160215-htmlstory.html
Bassist Christian McBride won the Grammy Award for best improvised solo for his work on “Cherokee” from his trio album “Live at the Village Vanguard,” which bested work from Alexander as well as Joshua Redman, John Scofield and saxophonist Donny McCaslin, who can also be heard backing David Bowie on his final album, “Blackstar.”
Bandleader Maria Schneider won the Grammy in the large ensemble category for her lush orchestral recording “The Thompson Fields,” and Eliane Elias’ “Made in Brazil” took home honors in the latin jazz album category.
Elsewhere, jazz drummer Antonio Sanchez also earned a measure of vindication at the Grammys with his win in the soundtrack category for his propulsive “Birdman” soundtrack, which was ineligible for honors at last year’s Oscars. And in the wake of their 2014 Grammy win in the R&B category, the dynamic jazz-funk ensemble Snarky Puppy won this year’s Grammy for contemporary instrumental album.
chris.barton@latimes.com (mailto:chris.barton@latimes.com)
Read more from me on Twitter: @chrisbarton (http://www.twitter.com/chrisbarton) .
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=289baa0c40) | 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=289baa0c40&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
Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners – LA Times
http://www.jazzpromoservices.com/
http://www.latimes.com/entertainment/music/posts/la-et-ms-grammys-2016-cecile-mclorin-salvant-maria-schneider-jazz-winners-20160215-story.html
** Grammys 2016: Cécile McLorin Salvant and Maria Schneider are among the jazz winners
————————————————————
Chris Barton (http://www.latimes.com/la-bio-chris-barton-staff.html#nt=byline) Contact Reporter (mailto:chris.barton@latimes.com?subject=Regarding:%20%22Grammys%202016:%20C%C3%A9cile%20McLorin%20Salvant%20and%20Maria%20Schneider%20are%20among%20the%20jazz%20winners%22)
Cécile McLorin Salvant
The Grammy Awards like nothing more than to be seen as getting younger, but that idea did not extend to 12-year-old piano phenom Joey Alexander in this year’s jazz category.
Seen as something of a favorite in the wake of earning multiple nominations for music on his debut album “My Favorite Things” as well as a performance slot at the Grammys pre-show and broadcast, Alexander was shut out by Grammy voters, who instead opted for more familiar faces.
Alexander can take a measure of comfort in this year’s win by 26-year-old jazz vocalist Cécile McLorin Salvant, who lost out in the jazz vocal category in her first nomination in 2014 but came back to earn honors this year for her lauded album “For One to Love.” Salvant beat out albums by Lorraine Feather, Karrin Allyson, Denise Donatelli and Jamison Ross.
Veteran guitarist John Scofield won the Grammy for jazz instrumental album with his release “Past Present,” beating out recordings by previous Grammy winner Robert Glasper as well as Alexander, Terence Blanchard and Jimmy Greene.
safari-reader://www.latimes.com/entertainment/envelope/grammys/la-et-grammys-live-updates-20160215-htmlstory.html
Bassist Christian McBride won the Grammy Award for best improvised solo for his work on “Cherokee” from his trio album “Live at the Village Vanguard,” which bested work from Alexander as well as Joshua Redman, John Scofield and saxophonist Donny McCaslin, who can also be heard backing David Bowie on his final album, “Blackstar.”
Bandleader Maria Schneider won the Grammy in the large ensemble category for her lush orchestral recording “The Thompson Fields,” and Eliane Elias’ “Made in Brazil” took home honors in the latin jazz album category.
Elsewhere, jazz drummer Antonio Sanchez also earned a measure of vindication at the Grammys with his win in the soundtrack category for his propulsive “Birdman” soundtrack, which was ineligible for honors at last year’s Oscars. And in the wake of their 2014 Grammy win in the R&B category, the dynamic jazz-funk ensemble Snarky Puppy won this year’s Grammy for contemporary instrumental album.
chris.barton@latimes.com (mailto:chris.barton@latimes.com)
Read more from me on Twitter: @chrisbarton (http://www.twitter.com/chrisbarton) .
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=289baa0c40) | 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=289baa0c40&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
Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/15/world/africa/malawi-gets-its-first-grammy-nomination-with-album-by-prison-inmates.html?hp
** Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates
————————————————————
By NORIMITSU ONISHI (http://topics.nytimes.com/top/reference/timestopics/people/o/norimitsu_onishi/index.html) FEB. 14, 2016 Members of the Zomba prison band performing last month at the maximum security institution in Zomba, Malawi. Joao Silva/The New York Times
ZOMBA, Malawi — Old, overcrowded and unsanitary, the maximum-security Zomba prison holds murderers, robbers, rapists — and Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -nominated singers.
In a makeshift studio near a carpentry workshop, 14 prisoners and two guards recorded an unusual album of lessons and loss, sin and forgiveness. Now it is going up against the works of well-known performers in the world music category, earning the small, impoverished nation of Malawi its first chance at a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , which will be announced Monday night.
“Many people across the world who had never heard of Malawi are now saying, ‘There’s a country called Malawi!’ ” said Chikondi Salanje, 32, who is scheduled to be released in August after serving five years for robbery.
His song, “Listen to Me,” advises children to heed their parents — something, he added, he had failed to do himself.
Produced by Ian Brennan, an American who has wandered the globe in search of original music, the album, “I Have No Everything Here (https://zombaprisonproject.bandcamp.com/album/i-have-no-everything-here) ,” has been an unexpected boon for an overlooked nation, and even more so for its penal system, long criticized for its sometimes cruel conditions.
DEM. REP.
OF CONGO
SOUTH
AFRICA
Zomba Prison Project Mini Documentary Video by sixdegreesrecords
The music, often observations about problems afflicting African societies, also offers insights into the lives of its performers, like the three sisters who sing of the killing that brought them to Zomba to serve life sentences.
“I am alone at the wide river/and I have failed to cross it,” sings the oldest sister. “When I was doing things secretly/I thought that no one was watching me.”
It was seven years ago, in their village in this southern African nation, that the middle sister came home with her 11-year-old daughter from a Pentecostal prayer meeting. Suddenly, she screamed that a demon had taken over her child and started hitting her with firewood.
“She begged us: ‘Help me. If the demon rises up, it will hurt all of us,’ ” the older sister, Rhoda Mtemang’ombe, 44, recalled in an interview in the women’s ward. “I started beating the girl.”
Continue reading the main story
The younger sister appeared. Then, according to conflicting accounts, she either walked away or grabbed dry grass from a thatch roof to help set the child’s body on fire.
The female section of the prison. The male prisoners received instruments and support from the authorities; the women did not. Joao Silva/The New York Times
“Jealous Neighbor,” written and sung by Elias Chimenya, 40, a convicted murderer with an ethereal voice, tells of the tensions between individual labor and communal spirit in his village. When he enjoyed a good harvest, jealous neighbors invariably asked him for a share. When he refused, they accused him of being selfish. “Who does this man think he is?” they would say to him.
“I sweated for what I had, so they have also to work and sweat to have theirs — that was my song’s advice to those who are jealous,” said Mr. Chimenya, a slight man with an infectious smile. “It’s a big problem, not only in my village but in other villages and towns.”
Mr. Chimenya has been serving a life sentence here since 1998. He was convicted of instigating the killing of an aunt during a family meeting intended to resolve a squabble over land.
One of the two guards, Thomas Binamo, 42, who has worked at the prison for two decades, also wrote about jealousy, as a corrosive and sometimes deadly force in society. His composition, “Please, Don’t Kill My Child (https://zombaprisonproject.bandcamp.com/track/please-dont-kill-my-child) ,” perhaps the album’s most haunting track, is a plea against a peculiar crime in Malawi: the jealousy-fueled killing of children.
“Some people get jealous and they can think of killing someone’s child without any reason,” Mr. Binamo said. “It is a problem in our communities. People get jealous. Maybe he’s better educated. He’s earning more. He’s doing better.”
“So I’m saying: ‘Don’t kill my child. This child is mine,’ ” he added.
Ian Brennan, center, produced the album by the Zomba prison band that has been nominated for a Grammy Award in the best world music album category. Joao Silva/The New York Times
Mr. Binamo, who had his own band outside prison, started teaching inmates music in 2008. Prison officials bought instruments and created a studio in the men’s workshop area. A band was formed, initially with the purpose of spreading AIDS prevention messages through songs, said Little Dinizulu Mtengano, Malawi’s chief commissioner of prisons, who directly oversaw the Zomba prison at the time.
AIDS remains a problem among the staff and inmates at the Zomba prison, which was built in 1895 during British colonial rule and houses 2,400 prisoners, about triple the facility’s capacity. Malawi’s most hardened criminals are incarcerated here, but there are also many inmates who never received proper legal representation or who were simply lost in the justice system.
“Eighty-five percent of the prisoners are poor and illiterate,” Mr. Mtengano said, adding that many were convicted even though they did not comprehend the proceedings at their trials. Malawi’s main language is Chichewa, but court proceedings are conducted in English, and interpreters are often unavailable, Mr. Mtengano said.
It was in 2013 that Mr. Brennan, the American producer, visited the prison. Mr. Brennan, 49, a producer for three decades, had found musicians and produced albums in Rwanda, South Sudan, Vietnam and Malawi as part of a personal campaign against overly commercialized music.
With his wife, Marilena Delli, a documentary filmmaker, he traveled back roads and listened to local musicians, searching for original music from the margins or, as he said, “voices that are pure in the sense that they are uninfluenced by anything but the voices of their immediate surroundings.”
Mr. Brennan, who is also an expert and author on conflict resolution, gained access to the prison by offering to give classes on the subject to guards and inmates. Beyond the existing band, Mr. Brennan recalled during a return visit here in January, he quickly found talent everywhere, and began recording.
The residential area for the guards and their families at the Zomba prison. Joao Silva/The New York Times
There was Stefano Nyerenda, 30, behind bars since 2009 for robbery. Reflecting on his conviction and the situation in his community, he said he had an insight: Many women worked hard, starting their own businesses, while many men wasted their days drinking beer and playing bawo, a board game.
“It was a big problem in my village,” Mr. Nyerenda said. “That’s why, in my song, I advised that men must work with the women to make our village stronger.”
Written and sung in Chichewa, like nearly all of the album’s songs, Mr. Nyerenda’s “Women Today Take Care of Business” goes: “While women are in salon doing their hair/their husbands are asleep/While women are in the market selling onions and things/their husbands are sleeping. While men are awake, all they know is to play bawo.”
Mr. Brennan went further into the prison, to the small women’s ward, which recently held 35 women and three children. Unlike the men, the women had received no instruments or support from the authorities. None volunteered to sing. They even denied having any songs at all.
A woman named Gladys Zinamo eventually stepped forward.
“We didn’t know what was coming next,” said Ms. Zinamo, now 34. “But I love singing, so I sang.”
Thomas Binamo, playing the guitar, and Elias Chimenya, far right, a convicted murderer, are members of the prison band. Joao Silva/The New York Times
Her song, “Taking My Life,” tells of how thieves took everything in her home after she was sent here in 2010. Ms. Zinamo was convicted of being an accomplice in a robbery at the shop where she worked. Ms. Zinamo, who denied any involvement, was released in 2013.
Other women followed.
The youngest, Fronce Afiki, now 25, had been convicted with her husband of killing a relative’s young son. The child’s body had been found along a river in her village, his neck broken. Ms. Afiki, who said she was innocent, was released in 2014 after serving only three years. Her husband remains incarcerated.
Ms. Afiki composed upbeat songs. In “When They See Me Dance,” she sings of a village tradition according to which the elders impart advice to children when they turn 6.
“The children then dance for the elders,” she said with a smile.
Outside the prison, Ms. Afiki said she now stayed in her home village, a three-hour trip from here by bicycle taxi through mountainous roads. She lives with her daughter and son in a small mud-brick home she has built since leaving prison.
She still sings. In her latest composition, she said, she gives specific advice to the girls in her village: If they have a certain talent, like weaving or making something, they should pursue it instead of falling for a boy. That way, they can become rich.
The village children gather outside her home when she cooks or pounds corn. Or they come after dinner when everyone relaxes before going to sleep.
“I sing that song for the girls,” she said. “They understand.”
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=fb50507126) | 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=fb50507126&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
Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/15/world/africa/malawi-gets-its-first-grammy-nomination-with-album-by-prison-inmates.html?hp
** Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates
————————————————————
By NORIMITSU ONISHI (http://topics.nytimes.com/top/reference/timestopics/people/o/norimitsu_onishi/index.html) FEB. 14, 2016 Members of the Zomba prison band performing last month at the maximum security institution in Zomba, Malawi. Joao Silva/The New York Times
ZOMBA, Malawi — Old, overcrowded and unsanitary, the maximum-security Zomba prison holds murderers, robbers, rapists — and Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -nominated singers.
In a makeshift studio near a carpentry workshop, 14 prisoners and two guards recorded an unusual album of lessons and loss, sin and forgiveness. Now it is going up against the works of well-known performers in the world music category, earning the small, impoverished nation of Malawi its first chance at a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , which will be announced Monday night.
“Many people across the world who had never heard of Malawi are now saying, ‘There’s a country called Malawi!’ ” said Chikondi Salanje, 32, who is scheduled to be released in August after serving five years for robbery.
His song, “Listen to Me,” advises children to heed their parents — something, he added, he had failed to do himself.
Produced by Ian Brennan, an American who has wandered the globe in search of original music, the album, “I Have No Everything Here (https://zombaprisonproject.bandcamp.com/album/i-have-no-everything-here) ,” has been an unexpected boon for an overlooked nation, and even more so for its penal system, long criticized for its sometimes cruel conditions.
DEM. REP.
OF CONGO
SOUTH
AFRICA
Zomba Prison Project Mini Documentary Video by sixdegreesrecords
The music, often observations about problems afflicting African societies, also offers insights into the lives of its performers, like the three sisters who sing of the killing that brought them to Zomba to serve life sentences.
“I am alone at the wide river/and I have failed to cross it,” sings the oldest sister. “When I was doing things secretly/I thought that no one was watching me.”
It was seven years ago, in their village in this southern African nation, that the middle sister came home with her 11-year-old daughter from a Pentecostal prayer meeting. Suddenly, she screamed that a demon had taken over her child and started hitting her with firewood.
“She begged us: ‘Help me. If the demon rises up, it will hurt all of us,’ ” the older sister, Rhoda Mtemang’ombe, 44, recalled in an interview in the women’s ward. “I started beating the girl.”
Continue reading the main story
The younger sister appeared. Then, according to conflicting accounts, she either walked away or grabbed dry grass from a thatch roof to help set the child’s body on fire.
The female section of the prison. The male prisoners received instruments and support from the authorities; the women did not. Joao Silva/The New York Times
“Jealous Neighbor,” written and sung by Elias Chimenya, 40, a convicted murderer with an ethereal voice, tells of the tensions between individual labor and communal spirit in his village. When he enjoyed a good harvest, jealous neighbors invariably asked him for a share. When he refused, they accused him of being selfish. “Who does this man think he is?” they would say to him.
“I sweated for what I had, so they have also to work and sweat to have theirs — that was my song’s advice to those who are jealous,” said Mr. Chimenya, a slight man with an infectious smile. “It’s a big problem, not only in my village but in other villages and towns.”
Mr. Chimenya has been serving a life sentence here since 1998. He was convicted of instigating the killing of an aunt during a family meeting intended to resolve a squabble over land.
One of the two guards, Thomas Binamo, 42, who has worked at the prison for two decades, also wrote about jealousy, as a corrosive and sometimes deadly force in society. His composition, “Please, Don’t Kill My Child (https://zombaprisonproject.bandcamp.com/track/please-dont-kill-my-child) ,” perhaps the album’s most haunting track, is a plea against a peculiar crime in Malawi: the jealousy-fueled killing of children.
“Some people get jealous and they can think of killing someone’s child without any reason,” Mr. Binamo said. “It is a problem in our communities. People get jealous. Maybe he’s better educated. He’s earning more. He’s doing better.”
“So I’m saying: ‘Don’t kill my child. This child is mine,’ ” he added.
Ian Brennan, center, produced the album by the Zomba prison band that has been nominated for a Grammy Award in the best world music album category. Joao Silva/The New York Times
Mr. Binamo, who had his own band outside prison, started teaching inmates music in 2008. Prison officials bought instruments and created a studio in the men’s workshop area. A band was formed, initially with the purpose of spreading AIDS prevention messages through songs, said Little Dinizulu Mtengano, Malawi’s chief commissioner of prisons, who directly oversaw the Zomba prison at the time.
AIDS remains a problem among the staff and inmates at the Zomba prison, which was built in 1895 during British colonial rule and houses 2,400 prisoners, about triple the facility’s capacity. Malawi’s most hardened criminals are incarcerated here, but there are also many inmates who never received proper legal representation or who were simply lost in the justice system.
“Eighty-five percent of the prisoners are poor and illiterate,” Mr. Mtengano said, adding that many were convicted even though they did not comprehend the proceedings at their trials. Malawi’s main language is Chichewa, but court proceedings are conducted in English, and interpreters are often unavailable, Mr. Mtengano said.
It was in 2013 that Mr. Brennan, the American producer, visited the prison. Mr. Brennan, 49, a producer for three decades, had found musicians and produced albums in Rwanda, South Sudan, Vietnam and Malawi as part of a personal campaign against overly commercialized music.
With his wife, Marilena Delli, a documentary filmmaker, he traveled back roads and listened to local musicians, searching for original music from the margins or, as he said, “voices that are pure in the sense that they are uninfluenced by anything but the voices of their immediate surroundings.”
Mr. Brennan, who is also an expert and author on conflict resolution, gained access to the prison by offering to give classes on the subject to guards and inmates. Beyond the existing band, Mr. Brennan recalled during a return visit here in January, he quickly found talent everywhere, and began recording.
The residential area for the guards and their families at the Zomba prison. Joao Silva/The New York Times
There was Stefano Nyerenda, 30, behind bars since 2009 for robbery. Reflecting on his conviction and the situation in his community, he said he had an insight: Many women worked hard, starting their own businesses, while many men wasted their days drinking beer and playing bawo, a board game.
“It was a big problem in my village,” Mr. Nyerenda said. “That’s why, in my song, I advised that men must work with the women to make our village stronger.”
Written and sung in Chichewa, like nearly all of the album’s songs, Mr. Nyerenda’s “Women Today Take Care of Business” goes: “While women are in salon doing their hair/their husbands are asleep/While women are in the market selling onions and things/their husbands are sleeping. While men are awake, all they know is to play bawo.”
Mr. Brennan went further into the prison, to the small women’s ward, which recently held 35 women and three children. Unlike the men, the women had received no instruments or support from the authorities. None volunteered to sing. They even denied having any songs at all.
A woman named Gladys Zinamo eventually stepped forward.
“We didn’t know what was coming next,” said Ms. Zinamo, now 34. “But I love singing, so I sang.”
Thomas Binamo, playing the guitar, and Elias Chimenya, far right, a convicted murderer, are members of the prison band. Joao Silva/The New York Times
Her song, “Taking My Life,” tells of how thieves took everything in her home after she was sent here in 2010. Ms. Zinamo was convicted of being an accomplice in a robbery at the shop where she worked. Ms. Zinamo, who denied any involvement, was released in 2013.
Other women followed.
The youngest, Fronce Afiki, now 25, had been convicted with her husband of killing a relative’s young son. The child’s body had been found along a river in her village, his neck broken. Ms. Afiki, who said she was innocent, was released in 2014 after serving only three years. Her husband remains incarcerated.
Ms. Afiki composed upbeat songs. In “When They See Me Dance,” she sings of a village tradition according to which the elders impart advice to children when they turn 6.
“The children then dance for the elders,” she said with a smile.
Outside the prison, Ms. Afiki said she now stayed in her home village, a three-hour trip from here by bicycle taxi through mountainous roads. She lives with her daughter and son in a small mud-brick home she has built since leaving prison.
She still sings. In her latest composition, she said, she gives specific advice to the girls in her village: If they have a certain talent, like weaving or making something, they should pursue it instead of falling for a boy. That way, they can become rich.
The village children gather outside her home when she cooks or pounds corn. Or they come after dinner when everyone relaxes before going to sleep.
“I sing that song for the girls,” she said. “They understand.”
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=fb50507126) | 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=fb50507126&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
Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/15/world/africa/malawi-gets-its-first-grammy-nomination-with-album-by-prison-inmates.html?hp
** Malawi Gets Its First Grammy Nomination, With Album by Prison Inmates
————————————————————
By NORIMITSU ONISHI (http://topics.nytimes.com/top/reference/timestopics/people/o/norimitsu_onishi/index.html) FEB. 14, 2016 Members of the Zomba prison band performing last month at the maximum security institution in Zomba, Malawi. Joao Silva/The New York Times
ZOMBA, Malawi — Old, overcrowded and unsanitary, the maximum-security Zomba prison holds murderers, robbers, rapists — and Grammy (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) -nominated singers.
In a makeshift studio near a carpentry workshop, 14 prisoners and two guards recorded an unusual album of lessons and loss, sin and forgiveness. Now it is going up against the works of well-known performers in the world music category, earning the small, impoverished nation of Malawi its first chance at a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) , which will be announced Monday night.
“Many people across the world who had never heard of Malawi are now saying, ‘There’s a country called Malawi!’ ” said Chikondi Salanje, 32, who is scheduled to be released in August after serving five years for robbery.
His song, “Listen to Me,” advises children to heed their parents — something, he added, he had failed to do himself.
Produced by Ian Brennan, an American who has wandered the globe in search of original music, the album, “I Have No Everything Here (https://zombaprisonproject.bandcamp.com/album/i-have-no-everything-here) ,” has been an unexpected boon for an overlooked nation, and even more so for its penal system, long criticized for its sometimes cruel conditions.
DEM. REP.
OF CONGO
SOUTH
AFRICA
Zomba Prison Project Mini Documentary Video by sixdegreesrecords
The music, often observations about problems afflicting African societies, also offers insights into the lives of its performers, like the three sisters who sing of the killing that brought them to Zomba to serve life sentences.
“I am alone at the wide river/and I have failed to cross it,” sings the oldest sister. “When I was doing things secretly/I thought that no one was watching me.”
It was seven years ago, in their village in this southern African nation, that the middle sister came home with her 11-year-old daughter from a Pentecostal prayer meeting. Suddenly, she screamed that a demon had taken over her child and started hitting her with firewood.
“She begged us: ‘Help me. If the demon rises up, it will hurt all of us,’ ” the older sister, Rhoda Mtemang’ombe, 44, recalled in an interview in the women’s ward. “I started beating the girl.”
Continue reading the main story
The younger sister appeared. Then, according to conflicting accounts, she either walked away or grabbed dry grass from a thatch roof to help set the child’s body on fire.
The female section of the prison. The male prisoners received instruments and support from the authorities; the women did not. Joao Silva/The New York Times
“Jealous Neighbor,” written and sung by Elias Chimenya, 40, a convicted murderer with an ethereal voice, tells of the tensions between individual labor and communal spirit in his village. When he enjoyed a good harvest, jealous neighbors invariably asked him for a share. When he refused, they accused him of being selfish. “Who does this man think he is?” they would say to him.
“I sweated for what I had, so they have also to work and sweat to have theirs — that was my song’s advice to those who are jealous,” said Mr. Chimenya, a slight man with an infectious smile. “It’s a big problem, not only in my village but in other villages and towns.”
Mr. Chimenya has been serving a life sentence here since 1998. He was convicted of instigating the killing of an aunt during a family meeting intended to resolve a squabble over land.
One of the two guards, Thomas Binamo, 42, who has worked at the prison for two decades, also wrote about jealousy, as a corrosive and sometimes deadly force in society. His composition, “Please, Don’t Kill My Child (https://zombaprisonproject.bandcamp.com/track/please-dont-kill-my-child) ,” perhaps the album’s most haunting track, is a plea against a peculiar crime in Malawi: the jealousy-fueled killing of children.
“Some people get jealous and they can think of killing someone’s child without any reason,” Mr. Binamo said. “It is a problem in our communities. People get jealous. Maybe he’s better educated. He’s earning more. He’s doing better.”
“So I’m saying: ‘Don’t kill my child. This child is mine,’ ” he added.
Ian Brennan, center, produced the album by the Zomba prison band that has been nominated for a Grammy Award in the best world music album category. Joao Silva/The New York Times
Mr. Binamo, who had his own band outside prison, started teaching inmates music in 2008. Prison officials bought instruments and created a studio in the men’s workshop area. A band was formed, initially with the purpose of spreading AIDS prevention messages through songs, said Little Dinizulu Mtengano, Malawi’s chief commissioner of prisons, who directly oversaw the Zomba prison at the time.
AIDS remains a problem among the staff and inmates at the Zomba prison, which was built in 1895 during British colonial rule and houses 2,400 prisoners, about triple the facility’s capacity. Malawi’s most hardened criminals are incarcerated here, but there are also many inmates who never received proper legal representation or who were simply lost in the justice system.
“Eighty-five percent of the prisoners are poor and illiterate,” Mr. Mtengano said, adding that many were convicted even though they did not comprehend the proceedings at their trials. Malawi’s main language is Chichewa, but court proceedings are conducted in English, and interpreters are often unavailable, Mr. Mtengano said.
It was in 2013 that Mr. Brennan, the American producer, visited the prison. Mr. Brennan, 49, a producer for three decades, had found musicians and produced albums in Rwanda, South Sudan, Vietnam and Malawi as part of a personal campaign against overly commercialized music.
With his wife, Marilena Delli, a documentary filmmaker, he traveled back roads and listened to local musicians, searching for original music from the margins or, as he said, “voices that are pure in the sense that they are uninfluenced by anything but the voices of their immediate surroundings.”
Mr. Brennan, who is also an expert and author on conflict resolution, gained access to the prison by offering to give classes on the subject to guards and inmates. Beyond the existing band, Mr. Brennan recalled during a return visit here in January, he quickly found talent everywhere, and began recording.
The residential area for the guards and their families at the Zomba prison. Joao Silva/The New York Times
There was Stefano Nyerenda, 30, behind bars since 2009 for robbery. Reflecting on his conviction and the situation in his community, he said he had an insight: Many women worked hard, starting their own businesses, while many men wasted their days drinking beer and playing bawo, a board game.
“It was a big problem in my village,” Mr. Nyerenda said. “That’s why, in my song, I advised that men must work with the women to make our village stronger.”
Written and sung in Chichewa, like nearly all of the album’s songs, Mr. Nyerenda’s “Women Today Take Care of Business” goes: “While women are in salon doing their hair/their husbands are asleep/While women are in the market selling onions and things/their husbands are sleeping. While men are awake, all they know is to play bawo.”
Mr. Brennan went further into the prison, to the small women’s ward, which recently held 35 women and three children. Unlike the men, the women had received no instruments or support from the authorities. None volunteered to sing. They even denied having any songs at all.
A woman named Gladys Zinamo eventually stepped forward.
“We didn’t know what was coming next,” said Ms. Zinamo, now 34. “But I love singing, so I sang.”
Thomas Binamo, playing the guitar, and Elias Chimenya, far right, a convicted murderer, are members of the prison band. Joao Silva/The New York Times
Her song, “Taking My Life,” tells of how thieves took everything in her home after she was sent here in 2010. Ms. Zinamo was convicted of being an accomplice in a robbery at the shop where she worked. Ms. Zinamo, who denied any involvement, was released in 2013.
Other women followed.
The youngest, Fronce Afiki, now 25, had been convicted with her husband of killing a relative’s young son. The child’s body had been found along a river in her village, his neck broken. Ms. Afiki, who said she was innocent, was released in 2014 after serving only three years. Her husband remains incarcerated.
Ms. Afiki composed upbeat songs. In “When They See Me Dance,” she sings of a village tradition according to which the elders impart advice to children when they turn 6.
“The children then dance for the elders,” she said with a smile.
Outside the prison, Ms. Afiki said she now stayed in her home village, a three-hour trip from here by bicycle taxi through mountainous roads. She lives with her daughter and son in a small mud-brick home she has built since leaving prison.
She still sings. In her latest composition, she said, she gives specific advice to the girls in her village: If they have a certain talent, like weaving or making something, they should pursue it instead of falling for a boy. That way, they can become rich.
The village children gather outside her home when she cooks or pounds corn. Or they come after dinner when everyone relaxes before going to sleep.
“I sing that song for the girls,” she said. “They understand.”
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=fb50507126) | 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=fb50507126&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
Music aficionados say loss of Jazz record store: ‘A lost art’ – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/news/local/breaking/ct-music-aficionados-say-loss-of-jazz-record-store-a-lost-art-20160213-story.html
** Music aficionados say loss of Jazz record store: ‘A lost art’
————————————————————
Gregory Pratt (http://www.chicagotribune.com/chi-gregory-pratt-staff.html#nt=byline) Contact Reporter (mailto:gpratt@chicagotribune.com?subject=Regarding:%20%22Music%20aficionados%20say%20loss%20of%20Jazz%20record%20store:%20’A%20lost%20art’%22) Chicago Tribune
ct-Jazz-Record-Mart-closing
All day Saturday, the world-famous Jazz Record Mart filled with customers for what could be the store’s last weekend.
People who’ve been visiting the downtown shop for decades browsed vinyl records and CDs. A man visiting from Australia stopped in. One woman even biked down in frigid weather from the city’s Northwest Side to buy tapes before the store closes.
“A lot of joy,” said the store’s owner, Bob Koester, when asked how he felt. “I should go out of business more often.”
Koester, 83, said he expects to sell his inventory Monday to an out-of-state buyer and shut the store down. High rent, Koester said, has caused him to sell “The World’s Largest Jazz and Blues Record Store.”
If he can’t sell the store, Koester said he’ll move to a smaller location.
That fact saddened many who feel as though they were losing a mecca for music lovers.
“This is history,” said David Hensley, who came to the store with his 17-year-old son, Benjamin, in search of Jim Flora albums. “There’s no other place like this.”
Other people there expressed romantic thoughts about old-time record stores and said shopping online doesn’t compare to a good storefront.
safari-reader://www.chicagotribune.com/entertainment/music/ct-jazz-record-mart-for-sale-20160129-column.html
Steve Padley, 55, came out from Downers Grove and said he loves finding random items while browsing and going, “Hey, I’ll take a chance on that.”
On Saturday, Padley displayed that same sense of wonder as he showed a Clark Terry recording with Thelonius Monk he’d found in the store.
“Like ‘em both,” Padley said. “Let’s see what they sound like together.”
Koester reflected on his store Saturday, which has allowed him to meet countless people over the years. He said he’s had some customers for more than 40 years.
“The people you meet are wonderful,” he said.
In addition to owning the record store, Koester owns the Chicago-based Delmark Records label. Some of his musicians poured through the store throughout the day.
Ernest Dawkins, 62, is a saxophone jazz musician with Delmark who lives in Englewood. He said the store’s closing represents “another historical institution that’s gone by the wayside.”
“I think America needs to look at itself in terms of how we invest in art,” Dawkins said.
Others echoed the sentiment.
“This is something that’s sort of a lost art that’s dying,” said 66-year-old Peter Jacobs. “It’ll be missed.”
gpratt@tribpub.comTwitter @royalpratt
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=a09d1ee388) | 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=a09d1ee388&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
Music aficionados say loss of Jazz record store: ‘A lost art’ – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/news/local/breaking/ct-music-aficionados-say-loss-of-jazz-record-store-a-lost-art-20160213-story.html
** Music aficionados say loss of Jazz record store: ‘A lost art’
————————————————————
Gregory Pratt (http://www.chicagotribune.com/chi-gregory-pratt-staff.html#nt=byline) Contact Reporter (mailto:gpratt@chicagotribune.com?subject=Regarding:%20%22Music%20aficionados%20say%20loss%20of%20Jazz%20record%20store:%20’A%20lost%20art’%22) Chicago Tribune
ct-Jazz-Record-Mart-closing
All day Saturday, the world-famous Jazz Record Mart filled with customers for what could be the store’s last weekend.
People who’ve been visiting the downtown shop for decades browsed vinyl records and CDs. A man visiting from Australia stopped in. One woman even biked down in frigid weather from the city’s Northwest Side to buy tapes before the store closes.
“A lot of joy,” said the store’s owner, Bob Koester, when asked how he felt. “I should go out of business more often.”
Koester, 83, said he expects to sell his inventory Monday to an out-of-state buyer and shut the store down. High rent, Koester said, has caused him to sell “The World’s Largest Jazz and Blues Record Store.”
If he can’t sell the store, Koester said he’ll move to a smaller location.
That fact saddened many who feel as though they were losing a mecca for music lovers.
“This is history,” said David Hensley, who came to the store with his 17-year-old son, Benjamin, in search of Jim Flora albums. “There’s no other place like this.”
Other people there expressed romantic thoughts about old-time record stores and said shopping online doesn’t compare to a good storefront.
safari-reader://www.chicagotribune.com/entertainment/music/ct-jazz-record-mart-for-sale-20160129-column.html
Steve Padley, 55, came out from Downers Grove and said he loves finding random items while browsing and going, “Hey, I’ll take a chance on that.”
On Saturday, Padley displayed that same sense of wonder as he showed a Clark Terry recording with Thelonius Monk he’d found in the store.
“Like ‘em both,” Padley said. “Let’s see what they sound like together.”
Koester reflected on his store Saturday, which has allowed him to meet countless people over the years. He said he’s had some customers for more than 40 years.
“The people you meet are wonderful,” he said.
In addition to owning the record store, Koester owns the Chicago-based Delmark Records label. Some of his musicians poured through the store throughout the day.
Ernest Dawkins, 62, is a saxophone jazz musician with Delmark who lives in Englewood. He said the store’s closing represents “another historical institution that’s gone by the wayside.”
“I think America needs to look at itself in terms of how we invest in art,” Dawkins said.
Others echoed the sentiment.
“This is something that’s sort of a lost art that’s dying,” said 66-year-old Peter Jacobs. “It’ll be missed.”
gpratt@tribpub.comTwitter @royalpratt
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=a09d1ee388) | 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=a09d1ee388&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
Music aficionados say loss of Jazz record store: ‘A lost art’ – Chicago Tribune
http://www.jazzpromoservices.com/
http://www.chicagotribune.com/news/local/breaking/ct-music-aficionados-say-loss-of-jazz-record-store-a-lost-art-20160213-story.html
** Music aficionados say loss of Jazz record store: ‘A lost art’
————————————————————
Gregory Pratt (http://www.chicagotribune.com/chi-gregory-pratt-staff.html#nt=byline) Contact Reporter (mailto:gpratt@chicagotribune.com?subject=Regarding:%20%22Music%20aficionados%20say%20loss%20of%20Jazz%20record%20store:%20’A%20lost%20art’%22) Chicago Tribune
ct-Jazz-Record-Mart-closing
All day Saturday, the world-famous Jazz Record Mart filled with customers for what could be the store’s last weekend.
People who’ve been visiting the downtown shop for decades browsed vinyl records and CDs. A man visiting from Australia stopped in. One woman even biked down in frigid weather from the city’s Northwest Side to buy tapes before the store closes.
“A lot of joy,” said the store’s owner, Bob Koester, when asked how he felt. “I should go out of business more often.”
Koester, 83, said he expects to sell his inventory Monday to an out-of-state buyer and shut the store down. High rent, Koester said, has caused him to sell “The World’s Largest Jazz and Blues Record Store.”
If he can’t sell the store, Koester said he’ll move to a smaller location.
That fact saddened many who feel as though they were losing a mecca for music lovers.
“This is history,” said David Hensley, who came to the store with his 17-year-old son, Benjamin, in search of Jim Flora albums. “There’s no other place like this.”
Other people there expressed romantic thoughts about old-time record stores and said shopping online doesn’t compare to a good storefront.
safari-reader://www.chicagotribune.com/entertainment/music/ct-jazz-record-mart-for-sale-20160129-column.html
Steve Padley, 55, came out from Downers Grove and said he loves finding random items while browsing and going, “Hey, I’ll take a chance on that.”
On Saturday, Padley displayed that same sense of wonder as he showed a Clark Terry recording with Thelonius Monk he’d found in the store.
“Like ‘em both,” Padley said. “Let’s see what they sound like together.”
Koester reflected on his store Saturday, which has allowed him to meet countless people over the years. He said he’s had some customers for more than 40 years.
“The people you meet are wonderful,” he said.
In addition to owning the record store, Koester owns the Chicago-based Delmark Records label. Some of his musicians poured through the store throughout the day.
Ernest Dawkins, 62, is a saxophone jazz musician with Delmark who lives in Englewood. He said the store’s closing represents “another historical institution that’s gone by the wayside.”
“I think America needs to look at itself in terms of how we invest in art,” Dawkins said.
Others echoed the sentiment.
“This is something that’s sort of a lost art that’s dying,” said 66-year-old Peter Jacobs. “It’ll be missed.”
gpratt@tribpub.comTwitter @royalpratt
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=a09d1ee388) | 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=a09d1ee388&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Sound Of Film To Come: how jazz fell in love with the movies | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2016/feb/10/jazz-movies-the-sound-of-film-to-come-how-jazz-fell-in-love-with-the-movies#_=_
** The Sound Of Film To Come: how jazz fell in love with the movies
————————————————————
Allen Morrison
L to R: Mo’ Better Blues, 1990 Denzel Washington as Bleek Gilliam Whiplash 2014, J.K. Simmons as Fletcher Born to be Blue, 2015 Ethan Hawke as Chet Baker Miles Ahead, 2015 Don Cheadle as Miles Davis
Jazz musicians will feature prominently in the movies in 2016, with the theatrical release of two highly anticipated films: Miles Ahead (http://www.theguardian.com/film/2015/oct/10/miles-ahead-review-don-cheadle-miles-davis-biopic) , Don Cheadle’s homage to trumpet legend Miles Davis (http://www.theguardian.com/film/2015/sep/17/born-to-be-blue-review-ethan-hawke-jazzes-up-unconventional-chet-baker-biopic) (1 April), and Canadian director Robert Budreau’s Born to Be Blue, featuring Ethan Hawke as Chet Baker, the noted trumpeter, singer and style icon (25 March).
Both films were hits on the festival circuit and it’s somehow fitting that the Davis and Baker films will compete for movie audiences, just as their namesakes competed in life. Baker beat both Davis and Clifford Brown in the trumpet category in the 1953 and 1954 DownBeat and Metronome magazine readers’ polls; he was even initially touted in some corners as “The Great White Hope” of jazz trumpeters, which embarrassed Baker and didn’t exactly endear him to Davis.
The two films strive for exacting fidelity to the music while trying to avoid the traditional biopic formula – and the tropes with which the cinema has portrayed jazz musicians over the past 90 years. Jazz on film has an erratic history, starting in 1927 with the first sound motion picture, The Jazz (http://www.theguardian.com/music/jazz) Singer. The landmark film featured Al Jolson, in and out of blackface, singing My Mammy, Blue Skies, and Waiting for the Robert E Lee, but contained nothing resembling jazz. Nevertheless, with its huge commercial success; it set the template for the depiction of jazz musicians in the movies: confused, inaccurate and not at all jazz. For several decades afterward, Hollywood was in love with the music but often confused, to put it mildly, about who deserved credit for originating this indigenous American art form.
A landmark of cultural appropriation was The Birth of the Blues (1941), featuring Bing Crosby as a Bourbon Street clarinetist who, after learning the music from a group of black jazz musicians – at least there’s that – introduces Dixieland jazz to New Orleans cafe society. Crosby’s musical numbers are fine, including legendary trombonist Jack Teagarden and a young Mary Martin, but don’t expect blues – or historical accuracy.
In the 40s and 50s, many a big-budget Hollywood film would celebrate the lives of white jazz musicians, often with highly doctored life stories. Often they featured very appealing music, sometimes with African-American musicians in supporting roles. The list includes The Five Pennies (1959), starring Danny Kaye as Dixieland cornetist Red Nichols (there’s a wonderful duet with Louis Armstrong); The Glenn Miller Story (1954), with Jimmy Stewart in the title role; The Benny Goodman Story (1956), starring the appropriately bespectacled Steve Allen, who was an actual jazz musician; and Young Man With a Horn (1950), with Kirk Douglas playing a character loosely based on trumpeter Bix Beiderbecke. The 1958 film St Louis Blues, starring Nat King Cole as “Father of the Blues” WC Handy, and featuring Ella Fitzgerald, Cab Calloway, Eartha Kitt and Pearl Bailey, was a notable exception to the white bio rule; and performed poorly at the box office.
Yet, while biopics about black jazz musicians were rare, other films, intended for a mostly African-American audience (sometimes called “race films”) featured all-black casts – and some of the most important jazz musicians of the era. A 1935 one-reeler, Symphony in Black, featured Duke Ellington’s Orchestra performing his extended piece, A Rhapsody of Negro Life; the film also introduced Billie Holiday (http://www.theguardian.com/music/billie-holiday) and won an Academy Award for best musical short subject.
The 1940s saw Hollywood take a chance on Cabin in the Sky (1943), a musical fable that had been a hit on Broadway. It featured musical numbers by Ethel Waters, Lena Horne, and the Duke Ellington Orchestra. Stormy Weather (1943) starring dancer Bill Robinson and very loosely based on his life, also featured an all-black cast including Lena Horne, Cab Calloway, and unforgettable performances from Fats Waller and the Nicholas Brothers. New Orleans (1947), an interracial potboiler, was notable for a star turn by Billie Holiday as a singing maid and Louis Armstrong as her bandleader boyfriend (both in supporting roles). The preposterous story (the New York Times called it a “wretchedly routine romance (http://www.nytimes.com/movie/review?res=9803E3DC1339E632A25753C2A9609C946693D6CF) ”) fades into insignificance when Holiday sings Do You Know What It Means to Miss New Orleans to Armstrong’s accompaniment.
It wasn’t until the 1950s that film-makers began to depict the life of jazz musicians more realistically – and to realize how incorporating jazz in film scores could add a feeling of excitement and modernism. Miles Davis, using a quintet he assembled in Paris, created the first improvised film score in history for Louis Malle’s 1958 French thriller Elevator to the Gallows. The following year, Otto Preminger hired Duke Ellington (http://www.theguardian.com/film/duke-ellington) to write his first film score at age 60, for Anatomy of a Murder; he won three Grammy awards for the music.
Since the 1960s there have been many notable films about jazz and jazz musicians. Five of my favorites are listed below. Considering the likely impact of the forthcoming Miles Ahead (with a score by Grammy winner Robert Glasper (http://www.theguardian.com/music/2015/jan/08/robert-glasper-winter-jazzfest-new-york-jazz) ) and Born to be Blue, the list may have to be revised by the end of the year.
** Five essential jazz films
————————————————————
Whiplash: one of the rare jazz films that talks about learning an instrument
Whiplash: one of the rare jazz films that talks about learning an instrument. Photograph: Allstar/Bumhouse Productions
Round Midnight (1986)
Bertrand Tavernier’s French-American film is almost in a class by itself. The lead character Dale Turner, an expatriate American jazzman living in Paris, is based on the life of legendary bebop piano player Bud Powell. He is played with startling authenticity by another expat musician, saxophonist Dexter Gordon, who hadn’t previously acted in a movie but was nominated for an Oscar for his efforts. Herbie Hancock did win for Best Original Score.
Bird (1988)
Clint Eastwood’s sensitive, overlong (two and a half hours) Charlie Parker biopic was a critical hit but tanked at the box office, possibly scaring studio execs from doing other films about jazz musicians for decades. The combination of original, sonically isolated Parker tracks with performances by contemporary jazz luminaries (pianists Barry Harris and Monty Alexander, trumpeter Jon Faddis, and bassists Ray Brown and Ron Carter) made the soundtrack a must.
Let’s Get Lost (1988)
A haunting, one-of-a-kind documentary homage to Chet Baker by the fashion photographer Bruce Weber. A poetic mix of found footage of the young Baker with interviews featuring Baker’s ex-wives, friends and colleagues, and with the physically ravaged Baker himself near the end of his life. Gorgeously photographed in black and white, the film only deepens the mysteries of how the free-living, self-destructive – some would say, sociopathic – Baker produced such sublime music.
Chico and Rita (2010)
With a score by the legendary Cuban pianist Bebo Valdés and additional music by Thelonious Monk, Dizzy Gillespie and Charlie Parker, this visually stunning animated film for adults sets a decades-long story of romantic yearning (based on Valdés’s life) against the historical backdrop of the Havana-New York connection that changed the course of modern jazz.
Whiplash (2014)
One of the few movies ever to acknowledge that great jazz musicians have to undergo jazz education. Although it’s controversial among jazz fans for its unrealistic depiction of a sadistic jazz educator, it is cinematically breathtaking and contains a great and varied score.
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=4e1cb49c52) | 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=4e1cb49c52&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Sound Of Film To Come: how jazz fell in love with the movies | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2016/feb/10/jazz-movies-the-sound-of-film-to-come-how-jazz-fell-in-love-with-the-movies#_=_
** The Sound Of Film To Come: how jazz fell in love with the movies
————————————————————
Allen Morrison
L to R: Mo’ Better Blues, 1990 Denzel Washington as Bleek Gilliam Whiplash 2014, J.K. Simmons as Fletcher Born to be Blue, 2015 Ethan Hawke as Chet Baker Miles Ahead, 2015 Don Cheadle as Miles Davis
Jazz musicians will feature prominently in the movies in 2016, with the theatrical release of two highly anticipated films: Miles Ahead (http://www.theguardian.com/film/2015/oct/10/miles-ahead-review-don-cheadle-miles-davis-biopic) , Don Cheadle’s homage to trumpet legend Miles Davis (http://www.theguardian.com/film/2015/sep/17/born-to-be-blue-review-ethan-hawke-jazzes-up-unconventional-chet-baker-biopic) (1 April), and Canadian director Robert Budreau’s Born to Be Blue, featuring Ethan Hawke as Chet Baker, the noted trumpeter, singer and style icon (25 March).
Both films were hits on the festival circuit and it’s somehow fitting that the Davis and Baker films will compete for movie audiences, just as their namesakes competed in life. Baker beat both Davis and Clifford Brown in the trumpet category in the 1953 and 1954 DownBeat and Metronome magazine readers’ polls; he was even initially touted in some corners as “The Great White Hope” of jazz trumpeters, which embarrassed Baker and didn’t exactly endear him to Davis.
The two films strive for exacting fidelity to the music while trying to avoid the traditional biopic formula – and the tropes with which the cinema has portrayed jazz musicians over the past 90 years. Jazz on film has an erratic history, starting in 1927 with the first sound motion picture, The Jazz (http://www.theguardian.com/music/jazz) Singer. The landmark film featured Al Jolson, in and out of blackface, singing My Mammy, Blue Skies, and Waiting for the Robert E Lee, but contained nothing resembling jazz. Nevertheless, with its huge commercial success; it set the template for the depiction of jazz musicians in the movies: confused, inaccurate and not at all jazz. For several decades afterward, Hollywood was in love with the music but often confused, to put it mildly, about who deserved credit for originating this indigenous American art form.
A landmark of cultural appropriation was The Birth of the Blues (1941), featuring Bing Crosby as a Bourbon Street clarinetist who, after learning the music from a group of black jazz musicians – at least there’s that – introduces Dixieland jazz to New Orleans cafe society. Crosby’s musical numbers are fine, including legendary trombonist Jack Teagarden and a young Mary Martin, but don’t expect blues – or historical accuracy.
In the 40s and 50s, many a big-budget Hollywood film would celebrate the lives of white jazz musicians, often with highly doctored life stories. Often they featured very appealing music, sometimes with African-American musicians in supporting roles. The list includes The Five Pennies (1959), starring Danny Kaye as Dixieland cornetist Red Nichols (there’s a wonderful duet with Louis Armstrong); The Glenn Miller Story (1954), with Jimmy Stewart in the title role; The Benny Goodman Story (1956), starring the appropriately bespectacled Steve Allen, who was an actual jazz musician; and Young Man With a Horn (1950), with Kirk Douglas playing a character loosely based on trumpeter Bix Beiderbecke. The 1958 film St Louis Blues, starring Nat King Cole as “Father of the Blues” WC Handy, and featuring Ella Fitzgerald, Cab Calloway, Eartha Kitt and Pearl Bailey, was a notable exception to the white bio rule; and performed poorly at the box office.
Yet, while biopics about black jazz musicians were rare, other films, intended for a mostly African-American audience (sometimes called “race films”) featured all-black casts – and some of the most important jazz musicians of the era. A 1935 one-reeler, Symphony in Black, featured Duke Ellington’s Orchestra performing his extended piece, A Rhapsody of Negro Life; the film also introduced Billie Holiday (http://www.theguardian.com/music/billie-holiday) and won an Academy Award for best musical short subject.
The 1940s saw Hollywood take a chance on Cabin in the Sky (1943), a musical fable that had been a hit on Broadway. It featured musical numbers by Ethel Waters, Lena Horne, and the Duke Ellington Orchestra. Stormy Weather (1943) starring dancer Bill Robinson and very loosely based on his life, also featured an all-black cast including Lena Horne, Cab Calloway, and unforgettable performances from Fats Waller and the Nicholas Brothers. New Orleans (1947), an interracial potboiler, was notable for a star turn by Billie Holiday as a singing maid and Louis Armstrong as her bandleader boyfriend (both in supporting roles). The preposterous story (the New York Times called it a “wretchedly routine romance (http://www.nytimes.com/movie/review?res=9803E3DC1339E632A25753C2A9609C946693D6CF) ”) fades into insignificance when Holiday sings Do You Know What It Means to Miss New Orleans to Armstrong’s accompaniment.
It wasn’t until the 1950s that film-makers began to depict the life of jazz musicians more realistically – and to realize how incorporating jazz in film scores could add a feeling of excitement and modernism. Miles Davis, using a quintet he assembled in Paris, created the first improvised film score in history for Louis Malle’s 1958 French thriller Elevator to the Gallows. The following year, Otto Preminger hired Duke Ellington (http://www.theguardian.com/film/duke-ellington) to write his first film score at age 60, for Anatomy of a Murder; he won three Grammy awards for the music.
Since the 1960s there have been many notable films about jazz and jazz musicians. Five of my favorites are listed below. Considering the likely impact of the forthcoming Miles Ahead (with a score by Grammy winner Robert Glasper (http://www.theguardian.com/music/2015/jan/08/robert-glasper-winter-jazzfest-new-york-jazz) ) and Born to be Blue, the list may have to be revised by the end of the year.
** Five essential jazz films
————————————————————
Whiplash: one of the rare jazz films that talks about learning an instrument
Whiplash: one of the rare jazz films that talks about learning an instrument. Photograph: Allstar/Bumhouse Productions
Round Midnight (1986)
Bertrand Tavernier’s French-American film is almost in a class by itself. The lead character Dale Turner, an expatriate American jazzman living in Paris, is based on the life of legendary bebop piano player Bud Powell. He is played with startling authenticity by another expat musician, saxophonist Dexter Gordon, who hadn’t previously acted in a movie but was nominated for an Oscar for his efforts. Herbie Hancock did win for Best Original Score.
Bird (1988)
Clint Eastwood’s sensitive, overlong (two and a half hours) Charlie Parker biopic was a critical hit but tanked at the box office, possibly scaring studio execs from doing other films about jazz musicians for decades. The combination of original, sonically isolated Parker tracks with performances by contemporary jazz luminaries (pianists Barry Harris and Monty Alexander, trumpeter Jon Faddis, and bassists Ray Brown and Ron Carter) made the soundtrack a must.
Let’s Get Lost (1988)
A haunting, one-of-a-kind documentary homage to Chet Baker by the fashion photographer Bruce Weber. A poetic mix of found footage of the young Baker with interviews featuring Baker’s ex-wives, friends and colleagues, and with the physically ravaged Baker himself near the end of his life. Gorgeously photographed in black and white, the film only deepens the mysteries of how the free-living, self-destructive – some would say, sociopathic – Baker produced such sublime music.
Chico and Rita (2010)
With a score by the legendary Cuban pianist Bebo Valdés and additional music by Thelonious Monk, Dizzy Gillespie and Charlie Parker, this visually stunning animated film for adults sets a decades-long story of romantic yearning (based on Valdés’s life) against the historical backdrop of the Havana-New York connection that changed the course of modern jazz.
Whiplash (2014)
One of the few movies ever to acknowledge that great jazz musicians have to undergo jazz education. Although it’s controversial among jazz fans for its unrealistic depiction of a sadistic jazz educator, it is cinematically breathtaking and contains a great and varied score.
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=4e1cb49c52) | 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=4e1cb49c52&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Sound Of Film To Come: how jazz fell in love with the movies | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2016/feb/10/jazz-movies-the-sound-of-film-to-come-how-jazz-fell-in-love-with-the-movies#_=_
** The Sound Of Film To Come: how jazz fell in love with the movies
————————————————————
Allen Morrison
L to R: Mo’ Better Blues, 1990 Denzel Washington as Bleek Gilliam Whiplash 2014, J.K. Simmons as Fletcher Born to be Blue, 2015 Ethan Hawke as Chet Baker Miles Ahead, 2015 Don Cheadle as Miles Davis
Jazz musicians will feature prominently in the movies in 2016, with the theatrical release of two highly anticipated films: Miles Ahead (http://www.theguardian.com/film/2015/oct/10/miles-ahead-review-don-cheadle-miles-davis-biopic) , Don Cheadle’s homage to trumpet legend Miles Davis (http://www.theguardian.com/film/2015/sep/17/born-to-be-blue-review-ethan-hawke-jazzes-up-unconventional-chet-baker-biopic) (1 April), and Canadian director Robert Budreau’s Born to Be Blue, featuring Ethan Hawke as Chet Baker, the noted trumpeter, singer and style icon (25 March).
Both films were hits on the festival circuit and it’s somehow fitting that the Davis and Baker films will compete for movie audiences, just as their namesakes competed in life. Baker beat both Davis and Clifford Brown in the trumpet category in the 1953 and 1954 DownBeat and Metronome magazine readers’ polls; he was even initially touted in some corners as “The Great White Hope” of jazz trumpeters, which embarrassed Baker and didn’t exactly endear him to Davis.
The two films strive for exacting fidelity to the music while trying to avoid the traditional biopic formula – and the tropes with which the cinema has portrayed jazz musicians over the past 90 years. Jazz on film has an erratic history, starting in 1927 with the first sound motion picture, The Jazz (http://www.theguardian.com/music/jazz) Singer. The landmark film featured Al Jolson, in and out of blackface, singing My Mammy, Blue Skies, and Waiting for the Robert E Lee, but contained nothing resembling jazz. Nevertheless, with its huge commercial success; it set the template for the depiction of jazz musicians in the movies: confused, inaccurate and not at all jazz. For several decades afterward, Hollywood was in love with the music but often confused, to put it mildly, about who deserved credit for originating this indigenous American art form.
A landmark of cultural appropriation was The Birth of the Blues (1941), featuring Bing Crosby as a Bourbon Street clarinetist who, after learning the music from a group of black jazz musicians – at least there’s that – introduces Dixieland jazz to New Orleans cafe society. Crosby’s musical numbers are fine, including legendary trombonist Jack Teagarden and a young Mary Martin, but don’t expect blues – or historical accuracy.
In the 40s and 50s, many a big-budget Hollywood film would celebrate the lives of white jazz musicians, often with highly doctored life stories. Often they featured very appealing music, sometimes with African-American musicians in supporting roles. The list includes The Five Pennies (1959), starring Danny Kaye as Dixieland cornetist Red Nichols (there’s a wonderful duet with Louis Armstrong); The Glenn Miller Story (1954), with Jimmy Stewart in the title role; The Benny Goodman Story (1956), starring the appropriately bespectacled Steve Allen, who was an actual jazz musician; and Young Man With a Horn (1950), with Kirk Douglas playing a character loosely based on trumpeter Bix Beiderbecke. The 1958 film St Louis Blues, starring Nat King Cole as “Father of the Blues” WC Handy, and featuring Ella Fitzgerald, Cab Calloway, Eartha Kitt and Pearl Bailey, was a notable exception to the white bio rule; and performed poorly at the box office.
Yet, while biopics about black jazz musicians were rare, other films, intended for a mostly African-American audience (sometimes called “race films”) featured all-black casts – and some of the most important jazz musicians of the era. A 1935 one-reeler, Symphony in Black, featured Duke Ellington’s Orchestra performing his extended piece, A Rhapsody of Negro Life; the film also introduced Billie Holiday (http://www.theguardian.com/music/billie-holiday) and won an Academy Award for best musical short subject.
The 1940s saw Hollywood take a chance on Cabin in the Sky (1943), a musical fable that had been a hit on Broadway. It featured musical numbers by Ethel Waters, Lena Horne, and the Duke Ellington Orchestra. Stormy Weather (1943) starring dancer Bill Robinson and very loosely based on his life, also featured an all-black cast including Lena Horne, Cab Calloway, and unforgettable performances from Fats Waller and the Nicholas Brothers. New Orleans (1947), an interracial potboiler, was notable for a star turn by Billie Holiday as a singing maid and Louis Armstrong as her bandleader boyfriend (both in supporting roles). The preposterous story (the New York Times called it a “wretchedly routine romance (http://www.nytimes.com/movie/review?res=9803E3DC1339E632A25753C2A9609C946693D6CF) ”) fades into insignificance when Holiday sings Do You Know What It Means to Miss New Orleans to Armstrong’s accompaniment.
It wasn’t until the 1950s that film-makers began to depict the life of jazz musicians more realistically – and to realize how incorporating jazz in film scores could add a feeling of excitement and modernism. Miles Davis, using a quintet he assembled in Paris, created the first improvised film score in history for Louis Malle’s 1958 French thriller Elevator to the Gallows. The following year, Otto Preminger hired Duke Ellington (http://www.theguardian.com/film/duke-ellington) to write his first film score at age 60, for Anatomy of a Murder; he won three Grammy awards for the music.
Since the 1960s there have been many notable films about jazz and jazz musicians. Five of my favorites are listed below. Considering the likely impact of the forthcoming Miles Ahead (with a score by Grammy winner Robert Glasper (http://www.theguardian.com/music/2015/jan/08/robert-glasper-winter-jazzfest-new-york-jazz) ) and Born to be Blue, the list may have to be revised by the end of the year.
** Five essential jazz films
————————————————————
Whiplash: one of the rare jazz films that talks about learning an instrument
Whiplash: one of the rare jazz films that talks about learning an instrument. Photograph: Allstar/Bumhouse Productions
Round Midnight (1986)
Bertrand Tavernier’s French-American film is almost in a class by itself. The lead character Dale Turner, an expatriate American jazzman living in Paris, is based on the life of legendary bebop piano player Bud Powell. He is played with startling authenticity by another expat musician, saxophonist Dexter Gordon, who hadn’t previously acted in a movie but was nominated for an Oscar for his efforts. Herbie Hancock did win for Best Original Score.
Bird (1988)
Clint Eastwood’s sensitive, overlong (two and a half hours) Charlie Parker biopic was a critical hit but tanked at the box office, possibly scaring studio execs from doing other films about jazz musicians for decades. The combination of original, sonically isolated Parker tracks with performances by contemporary jazz luminaries (pianists Barry Harris and Monty Alexander, trumpeter Jon Faddis, and bassists Ray Brown and Ron Carter) made the soundtrack a must.
Let’s Get Lost (1988)
A haunting, one-of-a-kind documentary homage to Chet Baker by the fashion photographer Bruce Weber. A poetic mix of found footage of the young Baker with interviews featuring Baker’s ex-wives, friends and colleagues, and with the physically ravaged Baker himself near the end of his life. Gorgeously photographed in black and white, the film only deepens the mysteries of how the free-living, self-destructive – some would say, sociopathic – Baker produced such sublime music.
Chico and Rita (2010)
With a score by the legendary Cuban pianist Bebo Valdés and additional music by Thelonious Monk, Dizzy Gillespie and Charlie Parker, this visually stunning animated film for adults sets a decades-long story of romantic yearning (based on Valdés’s life) against the historical backdrop of the Havana-New York connection that changed the course of modern jazz.
Whiplash (2014)
One of the few movies ever to acknowledge that great jazz musicians have to undergo jazz education. Although it’s controversial among jazz fans for its unrealistic depiction of a sadistic jazz educator, it is cinematically breathtaking and contains a great and varied score.
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=4e1cb49c52) | 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=4e1cb49c52&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
Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/09/arts/music/grammys-herbie-hancock-rockit.html?ref=topics
** Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) FEB. 8, 2016 Herbie Hancock performing “Rockit” at the 1984 Grammy Awards. Sam Emerson, via Viking
The androids turn out to be breakdancers.
That’s the spoiler recap of Herbie Hancock’s performance at the 26th Annual Grammy Awards (http://www.nytimes.com/1984/03/01/arts/26th-annual-grammys.html) , in 1984. He was there to play his crossover hit “Rockit,” an early hip-hop touchstone, ubiquitous in the clubs and on the street. (It won for Best R&B Instrumental that year.) What nobody could have foreseen was that his performance would be a Grammy Moment, to use the Recording Academy parlance, of rare cultural impact — one of the most stealthily influential in the history of the awards.
Mr. Hancock was 43 when he walked onstage at the Shrine Auditorium in Los Angeles that evening, a veteran jazz pianist riding his latest popular resurgence. He had titled his most recent album “Future Shock,” and he looked the part, with a keytar (http://www.artsjournal.com/jazzbeyondjazz/2012/03/herbie-hancock-keytar-master.html) slung over a black leather jacket and a reflective silver shirt.
His band featured synth drums, a stacked keyboard rig and a D.J. behind a set of Technics 1200s — Grandmixer D.ST (http://d.st/) — whose scratching made him the track’s breakout hero. The stage design echoed the frenetic, posthuman surrealism of the song’s music video (https://youtu.be/GHhD4PD75zY) , which had been in heavy rotation on MTV. Hence those herky-jerky robots, including three pairs of disembodied legs kicking and flailing above the stage.
Herbie Hancock – “Rockit” live at the Grammy Awards Video by IwasBannedfromYtube
Hip-hop was a thriving underground movement in 1984, just beginning to find traction in the mainstream. (The genre will be a larger focus of this year’s awards on Monday; the rapper Kendrick Lamar is the night’s most-nominated artist (http://www.nytimes.com/2015/12/08/arts/music/grammy-awards-kendrick-lamar-taylor-swift-and-the-weeknd-lead-nominations.html) .) Mr. Hancock tapped into it fortuitously. His previous studio album, “Lite Me Up,” a pop-disco collaboration with Rod Temperton of Heatwave, had been a dud. His most recent hit had come a decade earlier, with his funk-fusion band the Headhunters. He needed to reconnect with a younger audience.
Through his manager, Mr. Hancock met with Bill Laswell and Michael Beinhorn, whose vanguardist rock band Material (http://www.nytimes.com/1981/05/01/arts/pop-jazz-material-a-band-of-many-faces.html) was a fixture of New York’s downtown scene. Mr. Hancock decided to work with them on the basis of a demo tape — a prototype of “Rockit,” complete with scratching by D.ST. When a finished version of the track was played for executives at Mr. Hancock’s label, Columbia, it met with sputtering disbelief. He was refused a budget for a video.
So Mr. Hancock pursued that route on his own, enlisting Kevin Godley and Lol Creme, the English rock duo who had directed videos by the Police and others. His instructions were minimal but canny. “I don’t want it to look like a ‘black guy’ video,” Mr. Hancock recalls telling them, in his autobiography, “Possibilities” (2014 ). Knowing MTV’s damning track record with videos by African-American artists, he put in an implicit request for strategic self-erasure.
The result was those herky-jerky androids, created by the artist-inventor Jim Whiting, which took baths and read the newspaper in a warped parody of a middle-class domestic scene. Mr. Hancock appears only on a small television screen, playing his synthesizer. The video was a phenomenal success, but it didn’t reveal much about the artists who created the song.
Herbie Hancock – “Rockit” Video by HerbieHancockVEVO
By contrast, Mr. Hancock was front and center at the Grammys, which like MTV in that era could fairly be described as an instrument of the monoculture — that elusive ideal of true pop consensus, as opposed to a messy realm of fiefs. That year, the Grammy telecast had 43.8 million viewers, its highest ratings ever, which are unlikely to be surpassed. (Last year’s tally (http://variety.com/2015/data/news/grammy-ratings-down-cbs-show-dominates-but-appears-to-have-hit-a-6-year-demo-low-1201428656/) was 25.3 million.)
One reason for the strong numbers was Michael Jackson, whose epochal album “Thriller” won eight awards that year — a record. The success of “Rockit” on that stage validated Mr. Hancock as a player on the pop landscape, precisely at a moment when everyone was watching. And an important part of what they saw was Grandmixer D.ST, who sported a wireless headset and blocky sunglasses, looking like a figure out of a “Star Wars” movie. (One of Lando Calrissian’s hipper associates in Cloud City, perhaps.)
Breakdancing was ascendant in pop culture in 1984 — the movie “Breakin’” would be released that spring — but the art of the D.J., though it had migrated from the Bronx to downtown clubs like the Roxy, was still something new on broadcast television. That made the D.J. an ambassador. For a generation of important younger D.J.s outside New York, like Cut Chemist, DJ QBert and DJ Babu, “Rockit” was a gateway, and the Grammys were a catalyst. In the 2002 documentary “Scratch,” Mix Master Mike recalls the performance as pivotal: “Oh, that’s where that zigga-zigga sound comes from,” he remembers thinking when he saw the D.J. moving the turntable back and forth. “And then I knew, that’s what I’m going to be one day.”
There’s a well-known bias in the Recording Academy toward what one might inadvisably call “real music,” played by skilled musicians on conventional instruments. As recently as 2012, a performance by the electronic producers Deadmau5 and David Guetta had to be awkwardly grafted to appearances (https://vimeo.com/36699622) by Chris Brown and the Foo Fighters. A 2014 segment for Daft Punk’s “Get Lucky” was set in what looked like a 1970s recording studio, with Nile Rodgers reprising his part on guitar and a cameo by Stevie Wonder.
Herbie Hancock at International Jazz Day 2015 in Paris. Kristy Sparow/Getty Images
In similar fashion, Mr. Hancock was his own legitimizing force behind “Rockit,” a bolt of reassurance that this music could, in fact, be seen as musical. The Grammy introduction made that point exactly: “Our next performer began with a rich classical background,” John Denver, the host, said, before noting his jazz credentials.
Mr. Hancock would of course become a familiar face at the Grammys, a trusted performer and a repeat winner. (You could do worse, as a conspiracy theorist, than to cite the “real music” rule to explain how he beat Kanye West and Amy Winehouse for Album of the Year in 2008.) In a sense, everything about his success in the field is evident in that “Rockit” performance — his ear for a hook; his disciplined enthusiasm as a bandleader; his willingness to stand at the center of a spectacle without commanding the center of attention.
His only solo occurs during the final eight bars of the tune, and by that point the android-turned-breakdancers have run away with the performance. Mr. Hancock shows no sign of misgivings about those circumstances, either in the moment or in hindsight. As he recalled in his book, “It was one of the greatest nights of my life.”
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=ad7df0fa33) | 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=ad7df0fa33&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
Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/09/arts/music/grammys-herbie-hancock-rockit.html?ref=topics
** Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) FEB. 8, 2016 Herbie Hancock performing “Rockit” at the 1984 Grammy Awards. Sam Emerson, via Viking
The androids turn out to be breakdancers.
That’s the spoiler recap of Herbie Hancock’s performance at the 26th Annual Grammy Awards (http://www.nytimes.com/1984/03/01/arts/26th-annual-grammys.html) , in 1984. He was there to play his crossover hit “Rockit,” an early hip-hop touchstone, ubiquitous in the clubs and on the street. (It won for Best R&B Instrumental that year.) What nobody could have foreseen was that his performance would be a Grammy Moment, to use the Recording Academy parlance, of rare cultural impact — one of the most stealthily influential in the history of the awards.
Mr. Hancock was 43 when he walked onstage at the Shrine Auditorium in Los Angeles that evening, a veteran jazz pianist riding his latest popular resurgence. He had titled his most recent album “Future Shock,” and he looked the part, with a keytar (http://www.artsjournal.com/jazzbeyondjazz/2012/03/herbie-hancock-keytar-master.html) slung over a black leather jacket and a reflective silver shirt.
His band featured synth drums, a stacked keyboard rig and a D.J. behind a set of Technics 1200s — Grandmixer D.ST (http://d.st/) — whose scratching made him the track’s breakout hero. The stage design echoed the frenetic, posthuman surrealism of the song’s music video (https://youtu.be/GHhD4PD75zY) , which had been in heavy rotation on MTV. Hence those herky-jerky robots, including three pairs of disembodied legs kicking and flailing above the stage.
Herbie Hancock – “Rockit” live at the Grammy Awards Video by IwasBannedfromYtube
Hip-hop was a thriving underground movement in 1984, just beginning to find traction in the mainstream. (The genre will be a larger focus of this year’s awards on Monday; the rapper Kendrick Lamar is the night’s most-nominated artist (http://www.nytimes.com/2015/12/08/arts/music/grammy-awards-kendrick-lamar-taylor-swift-and-the-weeknd-lead-nominations.html) .) Mr. Hancock tapped into it fortuitously. His previous studio album, “Lite Me Up,” a pop-disco collaboration with Rod Temperton of Heatwave, had been a dud. His most recent hit had come a decade earlier, with his funk-fusion band the Headhunters. He needed to reconnect with a younger audience.
Through his manager, Mr. Hancock met with Bill Laswell and Michael Beinhorn, whose vanguardist rock band Material (http://www.nytimes.com/1981/05/01/arts/pop-jazz-material-a-band-of-many-faces.html) was a fixture of New York’s downtown scene. Mr. Hancock decided to work with them on the basis of a demo tape — a prototype of “Rockit,” complete with scratching by D.ST. When a finished version of the track was played for executives at Mr. Hancock’s label, Columbia, it met with sputtering disbelief. He was refused a budget for a video.
So Mr. Hancock pursued that route on his own, enlisting Kevin Godley and Lol Creme, the English rock duo who had directed videos by the Police and others. His instructions were minimal but canny. “I don’t want it to look like a ‘black guy’ video,” Mr. Hancock recalls telling them, in his autobiography, “Possibilities” (2014 ). Knowing MTV’s damning track record with videos by African-American artists, he put in an implicit request for strategic self-erasure.
The result was those herky-jerky androids, created by the artist-inventor Jim Whiting, which took baths and read the newspaper in a warped parody of a middle-class domestic scene. Mr. Hancock appears only on a small television screen, playing his synthesizer. The video was a phenomenal success, but it didn’t reveal much about the artists who created the song.
Herbie Hancock – “Rockit” Video by HerbieHancockVEVO
By contrast, Mr. Hancock was front and center at the Grammys, which like MTV in that era could fairly be described as an instrument of the monoculture — that elusive ideal of true pop consensus, as opposed to a messy realm of fiefs. That year, the Grammy telecast had 43.8 million viewers, its highest ratings ever, which are unlikely to be surpassed. (Last year’s tally (http://variety.com/2015/data/news/grammy-ratings-down-cbs-show-dominates-but-appears-to-have-hit-a-6-year-demo-low-1201428656/) was 25.3 million.)
One reason for the strong numbers was Michael Jackson, whose epochal album “Thriller” won eight awards that year — a record. The success of “Rockit” on that stage validated Mr. Hancock as a player on the pop landscape, precisely at a moment when everyone was watching. And an important part of what they saw was Grandmixer D.ST, who sported a wireless headset and blocky sunglasses, looking like a figure out of a “Star Wars” movie. (One of Lando Calrissian’s hipper associates in Cloud City, perhaps.)
Breakdancing was ascendant in pop culture in 1984 — the movie “Breakin’” would be released that spring — but the art of the D.J., though it had migrated from the Bronx to downtown clubs like the Roxy, was still something new on broadcast television. That made the D.J. an ambassador. For a generation of important younger D.J.s outside New York, like Cut Chemist, DJ QBert and DJ Babu, “Rockit” was a gateway, and the Grammys were a catalyst. In the 2002 documentary “Scratch,” Mix Master Mike recalls the performance as pivotal: “Oh, that’s where that zigga-zigga sound comes from,” he remembers thinking when he saw the D.J. moving the turntable back and forth. “And then I knew, that’s what I’m going to be one day.”
There’s a well-known bias in the Recording Academy toward what one might inadvisably call “real music,” played by skilled musicians on conventional instruments. As recently as 2012, a performance by the electronic producers Deadmau5 and David Guetta had to be awkwardly grafted to appearances (https://vimeo.com/36699622) by Chris Brown and the Foo Fighters. A 2014 segment for Daft Punk’s “Get Lucky” was set in what looked like a 1970s recording studio, with Nile Rodgers reprising his part on guitar and a cameo by Stevie Wonder.
Herbie Hancock at International Jazz Day 2015 in Paris. Kristy Sparow/Getty Images
In similar fashion, Mr. Hancock was his own legitimizing force behind “Rockit,” a bolt of reassurance that this music could, in fact, be seen as musical. The Grammy introduction made that point exactly: “Our next performer began with a rich classical background,” John Denver, the host, said, before noting his jazz credentials.
Mr. Hancock would of course become a familiar face at the Grammys, a trusted performer and a repeat winner. (You could do worse, as a conspiracy theorist, than to cite the “real music” rule to explain how he beat Kanye West and Amy Winehouse for Album of the Year in 2008.) In a sense, everything about his success in the field is evident in that “Rockit” performance — his ear for a hook; his disciplined enthusiasm as a bandleader; his willingness to stand at the center of a spectacle without commanding the center of attention.
His only solo occurs during the final eight bars of the tune, and by that point the android-turned-breakdancers have run away with the performance. Mr. Hancock shows no sign of misgivings about those circumstances, either in the moment or in hindsight. As he recalled in his book, “It was one of the greatest nights of my life.”
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=ad7df0fa33) | 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=ad7df0fa33&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
Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/09/arts/music/grammys-herbie-hancock-rockit.html?ref=topics
** Two Turntables and a Keytar: The Night Herbie Hancock Rocked the Grammys
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) FEB. 8, 2016 Herbie Hancock performing “Rockit” at the 1984 Grammy Awards. Sam Emerson, via Viking
The androids turn out to be breakdancers.
That’s the spoiler recap of Herbie Hancock’s performance at the 26th Annual Grammy Awards (http://www.nytimes.com/1984/03/01/arts/26th-annual-grammys.html) , in 1984. He was there to play his crossover hit “Rockit,” an early hip-hop touchstone, ubiquitous in the clubs and on the street. (It won for Best R&B Instrumental that year.) What nobody could have foreseen was that his performance would be a Grammy Moment, to use the Recording Academy parlance, of rare cultural impact — one of the most stealthily influential in the history of the awards.
Mr. Hancock was 43 when he walked onstage at the Shrine Auditorium in Los Angeles that evening, a veteran jazz pianist riding his latest popular resurgence. He had titled his most recent album “Future Shock,” and he looked the part, with a keytar (http://www.artsjournal.com/jazzbeyondjazz/2012/03/herbie-hancock-keytar-master.html) slung over a black leather jacket and a reflective silver shirt.
His band featured synth drums, a stacked keyboard rig and a D.J. behind a set of Technics 1200s — Grandmixer D.ST (http://d.st/) — whose scratching made him the track’s breakout hero. The stage design echoed the frenetic, posthuman surrealism of the song’s music video (https://youtu.be/GHhD4PD75zY) , which had been in heavy rotation on MTV. Hence those herky-jerky robots, including three pairs of disembodied legs kicking and flailing above the stage.
Herbie Hancock – “Rockit” live at the Grammy Awards Video by IwasBannedfromYtube
Hip-hop was a thriving underground movement in 1984, just beginning to find traction in the mainstream. (The genre will be a larger focus of this year’s awards on Monday; the rapper Kendrick Lamar is the night’s most-nominated artist (http://www.nytimes.com/2015/12/08/arts/music/grammy-awards-kendrick-lamar-taylor-swift-and-the-weeknd-lead-nominations.html) .) Mr. Hancock tapped into it fortuitously. His previous studio album, “Lite Me Up,” a pop-disco collaboration with Rod Temperton of Heatwave, had been a dud. His most recent hit had come a decade earlier, with his funk-fusion band the Headhunters. He needed to reconnect with a younger audience.
Through his manager, Mr. Hancock met with Bill Laswell and Michael Beinhorn, whose vanguardist rock band Material (http://www.nytimes.com/1981/05/01/arts/pop-jazz-material-a-band-of-many-faces.html) was a fixture of New York’s downtown scene. Mr. Hancock decided to work with them on the basis of a demo tape — a prototype of “Rockit,” complete with scratching by D.ST. When a finished version of the track was played for executives at Mr. Hancock’s label, Columbia, it met with sputtering disbelief. He was refused a budget for a video.
So Mr. Hancock pursued that route on his own, enlisting Kevin Godley and Lol Creme, the English rock duo who had directed videos by the Police and others. His instructions were minimal but canny. “I don’t want it to look like a ‘black guy’ video,” Mr. Hancock recalls telling them, in his autobiography, “Possibilities” (2014 ). Knowing MTV’s damning track record with videos by African-American artists, he put in an implicit request for strategic self-erasure.
The result was those herky-jerky androids, created by the artist-inventor Jim Whiting, which took baths and read the newspaper in a warped parody of a middle-class domestic scene. Mr. Hancock appears only on a small television screen, playing his synthesizer. The video was a phenomenal success, but it didn’t reveal much about the artists who created the song.
Herbie Hancock – “Rockit” Video by HerbieHancockVEVO
By contrast, Mr. Hancock was front and center at the Grammys, which like MTV in that era could fairly be described as an instrument of the monoculture — that elusive ideal of true pop consensus, as opposed to a messy realm of fiefs. That year, the Grammy telecast had 43.8 million viewers, its highest ratings ever, which are unlikely to be surpassed. (Last year’s tally (http://variety.com/2015/data/news/grammy-ratings-down-cbs-show-dominates-but-appears-to-have-hit-a-6-year-demo-low-1201428656/) was 25.3 million.)
One reason for the strong numbers was Michael Jackson, whose epochal album “Thriller” won eight awards that year — a record. The success of “Rockit” on that stage validated Mr. Hancock as a player on the pop landscape, precisely at a moment when everyone was watching. And an important part of what they saw was Grandmixer D.ST, who sported a wireless headset and blocky sunglasses, looking like a figure out of a “Star Wars” movie. (One of Lando Calrissian’s hipper associates in Cloud City, perhaps.)
Breakdancing was ascendant in pop culture in 1984 — the movie “Breakin’” would be released that spring — but the art of the D.J., though it had migrated from the Bronx to downtown clubs like the Roxy, was still something new on broadcast television. That made the D.J. an ambassador. For a generation of important younger D.J.s outside New York, like Cut Chemist, DJ QBert and DJ Babu, “Rockit” was a gateway, and the Grammys were a catalyst. In the 2002 documentary “Scratch,” Mix Master Mike recalls the performance as pivotal: “Oh, that’s where that zigga-zigga sound comes from,” he remembers thinking when he saw the D.J. moving the turntable back and forth. “And then I knew, that’s what I’m going to be one day.”
There’s a well-known bias in the Recording Academy toward what one might inadvisably call “real music,” played by skilled musicians on conventional instruments. As recently as 2012, a performance by the electronic producers Deadmau5 and David Guetta had to be awkwardly grafted to appearances (https://vimeo.com/36699622) by Chris Brown and the Foo Fighters. A 2014 segment for Daft Punk’s “Get Lucky” was set in what looked like a 1970s recording studio, with Nile Rodgers reprising his part on guitar and a cameo by Stevie Wonder.
Herbie Hancock at International Jazz Day 2015 in Paris. Kristy Sparow/Getty Images
In similar fashion, Mr. Hancock was his own legitimizing force behind “Rockit,” a bolt of reassurance that this music could, in fact, be seen as musical. The Grammy introduction made that point exactly: “Our next performer began with a rich classical background,” John Denver, the host, said, before noting his jazz credentials.
Mr. Hancock would of course become a familiar face at the Grammys, a trusted performer and a repeat winner. (You could do worse, as a conspiracy theorist, than to cite the “real music” rule to explain how he beat Kanye West and Amy Winehouse for Album of the Year in 2008.) In a sense, everything about his success in the field is evident in that “Rockit” performance — his ear for a hook; his disciplined enthusiasm as a bandleader; his willingness to stand at the center of a spectacle without commanding the center of attention.
His only solo occurs during the final eight bars of the tune, and by that point the android-turned-breakdancers have run away with the performance. Mr. Hancock shows no sign of misgivings about those circumstances, either in the moment or in hindsight. As he recalled in his book, “It was one of the greatest nights of my life.”
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=ad7df0fa33) | 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=ad7df0fa33&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
This record company just opened its very own physical music retailer – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/concord-music-group-opens-vinyl-only-store/
** THIS RECORD COMPANY JUST OPENED ITS VERY OWN PHYSICAL MUSIC RETAILER
————————————————————
23 SHARES
FEBRUARY 10, 2016
BY RHIAN JONES (http://www.musicbusinessworldwide.com/author/rjones/)
Here’s one for those that worry modern music companies are giving away too much power to third-party retail / streaming partners.
Concord Music Group, the acquisitive record company and publishing house backed by masses of private equity money, has just opened its very own vinyl store.
Stax of Wax (http://www.staxofwaxmalibu.com/) is, as it sounds, an outlet which pays tribute to the classic soul label Stax – but its range covers a wide range of genres and all labels.
The inspiration for the retailer, based at Malibu Country Mart in Malibu, CA, comes from Satellite Records, the tiny record shop in Memphis, TN that was the retail arm of the Stax Records label (that’s owned by Concord Music Group).
In its ‘60s heyday, the Satellite Record shop served as a community hub for passionate music fans in Memphis and became synonymous with ground-breaking music.
Founded in 1957 in Memphis, Stax Records was a big player in American soul music during its 15-years in business, spawning the careers of recording artists, songwriters and producers such as Otis Redding, Isaac Hayes, Booker T. & the MG’s, The Staple Singers, Albert King, Sam & Dave, and Rufus and Carla Thomas.
Today it exists largely as a reissue label with a handful of new recordings from artists such as Nathaniel Rateliff & The Night Sweats and Ben Harper & The Innocent Criminals.
The new Stax of Wax store offers a handpicked selection of 900 titles spanning new releases, classic reissues and box sets in an array of genres from a number of distributors, including rock, jazz, soul, funk, hip-hop, electronica, blues, country, Americana and indie/alternative.
It also sells special orders for vinyl releases and merchandise like T-shirts, books and photography, including prints from art music gallery Morrison Hotel.
Alongside Concord Bicycle Music, the shop was created by Liliana Casabal of boutique-clothing store Morgane Le Fay (located next door to Stax of Wax).
Concord, backed by Wood Creek – an investment manager with over $2.5 billion in committed capital – merged with independent publisher The Bicycle Music Company in April last year. (http://www.musicbusinessworldwide.com/concord-music-group-merges-with-bicycle-raises-100m/)
At the same time, it raised $100m to help expand its market presence.
Since then, it’s gone on a bit of a spending spree, snapping up the likes of Fearless Records and Wind-Up Records (http://www.musicbusinessworldwide.com/concord-acquires-wind-up-and-fearless-after-100m-investment/) and signing a worldwide JV with US indie Razor & Tie. (http://www.musicbusinessworldwide.com/razor-tie-forms-new-company-with-concord-bicycle-music/)
Just last month, Concord licensed the global recorded rights to R.E.M’s classic ‘Warner Bros’ catalogue (http://www.musicbusinessworldwide.com/warner-just-lost-rem-to-concord/) – a deal executed under the nose of the major label which helped make the band’s name.
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=38ded6f844) | 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=38ded6f844&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
This record company just opened its very own physical music retailer – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/concord-music-group-opens-vinyl-only-store/
** THIS RECORD COMPANY JUST OPENED ITS VERY OWN PHYSICAL MUSIC RETAILER
————————————————————
23 SHARES
FEBRUARY 10, 2016
BY RHIAN JONES (http://www.musicbusinessworldwide.com/author/rjones/)
Here’s one for those that worry modern music companies are giving away too much power to third-party retail / streaming partners.
Concord Music Group, the acquisitive record company and publishing house backed by masses of private equity money, has just opened its very own vinyl store.
Stax of Wax (http://www.staxofwaxmalibu.com/) is, as it sounds, an outlet which pays tribute to the classic soul label Stax – but its range covers a wide range of genres and all labels.
The inspiration for the retailer, based at Malibu Country Mart in Malibu, CA, comes from Satellite Records, the tiny record shop in Memphis, TN that was the retail arm of the Stax Records label (that’s owned by Concord Music Group).
In its ‘60s heyday, the Satellite Record shop served as a community hub for passionate music fans in Memphis and became synonymous with ground-breaking music.
Founded in 1957 in Memphis, Stax Records was a big player in American soul music during its 15-years in business, spawning the careers of recording artists, songwriters and producers such as Otis Redding, Isaac Hayes, Booker T. & the MG’s, The Staple Singers, Albert King, Sam & Dave, and Rufus and Carla Thomas.
Today it exists largely as a reissue label with a handful of new recordings from artists such as Nathaniel Rateliff & The Night Sweats and Ben Harper & The Innocent Criminals.
The new Stax of Wax store offers a handpicked selection of 900 titles spanning new releases, classic reissues and box sets in an array of genres from a number of distributors, including rock, jazz, soul, funk, hip-hop, electronica, blues, country, Americana and indie/alternative.
It also sells special orders for vinyl releases and merchandise like T-shirts, books and photography, including prints from art music gallery Morrison Hotel.
Alongside Concord Bicycle Music, the shop was created by Liliana Casabal of boutique-clothing store Morgane Le Fay (located next door to Stax of Wax).
Concord, backed by Wood Creek – an investment manager with over $2.5 billion in committed capital – merged with independent publisher The Bicycle Music Company in April last year. (http://www.musicbusinessworldwide.com/concord-music-group-merges-with-bicycle-raises-100m/)
At the same time, it raised $100m to help expand its market presence.
Since then, it’s gone on a bit of a spending spree, snapping up the likes of Fearless Records and Wind-Up Records (http://www.musicbusinessworldwide.com/concord-acquires-wind-up-and-fearless-after-100m-investment/) and signing a worldwide JV with US indie Razor & Tie. (http://www.musicbusinessworldwide.com/razor-tie-forms-new-company-with-concord-bicycle-music/)
Just last month, Concord licensed the global recorded rights to R.E.M’s classic ‘Warner Bros’ catalogue (http://www.musicbusinessworldwide.com/warner-just-lost-rem-to-concord/) – a deal executed under the nose of the major label which helped make the band’s name.
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=38ded6f844) | 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=38ded6f844&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
This record company just opened its very own physical music retailer – Music Business Worldwide
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/concord-music-group-opens-vinyl-only-store/
** THIS RECORD COMPANY JUST OPENED ITS VERY OWN PHYSICAL MUSIC RETAILER
————————————————————
23 SHARES
FEBRUARY 10, 2016
BY RHIAN JONES (http://www.musicbusinessworldwide.com/author/rjones/)
Here’s one for those that worry modern music companies are giving away too much power to third-party retail / streaming partners.
Concord Music Group, the acquisitive record company and publishing house backed by masses of private equity money, has just opened its very own vinyl store.
Stax of Wax (http://www.staxofwaxmalibu.com/) is, as it sounds, an outlet which pays tribute to the classic soul label Stax – but its range covers a wide range of genres and all labels.
The inspiration for the retailer, based at Malibu Country Mart in Malibu, CA, comes from Satellite Records, the tiny record shop in Memphis, TN that was the retail arm of the Stax Records label (that’s owned by Concord Music Group).
In its ‘60s heyday, the Satellite Record shop served as a community hub for passionate music fans in Memphis and became synonymous with ground-breaking music.
Founded in 1957 in Memphis, Stax Records was a big player in American soul music during its 15-years in business, spawning the careers of recording artists, songwriters and producers such as Otis Redding, Isaac Hayes, Booker T. & the MG’s, The Staple Singers, Albert King, Sam & Dave, and Rufus and Carla Thomas.
Today it exists largely as a reissue label with a handful of new recordings from artists such as Nathaniel Rateliff & The Night Sweats and Ben Harper & The Innocent Criminals.
The new Stax of Wax store offers a handpicked selection of 900 titles spanning new releases, classic reissues and box sets in an array of genres from a number of distributors, including rock, jazz, soul, funk, hip-hop, electronica, blues, country, Americana and indie/alternative.
It also sells special orders for vinyl releases and merchandise like T-shirts, books and photography, including prints from art music gallery Morrison Hotel.
Alongside Concord Bicycle Music, the shop was created by Liliana Casabal of boutique-clothing store Morgane Le Fay (located next door to Stax of Wax).
Concord, backed by Wood Creek – an investment manager with over $2.5 billion in committed capital – merged with independent publisher The Bicycle Music Company in April last year. (http://www.musicbusinessworldwide.com/concord-music-group-merges-with-bicycle-raises-100m/)
At the same time, it raised $100m to help expand its market presence.
Since then, it’s gone on a bit of a spending spree, snapping up the likes of Fearless Records and Wind-Up Records (http://www.musicbusinessworldwide.com/concord-acquires-wind-up-and-fearless-after-100m-investment/) and signing a worldwide JV with US indie Razor & Tie. (http://www.musicbusinessworldwide.com/razor-tie-forms-new-company-with-concord-bicycle-music/)
Just last month, Concord licensed the global recorded rights to R.E.M’s classic ‘Warner Bros’ catalogue (http://www.musicbusinessworldwide.com/warner-just-lost-rem-to-concord/) – a deal executed under the nose of the major label which helped make the band’s name.
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=38ded6f844) | 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=38ded6f844&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
Trump meets The Honeymooners – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3XriXDtfqCg
https://www.youtube.com/watch?v=3XriXDtfqCg
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=9078765c37) | 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=9078765c37&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
Trump meets The Honeymooners – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3XriXDtfqCg
https://www.youtube.com/watch?v=3XriXDtfqCg
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=9078765c37) | 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=9078765c37&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
Trump meets The Honeymooners – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3XriXDtfqCg
https://www.youtube.com/watch?v=3XriXDtfqCg
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=9078765c37) | 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=9078765c37&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
American Masters: B.B. King: The Life of Riley | THIRTEEN – New York Public Media
http://www.jazzpromoservices.com/
http://www.thirteen.org/program-content/american-masters-b-b-king-the-life-of-riley/#
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=8ee6145730) | 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=8ee6145730&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
American Masters: B.B. King: The Life of Riley | THIRTEEN – New York Public Media
http://www.jazzpromoservices.com/
http://www.thirteen.org/program-content/american-masters-b-b-king-the-life-of-riley/#
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=8ee6145730) | 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=8ee6145730&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
American Masters: B.B. King: The Life of Riley | THIRTEEN – New York Public Media
http://www.jazzpromoservices.com/
http://www.thirteen.org/program-content/american-masters-b-b-king-the-life-of-riley/#
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=8ee6145730) | 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=8ee6145730&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
Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene – The Globe and Mail
http://www.jazzpromoservices.com/
http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/
Laurie Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland. (Al Kay)
** Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene
————————————————————
RON CSILLAG
Special to The Globe and Mail
Published Tuesday, Feb. 09, 2016 6:29PM EST
Last updated Tuesday, Feb. 09, 2016 6:29PM EST
* 0 Comments (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/comments/)
*
*
139
139
0
*
* AA (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/#)
Laurie Bower was the musical equivalent of a Swiss Army knife: trombone player, singer, conductor, choral arranger, mentor and even professional whistler.
A mainstay on the Toronto music circuit for nearly six decades, Mr. Bower, who died in Toronto on Jan. 19 at the age of 82, was steeped in the retro swing-era sounds of the big bands and lush vocal arrangements. He may be remembered best for founding the Laurie Bower Singers and co-founding Toronto’s Spitfire Band.
Considered a workhorse in the city’s tight-knit music business, Mr. Bower recorded jingles for thousands of television and radio commercials, ranging from local businesses to Fortune 500 companies – anything that required a big-band sound. And if any of those recordings required whistling, his were the lips to do it.
“He was the go-to whistler,” noted drummer Brian Barlow, who worked with Mr. Bower for years in the studio and on the road, and credits Mr. Bower for getting him started. “He was one of the fairest people in a business where that list is fairly small,” Mr. Barlow added.
Mr. Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland, to what radio used to call easy listening or adult contemporary. He performed a knee-weakening solo at Montreal Bistro in 2002 while playing Hogtown Blues with Ron Collier’s Big Band. The solo, rendered with a mute and just the right amount of anguish, was captured for posterity on a shaky video posted to YouTube.
He was respected as a technically skillful player – “lyrical, very melodic,” said Terry Promane, co-ordinator of jazz studies at the University of Toronto, who played trombone alongside Mr. Bower in the early 2000s. “Any trombone player who wanted to work was required to play in that style. He knew a million tunes.”
Lawrence Wayne Bower was born in Kirkland Lake, Ont., on Aug. 31, 1933, to George and Rose Bower. He earned a bachelor’s degree at U of T after studying choral technique, music education and the trombone with Harry Stevenson of the Toronto Symphony Orchestra. He played trombone in the dance bands of Benny Louis, Ozzie Williams and Mart Kenney before joining the Five Playboys, fresh-faced lads in pinstriped jackets who crooned on CBC-TV’s The Jack Kane Show. (The Globe and Mail called Mr. Bower, then 23, “a 6’-1” blond.”)
He struck out on his own as a trombonist, singer and choral arranger, and became a sought-after session man in Toronto studios. He rose to greater prominence in 1967 when he conducted the Young Canada Singers, a group of 10-year-old children, in the English version of Bobby Gimby’s Centennial-year anthem, Ca-na-da.
In 1969, after singing with several CBC vocal groups, he formed the Laurie Bower Singers, known for their silky covers of pop songs by Neil Diamond, Michael Jackson, even Supertramp, among many others. The three female and three male voices (including Mr. Bower’s rich baritone), backed by an 18-piece band, performed breezy, cascading harmonies to create a mellow sound comparable to that of the Ray Conniff Singers. They made a dozen records, all arranged by Mr. Bower, had a solid fan base and plenty of TV and commercial work.
“He sang like he played trombone,” recalled one of the group’s singers, Cal Dodd, “and he was like a father figure to us.”
Mr. Dodd estimated the group recorded two jingles a day for 25 years, hawking everything from raisin bran to beer to Coca-Cola.
“If you made a record and wanted a background vocal group, you’d go to the Laurie Bower Singers,” Mr. Barlow said. “If you had a TV show and wanted a vocal group, it would be the Laurie Bower Singers.”
In the early 1980s, Mr. Bower co-founded the Spitfire Band with singer Jackie Rae, who got the name from the British war planes he flew in the Second World War, earning a Distinguished Flying Cross. It was intended as a studio orchestra that played big-band standards. But following the success of the group’s first record, the 18 members hit the road, with Mr. Bower on trombone and as vocal arranger.
The Spitfires, pronounced “a success story” by Globe jazz critic Mark Miller, played at conventions, fundraisers and public concerts, and earned a coveted residency in the late 1980s at the Imperial Room of Toronto’s Royal York Hotel. In keeping with the aviation theme, recalled Jack McFadden, who played upright bass with Mr. Bower for 25 years, they performed in 2003 at the unveiling of a statue of the original test pilot of Canada’s doomed Avro Arrow supersonic plane.
Micky Erbe, who played trumpet, recalled that Mr. Bower was a perfect choice to run the band’s day-to-day operations “because God knows he knew everyone.” After finishing their last set in the wee hours, Mr. Bower would announce that he was off to Kirkland Lake to see his mother. “He loved his family,” Mr. Erbe said.
At the same time, Mr. Bower played trombone in other local big bands, including one led by Guido Basso, a trumpet player who conceded that the trombone is much misunderstood.
“It’s a very difficult instrument. It has seven positions, and each position creates different notes” depending on the player’s embouchure, or shaping of the lips, and slide position; “with a trombone you have to find the right spot on the slide.” It’s all in the arms and lips.
“He was a great soloist,” Mr. Basso went on. “Everybody loved to hear him play Tommy Dorsey’s I’m Getting Sentimental Over You. He played the hell out of it. I mean, just right on.”
As for this sort of music, which experiences dips and swells in popularity, “it will never die out,” Mr. McFadden asserted. “It’s the greatest music that ever lived.”
Mr. Bower leaves Marilyn, his wife of 53 years; his daughter, Tracey; and three grandchildren.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4913a8f6db) | 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=4913a8f6db&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
Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene – The Globe and Mail
http://www.jazzpromoservices.com/
http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/
Laurie Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland. (Al Kay)
** Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene
————————————————————
RON CSILLAG
Special to The Globe and Mail
Published Tuesday, Feb. 09, 2016 6:29PM EST
Last updated Tuesday, Feb. 09, 2016 6:29PM EST
* 0 Comments (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/comments/)
*
*
139
139
0
*
* AA (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/#)
Laurie Bower was the musical equivalent of a Swiss Army knife: trombone player, singer, conductor, choral arranger, mentor and even professional whistler.
A mainstay on the Toronto music circuit for nearly six decades, Mr. Bower, who died in Toronto on Jan. 19 at the age of 82, was steeped in the retro swing-era sounds of the big bands and lush vocal arrangements. He may be remembered best for founding the Laurie Bower Singers and co-founding Toronto’s Spitfire Band.
Considered a workhorse in the city’s tight-knit music business, Mr. Bower recorded jingles for thousands of television and radio commercials, ranging from local businesses to Fortune 500 companies – anything that required a big-band sound. And if any of those recordings required whistling, his were the lips to do it.
“He was the go-to whistler,” noted drummer Brian Barlow, who worked with Mr. Bower for years in the studio and on the road, and credits Mr. Bower for getting him started. “He was one of the fairest people in a business where that list is fairly small,” Mr. Barlow added.
Mr. Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland, to what radio used to call easy listening or adult contemporary. He performed a knee-weakening solo at Montreal Bistro in 2002 while playing Hogtown Blues with Ron Collier’s Big Band. The solo, rendered with a mute and just the right amount of anguish, was captured for posterity on a shaky video posted to YouTube.
He was respected as a technically skillful player – “lyrical, very melodic,” said Terry Promane, co-ordinator of jazz studies at the University of Toronto, who played trombone alongside Mr. Bower in the early 2000s. “Any trombone player who wanted to work was required to play in that style. He knew a million tunes.”
Lawrence Wayne Bower was born in Kirkland Lake, Ont., on Aug. 31, 1933, to George and Rose Bower. He earned a bachelor’s degree at U of T after studying choral technique, music education and the trombone with Harry Stevenson of the Toronto Symphony Orchestra. He played trombone in the dance bands of Benny Louis, Ozzie Williams and Mart Kenney before joining the Five Playboys, fresh-faced lads in pinstriped jackets who crooned on CBC-TV’s The Jack Kane Show. (The Globe and Mail called Mr. Bower, then 23, “a 6’-1” blond.”)
He struck out on his own as a trombonist, singer and choral arranger, and became a sought-after session man in Toronto studios. He rose to greater prominence in 1967 when he conducted the Young Canada Singers, a group of 10-year-old children, in the English version of Bobby Gimby’s Centennial-year anthem, Ca-na-da.
In 1969, after singing with several CBC vocal groups, he formed the Laurie Bower Singers, known for their silky covers of pop songs by Neil Diamond, Michael Jackson, even Supertramp, among many others. The three female and three male voices (including Mr. Bower’s rich baritone), backed by an 18-piece band, performed breezy, cascading harmonies to create a mellow sound comparable to that of the Ray Conniff Singers. They made a dozen records, all arranged by Mr. Bower, had a solid fan base and plenty of TV and commercial work.
“He sang like he played trombone,” recalled one of the group’s singers, Cal Dodd, “and he was like a father figure to us.”
Mr. Dodd estimated the group recorded two jingles a day for 25 years, hawking everything from raisin bran to beer to Coca-Cola.
“If you made a record and wanted a background vocal group, you’d go to the Laurie Bower Singers,” Mr. Barlow said. “If you had a TV show and wanted a vocal group, it would be the Laurie Bower Singers.”
In the early 1980s, Mr. Bower co-founded the Spitfire Band with singer Jackie Rae, who got the name from the British war planes he flew in the Second World War, earning a Distinguished Flying Cross. It was intended as a studio orchestra that played big-band standards. But following the success of the group’s first record, the 18 members hit the road, with Mr. Bower on trombone and as vocal arranger.
The Spitfires, pronounced “a success story” by Globe jazz critic Mark Miller, played at conventions, fundraisers and public concerts, and earned a coveted residency in the late 1980s at the Imperial Room of Toronto’s Royal York Hotel. In keeping with the aviation theme, recalled Jack McFadden, who played upright bass with Mr. Bower for 25 years, they performed in 2003 at the unveiling of a statue of the original test pilot of Canada’s doomed Avro Arrow supersonic plane.
Micky Erbe, who played trumpet, recalled that Mr. Bower was a perfect choice to run the band’s day-to-day operations “because God knows he knew everyone.” After finishing their last set in the wee hours, Mr. Bower would announce that he was off to Kirkland Lake to see his mother. “He loved his family,” Mr. Erbe said.
At the same time, Mr. Bower played trombone in other local big bands, including one led by Guido Basso, a trumpet player who conceded that the trombone is much misunderstood.
“It’s a very difficult instrument. It has seven positions, and each position creates different notes” depending on the player’s embouchure, or shaping of the lips, and slide position; “with a trombone you have to find the right spot on the slide.” It’s all in the arms and lips.
“He was a great soloist,” Mr. Basso went on. “Everybody loved to hear him play Tommy Dorsey’s I’m Getting Sentimental Over You. He played the hell out of it. I mean, just right on.”
As for this sort of music, which experiences dips and swells in popularity, “it will never die out,” Mr. McFadden asserted. “It’s the greatest music that ever lived.”
Mr. Bower leaves Marilyn, his wife of 53 years; his daughter, Tracey; and three grandchildren.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4913a8f6db) | 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=4913a8f6db&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
Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene – The Globe and Mail
http://www.jazzpromoservices.com/
http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/
Laurie Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland. (Al Kay)
** Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene
————————————————————
RON CSILLAG
Special to The Globe and Mail
Published Tuesday, Feb. 09, 2016 6:29PM EST
Last updated Tuesday, Feb. 09, 2016 6:29PM EST
* 0 Comments (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/comments/)
*
*
139
139
0
*
* AA (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/#)
Laurie Bower was the musical equivalent of a Swiss Army knife: trombone player, singer, conductor, choral arranger, mentor and even professional whistler.
A mainstay on the Toronto music circuit for nearly six decades, Mr. Bower, who died in Toronto on Jan. 19 at the age of 82, was steeped in the retro swing-era sounds of the big bands and lush vocal arrangements. He may be remembered best for founding the Laurie Bower Singers and co-founding Toronto’s Spitfire Band.
Considered a workhorse in the city’s tight-knit music business, Mr. Bower recorded jingles for thousands of television and radio commercials, ranging from local businesses to Fortune 500 companies – anything that required a big-band sound. And if any of those recordings required whistling, his were the lips to do it.
“He was the go-to whistler,” noted drummer Brian Barlow, who worked with Mr. Bower for years in the studio and on the road, and credits Mr. Bower for getting him started. “He was one of the fairest people in a business where that list is fairly small,” Mr. Barlow added.
Mr. Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland, to what radio used to call easy listening or adult contemporary. He performed a knee-weakening solo at Montreal Bistro in 2002 while playing Hogtown Blues with Ron Collier’s Big Band. The solo, rendered with a mute and just the right amount of anguish, was captured for posterity on a shaky video posted to YouTube.
He was respected as a technically skillful player – “lyrical, very melodic,” said Terry Promane, co-ordinator of jazz studies at the University of Toronto, who played trombone alongside Mr. Bower in the early 2000s. “Any trombone player who wanted to work was required to play in that style. He knew a million tunes.”
Lawrence Wayne Bower was born in Kirkland Lake, Ont., on Aug. 31, 1933, to George and Rose Bower. He earned a bachelor’s degree at U of T after studying choral technique, music education and the trombone with Harry Stevenson of the Toronto Symphony Orchestra. He played trombone in the dance bands of Benny Louis, Ozzie Williams and Mart Kenney before joining the Five Playboys, fresh-faced lads in pinstriped jackets who crooned on CBC-TV’s The Jack Kane Show. (The Globe and Mail called Mr. Bower, then 23, “a 6’-1” blond.”)
He struck out on his own as a trombonist, singer and choral arranger, and became a sought-after session man in Toronto studios. He rose to greater prominence in 1967 when he conducted the Young Canada Singers, a group of 10-year-old children, in the English version of Bobby Gimby’s Centennial-year anthem, Ca-na-da.
In 1969, after singing with several CBC vocal groups, he formed the Laurie Bower Singers, known for their silky covers of pop songs by Neil Diamond, Michael Jackson, even Supertramp, among many others. The three female and three male voices (including Mr. Bower’s rich baritone), backed by an 18-piece band, performed breezy, cascading harmonies to create a mellow sound comparable to that of the Ray Conniff Singers. They made a dozen records, all arranged by Mr. Bower, had a solid fan base and plenty of TV and commercial work.
“He sang like he played trombone,” recalled one of the group’s singers, Cal Dodd, “and he was like a father figure to us.”
Mr. Dodd estimated the group recorded two jingles a day for 25 years, hawking everything from raisin bran to beer to Coca-Cola.
“If you made a record and wanted a background vocal group, you’d go to the Laurie Bower Singers,” Mr. Barlow said. “If you had a TV show and wanted a vocal group, it would be the Laurie Bower Singers.”
In the early 1980s, Mr. Bower co-founded the Spitfire Band with singer Jackie Rae, who got the name from the British war planes he flew in the Second World War, earning a Distinguished Flying Cross. It was intended as a studio orchestra that played big-band standards. But following the success of the group’s first record, the 18 members hit the road, with Mr. Bower on trombone and as vocal arranger.
The Spitfires, pronounced “a success story” by Globe jazz critic Mark Miller, played at conventions, fundraisers and public concerts, and earned a coveted residency in the late 1980s at the Imperial Room of Toronto’s Royal York Hotel. In keeping with the aviation theme, recalled Jack McFadden, who played upright bass with Mr. Bower for 25 years, they performed in 2003 at the unveiling of a statue of the original test pilot of Canada’s doomed Avro Arrow supersonic plane.
Micky Erbe, who played trumpet, recalled that Mr. Bower was a perfect choice to run the band’s day-to-day operations “because God knows he knew everyone.” After finishing their last set in the wee hours, Mr. Bower would announce that he was off to Kirkland Lake to see his mother. “He loved his family,” Mr. Erbe said.
At the same time, Mr. Bower played trombone in other local big bands, including one led by Guido Basso, a trumpet player who conceded that the trombone is much misunderstood.
“It’s a very difficult instrument. It has seven positions, and each position creates different notes” depending on the player’s embouchure, or shaping of the lips, and slide position; “with a trombone you have to find the right spot on the slide.” It’s all in the arms and lips.
“He was a great soloist,” Mr. Basso went on. “Everybody loved to hear him play Tommy Dorsey’s I’m Getting Sentimental Over You. He played the hell out of it. I mean, just right on.”
As for this sort of music, which experiences dips and swells in popularity, “it will never die out,” Mr. McFadden asserted. “It’s the greatest music that ever lived.”
Mr. Bower leaves Marilyn, his wife of 53 years; his daughter, Tracey; and three grandchildren.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4913a8f6db) | 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=4913a8f6db&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
Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene – The Globe and Mail
http://www.jazzpromoservices.com/
http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/
Laurie Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland. (Al Kay)
** Multitalented musician Laurie Bower was a mainstay of Toronto’s jazz scene
————————————————————
RON CSILLAG
Special to The Globe and Mail
Published Tuesday, Feb. 09, 2016 6:29PM EST
Last updated Tuesday, Feb. 09, 2016 6:29PM EST
* 0 Comments (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/comments/)
*
*
139
139
0
*
* AA (http://www.theglobeandmail.com/arts/music/multitalented-musician-laurie-bower-was-a-mainstay-of-torontos-jazz-scene/article28683071/#)
Laurie Bower was the musical equivalent of a Swiss Army knife: trombone player, singer, conductor, choral arranger, mentor and even professional whistler.
A mainstay on the Toronto music circuit for nearly six decades, Mr. Bower, who died in Toronto on Jan. 19 at the age of 82, was steeped in the retro swing-era sounds of the big bands and lush vocal arrangements. He may be remembered best for founding the Laurie Bower Singers and co-founding Toronto’s Spitfire Band.
Considered a workhorse in the city’s tight-knit music business, Mr. Bower recorded jingles for thousands of television and radio commercials, ranging from local businesses to Fortune 500 companies – anything that required a big-band sound. And if any of those recordings required whistling, his were the lips to do it.
“He was the go-to whistler,” noted drummer Brian Barlow, who worked with Mr. Bower for years in the studio and on the road, and credits Mr. Bower for getting him started. “He was one of the fairest people in a business where that list is fairly small,” Mr. Barlow added.
Mr. Bower’s smooth trombone slid effortlessly across genres, from toe-tapping swing to languid jazz to Dixieland, to what radio used to call easy listening or adult contemporary. He performed a knee-weakening solo at Montreal Bistro in 2002 while playing Hogtown Blues with Ron Collier’s Big Band. The solo, rendered with a mute and just the right amount of anguish, was captured for posterity on a shaky video posted to YouTube.
He was respected as a technically skillful player – “lyrical, very melodic,” said Terry Promane, co-ordinator of jazz studies at the University of Toronto, who played trombone alongside Mr. Bower in the early 2000s. “Any trombone player who wanted to work was required to play in that style. He knew a million tunes.”
Lawrence Wayne Bower was born in Kirkland Lake, Ont., on Aug. 31, 1933, to George and Rose Bower. He earned a bachelor’s degree at U of T after studying choral technique, music education and the trombone with Harry Stevenson of the Toronto Symphony Orchestra. He played trombone in the dance bands of Benny Louis, Ozzie Williams and Mart Kenney before joining the Five Playboys, fresh-faced lads in pinstriped jackets who crooned on CBC-TV’s The Jack Kane Show. (The Globe and Mail called Mr. Bower, then 23, “a 6’-1” blond.”)
He struck out on his own as a trombonist, singer and choral arranger, and became a sought-after session man in Toronto studios. He rose to greater prominence in 1967 when he conducted the Young Canada Singers, a group of 10-year-old children, in the English version of Bobby Gimby’s Centennial-year anthem, Ca-na-da.
In 1969, after singing with several CBC vocal groups, he formed the Laurie Bower Singers, known for their silky covers of pop songs by Neil Diamond, Michael Jackson, even Supertramp, among many others. The three female and three male voices (including Mr. Bower’s rich baritone), backed by an 18-piece band, performed breezy, cascading harmonies to create a mellow sound comparable to that of the Ray Conniff Singers. They made a dozen records, all arranged by Mr. Bower, had a solid fan base and plenty of TV and commercial work.
“He sang like he played trombone,” recalled one of the group’s singers, Cal Dodd, “and he was like a father figure to us.”
Mr. Dodd estimated the group recorded two jingles a day for 25 years, hawking everything from raisin bran to beer to Coca-Cola.
“If you made a record and wanted a background vocal group, you’d go to the Laurie Bower Singers,” Mr. Barlow said. “If you had a TV show and wanted a vocal group, it would be the Laurie Bower Singers.”
In the early 1980s, Mr. Bower co-founded the Spitfire Band with singer Jackie Rae, who got the name from the British war planes he flew in the Second World War, earning a Distinguished Flying Cross. It was intended as a studio orchestra that played big-band standards. But following the success of the group’s first record, the 18 members hit the road, with Mr. Bower on trombone and as vocal arranger.
The Spitfires, pronounced “a success story” by Globe jazz critic Mark Miller, played at conventions, fundraisers and public concerts, and earned a coveted residency in the late 1980s at the Imperial Room of Toronto’s Royal York Hotel. In keeping with the aviation theme, recalled Jack McFadden, who played upright bass with Mr. Bower for 25 years, they performed in 2003 at the unveiling of a statue of the original test pilot of Canada’s doomed Avro Arrow supersonic plane.
Micky Erbe, who played trumpet, recalled that Mr. Bower was a perfect choice to run the band’s day-to-day operations “because God knows he knew everyone.” After finishing their last set in the wee hours, Mr. Bower would announce that he was off to Kirkland Lake to see his mother. “He loved his family,” Mr. Erbe said.
At the same time, Mr. Bower played trombone in other local big bands, including one led by Guido Basso, a trumpet player who conceded that the trombone is much misunderstood.
“It’s a very difficult instrument. It has seven positions, and each position creates different notes” depending on the player’s embouchure, or shaping of the lips, and slide position; “with a trombone you have to find the right spot on the slide.” It’s all in the arms and lips.
“He was a great soloist,” Mr. Basso went on. “Everybody loved to hear him play Tommy Dorsey’s I’m Getting Sentimental Over You. He played the hell out of it. I mean, just right on.”
As for this sort of music, which experiences dips and swells in popularity, “it will never die out,” Mr. McFadden asserted. “It’s the greatest music that ever lived.”
Mr. Bower leaves Marilyn, his wife of 53 years; his daughter, Tracey; and three grandchildren.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=4913a8f6db) | 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=4913a8f6db&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
Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/08/arts/music/grammys-tend-to-focus-on-heroics-in-singling-out-the-jazz-solo.html?emc=edit_tnt_20160207
** Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) FEB. 7, 2016
Joey Alexander, at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola last year. Michelle V. Agins/The New York Times
A friend who edits a monthly jazz magazine tells me that nearly 5,000 new jazz records were sent in his direction last year. That’s not all of the new jazz albums made around the world in 2015, but a decent percentage of them.
So on those records might be 70,000 jazz solos — presuming, let’s say, an average of seven tracks per album (because jazz tracks can be long) and an average of two musical events per track that could be called solos (because jazz solos can be short or long or anything in between). Jazz solos can even be hard to discern as solos. In certain situations, and not infrequently, everyone in a jazz group is essentially soloing nearly all the time, which makes it hard, and possibly against the spirit of the thing, to draw a circle around a single solo.
There are five Grammy Awards in the category of jazz. One of them, best improvised jazz solo, is for improvising, and it rewards a single musician’s solo on a single track. (It’s been that way since 1991; previously it had honored a soloist’s performance across a whole album.) Philosophically, that seems good: As long as you’re going to reward a particular song, this award acknowledges that improvising is as important as composing to the identity of the song. But it’s a strange award, too. It asks more questions than it answers. Here’s the first one: 70,000 solos, in theory — where should the process of rewarding the best one start?
Christian McBride, in 2013 at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. Jacob Blickenstaff for The New York Times
Practically, it starts with individual record labels submitting solos to a screening committee — sometimes more than one on a single album — with the approval of the artists, creating a long list. This year’s nominees for jazz solo of the year are: Joey Alexander, the unusually advanced 12-year-old pianist, on John Coltrane’s “Giant Steps,” from his album “My Favorite Things” (he recorded the solo when he was 11); Christian McBride, the bassist, with his trio, on a live version of the standard “Cherokee” — another trial for soloists — from his album “Live at the Village Vanguard”; John Scofield, the guitarist, on the song “Past Present,” from his album of the same name; the tenor saxophonist Donny McCaslin, on “Arbiters of Evolution,” by the Maria Schneider Orchestra; and the tenor saxophonist Joshua Redman, playing with the Bad Plus, on “Friend or Foe,” from the album “The Bad Plus Joshua Redman.”
That’s a very good list, less reliant on old favorites than usual. (There is a small number of jazz musicians who have repeatedly been given jazz Grammys: Chick Corea, Herbie Hancock, Wayne Shorter, Pat Metheny, Chucho Valdés. There’s your cynical answer to the question of what makes a solo worthy of a Grammy: if a musician familiar to a significant portion of Grammy voters has played it.) What do those five solos have in common, if anything? What seems to make one solo more Grammyish than another?
Mr. Alexander’s runs through a piece that is almost the exclusive property of young musicians with something to prove, because it is generally to be played fast, and serves up a new chord on every other beat. His entire 10-minute performance is basically a solo, with and without the rhythm section, which appears and disappears and appears again. Mr. McBride’s is a feat of fluency and technique, similarly expansive: improvisation on rapid chord changes at a fast tempo — around 180 beats per minute — running as a thread through much of the song, interrupted by short piano or drum solos.
Mr. Redman’s, at three and a half minutes, is an unrolling story that begins after the song’s marked-off halfway point. Mr. McCaslin’s five-minute solo achieves its full emotional roar inside an extraordinary Maria Schneider large-ensemble composition, moving through a series of vivid, changing backdrops. Mr. Scofield’s is masterfully played, full of original touch and vigor and roughness, on a clever but fairly straightforward, blues-related tune; it’s about a minute and a half, and the only one that doesn’t say, “Stand back: This is going to be extraordinary.”
John Scofield, in 2009 at the Montreux Jazz Festival in Switzerland. Dominic Favre/Keystone, via Associated Press
What’s the pattern here? A Grammyish solo, by and large, is a framed event, a bravura spot-lit performance, a physical display, an act of heroism. There is a tradition of the heroic, thorough and teachable statement in jazz, including Coleman Hawkins’s “Body and Soul,” in 1939; Charlie Parker’s “Koko” (1945); Sonny Rollins’s “Blue 7” (1956); and Eric Dolphy’s solo on “Stormy Weather” with Charles Mingus’s group (1961). They all seem to carry the excited spirit of the earliest days of recording: Here’s an individual performance worth the medium.
But you could probably see 10 excellent jazz gigs in a row in New York this week without necessarily encountering a jazz solo that would be an obvious contender for a Grammy, and not feel disappointed. I hear a lot of bands these days — David Virelles’s, Aaron Goldberg’s, Kamasi Washington’s, Kris Davis’s, Jim Black’s — that use solos in either shorter or less monolithic ways, or at least not in ways that say this one’s the keeper. There might be many solos within a song, perhaps going on simultaneously, or one by one in a limited spot against one or more improvisers, or as way stations to something else rather than the final word, or they are to be understood as chunks in a continuing discourse. The heroic stand-alone solo is an interesting lens for how jazz is popularly understood, but not necessarily how it is practiced.
Jazz is about context and collaboration; it really is about bands. (For that reason, it’s a good thing that most of the solos in this year’s crop come from records made by working bands.) If the way you listen to jazz is to wait for the sustained passage of individual heroism, you may be missing a lot.
There is often, in jazz, a kind of philosophical insistence on inclusion and integration: a song is about A and B and C, rarely about just A. The solos that the Grammy voters are drawn to tend to be about A: They’re great-man theories. (Literally: The last time a woman won a jazz Grammy Award with “solo” in the name was Ella Fitzgerald in 1959, for “best jazz performance — soloist.”)
You do hear great improvising in jazz, all the time, but it’s generally part of a much greater whole. There could be a jazz Grammy for accompanying a solo, or for fluctuation in a rhythm section. There could even be one for the well-timed silence. I’m pretty sure I’m not kidding.
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=bbf11d5e34) | 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=bbf11d5e34&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
Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/08/arts/music/grammys-tend-to-focus-on-heroics-in-singling-out-the-jazz-solo.html?emc=edit_tnt_20160207
** Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) FEB. 7, 2016
Joey Alexander, at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola last year. Michelle V. Agins/The New York Times
A friend who edits a monthly jazz magazine tells me that nearly 5,000 new jazz records were sent in his direction last year. That’s not all of the new jazz albums made around the world in 2015, but a decent percentage of them.
So on those records might be 70,000 jazz solos — presuming, let’s say, an average of seven tracks per album (because jazz tracks can be long) and an average of two musical events per track that could be called solos (because jazz solos can be short or long or anything in between). Jazz solos can even be hard to discern as solos. In certain situations, and not infrequently, everyone in a jazz group is essentially soloing nearly all the time, which makes it hard, and possibly against the spirit of the thing, to draw a circle around a single solo.
There are five Grammy Awards in the category of jazz. One of them, best improvised jazz solo, is for improvising, and it rewards a single musician’s solo on a single track. (It’s been that way since 1991; previously it had honored a soloist’s performance across a whole album.) Philosophically, that seems good: As long as you’re going to reward a particular song, this award acknowledges that improvising is as important as composing to the identity of the song. But it’s a strange award, too. It asks more questions than it answers. Here’s the first one: 70,000 solos, in theory — where should the process of rewarding the best one start?
Christian McBride, in 2013 at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. Jacob Blickenstaff for The New York Times
Practically, it starts with individual record labels submitting solos to a screening committee — sometimes more than one on a single album — with the approval of the artists, creating a long list. This year’s nominees for jazz solo of the year are: Joey Alexander, the unusually advanced 12-year-old pianist, on John Coltrane’s “Giant Steps,” from his album “My Favorite Things” (he recorded the solo when he was 11); Christian McBride, the bassist, with his trio, on a live version of the standard “Cherokee” — another trial for soloists — from his album “Live at the Village Vanguard”; John Scofield, the guitarist, on the song “Past Present,” from his album of the same name; the tenor saxophonist Donny McCaslin, on “Arbiters of Evolution,” by the Maria Schneider Orchestra; and the tenor saxophonist Joshua Redman, playing with the Bad Plus, on “Friend or Foe,” from the album “The Bad Plus Joshua Redman.”
That’s a very good list, less reliant on old favorites than usual. (There is a small number of jazz musicians who have repeatedly been given jazz Grammys: Chick Corea, Herbie Hancock, Wayne Shorter, Pat Metheny, Chucho Valdés. There’s your cynical answer to the question of what makes a solo worthy of a Grammy: if a musician familiar to a significant portion of Grammy voters has played it.) What do those five solos have in common, if anything? What seems to make one solo more Grammyish than another?
Mr. Alexander’s runs through a piece that is almost the exclusive property of young musicians with something to prove, because it is generally to be played fast, and serves up a new chord on every other beat. His entire 10-minute performance is basically a solo, with and without the rhythm section, which appears and disappears and appears again. Mr. McBride’s is a feat of fluency and technique, similarly expansive: improvisation on rapid chord changes at a fast tempo — around 180 beats per minute — running as a thread through much of the song, interrupted by short piano or drum solos.
Mr. Redman’s, at three and a half minutes, is an unrolling story that begins after the song’s marked-off halfway point. Mr. McCaslin’s five-minute solo achieves its full emotional roar inside an extraordinary Maria Schneider large-ensemble composition, moving through a series of vivid, changing backdrops. Mr. Scofield’s is masterfully played, full of original touch and vigor and roughness, on a clever but fairly straightforward, blues-related tune; it’s about a minute and a half, and the only one that doesn’t say, “Stand back: This is going to be extraordinary.”
John Scofield, in 2009 at the Montreux Jazz Festival in Switzerland. Dominic Favre/Keystone, via Associated Press
What’s the pattern here? A Grammyish solo, by and large, is a framed event, a bravura spot-lit performance, a physical display, an act of heroism. There is a tradition of the heroic, thorough and teachable statement in jazz, including Coleman Hawkins’s “Body and Soul,” in 1939; Charlie Parker’s “Koko” (1945); Sonny Rollins’s “Blue 7” (1956); and Eric Dolphy’s solo on “Stormy Weather” with Charles Mingus’s group (1961). They all seem to carry the excited spirit of the earliest days of recording: Here’s an individual performance worth the medium.
But you could probably see 10 excellent jazz gigs in a row in New York this week without necessarily encountering a jazz solo that would be an obvious contender for a Grammy, and not feel disappointed. I hear a lot of bands these days — David Virelles’s, Aaron Goldberg’s, Kamasi Washington’s, Kris Davis’s, Jim Black’s — that use solos in either shorter or less monolithic ways, or at least not in ways that say this one’s the keeper. There might be many solos within a song, perhaps going on simultaneously, or one by one in a limited spot against one or more improvisers, or as way stations to something else rather than the final word, or they are to be understood as chunks in a continuing discourse. The heroic stand-alone solo is an interesting lens for how jazz is popularly understood, but not necessarily how it is practiced.
Jazz is about context and collaboration; it really is about bands. (For that reason, it’s a good thing that most of the solos in this year’s crop come from records made by working bands.) If the way you listen to jazz is to wait for the sustained passage of individual heroism, you may be missing a lot.
There is often, in jazz, a kind of philosophical insistence on inclusion and integration: a song is about A and B and C, rarely about just A. The solos that the Grammy voters are drawn to tend to be about A: They’re great-man theories. (Literally: The last time a woman won a jazz Grammy Award with “solo” in the name was Ella Fitzgerald in 1959, for “best jazz performance — soloist.”)
You do hear great improvising in jazz, all the time, but it’s generally part of a much greater whole. There could be a jazz Grammy for accompanying a solo, or for fluctuation in a rhythm section. There could even be one for the well-timed silence. I’m pretty sure I’m not kidding.
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=bbf11d5e34) | 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=bbf11d5e34&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
Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/08/arts/music/grammys-tend-to-focus-on-heroics-in-singling-out-the-jazz-solo.html?emc=edit_tnt_20160207
** Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) FEB. 7, 2016
Joey Alexander, at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola last year. Michelle V. Agins/The New York Times
A friend who edits a monthly jazz magazine tells me that nearly 5,000 new jazz records were sent in his direction last year. That’s not all of the new jazz albums made around the world in 2015, but a decent percentage of them.
So on those records might be 70,000 jazz solos — presuming, let’s say, an average of seven tracks per album (because jazz tracks can be long) and an average of two musical events per track that could be called solos (because jazz solos can be short or long or anything in between). Jazz solos can even be hard to discern as solos. In certain situations, and not infrequently, everyone in a jazz group is essentially soloing nearly all the time, which makes it hard, and possibly against the spirit of the thing, to draw a circle around a single solo.
There are five Grammy Awards in the category of jazz. One of them, best improvised jazz solo, is for improvising, and it rewards a single musician’s solo on a single track. (It’s been that way since 1991; previously it had honored a soloist’s performance across a whole album.) Philosophically, that seems good: As long as you’re going to reward a particular song, this award acknowledges that improvising is as important as composing to the identity of the song. But it’s a strange award, too. It asks more questions than it answers. Here’s the first one: 70,000 solos, in theory — where should the process of rewarding the best one start?
Christian McBride, in 2013 at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. Jacob Blickenstaff for The New York Times
Practically, it starts with individual record labels submitting solos to a screening committee — sometimes more than one on a single album — with the approval of the artists, creating a long list. This year’s nominees for jazz solo of the year are: Joey Alexander, the unusually advanced 12-year-old pianist, on John Coltrane’s “Giant Steps,” from his album “My Favorite Things” (he recorded the solo when he was 11); Christian McBride, the bassist, with his trio, on a live version of the standard “Cherokee” — another trial for soloists — from his album “Live at the Village Vanguard”; John Scofield, the guitarist, on the song “Past Present,” from his album of the same name; the tenor saxophonist Donny McCaslin, on “Arbiters of Evolution,” by the Maria Schneider Orchestra; and the tenor saxophonist Joshua Redman, playing with the Bad Plus, on “Friend or Foe,” from the album “The Bad Plus Joshua Redman.”
That’s a very good list, less reliant on old favorites than usual. (There is a small number of jazz musicians who have repeatedly been given jazz Grammys: Chick Corea, Herbie Hancock, Wayne Shorter, Pat Metheny, Chucho Valdés. There’s your cynical answer to the question of what makes a solo worthy of a Grammy: if a musician familiar to a significant portion of Grammy voters has played it.) What do those five solos have in common, if anything? What seems to make one solo more Grammyish than another?
Mr. Alexander’s runs through a piece that is almost the exclusive property of young musicians with something to prove, because it is generally to be played fast, and serves up a new chord on every other beat. His entire 10-minute performance is basically a solo, with and without the rhythm section, which appears and disappears and appears again. Mr. McBride’s is a feat of fluency and technique, similarly expansive: improvisation on rapid chord changes at a fast tempo — around 180 beats per minute — running as a thread through much of the song, interrupted by short piano or drum solos.
Mr. Redman’s, at three and a half minutes, is an unrolling story that begins after the song’s marked-off halfway point. Mr. McCaslin’s five-minute solo achieves its full emotional roar inside an extraordinary Maria Schneider large-ensemble composition, moving through a series of vivid, changing backdrops. Mr. Scofield’s is masterfully played, full of original touch and vigor and roughness, on a clever but fairly straightforward, blues-related tune; it’s about a minute and a half, and the only one that doesn’t say, “Stand back: This is going to be extraordinary.”
John Scofield, in 2009 at the Montreux Jazz Festival in Switzerland. Dominic Favre/Keystone, via Associated Press
What’s the pattern here? A Grammyish solo, by and large, is a framed event, a bravura spot-lit performance, a physical display, an act of heroism. There is a tradition of the heroic, thorough and teachable statement in jazz, including Coleman Hawkins’s “Body and Soul,” in 1939; Charlie Parker’s “Koko” (1945); Sonny Rollins’s “Blue 7” (1956); and Eric Dolphy’s solo on “Stormy Weather” with Charles Mingus’s group (1961). They all seem to carry the excited spirit of the earliest days of recording: Here’s an individual performance worth the medium.
But you could probably see 10 excellent jazz gigs in a row in New York this week without necessarily encountering a jazz solo that would be an obvious contender for a Grammy, and not feel disappointed. I hear a lot of bands these days — David Virelles’s, Aaron Goldberg’s, Kamasi Washington’s, Kris Davis’s, Jim Black’s — that use solos in either shorter or less monolithic ways, or at least not in ways that say this one’s the keeper. There might be many solos within a song, perhaps going on simultaneously, or one by one in a limited spot against one or more improvisers, or as way stations to something else rather than the final word, or they are to be understood as chunks in a continuing discourse. The heroic stand-alone solo is an interesting lens for how jazz is popularly understood, but not necessarily how it is practiced.
Jazz is about context and collaboration; it really is about bands. (For that reason, it’s a good thing that most of the solos in this year’s crop come from records made by working bands.) If the way you listen to jazz is to wait for the sustained passage of individual heroism, you may be missing a lot.
There is often, in jazz, a kind of philosophical insistence on inclusion and integration: a song is about A and B and C, rarely about just A. The solos that the Grammy voters are drawn to tend to be about A: They’re great-man theories. (Literally: The last time a woman won a jazz Grammy Award with “solo” in the name was Ella Fitzgerald in 1959, for “best jazz performance — soloist.”)
You do hear great improvising in jazz, all the time, but it’s generally part of a much greater whole. There could be a jazz Grammy for accompanying a solo, or for fluctuation in a rhythm section. There could even be one for the well-timed silence. I’m pretty sure I’m not kidding.
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=bbf11d5e34) | 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=bbf11d5e34&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
Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/02/08/arts/music/grammys-tend-to-focus-on-heroics-in-singling-out-the-jazz-solo.html?emc=edit_tnt_20160207
** Grammys Tend to Focus on Heroics in Singling Out the Jazz Solo
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) FEB. 7, 2016
Joey Alexander, at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola last year. Michelle V. Agins/The New York Times
A friend who edits a monthly jazz magazine tells me that nearly 5,000 new jazz records were sent in his direction last year. That’s not all of the new jazz albums made around the world in 2015, but a decent percentage of them.
So on those records might be 70,000 jazz solos — presuming, let’s say, an average of seven tracks per album (because jazz tracks can be long) and an average of two musical events per track that could be called solos (because jazz solos can be short or long or anything in between). Jazz solos can even be hard to discern as solos. In certain situations, and not infrequently, everyone in a jazz group is essentially soloing nearly all the time, which makes it hard, and possibly against the spirit of the thing, to draw a circle around a single solo.
There are five Grammy Awards in the category of jazz. One of them, best improvised jazz solo, is for improvising, and it rewards a single musician’s solo on a single track. (It’s been that way since 1991; previously it had honored a soloist’s performance across a whole album.) Philosophically, that seems good: As long as you’re going to reward a particular song, this award acknowledges that improvising is as important as composing to the identity of the song. But it’s a strange award, too. It asks more questions than it answers. Here’s the first one: 70,000 solos, in theory — where should the process of rewarding the best one start?
Christian McBride, in 2013 at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. Jacob Blickenstaff for The New York Times
Practically, it starts with individual record labels submitting solos to a screening committee — sometimes more than one on a single album — with the approval of the artists, creating a long list. This year’s nominees for jazz solo of the year are: Joey Alexander, the unusually advanced 12-year-old pianist, on John Coltrane’s “Giant Steps,” from his album “My Favorite Things” (he recorded the solo when he was 11); Christian McBride, the bassist, with his trio, on a live version of the standard “Cherokee” — another trial for soloists — from his album “Live at the Village Vanguard”; John Scofield, the guitarist, on the song “Past Present,” from his album of the same name; the tenor saxophonist Donny McCaslin, on “Arbiters of Evolution,” by the Maria Schneider Orchestra; and the tenor saxophonist Joshua Redman, playing with the Bad Plus, on “Friend or Foe,” from the album “The Bad Plus Joshua Redman.”
That’s a very good list, less reliant on old favorites than usual. (There is a small number of jazz musicians who have repeatedly been given jazz Grammys: Chick Corea, Herbie Hancock, Wayne Shorter, Pat Metheny, Chucho Valdés. There’s your cynical answer to the question of what makes a solo worthy of a Grammy: if a musician familiar to a significant portion of Grammy voters has played it.) What do those five solos have in common, if anything? What seems to make one solo more Grammyish than another?
Mr. Alexander’s runs through a piece that is almost the exclusive property of young musicians with something to prove, because it is generally to be played fast, and serves up a new chord on every other beat. His entire 10-minute performance is basically a solo, with and without the rhythm section, which appears and disappears and appears again. Mr. McBride’s is a feat of fluency and technique, similarly expansive: improvisation on rapid chord changes at a fast tempo — around 180 beats per minute — running as a thread through much of the song, interrupted by short piano or drum solos.
Mr. Redman’s, at three and a half minutes, is an unrolling story that begins after the song’s marked-off halfway point. Mr. McCaslin’s five-minute solo achieves its full emotional roar inside an extraordinary Maria Schneider large-ensemble composition, moving through a series of vivid, changing backdrops. Mr. Scofield’s is masterfully played, full of original touch and vigor and roughness, on a clever but fairly straightforward, blues-related tune; it’s about a minute and a half, and the only one that doesn’t say, “Stand back: This is going to be extraordinary.”
John Scofield, in 2009 at the Montreux Jazz Festival in Switzerland. Dominic Favre/Keystone, via Associated Press
What’s the pattern here? A Grammyish solo, by and large, is a framed event, a bravura spot-lit performance, a physical display, an act of heroism. There is a tradition of the heroic, thorough and teachable statement in jazz, including Coleman Hawkins’s “Body and Soul,” in 1939; Charlie Parker’s “Koko” (1945); Sonny Rollins’s “Blue 7” (1956); and Eric Dolphy’s solo on “Stormy Weather” with Charles Mingus’s group (1961). They all seem to carry the excited spirit of the earliest days of recording: Here’s an individual performance worth the medium.
But you could probably see 10 excellent jazz gigs in a row in New York this week without necessarily encountering a jazz solo that would be an obvious contender for a Grammy, and not feel disappointed. I hear a lot of bands these days — David Virelles’s, Aaron Goldberg’s, Kamasi Washington’s, Kris Davis’s, Jim Black’s — that use solos in either shorter or less monolithic ways, or at least not in ways that say this one’s the keeper. There might be many solos within a song, perhaps going on simultaneously, or one by one in a limited spot against one or more improvisers, or as way stations to something else rather than the final word, or they are to be understood as chunks in a continuing discourse. The heroic stand-alone solo is an interesting lens for how jazz is popularly understood, but not necessarily how it is practiced.
Jazz is about context and collaboration; it really is about bands. (For that reason, it’s a good thing that most of the solos in this year’s crop come from records made by working bands.) If the way you listen to jazz is to wait for the sustained passage of individual heroism, you may be missing a lot.
There is often, in jazz, a kind of philosophical insistence on inclusion and integration: a song is about A and B and C, rarely about just A. The solos that the Grammy voters are drawn to tend to be about A: They’re great-man theories. (Literally: The last time a woman won a jazz Grammy Award with “solo” in the name was Ella Fitzgerald in 1959, for “best jazz performance — soloist.”)
You do hear great improvising in jazz, all the time, but it’s generally part of a much greater whole. There could be a jazz Grammy for accompanying a solo, or for fluctuation in a rhythm section. There could even be one for the well-timed silence. I’m pretty sure I’m not kidding.
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=bbf11d5e34) | 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=bbf11d5e34&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
Music Critic & Author Ben Ratliff On Tavis Smiley February 12, 2016
http://www.jazzpromoservices.com/
http://www.pbs.org/wnet/tavissmiley/interviews/music-critic-author-ben-ratliff/?show=26475
** Music Critic & Author Ben Ratliff
————————————————————
Guest interviews are usually available online within 24 hours of broadcast.
BRatliff_298X262
Jazz and pop music critic for The New York Times, shares his new book, “Every Song Ever: Twenty Ways To Listen in An Age of Musical Plenty.”
Ben Ratliff, a jazz a pop critic for The New York Times since 1996, has just released his fourth book, “Every Song Ever: Twenty Ways To Listen in an Age of Musical Plenty,” a field guide to listening in an age of overwhelming musical abundance. By revealing the essential similarities between wildly different kinds of music, Ratliff breaks from traditional music criticism focusing on the musician’s intent and instead illustrates the listener’s experience. His previous books include, “The Jazz Ear: Conversations Over Music”(2008); “Coltrane: The Story of a Sound,” a finalist for the National Book Critics Circle Award (2007); and “Jazz: A Critic’s Guide to the 100 Most Important Recordings”(2002).
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=13df450e63) | 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=13df450e63&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
Music Critic & Author Ben Ratliff On Tavis Smiley February 12, 2016
http://www.jazzpromoservices.com/
http://www.pbs.org/wnet/tavissmiley/interviews/music-critic-author-ben-ratliff/?show=26475
** Music Critic & Author Ben Ratliff
————————————————————
Guest interviews are usually available online within 24 hours of broadcast.
BRatliff_298X262
Jazz and pop music critic for The New York Times, shares his new book, “Every Song Ever: Twenty Ways To Listen in An Age of Musical Plenty.”
Ben Ratliff, a jazz a pop critic for The New York Times since 1996, has just released his fourth book, “Every Song Ever: Twenty Ways To Listen in an Age of Musical Plenty,” a field guide to listening in an age of overwhelming musical abundance. By revealing the essential similarities between wildly different kinds of music, Ratliff breaks from traditional music criticism focusing on the musician’s intent and instead illustrates the listener’s experience. His previous books include, “The Jazz Ear: Conversations Over Music”(2008); “Coltrane: The Story of a Sound,” a finalist for the National Book Critics Circle Award (2007); and “Jazz: A Critic’s Guide to the 100 Most Important Recordings”(2002).
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=13df450e63) | 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=13df450e63&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
Music Critic & Author Ben Ratliff On Tavis Smiley February 12, 2016
http://www.jazzpromoservices.com/
http://www.pbs.org/wnet/tavissmiley/interviews/music-critic-author-ben-ratliff/?show=26475
** Music Critic & Author Ben Ratliff
————————————————————
Guest interviews are usually available online within 24 hours of broadcast.
BRatliff_298X262
Jazz and pop music critic for The New York Times, shares his new book, “Every Song Ever: Twenty Ways To Listen in An Age of Musical Plenty.”
Ben Ratliff, a jazz a pop critic for The New York Times since 1996, has just released his fourth book, “Every Song Ever: Twenty Ways To Listen in an Age of Musical Plenty,” a field guide to listening in an age of overwhelming musical abundance. By revealing the essential similarities between wildly different kinds of music, Ratliff breaks from traditional music criticism focusing on the musician’s intent and instead illustrates the listener’s experience. His previous books include, “The Jazz Ear: Conversations Over Music”(2008); “Coltrane: The Story of a Sound,” a finalist for the National Book Critics Circle Award (2007); and “Jazz: A Critic’s Guide to the 100 Most Important Recordings”(2002).
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=13df450e63) | 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=13df450e63&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
Music Critic & Author Ben Ratliff On Tavis Smiley February 12, 2016
http://www.jazzpromoservices.com/
http://www.pbs.org/wnet/tavissmiley/interviews/music-critic-author-ben-ratliff/?show=26475
** Music Critic & Author Ben Ratliff
————————————————————
Guest interviews are usually available online within 24 hours of broadcast.
BRatliff_298X262
Jazz and pop music critic for The New York Times, shares his new book, “Every Song Ever: Twenty Ways To Listen in An Age of Musical Plenty.”
Ben Ratliff, a jazz a pop critic for The New York Times since 1996, has just released his fourth book, “Every Song Ever: Twenty Ways To Listen in an Age of Musical Plenty,” a field guide to listening in an age of overwhelming musical abundance. By revealing the essential similarities between wildly different kinds of music, Ratliff breaks from traditional music criticism focusing on the musician’s intent and instead illustrates the listener’s experience. His previous books include, “The Jazz Ear: Conversations Over Music”(2008); “Coltrane: The Story of a Sound,” a finalist for the National Book Critics Circle Award (2007); and “Jazz: A Critic’s Guide to the 100 Most Important Recordings”(2002).
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=13df450e63) | 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=13df450e63&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Riffs And Rhythms That Led To Jazz As We Know It : NPR
http://www.jazzpromoservices.com/
http://www.npr.org/2016/02/01/465158353/the-riffs-and-rhythms-that-led-to-jazz-as-we-know-it?utm_source=npr_newsletter
** The Riffs And Rhythms That Led To Jazz As We Know It
————————————————————
The Original Dixieland Jazz Band’s first recording in Feb. 1917 is often cited as the first jazz record ever, but critic Kevin Whitehead says that the roots of jazz stretch a little further back.
TERRY GROSS, HOST:
This is FRESH AIR. A year from now, we’ll be hearing a lot about the hundredth anniversary of the Original Dixieland Jazz Band’s first recording in February, 1917, which is usually cited as the first jazz record. But our jazz critic, Kevin Whitehead, says there are a couple of earlier records that may be contenders, one of them recorded on February 3, 100 years ago. Before we hear them, let’s hear the Original Dixieland Jazz Band from 1917.
(SOUNDBITE OF ORIGINAL DIXIELAND JAZZ BAND SONG, “DIXIELAND JASS BAND ONE STEP”)
KEVIN WHITEHEAD, BYLINE: That’s the Original Dixieland Jazz Band in February, 1917. With “Dixieland Jass Band One Step,” the flip side of “Livery Stable Blues.” You can hear why folks call it the first jazz record, the way cornet, clarinet and trombone mix it up helped define New Orleans-style jazz. You can hear its military roots in that opening call to arms and ragtime behind the shambling beat. But there was a new breeziness to the rhythm. When the band repeat a section, you can hear they’re not really improvising as much as paraphrasing themselves. But it gives everything the right, off-book flavor. That’s hot stuff in 1917.
(SOUNDBITE OF ORIGINAL DIXIELAND JAZZ BAND SONG, “DIXIELAND JASS BAND ONE STEP”)
WHITEHEAD: The white Original Dixieland Jazz Band wasn’t the first jazz group but part of a wave that had been building for a decade and a half. Jazz had evolved out of ragtime, brass bands, field hollers, dance music and anything else handy. You can’t point to one moment and say, jazz starts here. Though, it would’ve been well before 1917. There are earlier recorded examples of that same rhythmic freshness and improvised feel. But first, let’s hear some 1913 music on the cusp of jazz but not quite there, African-American bandleader James Reese Europe’s “Down Home Rag.”
(SOUNDBITE OF JAMES REESE EUROPE SONG, “DOWN HOME RAG”)
WHITEHEAD: James Reese Europe’s Society Orchestra in late 1913 sound like cowboys headed for the corral, riding herd on a dozen mandolins. A bit over two years later, on February 3, 1916, the black vaudeville act The Versatile Four cut a miniaturized covered of that arrangement, right down to the yelling. But on their version, something fundamental had changed. The two banjo players are more free with those punchy riffs, and drummer Charlie Johnson swings like crazy for 1916.
(SOUNDBITE OF THE VERSATILE FOUR SONG, “DOWN HOME RAG”)
WHITEHEAD: You can hear military rudiments in Charlie Johnson’s jazz percussion. But he takes them somewhere else. He plays accents and press rolls (ph), emphasizes the backbeat, crashes on a rude symbol and doubles up his time on wood blocks. It’s hip 1920s drumming a few years early.
(SOUNDBITE OF THE VERSATILE FOUR SONG, “DOWN HOME RAG”)
WHITEHEAD: That little riff that “drives” “Down Home Rag” repeats five times every two bars for a wheels-within-wheels effect. That so-called secondary rag syncopation also propels Glenn Miller’s “In The Mood” and a hundred country fiddle solos. The composer of “Down Home Rag,” clarinetist Wilbur Sweatman, recorded his version in December, 1916, where you can hear those country fiddles coming. Sweatman doesn’t really improvise either here, but he does catch that free, jazzy phrasing on clarinet a little before the Original Dixieland Jazz Band. He floats above the violin and his mostly earthbound band.
(SOUNDBITE OF WILBUR SWEATMAN SONG, “DOWN HOME RAG”)
WHITEHEAD: We might do better to think not of one first jazz record but of a few records and piano rolls that track how jazz broke free of its ancestors. Singers help point the way too. Vaudeville comic Bert Williams caught some of the surges and hesitations of swing on record by 1906 and cut his own “Ode To Syncopation” in 1914. Even so, by then, pioneering cornetist Buddy Bolden’s career was already over. And later in 1914, The Creole Band from New Orleans toured the western U.S. and Canada on a vaudeville circuit. So jazz was already around by the mid teens. It just took record companies some time to catch on.
(SOUNDBITE OF SONG, “ODE TO SYNCOPATION”)
BERT WILLIAMS: (Singing) Syncopation (unintelligible). It’s called a sensation, you can’t get away now. Lawyers and physicians, even men of high positions, great big politicians all come around…
GROSS: Kevin Whitehead writes for Point of Departure and Tone Audio and is the author of “Why Jazz?” Tomorrow on FRESH AIR, my guest will be Peter Bergen author of the new book “United States Of Jihad: Investigating America’s Homegrown Terrorists.” He’s CNN’s national security analyst and has been reporting on jihad for decades. He interviewed bin Laden in 1997. I hope you’ll join us. FRESH AIR’s executive producer is Danny Miller. I’m Terry Gross.
Copyright © 2016 NPR. All rights reserved. Visit our website terms of use (http://www.npr.org/about-npr/179876898/terms-of-use) and permissions (http://www.npr.org/about-npr/179881519/rights-and-permissions-information) pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR’s programming is the audio.
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=25afe72f6e) | 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=25afe72f6e&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