Author: Bash Daily Group Archive Feed
BMG buys control of Chess publisher
http://www.jazzpromoservices.com/
http://www.musicbusinessworldwide.com/bmg-buys-control-of-chess-records-publishing-company-arc/
** BMG BUYS CONTROL OF CHESS RECORDS PUBLISHING COMPANY ARC
————————————————————
BMG has acquired a majority interest in the ARC Music publishing catalogue, originally founded in 1948 by the Chess brothers Leonard and Phil Chess as the music publishing counterpart of their Chess Records label.
BMG made the acquisition from Fuji Music Group (FMG).
The ARC repertoire includes many of the greats of US blues and rock ‘n’ roll, including songs made famous by Chuck Berry, The Beach Boys (pictured), Bo Diddley, Howlin’ Wolf and John Lee Hooker.
ARC Music holds the rights to some of the most well-known American music of the past five decades including blues and rock n’ roll songs such as ‘Surfin’ USA’, ‘Johnny B. Goode’, ‘See You Later Alligator’, ‘Book Of Love’ and ‘Roll Over Beethoven’.
Following the deal BMG and FMG have agreed they will work together to ‘explore additional opportunities with the intention of creating a portfolio of evergreen copyrights’.
BMG already publishes songs from the classic American songbook by the likes of Willie Dixon, plus much of the Johnny Cash catalogue. Last year it acquired rights in the Buddy Holly estate controlled by the star’s widow, Maria Elena Holly.
“Both culturally and commercially, this is one of the most significant acquisitions in the development of BMG so far.”
Hartwig Masuch, BMG
BMG and FMG have a long-running relationship.
FMG’s affiliate, Fujipacific Music, administers BMG’s catalogue in Japan and Southeast Asia, while BMG administers FMG’s catalogue in the rest of the world.
FMG will continue to handle administration for the catalogue in Japan and Southeast Asia.
BMG CEO Hartwig Masuch said, “The Chess brothers and their successors brought blues and rock ‘n’ roll to the world.
“The artists and songwriters they discovered still resonate through the decades. Both culturally and commercially, the acquisition of this majority stake in ARC is one of the most significant acquisitions in the development of BMG so far.”
Laurent Hubert, President of Creative and Marketing at BMG commented, “The ARC catalog represents timeless music that is a centerpiece of American culture. We are pleased to join forces with Fuji and deepen our relationship with them in Japan and Southeast Asia to bring these songs new life across the globe.”
Ichiro Asatsuma, Chairman of Fuji Music Group commented, “I am confident that this partnership with BMG will not only increase the commercial value of the ARC songs, but also strengthen the cultural legacy the catalog represents.”
Hico Koike, President of Fuji Music Group added, “FMG and BMG share the same philosophies in maximizing exposure for music. With our combined global resources we look forward to expanded business opportunities for the catalog.”
Selected highlights from the Arc catalogue include:
* ‘I’m A Man’ (made famous by Bo Diddley, The Yardbirds)
* ‘Johnny B. Goode’ (Chuck Berry)
* ‘Roll Over Beethoven’ (Chuck Berry)
* ‘No Particular Place To Go’ (Chuck Berry)
* ‘Surfin’ USA’ (The Beach Boys)
* ‘Mannish Boy’ (Muddy Waters, The Band)
* ‘Susie-Q’ (Creedence Clearwater Revival)
* ‘See You Later Alligator’ (Billy Haley & The Comets)
* ‘Road Runner’ (Bo Diddley, The Animals, The Zombies, Aerosmith, The Who)
* ‘Smokestack Lightning’ (Howlin’ Wolf, Cream)
* ‘At The Hop’ (Danny & The Juniors)
* ‘I’d Rather Go Blind’ (Etta James)
Music Business Worldwide
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Ravi Shankar & Dizzy Gillespie: LIFE – Google Books
http://www.jazzpromoservices.com/
https://books.google.com/books?id=KFQEAAAAMBAJ
** Sitar jam session – Feb 4, 1957 – Page 113 – Google Books Result (https://books.google.com/books?id=KFQEAAAAMBAJ&pg=PA113&lpg=PA113&dq=Ravi+Shankar+%26+Dizzy+Gillespie&source=bl&ots=S5RjBaUB1p&sig=GTDbdZ38fsTgXYDuCzEmysVL71s&hl=en&sa=X&ved=0ahUKEwjDxZWWqrbKAhWMOT4KHYRBAqoQ6AEIMjAE)
————————————————————
https://books.google.com/books?id=KFQEAAAAMBAJ
LIFE – Vol. 42, No. 5 – Magazine
Now on tour in the U.S., Shankar with his sitar was guest of honor at a party for … jazz notables as Dizzy Gillespie and Willy the Lion Smith played for Shankar. … his bebop trumpet in Night in Tunisia at a party which honored Ravi Shankar.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Ravi Shankar & Dizzy Gillespie: LIFE – Google Books
http://www.jazzpromoservices.com/
https://books.google.com/books?id=KFQEAAAAMBAJ
** Sitar jam session – Feb 4, 1957 – Page 113 – Google Books Result (https://books.google.com/books?id=KFQEAAAAMBAJ&pg=PA113&lpg=PA113&dq=Ravi+Shankar+%26+Dizzy+Gillespie&source=bl&ots=S5RjBaUB1p&sig=GTDbdZ38fsTgXYDuCzEmysVL71s&hl=en&sa=X&ved=0ahUKEwjDxZWWqrbKAhWMOT4KHYRBAqoQ6AEIMjAE)
————————————————————
https://books.google.com/books?id=KFQEAAAAMBAJ
LIFE – Vol. 42, No. 5 – Magazine
Now on tour in the U.S., Shankar with his sitar was guest of honor at a party for … jazz notables as Dizzy Gillespie and Willy the Lion Smith played for Shankar. … his bebop trumpet in Night in Tunisia at a party which honored Ravi Shankar.
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=79630e7646) | 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=79630e7646&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
Ravi Shankar & Dizzy Gillespie: LIFE – Google Books
http://www.jazzpromoservices.com/
https://books.google.com/books?id=KFQEAAAAMBAJ
** Sitar jam session – Feb 4, 1957 – Page 113 – Google Books Result (https://books.google.com/books?id=KFQEAAAAMBAJ&pg=PA113&lpg=PA113&dq=Ravi+Shankar+%26+Dizzy+Gillespie&source=bl&ots=S5RjBaUB1p&sig=GTDbdZ38fsTgXYDuCzEmysVL71s&hl=en&sa=X&ved=0ahUKEwjDxZWWqrbKAhWMOT4KHYRBAqoQ6AEIMjAE)
————————————————————
https://books.google.com/books?id=KFQEAAAAMBAJ
LIFE – Vol. 42, No. 5 – Magazine
Now on tour in the U.S., Shankar with his sitar was guest of honor at a party for … jazz notables as Dizzy Gillespie and Willy the Lion Smith played for Shankar. … his bebop trumpet in Night in Tunisia at a party which honored Ravi Shankar.
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=79630e7646) | 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=79630e7646&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
Ravi Shankar, Indian sitar maestro, dies – BBC News
http://www.jazzpromoservices.com/
http://www.bbc.com/news/world-asia-india-20690632?SThisFB
** Ravi Shankar, Indian sitar maestro, dies
————————————————————
A look back at the life of Ravi Shankar
Indian sitar maestro Ravi Shankar has died in a hospital in the US, aged 92.
His family said he had been admitted to the Scripps Memorial Hospital in San Diego last week, but had failed to recover fully from surgery.
Shankar gained widespread international recognition through his association with The Beatles.
Indian Prime Minister Manmohan Singh described him as a “national treasure and global ambassador of India’s cultural heritage”.
In a statement quoted by Reuters, Shankar’s wife Sukanya and daughter Anoushka said he had recently undergone surgery which would have “potentially given him a new lease of life”.
“Unfortunately, despite the best efforts of the surgeons and doctors taking care of him, his body was not able to withstand the strain of the surgery,” they said.
“We were at his side when he passed away.
“Although it is a time for sorrow and sadness, it is also a time for all of us to give thanks and to be grateful that we were able to have him as a part of our lives. He will live forever in our hearts and in his music.”
Anoushka Shankar is herself a sitar player. Shankar’s other daughter is Grammy award-winning singer Norah Jones.
** ‘Respect for music’
————————————————————
George Harrison of the Beatles once called Shankar “the godfather of world music”.
He played at Woodstock and the 1967 Monterey Pop festival, and also collaborated with violinist Yehudi Menuhin and jazz saxophonist John Coltrane.
Ravi Shankar teaches George Harrison the sitar
Shankar also composed a number of film scores – notably Satyajit Ray’s celebrated Apu trilogy (1951-55) and Richard Attenborough’s Gandhi (1982) – and collaborated with US composer Philip Glass in Passages in 1990.
Talking in later life about his experiences at the influential Monterey Pop festival, Ravi Shankar said he was “shocked to see people dressing so flamboyantly”.
He told Rolling Stone magazine that he was horrified when Jimi Hendrix set his guitar on fire on stage.
“That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God,” he said.
In 1999, Shankar was awarded the highest civilian citation in India – the Bharat Ratna, or Jewel of India.
On Wednesday morning, shortly after his death, the Recording Academy of America announced the musician would receive a lifetime achievement award at next year’s Grammys.
The Academy’s President Neil Portnow said he had been able to inform Shankar of the honour last week.
“He was deeply touched and so pleased,” he said, adding, “we have lost an innovative and exceptional talent and a true ambassador of international music”.
Born into a Bengali family in the ancient Indian city of Varanasi, Ravi Shankar was originally a dancer with his brother’s troupe.
He gave up dancing to study the sitar at the age of 18.
For seven years Shankar studied under Baba Allauddin Khan, founder of the Maihar Gharana style of Hindustani classical music, and became well-known in India for his virtuoso sitar playing.
For the last years of his life, Ravi Shankar lived in Encinitas, California, with his wife.
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=2b852d643d) | 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=2b852d643d&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
Ravi Shankar, Indian sitar maestro, dies – BBC News
http://www.jazzpromoservices.com/
http://www.bbc.com/news/world-asia-india-20690632?SThisFB
** Ravi Shankar, Indian sitar maestro, dies
————————————————————
A look back at the life of Ravi Shankar
Indian sitar maestro Ravi Shankar has died in a hospital in the US, aged 92.
His family said he had been admitted to the Scripps Memorial Hospital in San Diego last week, but had failed to recover fully from surgery.
Shankar gained widespread international recognition through his association with The Beatles.
Indian Prime Minister Manmohan Singh described him as a “national treasure and global ambassador of India’s cultural heritage”.
In a statement quoted by Reuters, Shankar’s wife Sukanya and daughter Anoushka said he had recently undergone surgery which would have “potentially given him a new lease of life”.
“Unfortunately, despite the best efforts of the surgeons and doctors taking care of him, his body was not able to withstand the strain of the surgery,” they said.
“We were at his side when he passed away.
“Although it is a time for sorrow and sadness, it is also a time for all of us to give thanks and to be grateful that we were able to have him as a part of our lives. He will live forever in our hearts and in his music.”
Anoushka Shankar is herself a sitar player. Shankar’s other daughter is Grammy award-winning singer Norah Jones.
** ‘Respect for music’
————————————————————
George Harrison of the Beatles once called Shankar “the godfather of world music”.
He played at Woodstock and the 1967 Monterey Pop festival, and also collaborated with violinist Yehudi Menuhin and jazz saxophonist John Coltrane.
Ravi Shankar teaches George Harrison the sitar
Shankar also composed a number of film scores – notably Satyajit Ray’s celebrated Apu trilogy (1951-55) and Richard Attenborough’s Gandhi (1982) – and collaborated with US composer Philip Glass in Passages in 1990.
Talking in later life about his experiences at the influential Monterey Pop festival, Ravi Shankar said he was “shocked to see people dressing so flamboyantly”.
He told Rolling Stone magazine that he was horrified when Jimi Hendrix set his guitar on fire on stage.
“That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God,” he said.
In 1999, Shankar was awarded the highest civilian citation in India – the Bharat Ratna, or Jewel of India.
On Wednesday morning, shortly after his death, the Recording Academy of America announced the musician would receive a lifetime achievement award at next year’s Grammys.
The Academy’s President Neil Portnow said he had been able to inform Shankar of the honour last week.
“He was deeply touched and so pleased,” he said, adding, “we have lost an innovative and exceptional talent and a true ambassador of international music”.
Born into a Bengali family in the ancient Indian city of Varanasi, Ravi Shankar was originally a dancer with his brother’s troupe.
He gave up dancing to study the sitar at the age of 18.
For seven years Shankar studied under Baba Allauddin Khan, founder of the Maihar Gharana style of Hindustani classical music, and became well-known in India for his virtuoso sitar playing.
For the last years of his life, Ravi Shankar lived in Encinitas, California, with his wife.
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=2b852d643d) | 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=2b852d643d&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
Ravi Shankar, Indian sitar maestro, dies – BBC News
http://www.jazzpromoservices.com/
http://www.bbc.com/news/world-asia-india-20690632?SThisFB
** Ravi Shankar, Indian sitar maestro, dies
————————————————————
A look back at the life of Ravi Shankar
Indian sitar maestro Ravi Shankar has died in a hospital in the US, aged 92.
His family said he had been admitted to the Scripps Memorial Hospital in San Diego last week, but had failed to recover fully from surgery.
Shankar gained widespread international recognition through his association with The Beatles.
Indian Prime Minister Manmohan Singh described him as a “national treasure and global ambassador of India’s cultural heritage”.
In a statement quoted by Reuters, Shankar’s wife Sukanya and daughter Anoushka said he had recently undergone surgery which would have “potentially given him a new lease of life”.
“Unfortunately, despite the best efforts of the surgeons and doctors taking care of him, his body was not able to withstand the strain of the surgery,” they said.
“We were at his side when he passed away.
“Although it is a time for sorrow and sadness, it is also a time for all of us to give thanks and to be grateful that we were able to have him as a part of our lives. He will live forever in our hearts and in his music.”
Anoushka Shankar is herself a sitar player. Shankar’s other daughter is Grammy award-winning singer Norah Jones.
** ‘Respect for music’
————————————————————
George Harrison of the Beatles once called Shankar “the godfather of world music”.
He played at Woodstock and the 1967 Monterey Pop festival, and also collaborated with violinist Yehudi Menuhin and jazz saxophonist John Coltrane.
Ravi Shankar teaches George Harrison the sitar
Shankar also composed a number of film scores – notably Satyajit Ray’s celebrated Apu trilogy (1951-55) and Richard Attenborough’s Gandhi (1982) – and collaborated with US composer Philip Glass in Passages in 1990.
Talking in later life about his experiences at the influential Monterey Pop festival, Ravi Shankar said he was “shocked to see people dressing so flamboyantly”.
He told Rolling Stone magazine that he was horrified when Jimi Hendrix set his guitar on fire on stage.
“That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God,” he said.
In 1999, Shankar was awarded the highest civilian citation in India – the Bharat Ratna, or Jewel of India.
On Wednesday morning, shortly after his death, the Recording Academy of America announced the musician would receive a lifetime achievement award at next year’s Grammys.
The Academy’s President Neil Portnow said he had been able to inform Shankar of the honour last week.
“He was deeply touched and so pleased,” he said, adding, “we have lost an innovative and exceptional talent and a true ambassador of international music”.
Born into a Bengali family in the ancient Indian city of Varanasi, Ravi Shankar was originally a dancer with his brother’s troupe.
He gave up dancing to study the sitar at the age of 18.
For seven years Shankar studied under Baba Allauddin Khan, founder of the Maihar Gharana style of Hindustani classical music, and became well-known in India for his virtuoso sitar playing.
For the last years of his life, Ravi Shankar lived in Encinitas, California, with his wife.
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=2b852d643d) | 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=2b852d643d&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
[Audio] Diana Krall – Desperado – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=WiOD6QRid5I
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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USA
[Audio] Diana Krall – Desperado – YouTube
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Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
[Audio] Diana Krall – Desperado – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=WiOD6QRid5I
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Big Lebowski – Hotel California – The Gipsy Kings. – YouTube
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Big Lebowski – Hotel California – The Gipsy Kings. – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3l436MSlivQ
https://www.youtube.com/watch?v=3l436MSlivQ
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Big Lebowski – Hotel California – The Gipsy Kings. – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=3l436MSlivQ
https://www.youtube.com/watch?v=3l436MSlivQ
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Eagles founding member Glenn Frey dies at 67 – LA Times
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Eagles founding member Glenn Frey dies at 67 – LA Times
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Eagles founding member Glenn Frey dies at 67 – LA Times
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
R.I.P. English jazz organist Alan Haven
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
R.I.P. English jazz organist Alan Haven
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
R.I.P. English jazz organist Alan Haven
http://www.jazzpromoservices.com/
Alan Haven, born in Prestwich, Lancashire, United Kingdom was an English jazz organist. He was known for his collaborations with John Barry in the James Bond films From Russia with Love and Goldfinger, …Wikipedia (http://en.wikipedia.org/wiki/Alan_Haven)
Born (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=alan+haven+born&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa001xLLTrbSL0jNL8hJBVJFxfl5Vkn5RXkASaB2zCYAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQ6BMIhwEoADAS) : April 1, 1935 (age 80), Prestwich, United Kingdom (https://www.google.com/search?safe=off&biw=1702&bih=1301&q=prestwich&stick=H4sIAAAAAAAAAOPgE-LSz9U3sDDIMa00V-IEsU0LkwxNtcSyk630C1LzC3JSgVRRcX6eVVJ-UR4AQFsCPjEAAAA&sa=X&ved=0ahUKEwjyksSfqLHKAhUHHZAKHZ6_BCEQmxMIiAEoATAS)
http://www.alanhaven.com (http://www.alanhaven.com/)
Alan Haven – What’s Going On – YouTube
https://www.youtube.com/watch?v=dOtEcsyHd_4
https://www.youtube.com/watch?v=dOtEcsyHd_4
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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David Bowie interview at 17! – YouTube
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Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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David Bowie interview at 17! – YouTube
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https://www.youtube.com/watch?v=m5zxeLwUSdk
https://www.youtube.com/watch?v=m5zxeLwUSdk
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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USA
David Bowie interview at 17! – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=m5zxeLwUSdk
https://www.youtube.com/watch?v=m5zxeLwUSdk
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Tommy Tedesco: Studio Monster – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2016/01/tommy-tedesco-studio-monster.html?utm_source=feedblitz
By Marc Myers
** Tommy Tedesco: Studio Monster
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1910f04970c-popup
One reason pop rock sounded so good in the 1960s was because many musicians who appeared on the recordings began as jazz studio musicians in Los Angeles in the late 1950s. They were brilliant sight-readers, understood swing and improvisation, and had the ability to play in any style and add their own twists to give the music lift. One of these gifted session musicians was guitarist Tommy Tedesco.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc012970d-popup
During the 1950s, Tedesco’s jazz recordings included albums with Dave Pell, as well as Anita O’Day’s Cole Porter album arranged by Billy May in 1959 and the Four Freshman and Five Guitars album that same year. In the 1960s, Tedesco became one of the most in-demand session rock guitarists and he recorded on hundreds of singles and albums with a unit that became known informally as the Wrecking Crew. His list of TV work includes virtually every major show during the decade, and his list of movies is equally long and impressive. But even during Tedesco’s prolific rock period, he made time to record a few albums as a leader.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc02c970d-popup
One of his finest sessions was The Guitars of Tom Tedesco for the Imperial label in 1965, the first album that Tommy LiPuma produced. On the album, Tedesco played several different guitars and was backed by Pete Jolly (p), Jimmy Bond (b), Hal Blaine (d), Emil Richards (vib, perc), Julius Wechter (perc) and Laurindo Almeida on rhythm guitar on four tracks (Quiet Nights of Quiet Stars, Meditation, Brazil and Samba de Orfeu). The Pete Jolly Trio (Jolly, Chuck Berghofer on bass and Nicholas Martinis on drums) plays behind Tedesco on A Taste of Honey, Tedesco’s Dee Dee’s Dilemma and Honeysuckle Rose.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1911060970c-popup
I listened to the album again several times yesterday after discovering it months ago. It remains gorgeous, with impeccable arrangements and Tedesco’s confident guitar throughout. Frankly, I never thought I’d hear Our Day Will Come that topped Sonny Stitt and Bennie Green’s version on My Main Man, but this one may inch it out. Joining Tedesco on the track are two unlisted French horns and two trombones.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c8072079970b-popup
As Tedesco once said in defense of studio work, there was plenty of art in sight-reading and playing someone else’s music. “I don’t think of it as written music—it’s written notes and you make music out of notes that are written. That’s the creativity. They put these notes on a piece of paper, and I’ve heard guys play that, exactly like that, as notes. When I see a bunch of notes, I try and make music happen. That’s my creativity. No matter what I do, I try and make music happen.” [Photo above, Tedesco and bassist Carol Kaye]
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc142970d-popup
Tedesco died in 1997. His son Denny directed and produced The Wrecking Crew(2008) documentary (go here (http://www.amazon.com/Wrecking-Crew-Beach-Boys/dp/B00UHJ7F4S/ref=sr_1_1?ie=UTF8&qid=1452729560&sr=8-1&keywords=the+wrecking+crew) ). Hats off to Tommy LiPuma for a wonderful recording in 1965.
JazzWax tracks: Unfortunately, the Guitars of Tom Tedesco is not available digitally. But here’s (https://www.youtube.com/watch?v=FpeVf8X8fFE) the entire album (Our Day Will Come is the first track)…
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Tommy Tedesco: Studio Monster – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2016/01/tommy-tedesco-studio-monster.html?utm_source=feedblitz
By Marc Myers
** Tommy Tedesco: Studio Monster
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1910f04970c-popup
One reason pop rock sounded so good in the 1960s was because many musicians who appeared on the recordings began as jazz studio musicians in Los Angeles in the late 1950s. They were brilliant sight-readers, understood swing and improvisation, and had the ability to play in any style and add their own twists to give the music lift. One of these gifted session musicians was guitarist Tommy Tedesco.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc012970d-popup
During the 1950s, Tedesco’s jazz recordings included albums with Dave Pell, as well as Anita O’Day’s Cole Porter album arranged by Billy May in 1959 and the Four Freshman and Five Guitars album that same year. In the 1960s, Tedesco became one of the most in-demand session rock guitarists and he recorded on hundreds of singles and albums with a unit that became known informally as the Wrecking Crew. His list of TV work includes virtually every major show during the decade, and his list of movies is equally long and impressive. But even during Tedesco’s prolific rock period, he made time to record a few albums as a leader.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc02c970d-popup
One of his finest sessions was The Guitars of Tom Tedesco for the Imperial label in 1965, the first album that Tommy LiPuma produced. On the album, Tedesco played several different guitars and was backed by Pete Jolly (p), Jimmy Bond (b), Hal Blaine (d), Emil Richards (vib, perc), Julius Wechter (perc) and Laurindo Almeida on rhythm guitar on four tracks (Quiet Nights of Quiet Stars, Meditation, Brazil and Samba de Orfeu). The Pete Jolly Trio (Jolly, Chuck Berghofer on bass and Nicholas Martinis on drums) plays behind Tedesco on A Taste of Honey, Tedesco’s Dee Dee’s Dilemma and Honeysuckle Rose.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1911060970c-popup
I listened to the album again several times yesterday after discovering it months ago. It remains gorgeous, with impeccable arrangements and Tedesco’s confident guitar throughout. Frankly, I never thought I’d hear Our Day Will Come that topped Sonny Stitt and Bennie Green’s version on My Main Man, but this one may inch it out. Joining Tedesco on the track are two unlisted French horns and two trombones.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c8072079970b-popup
As Tedesco once said in defense of studio work, there was plenty of art in sight-reading and playing someone else’s music. “I don’t think of it as written music—it’s written notes and you make music out of notes that are written. That’s the creativity. They put these notes on a piece of paper, and I’ve heard guys play that, exactly like that, as notes. When I see a bunch of notes, I try and make music happen. That’s my creativity. No matter what I do, I try and make music happen.” [Photo above, Tedesco and bassist Carol Kaye]
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc142970d-popup
Tedesco died in 1997. His son Denny directed and produced The Wrecking Crew(2008) documentary (go here (http://www.amazon.com/Wrecking-Crew-Beach-Boys/dp/B00UHJ7F4S/ref=sr_1_1?ie=UTF8&qid=1452729560&sr=8-1&keywords=the+wrecking+crew) ). Hats off to Tommy LiPuma for a wonderful recording in 1965.
JazzWax tracks: Unfortunately, the Guitars of Tom Tedesco is not available digitally. But here’s (https://www.youtube.com/watch?v=FpeVf8X8fFE) the entire album (Our Day Will Come is the first track)…
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Tommy Tedesco: Studio Monster – JazzWax
http://www.jazzpromoservices.com/
http://www.jazzwax.com/2016/01/tommy-tedesco-studio-monster.html?utm_source=feedblitz
By Marc Myers
** Tommy Tedesco: Studio Monster
————————————————————
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1910f04970c-popup
One reason pop rock sounded so good in the 1960s was because many musicians who appeared on the recordings began as jazz studio musicians in Los Angeles in the late 1950s. They were brilliant sight-readers, understood swing and improvisation, and had the ability to play in any style and add their own twists to give the music lift. One of these gifted session musicians was guitarist Tommy Tedesco.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc012970d-popup
During the 1950s, Tedesco’s jazz recordings included albums with Dave Pell, as well as Anita O’Day’s Cole Porter album arranged by Billy May in 1959 and the Four Freshman and Five Guitars album that same year. In the 1960s, Tedesco became one of the most in-demand session rock guitarists and he recorded on hundreds of singles and albums with a unit that became known informally as the Wrecking Crew. His list of TV work includes virtually every major show during the decade, and his list of movies is equally long and impressive. But even during Tedesco’s prolific rock period, he made time to record a few albums as a leader.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc02c970d-popup
One of his finest sessions was The Guitars of Tom Tedesco for the Imperial label in 1965, the first album that Tommy LiPuma produced. On the album, Tedesco played several different guitars and was backed by Pete Jolly (p), Jimmy Bond (b), Hal Blaine (d), Emil Richards (vib, perc), Julius Wechter (perc) and Laurindo Almeida on rhythm guitar on four tracks (Quiet Nights of Quiet Stars, Meditation, Brazil and Samba de Orfeu). The Pete Jolly Trio (Jolly, Chuck Berghofer on bass and Nicholas Martinis on drums) plays behind Tedesco on A Taste of Honey, Tedesco’s Dee Dee’s Dilemma and Honeysuckle Rose.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b8d1911060970c-popup
I listened to the album again several times yesterday after discovering it months ago. It remains gorgeous, with impeccable arrangements and Tedesco’s confident guitar throughout. Frankly, I never thought I’d hear Our Day Will Come that topped Sonny Stitt and Bennie Green’s version on My Main Man, but this one may inch it out. Joining Tedesco on the track are two unlisted French horns and two trombones.
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c8072079970b-popup
As Tedesco once said in defense of studio work, there was plenty of art in sight-reading and playing someone else’s music. “I don’t think of it as written music—it’s written notes and you make music out of notes that are written. That’s the creativity. They put these notes on a piece of paper, and I’ve heard guys play that, exactly like that, as notes. When I see a bunch of notes, I try and make music happen. That’s my creativity. No matter what I do, I try and make music happen.” [Photo above, Tedesco and bassist Carol Kaye]
http://marcmyers.typepad.com/.a/6a00e008dca1f0883401bb08abc142970d-popup
Tedesco died in 1997. His son Denny directed and produced The Wrecking Crew(2008) documentary (go here (http://www.amazon.com/Wrecking-Crew-Beach-Boys/dp/B00UHJ7F4S/ref=sr_1_1?ie=UTF8&qid=1452729560&sr=8-1&keywords=the+wrecking+crew) ). Hats off to Tommy LiPuma for a wonderful recording in 1965.
JazzWax tracks: Unfortunately, the Guitars of Tom Tedesco is not available digitally. But here’s (https://www.youtube.com/watch?v=FpeVf8X8fFE) the entire album (Our Day Will Come is the first track)…
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=22dd4832a7) | 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=22dd4832a7&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
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Warwick, Ny 10990
USA
Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/14/arts/music/chocolate-armenteros-influential-trumpeter-in-afro-cuban-tradition-dies-at-87.html?
** Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) JAN. 13, 2016
Chocolate Armenteros in 2013 his apartment in New York. Kathy Willens/Associated Press
Chocolate Armenteros, a Cuban trumpeter who was a standard-bearer of the Afro-Cuban musical tradition for almost seven decades, died on Jan. 6 in a nursing home in Mohegan Lake, N.Y. He was 87.
The cause was complications of prostate cancer, his son, Alfredo Armenteros Jr., said.
As Afro-Cuban dance music progressed from the 1940s onward, modernizing and gaining influence in New York and the rest of the world, Mr. Armenteros could often be found at the center of the changes, playing with innovators and popularizers including Arsenio Rodríguez, Cachao Lopez, Benny Moré and Eddie Palmieri. He was a strong, clear soloist who phrased as a singer does, with an organized narrative sense.
“For me, a solo is like a letter,” he told the musicologist Isabelle Leymarie. “In a letter there is the date, the name of the person it’s being sent to, the usual greetings, the content and the ending. There has to be a complete structure.”
Alfredo Armenteros was born on April 4, 1928, in Ranchuelo, in the Villa Clara province of central Cuba, where his father, Lazaro Alfredo Armenteros, who had been a trombonist in his youth, owned farmland and a grocery store. He was taught in his early years by Eduardo Egües, a teacher and dance-band leader who was a tenant on his father’s land, and who brought him into a children’s band at a local school.
After moving to Havana in 1949, Mr. Armenteros made his recording debut on the song “Para Niñas y Señoras,” (https://www.youtube.com/watch?v=QOfEqifdG-I) with the singer René Alvarez’s Conjunto Los Astros, that May. Speaking of his elegant, aggressive improvising on that record, the bassist Andy Gonzalez told the historian Richard Davies that if music students “study that solo, they will know what the ‘swing’ of son is.”
Mr. Armenteros also recorded in 1949 and 1950 with the musician and bandleader Arsenio Rodríguez, a foundational figure of modern Cuban dance music.
He performed and toured with the band Sonora Matancera, with the pianist Bebo Valdés’s group in 1952, and, from 1953 to 1955, with his cousin Benny More, the popular Cuban singer. (It was around this time that he gained his nickname, for his resemblance to the Cuban boxer Kid Chocolate.)
In 1957 Mr. Armenteros performed in New York with Machito and His Afro-Cubans, probably the pre-eminent Cuban dance band in the city at the time. A year later, he returned with a group led by the flutist José Fajardo to play at a private dance for a campaign event for John F. Kennedy at the Waldorf Astoria.
It was a charanga-style band, characterized by the sound of the flute and two violins, and the band’s appearance in New York drew the attention of the manager of the Palladium ballroom, who subsequently booked it for a sold-out Thanksgiving dance — a central event to the growing popularity of the style in New York. By 1960 he had relocated to the city permanently.
Through the ’60s and ’70s, Mr. Armenteros worked with Machito and most of the other major Latin-music bandleaders of the day, including Tito Puente, Tito Rodríguez, Larry Harlow and Mon Rivera.
With Mr. Palmieri, the pianist, he was the crucial link to an older Afro-Latin tradition in some groundbreaking works of early-’70s salsa, including Mr. Palmieri’s albums “Superimposition” and “Vamonos Pa’l Monte.” In 1975 he took part in the freewheeling past-meets-present sessions organized by the musicologist Rene Lopez, resulting in the landmark album “Concepts in Unity,” under the ensemble name Grupo Folklórico y Experimental Nuevayorkino.
He also began making his own albums, including “En El Rincón” (1976), “Chocolate Dice” (1982) and “Caliente” (1998), and he recorded with the bassist Israel Cachao López on both volumes of the “Master Sessions” albums, the first of which won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for best tropical Latin album in 1995.
Mr. Armenteros lived in East Harlem. In addition to his son, his survivors include his longtime companion, Betty Ramos; two granddaughters; and six daughters in Cuba, although the family has been in contact with only one, Anacatalina Armenteros.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87 – The New York Times
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http://www.nytimes.com/2016/01/14/arts/music/chocolate-armenteros-influential-trumpeter-in-afro-cuban-tradition-dies-at-87.html?
** Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) JAN. 13, 2016
Chocolate Armenteros in 2013 his apartment in New York. Kathy Willens/Associated Press
Chocolate Armenteros, a Cuban trumpeter who was a standard-bearer of the Afro-Cuban musical tradition for almost seven decades, died on Jan. 6 in a nursing home in Mohegan Lake, N.Y. He was 87.
The cause was complications of prostate cancer, his son, Alfredo Armenteros Jr., said.
As Afro-Cuban dance music progressed from the 1940s onward, modernizing and gaining influence in New York and the rest of the world, Mr. Armenteros could often be found at the center of the changes, playing with innovators and popularizers including Arsenio Rodríguez, Cachao Lopez, Benny Moré and Eddie Palmieri. He was a strong, clear soloist who phrased as a singer does, with an organized narrative sense.
“For me, a solo is like a letter,” he told the musicologist Isabelle Leymarie. “In a letter there is the date, the name of the person it’s being sent to, the usual greetings, the content and the ending. There has to be a complete structure.”
Alfredo Armenteros was born on April 4, 1928, in Ranchuelo, in the Villa Clara province of central Cuba, where his father, Lazaro Alfredo Armenteros, who had been a trombonist in his youth, owned farmland and a grocery store. He was taught in his early years by Eduardo Egües, a teacher and dance-band leader who was a tenant on his father’s land, and who brought him into a children’s band at a local school.
After moving to Havana in 1949, Mr. Armenteros made his recording debut on the song “Para Niñas y Señoras,” (https://www.youtube.com/watch?v=QOfEqifdG-I) with the singer René Alvarez’s Conjunto Los Astros, that May. Speaking of his elegant, aggressive improvising on that record, the bassist Andy Gonzalez told the historian Richard Davies that if music students “study that solo, they will know what the ‘swing’ of son is.”
Mr. Armenteros also recorded in 1949 and 1950 with the musician and bandleader Arsenio Rodríguez, a foundational figure of modern Cuban dance music.
He performed and toured with the band Sonora Matancera, with the pianist Bebo Valdés’s group in 1952, and, from 1953 to 1955, with his cousin Benny More, the popular Cuban singer. (It was around this time that he gained his nickname, for his resemblance to the Cuban boxer Kid Chocolate.)
In 1957 Mr. Armenteros performed in New York with Machito and His Afro-Cubans, probably the pre-eminent Cuban dance band in the city at the time. A year later, he returned with a group led by the flutist José Fajardo to play at a private dance for a campaign event for John F. Kennedy at the Waldorf Astoria.
It was a charanga-style band, characterized by the sound of the flute and two violins, and the band’s appearance in New York drew the attention of the manager of the Palladium ballroom, who subsequently booked it for a sold-out Thanksgiving dance — a central event to the growing popularity of the style in New York. By 1960 he had relocated to the city permanently.
Through the ’60s and ’70s, Mr. Armenteros worked with Machito and most of the other major Latin-music bandleaders of the day, including Tito Puente, Tito Rodríguez, Larry Harlow and Mon Rivera.
With Mr. Palmieri, the pianist, he was the crucial link to an older Afro-Latin tradition in some groundbreaking works of early-’70s salsa, including Mr. Palmieri’s albums “Superimposition” and “Vamonos Pa’l Monte.” In 1975 he took part in the freewheeling past-meets-present sessions organized by the musicologist Rene Lopez, resulting in the landmark album “Concepts in Unity,” under the ensemble name Grupo Folklórico y Experimental Nuevayorkino.
He also began making his own albums, including “En El Rincón” (1976), “Chocolate Dice” (1982) and “Caliente” (1998), and he recorded with the bassist Israel Cachao López on both volumes of the “Master Sessions” albums, the first of which won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for best tropical Latin album in 1995.
Mr. Armenteros lived in East Harlem. In addition to his son, his survivors include his longtime companion, Betty Ramos; two granddaughters; and six daughters in Cuba, although the family has been in contact with only one, Anacatalina Armenteros.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/14/arts/music/chocolate-armenteros-influential-trumpeter-in-afro-cuban-tradition-dies-at-87.html?
** Chocolate Armenteros, Trumpeter in Afro-Cuban Tradition, Dies at 87
————————————————————
By BEN RATLIFF (http://topics.nytimes.com/top/reference/timestopics/people/r/ben_ratliff/index.html) JAN. 13, 2016
Chocolate Armenteros in 2013 his apartment in New York. Kathy Willens/Associated Press
Chocolate Armenteros, a Cuban trumpeter who was a standard-bearer of the Afro-Cuban musical tradition for almost seven decades, died on Jan. 6 in a nursing home in Mohegan Lake, N.Y. He was 87.
The cause was complications of prostate cancer, his son, Alfredo Armenteros Jr., said.
As Afro-Cuban dance music progressed from the 1940s onward, modernizing and gaining influence in New York and the rest of the world, Mr. Armenteros could often be found at the center of the changes, playing with innovators and popularizers including Arsenio Rodríguez, Cachao Lopez, Benny Moré and Eddie Palmieri. He was a strong, clear soloist who phrased as a singer does, with an organized narrative sense.
“For me, a solo is like a letter,” he told the musicologist Isabelle Leymarie. “In a letter there is the date, the name of the person it’s being sent to, the usual greetings, the content and the ending. There has to be a complete structure.”
Alfredo Armenteros was born on April 4, 1928, in Ranchuelo, in the Villa Clara province of central Cuba, where his father, Lazaro Alfredo Armenteros, who had been a trombonist in his youth, owned farmland and a grocery store. He was taught in his early years by Eduardo Egües, a teacher and dance-band leader who was a tenant on his father’s land, and who brought him into a children’s band at a local school.
After moving to Havana in 1949, Mr. Armenteros made his recording debut on the song “Para Niñas y Señoras,” (https://www.youtube.com/watch?v=QOfEqifdG-I) with the singer René Alvarez’s Conjunto Los Astros, that May. Speaking of his elegant, aggressive improvising on that record, the bassist Andy Gonzalez told the historian Richard Davies that if music students “study that solo, they will know what the ‘swing’ of son is.”
Mr. Armenteros also recorded in 1949 and 1950 with the musician and bandleader Arsenio Rodríguez, a foundational figure of modern Cuban dance music.
He performed and toured with the band Sonora Matancera, with the pianist Bebo Valdés’s group in 1952, and, from 1953 to 1955, with his cousin Benny More, the popular Cuban singer. (It was around this time that he gained his nickname, for his resemblance to the Cuban boxer Kid Chocolate.)
In 1957 Mr. Armenteros performed in New York with Machito and His Afro-Cubans, probably the pre-eminent Cuban dance band in the city at the time. A year later, he returned with a group led by the flutist José Fajardo to play at a private dance for a campaign event for John F. Kennedy at the Waldorf Astoria.
It was a charanga-style band, characterized by the sound of the flute and two violins, and the band’s appearance in New York drew the attention of the manager of the Palladium ballroom, who subsequently booked it for a sold-out Thanksgiving dance — a central event to the growing popularity of the style in New York. By 1960 he had relocated to the city permanently.
Through the ’60s and ’70s, Mr. Armenteros worked with Machito and most of the other major Latin-music bandleaders of the day, including Tito Puente, Tito Rodríguez, Larry Harlow and Mon Rivera.
With Mr. Palmieri, the pianist, he was the crucial link to an older Afro-Latin tradition in some groundbreaking works of early-’70s salsa, including Mr. Palmieri’s albums “Superimposition” and “Vamonos Pa’l Monte.” In 1975 he took part in the freewheeling past-meets-present sessions organized by the musicologist Rene Lopez, resulting in the landmark album “Concepts in Unity,” under the ensemble name Grupo Folklórico y Experimental Nuevayorkino.
He also began making his own albums, including “En El Rincón” (1976), “Chocolate Dice” (1982) and “Caliente” (1998), and he recorded with the bassist Israel Cachao López on both volumes of the “Master Sessions” albums, the first of which won a Grammy Award (http://topics.nytimes.com/top/reference/timestopics/subjects/g/grammy_awards/index.html?inline=nyt-classifier) for best tropical Latin album in 1995.
Mr. Armenteros lived in East Harlem. In addition to his son, his survivors include his longtime companion, Betty Ramos; two granddaughters; and six daughters in Cuba, although the family has been in contact with only one, Anacatalina Armenteros.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/15/arts/music/giorgio-gomelsky-rock-producer-who-gave-the-rolling-stones-their-start-dies-at-81.html?rref=collection%2Fsectioncollection%2Fobituaries
** Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JAN. 14, 2016
Giorgio Gomelsky at his rehearsal and performance space in Manhattan in 2013. David Gonzalez/The New York Times
Giorgio Gomelsky, a rock impresario and record producer who gave the Rolling Stones (http://topics.nytimes.com/top/reference/timestopics/organizations/r/rolling_stones/index.html?inline=nyt-org) their first exposure, managed the Yardbirds and went on to champion an eclectic batch of progressive rock groups in the United States, died on Wednesday in the Bronx. He was 81.
The cause was complications of colon cancer, his longtime girlfriend, Janice Daley, said.
Mr. Gomelsky (http://www.allmusic.com/artist/giorgio-gomelsky-mn0000553528/biography) was a pivotal figure in the London music scene of the early 1960s, with an adventurous ear and a flair for promotion that helped some of the greatest talents of the era get their start. As the operator of Crawdaddy, a club in the London suburb of Richmond, he booked the Rolling Stones for their first paid appearances, managed and produced the Yardbirds in their prime, brought the Animals from Newcastle and organized one of the first blues festivals in Britain.
Later in the decade, his Marmalade label recorded innovative artists like the keyboardist Brian Auger, whose group the Trinity, with the singer Julie Driscoll, had a Top 10 hit in Britain with “This Wheel’s on Fire,” a song written by Bob Dylan and Rick Danko, in 1968. He also produced the guitarist John McLaughlin’s first album, “Extrapolation,” and recorded the first demonstration records by the rock band Soft Machine.
In the 1970s he continued to seek out artists at the fringes of rock, like Gong, Henry Cow and the French group Magma, whose lyrics were written in an invented language spoken on the imaginary planet Kobaia.
For years after relocating to New York in 1978, he operated his townhouse in Chelsea as a creative center and performance space for musicians like John Zorn, Richard Hell and the Bad Brains.
“My mission was to innovate, to push envelopes, to get a new thing established, to allow the underdog, the underground, to come forward and up,” he told Richie Unterberger, the author of “Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of ’60s Rock” (2000).
Giorgio Sergio Alessandro Gomelsky was born on Feb. 28, 1934, on a ship traveling from Odessa, Ukraine, to Genoa, Italy. He grew up in Switzerland, where his father, originally from Odessa, practiced medicine.
He was a jazz fan from an early age and a devoted listener of the Voice of America’s jazz broadcasts. While attending the School of Humanity, a progressive private school in Hasliberg Goldern, he bicycled around Europe with friends, listening to jazz in French and German nightclubs.
His mother, the former Eliane Wust, from Monte Carlo, was a hat designer for Claude Saint-Cyr in Paris and was sent to run the company’s shop in London. She sent her son copies of the newspaper Melody Maker, which clued him in to the British jazz scene. With a group of friends, he founded a jazz appreciation society in Locarno and formed a trio in which he played drums.
After completing his military service in the Swiss Air Force, he decided to make a film record of the bubbling British jazz scene. He wangled the financing from an Italian television station, left for London in 1955 and began filming performances by the jazz traditionalist Chris Barber at the Royal Festival Hall. Through his work with the National Jazz Federation, he was given the rights to film the second National Jazz Festival in 1960.
As big-city blues began to catch on in Britain, Mr. Gomelsky became interested in setting up blues nights at small clubs. He found his way to the Station Hotel in Richmond, where the owner agreed to let him present shows on Sunday nights, when business was slow. Mr. Gomelsky named the club BRRB, for British R&B, but soon changed the name to Crawdaddy. (https://en.wikipedia.org/wiki/Crawdaddy_Club) The Rolling Stones opened there in February 1963, before a crowd of three, an appearance for which they received the equivalent of one dollar each. Word of mouth led to bigger crowds, and they became the club’s resident act.
“I felt that we needed young people to play this music, in order for it to get to young people and their need to identify with a musical style,” Mr. Gomelsky told Mr. Unterberger. “The Rolling Stones became the breakthrough.”
After Andrew Loog Oldham, a young press agent, snatched the Stones from under Mr. Gomelsky’s nose and began managing them, he booked the Yardbirds. Mr. Gomelsky managed the group and produced their records, through the 1966 hit “Shapes of Things.” It was his idea to record the Yardbirds live for their first album, “Five Live Yardbirds.”
Mr. Gomelsky also gave Eric Clapton, the group’s original lead guitarist, his nickname. Mr. Clapton told The Daily Mail in 2013: “I used light-gauge strings, with a very thin first string, which made it easier to bend the notes, and it was not uncommon, during frenetic bits of playing, for me to break at least one string, While I was changing my strings, the audience would often break into a slow hand clap, inspiring Giorgio to dream up the nickname of Slowhand Clapton.”
Mr. Gomelsky arranged for the Yardbirds to tour Newcastle and, in exchange, brought in the Animals to play what was now a circuit of Crawdaddy clubs, giving that group its first London exposure. He also organized one of Britain’s first blues festivals, in Birmingham, with a list of acts that included the Yardbirds, the Spencer Davis Group and Long John Baldry’s Hoochie Coochie Men, with Rod Stewart.
By the late 1960s, after his Marmalade label went out of business, Mr. Gomelsky grew restless and disillusioned. “By then the Brits had blown it,” he told The New York Times in 2013. “They had been seduced by the American dream of making a lot of money playing music in incredibly bad conditions like stadiums.”
He pursued his dream of ever more experimental music, played in small clubs, in Paris and then in New York, where, in 1978, he organized the Zu Manifestival, a showcase for emerging progressive artists. At Tramps in the 1980s, he produced “Tonka Wonka Mondays,” where unknowns performed jazz, rock and world music for professional critics, and a house band headed by David Soldier backed up invited jazz avant-gardists.
Mr. Gomelsky’s first marriage ended in divorce. In addition to Ms. Daley, his survivors include two daughters, Alexandra and Donatella; and a son, Sergio.
“I had no presumption, assumption or desire to have a career in the music business,” he told Mr. Unterberger. He added: “I just wanted to prove a point. I was passionately interested in change, and change was needed.”
Correction: January 15, 2016
An earlier version of a picture caption with this obituary referred incorrectly to the photo of Mr. Gomelsky at his rehearsal and performance space in Manhattan. It was taken in 2013; it is not undated.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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269 State Route 94 South
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Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/15/arts/music/giorgio-gomelsky-rock-producer-who-gave-the-rolling-stones-their-start-dies-at-81.html?rref=collection%2Fsectioncollection%2Fobituaries
** Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JAN. 14, 2016
Giorgio Gomelsky at his rehearsal and performance space in Manhattan in 2013. David Gonzalez/The New York Times
Giorgio Gomelsky, a rock impresario and record producer who gave the Rolling Stones (http://topics.nytimes.com/top/reference/timestopics/organizations/r/rolling_stones/index.html?inline=nyt-org) their first exposure, managed the Yardbirds and went on to champion an eclectic batch of progressive rock groups in the United States, died on Wednesday in the Bronx. He was 81.
The cause was complications of colon cancer, his longtime girlfriend, Janice Daley, said.
Mr. Gomelsky (http://www.allmusic.com/artist/giorgio-gomelsky-mn0000553528/biography) was a pivotal figure in the London music scene of the early 1960s, with an adventurous ear and a flair for promotion that helped some of the greatest talents of the era get their start. As the operator of Crawdaddy, a club in the London suburb of Richmond, he booked the Rolling Stones for their first paid appearances, managed and produced the Yardbirds in their prime, brought the Animals from Newcastle and organized one of the first blues festivals in Britain.
Later in the decade, his Marmalade label recorded innovative artists like the keyboardist Brian Auger, whose group the Trinity, with the singer Julie Driscoll, had a Top 10 hit in Britain with “This Wheel’s on Fire,” a song written by Bob Dylan and Rick Danko, in 1968. He also produced the guitarist John McLaughlin’s first album, “Extrapolation,” and recorded the first demonstration records by the rock band Soft Machine.
In the 1970s he continued to seek out artists at the fringes of rock, like Gong, Henry Cow and the French group Magma, whose lyrics were written in an invented language spoken on the imaginary planet Kobaia.
For years after relocating to New York in 1978, he operated his townhouse in Chelsea as a creative center and performance space for musicians like John Zorn, Richard Hell and the Bad Brains.
“My mission was to innovate, to push envelopes, to get a new thing established, to allow the underdog, the underground, to come forward and up,” he told Richie Unterberger, the author of “Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of ’60s Rock” (2000).
Giorgio Sergio Alessandro Gomelsky was born on Feb. 28, 1934, on a ship traveling from Odessa, Ukraine, to Genoa, Italy. He grew up in Switzerland, where his father, originally from Odessa, practiced medicine.
He was a jazz fan from an early age and a devoted listener of the Voice of America’s jazz broadcasts. While attending the School of Humanity, a progressive private school in Hasliberg Goldern, he bicycled around Europe with friends, listening to jazz in French and German nightclubs.
His mother, the former Eliane Wust, from Monte Carlo, was a hat designer for Claude Saint-Cyr in Paris and was sent to run the company’s shop in London. She sent her son copies of the newspaper Melody Maker, which clued him in to the British jazz scene. With a group of friends, he founded a jazz appreciation society in Locarno and formed a trio in which he played drums.
After completing his military service in the Swiss Air Force, he decided to make a film record of the bubbling British jazz scene. He wangled the financing from an Italian television station, left for London in 1955 and began filming performances by the jazz traditionalist Chris Barber at the Royal Festival Hall. Through his work with the National Jazz Federation, he was given the rights to film the second National Jazz Festival in 1960.
As big-city blues began to catch on in Britain, Mr. Gomelsky became interested in setting up blues nights at small clubs. He found his way to the Station Hotel in Richmond, where the owner agreed to let him present shows on Sunday nights, when business was slow. Mr. Gomelsky named the club BRRB, for British R&B, but soon changed the name to Crawdaddy. (https://en.wikipedia.org/wiki/Crawdaddy_Club) The Rolling Stones opened there in February 1963, before a crowd of three, an appearance for which they received the equivalent of one dollar each. Word of mouth led to bigger crowds, and they became the club’s resident act.
“I felt that we needed young people to play this music, in order for it to get to young people and their need to identify with a musical style,” Mr. Gomelsky told Mr. Unterberger. “The Rolling Stones became the breakthrough.”
After Andrew Loog Oldham, a young press agent, snatched the Stones from under Mr. Gomelsky’s nose and began managing them, he booked the Yardbirds. Mr. Gomelsky managed the group and produced their records, through the 1966 hit “Shapes of Things.” It was his idea to record the Yardbirds live for their first album, “Five Live Yardbirds.”
Mr. Gomelsky also gave Eric Clapton, the group’s original lead guitarist, his nickname. Mr. Clapton told The Daily Mail in 2013: “I used light-gauge strings, with a very thin first string, which made it easier to bend the notes, and it was not uncommon, during frenetic bits of playing, for me to break at least one string, While I was changing my strings, the audience would often break into a slow hand clap, inspiring Giorgio to dream up the nickname of Slowhand Clapton.”
Mr. Gomelsky arranged for the Yardbirds to tour Newcastle and, in exchange, brought in the Animals to play what was now a circuit of Crawdaddy clubs, giving that group its first London exposure. He also organized one of Britain’s first blues festivals, in Birmingham, with a list of acts that included the Yardbirds, the Spencer Davis Group and Long John Baldry’s Hoochie Coochie Men, with Rod Stewart.
By the late 1960s, after his Marmalade label went out of business, Mr. Gomelsky grew restless and disillusioned. “By then the Brits had blown it,” he told The New York Times in 2013. “They had been seduced by the American dream of making a lot of money playing music in incredibly bad conditions like stadiums.”
He pursued his dream of ever more experimental music, played in small clubs, in Paris and then in New York, where, in 1978, he organized the Zu Manifestival, a showcase for emerging progressive artists. At Tramps in the 1980s, he produced “Tonka Wonka Mondays,” where unknowns performed jazz, rock and world music for professional critics, and a house band headed by David Soldier backed up invited jazz avant-gardists.
Mr. Gomelsky’s first marriage ended in divorce. In addition to Ms. Daley, his survivors include two daughters, Alexandra and Donatella; and a son, Sergio.
“I had no presumption, assumption or desire to have a career in the music business,” he told Mr. Unterberger. He added: “I just wanted to prove a point. I was passionately interested in change, and change was needed.”
Correction: January 15, 2016
An earlier version of a picture caption with this obituary referred incorrectly to the photo of Mr. Gomelsky at his rehearsal and performance space in Manhattan. It was taken in 2013; it is not undated.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81 – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/15/arts/music/giorgio-gomelsky-rock-producer-who-gave-the-rolling-stones-their-start-dies-at-81.html?rref=collection%2Fsectioncollection%2Fobituaries
** Giorgio Gomelsky, Impresario Who Gave the Rolling Stones Their Start, Dies at 81
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) JAN. 14, 2016
Giorgio Gomelsky at his rehearsal and performance space in Manhattan in 2013. David Gonzalez/The New York Times
Giorgio Gomelsky, a rock impresario and record producer who gave the Rolling Stones (http://topics.nytimes.com/top/reference/timestopics/organizations/r/rolling_stones/index.html?inline=nyt-org) their first exposure, managed the Yardbirds and went on to champion an eclectic batch of progressive rock groups in the United States, died on Wednesday in the Bronx. He was 81.
The cause was complications of colon cancer, his longtime girlfriend, Janice Daley, said.
Mr. Gomelsky (http://www.allmusic.com/artist/giorgio-gomelsky-mn0000553528/biography) was a pivotal figure in the London music scene of the early 1960s, with an adventurous ear and a flair for promotion that helped some of the greatest talents of the era get their start. As the operator of Crawdaddy, a club in the London suburb of Richmond, he booked the Rolling Stones for their first paid appearances, managed and produced the Yardbirds in their prime, brought the Animals from Newcastle and organized one of the first blues festivals in Britain.
Later in the decade, his Marmalade label recorded innovative artists like the keyboardist Brian Auger, whose group the Trinity, with the singer Julie Driscoll, had a Top 10 hit in Britain with “This Wheel’s on Fire,” a song written by Bob Dylan and Rick Danko, in 1968. He also produced the guitarist John McLaughlin’s first album, “Extrapolation,” and recorded the first demonstration records by the rock band Soft Machine.
In the 1970s he continued to seek out artists at the fringes of rock, like Gong, Henry Cow and the French group Magma, whose lyrics were written in an invented language spoken on the imaginary planet Kobaia.
For years after relocating to New York in 1978, he operated his townhouse in Chelsea as a creative center and performance space for musicians like John Zorn, Richard Hell and the Bad Brains.
“My mission was to innovate, to push envelopes, to get a new thing established, to allow the underdog, the underground, to come forward and up,” he told Richie Unterberger, the author of “Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of ’60s Rock” (2000).
Giorgio Sergio Alessandro Gomelsky was born on Feb. 28, 1934, on a ship traveling from Odessa, Ukraine, to Genoa, Italy. He grew up in Switzerland, where his father, originally from Odessa, practiced medicine.
He was a jazz fan from an early age and a devoted listener of the Voice of America’s jazz broadcasts. While attending the School of Humanity, a progressive private school in Hasliberg Goldern, he bicycled around Europe with friends, listening to jazz in French and German nightclubs.
His mother, the former Eliane Wust, from Monte Carlo, was a hat designer for Claude Saint-Cyr in Paris and was sent to run the company’s shop in London. She sent her son copies of the newspaper Melody Maker, which clued him in to the British jazz scene. With a group of friends, he founded a jazz appreciation society in Locarno and formed a trio in which he played drums.
After completing his military service in the Swiss Air Force, he decided to make a film record of the bubbling British jazz scene. He wangled the financing from an Italian television station, left for London in 1955 and began filming performances by the jazz traditionalist Chris Barber at the Royal Festival Hall. Through his work with the National Jazz Federation, he was given the rights to film the second National Jazz Festival in 1960.
As big-city blues began to catch on in Britain, Mr. Gomelsky became interested in setting up blues nights at small clubs. He found his way to the Station Hotel in Richmond, where the owner agreed to let him present shows on Sunday nights, when business was slow. Mr. Gomelsky named the club BRRB, for British R&B, but soon changed the name to Crawdaddy. (https://en.wikipedia.org/wiki/Crawdaddy_Club) The Rolling Stones opened there in February 1963, before a crowd of three, an appearance for which they received the equivalent of one dollar each. Word of mouth led to bigger crowds, and they became the club’s resident act.
“I felt that we needed young people to play this music, in order for it to get to young people and their need to identify with a musical style,” Mr. Gomelsky told Mr. Unterberger. “The Rolling Stones became the breakthrough.”
After Andrew Loog Oldham, a young press agent, snatched the Stones from under Mr. Gomelsky’s nose and began managing them, he booked the Yardbirds. Mr. Gomelsky managed the group and produced their records, through the 1966 hit “Shapes of Things.” It was his idea to record the Yardbirds live for their first album, “Five Live Yardbirds.”
Mr. Gomelsky also gave Eric Clapton, the group’s original lead guitarist, his nickname. Mr. Clapton told The Daily Mail in 2013: “I used light-gauge strings, with a very thin first string, which made it easier to bend the notes, and it was not uncommon, during frenetic bits of playing, for me to break at least one string, While I was changing my strings, the audience would often break into a slow hand clap, inspiring Giorgio to dream up the nickname of Slowhand Clapton.”
Mr. Gomelsky arranged for the Yardbirds to tour Newcastle and, in exchange, brought in the Animals to play what was now a circuit of Crawdaddy clubs, giving that group its first London exposure. He also organized one of Britain’s first blues festivals, in Birmingham, with a list of acts that included the Yardbirds, the Spencer Davis Group and Long John Baldry’s Hoochie Coochie Men, with Rod Stewart.
By the late 1960s, after his Marmalade label went out of business, Mr. Gomelsky grew restless and disillusioned. “By then the Brits had blown it,” he told The New York Times in 2013. “They had been seduced by the American dream of making a lot of money playing music in incredibly bad conditions like stadiums.”
He pursued his dream of ever more experimental music, played in small clubs, in Paris and then in New York, where, in 1978, he organized the Zu Manifestival, a showcase for emerging progressive artists. At Tramps in the 1980s, he produced “Tonka Wonka Mondays,” where unknowns performed jazz, rock and world music for professional critics, and a house band headed by David Soldier backed up invited jazz avant-gardists.
Mr. Gomelsky’s first marriage ended in divorce. In addition to Ms. Daley, his survivors include two daughters, Alexandra and Donatella; and a son, Sergio.
“I had no presumption, assumption or desire to have a career in the music business,” he told Mr. Unterberger. He added: “I just wanted to prove a point. I was passionately interested in change, and change was needed.”
Correction: January 15, 2016
An earlier version of a picture caption with this obituary referred incorrectly to the photo of Mr. Gomelsky at his rehearsal and performance space in Manhattan. It was taken in 2013; it is not undated.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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USA
Cy Walter’s Cocktail Piano, With a Twist – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/cy-walters-cocktail-piano-with-a-twist-1452721350
** Cy Walter’s Cocktail Piano, With a Twist
————————————————————
By
Terry Teachout
Jan. 13, 2016 4:42 p.m. ET
It’s the grossest of understatements to say that cocktail pianists get no respect. They spend most of their lives playing for people who aren’t listening, a not-insignificant number of whom are either drunk or en route to being so. And while I never actually heard anyone ask for “Melancholy Baby” in the long-ago days when I gigged in bars, it’s usually safe to assume that when somebody does have a request, it’ll be for something you’ve played an octillion times. On the other hand, it’s also true that most cocktail pianists aren’t worth listening to, at least not very closely. Sometimes they’re just going through the motions (and who shall blame them?) and sometimes they simply aren’t very good. But a few such folk are true artists, and one of them, Cy Walter, was a very great one, among the finest popular pianists of the 20th century.
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter. ENLARGE
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter.Photo: Jack Wasserman
Walter, who died in 1968, spent most of his career playing in classy hotel lounges for Manhattanites who got dressed up to do their drinking. He was closely identified with the Drake Room of the now-defunct Drake Hotel, where he performed off and on from 1945 until his death and where his listeners included the likes of Tallulah Bankhead, Leonard Bernstein, Marlon Brando, Noël Coward, Arthur Miller, Cole Porter, Jerome Robbins and Tennessee Williams. From 1945 to 1953 he was also a fixture on network radio, performing weekly on a series called “Piano Playhouse.” But his celebrity, such as it was, dried up when he died: Walter’s albums went out of print shortly thereafter, and from then on his name was known only to connoisseurs.
Mark Walter, Cy’s son, is trying to change all that. He started by launching an uncommonly well-stocked website, www.cywalter.com, that is the online equivalent of a primary-source biography of his father. Now he’s commemorated the recent centennial of Cy Walter’s birth in 1915 by co-producing a pair of compact discs called “Sublimities” (both of which can be ordered from Amazon) that contain a total of 52 tracks by his father. Some are long-unavailable commercial recordings, others radio airchecks that have never before been released. On them Walter can be heard playing piano solos and duets (he frequently performed with Stan Freeman, a pianist of similar talent and stylistic inclination) and accompanying such singers as Marlene Dietrich, Mabel Mercer and Frank Sinatra. Most of the tunes are blue-chip standards, with a few original compositions by Walter thrown in for good measure. All are performed with a consummate elegance and technical wizardry that make you wonder how
the man who recorded them could possibly have fallen into obscurity.
The main reason, I suspect, is that Walter’s playing was a bit tricky to categorize. He wasn’t a jazz pianist, preferring to describe himself as “a specialist in show tunes.” Instead of going off on melodic tangents, he played a tune the way the songwriter wrote it, embedding its familiar contours in a richly wrought accompaniment from which it shone forth like a well-framed painting. Though his playing recalled the equally virtuosic style of Art Tatum, his good friend and favorite pianist, Walter rarely employed the chromatic substitute chords that Tatum loved to deploy, nor did his playing swing the way Tatum’s did. He liked smooth, danceable tempos, and his most staggering feats of prestidigitation, unlike Tatum’s watch-me-skip-on-the-high-wire stunts, were tossed off with the puma-footed stealth of P.G. Wodehouse’s Jeeves, who worked his own miracles of discretion without ever raising his voice.
That‘s what made Walter so popular in hotel lounges: You could sit and marvel at his playing if you liked, or you could sip your martini and chat with your companion of the evening. Bob Bach put it well in a 1946 profile quoted in the liner notes to “Sublimities”: “To describe the magic that Cy Walter weaves around the babble of a crowded barroom is like trying to describe the feel of an expensive fabric.”
Such players tend not to be properly appreciated by critics, most of whom turn up their noses at the imagined taint of commercialism associated with cocktail piano. Musicians, by contrast, know better. It’s no surprise that Ethan Iverson, who plays piano with the Bad Plus, a brilliantly quirky progressive jazz combo, is a longtime Walter admirer. So was Richard Rodgers, who once wrote Walter a fan letter in which he said that “I have never heard better taste.” Listen to the gently rippling 1946 performance of Rodgers’s “Falling in Love With Love” included on the first “Sublimities” CD and you’ll hear what he meant. No, it’s not jazz, but who cares? It’s music, and it’s gorgeous—with or without an olive.
Mr. Teachout, the Journal’s drama critic, now writes “Sightings” every other Thursday. Write to him at tteachout@wsj.com.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Cy Walter’s Cocktail Piano, With a Twist – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/cy-walters-cocktail-piano-with-a-twist-1452721350
** Cy Walter’s Cocktail Piano, With a Twist
————————————————————
By
Terry Teachout
Jan. 13, 2016 4:42 p.m. ET
It’s the grossest of understatements to say that cocktail pianists get no respect. They spend most of their lives playing for people who aren’t listening, a not-insignificant number of whom are either drunk or en route to being so. And while I never actually heard anyone ask for “Melancholy Baby” in the long-ago days when I gigged in bars, it’s usually safe to assume that when somebody does have a request, it’ll be for something you’ve played an octillion times. On the other hand, it’s also true that most cocktail pianists aren’t worth listening to, at least not very closely. Sometimes they’re just going through the motions (and who shall blame them?) and sometimes they simply aren’t very good. But a few such folk are true artists, and one of them, Cy Walter, was a very great one, among the finest popular pianists of the 20th century.
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter. ENLARGE
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter.Photo: Jack Wasserman
Walter, who died in 1968, spent most of his career playing in classy hotel lounges for Manhattanites who got dressed up to do their drinking. He was closely identified with the Drake Room of the now-defunct Drake Hotel, where he performed off and on from 1945 until his death and where his listeners included the likes of Tallulah Bankhead, Leonard Bernstein, Marlon Brando, Noël Coward, Arthur Miller, Cole Porter, Jerome Robbins and Tennessee Williams. From 1945 to 1953 he was also a fixture on network radio, performing weekly on a series called “Piano Playhouse.” But his celebrity, such as it was, dried up when he died: Walter’s albums went out of print shortly thereafter, and from then on his name was known only to connoisseurs.
Mark Walter, Cy’s son, is trying to change all that. He started by launching an uncommonly well-stocked website, www.cywalter.com, that is the online equivalent of a primary-source biography of his father. Now he’s commemorated the recent centennial of Cy Walter’s birth in 1915 by co-producing a pair of compact discs called “Sublimities” (both of which can be ordered from Amazon) that contain a total of 52 tracks by his father. Some are long-unavailable commercial recordings, others radio airchecks that have never before been released. On them Walter can be heard playing piano solos and duets (he frequently performed with Stan Freeman, a pianist of similar talent and stylistic inclination) and accompanying such singers as Marlene Dietrich, Mabel Mercer and Frank Sinatra. Most of the tunes are blue-chip standards, with a few original compositions by Walter thrown in for good measure. All are performed with a consummate elegance and technical wizardry that make you wonder how
the man who recorded them could possibly have fallen into obscurity.
The main reason, I suspect, is that Walter’s playing was a bit tricky to categorize. He wasn’t a jazz pianist, preferring to describe himself as “a specialist in show tunes.” Instead of going off on melodic tangents, he played a tune the way the songwriter wrote it, embedding its familiar contours in a richly wrought accompaniment from which it shone forth like a well-framed painting. Though his playing recalled the equally virtuosic style of Art Tatum, his good friend and favorite pianist, Walter rarely employed the chromatic substitute chords that Tatum loved to deploy, nor did his playing swing the way Tatum’s did. He liked smooth, danceable tempos, and his most staggering feats of prestidigitation, unlike Tatum’s watch-me-skip-on-the-high-wire stunts, were tossed off with the puma-footed stealth of P.G. Wodehouse’s Jeeves, who worked his own miracles of discretion without ever raising his voice.
That‘s what made Walter so popular in hotel lounges: You could sit and marvel at his playing if you liked, or you could sip your martini and chat with your companion of the evening. Bob Bach put it well in a 1946 profile quoted in the liner notes to “Sublimities”: “To describe the magic that Cy Walter weaves around the babble of a crowded barroom is like trying to describe the feel of an expensive fabric.”
Such players tend not to be properly appreciated by critics, most of whom turn up their noses at the imagined taint of commercialism associated with cocktail piano. Musicians, by contrast, know better. It’s no surprise that Ethan Iverson, who plays piano with the Bad Plus, a brilliantly quirky progressive jazz combo, is a longtime Walter admirer. So was Richard Rodgers, who once wrote Walter a fan letter in which he said that “I have never heard better taste.” Listen to the gently rippling 1946 performance of Rodgers’s “Falling in Love With Love” included on the first “Sublimities” CD and you’ll hear what he meant. No, it’s not jazz, but who cares? It’s music, and it’s gorgeous—with or without an olive.
Mr. Teachout, the Journal’s drama critic, now writes “Sightings” every other Thursday. Write to him at tteachout@wsj.com.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=3887da1562) | 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=3887da1562&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
Cy Walter’s Cocktail Piano, With a Twist – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/cy-walters-cocktail-piano-with-a-twist-1452721350
** Cy Walter’s Cocktail Piano, With a Twist
————————————————————
By
Terry Teachout
Jan. 13, 2016 4:42 p.m. ET
It’s the grossest of understatements to say that cocktail pianists get no respect. They spend most of their lives playing for people who aren’t listening, a not-insignificant number of whom are either drunk or en route to being so. And while I never actually heard anyone ask for “Melancholy Baby” in the long-ago days when I gigged in bars, it’s usually safe to assume that when somebody does have a request, it’ll be for something you’ve played an octillion times. On the other hand, it’s also true that most cocktail pianists aren’t worth listening to, at least not very closely. Sometimes they’re just going through the motions (and who shall blame them?) and sometimes they simply aren’t very good. But a few such folk are true artists, and one of them, Cy Walter, was a very great one, among the finest popular pianists of the 20th century.
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter. ENLARGE
Walter at the Copacabana in 1949. His listeners included the likes of Marlon Brando, Noël Coward, Arthur Miller and Cole Porter.Photo: Jack Wasserman
Walter, who died in 1968, spent most of his career playing in classy hotel lounges for Manhattanites who got dressed up to do their drinking. He was closely identified with the Drake Room of the now-defunct Drake Hotel, where he performed off and on from 1945 until his death and where his listeners included the likes of Tallulah Bankhead, Leonard Bernstein, Marlon Brando, Noël Coward, Arthur Miller, Cole Porter, Jerome Robbins and Tennessee Williams. From 1945 to 1953 he was also a fixture on network radio, performing weekly on a series called “Piano Playhouse.” But his celebrity, such as it was, dried up when he died: Walter’s albums went out of print shortly thereafter, and from then on his name was known only to connoisseurs.
Mark Walter, Cy’s son, is trying to change all that. He started by launching an uncommonly well-stocked website, www.cywalter.com, that is the online equivalent of a primary-source biography of his father. Now he’s commemorated the recent centennial of Cy Walter’s birth in 1915 by co-producing a pair of compact discs called “Sublimities” (both of which can be ordered from Amazon) that contain a total of 52 tracks by his father. Some are long-unavailable commercial recordings, others radio airchecks that have never before been released. On them Walter can be heard playing piano solos and duets (he frequently performed with Stan Freeman, a pianist of similar talent and stylistic inclination) and accompanying such singers as Marlene Dietrich, Mabel Mercer and Frank Sinatra. Most of the tunes are blue-chip standards, with a few original compositions by Walter thrown in for good measure. All are performed with a consummate elegance and technical wizardry that make you wonder how
the man who recorded them could possibly have fallen into obscurity.
The main reason, I suspect, is that Walter’s playing was a bit tricky to categorize. He wasn’t a jazz pianist, preferring to describe himself as “a specialist in show tunes.” Instead of going off on melodic tangents, he played a tune the way the songwriter wrote it, embedding its familiar contours in a richly wrought accompaniment from which it shone forth like a well-framed painting. Though his playing recalled the equally virtuosic style of Art Tatum, his good friend and favorite pianist, Walter rarely employed the chromatic substitute chords that Tatum loved to deploy, nor did his playing swing the way Tatum’s did. He liked smooth, danceable tempos, and his most staggering feats of prestidigitation, unlike Tatum’s watch-me-skip-on-the-high-wire stunts, were tossed off with the puma-footed stealth of P.G. Wodehouse’s Jeeves, who worked his own miracles of discretion without ever raising his voice.
That‘s what made Walter so popular in hotel lounges: You could sit and marvel at his playing if you liked, or you could sip your martini and chat with your companion of the evening. Bob Bach put it well in a 1946 profile quoted in the liner notes to “Sublimities”: “To describe the magic that Cy Walter weaves around the babble of a crowded barroom is like trying to describe the feel of an expensive fabric.”
Such players tend not to be properly appreciated by critics, most of whom turn up their noses at the imagined taint of commercialism associated with cocktail piano. Musicians, by contrast, know better. It’s no surprise that Ethan Iverson, who plays piano with the Bad Plus, a brilliantly quirky progressive jazz combo, is a longtime Walter admirer. So was Richard Rodgers, who once wrote Walter a fan letter in which he said that “I have never heard better taste.” Listen to the gently rippling 1946 performance of Rodgers’s “Falling in Love With Love” included on the first “Sublimities” CD and you’ll hear what he meant. No, it’s not jazz, but who cares? It’s music, and it’s gorgeous—with or without an olive.
Mr. Teachout, the Journal’s drama critic, now writes “Sightings” every other Thursday. Write to him at tteachout@wsj.com.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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The Story Behind ‘Runaround Sue’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-story-behind-runaround-sue-1452616310
** The Story Behind ‘Runaround Sue’
————————————————————
Dion DiMucci circa 1960 ENLARGE
Dion DiMucci circa 1960 Photo: Redferns/GETTY IMAGES
By
Marc Myers
Jan. 12, 2016 11:31 a.m. ET
Dion DiMucci was there the day the music died—and when it bounced back. He was the fourth headliner on the Winter Dance Party tour in 1959 when Buddy Holly, Ritchie Valens and J.P. Richardson (the “Big Bopper”) were killed in a plane crash. He’s also one of only two American rock stars on the cover of the Beatles’ “Sgt. Pepper” album (Bob Dylan is the other).
For the Beatles and many other ’60s artists, Dion marked the start of teenage male vulnerability and confusion about love. After Dion released “Runaround Sue” in September 1961, the song became his first and only No. 1 Billboard pop hit. It was inducted into the Grammy Hall of Fame in 2002.
With his new studio album, “New York Is My Home” (Instant) due on Feb. 16, Dion, 76, recently looked back at “Runaround Sue,” the song’s evolution and subterranean roots. Edited from an interview:
Dion DiMucci: We used to have these parties in the Bronx in the late 1950s and early ’60s. They were held in the basement of an apartment building at 2308 Crotona Ave., where a friend was the superintendent. He turned space near the boiler room into a living room, with couches and chairs. One night in 1960, about 30 guys and girls from the neighborhood got together there to celebrate the birthday of a friend—Ellen.
We had a portable phonograph, but we soon turned it off and began making up our own songs. I was 21 and had recorded a few hits with the Belmonts, like “I Wonder Why” and “A Teenager in Love.” (http://www.wsj.com/articles/SB10001424052970204468004577167252304032204) We didn’t have instruments in the basement so we had to improvise. It was a kick singing for friends at parties.
A lot of the people I knew growing up were there—Tony Gariano, Danny D., Jackie Serra, Joe Zinzi, Joe “B.B. Eyes,” Frankie “Yunk-Yunk,” as well as Linda, Carol, Susan, Marian, Judy, Ellen and others. That night, I got everyone to lay down a beat on boxes and bottles and to clap hands rhythmically in time.
I then came up with background vocal harmony parts and had everyone sing them over and over. It went like this [Dion sings]: “Hape-hape, bum-da hey-di hey-di hape-hape.” With this going on, I made up a melody and lyrics about Ellen. People were dancing, drinking beer and having fun.
When I left the party that night, I couldn’t let go of that riff and melody. They were firmly ingrained in my head. I didn’t know how to write lyrics too well then. None of us did. But I knew that the melody and rhythmic line everyone sang had something special going on.
The next morning I called my friend Ernie Maresca, who was writing songs then. I told him about Ellen’s party and asked him to meet me at my label—Laurie Records, on 54th Street and Seventh Avenue in Manhattan. I wanted to see if we could do something with the music in one of their rooms.
The bones of the song were already in place when Ernie got there. I had the song’s sound and breaks as well as some of the lyrics: “She likes to travel around/ She’ll love you then she’ll put you down./ People let me put you wise/ Sue goes out with other guys.” After Ernie heard where I was going with the song, we went to work on the melody and lyrics. I had my guitar and Ernie was banging on the desk with his palms.
Dion in his home in Boca Raton, Fla., in June. ENLARGE
Dion in his home in Boca Raton, Fla., in June.Photo: Alexia Fodere for The Wall Street Journal
I wanted the song to be about a girl we knew from the neighborhood who had broken every guy’s heart. Not Ellen or anyone else at the party. The girl had dated everyone—that sort of thing. What can I tell you, we were kids. But even though the girl had inspired the song, Ernie and I didn’t want to use her real name. Instead, there was this girl named Sue we had admired from a distance at the Harwyn Club in Manhattan. Her name fit the lyric line perfectly.
When we finished, I needed a solid vocal group behind me, since the Belmonts and I had already split up. One night, around this time, I was up in the Yorkville section of Manhattan and ran into these five guys singing on the street. They sounded great. I introduced myself and said I wanted to use them on a record. They called themselves the Del-Satins.
When they came down to Laurie Records, I showed them how to sing “Hape-hape, bum-da hey-di hey-di hape-hape.” They thought I was nuts at first, but that’s when “Runaround Sue” really started to rock. As we rehearsed, they got it and gave me this flexible vocal support that let me bounce around on the song and weave in and out.
We didn’t have to rehearse much. The Del-Satins got what I wanted right away. Great doo-woppers were like jazz musicians. You didn’t have to say a word. The Del-Satins sang a lot together and knew how to jump right in behind me.
As we sang, I studied the Del-Satins. I could tell they were the real deal. Their singing wasn’t frantic or forced. It all came naturally. They even picked up on the pronunciations of what I was singing and the attitude of the syllables. They were street—and the best I had heard.
When we had the song in shape, I called in [Laurie’s co-owner] Gene Schwartz, and we ran it down for him. Gene thought the song had something. He liked hooks, since hooks sold records. The “Runaround Sue” recording session was held in the summer of ’61 at Bell Sound on West 54th Street near Eighth Avenue. There, I gave the musicians rough parts. I didn’t know what I was doing musically then, but I knew what felt right.
Dion’s ‘Runaround Sue’
Fortunately, Gene had brought in some of the city’s best studio musicians. We had Teacho Wiltshire on piano, Milt Hinton on bass, Panama Francis on drums, Buddy Lucas on tenor sax, Mickey “Guitar” Baker on lead guitar and Bucky Pizzarelli on rhythm guitar.
After the guys looked over the music, they made suggestions. Bucky said, “Dion, should I play in this position or inverted in the higher register?” which would give him a different sound. I told him to go for it. I let the guys come up with great stuff. There were timpani drums in the corner of the studio covered in canvas. Panama played on top of those, giving the drum a thud factor and primitive vibe. He also put his wallet on the tom-tom so it had a deeper sound.
My grandfather (http://www.wsj.com/articles/singer-dion-dimucci-on-how-a-family-fight-saved-his-life-1440516359) used to take me to see opera as a kid at a theater on Fordham Road in the Bronx. Like those operas, I wanted “Runaround Sue” to start slow and sort of pained. It opened with Baker’s guitar chord and the Del-Satins’ street harmony. Then I started with, “Here’s my story, it’s sad but true.” People listen harder when you tell them you’re gonna tell them a story.
Then Panama took a few sharp shots on the snare and the arrangement became pure street rock ‘n’ roll, like at Ellen’s party, with handclapping by the Del-Satins. The shift from ballad to attitude, with a New Orleans party sound, gave the song lift.
Chuck Berry used school and cars as song themes (http://www.wsj.com/articles/SB114444156962720377) . For me, it was stuff like love and broken hearts. I was an introverted James Dean type who was seeking love and writing about it, almost like a diary. My songs were about the journey to find love and the discovery along the way.
After Gene and I mixed and mastered the record, I listened back and knew we had something. I took a promo copy up to the Bronx and played it for my friends. But when the 45 ended, there was complete silence. Everyone looked at me, and someone said, “Dion, what did you do to it?” They were remembering that night at Ellen’s party and the spontaneity of what we had done.
I never thought I had screwed up the song, but I knew what they meant. I had had those feelings before—a record not quite capturing what I had intended. But with “Runaround Sue,” I knew I had nailed it, even though that didn’t come across for my Bronx friends.
After “Runaround Sue” came out in September ’61 and hit No. 1, I went to the old neighborhood for a party. My friends said, “You know, we couldn’t really hear how good the record was at first, but it sounds good now.” Ellen gave me a hug and said, “Wow, what a birthday gift to watch that song come together.” By then, the song’s attitude had grabbed everyone’s spirit. But you know, as great as that song sounds on the record, it was even better at Ellen’s party. Sad but true.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
The Story Behind ‘Runaround Sue’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-story-behind-runaround-sue-1452616310
** The Story Behind ‘Runaround Sue’
————————————————————
Dion DiMucci circa 1960 ENLARGE
Dion DiMucci circa 1960 Photo: Redferns/GETTY IMAGES
By
Marc Myers
Jan. 12, 2016 11:31 a.m. ET
Dion DiMucci was there the day the music died—and when it bounced back. He was the fourth headliner on the Winter Dance Party tour in 1959 when Buddy Holly, Ritchie Valens and J.P. Richardson (the “Big Bopper”) were killed in a plane crash. He’s also one of only two American rock stars on the cover of the Beatles’ “Sgt. Pepper” album (Bob Dylan is the other).
For the Beatles and many other ’60s artists, Dion marked the start of teenage male vulnerability and confusion about love. After Dion released “Runaround Sue” in September 1961, the song became his first and only No. 1 Billboard pop hit. It was inducted into the Grammy Hall of Fame in 2002.
With his new studio album, “New York Is My Home” (Instant) due on Feb. 16, Dion, 76, recently looked back at “Runaround Sue,” the song’s evolution and subterranean roots. Edited from an interview:
Dion DiMucci: We used to have these parties in the Bronx in the late 1950s and early ’60s. They were held in the basement of an apartment building at 2308 Crotona Ave., where a friend was the superintendent. He turned space near the boiler room into a living room, with couches and chairs. One night in 1960, about 30 guys and girls from the neighborhood got together there to celebrate the birthday of a friend—Ellen.
We had a portable phonograph, but we soon turned it off and began making up our own songs. I was 21 and had recorded a few hits with the Belmonts, like “I Wonder Why” and “A Teenager in Love.” (http://www.wsj.com/articles/SB10001424052970204468004577167252304032204) We didn’t have instruments in the basement so we had to improvise. It was a kick singing for friends at parties.
A lot of the people I knew growing up were there—Tony Gariano, Danny D., Jackie Serra, Joe Zinzi, Joe “B.B. Eyes,” Frankie “Yunk-Yunk,” as well as Linda, Carol, Susan, Marian, Judy, Ellen and others. That night, I got everyone to lay down a beat on boxes and bottles and to clap hands rhythmically in time.
I then came up with background vocal harmony parts and had everyone sing them over and over. It went like this [Dion sings]: “Hape-hape, bum-da hey-di hey-di hape-hape.” With this going on, I made up a melody and lyrics about Ellen. People were dancing, drinking beer and having fun.
When I left the party that night, I couldn’t let go of that riff and melody. They were firmly ingrained in my head. I didn’t know how to write lyrics too well then. None of us did. But I knew that the melody and rhythmic line everyone sang had something special going on.
The next morning I called my friend Ernie Maresca, who was writing songs then. I told him about Ellen’s party and asked him to meet me at my label—Laurie Records, on 54th Street and Seventh Avenue in Manhattan. I wanted to see if we could do something with the music in one of their rooms.
The bones of the song were already in place when Ernie got there. I had the song’s sound and breaks as well as some of the lyrics: “She likes to travel around/ She’ll love you then she’ll put you down./ People let me put you wise/ Sue goes out with other guys.” After Ernie heard where I was going with the song, we went to work on the melody and lyrics. I had my guitar and Ernie was banging on the desk with his palms.
Dion in his home in Boca Raton, Fla., in June. ENLARGE
Dion in his home in Boca Raton, Fla., in June.Photo: Alexia Fodere for The Wall Street Journal
I wanted the song to be about a girl we knew from the neighborhood who had broken every guy’s heart. Not Ellen or anyone else at the party. The girl had dated everyone—that sort of thing. What can I tell you, we were kids. But even though the girl had inspired the song, Ernie and I didn’t want to use her real name. Instead, there was this girl named Sue we had admired from a distance at the Harwyn Club in Manhattan. Her name fit the lyric line perfectly.
When we finished, I needed a solid vocal group behind me, since the Belmonts and I had already split up. One night, around this time, I was up in the Yorkville section of Manhattan and ran into these five guys singing on the street. They sounded great. I introduced myself and said I wanted to use them on a record. They called themselves the Del-Satins.
When they came down to Laurie Records, I showed them how to sing “Hape-hape, bum-da hey-di hey-di hape-hape.” They thought I was nuts at first, but that’s when “Runaround Sue” really started to rock. As we rehearsed, they got it and gave me this flexible vocal support that let me bounce around on the song and weave in and out.
We didn’t have to rehearse much. The Del-Satins got what I wanted right away. Great doo-woppers were like jazz musicians. You didn’t have to say a word. The Del-Satins sang a lot together and knew how to jump right in behind me.
As we sang, I studied the Del-Satins. I could tell they were the real deal. Their singing wasn’t frantic or forced. It all came naturally. They even picked up on the pronunciations of what I was singing and the attitude of the syllables. They were street—and the best I had heard.
When we had the song in shape, I called in [Laurie’s co-owner] Gene Schwartz, and we ran it down for him. Gene thought the song had something. He liked hooks, since hooks sold records. The “Runaround Sue” recording session was held in the summer of ’61 at Bell Sound on West 54th Street near Eighth Avenue. There, I gave the musicians rough parts. I didn’t know what I was doing musically then, but I knew what felt right.
Dion’s ‘Runaround Sue’
Fortunately, Gene had brought in some of the city’s best studio musicians. We had Teacho Wiltshire on piano, Milt Hinton on bass, Panama Francis on drums, Buddy Lucas on tenor sax, Mickey “Guitar” Baker on lead guitar and Bucky Pizzarelli on rhythm guitar.
After the guys looked over the music, they made suggestions. Bucky said, “Dion, should I play in this position or inverted in the higher register?” which would give him a different sound. I told him to go for it. I let the guys come up with great stuff. There were timpani drums in the corner of the studio covered in canvas. Panama played on top of those, giving the drum a thud factor and primitive vibe. He also put his wallet on the tom-tom so it had a deeper sound.
My grandfather (http://www.wsj.com/articles/singer-dion-dimucci-on-how-a-family-fight-saved-his-life-1440516359) used to take me to see opera as a kid at a theater on Fordham Road in the Bronx. Like those operas, I wanted “Runaround Sue” to start slow and sort of pained. It opened with Baker’s guitar chord and the Del-Satins’ street harmony. Then I started with, “Here’s my story, it’s sad but true.” People listen harder when you tell them you’re gonna tell them a story.
Then Panama took a few sharp shots on the snare and the arrangement became pure street rock ‘n’ roll, like at Ellen’s party, with handclapping by the Del-Satins. The shift from ballad to attitude, with a New Orleans party sound, gave the song lift.
Chuck Berry used school and cars as song themes (http://www.wsj.com/articles/SB114444156962720377) . For me, it was stuff like love and broken hearts. I was an introverted James Dean type who was seeking love and writing about it, almost like a diary. My songs were about the journey to find love and the discovery along the way.
After Gene and I mixed and mastered the record, I listened back and knew we had something. I took a promo copy up to the Bronx and played it for my friends. But when the 45 ended, there was complete silence. Everyone looked at me, and someone said, “Dion, what did you do to it?” They were remembering that night at Ellen’s party and the spontaneity of what we had done.
I never thought I had screwed up the song, but I knew what they meant. I had had those feelings before—a record not quite capturing what I had intended. But with “Runaround Sue,” I knew I had nailed it, even though that didn’t come across for my Bronx friends.
After “Runaround Sue” came out in September ’61 and hit No. 1, I went to the old neighborhood for a party. My friends said, “You know, we couldn’t really hear how good the record was at first, but it sounds good now.” Ellen gave me a hug and said, “Wow, what a birthday gift to watch that song come together.” By then, the song’s attitude had grabbed everyone’s spirit. But you know, as great as that song sounds on the record, it was even better at Ellen’s party. Sad but true.
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=0fd4fb99f9) | 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=0fd4fb99f9&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 Story Behind ‘Runaround Sue’ – WSJ
http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-story-behind-runaround-sue-1452616310
** The Story Behind ‘Runaround Sue’
————————————————————
Dion DiMucci circa 1960 ENLARGE
Dion DiMucci circa 1960 Photo: Redferns/GETTY IMAGES
By
Marc Myers
Jan. 12, 2016 11:31 a.m. ET
Dion DiMucci was there the day the music died—and when it bounced back. He was the fourth headliner on the Winter Dance Party tour in 1959 when Buddy Holly, Ritchie Valens and J.P. Richardson (the “Big Bopper”) were killed in a plane crash. He’s also one of only two American rock stars on the cover of the Beatles’ “Sgt. Pepper” album (Bob Dylan is the other).
For the Beatles and many other ’60s artists, Dion marked the start of teenage male vulnerability and confusion about love. After Dion released “Runaround Sue” in September 1961, the song became his first and only No. 1 Billboard pop hit. It was inducted into the Grammy Hall of Fame in 2002.
With his new studio album, “New York Is My Home” (Instant) due on Feb. 16, Dion, 76, recently looked back at “Runaround Sue,” the song’s evolution and subterranean roots. Edited from an interview:
Dion DiMucci: We used to have these parties in the Bronx in the late 1950s and early ’60s. They were held in the basement of an apartment building at 2308 Crotona Ave., where a friend was the superintendent. He turned space near the boiler room into a living room, with couches and chairs. One night in 1960, about 30 guys and girls from the neighborhood got together there to celebrate the birthday of a friend—Ellen.
We had a portable phonograph, but we soon turned it off and began making up our own songs. I was 21 and had recorded a few hits with the Belmonts, like “I Wonder Why” and “A Teenager in Love.” (http://www.wsj.com/articles/SB10001424052970204468004577167252304032204) We didn’t have instruments in the basement so we had to improvise. It was a kick singing for friends at parties.
A lot of the people I knew growing up were there—Tony Gariano, Danny D., Jackie Serra, Joe Zinzi, Joe “B.B. Eyes,” Frankie “Yunk-Yunk,” as well as Linda, Carol, Susan, Marian, Judy, Ellen and others. That night, I got everyone to lay down a beat on boxes and bottles and to clap hands rhythmically in time.
I then came up with background vocal harmony parts and had everyone sing them over and over. It went like this [Dion sings]: “Hape-hape, bum-da hey-di hey-di hape-hape.” With this going on, I made up a melody and lyrics about Ellen. People were dancing, drinking beer and having fun.
When I left the party that night, I couldn’t let go of that riff and melody. They were firmly ingrained in my head. I didn’t know how to write lyrics too well then. None of us did. But I knew that the melody and rhythmic line everyone sang had something special going on.
The next morning I called my friend Ernie Maresca, who was writing songs then. I told him about Ellen’s party and asked him to meet me at my label—Laurie Records, on 54th Street and Seventh Avenue in Manhattan. I wanted to see if we could do something with the music in one of their rooms.
The bones of the song were already in place when Ernie got there. I had the song’s sound and breaks as well as some of the lyrics: “She likes to travel around/ She’ll love you then she’ll put you down./ People let me put you wise/ Sue goes out with other guys.” After Ernie heard where I was going with the song, we went to work on the melody and lyrics. I had my guitar and Ernie was banging on the desk with his palms.
Dion in his home in Boca Raton, Fla., in June. ENLARGE
Dion in his home in Boca Raton, Fla., in June.Photo: Alexia Fodere for The Wall Street Journal
I wanted the song to be about a girl we knew from the neighborhood who had broken every guy’s heart. Not Ellen or anyone else at the party. The girl had dated everyone—that sort of thing. What can I tell you, we were kids. But even though the girl had inspired the song, Ernie and I didn’t want to use her real name. Instead, there was this girl named Sue we had admired from a distance at the Harwyn Club in Manhattan. Her name fit the lyric line perfectly.
When we finished, I needed a solid vocal group behind me, since the Belmonts and I had already split up. One night, around this time, I was up in the Yorkville section of Manhattan and ran into these five guys singing on the street. They sounded great. I introduced myself and said I wanted to use them on a record. They called themselves the Del-Satins.
When they came down to Laurie Records, I showed them how to sing “Hape-hape, bum-da hey-di hey-di hape-hape.” They thought I was nuts at first, but that’s when “Runaround Sue” really started to rock. As we rehearsed, they got it and gave me this flexible vocal support that let me bounce around on the song and weave in and out.
We didn’t have to rehearse much. The Del-Satins got what I wanted right away. Great doo-woppers were like jazz musicians. You didn’t have to say a word. The Del-Satins sang a lot together and knew how to jump right in behind me.
As we sang, I studied the Del-Satins. I could tell they were the real deal. Their singing wasn’t frantic or forced. It all came naturally. They even picked up on the pronunciations of what I was singing and the attitude of the syllables. They were street—and the best I had heard.
When we had the song in shape, I called in [Laurie’s co-owner] Gene Schwartz, and we ran it down for him. Gene thought the song had something. He liked hooks, since hooks sold records. The “Runaround Sue” recording session was held in the summer of ’61 at Bell Sound on West 54th Street near Eighth Avenue. There, I gave the musicians rough parts. I didn’t know what I was doing musically then, but I knew what felt right.
Dion’s ‘Runaround Sue’
Fortunately, Gene had brought in some of the city’s best studio musicians. We had Teacho Wiltshire on piano, Milt Hinton on bass, Panama Francis on drums, Buddy Lucas on tenor sax, Mickey “Guitar” Baker on lead guitar and Bucky Pizzarelli on rhythm guitar.
After the guys looked over the music, they made suggestions. Bucky said, “Dion, should I play in this position or inverted in the higher register?” which would give him a different sound. I told him to go for it. I let the guys come up with great stuff. There were timpani drums in the corner of the studio covered in canvas. Panama played on top of those, giving the drum a thud factor and primitive vibe. He also put his wallet on the tom-tom so it had a deeper sound.
My grandfather (http://www.wsj.com/articles/singer-dion-dimucci-on-how-a-family-fight-saved-his-life-1440516359) used to take me to see opera as a kid at a theater on Fordham Road in the Bronx. Like those operas, I wanted “Runaround Sue” to start slow and sort of pained. It opened with Baker’s guitar chord and the Del-Satins’ street harmony. Then I started with, “Here’s my story, it’s sad but true.” People listen harder when you tell them you’re gonna tell them a story.
Then Panama took a few sharp shots on the snare and the arrangement became pure street rock ‘n’ roll, like at Ellen’s party, with handclapping by the Del-Satins. The shift from ballad to attitude, with a New Orleans party sound, gave the song lift.
Chuck Berry used school and cars as song themes (http://www.wsj.com/articles/SB114444156962720377) . For me, it was stuff like love and broken hearts. I was an introverted James Dean type who was seeking love and writing about it, almost like a diary. My songs were about the journey to find love and the discovery along the way.
After Gene and I mixed and mastered the record, I listened back and knew we had something. I took a promo copy up to the Bronx and played it for my friends. But when the 45 ended, there was complete silence. Everyone looked at me, and someone said, “Dion, what did you do to it?” They were remembering that night at Ellen’s party and the spontaneity of what we had done.
I never thought I had screwed up the song, but I knew what they meant. I had had those feelings before—a record not quite capturing what I had intended. But with “Runaround Sue,” I knew I had nailed it, even though that didn’t come across for my Bronx friends.
After “Runaround Sue” came out in September ’61 and hit No. 1, I went to the old neighborhood for a party. My friends said, “You know, we couldn’t really hear how good the record was at first, but it sounds good now.” Ellen gave me a hug and said, “Wow, what a birthday gift to watch that song come together.” By then, the song’s attitude had grabbed everyone’s spirit. But you know, as great as that song sounds on the record, it was even better at Ellen’s party. Sad but true.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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269 State Route 94 South
Warwick, Ny 10990
USA
Review: In ‘The Holler Sessions,’ a D.J. as True Believer – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/12/theater/review-in-the-holler-sessions-a-dj-as-true-believer.html?emc=edit_tnt_20160111
** Review: In ‘The Holler Sessions,’ a D.J. as True Believer
————————————————————
By BEN BRANTLEY (http://topics.nytimes.com/top/reference/timestopics/people/b/ben_brantley/index.html) JAN. 11, 2016
Frank Boyd plays a hard-core music obsessive in “The Holler Sessions” at the Paradise Factory. Emon Hassan for The New York Times
An unkempt Kansas City disc jockey named Ray has appointed himself an altar boy at the exalted shrine of jazz, and his faith burns like a five-alarm fire. Embodied with respect and ferocity by Frank Boyd in “The Holler Sessions,” (http://www.ps122.org/the-holler-sessions/) which runs through Friday at the Paradise Factory, Ray radiates a hard-core obsessiveness that’s both scary and contagious. You get the feeling that he wears sunglasses inside not to be cool, but because the light he’s seen is so bright.
Part of P.S. 122’s Coil Festival (http://www.ps122.org/coil-2016/) 2016, “The Holler Sessions,” performed and written by Mr. Boyd in collaboration with the experimental theater group the TEAM ( (http://theteamplays.org/) with Rachel Chavkin and Josh Aaseng as consulting directors), creates a convincing portrait of a monomaniac that, for all its flashiness, never blocks the view of the object of his passion.
Yes, Ray, with his hyperkinetic delivery and sweaty sense of urgency, is a watch-me kind of guy. But what he really wants is for us to listen — not to him, but to the discs he spins from a slovenly broadcast room (designed and lighted by Eric Southern), where he subsists on gulps of coffee, whiskey, apples and peanuts.
Ray, it seems, discovered jazz only a few years ago, and he’s outraged that he’s spent so much of his life without it. How could schools have taught him about the Nina, the Pinta and the Santa Maria, he asks in astonished anger, instead of the holy trinity of Duke, Bird and Billie.
Like many a classic jazz D.J., he’s steeped in the arcana of recording session lore and biographical back stories. But he also retains the frothing enthusiasm of the newborn fanboy, and he tears into convulsive, obscenity-peppered rants that emulate the riffs of his favorite artists.
Not that he thinks he could ever be on their level; as Ray points out many times, he is no musician himself. A faint cloud of pathos befogs Ray when he leaves his chair to shimmy to the beats of Coltrane, Davis, Armstrong and the Charleses Parker (http://www.cmgww.com/music/parker/) and Mingus (http://mingusmingusmingus.com/) (Matt Hubbs did the excellent sound design), or speaks almost longingly of the lethal self-destructiveness of many of his idols. (Ray has the jerky rhythms, the motor mouth and even the nosebleeds of a cokehead.)
But when Ray sits back and lets the music wash over him, there’s dignity in his awe-struck stillness. His raptness makes us want to hear through his ears. And when the theater fades to black, as it does intermittently throughout the show, and we sit in the darkness with the music, sound becomes tactile, and even pop-station babies and longhairs are likely to feel like true believers in the gospel of Ray.
** COIL 2016: The Holler Sessions
————————————————————
Category Off Off Broadway, Play, Solo Performance
Runtime 80 min.
Credits Written and performed by Frank Boyd
Cast Frank Boyd
Preview January 6, 2016
Opened January 7, 2016
Closing Date January 17, 2016
Upcoming Shows
Tuesday January 12 9:00 PM
Wednesday January 13 8:30 PM
Thursday January 14 9:00 PM
Friday January 15 8:00 PM
Saturday January 16 3:00 PM
This information was last updated: Jan. 11, 2016
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6b0ccd078c) | 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=6b0ccd078c&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Review: In ‘The Holler Sessions,’ a D.J. as True Believer – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/12/theater/review-in-the-holler-sessions-a-dj-as-true-believer.html?emc=edit_tnt_20160111
** Review: In ‘The Holler Sessions,’ a D.J. as True Believer
————————————————————
By BEN BRANTLEY (http://topics.nytimes.com/top/reference/timestopics/people/b/ben_brantley/index.html) JAN. 11, 2016
Frank Boyd plays a hard-core music obsessive in “The Holler Sessions” at the Paradise Factory. Emon Hassan for The New York Times
An unkempt Kansas City disc jockey named Ray has appointed himself an altar boy at the exalted shrine of jazz, and his faith burns like a five-alarm fire. Embodied with respect and ferocity by Frank Boyd in “The Holler Sessions,” (http://www.ps122.org/the-holler-sessions/) which runs through Friday at the Paradise Factory, Ray radiates a hard-core obsessiveness that’s both scary and contagious. You get the feeling that he wears sunglasses inside not to be cool, but because the light he’s seen is so bright.
Part of P.S. 122’s Coil Festival (http://www.ps122.org/coil-2016/) 2016, “The Holler Sessions,” performed and written by Mr. Boyd in collaboration with the experimental theater group the TEAM ( (http://theteamplays.org/) with Rachel Chavkin and Josh Aaseng as consulting directors), creates a convincing portrait of a monomaniac that, for all its flashiness, never blocks the view of the object of his passion.
Yes, Ray, with his hyperkinetic delivery and sweaty sense of urgency, is a watch-me kind of guy. But what he really wants is for us to listen — not to him, but to the discs he spins from a slovenly broadcast room (designed and lighted by Eric Southern), where he subsists on gulps of coffee, whiskey, apples and peanuts.
Ray, it seems, discovered jazz only a few years ago, and he’s outraged that he’s spent so much of his life without it. How could schools have taught him about the Nina, the Pinta and the Santa Maria, he asks in astonished anger, instead of the holy trinity of Duke, Bird and Billie.
Like many a classic jazz D.J., he’s steeped in the arcana of recording session lore and biographical back stories. But he also retains the frothing enthusiasm of the newborn fanboy, and he tears into convulsive, obscenity-peppered rants that emulate the riffs of his favorite artists.
Not that he thinks he could ever be on their level; as Ray points out many times, he is no musician himself. A faint cloud of pathos befogs Ray when he leaves his chair to shimmy to the beats of Coltrane, Davis, Armstrong and the Charleses Parker (http://www.cmgww.com/music/parker/) and Mingus (http://mingusmingusmingus.com/) (Matt Hubbs did the excellent sound design), or speaks almost longingly of the lethal self-destructiveness of many of his idols. (Ray has the jerky rhythms, the motor mouth and even the nosebleeds of a cokehead.)
But when Ray sits back and lets the music wash over him, there’s dignity in his awe-struck stillness. His raptness makes us want to hear through his ears. And when the theater fades to black, as it does intermittently throughout the show, and we sit in the darkness with the music, sound becomes tactile, and even pop-station babies and longhairs are likely to feel like true believers in the gospel of Ray.
** COIL 2016: The Holler Sessions
————————————————————
Category Off Off Broadway, Play, Solo Performance
Runtime 80 min.
Credits Written and performed by Frank Boyd
Cast Frank Boyd
Preview January 6, 2016
Opened January 7, 2016
Closing Date January 17, 2016
Upcoming Shows
Tuesday January 12 9:00 PM
Wednesday January 13 8:30 PM
Thursday January 14 9:00 PM
Friday January 15 8:00 PM
Saturday January 16 3:00 PM
This information was last updated: Jan. 11, 2016
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6b0ccd078c) | 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=6b0ccd078c&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Review: In ‘The Holler Sessions,’ a D.J. as True Believer – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/12/theater/review-in-the-holler-sessions-a-dj-as-true-believer.html?emc=edit_tnt_20160111
** Review: In ‘The Holler Sessions,’ a D.J. as True Believer
————————————————————
By BEN BRANTLEY (http://topics.nytimes.com/top/reference/timestopics/people/b/ben_brantley/index.html) JAN. 11, 2016
Frank Boyd plays a hard-core music obsessive in “The Holler Sessions” at the Paradise Factory. Emon Hassan for The New York Times
An unkempt Kansas City disc jockey named Ray has appointed himself an altar boy at the exalted shrine of jazz, and his faith burns like a five-alarm fire. Embodied with respect and ferocity by Frank Boyd in “The Holler Sessions,” (http://www.ps122.org/the-holler-sessions/) which runs through Friday at the Paradise Factory, Ray radiates a hard-core obsessiveness that’s both scary and contagious. You get the feeling that he wears sunglasses inside not to be cool, but because the light he’s seen is so bright.
Part of P.S. 122’s Coil Festival (http://www.ps122.org/coil-2016/) 2016, “The Holler Sessions,” performed and written by Mr. Boyd in collaboration with the experimental theater group the TEAM ( (http://theteamplays.org/) with Rachel Chavkin and Josh Aaseng as consulting directors), creates a convincing portrait of a monomaniac that, for all its flashiness, never blocks the view of the object of his passion.
Yes, Ray, with his hyperkinetic delivery and sweaty sense of urgency, is a watch-me kind of guy. But what he really wants is for us to listen — not to him, but to the discs he spins from a slovenly broadcast room (designed and lighted by Eric Southern), where he subsists on gulps of coffee, whiskey, apples and peanuts.
Ray, it seems, discovered jazz only a few years ago, and he’s outraged that he’s spent so much of his life without it. How could schools have taught him about the Nina, the Pinta and the Santa Maria, he asks in astonished anger, instead of the holy trinity of Duke, Bird and Billie.
Like many a classic jazz D.J., he’s steeped in the arcana of recording session lore and biographical back stories. But he also retains the frothing enthusiasm of the newborn fanboy, and he tears into convulsive, obscenity-peppered rants that emulate the riffs of his favorite artists.
Not that he thinks he could ever be on their level; as Ray points out many times, he is no musician himself. A faint cloud of pathos befogs Ray when he leaves his chair to shimmy to the beats of Coltrane, Davis, Armstrong and the Charleses Parker (http://www.cmgww.com/music/parker/) and Mingus (http://mingusmingusmingus.com/) (Matt Hubbs did the excellent sound design), or speaks almost longingly of the lethal self-destructiveness of many of his idols. (Ray has the jerky rhythms, the motor mouth and even the nosebleeds of a cokehead.)
But when Ray sits back and lets the music wash over him, there’s dignity in his awe-struck stillness. His raptness makes us want to hear through his ears. And when the theater fades to black, as it does intermittently throughout the show, and we sit in the darkness with the music, sound becomes tactile, and even pop-station babies and longhairs are likely to feel like true believers in the gospel of Ray.
** COIL 2016: The Holler Sessions
————————————————————
Category Off Off Broadway, Play, Solo Performance
Runtime 80 min.
Credits Written and performed by Frank Boyd
Cast Frank Boyd
Preview January 6, 2016
Opened January 7, 2016
Closing Date January 17, 2016
Upcoming Shows
Tuesday January 12 9:00 PM
Wednesday January 13 8:30 PM
Thursday January 14 9:00 PM
Friday January 15 8:00 PM
Saturday January 16 3:00 PM
This information was last updated: Jan. 11, 2016
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=6b0ccd078c) | 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=6b0ccd078c&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