Author: Bash Daily Group Archive Feed
The Music’s Over at Garage, The Latest Village Jazz Club to Turn Out the Lights
http://www.jazzpromoservices.com/
http://bedfordandbowery.com/2016/01/the-musics-over-at-garage-the-latest-village-jazz-venue-to-turn-out-the-lights/#
** The Music’s Over at Garage, The Latest Village Jazz Club to Turn Out the Lights
————————————————————
BY DANIEL MAURER (http://bedfordandbowery.com/author/daniel-maurer/)
http://bedfordandbowery.com/wp-content/uploads/2016/01/IMG_20160104_0012.jpg
David Coss (top, right) with his Saxophonist and fans as they performed their final set at Garage on it’s closing night. (Photo: Nick McManus)
Last week, as part of our A Lot About a Plot (http://bedfordandbowery.com/category/a-lot-about-a-plot/) series, we looked back on the history of some bygone jazz joints, including the Village Gate (http://bedfordandbowery.com/2015/12/a-strange-story-how-160-bleecker-went-from-slum-house-to-bohemian-bastion/) and Nick’s Tavern (http://bedfordandbowery.com/2015/12/nicks-tavern-the-village-jazz-joint-that-went-down-swinging/) . Now you can add another Village venue to the list: Garage Restaurant & Cafe (http://nymag.com/listings/restaurant/garage-restaurant/) closed its doors on Sunday. So much for its claim of hosting “more live jazz than anywhere in the world.”
Photographer Nick McManus, who documented Sway’s last blast (http://bedfordandbowery.com/2015/12/sways-last-dance-another-downtown-mainstay-gone-still/) , was also on hand for this sendoff, and snapped a couple of group portraits of final act David Coss, some members of his quartet, and attendees. McManus tells us the goodbye was a “very intimate affair attended mostly by personal friends and longtime fans.” The concert ended around 10:30 p.m. and Garage closed soon after.
http://bedfordandbowery.com/wp-content/uploads/2016/01/IMG_20160104_0011.jpg
David Coss (top left) with his Quartet at the end of their final set joined by nightlife scion Pebbles Russell (top, second from left) and artist Russell Murphy (top, left). (Photo: Nick McManus)
In 1930s, the former garage at 99 Seventh Avenue was home to live cockroach races (http://gvshp.org/blog/2014/01/07/then-now-99-seventh-avenue-south/) when it was the Nut Club. That establishment, with its scantily-clad waitresses, was said to be touristy, and, truth be told (http://nymag.com/listings/restaurant/garage-restaurant/) , Garage was as well. But its commitment to live music was unwavering, with cats like John David Simon, identical twins Peter and William Anderson, and Williamsburg’s own Lou Caputo playing two sets nightly.
Garage’s building was put up for lease late last year. The broker, Cushman & Wakefield, noted that “Greenwich Village benefits from one of the highest income-per-capita rates in the country.” The listing (http://cushwakeretail.com/listings/99-seventh-avenue-south/) does not, of course, mention that the neighborhood is riddled by urban blight (http://www.newyorker.com/business/currency/why-are-there-so-many-shuttered-storefronts-in-the-west-village) caused by empty storefronts as landlords wait for chains to roll in.
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
Story reveals early Louis Armstrong playlist | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/12/for_louis_armstrong_christmas.html
** Story reveals early Louis Armstrong playlist
————————————————————
By James Karst, NOLA.com | The Times-Picayune (http://connect.nola.com/user/jameskarst/posts.html)
dollttoy1226133.jpg
Louis Armstrong (http://topics.nola.com/tag/louis%20armstrong/) was a blossoming musician as 1913 drew to a close, having been the leader since that spring of the band at the Colored Waifs Home, an institution for delinquent, orphaned and neglected black children to which he had been sent at the start of the year.
The young musicians had paraded through the streets of the city in May and in November provided the accompaniment for a play staged at the Crescent Theatre, receiving favorable reviews in the local press for both.
At Christmastime in New Orleans, Armstrong, then 12, was doing what many performers do on the holidays: working. He and the Colored Waifs Home band played two shows on Christmas Day before thousands of people, at venues at the very heart of early jazz in New Orleans, according to newly discovered stories from local newspaper archives that shed light on Armstrong’s early music training.
That morning or early afternoon, on the second floor of the Pythian Temple, a building that still stands on Loyola Avenue near Gravier Street, the Colored Waifs Home band had its first show of the day at The Times-Democrat’s holiday gift fund giveaway for needy black children.
http://media.nola.com/entertainment_impact_music/photo/dolltoy1226132jpeg-1a7e9032a87c7507.jpegThis is from the Dec. 26, 1913, Times-Democrat. The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.The Times-Picayune archive
“Music was furnished by a band from the Colored Waifs’ Home,” wrote The Times-Democrat, a forerunner to The Times-Picayune, in a story about the event published Dec. 26, 1913. “It was at the suggestion of T.H. Agnew, superintendent of the training school of the Society for the Prevention of Cruelty to Children, that the services of the band were enlisted, and Mr. Agnew himself was among the spectators who enjoyed the spectacle.”
The story names each of the band members, starting with the founder of the Colored Waifs Home band, and even lists some of the tunes they played, perhaps the earliest documented collection of songs performed by Armstrong.
“The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.
“The band played ‘Little Bunch of Shamrock’ (sic), ‘Dixie,’ ‘Maryland, My Maryland,’ ‘America’ and other selections.”
According to the rival Daily Picayune, the band later made its way around the corner to another toy giveaway, this one organized by the Mystic Order of Hobgoblins, a black social aid organization whose members included Capt. Joseph Jones, a Spanish-American War veteran who operated the Colored Waifs Home. This event was in the Masonic and Odd Fellows Hall near Perdido and South Rampart streets, a building adjacent to the Eagle Saloon, a famed early jazz venue where Buddy Bolden had once played.
The Picayune report was not as detailed as The Times-Democrat’s, but it did note that “the band from the Negro Waifs Home played excellent music, and the services of the young musicians were much appreciated. Hymns were mingled with other selections.”
Ricky Riccardi, the archivist at the Louis Armstrong House and Museum in New York and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years,” described the discovery of new details about the songs Armstrong learned as a budding musician as sensational.
“The choices of ‘Dixie’ and ‘Little Bunch of Shamrocks’ show Louis already being trained in the popular music of the day,” Riccardi said in an email last week. “We know from interviews that his vocal quartet featured numbers such as ‘Down on the Amazon (My Brazilian Beauty)’ and ‘Shine On Harvest Moon,’ so it’s telling that Armstrong was already learning to embrace all kinds of music at such a young age, something that would help his career skyrocket when he found success in the 1930s recording everything from Stephen Foster tunes to Hawaiian music to ‘La Cucaracha.'”
An estimated 12,000 children received gifts at the two toy giveaways on Christmas in 1913, according to the newspapers.
“It was a significant event — this distribution of gifts to the needy negro children — significant for the spirit of the giving and for the spirit of the receiving,” The Times-Democrat wrote.
Armstrong and his band, as you might guess, were a hit.
“At the close, a ‘nickel collection’ was taken among negro citizens present,” The Times-Democrat wrote of the Pythian Temple show, “and the musicians received a veritable coin shower.”
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=1491709330) | 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=1491709330&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
Story reveals early Louis Armstrong playlist | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/12/for_louis_armstrong_christmas.html
** Story reveals early Louis Armstrong playlist
————————————————————
By James Karst, NOLA.com | The Times-Picayune (http://connect.nola.com/user/jameskarst/posts.html)
dollttoy1226133.jpg
Louis Armstrong (http://topics.nola.com/tag/louis%20armstrong/) was a blossoming musician as 1913 drew to a close, having been the leader since that spring of the band at the Colored Waifs Home, an institution for delinquent, orphaned and neglected black children to which he had been sent at the start of the year.
The young musicians had paraded through the streets of the city in May and in November provided the accompaniment for a play staged at the Crescent Theatre, receiving favorable reviews in the local press for both.
At Christmastime in New Orleans, Armstrong, then 12, was doing what many performers do on the holidays: working. He and the Colored Waifs Home band played two shows on Christmas Day before thousands of people, at venues at the very heart of early jazz in New Orleans, according to newly discovered stories from local newspaper archives that shed light on Armstrong’s early music training.
That morning or early afternoon, on the second floor of the Pythian Temple, a building that still stands on Loyola Avenue near Gravier Street, the Colored Waifs Home band had its first show of the day at The Times-Democrat’s holiday gift fund giveaway for needy black children.
http://media.nola.com/entertainment_impact_music/photo/dolltoy1226132jpeg-1a7e9032a87c7507.jpegThis is from the Dec. 26, 1913, Times-Democrat. The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.The Times-Picayune archive
“Music was furnished by a band from the Colored Waifs’ Home,” wrote The Times-Democrat, a forerunner to The Times-Picayune, in a story about the event published Dec. 26, 1913. “It was at the suggestion of T.H. Agnew, superintendent of the training school of the Society for the Prevention of Cruelty to Children, that the services of the band were enlisted, and Mr. Agnew himself was among the spectators who enjoyed the spectacle.”
The story names each of the band members, starting with the founder of the Colored Waifs Home band, and even lists some of the tunes they played, perhaps the earliest documented collection of songs performed by Armstrong.
“The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.
“The band played ‘Little Bunch of Shamrock’ (sic), ‘Dixie,’ ‘Maryland, My Maryland,’ ‘America’ and other selections.”
According to the rival Daily Picayune, the band later made its way around the corner to another toy giveaway, this one organized by the Mystic Order of Hobgoblins, a black social aid organization whose members included Capt. Joseph Jones, a Spanish-American War veteran who operated the Colored Waifs Home. This event was in the Masonic and Odd Fellows Hall near Perdido and South Rampart streets, a building adjacent to the Eagle Saloon, a famed early jazz venue where Buddy Bolden had once played.
The Picayune report was not as detailed as The Times-Democrat’s, but it did note that “the band from the Negro Waifs Home played excellent music, and the services of the young musicians were much appreciated. Hymns were mingled with other selections.”
Ricky Riccardi, the archivist at the Louis Armstrong House and Museum in New York and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years,” described the discovery of new details about the songs Armstrong learned as a budding musician as sensational.
“The choices of ‘Dixie’ and ‘Little Bunch of Shamrocks’ show Louis already being trained in the popular music of the day,” Riccardi said in an email last week. “We know from interviews that his vocal quartet featured numbers such as ‘Down on the Amazon (My Brazilian Beauty)’ and ‘Shine On Harvest Moon,’ so it’s telling that Armstrong was already learning to embrace all kinds of music at such a young age, something that would help his career skyrocket when he found success in the 1930s recording everything from Stephen Foster tunes to Hawaiian music to ‘La Cucaracha.'”
An estimated 12,000 children received gifts at the two toy giveaways on Christmas in 1913, according to the newspapers.
“It was a significant event — this distribution of gifts to the needy negro children — significant for the spirit of the giving and for the spirit of the receiving,” The Times-Democrat wrote.
Armstrong and his band, as you might guess, were a hit.
“At the close, a ‘nickel collection’ was taken among negro citizens present,” The Times-Democrat wrote of the Pythian Temple show, “and the musicians received a veritable coin shower.”
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=1491709330) | 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=1491709330&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
Story reveals early Louis Armstrong playlist | NOLA.com
http://www.jazzpromoservices.com/
http://www.nola.com/music/index.ssf/2015/12/for_louis_armstrong_christmas.html
** Story reveals early Louis Armstrong playlist
————————————————————
By James Karst, NOLA.com | The Times-Picayune (http://connect.nola.com/user/jameskarst/posts.html)
dollttoy1226133.jpg
Louis Armstrong (http://topics.nola.com/tag/louis%20armstrong/) was a blossoming musician as 1913 drew to a close, having been the leader since that spring of the band at the Colored Waifs Home, an institution for delinquent, orphaned and neglected black children to which he had been sent at the start of the year.
The young musicians had paraded through the streets of the city in May and in November provided the accompaniment for a play staged at the Crescent Theatre, receiving favorable reviews in the local press for both.
At Christmastime in New Orleans, Armstrong, then 12, was doing what many performers do on the holidays: working. He and the Colored Waifs Home band played two shows on Christmas Day before thousands of people, at venues at the very heart of early jazz in New Orleans, according to newly discovered stories from local newspaper archives that shed light on Armstrong’s early music training.
That morning or early afternoon, on the second floor of the Pythian Temple, a building that still stands on Loyola Avenue near Gravier Street, the Colored Waifs Home band had its first show of the day at The Times-Democrat’s holiday gift fund giveaway for needy black children.
http://media.nola.com/entertainment_impact_music/photo/dolltoy1226132jpeg-1a7e9032a87c7507.jpegThis is from the Dec. 26, 1913, Times-Democrat. The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.The Times-Picayune archive
“Music was furnished by a band from the Colored Waifs’ Home,” wrote The Times-Democrat, a forerunner to The Times-Picayune, in a story about the event published Dec. 26, 1913. “It was at the suggestion of T.H. Agnew, superintendent of the training school of the Society for the Prevention of Cruelty to Children, that the services of the band were enlisted, and Mr. Agnew himself was among the spectators who enjoyed the spectacle.”
The story names each of the band members, starting with the founder of the Colored Waifs Home band, and even lists some of the tunes they played, perhaps the earliest documented collection of songs performed by Armstrong.
“The band comprises Peter Davis, trainer, cornet; Louis Armstrong, leader, cornet; S. Johnson, cornet; Richard Williams, trombone; Henry Rainey, alto (presumably Henry Rena, an early jazz figure better known as Kid Rena); Isaac Smoot, bass drum; Charles Dejon, James Brown and Louis Smith, tenor drums.
“The band played ‘Little Bunch of Shamrock’ (sic), ‘Dixie,’ ‘Maryland, My Maryland,’ ‘America’ and other selections.”
According to the rival Daily Picayune, the band later made its way around the corner to another toy giveaway, this one organized by the Mystic Order of Hobgoblins, a black social aid organization whose members included Capt. Joseph Jones, a Spanish-American War veteran who operated the Colored Waifs Home. This event was in the Masonic and Odd Fellows Hall near Perdido and South Rampart streets, a building adjacent to the Eagle Saloon, a famed early jazz venue where Buddy Bolden had once played.
The Picayune report was not as detailed as The Times-Democrat’s, but it did note that “the band from the Negro Waifs Home played excellent music, and the services of the young musicians were much appreciated. Hymns were mingled with other selections.”
Ricky Riccardi, the archivist at the Louis Armstrong House and Museum in New York and author of “What a Wonderful World: The Magic of Louis Armstrong’s Later Years,” described the discovery of new details about the songs Armstrong learned as a budding musician as sensational.
“The choices of ‘Dixie’ and ‘Little Bunch of Shamrocks’ show Louis already being trained in the popular music of the day,” Riccardi said in an email last week. “We know from interviews that his vocal quartet featured numbers such as ‘Down on the Amazon (My Brazilian Beauty)’ and ‘Shine On Harvest Moon,’ so it’s telling that Armstrong was already learning to embrace all kinds of music at such a young age, something that would help his career skyrocket when he found success in the 1930s recording everything from Stephen Foster tunes to Hawaiian music to ‘La Cucaracha.'”
An estimated 12,000 children received gifts at the two toy giveaways on Christmas in 1913, according to the newspapers.
“It was a significant event — this distribution of gifts to the needy negro children — significant for the spirit of the giving and for the spirit of the receiving,” The Times-Democrat wrote.
Armstrong and his band, as you might guess, were a hit.
“At the close, a ‘nickel collection’ was taken among negro citizens present,” The Times-Democrat wrote of the Pythian Temple show, “and the musicians received a veritable coin shower.”
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=1491709330) | 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=1491709330&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
Turntables Were a Big Christmas Present in 2015 ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/turntables-were-big-christmas-present.html?utm_source=VVN+Music+E-Mail+Subscribers
** Turntables Were a Big Christmas Present in 2015
————————————————————
http://www.amazon.com/gp/product/B00BCA4116/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BCA4116&linkCode=as2&tag=winkscoll-20&linkId=SYP7JCKVCKS3FWT2The vinyl resurgence continued in 2015 in both the U.S. and England.
The most striking statistic was recently reported by the British chain HMV who stated they sold one turntable per minute, on average, in the week before Christmas. The company’s CEO, Ian Topping, stated that “Entertainment products form a major part of the Christmas shopping list. The gift of the year in 2015, though, has to be a turntable as we see a huge resurgence in the sales of vinyl.”
For Britain, that resurgence has seen a ten-fold increase in vinyl sales over the last eight years. Gennaro Costaldo of Britain’s BPI told the Scottsman (http://www.scotsman.com/business/one-turntable-sold-every-minute-as-fans-of-vinyl-rock-market-1-3982841) “The vinyl revival is one of the fairytale success stories of recent years. Having faced near-extinction in 2007, when only 205,000 LPs were sold, it’s likely we’ll see the best part of two million copies purchased this year.”
Those numbers were also reflected in the U.S. where Amazon reports that their top selling item for the Christmas season in Home Audio was the Jensen JTA-230 3-Speed Stereo Turntable with Built-in Speakers (above right). That device, priced at just over $50, also includes a USB port to make digital copies of the records.
Final number for vinyl sales in 2015 should be out later this month.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=127db16fde) | 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=127db16fde&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
Turntables Were a Big Christmas Present in 2015 ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/turntables-were-big-christmas-present.html?utm_source=VVN+Music+E-Mail+Subscribers
** Turntables Were a Big Christmas Present in 2015
————————————————————
http://www.amazon.com/gp/product/B00BCA4116/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BCA4116&linkCode=as2&tag=winkscoll-20&linkId=SYP7JCKVCKS3FWT2The vinyl resurgence continued in 2015 in both the U.S. and England.
The most striking statistic was recently reported by the British chain HMV who stated they sold one turntable per minute, on average, in the week before Christmas. The company’s CEO, Ian Topping, stated that “Entertainment products form a major part of the Christmas shopping list. The gift of the year in 2015, though, has to be a turntable as we see a huge resurgence in the sales of vinyl.”
For Britain, that resurgence has seen a ten-fold increase in vinyl sales over the last eight years. Gennaro Costaldo of Britain’s BPI told the Scottsman (http://www.scotsman.com/business/one-turntable-sold-every-minute-as-fans-of-vinyl-rock-market-1-3982841) “The vinyl revival is one of the fairytale success stories of recent years. Having faced near-extinction in 2007, when only 205,000 LPs were sold, it’s likely we’ll see the best part of two million copies purchased this year.”
Those numbers were also reflected in the U.S. where Amazon reports that their top selling item for the Christmas season in Home Audio was the Jensen JTA-230 3-Speed Stereo Turntable with Built-in Speakers (above right). That device, priced at just over $50, also includes a USB port to make digital copies of the records.
Final number for vinyl sales in 2015 should be out later this month.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=127db16fde) | 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=127db16fde&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Turntables Were a Big Christmas Present in 2015 ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/turntables-were-big-christmas-present.html?utm_source=VVN+Music+E-Mail+Subscribers
** Turntables Were a Big Christmas Present in 2015
————————————————————
http://www.amazon.com/gp/product/B00BCA4116/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00BCA4116&linkCode=as2&tag=winkscoll-20&linkId=SYP7JCKVCKS3FWT2The vinyl resurgence continued in 2015 in both the U.S. and England.
The most striking statistic was recently reported by the British chain HMV who stated they sold one turntable per minute, on average, in the week before Christmas. The company’s CEO, Ian Topping, stated that “Entertainment products form a major part of the Christmas shopping list. The gift of the year in 2015, though, has to be a turntable as we see a huge resurgence in the sales of vinyl.”
For Britain, that resurgence has seen a ten-fold increase in vinyl sales over the last eight years. Gennaro Costaldo of Britain’s BPI told the Scottsman (http://www.scotsman.com/business/one-turntable-sold-every-minute-as-fans-of-vinyl-rock-market-1-3982841) “The vinyl revival is one of the fairytale success stories of recent years. Having faced near-extinction in 2007, when only 205,000 LPs were sold, it’s likely we’ll see the best part of two million copies purchased this year.”
Those numbers were also reflected in the U.S. where Amazon reports that their top selling item for the Christmas season in Home Audio was the Jensen JTA-230 3-Speed Stereo Turntable with Built-in Speakers (above right). That device, priced at just over $50, also includes a USB port to make digital copies of the records.
Final number for vinyl sales in 2015 should be out later this month.
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Passings: Robert Stigwood (1934 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/passings-robert-stigwood-1934-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Robert Stigwood (1934 – 2016)
————————————————————
http://3.bp.blogspot.com/-1U9GKxtArcQ/Vor7FH_L8AI/AAAAAAABCsY/9skWjA0R9A8/s1600/Stigwood.jpg
Robert Stigwood, who managed such supergroups as Cream and the Bee Gees, produced the movies Saturday Night Fever and Grease, and founded RSO Records, has died at the age of 81. No cause of death has been announced.
Reaction from the music world and his colleagues has been swift. Andrew Lloyd Webber wrote “Farewell beloved Robert, the great showman who taught me so much. With love, ALW.” While Spencer Gibb, the son of the late Robin Gibb of the Bee Gees, wrote:
I would like to share the sad news with you all, that my godfather, and the longtime manager of my family, Robert Stigwood, has passed away. A creative genius with a very quick and dry wit, Robert was the driving force behind The Bee Gees career, as well as having discovered Cream, and subsequently managing Eric Clapton. He was also of course, the creator of the movies Saturday Night Fever and Grease, and many Broadway musicals with Tim Rice and Andrew Lloyd Webber. RSO Records pretty much defined the late 70’s. Of course, his biography is very extensive and can easily be found online…..I would like to thank Robert for his kindness to me over the years as well as his mentorship to my family. “Stiggy”, you will be missed.
Stigwood was born in Australia but moved to England at the age of 21 and, at first, did jobs such as supervising at an institution for “backward teenage boys” and in theaters around the country. He formed the firm Robert Stigwood Associates, Ltd. with partner Stephen Komlosy where the two would manage actors trying to get their big break.
One of those actors, John Leyton, was able to break out on the record charts with the song Johnny Remember Me (1961 / #1 U.K.) which was produced by Stigwood and Joe Meek (the Tornados). A manager also producing, or doing any other job outside of overseeing artists, was unheard of at that time in the U.K. and the combination of Stigwood and Meek was a totally new concept for the British industry.
Over the next two years, Leyton, under the eye of Stigwood and Meek, would have seven move top fifty hits. In late-1961, Meek moved on and Stigwood signed an agreement with EMI where he produced for such artists as Mike Sarne and Mike Berry.
Even with his growing reputation, Stigwood hit tough financial times in the mid-60’s and he resorted to promoting shows to make ends meet. In 1966, he was able to strike a deal to become the Who’s booking agent and eventually parlayed it into signing them to his new Reaction label. The same year, he signed up to manage the new band Cream whom he booked as the Who’s opening act for a nine-night run at the RKO theater in New York, one of the group’s first big breaks in the U.S. A new deal between Stigwood and Polydor also helped him fund the recording of Cream’s first album in New York.
On January 13, 1967, Stigwood company merged with Brian Epstein’s NEMS Enterprises. The merger, though, was a rocky one. The Beatles outright refused to work with Stigwood and Epstein grew weary of Robert’s management style.
During his time with NEMS, Stigwood brought a young Australian group to the U.K. called the Bee Gees. Much of his time, and money spent, with NEMS was in breaking the band in Britain and the U.S. which he did with the top twenty hit New York Mining Disaster 1941 and the followup, Massachusetts.
When Brian Epstein died in August 1967, his brother Clive took over the company and, by the end of the year, Stigwood had left to form his new Robert Stigwood Organization (RSO). It was under his own company and control that he truly flourished, expanding into a number of entertainment areas. His promotion arm worked with Mick Jagger, Rod Stewart and David Bowie while his RSO records was the home of Eric Clapton, the Bee Gees, Andy Gibb, Player, Yvonne Elliman and many other along with, more importantly, the label that released some of the biggest soundtracks in history including Saturday Night Fever, Grease, The Empire Strikes Back and Fame.
The Robert Stigwood Orgainizations film arm was the home of the previously mentioned Saturday Night Fever and Grease along with making such films as Tommy, Bugsy Malone, Evita and Staying Alive. All was not perfect, though, for RSO’s films as they also made the critically savaged Sgt. Pepper’s Lonely Hearts Club Band, Moment by Moment and Grease 2.
RSO also became involved in theater in the late 60’s, producing Hair for the West End in London along with other shows such as Pippin, Jesus Christ Superstar, Oh! Calcutta! and Evita.
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=2747d41f3f) | 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=2747d41f3f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Passings: Robert Stigwood (1934 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/passings-robert-stigwood-1934-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Robert Stigwood (1934 – 2016)
————————————————————
http://3.bp.blogspot.com/-1U9GKxtArcQ/Vor7FH_L8AI/AAAAAAABCsY/9skWjA0R9A8/s1600/Stigwood.jpg
Robert Stigwood, who managed such supergroups as Cream and the Bee Gees, produced the movies Saturday Night Fever and Grease, and founded RSO Records, has died at the age of 81. No cause of death has been announced.
Reaction from the music world and his colleagues has been swift. Andrew Lloyd Webber wrote “Farewell beloved Robert, the great showman who taught me so much. With love, ALW.” While Spencer Gibb, the son of the late Robin Gibb of the Bee Gees, wrote:
I would like to share the sad news with you all, that my godfather, and the longtime manager of my family, Robert Stigwood, has passed away. A creative genius with a very quick and dry wit, Robert was the driving force behind The Bee Gees career, as well as having discovered Cream, and subsequently managing Eric Clapton. He was also of course, the creator of the movies Saturday Night Fever and Grease, and many Broadway musicals with Tim Rice and Andrew Lloyd Webber. RSO Records pretty much defined the late 70’s. Of course, his biography is very extensive and can easily be found online…..I would like to thank Robert for his kindness to me over the years as well as his mentorship to my family. “Stiggy”, you will be missed.
Stigwood was born in Australia but moved to England at the age of 21 and, at first, did jobs such as supervising at an institution for “backward teenage boys” and in theaters around the country. He formed the firm Robert Stigwood Associates, Ltd. with partner Stephen Komlosy where the two would manage actors trying to get their big break.
One of those actors, John Leyton, was able to break out on the record charts with the song Johnny Remember Me (1961 / #1 U.K.) which was produced by Stigwood and Joe Meek (the Tornados). A manager also producing, or doing any other job outside of overseeing artists, was unheard of at that time in the U.K. and the combination of Stigwood and Meek was a totally new concept for the British industry.
Over the next two years, Leyton, under the eye of Stigwood and Meek, would have seven move top fifty hits. In late-1961, Meek moved on and Stigwood signed an agreement with EMI where he produced for such artists as Mike Sarne and Mike Berry.
Even with his growing reputation, Stigwood hit tough financial times in the mid-60’s and he resorted to promoting shows to make ends meet. In 1966, he was able to strike a deal to become the Who’s booking agent and eventually parlayed it into signing them to his new Reaction label. The same year, he signed up to manage the new band Cream whom he booked as the Who’s opening act for a nine-night run at the RKO theater in New York, one of the group’s first big breaks in the U.S. A new deal between Stigwood and Polydor also helped him fund the recording of Cream’s first album in New York.
On January 13, 1967, Stigwood company merged with Brian Epstein’s NEMS Enterprises. The merger, though, was a rocky one. The Beatles outright refused to work with Stigwood and Epstein grew weary of Robert’s management style.
During his time with NEMS, Stigwood brought a young Australian group to the U.K. called the Bee Gees. Much of his time, and money spent, with NEMS was in breaking the band in Britain and the U.S. which he did with the top twenty hit New York Mining Disaster 1941 and the followup, Massachusetts.
When Brian Epstein died in August 1967, his brother Clive took over the company and, by the end of the year, Stigwood had left to form his new Robert Stigwood Organization (RSO). It was under his own company and control that he truly flourished, expanding into a number of entertainment areas. His promotion arm worked with Mick Jagger, Rod Stewart and David Bowie while his RSO records was the home of Eric Clapton, the Bee Gees, Andy Gibb, Player, Yvonne Elliman and many other along with, more importantly, the label that released some of the biggest soundtracks in history including Saturday Night Fever, Grease, The Empire Strikes Back and Fame.
The Robert Stigwood Orgainizations film arm was the home of the previously mentioned Saturday Night Fever and Grease along with making such films as Tommy, Bugsy Malone, Evita and Staying Alive. All was not perfect, though, for RSO’s films as they also made the critically savaged Sgt. Pepper’s Lonely Hearts Club Band, Moment by Moment and Grease 2.
RSO also became involved in theater in the late 60’s, producing Hair for the West End in London along with other shows such as Pippin, Jesus Christ Superstar, Oh! Calcutta! and Evita.
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=2747d41f3f) | 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=2747d41f3f&e=[UNIQID])
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!
Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Passings: Robert Stigwood (1934 – 2016) ~ VVN Music
http://www.jazzpromoservices.com/
http://www.vintagevinylnews.com/2016/01/passings-robert-stigwood-1934-2016.html?utm_source=VVN+Music+E-Mail+Subscribers
** Passings: Robert Stigwood (1934 – 2016)
————————————————————
http://3.bp.blogspot.com/-1U9GKxtArcQ/Vor7FH_L8AI/AAAAAAABCsY/9skWjA0R9A8/s1600/Stigwood.jpg
Robert Stigwood, who managed such supergroups as Cream and the Bee Gees, produced the movies Saturday Night Fever and Grease, and founded RSO Records, has died at the age of 81. No cause of death has been announced.
Reaction from the music world and his colleagues has been swift. Andrew Lloyd Webber wrote “Farewell beloved Robert, the great showman who taught me so much. With love, ALW.” While Spencer Gibb, the son of the late Robin Gibb of the Bee Gees, wrote:
I would like to share the sad news with you all, that my godfather, and the longtime manager of my family, Robert Stigwood, has passed away. A creative genius with a very quick and dry wit, Robert was the driving force behind The Bee Gees career, as well as having discovered Cream, and subsequently managing Eric Clapton. He was also of course, the creator of the movies Saturday Night Fever and Grease, and many Broadway musicals with Tim Rice and Andrew Lloyd Webber. RSO Records pretty much defined the late 70’s. Of course, his biography is very extensive and can easily be found online…..I would like to thank Robert for his kindness to me over the years as well as his mentorship to my family. “Stiggy”, you will be missed.
Stigwood was born in Australia but moved to England at the age of 21 and, at first, did jobs such as supervising at an institution for “backward teenage boys” and in theaters around the country. He formed the firm Robert Stigwood Associates, Ltd. with partner Stephen Komlosy where the two would manage actors trying to get their big break.
One of those actors, John Leyton, was able to break out on the record charts with the song Johnny Remember Me (1961 / #1 U.K.) which was produced by Stigwood and Joe Meek (the Tornados). A manager also producing, or doing any other job outside of overseeing artists, was unheard of at that time in the U.K. and the combination of Stigwood and Meek was a totally new concept for the British industry.
Over the next two years, Leyton, under the eye of Stigwood and Meek, would have seven move top fifty hits. In late-1961, Meek moved on and Stigwood signed an agreement with EMI where he produced for such artists as Mike Sarne and Mike Berry.
Even with his growing reputation, Stigwood hit tough financial times in the mid-60’s and he resorted to promoting shows to make ends meet. In 1966, he was able to strike a deal to become the Who’s booking agent and eventually parlayed it into signing them to his new Reaction label. The same year, he signed up to manage the new band Cream whom he booked as the Who’s opening act for a nine-night run at the RKO theater in New York, one of the group’s first big breaks in the U.S. A new deal between Stigwood and Polydor also helped him fund the recording of Cream’s first album in New York.
On January 13, 1967, Stigwood company merged with Brian Epstein’s NEMS Enterprises. The merger, though, was a rocky one. The Beatles outright refused to work with Stigwood and Epstein grew weary of Robert’s management style.
During his time with NEMS, Stigwood brought a young Australian group to the U.K. called the Bee Gees. Much of his time, and money spent, with NEMS was in breaking the band in Britain and the U.S. which he did with the top twenty hit New York Mining Disaster 1941 and the followup, Massachusetts.
When Brian Epstein died in August 1967, his brother Clive took over the company and, by the end of the year, Stigwood had left to form his new Robert Stigwood Organization (RSO). It was under his own company and control that he truly flourished, expanding into a number of entertainment areas. His promotion arm worked with Mick Jagger, Rod Stewart and David Bowie while his RSO records was the home of Eric Clapton, the Bee Gees, Andy Gibb, Player, Yvonne Elliman and many other along with, more importantly, the label that released some of the biggest soundtracks in history including Saturday Night Fever, Grease, The Empire Strikes Back and Fame.
The Robert Stigwood Orgainizations film arm was the home of the previously mentioned Saturday Night Fever and Grease along with making such films as Tommy, Bugsy Malone, Evita and Staying Alive. All was not perfect, though, for RSO’s films as they also made the critically savaged Sgt. Pepper’s Lonely Hearts Club Band, Moment by Moment and Grease 2.
RSO also became involved in theater in the late 60’s, producing Hair for the West End in London along with other shows such as Pippin, Jesus Christ Superstar, Oh! Calcutta! and Evita.
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=2747d41f3f) | 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=2747d41f3f&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
Timothy Malcolm: Cassette tapes and vinyl records are back in the groove – News – recordonline.com – Middletown, NY
http://www.jazzpromoservices.com/
http://www.recordonline.com/article/20160104/NEWS/160109825/0/SEARCH
** Timothy Malcolm: Cassette tapes and vinyl records are back in the groove
————————————————————
Posted Jan. 4, 2016 at 5:28 PM
Because I’m a millennial, I’ve been thinking lately about buying a turntable.
Yes, I know it’s really a record player, but I don’t necessarily consider the things they’re selling at Urban Outfitters – the millennial-focused clothing store – actual record players. These are cute, colorful boxes where, inside, you find a turntable with a needle. There you can play your records, like the newest classic from the Weeknd. Did you know the Weeknd has about 20 different vinyl records out?
If I’ve lost you, The Weeknd has that song “I Can’t Feel My Face.” It’s about drugs. He also has the song “The Hills.” That’s also about drugs.
Anyway, I own a couple vinyl records, including Talking Heads’ “Fear of Music” and Elvis Costello’s “Armed Forces,” among others. I would like to play these and, yes, would like to own and play more vinyl. Every few months I’ll stumble into Jack’s Rhythms and Rhino Records, peruse the shelves and think, “This is the day I buy Steely Dan’s ‘Katy Lied.’ … OK, next time.”
But recently, while pacing inside Urban Outfitters, I noticed it wasn’t just about vinyl anymore. Suddenly we’re back to cassettes, those plastic cartridges filled with that annoying tape that gets away from you and suddenly, yup, no more cassette.
The store was carrying a collection of cassettes, but we’re not talking about a bargain bin filled with six copies of Amy Grant’s “Heart in Motion.” These were new, fresh cassettes from today’s hottest artists. Did you know The Weeknd has about five different cassettes out?
According to the Recording Industry Association of America, vinyl sales were 52.1 percent higher in the first half of 2015 as compared to the same time in 2014. During that same period, CD sales declined 32.5 percent. The rate of vinyl sales is even surpassing streaming services like Spotify, whose “Discover” playlist – sent to you once a week based on your previous Spotify choices – acts like a mix tape made for you by a close friend.
Urban Outfitters is looking at the youngest millennials, who use Instagram and Snapchat to share everything with their very closest friends. The cassette – which allows for a culture of easily creating and sharing mixes for friends – is its opportunity to reach those people through music. I’m not sure we’ll be getting a Walkman renaissance in 2016, but just be on the lookout for more cassettes. And parents of kids ages 15-25: Your kid may be interested.
Me? I’m still looking for a turntable. That was confirmed to me last week while visiting my dad.
I don’t think Dad read my column about sharing music with my future kid, so I’m pretty sure it was serendipitous that, after a lovely holiday dinner, Dad brought us to his apartment to show off his new … turntable. He wanted to play a record that touched him when he was 25, “The Kenny Rankin Album.”
He dropped the needle, and the smoothest strings and lightest percussion soared through. Then came Kenny’s voice. The late singer had a voice like velvet. Dad kept his ear close to the record. He smiled. He exhaled happily. I felt so overjoyed.
Read more from Timothy at tsmalcolm.com (http://tsmalcolm.com/) . Email him at tsmalcolm@gmail.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
Timothy Malcolm: Cassette tapes and vinyl records are back in the groove – News – recordonline.com – Middletown, NY
http://www.jazzpromoservices.com/
http://www.recordonline.com/article/20160104/NEWS/160109825/0/SEARCH
** Timothy Malcolm: Cassette tapes and vinyl records are back in the groove
————————————————————
Posted Jan. 4, 2016 at 5:28 PM
Because I’m a millennial, I’ve been thinking lately about buying a turntable.
Yes, I know it’s really a record player, but I don’t necessarily consider the things they’re selling at Urban Outfitters – the millennial-focused clothing store – actual record players. These are cute, colorful boxes where, inside, you find a turntable with a needle. There you can play your records, like the newest classic from the Weeknd. Did you know the Weeknd has about 20 different vinyl records out?
If I’ve lost you, The Weeknd has that song “I Can’t Feel My Face.” It’s about drugs. He also has the song “The Hills.” That’s also about drugs.
Anyway, I own a couple vinyl records, including Talking Heads’ “Fear of Music” and Elvis Costello’s “Armed Forces,” among others. I would like to play these and, yes, would like to own and play more vinyl. Every few months I’ll stumble into Jack’s Rhythms and Rhino Records, peruse the shelves and think, “This is the day I buy Steely Dan’s ‘Katy Lied.’ … OK, next time.”
But recently, while pacing inside Urban Outfitters, I noticed it wasn’t just about vinyl anymore. Suddenly we’re back to cassettes, those plastic cartridges filled with that annoying tape that gets away from you and suddenly, yup, no more cassette.
The store was carrying a collection of cassettes, but we’re not talking about a bargain bin filled with six copies of Amy Grant’s “Heart in Motion.” These were new, fresh cassettes from today’s hottest artists. Did you know The Weeknd has about five different cassettes out?
According to the Recording Industry Association of America, vinyl sales were 52.1 percent higher in the first half of 2015 as compared to the same time in 2014. During that same period, CD sales declined 32.5 percent. The rate of vinyl sales is even surpassing streaming services like Spotify, whose “Discover” playlist – sent to you once a week based on your previous Spotify choices – acts like a mix tape made for you by a close friend.
Urban Outfitters is looking at the youngest millennials, who use Instagram and Snapchat to share everything with their very closest friends. The cassette – which allows for a culture of easily creating and sharing mixes for friends – is its opportunity to reach those people through music. I’m not sure we’ll be getting a Walkman renaissance in 2016, but just be on the lookout for more cassettes. And parents of kids ages 15-25: Your kid may be interested.
Me? I’m still looking for a turntable. That was confirmed to me last week while visiting my dad.
I don’t think Dad read my column about sharing music with my future kid, so I’m pretty sure it was serendipitous that, after a lovely holiday dinner, Dad brought us to his apartment to show off his new … turntable. He wanted to play a record that touched him when he was 25, “The Kenny Rankin Album.”
He dropped the needle, and the smoothest strings and lightest percussion soared through. Then came Kenny’s voice. The late singer had a voice like velvet. Dad kept his ear close to the record. He smiled. He exhaled happily. I felt so overjoyed.
Read more from Timothy at tsmalcolm.com (http://tsmalcolm.com/) . Email him at tsmalcolm@gmail.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=d829e816b9) | 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=d829e816b9&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
Timothy Malcolm: Cassette tapes and vinyl records are back in the groove – News – recordonline.com – Middletown, NY
http://www.jazzpromoservices.com/
http://www.recordonline.com/article/20160104/NEWS/160109825/0/SEARCH
** Timothy Malcolm: Cassette tapes and vinyl records are back in the groove
————————————————————
Posted Jan. 4, 2016 at 5:28 PM
Because I’m a millennial, I’ve been thinking lately about buying a turntable.
Yes, I know it’s really a record player, but I don’t necessarily consider the things they’re selling at Urban Outfitters – the millennial-focused clothing store – actual record players. These are cute, colorful boxes where, inside, you find a turntable with a needle. There you can play your records, like the newest classic from the Weeknd. Did you know the Weeknd has about 20 different vinyl records out?
If I’ve lost you, The Weeknd has that song “I Can’t Feel My Face.” It’s about drugs. He also has the song “The Hills.” That’s also about drugs.
Anyway, I own a couple vinyl records, including Talking Heads’ “Fear of Music” and Elvis Costello’s “Armed Forces,” among others. I would like to play these and, yes, would like to own and play more vinyl. Every few months I’ll stumble into Jack’s Rhythms and Rhino Records, peruse the shelves and think, “This is the day I buy Steely Dan’s ‘Katy Lied.’ … OK, next time.”
But recently, while pacing inside Urban Outfitters, I noticed it wasn’t just about vinyl anymore. Suddenly we’re back to cassettes, those plastic cartridges filled with that annoying tape that gets away from you and suddenly, yup, no more cassette.
The store was carrying a collection of cassettes, but we’re not talking about a bargain bin filled with six copies of Amy Grant’s “Heart in Motion.” These were new, fresh cassettes from today’s hottest artists. Did you know The Weeknd has about five different cassettes out?
According to the Recording Industry Association of America, vinyl sales were 52.1 percent higher in the first half of 2015 as compared to the same time in 2014. During that same period, CD sales declined 32.5 percent. The rate of vinyl sales is even surpassing streaming services like Spotify, whose “Discover” playlist – sent to you once a week based on your previous Spotify choices – acts like a mix tape made for you by a close friend.
Urban Outfitters is looking at the youngest millennials, who use Instagram and Snapchat to share everything with their very closest friends. The cassette – which allows for a culture of easily creating and sharing mixes for friends – is its opportunity to reach those people through music. I’m not sure we’ll be getting a Walkman renaissance in 2016, but just be on the lookout for more cassettes. And parents of kids ages 15-25: Your kid may be interested.
Me? I’m still looking for a turntable. That was confirmed to me last week while visiting my dad.
I don’t think Dad read my column about sharing music with my future kid, so I’m pretty sure it was serendipitous that, after a lovely holiday dinner, Dad brought us to his apartment to show off his new … turntable. He wanted to play a record that touched him when he was 25, “The Kenny Rankin Album.”
He dropped the needle, and the smoothest strings and lightest percussion soared through. Then came Kenny’s voice. The late singer had a voice like velvet. Dad kept his ear close to the record. He smiled. He exhaled happily. I felt so overjoyed.
Read more from Timothy at tsmalcolm.com (http://tsmalcolm.com/) . Email him at tsmalcolm@gmail.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=d829e816b9) | 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=d829e816b9&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
Accordion Store’s Departure Signals End of Manhattan’s Music Row – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/04/nyregion/accordion-stores-departure-signals-end-of-manhattans-music-row.html
** Accordion Store’s Departure Signals End of Manhattan’s Music Row
————————————————————
By PATRICK McGEEHAN (http://topics.nytimes.com/top/reference/timestopics/people/m/patrick_mcgeehan/index.html) JAN. 3, 2016
Alex Musical Instruments, the last musical instrument shop on a block in Manhattan once celebrated as Music Row, at its new location on West 54th Street. Ramsay de Give for The New York Times
For decades, musicians from around the world flocked to a segment of West 48th Street in Manhattan that was known as Music Row. Both sides of the block, just off Times Square, were lined with shops that sold and repaired guitars, drums, keyboards and other instruments.
But the music finally died there in December when the last holdout, Alex Carozza, packed up his accordion store and 50 years of memories and moved off the block. Now, all that is left of Music Row are the signs and awnings that beckoned to virtuosos and neophytes alike. The block is haunted by empty buildings and the occasional tourist straining for some echo of its harmonious past.
Where once there were Manny’s and Rudy’s and New York Woodwind and Brass, Frank Wolf Drummers Supplies and We Buy Guitars, now there are demolition crews, “for rent” notices and a construction office for the glass tower going up around the corner.
“Musically, it’s kind of depressing,” Mario Tacca, an accordion player and longtime patron of Music Row, said. “I guess it’s part of the new world that we’re living in. The old world is kind of disappearing slowly. It’s kind of sad to see.”
Charles Ponte, left, at his store on Music Row in 1968, when music shops there first started closing. In a New York Times article from the time, he predicted that “every last one of them” would be gone within a year. Patrick A. Burns/The New York Times
Music Row’s demise was a long time in coming (http://timesmachine.nytimes.com/timesmachine/1968/02/03/77168097.html?pageNumber=31) , brought on by the soaring value of real estate and the conveniences offered by the Internet — those modern forces that have reshaped so much of New York City’s commercial landscape. The earthbound merchants of musical instruments that have survived are scattered about the city now: Rudy’s (http://rudysmusic.com/) guitar shop to SoHo, Sam Ash (http://samashmusic.com/new-york-city/) ’s superstore to 34th Street, Jon Baltimore (http://welcome.jonbaltimoremusic.com/) ’s horn store to 46th Street.
Mr. Tacca said he had not yet visited Mr. Carozza’s new location, tucked into an office building on a block of West 54th Street filled with the standard Midtown mix of restaurants, hotels, a bank branch and a gym. But when he does, he will not have to stand in line.
In the middle of a weekday just before Christmas, there were no customers to interrupt Mr. Carozza, 88, as he reminisced about the heyday of Music Row, when his shop employed 30 people and took in as much as $40 million a year.
“I used to sell 10, 15 accordions a week,” he said, adding that “my wife used to count the money all day.” But now, sitting in a cramped office wedged into the scaled-down version of Alex Musical Instruments (http://www.alexmusical.com/contact.html) , he said, “If you sell one, it’s like, hallelujah!”
Mr. Carozza, who was born in Italy, moved from Argentina to New York in the 1960s to be part of the city’s thriving music scene. He went to work in an accordion store on 48th Street and eventually opened his own shop on the block.
Not long after, Rudy Pensa left Argentina to pursue his dream of finding a place for himself on Music Row. “Everyone who was coming to America was coming to 48th Street,” he recalled. “Every band I was really watching and reading about, you found out they were coming to this place called 48th Street.” In 1972, he arrived and looked up Mr. Carozza, who hired him. “I came with a hundred bucks and a guitar,” Mr. Pensa said.
Before long, Mr. Pensa was on his way to being a purveyor of guitars to the stars. He opened his own shop, which came to be known as Rudy’s, in the 1970s. He kept it going for four decades until rising rent and a growing downtown clientele spurred him to leave the block for good in August.
Still, Mr. Pensa, 66, remains wistful about the object of his childhood daydreams.
Ramsay de Give for The New York Times
“It was a big family there,” he said. “I used to know everyone. It was really beautiful, man.”
It took no prodding to get Mr. Pensa to wax nostalgic about Music Row. “It was an experience,” he said. “You would go store to store. It was beautiful because everybody had different things.”
Tourists and wide-eyed teenagers would wander the block hoping for a brush, or at least a glimpse, of a famous musician. They traded tales of spotting Jimi Hendrix, Pete Townshend and other rock stars ordering instruments for their next tours.
But not everybody received a warm reception. Some New Yorkers remember how brusque the salesmen could be. “They used to be so rude, it was unbelievable,” Mr. Pensa said. Before they would let a customer handle a guitar, he recalled, “They would ask you, ‘Hey, do you have the money? Show me the money.’ ”
He remembered going into Manny’s Music in the 1970s, when the Times Square area was a more treacherous place, with his money tucked into his belt, “basically in my underwear.” As soon as he inquired about a guitar, he said, he was immediately asked to prove he could afford to buy it. “It was rude,” he said.
That attitude, he said, was one of the reasons he decided to open his own shop, which he originally called the Music Stop, then Rudy’s Music Stop, and eventually just Rudy’s. It thrived even though it practically faced Manny’s, an emporium of stringed instruments that was one of Music Row’s main draws.
David Amlen, who loitered on Music Row in his youth and now operates a recording studio, MSR Studios (http://www.msrstudiosny.com/) , on the block, said even budding superstars could get a bum’s rush. He recounted a story about the jazz guitarist George Benson being told: “Dude, you have got to leave. Either buy something or get out.”
MSR, a relative newcomer to Music Row when it arrived in 2005, is “the last man standing,” Scott Kubrin, who manages the studios, said. But it has no retail component. It provides space for performers of all sorts, including the casts of Broadway musicals, to record their work.
The last instrument shop on Music Row relocated in December, due in part to rising rents. Ramsay de Give for The New York Times
“It’s definitely depressing” to be surrounded by the ghosts of Music Row, Mr. Amlen said. “What was nice was if somebody was working here and said, ‘Hey, I need a guitar string or a drum head,’ they could just literally run across the street and buy one.”
Now, he said, he would send a runner as far as Sam Ash, about 15 blocks away.
Developers have bought up most of the surrounding property with designs on building hotels and office buildings, but, Mr. Amlen said, “We’re not going anywhere.”
Mr. Carozza capitalized on the demand for prime lots in Midtown years ago. After buying a building on Music Row for about $500,000 in the late 1970s, he sold it in 2008 for $33 million.
Hoping for a similar score, Mr. Pensa repeatedly offered to buy the building that housed his shop, he said. But his former landlord rebuffed him, saying, “Rudy, Rudy, Rudy, I don’t buy guitars, you don’t buy buildings.”
Mr. Pensa and others pegged the decline of Music Row to the closing of Manny’s (http://www.nytimes.com/2009/06/01/nyregion/01mannys.html) in 2009. Without Manny’s, Music Row was reduced to a half-block of stores, most of which had common ownership.
In the end, Mr. Pensa’s new landlord wanted to double the rent on 48th Street. Mr. Pensa balked, telling him that “nobody comes here anymore.”
“I would have loved to stay on 48th if more people had stayed,” he said. “What are you going to do? Nothing lasts forever.”
Besides, Mr. Pensa said, in SoHo he is closer to the lofts occupied by many of the stars of both stage and screen who can afford the expensive guitars he specializes in. He rattled off a list of contemporary musicians and actors who he said have been customers.
Then he added with obvious pride that one of his latest big sales was a jazz guitar to Mr. Benson.
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=027fd06f22) | 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=027fd06f22&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
Accordion Store’s Departure Signals End of Manhattan’s Music Row – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/04/nyregion/accordion-stores-departure-signals-end-of-manhattans-music-row.html
** Accordion Store’s Departure Signals End of Manhattan’s Music Row
————————————————————
By PATRICK McGEEHAN (http://topics.nytimes.com/top/reference/timestopics/people/m/patrick_mcgeehan/index.html) JAN. 3, 2016
Alex Musical Instruments, the last musical instrument shop on a block in Manhattan once celebrated as Music Row, at its new location on West 54th Street. Ramsay de Give for The New York Times
For decades, musicians from around the world flocked to a segment of West 48th Street in Manhattan that was known as Music Row. Both sides of the block, just off Times Square, were lined with shops that sold and repaired guitars, drums, keyboards and other instruments.
But the music finally died there in December when the last holdout, Alex Carozza, packed up his accordion store and 50 years of memories and moved off the block. Now, all that is left of Music Row are the signs and awnings that beckoned to virtuosos and neophytes alike. The block is haunted by empty buildings and the occasional tourist straining for some echo of its harmonious past.
Where once there were Manny’s and Rudy’s and New York Woodwind and Brass, Frank Wolf Drummers Supplies and We Buy Guitars, now there are demolition crews, “for rent” notices and a construction office for the glass tower going up around the corner.
“Musically, it’s kind of depressing,” Mario Tacca, an accordion player and longtime patron of Music Row, said. “I guess it’s part of the new world that we’re living in. The old world is kind of disappearing slowly. It’s kind of sad to see.”
Charles Ponte, left, at his store on Music Row in 1968, when music shops there first started closing. In a New York Times article from the time, he predicted that “every last one of them” would be gone within a year. Patrick A. Burns/The New York Times
Music Row’s demise was a long time in coming (http://timesmachine.nytimes.com/timesmachine/1968/02/03/77168097.html?pageNumber=31) , brought on by the soaring value of real estate and the conveniences offered by the Internet — those modern forces that have reshaped so much of New York City’s commercial landscape. The earthbound merchants of musical instruments that have survived are scattered about the city now: Rudy’s (http://rudysmusic.com/) guitar shop to SoHo, Sam Ash (http://samashmusic.com/new-york-city/) ’s superstore to 34th Street, Jon Baltimore (http://welcome.jonbaltimoremusic.com/) ’s horn store to 46th Street.
Mr. Tacca said he had not yet visited Mr. Carozza’s new location, tucked into an office building on a block of West 54th Street filled with the standard Midtown mix of restaurants, hotels, a bank branch and a gym. But when he does, he will not have to stand in line.
In the middle of a weekday just before Christmas, there were no customers to interrupt Mr. Carozza, 88, as he reminisced about the heyday of Music Row, when his shop employed 30 people and took in as much as $40 million a year.
“I used to sell 10, 15 accordions a week,” he said, adding that “my wife used to count the money all day.” But now, sitting in a cramped office wedged into the scaled-down version of Alex Musical Instruments (http://www.alexmusical.com/contact.html) , he said, “If you sell one, it’s like, hallelujah!”
Mr. Carozza, who was born in Italy, moved from Argentina to New York in the 1960s to be part of the city’s thriving music scene. He went to work in an accordion store on 48th Street and eventually opened his own shop on the block.
Not long after, Rudy Pensa left Argentina to pursue his dream of finding a place for himself on Music Row. “Everyone who was coming to America was coming to 48th Street,” he recalled. “Every band I was really watching and reading about, you found out they were coming to this place called 48th Street.” In 1972, he arrived and looked up Mr. Carozza, who hired him. “I came with a hundred bucks and a guitar,” Mr. Pensa said.
Before long, Mr. Pensa was on his way to being a purveyor of guitars to the stars. He opened his own shop, which came to be known as Rudy’s, in the 1970s. He kept it going for four decades until rising rent and a growing downtown clientele spurred him to leave the block for good in August.
Still, Mr. Pensa, 66, remains wistful about the object of his childhood daydreams.
Ramsay de Give for The New York Times
“It was a big family there,” he said. “I used to know everyone. It was really beautiful, man.”
It took no prodding to get Mr. Pensa to wax nostalgic about Music Row. “It was an experience,” he said. “You would go store to store. It was beautiful because everybody had different things.”
Tourists and wide-eyed teenagers would wander the block hoping for a brush, or at least a glimpse, of a famous musician. They traded tales of spotting Jimi Hendrix, Pete Townshend and other rock stars ordering instruments for their next tours.
But not everybody received a warm reception. Some New Yorkers remember how brusque the salesmen could be. “They used to be so rude, it was unbelievable,” Mr. Pensa said. Before they would let a customer handle a guitar, he recalled, “They would ask you, ‘Hey, do you have the money? Show me the money.’ ”
He remembered going into Manny’s Music in the 1970s, when the Times Square area was a more treacherous place, with his money tucked into his belt, “basically in my underwear.” As soon as he inquired about a guitar, he said, he was immediately asked to prove he could afford to buy it. “It was rude,” he said.
That attitude, he said, was one of the reasons he decided to open his own shop, which he originally called the Music Stop, then Rudy’s Music Stop, and eventually just Rudy’s. It thrived even though it practically faced Manny’s, an emporium of stringed instruments that was one of Music Row’s main draws.
David Amlen, who loitered on Music Row in his youth and now operates a recording studio, MSR Studios (http://www.msrstudiosny.com/) , on the block, said even budding superstars could get a bum’s rush. He recounted a story about the jazz guitarist George Benson being told: “Dude, you have got to leave. Either buy something or get out.”
MSR, a relative newcomer to Music Row when it arrived in 2005, is “the last man standing,” Scott Kubrin, who manages the studios, said. But it has no retail component. It provides space for performers of all sorts, including the casts of Broadway musicals, to record their work.
The last instrument shop on Music Row relocated in December, due in part to rising rents. Ramsay de Give for The New York Times
“It’s definitely depressing” to be surrounded by the ghosts of Music Row, Mr. Amlen said. “What was nice was if somebody was working here and said, ‘Hey, I need a guitar string or a drum head,’ they could just literally run across the street and buy one.”
Now, he said, he would send a runner as far as Sam Ash, about 15 blocks away.
Developers have bought up most of the surrounding property with designs on building hotels and office buildings, but, Mr. Amlen said, “We’re not going anywhere.”
Mr. Carozza capitalized on the demand for prime lots in Midtown years ago. After buying a building on Music Row for about $500,000 in the late 1970s, he sold it in 2008 for $33 million.
Hoping for a similar score, Mr. Pensa repeatedly offered to buy the building that housed his shop, he said. But his former landlord rebuffed him, saying, “Rudy, Rudy, Rudy, I don’t buy guitars, you don’t buy buildings.”
Mr. Pensa and others pegged the decline of Music Row to the closing of Manny’s (http://www.nytimes.com/2009/06/01/nyregion/01mannys.html) in 2009. Without Manny’s, Music Row was reduced to a half-block of stores, most of which had common ownership.
In the end, Mr. Pensa’s new landlord wanted to double the rent on 48th Street. Mr. Pensa balked, telling him that “nobody comes here anymore.”
“I would have loved to stay on 48th if more people had stayed,” he said. “What are you going to do? Nothing lasts forever.”
Besides, Mr. Pensa said, in SoHo he is closer to the lofts occupied by many of the stars of both stage and screen who can afford the expensive guitars he specializes in. He rattled off a list of contemporary musicians and actors who he said have been customers.
Then he added with obvious pride that one of his latest big sales was a jazz guitar to Mr. Benson.
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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Accordion Store’s Departure Signals End of Manhattan’s Music Row – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/04/nyregion/accordion-stores-departure-signals-end-of-manhattans-music-row.html
** Accordion Store’s Departure Signals End of Manhattan’s Music Row
————————————————————
By PATRICK McGEEHAN (http://topics.nytimes.com/top/reference/timestopics/people/m/patrick_mcgeehan/index.html) JAN. 3, 2016
Alex Musical Instruments, the last musical instrument shop on a block in Manhattan once celebrated as Music Row, at its new location on West 54th Street. Ramsay de Give for The New York Times
For decades, musicians from around the world flocked to a segment of West 48th Street in Manhattan that was known as Music Row. Both sides of the block, just off Times Square, were lined with shops that sold and repaired guitars, drums, keyboards and other instruments.
But the music finally died there in December when the last holdout, Alex Carozza, packed up his accordion store and 50 years of memories and moved off the block. Now, all that is left of Music Row are the signs and awnings that beckoned to virtuosos and neophytes alike. The block is haunted by empty buildings and the occasional tourist straining for some echo of its harmonious past.
Where once there were Manny’s and Rudy’s and New York Woodwind and Brass, Frank Wolf Drummers Supplies and We Buy Guitars, now there are demolition crews, “for rent” notices and a construction office for the glass tower going up around the corner.
“Musically, it’s kind of depressing,” Mario Tacca, an accordion player and longtime patron of Music Row, said. “I guess it’s part of the new world that we’re living in. The old world is kind of disappearing slowly. It’s kind of sad to see.”
Charles Ponte, left, at his store on Music Row in 1968, when music shops there first started closing. In a New York Times article from the time, he predicted that “every last one of them” would be gone within a year. Patrick A. Burns/The New York Times
Music Row’s demise was a long time in coming (http://timesmachine.nytimes.com/timesmachine/1968/02/03/77168097.html?pageNumber=31) , brought on by the soaring value of real estate and the conveniences offered by the Internet — those modern forces that have reshaped so much of New York City’s commercial landscape. The earthbound merchants of musical instruments that have survived are scattered about the city now: Rudy’s (http://rudysmusic.com/) guitar shop to SoHo, Sam Ash (http://samashmusic.com/new-york-city/) ’s superstore to 34th Street, Jon Baltimore (http://welcome.jonbaltimoremusic.com/) ’s horn store to 46th Street.
Mr. Tacca said he had not yet visited Mr. Carozza’s new location, tucked into an office building on a block of West 54th Street filled with the standard Midtown mix of restaurants, hotels, a bank branch and a gym. But when he does, he will not have to stand in line.
In the middle of a weekday just before Christmas, there were no customers to interrupt Mr. Carozza, 88, as he reminisced about the heyday of Music Row, when his shop employed 30 people and took in as much as $40 million a year.
“I used to sell 10, 15 accordions a week,” he said, adding that “my wife used to count the money all day.” But now, sitting in a cramped office wedged into the scaled-down version of Alex Musical Instruments (http://www.alexmusical.com/contact.html) , he said, “If you sell one, it’s like, hallelujah!”
Mr. Carozza, who was born in Italy, moved from Argentina to New York in the 1960s to be part of the city’s thriving music scene. He went to work in an accordion store on 48th Street and eventually opened his own shop on the block.
Not long after, Rudy Pensa left Argentina to pursue his dream of finding a place for himself on Music Row. “Everyone who was coming to America was coming to 48th Street,” he recalled. “Every band I was really watching and reading about, you found out they were coming to this place called 48th Street.” In 1972, he arrived and looked up Mr. Carozza, who hired him. “I came with a hundred bucks and a guitar,” Mr. Pensa said.
Before long, Mr. Pensa was on his way to being a purveyor of guitars to the stars. He opened his own shop, which came to be known as Rudy’s, in the 1970s. He kept it going for four decades until rising rent and a growing downtown clientele spurred him to leave the block for good in August.
Still, Mr. Pensa, 66, remains wistful about the object of his childhood daydreams.
Ramsay de Give for The New York Times
“It was a big family there,” he said. “I used to know everyone. It was really beautiful, man.”
It took no prodding to get Mr. Pensa to wax nostalgic about Music Row. “It was an experience,” he said. “You would go store to store. It was beautiful because everybody had different things.”
Tourists and wide-eyed teenagers would wander the block hoping for a brush, or at least a glimpse, of a famous musician. They traded tales of spotting Jimi Hendrix, Pete Townshend and other rock stars ordering instruments for their next tours.
But not everybody received a warm reception. Some New Yorkers remember how brusque the salesmen could be. “They used to be so rude, it was unbelievable,” Mr. Pensa said. Before they would let a customer handle a guitar, he recalled, “They would ask you, ‘Hey, do you have the money? Show me the money.’ ”
He remembered going into Manny’s Music in the 1970s, when the Times Square area was a more treacherous place, with his money tucked into his belt, “basically in my underwear.” As soon as he inquired about a guitar, he said, he was immediately asked to prove he could afford to buy it. “It was rude,” he said.
That attitude, he said, was one of the reasons he decided to open his own shop, which he originally called the Music Stop, then Rudy’s Music Stop, and eventually just Rudy’s. It thrived even though it practically faced Manny’s, an emporium of stringed instruments that was one of Music Row’s main draws.
David Amlen, who loitered on Music Row in his youth and now operates a recording studio, MSR Studios (http://www.msrstudiosny.com/) , on the block, said even budding superstars could get a bum’s rush. He recounted a story about the jazz guitarist George Benson being told: “Dude, you have got to leave. Either buy something or get out.”
MSR, a relative newcomer to Music Row when it arrived in 2005, is “the last man standing,” Scott Kubrin, who manages the studios, said. But it has no retail component. It provides space for performers of all sorts, including the casts of Broadway musicals, to record their work.
The last instrument shop on Music Row relocated in December, due in part to rising rents. Ramsay de Give for The New York Times
“It’s definitely depressing” to be surrounded by the ghosts of Music Row, Mr. Amlen said. “What was nice was if somebody was working here and said, ‘Hey, I need a guitar string or a drum head,’ they could just literally run across the street and buy one.”
Now, he said, he would send a runner as far as Sam Ash, about 15 blocks away.
Developers have bought up most of the surrounding property with designs on building hotels and office buildings, but, Mr. Amlen said, “We’re not going anywhere.”
Mr. Carozza capitalized on the demand for prime lots in Midtown years ago. After buying a building on Music Row for about $500,000 in the late 1970s, he sold it in 2008 for $33 million.
Hoping for a similar score, Mr. Pensa repeatedly offered to buy the building that housed his shop, he said. But his former landlord rebuffed him, saying, “Rudy, Rudy, Rudy, I don’t buy guitars, you don’t buy buildings.”
Mr. Pensa and others pegged the decline of Music Row to the closing of Manny’s (http://www.nytimes.com/2009/06/01/nyregion/01mannys.html) in 2009. Without Manny’s, Music Row was reduced to a half-block of stores, most of which had common ownership.
In the end, Mr. Pensa’s new landlord wanted to double the rent on 48th Street. Mr. Pensa balked, telling him that “nobody comes here anymore.”
“I would have loved to stay on 48th if more people had stayed,” he said. “What are you going to do? Nothing lasts forever.”
Besides, Mr. Pensa said, in SoHo he is closer to the lofts occupied by many of the stars of both stage and screen who can afford the expensive guitars he specializes in. He rattled off a list of contemporary musicians and actors who he said have been customers.
Then he added with obvious pride that one of his latest big sales was a jazz guitar to Mr. Benson.
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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On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/05/arts/music/on-david-bowies-blackstar-turning-to-jazz-for-inspiration.html?emc=edit_tnt_20160104
** On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) JAN. 4, 2016
David Bowie in concert in Toronto in 2004. Vince Talotta/Toronto Star, via Getty Images
A lot of questions arose when David Bowie unveiled “Blackstar,” (http://artsbeat.blogs.nytimes.com/2015/11/19/david-bowie-blackstar-video/) the 10-minute title track of his new album, as a music video in November. What was the meaning of the clip’s sci-fi surrealism? What had inspired its ominous lyrics? And, perhaps more practically, who were these musicians helping to shape its gnarly but limber style?
One of those questions, at least, is answerable. Mr. Bowie, an elusive rock star whose music has been as famously changeable as his image, enlisted the Donny McCaslin (http://www.donnymccaslin.com/) Quartet, a rugged jazz-rock combo featuring Mr. McCaslin on saxophones, Jason Lindner on keyboards, Tim Lefebvre on electric bass and Mark Guiliana on drums. And for all of “Blackstar,” stylized as ★, Mr. Bowie plugged right into the intensely responsive metabolism of the band, opening an unlikely new door in his nearly 50-year recording career. The album is due out on Friday, his 69th birthday, on ISO/Columbia.
After the revamped rock snarl of his 2013 album, “The Next Day” (Columbia), Mr. Bowie was determined to seek inspiration elsewhere. Tony Visconti, his main producer and collaborator since “Space Oddity,” from 1969, said that along the way, they had admired how Kendrick Lamar’s album “To Pimp a Butterfly” (http://www.nytimes.com/2015/03/18/arts/music/kendrick-lamar-emboldened-but-burdened-by-success.html) stood both within and outside hip-hop, especially in its relationship to jazz.
The saxophonist Donny McCaslin and his Donny McCaslin Quartet helped lead David Bowie in a new direction in the studio. Nick Chao
“David and I had long had a fascination for Stan Kenton and Gil Evans,” Mr. Visconti added, referring to two prominent jazz orchestrators of the mid-20th century. “We spoke about that virtually the first time we met, back in the ’60s. We always saw pop and rock as something we were quite capable of doing, but we always held the jazz gods on a pedestal above us.”
The first inkling of this new direction came in the final weeks of 2014, when Mr. Bowie released “Sue (Or in a Season of Crime),” (https://youtu.be/nFX1y62l9C4) a noirish track featuring the Maria Schneider Orchestra, with Mr. McCaslin as a soloist. (It was issued both as a single and as part of a three-disc compilation, “Nothing Has Changed.”) There was talk about Ms. Schneider’s continued involvement, but she was too focused on her own album. She recommended Mr. McCaslin’s band.
Continue reading the main story
Mr. McCaslin, 49, has been a stalwart on the New York jazz scene for more than 20 years — an improviser with an aptitude for controlled abandon, often uncorking solos that feel both wild and cogent. He recently received a Grammy nomination for best improvised jazz solo, for the deft, swirling tenor saxophone work on “Arbiters of Evolution,” from that album Ms. Schneider was working on, “The Thompson Fields” (ArtistShare). (It has a nomination, too.)
About four years ago, Mr. McCaslin made a hard turn toward groove (http://www.nytimes.com/2012/12/06/arts/music/donny-mccaslin-group-at-jazz-standard.html) as a bandleader, enlisting the other members of the quartet, who have their own separate histories together. The band’s first album on Greenleaf Music, “Casting for Gravity,” came out in 2012; a follow-up, “Fast Future,” appeared last year. (They will play the Village Vanguard Jan. 19 through 24.) The group’s usual haunt (https://youtu.be/JLq3ifmyV4s) is the 55 Bar, where Mr. Bowie showed up unannounced to hear them early last year.
“What was really nice was he heard us truly in our most comfortable environment,” Mr. Guiliana said. “We were kind of just throwing down.” Soon afterward Mr. Bowie extended an invitation to work on his next album, in a series of sessions at the Magic Shop in SoHo (http://www.nytimes.com/2015/10/11/nyregion/a-beloved-recording-studio-may-be-priced-out-of-soho.html) .
Both parties did their homework. Mr. Bowie had listened intently to “Casting for Gravity” as well as “Beat Music: The Los Angeles Improvisations,” (http://markguiliana.bandcamp.com/album/beat-music-the-los-angeles-improvisations) a self-released album by Mr. Guiliana. “And we watched their YouTube videos,” Mr. Visconti said. “We were spying on them. David said to me, ‘Really listen a lot to this, and get in your mind how they work.’”
Meanwhile, Mr. McCaslin received two batches of demo recordings from Mr. Bowie featuring his guitar parts: one made at the Magic Shop with Mr. Visconti and others, and one created at his home studio. Mr. McCaslin led a crash rehearsal in a Brooklyn basement, so that the tunes would be familiar in the studio.
The band set up in one room at the Magic Shop, and rather than taking his place in an isolation booth — or for that matter, in the control room — Mr. Bowie stood among them, at a microphone. He ended up singing every take live with the band even though the resulting vocal tracks, with so much sound bleed from the drums, would be unusable.
“It was unbelievably inspiring,” Mr. Guiliana said. “He was in top form from start to finish. Even if he didn’t have lyrics, and it was more of a guide melody, it still had this commitment, and I think that absolutely affected everybody’s performances. It really surprised me.”
While the bass and drum parts from the demos were well developed, there was a translation process for Mr. Lindner, who used a total of nine keyboards with various distortion and effects pedals.
“What I like is to just leave certain notes ringing, if they work,” Mr. Lindner said. “It’s kind of like how a guitarist has open strings. I try to imagine something like that — try to find the open strings on the keyboard, where the note would naturally resonate with the tonality and the feeling of what’s going on. That gives a more grass-roots feeling, and a less calculated feeling.”
Only one track on the album, the grandly bittersweet ballad “Dollar Days,” was created without a demo for reference: Mr. Bowie played that song on an acoustic guitar, and the musicians learned it by ear. But other tracks had elements that developed on the spot, like Mr. Lefebvre’s opening bass vamp on “Lazarus,” (https://youtu.be/ZSt9RDIIa0k) and an upward modulation in a thrashing new take on “Sue (Or in a Season of Crime).” Some tunes, like “’Tis a Pity She Was a Whore,” veer thrillingly toward overdrive; as Mr. McCaslin wails during the homestretch, Mr. Bowie can be heard yelping in excitement, sounding hoarse (“Woo!”).
Most tracks were first or second takes, not just in the rhythm section but also for Mr. McCaslin, who recorded in the isolation booth but didn’t redo any solos. (Some parts — including a soaring solo by the guitarist Ben Monder on the album’s closer, “I Can’t Give Everything Away” — were added later.)
Throughout the process, Mr. Bowie, it seems clear, was invested in the idea of a working band, and this one in particular. “The only general instruction we received was: Have a good time,” Mr. Lindner said. “He trusted us so much.”
Mr. Visconti echoed that sentiment, adding that jazz musicians pushing toward rock produce a different energy than rock musicians stretching toward jazz. “A really great musician can play any form of music,” he said. “These were some of the best musicians I’ve ever worked with in my life.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/05/arts/music/on-david-bowies-blackstar-turning-to-jazz-for-inspiration.html?emc=edit_tnt_20160104
** On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) JAN. 4, 2016
David Bowie in concert in Toronto in 2004. Vince Talotta/Toronto Star, via Getty Images
A lot of questions arose when David Bowie unveiled “Blackstar,” (http://artsbeat.blogs.nytimes.com/2015/11/19/david-bowie-blackstar-video/) the 10-minute title track of his new album, as a music video in November. What was the meaning of the clip’s sci-fi surrealism? What had inspired its ominous lyrics? And, perhaps more practically, who were these musicians helping to shape its gnarly but limber style?
One of those questions, at least, is answerable. Mr. Bowie, an elusive rock star whose music has been as famously changeable as his image, enlisted the Donny McCaslin (http://www.donnymccaslin.com/) Quartet, a rugged jazz-rock combo featuring Mr. McCaslin on saxophones, Jason Lindner on keyboards, Tim Lefebvre on electric bass and Mark Guiliana on drums. And for all of “Blackstar,” stylized as ★, Mr. Bowie plugged right into the intensely responsive metabolism of the band, opening an unlikely new door in his nearly 50-year recording career. The album is due out on Friday, his 69th birthday, on ISO/Columbia.
After the revamped rock snarl of his 2013 album, “The Next Day” (Columbia), Mr. Bowie was determined to seek inspiration elsewhere. Tony Visconti, his main producer and collaborator since “Space Oddity,” from 1969, said that along the way, they had admired how Kendrick Lamar’s album “To Pimp a Butterfly” (http://www.nytimes.com/2015/03/18/arts/music/kendrick-lamar-emboldened-but-burdened-by-success.html) stood both within and outside hip-hop, especially in its relationship to jazz.
The saxophonist Donny McCaslin and his Donny McCaslin Quartet helped lead David Bowie in a new direction in the studio. Nick Chao
“David and I had long had a fascination for Stan Kenton and Gil Evans,” Mr. Visconti added, referring to two prominent jazz orchestrators of the mid-20th century. “We spoke about that virtually the first time we met, back in the ’60s. We always saw pop and rock as something we were quite capable of doing, but we always held the jazz gods on a pedestal above us.”
The first inkling of this new direction came in the final weeks of 2014, when Mr. Bowie released “Sue (Or in a Season of Crime),” (https://youtu.be/nFX1y62l9C4) a noirish track featuring the Maria Schneider Orchestra, with Mr. McCaslin as a soloist. (It was issued both as a single and as part of a three-disc compilation, “Nothing Has Changed.”) There was talk about Ms. Schneider’s continued involvement, but she was too focused on her own album. She recommended Mr. McCaslin’s band.
Continue reading the main story
Mr. McCaslin, 49, has been a stalwart on the New York jazz scene for more than 20 years — an improviser with an aptitude for controlled abandon, often uncorking solos that feel both wild and cogent. He recently received a Grammy nomination for best improvised jazz solo, for the deft, swirling tenor saxophone work on “Arbiters of Evolution,” from that album Ms. Schneider was working on, “The Thompson Fields” (ArtistShare). (It has a nomination, too.)
About four years ago, Mr. McCaslin made a hard turn toward groove (http://www.nytimes.com/2012/12/06/arts/music/donny-mccaslin-group-at-jazz-standard.html) as a bandleader, enlisting the other members of the quartet, who have their own separate histories together. The band’s first album on Greenleaf Music, “Casting for Gravity,” came out in 2012; a follow-up, “Fast Future,” appeared last year. (They will play the Village Vanguard Jan. 19 through 24.) The group’s usual haunt (https://youtu.be/JLq3ifmyV4s) is the 55 Bar, where Mr. Bowie showed up unannounced to hear them early last year.
“What was really nice was he heard us truly in our most comfortable environment,” Mr. Guiliana said. “We were kind of just throwing down.” Soon afterward Mr. Bowie extended an invitation to work on his next album, in a series of sessions at the Magic Shop in SoHo (http://www.nytimes.com/2015/10/11/nyregion/a-beloved-recording-studio-may-be-priced-out-of-soho.html) .
Both parties did their homework. Mr. Bowie had listened intently to “Casting for Gravity” as well as “Beat Music: The Los Angeles Improvisations,” (http://markguiliana.bandcamp.com/album/beat-music-the-los-angeles-improvisations) a self-released album by Mr. Guiliana. “And we watched their YouTube videos,” Mr. Visconti said. “We were spying on them. David said to me, ‘Really listen a lot to this, and get in your mind how they work.’”
Meanwhile, Mr. McCaslin received two batches of demo recordings from Mr. Bowie featuring his guitar parts: one made at the Magic Shop with Mr. Visconti and others, and one created at his home studio. Mr. McCaslin led a crash rehearsal in a Brooklyn basement, so that the tunes would be familiar in the studio.
The band set up in one room at the Magic Shop, and rather than taking his place in an isolation booth — or for that matter, in the control room — Mr. Bowie stood among them, at a microphone. He ended up singing every take live with the band even though the resulting vocal tracks, with so much sound bleed from the drums, would be unusable.
“It was unbelievably inspiring,” Mr. Guiliana said. “He was in top form from start to finish. Even if he didn’t have lyrics, and it was more of a guide melody, it still had this commitment, and I think that absolutely affected everybody’s performances. It really surprised me.”
While the bass and drum parts from the demos were well developed, there was a translation process for Mr. Lindner, who used a total of nine keyboards with various distortion and effects pedals.
“What I like is to just leave certain notes ringing, if they work,” Mr. Lindner said. “It’s kind of like how a guitarist has open strings. I try to imagine something like that — try to find the open strings on the keyboard, where the note would naturally resonate with the tonality and the feeling of what’s going on. That gives a more grass-roots feeling, and a less calculated feeling.”
Only one track on the album, the grandly bittersweet ballad “Dollar Days,” was created without a demo for reference: Mr. Bowie played that song on an acoustic guitar, and the musicians learned it by ear. But other tracks had elements that developed on the spot, like Mr. Lefebvre’s opening bass vamp on “Lazarus,” (https://youtu.be/ZSt9RDIIa0k) and an upward modulation in a thrashing new take on “Sue (Or in a Season of Crime).” Some tunes, like “’Tis a Pity She Was a Whore,” veer thrillingly toward overdrive; as Mr. McCaslin wails during the homestretch, Mr. Bowie can be heard yelping in excitement, sounding hoarse (“Woo!”).
Most tracks were first or second takes, not just in the rhythm section but also for Mr. McCaslin, who recorded in the isolation booth but didn’t redo any solos. (Some parts — including a soaring solo by the guitarist Ben Monder on the album’s closer, “I Can’t Give Everything Away” — were added later.)
Throughout the process, Mr. Bowie, it seems clear, was invested in the idea of a working band, and this one in particular. “The only general instruction we received was: Have a good time,” Mr. Lindner said. “He trusted us so much.”
Mr. Visconti echoed that sentiment, adding that jazz musicians pushing toward rock produce a different energy than rock musicians stretching toward jazz. “A really great musician can play any form of music,” he said. “These were some of the best musicians I’ve ever worked with in my life.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration – The New York Times
http://www.jazzpromoservices.com/
http://www.nytimes.com/2016/01/05/arts/music/on-david-bowies-blackstar-turning-to-jazz-for-inspiration.html?emc=edit_tnt_20160104
** On David Bowie’s ‘Blackstar,’ Turning to Jazz for Inspiration
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) JAN. 4, 2016
David Bowie in concert in Toronto in 2004. Vince Talotta/Toronto Star, via Getty Images
A lot of questions arose when David Bowie unveiled “Blackstar,” (http://artsbeat.blogs.nytimes.com/2015/11/19/david-bowie-blackstar-video/) the 10-minute title track of his new album, as a music video in November. What was the meaning of the clip’s sci-fi surrealism? What had inspired its ominous lyrics? And, perhaps more practically, who were these musicians helping to shape its gnarly but limber style?
One of those questions, at least, is answerable. Mr. Bowie, an elusive rock star whose music has been as famously changeable as his image, enlisted the Donny McCaslin (http://www.donnymccaslin.com/) Quartet, a rugged jazz-rock combo featuring Mr. McCaslin on saxophones, Jason Lindner on keyboards, Tim Lefebvre on electric bass and Mark Guiliana on drums. And for all of “Blackstar,” stylized as ★, Mr. Bowie plugged right into the intensely responsive metabolism of the band, opening an unlikely new door in his nearly 50-year recording career. The album is due out on Friday, his 69th birthday, on ISO/Columbia.
After the revamped rock snarl of his 2013 album, “The Next Day” (Columbia), Mr. Bowie was determined to seek inspiration elsewhere. Tony Visconti, his main producer and collaborator since “Space Oddity,” from 1969, said that along the way, they had admired how Kendrick Lamar’s album “To Pimp a Butterfly” (http://www.nytimes.com/2015/03/18/arts/music/kendrick-lamar-emboldened-but-burdened-by-success.html) stood both within and outside hip-hop, especially in its relationship to jazz.
The saxophonist Donny McCaslin and his Donny McCaslin Quartet helped lead David Bowie in a new direction in the studio. Nick Chao
“David and I had long had a fascination for Stan Kenton and Gil Evans,” Mr. Visconti added, referring to two prominent jazz orchestrators of the mid-20th century. “We spoke about that virtually the first time we met, back in the ’60s. We always saw pop and rock as something we were quite capable of doing, but we always held the jazz gods on a pedestal above us.”
The first inkling of this new direction came in the final weeks of 2014, when Mr. Bowie released “Sue (Or in a Season of Crime),” (https://youtu.be/nFX1y62l9C4) a noirish track featuring the Maria Schneider Orchestra, with Mr. McCaslin as a soloist. (It was issued both as a single and as part of a three-disc compilation, “Nothing Has Changed.”) There was talk about Ms. Schneider’s continued involvement, but she was too focused on her own album. She recommended Mr. McCaslin’s band.
Continue reading the main story
Mr. McCaslin, 49, has been a stalwart on the New York jazz scene for more than 20 years — an improviser with an aptitude for controlled abandon, often uncorking solos that feel both wild and cogent. He recently received a Grammy nomination for best improvised jazz solo, for the deft, swirling tenor saxophone work on “Arbiters of Evolution,” from that album Ms. Schneider was working on, “The Thompson Fields” (ArtistShare). (It has a nomination, too.)
About four years ago, Mr. McCaslin made a hard turn toward groove (http://www.nytimes.com/2012/12/06/arts/music/donny-mccaslin-group-at-jazz-standard.html) as a bandleader, enlisting the other members of the quartet, who have their own separate histories together. The band’s first album on Greenleaf Music, “Casting for Gravity,” came out in 2012; a follow-up, “Fast Future,” appeared last year. (They will play the Village Vanguard Jan. 19 through 24.) The group’s usual haunt (https://youtu.be/JLq3ifmyV4s) is the 55 Bar, where Mr. Bowie showed up unannounced to hear them early last year.
“What was really nice was he heard us truly in our most comfortable environment,” Mr. Guiliana said. “We were kind of just throwing down.” Soon afterward Mr. Bowie extended an invitation to work on his next album, in a series of sessions at the Magic Shop in SoHo (http://www.nytimes.com/2015/10/11/nyregion/a-beloved-recording-studio-may-be-priced-out-of-soho.html) .
Both parties did their homework. Mr. Bowie had listened intently to “Casting for Gravity” as well as “Beat Music: The Los Angeles Improvisations,” (http://markguiliana.bandcamp.com/album/beat-music-the-los-angeles-improvisations) a self-released album by Mr. Guiliana. “And we watched their YouTube videos,” Mr. Visconti said. “We were spying on them. David said to me, ‘Really listen a lot to this, and get in your mind how they work.’”
Meanwhile, Mr. McCaslin received two batches of demo recordings from Mr. Bowie featuring his guitar parts: one made at the Magic Shop with Mr. Visconti and others, and one created at his home studio. Mr. McCaslin led a crash rehearsal in a Brooklyn basement, so that the tunes would be familiar in the studio.
The band set up in one room at the Magic Shop, and rather than taking his place in an isolation booth — or for that matter, in the control room — Mr. Bowie stood among them, at a microphone. He ended up singing every take live with the band even though the resulting vocal tracks, with so much sound bleed from the drums, would be unusable.
“It was unbelievably inspiring,” Mr. Guiliana said. “He was in top form from start to finish. Even if he didn’t have lyrics, and it was more of a guide melody, it still had this commitment, and I think that absolutely affected everybody’s performances. It really surprised me.”
While the bass and drum parts from the demos were well developed, there was a translation process for Mr. Lindner, who used a total of nine keyboards with various distortion and effects pedals.
“What I like is to just leave certain notes ringing, if they work,” Mr. Lindner said. “It’s kind of like how a guitarist has open strings. I try to imagine something like that — try to find the open strings on the keyboard, where the note would naturally resonate with the tonality and the feeling of what’s going on. That gives a more grass-roots feeling, and a less calculated feeling.”
Only one track on the album, the grandly bittersweet ballad “Dollar Days,” was created without a demo for reference: Mr. Bowie played that song on an acoustic guitar, and the musicians learned it by ear. But other tracks had elements that developed on the spot, like Mr. Lefebvre’s opening bass vamp on “Lazarus,” (https://youtu.be/ZSt9RDIIa0k) and an upward modulation in a thrashing new take on “Sue (Or in a Season of Crime).” Some tunes, like “’Tis a Pity She Was a Whore,” veer thrillingly toward overdrive; as Mr. McCaslin wails during the homestretch, Mr. Bowie can be heard yelping in excitement, sounding hoarse (“Woo!”).
Most tracks were first or second takes, not just in the rhythm section but also for Mr. McCaslin, who recorded in the isolation booth but didn’t redo any solos. (Some parts — including a soaring solo by the guitarist Ben Monder on the album’s closer, “I Can’t Give Everything Away” — were added later.)
Throughout the process, Mr. Bowie, it seems clear, was invested in the idea of a working band, and this one in particular. “The only general instruction we received was: Have a good time,” Mr. Lindner said. “He trusted us so much.”
Mr. Visconti echoed that sentiment, adding that jazz musicians pushing toward rock produce a different energy than rock musicians stretching toward jazz. “A really great musician can play any form of music,” he said. “These were some of the best musicians I’ve ever worked with in my life.”
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Pensacola library boasts unique jazz room
http://www.jazzpromoservices.com/
http://www.pnj.com/story/news/local/pensacola/2016/01/03/pensacola-library-boasts-unique-jazz-room/78098444/
** Pensacola library boasts unique jazz room
————————————————————
Hana Frenette, pnj.com
On the second floor of the downtown West Florida Public Library, a small room in the corner of the building contains an impressively curated collection of jazz-related material.
More than 800 CDs, corresponding sheet music, biographies, reference guides and movies line the walls of the room — a collection of donated items valued at $19,000.
Black-and-white photographs of Billie Holiday and Duke Ellington hang behind the CD player console and computer to the left.
The idea for a jazz room inside the library came about in the early 80s, shortly after the Jazz Society of Pensacola was formed. The problem with the old library set up, was the organization of the materials — the few jazz items the library had were houses separately from one another. Jazz books were with the rest of the music books, and the CDs were mixed in with the other CD genres. The library and the newly formed Jazz Society set a goal to house all the jazz material in one spot, while incorporating a listening area for the tapes and CDs.
The new room has a glass door that can be closed, providing a place to listen to the music without disturbing the people reading and researching at the tables scattered throughout the second floor.
Stephen McCury has been coming to the jazz room almost every day of the week, for the last month. He doesn’t check out the books, or read along with the sheet music.
Stephen McCury uses the computer in the jazz room to Buy Photo
Stephen McCury uses the computer in the jazz room to search for available CDs. (Photo: Hana Frenette/PNJ)
“I just like being able to listen to the music,” he said. Sometimes McCury will sit in the room for a few hours, the main light turned off with just daylight coming through the glass door, and listen to CDs.
Today he is listening to Jack Teagarden and his All Stars.
Stephen McCury holds out his CD of choice in the jazz Buy Photo
Stephen McCury holds out his CD of choice in the jazz room at the West Florida Public Library- Jack Teagarden and his All Stars. (Photo: Hana Frenette/PNJ)
The room holds hundreds of tapes and CDs. Some come in series, some are compilations. Each item has been carefully chosen for the small room.
Dr. Norman Vickers, one of the founding members of the Jazz Society, was instrumental in the process of gathering quality jazz materials when the room and the idea behind it first came together.
“The former director of the library, Gene Fischer, wanted to create a jazz section, but didn’t know how to set it up, and I said, well, we know how,” Vickers said. “The Jazz Society was able to pick some material, and we had a few consultants for the first couple of years who were very helpful with how to start this up.”
Record producer George Buck, from New Orleans, and Gus Statiras from New York City provided guidance concerning music material decisions and selections.
“These folks were nationally known producers,” Jazz Society member Ralph Knowles said.
The jazz room was officially created in 2013, when the West Florida Public Library underwent an extensive renovation.
A corner of the small jazz room, full of CDs, books, Buy Photo
A corner of the small jazz room, full of CDs, books, biographies and reference materials, on the second floor of the West Florida Public Library on North Spring Street. (Photo: Hana Frenette/PNJ)
“Jazz rooms or jazz type facilities are typically found in universities where there are departments of music,” said Todd Humble West Florida Public Library Director. “I’ve been looking around for the last few months and I’ve only come across one other public library, in Washington, D.C., that has a public jazz area.”
Humble envisions the jazz room growing two or three times the current size in the next few years.
“We will be adding record conversion tools for the library, so people that have older LPs that are out of copyright can go ahead and digitize the,” he said. “We’d eventually like to expand into some of the other smaller rooms next to this one.”
The jazz room has received many generous financial donations during the the past 20 years, with the Friends of the West Florida Library matching each financial donation.
Vickers and others who are a part of the Jazz Society still help curate the materials inside the room and go through donations regularly to find items that compliment what the room already has to offer.
“We know what we have already, where the vacancies are, and what niche places need to be filled,” he said. “We go through and look for what is truly unique and what we could use to make the jazz collection here even better.”
Dr. Norman Vickers looks through a collection of jazz Buy Photo
Dr. Norman Vickers looks through a collection of jazz history books inside the jazz room at the West Florida Public Library on North Spring Street. (Photo: Hana Frenette/PNJ)
Anyone wishing to make a donation to the jazz room should go through the Jazz Society of Pensacola, and can email info@jazzpensacola.com for more information.
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=8aed5e09fd) | 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=8aed5e09fd&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
Pensacola library boasts unique jazz room
http://www.jazzpromoservices.com/
http://www.pnj.com/story/news/local/pensacola/2016/01/03/pensacola-library-boasts-unique-jazz-room/78098444/
** Pensacola library boasts unique jazz room
————————————————————
Hana Frenette, pnj.com
On the second floor of the downtown West Florida Public Library, a small room in the corner of the building contains an impressively curated collection of jazz-related material.
More than 800 CDs, corresponding sheet music, biographies, reference guides and movies line the walls of the room — a collection of donated items valued at $19,000.
Black-and-white photographs of Billie Holiday and Duke Ellington hang behind the CD player console and computer to the left.
The idea for a jazz room inside the library came about in the early 80s, shortly after the Jazz Society of Pensacola was formed. The problem with the old library set up, was the organization of the materials — the few jazz items the library had were houses separately from one another. Jazz books were with the rest of the music books, and the CDs were mixed in with the other CD genres. The library and the newly formed Jazz Society set a goal to house all the jazz material in one spot, while incorporating a listening area for the tapes and CDs.
The new room has a glass door that can be closed, providing a place to listen to the music without disturbing the people reading and researching at the tables scattered throughout the second floor.
Stephen McCury has been coming to the jazz room almost every day of the week, for the last month. He doesn’t check out the books, or read along with the sheet music.
Stephen McCury uses the computer in the jazz room to Buy Photo
Stephen McCury uses the computer in the jazz room to search for available CDs. (Photo: Hana Frenette/PNJ)
“I just like being able to listen to the music,” he said. Sometimes McCury will sit in the room for a few hours, the main light turned off with just daylight coming through the glass door, and listen to CDs.
Today he is listening to Jack Teagarden and his All Stars.
Stephen McCury holds out his CD of choice in the jazz Buy Photo
Stephen McCury holds out his CD of choice in the jazz room at the West Florida Public Library- Jack Teagarden and his All Stars. (Photo: Hana Frenette/PNJ)
The room holds hundreds of tapes and CDs. Some come in series, some are compilations. Each item has been carefully chosen for the small room.
Dr. Norman Vickers, one of the founding members of the Jazz Society, was instrumental in the process of gathering quality jazz materials when the room and the idea behind it first came together.
“The former director of the library, Gene Fischer, wanted to create a jazz section, but didn’t know how to set it up, and I said, well, we know how,” Vickers said. “The Jazz Society was able to pick some material, and we had a few consultants for the first couple of years who were very helpful with how to start this up.”
Record producer George Buck, from New Orleans, and Gus Statiras from New York City provided guidance concerning music material decisions and selections.
“These folks were nationally known producers,” Jazz Society member Ralph Knowles said.
The jazz room was officially created in 2013, when the West Florida Public Library underwent an extensive renovation.
A corner of the small jazz room, full of CDs, books, Buy Photo
A corner of the small jazz room, full of CDs, books, biographies and reference materials, on the second floor of the West Florida Public Library on North Spring Street. (Photo: Hana Frenette/PNJ)
“Jazz rooms or jazz type facilities are typically found in universities where there are departments of music,” said Todd Humble West Florida Public Library Director. “I’ve been looking around for the last few months and I’ve only come across one other public library, in Washington, D.C., that has a public jazz area.”
Humble envisions the jazz room growing two or three times the current size in the next few years.
“We will be adding record conversion tools for the library, so people that have older LPs that are out of copyright can go ahead and digitize the,” he said. “We’d eventually like to expand into some of the other smaller rooms next to this one.”
The jazz room has received many generous financial donations during the the past 20 years, with the Friends of the West Florida Library matching each financial donation.
Vickers and others who are a part of the Jazz Society still help curate the materials inside the room and go through donations regularly to find items that compliment what the room already has to offer.
“We know what we have already, where the vacancies are, and what niche places need to be filled,” he said. “We go through and look for what is truly unique and what we could use to make the jazz collection here even better.”
Dr. Norman Vickers looks through a collection of jazz Buy Photo
Dr. Norman Vickers looks through a collection of jazz history books inside the jazz room at the West Florida Public Library on North Spring Street. (Photo: Hana Frenette/PNJ)
Anyone wishing to make a donation to the jazz room should go through the Jazz Society of Pensacola, and can email info@jazzpensacola.com for more information.
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=8aed5e09fd) | 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=8aed5e09fd&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Canadian jazz star Paul Bley dies aged 83 | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2016/jan/05/canadian-jazz-pianist-paul-bley-dies-aged-83#_=_
** Canadian jazz star Paul Bley dies aged 83
————————————————————
By Imogen Tilden (http://www.theguardian.com/profile/imogentilden)
Fearless cross-genre experiments… Paul Bley at the North Sea Jazz Festival in 1990.
Canadian pianist Paul Bley has died aged 83. His record company ECM (https://www.ecmrecords.com/artists/1435045710/a-hrefartists-1435045710-paul-bleypaul-bley-a) confirmed that the musician, who lived in the US, passed away at his home in 3 January. One of the jazz world’s greatest and most innovative artists, over a 60-year career he released over 100 albums, toured widely, and collaborated with jazz greats including Charles Mingus, Ornette Coleman (http://www.theguardian.com/music/2015/jun/11/ornette-coleman) , Lee Konitz, Sonny Rollins and Evan Parker.
He was a key part of the free jazz revolution in New York in the 1960s and an early explorer of the Moog synthesiser’s jazz potential, featuring electronics in his music from the late 60s.
“Bley’s command of the keyboard, the density of his improvisations… and the breadth of his knowledge make him a massive figure in jazz – though not as widely celebrated as some,” wrote John Fordham, reviewing a solo show of his in London in October 1987.
Here’s one of his most celebrated recordings, Ornette Coleman’s Ramblin’.
See also:
John Fordham on Paul Bley: ‘He was a genuine visionary (http://www.theguardian.com/music/2016/jan/05/pianist-paul-bley-genuine-jazz-visionary) ’
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=cad32f305e) | 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=cad32f305e&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
Canadian jazz star Paul Bley dies aged 83 | Music | The Guardian
http://www.jazzpromoservices.com/
http://www.theguardian.com/music/2016/jan/05/canadian-jazz-pianist-paul-bley-dies-aged-83#_=_
** Canadian jazz star Paul Bley dies aged 83
————————————————————
By Imogen Tilden (http://www.theguardian.com/profile/imogentilden)
Fearless cross-genre experiments… Paul Bley at the North Sea Jazz Festival in 1990.
Canadian pianist Paul Bley has died aged 83. His record company ECM (https://www.ecmrecords.com/artists/1435045710/a-hrefartists-1435045710-paul-bleypaul-bley-a) confirmed that the musician, who lived in the US, passed away at his home in 3 January. One of the jazz world’s greatest and most innovative artists, over a 60-year career he released over 100 albums, toured widely, and collaborated with jazz greats including Charles Mingus, Ornette Coleman (http://www.theguardian.com/music/2015/jun/11/ornette-coleman) , Lee Konitz, Sonny Rollins and Evan Parker.
He was a key part of the free jazz revolution in New York in the 1960s and an early explorer of the Moog synthesiser’s jazz potential, featuring electronics in his music from the late 60s.
“Bley’s command of the keyboard, the density of his improvisations… and the breadth of his knowledge make him a massive figure in jazz – though not as widely celebrated as some,” wrote John Fordham, reviewing a solo show of his in London in October 1987.
Here’s one of his most celebrated recordings, Ornette Coleman’s Ramblin’.
See also:
John Fordham on Paul Bley: ‘He was a genuine visionary (http://www.theguardian.com/music/2016/jan/05/pianist-paul-bley-genuine-jazz-visionary) ’
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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Alvino Rey Talking Steel Guitar – YouTube
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Warwick, Ny 10990
USA
Alvino Rey Talking Steel Guitar – YouTube
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269 State Route 94 South
Warwick, Ny 10990
USA
Alvino Rey Talking Steel Guitar – YouTube
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https://www.youtube.com/watch?v=6NL4S0e8S90
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Alvino Rey Talking Steel Guitar – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=6NL4S0e8S90
https://www.youtube.com/watch?v=6NL4S0e8S90
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
Alvino Rey Talking Steel Guitar – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=6NL4S0e8S90
https://www.youtube.com/watch?v=6NL4S0e8S90
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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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Alvino Rey Talking Steel Guitar – YouTube
http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=6NL4S0e8S90
https://www.youtube.com/watch?v=6NL4S0e8S90
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 legend’s legacy will live on – Columbia-Greene Media: News
http://www.jazzpromoservices.com/
http://www.thedailymail.net/news/article_1611bdc6-b28d-11e5-baa6-e725706bc449.html
** Jazz legend’s legacy will live on
————————————————————
By Katie Kocijanski
A local group of jazz professionals is celebrating the sweet success of preserving the legacy of an often-unknown jazz master — Gary McFarland.
Before his untimely death at the age of 38, McFarland was a prominent jazz vibraphonist, vocalist, producer and composer of the ‘60s and early ‘70s. His music career is making a comeback.
Thanks to the efforts of a group of professional jazz musicians called “The Gary McFarland Legacy Ensemble,” his music has now been re-recorded on the recently released CD “Circulation, the Music of Gary McFarland.”
“We are working on promoting his music in different ways for the future,” said drummer Michael Benedict. “This is the first major way Gary’s work is being introduced to a new generation.”
Benedict, along with musicians Joe Locke on vibraphone, Sharel Cassity on saxophone, Bruce Barth on piano and Mike Lawrence on bass recorded the album over the course of two days at the end of January at NRS Recording Studio in Catskill.
Following the April 15 release of the album on the Planet Arts recordings, Benedict said the album has gotten a great response from the jazz community and favorable reviews from various critics in the industry.
In 1979, Benedict first came upon McFarland’s music when he met and fell in love with Gail McFarland, Gary McFarland’s widow. She was married to McFarland until 1971 when he passed away.
Their children, Milo and Kerry McFarland, were 7 and 2 when their father passed away, and Kerry McFarland has been actively involved in preserving her father’s legacy and is pleased with the album.
“She produced the album along with myself and helped pick out the material we recorded for it,” said Benedict. “We wanted to give the material the 2015 treatment.”
Well-known music critic Ted Gioia put the album on his list of top 100 albums for 2015, just under singer Adele’s album, “25.” Benedict said this was a big honor and was happy the album is receiving so much positive attention and praise.
The album was among the preliminary list of contenders for the 2016 Grammy Awards. While it did not make the cut in the Monday nomination announcement, Benedict said he feels honored to have been considered.
Following his June retirement as band director for Greenville High School, Benedict is planning the next promotional steps for the album.
This includes applying to play at different jazz festivals in the Northeast. Spots being considered include Burlington, Vt., Albany and Lake George.
“I want to get the band back together to play some of the music off of the album,” Benedict said.
Along with the album release party being held in Albany at the Madison Theatre, a documentary about Gary McFarland was also shown at the event.
Filmmaker Kristian St. Clair made a documentary about the musician’s life and brief 10-year career. The film came out in DVD form this year.
“Circulation: The Music of Gary McFarland” will be available for purchase on iTunes, Amazon, CD Baby, through Planet Arts at www.planetarts.org (http://www.planetarts.org/) and Michael Benedict at www.michaelbenedict.com (http://www.michaelbenedict.com/) .
To reach reporter Katie Kocijanski, call the Daily Mail at 518-943-2100, ext. 3323, or email kkocijanski@registerstar.com (mailto:kkocijanski@registerstar.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=39fae92fec) | 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=39fae92fec&e=[UNIQID])
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Jazz legend’s legacy will live on – Columbia-Greene Media: News
http://www.jazzpromoservices.com/
http://www.thedailymail.net/news/article_1611bdc6-b28d-11e5-baa6-e725706bc449.html
** Jazz legend’s legacy will live on
————————————————————
By Katie Kocijanski
A local group of jazz professionals is celebrating the sweet success of preserving the legacy of an often-unknown jazz master — Gary McFarland.
Before his untimely death at the age of 38, McFarland was a prominent jazz vibraphonist, vocalist, producer and composer of the ‘60s and early ‘70s. His music career is making a comeback.
Thanks to the efforts of a group of professional jazz musicians called “The Gary McFarland Legacy Ensemble,” his music has now been re-recorded on the recently released CD “Circulation, the Music of Gary McFarland.”
“We are working on promoting his music in different ways for the future,” said drummer Michael Benedict. “This is the first major way Gary’s work is being introduced to a new generation.”
Benedict, along with musicians Joe Locke on vibraphone, Sharel Cassity on saxophone, Bruce Barth on piano and Mike Lawrence on bass recorded the album over the course of two days at the end of January at NRS Recording Studio in Catskill.
Following the April 15 release of the album on the Planet Arts recordings, Benedict said the album has gotten a great response from the jazz community and favorable reviews from various critics in the industry.
In 1979, Benedict first came upon McFarland’s music when he met and fell in love with Gail McFarland, Gary McFarland’s widow. She was married to McFarland until 1971 when he passed away.
Their children, Milo and Kerry McFarland, were 7 and 2 when their father passed away, and Kerry McFarland has been actively involved in preserving her father’s legacy and is pleased with the album.
“She produced the album along with myself and helped pick out the material we recorded for it,” said Benedict. “We wanted to give the material the 2015 treatment.”
Well-known music critic Ted Gioia put the album on his list of top 100 albums for 2015, just under singer Adele’s album, “25.” Benedict said this was a big honor and was happy the album is receiving so much positive attention and praise.
The album was among the preliminary list of contenders for the 2016 Grammy Awards. While it did not make the cut in the Monday nomination announcement, Benedict said he feels honored to have been considered.
Following his June retirement as band director for Greenville High School, Benedict is planning the next promotional steps for the album.
This includes applying to play at different jazz festivals in the Northeast. Spots being considered include Burlington, Vt., Albany and Lake George.
“I want to get the band back together to play some of the music off of the album,” Benedict said.
Along with the album release party being held in Albany at the Madison Theatre, a documentary about Gary McFarland was also shown at the event.
Filmmaker Kristian St. Clair made a documentary about the musician’s life and brief 10-year career. The film came out in DVD form this year.
“Circulation: The Music of Gary McFarland” will be available for purchase on iTunes, Amazon, CD Baby, through Planet Arts at www.planetarts.org (http://www.planetarts.org/) and Michael Benedict at www.michaelbenedict.com (http://www.michaelbenedict.com/) .
To reach reporter Katie Kocijanski, call the Daily Mail at 518-943-2100, ext. 3323, or email kkocijanski@registerstar.com (mailto:kkocijanski@registerstar.com) .
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)
HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.
CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)
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Copyright (C) 2016 All rights reserved.
Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA
Little Jazz ManJoey Alexander
http://www.jazzpromoservices.com/
** Little Jazz Man
————————————————————
The following is a script from “Little Jazz Man” which aired on Jan. 3, 2016. Anderson Cooper is the correspondent. Michael Gavshon and David M. Levine, producers.
We’ve never seen anyone like the young boy we’re going to introduce you to tonight. His name is Joey Alexander, he’s 12 years old and he’s becoming a musical sensation. He’s not a pop star or classical music prodigy…he’s a jazz musician, a piano player. He has been nominated for two Grammy awards this year. But it’s not just his young age that makes him remarkable, it’s where he’s from: Bali, a small Indonesian island that’s hardly famous for jazz. Since he arrived in New York 18 months ago, Joey has been captivating fans and fellow musicians alike, and after you meet him…we think you’ll understand why.
For a jazz musician there’s no bigger stage than the Newport Jazz Festival. Most artists work a lifetime to get here, if they ever make it at all.
joeyalexander.jpg It’s Joey Alexander’s first time playing Newport…he’s the youngest person ever invited to perform on this stage. He may only be 12 years old but his sound and his soul seem a lot older than that.
Newport audiences can be a tough crowd, but Joey had them on their feet.
When we sat down with him later in New York, we were reminded he is just a kid who first touched a keyboard six years ago.
Anderson Cooper: What do you think it was about jazz?
Joey Alexander: I think it has that special feeling that which is the blues, and swing feel.
Anderson Cooper: What do you mean by swing?
Joey Alexander: Like, swing is, like, the groove. It’s like…
Anderson Cooper: I’ve never had a 12-year-old try to explain to me about groove.
Joey Alexander: Oh.
Just listen to him groove on this song, “Ma Blues.” He wrote it when he was 10. What’s most remarkable is that Joey is already a master of improvisation. Most of what he plays, he makes up as he goes along.
safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues)
** Joey Alexander plays “Ma Blues” (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues)
————————————————————
Anderson Cooper: Do you know how you’re going to improvise something before you do it? I mean, have you planned it all out?
Joey Alexander: When I’m in stage I never plan, you know, “I’m going to do this.” But of course, you have a concept what you’re going to do. But you don’t really plan it.
Anderson Cooper: So every time– it might be different?
Joey Alexander: Yeah.
Anderson Cooper: It sounds really hard?
Joey Alexander: It is kind of hard.
And yet Joey makes it look so easy. Wynton Marsalis, one of the biggest names in jazz and a contributor to 60 Minutes, has seen a lot of young talent over the years.
safari-reader://www.cbsnews.com/videos/a-unique-talent60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/a-unique-talent)
** A unique talent (safari-reader://www.cbsnews.com/videos/a-unique-talent)
————————————————————
Wynton Marsalis: I’ve never heard anyone who could play like him.
Anderson Cooper: Nobody.
Wynton Marsalis: And no one has heard a person who could play like him.
Anderson Cooper: He has genius.
Wynton Marsalis: There’s no question about that, tto any of us.
Genius? This is what he means.
Wynton Marsalis: Let’s take a traditional hymn like “Just A Closer Walk With Thee.” So if you just play the melody, and with basic chord changes — this is with no improvisation.
safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song)
** Joey Alexander’s yet-to-be-released song (safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song)
————————————————————
Joey Alexander: Oh, the song, OK. How does it go?
Wynton Marsalis: Now he’s going to improvise on it. Just–
Anderson Cooper: That was cool.
Wynton Marsalis: Oh, man, somebody 12 playing like that.
Joey’s talent may be undeniable, but Marsalis says no one can explain where it comes from.
Wynton Marsalis: Why? We don’t– we don’t know why. I once asked Miles Davis about sound. “Man, how you get the sound you get?” He said, “Man, nobody know about sound. Sound just is.” And I think that about his– his– his abilities. They are.
Anderson Cooper: They just are.
Wynton Marsalis: They are.
safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two)
** Joey Alexander plays “Ma Blues” – take two (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two)
————————————————————
It’s not just how he plays that sets him apart, it’s where he’s from Bali, a tiny Indonesian island better known for palm trees than piano players.
He was a hyperactive kid, so one day, when Joey was six, his parents, Denny and Fara, brought home a keyboard hoping to channel all that restless energy.
Anderson Cooper: You thought that maybe that would focus him.
Denny Silas: Yeah. Yeah. At the same time we wanted to find out whether he’s musical or not. ‘Cause we have musical family.
Anderson Cooper: And that was the first time he started playing with the keyboard?
Denny Silas: Yeah.
Here he is one year later at age 7. Remember no one taught Joey how to play like this. He just picked it up listening to his dad’s albums of Duke Ellington, Charlie Parker, and Thelonious Monk.
Anderson Cooper: He was just listening to your records and playing along?
Denny Silas: Right. Right.
They did hire a piano instructor, but he tried to teach Joey classical music, Chopin and Tchaikovsky. It didn’t go well.
Anderson Cooper: Why, ’cause Joey wanted to improvise?
Fara Silas: Yeah.
Denny Silas: Even just a little bit.
Anderson Cooper: Just a little bit.
Denny Silas: Just embellish it.
Anderson Cooper: And there– the classical teacher didn’t like Tchaikovsky being embellished.
Denny Silas: No, no.
Anderson Cooper: What did that tell you?
Denny Silas: He wants to be free.
Anderson Cooper: And jazz allows that. Jazz allows that freedom.
Denny Silas: To express yourself.
Joey began expressing himself on stages across Indonesia. Videos of him playing went viral and made it to Wynton Marsalis, who’s managing and artistic director of Jazz at Lincoln Center in New York.
He was so impressed by what he heard he invited Joey to perform at their annual gala, their biggest event of the year.
And even, though it was his New York debut and his first time performing for such a crowd, Joey decided to play one of the toughest songs in jazz, “Round Midnight.”
And when he was done, the orchestra rose, the crowd rose and Joey who was 10 at the time, he didn’t know what to do. He tried to walk off the stage. The host that evening was Billy Crystal.
[“Don’t go Joey, don’t go. Take it in, man… take it in. Come back out, come back out. Joey Alexander!”]
Joey had arrived.
Anderson Cooper: You got a standing ovation?
Joey Alexander: Well, thank God for that.
Anderson Cooper: Thank God for that?
Joey Alexander: I mean, I didn’t expect to have a standing ovation.
That concert changed Joey’s life. His parents sold what they had in Indonesia and moved the family to New York. He started playing gigs, touring the country, winning fans and learning the rhythms of a very different world.
Anderson Cooper: So how do you like New York?
Joey Alexander: Well, I– New York is great. I love it.
Anderson Cooper: Yeah?
Joey Alexander: Especially, like, here, where we now. The people and, you know, it’s so– so much. The energy. I mean, everybody wants to be here. S– even me.
Within months of arriving, he was in the studio recording his first album. “My Favorite Things.”
Gary Walker is the music director at jazz radio station WBGO. He’s been following Joey’s progress since he came to New York.
safari-reader://www.cbsnews.com/videos/still-a-kid60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/still-a-kid)
** Still a kid (safari-reader://www.cbsnews.com/videos/still-a-kid)
————————————————————
Gary Walker: If you listen to the way Joey Alexander plays “My Favorite Things.” At one point in that piece of music, his sensibility through his left hand is almost like you’re going to church. Brothers and sisters! Right? At– but his right hand is playing at such a fleeting moment, there’s a traffic ticket waiting for him when he’s done.
Anderson Cooper: Is he good for a 12-year-old? Or is he just good?
Gary Walker: He’s just good. He’s just good. At any age, his language is pretty special. But at the age of 12, you almost think, “You know, I might even believe in reincarnation, perhaps.”
safari-reader://www.cbsnews.com/videos/just-listen60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/just-listen)
** Just listen (safari-reader://www.cbsnews.com/videos/just-listen)
————————————————————
Joey will tell you he’s just a young kid with a gift that comes from God but he still has to work very hard. He practices two to three hours a day then is homeschooled. He also has a tough tour schedule and his late night gigs can keep him up until midnight.
Anderson Cooper: Some people who are going to see this story and think, “This kid is being pushed by their parents. These are stage parents.”
Wynton Marsalis: He’s not. He’s not being pushed by his parents. This kid philosophically is so strong. And his parents are not pushing him. He’s pushing them.
Anderson Cooper: They’re facilitating his gift?
Wynton Marsalis: They’re facilitating him.
Facilitating Joey is a fulltime job. His parents were on hand as he was getting ready for a performance with the Jazz at Lincoln Center Orchestra in New York. It was the first time he’d play with an ensemble this size. The music is by Thelonious Monk, among the toughest tunes there are.
Before the concert, there were three days of intensive rehearsals. Joey didn’t get it right away…
[Wynton Marsalis: If you could remember the way you played in the middle, when you start off try to play with that same feeling.]
A prodigy still needs plenty of practice…
[Wynton Marsalis: Joey, concentrate on the melody, right?]
But it didn’t take Joey long to finally find his groove and, then the big night, a sold-out show at New York’s Town Hall. Joey was as ready as he could be, everything was in place, almost. Once the seat was adjusted, his hands took off.
safari-reader://www.cbsnews.com/videos/taking-the-lead60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/taking-the-lead)
** Taking the lead (safari-reader://www.cbsnews.com/videos/taking-the-lead)
————————————————————
Jazz is always conversation but Joey doesn’t just want to hold his own. On this night, he stood and took the lead.
And just look at the faces of the other musicians. The audience was rapt, his father beamed. This time, the little boy from Bali stayed on the stage and took it all in.
[Wynton Marsalis: Our young genius, Joey Alexander on the piano.]
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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Little Jazz ManJoey Alexander
http://www.jazzpromoservices.com/
** Little Jazz Man
————————————————————
The following is a script from “Little Jazz Man” which aired on Jan. 3, 2016. Anderson Cooper is the correspondent. Michael Gavshon and David M. Levine, producers.
We’ve never seen anyone like the young boy we’re going to introduce you to tonight. His name is Joey Alexander, he’s 12 years old and he’s becoming a musical sensation. He’s not a pop star or classical music prodigy…he’s a jazz musician, a piano player. He has been nominated for two Grammy awards this year. But it’s not just his young age that makes him remarkable, it’s where he’s from: Bali, a small Indonesian island that’s hardly famous for jazz. Since he arrived in New York 18 months ago, Joey has been captivating fans and fellow musicians alike, and after you meet him…we think you’ll understand why.
For a jazz musician there’s no bigger stage than the Newport Jazz Festival. Most artists work a lifetime to get here, if they ever make it at all.
joeyalexander.jpg It’s Joey Alexander’s first time playing Newport…he’s the youngest person ever invited to perform on this stage. He may only be 12 years old but his sound and his soul seem a lot older than that.
Newport audiences can be a tough crowd, but Joey had them on their feet.
When we sat down with him later in New York, we were reminded he is just a kid who first touched a keyboard six years ago.
Anderson Cooper: What do you think it was about jazz?
Joey Alexander: I think it has that special feeling that which is the blues, and swing feel.
Anderson Cooper: What do you mean by swing?
Joey Alexander: Like, swing is, like, the groove. It’s like…
Anderson Cooper: I’ve never had a 12-year-old try to explain to me about groove.
Joey Alexander: Oh.
Just listen to him groove on this song, “Ma Blues.” He wrote it when he was 10. What’s most remarkable is that Joey is already a master of improvisation. Most of what he plays, he makes up as he goes along.
safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues)
** Joey Alexander plays “Ma Blues” (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues)
————————————————————
Anderson Cooper: Do you know how you’re going to improvise something before you do it? I mean, have you planned it all out?
Joey Alexander: When I’m in stage I never plan, you know, “I’m going to do this.” But of course, you have a concept what you’re going to do. But you don’t really plan it.
Anderson Cooper: So every time– it might be different?
Joey Alexander: Yeah.
Anderson Cooper: It sounds really hard?
Joey Alexander: It is kind of hard.
And yet Joey makes it look so easy. Wynton Marsalis, one of the biggest names in jazz and a contributor to 60 Minutes, has seen a lot of young talent over the years.
safari-reader://www.cbsnews.com/videos/a-unique-talent60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/a-unique-talent)
** A unique talent (safari-reader://www.cbsnews.com/videos/a-unique-talent)
————————————————————
Wynton Marsalis: I’ve never heard anyone who could play like him.
Anderson Cooper: Nobody.
Wynton Marsalis: And no one has heard a person who could play like him.
Anderson Cooper: He has genius.
Wynton Marsalis: There’s no question about that, tto any of us.
Genius? This is what he means.
Wynton Marsalis: Let’s take a traditional hymn like “Just A Closer Walk With Thee.” So if you just play the melody, and with basic chord changes — this is with no improvisation.
safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song)
** Joey Alexander’s yet-to-be-released song (safari-reader://www.cbsnews.com/videos/joey-alexanders-yet-to-be-released-song)
————————————————————
Joey Alexander: Oh, the song, OK. How does it go?
Wynton Marsalis: Now he’s going to improvise on it. Just–
Anderson Cooper: That was cool.
Wynton Marsalis: Oh, man, somebody 12 playing like that.
Joey’s talent may be undeniable, but Marsalis says no one can explain where it comes from.
Wynton Marsalis: Why? We don’t– we don’t know why. I once asked Miles Davis about sound. “Man, how you get the sound you get?” He said, “Man, nobody know about sound. Sound just is.” And I think that about his– his– his abilities. They are.
Anderson Cooper: They just are.
Wynton Marsalis: They are.
safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two60 Minutes Overtime (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two)
** Joey Alexander plays “Ma Blues” – take two (safari-reader://www.cbsnews.com/videos/joey-alexander-plays-ma-blues-take-two)
————————————————————
It’s not just how he plays that sets him apart, it’s where he’s from Bali, a tiny Indonesian island better known for palm trees than piano players.
He was a hyperactive kid, so one day, when Joey was six, his parents, Denny and Fara, brought home a keyboard hoping to channel all that restless energy.
Anderson Cooper: You thought that maybe that would focus him.
Denny Silas: Yeah. Yeah. At the same time we wanted to find out whether he’s musical or not. ‘Cause we have musical family.
Anderson Cooper: And that was the first time he started playing with the keyboard?
Denny Silas: Yeah.
Here he is one year later at age 7. Remember no one taught Joey how to play like this. He just picked it up listening to his dad’s albums of Duke Ellington, Charlie Parker, and Thelonious Monk.
Anderson Cooper: He was just listening to your records and playing along?
Denny Silas: Right. Right.
They did hire a piano instructor, but he tried to teach Joey classical music, Chopin and Tchaikovsky. It didn’t go well.
Anderson Cooper: Why, ’cause Joey wanted to improvise?
Fara Silas: Yeah.
Denny Silas: Even just a little bit.
Anderson Cooper: Just a little bit.
Denny Silas: Just embellish it.
Anderson Cooper: And there– the classical teacher didn’t like Tchaikovsky being embellished.
Denny Silas: No, no.
Anderson Cooper: What did that tell you?
Denny Silas: He wants to be free.
Anderson Cooper: And jazz allows that. Jazz allows that freedom.
Denny Silas: To express yourself.
Joey began expressing himself on stages across Indonesia. Videos of him playing went viral and made it to Wynton Marsalis, who’s managing and artistic director of Jazz at Lincoln Center in New York.
He was so impressed by what he heard he invited Joey to perform at their annual gala, their biggest event of the year.
And even, though it was his New York debut and his first time performing for such a crowd, Joey decided to play one of the toughest songs in jazz, “Round Midnight.”
And when he was done, the orchestra rose, the crowd rose and Joey who was 10 at the time, he didn’t know what to do. He tried to walk off the stage. The host that evening was Billy Crystal.
[“Don’t go Joey, don’t go. Take it in, man… take it in. Come back out, come back out. Joey Alexander!”]
Joey had arrived.
Anderson Cooper: You got a standing ovation?
Joey Alexander: Well, thank God for that.
Anderson Cooper: Thank God for that?
Joey Alexander: I mean, I didn’t expect to have a standing ovation.
That concert changed Joey’s life. His parents sold what they had in Indonesia and moved the family to New York. He started playing gigs, touring the country, winning fans and learning the rhythms of a very different world.
Anderson Cooper: So how do you like New York?
Joey Alexander: Well, I– New York is great. I love it.
Anderson Cooper: Yeah?
Joey Alexander: Especially, like, here, where we now. The people and, you know, it’s so– so much. The energy. I mean, everybody wants to be here. S– even me.
Within months of arriving, he was in the studio recording his first album. “My Favorite Things.”
Gary Walker is the music director at jazz radio station WBGO. He’s been following Joey’s progress since he came to New York.
safari-reader://www.cbsnews.com/videos/still-a-kid60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/still-a-kid)
** Still a kid (safari-reader://www.cbsnews.com/videos/still-a-kid)
————————————————————
Gary Walker: If you listen to the way Joey Alexander plays “My Favorite Things.” At one point in that piece of music, his sensibility through his left hand is almost like you’re going to church. Brothers and sisters! Right? At– but his right hand is playing at such a fleeting moment, there’s a traffic ticket waiting for him when he’s done.
Anderson Cooper: Is he good for a 12-year-old? Or is he just good?
Gary Walker: He’s just good. He’s just good. At any age, his language is pretty special. But at the age of 12, you almost think, “You know, I might even believe in reincarnation, perhaps.”
safari-reader://www.cbsnews.com/videos/just-listen60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/just-listen)
** Just listen (safari-reader://www.cbsnews.com/videos/just-listen)
————————————————————
Joey will tell you he’s just a young kid with a gift that comes from God but he still has to work very hard. He practices two to three hours a day then is homeschooled. He also has a tough tour schedule and his late night gigs can keep him up until midnight.
Anderson Cooper: Some people who are going to see this story and think, “This kid is being pushed by their parents. These are stage parents.”
Wynton Marsalis: He’s not. He’s not being pushed by his parents. This kid philosophically is so strong. And his parents are not pushing him. He’s pushing them.
Anderson Cooper: They’re facilitating his gift?
Wynton Marsalis: They’re facilitating him.
Facilitating Joey is a fulltime job. His parents were on hand as he was getting ready for a performance with the Jazz at Lincoln Center Orchestra in New York. It was the first time he’d play with an ensemble this size. The music is by Thelonious Monk, among the toughest tunes there are.
Before the concert, there were three days of intensive rehearsals. Joey didn’t get it right away…
[Wynton Marsalis: If you could remember the way you played in the middle, when you start off try to play with that same feeling.]
A prodigy still needs plenty of practice…
[Wynton Marsalis: Joey, concentrate on the melody, right?]
But it didn’t take Joey long to finally find his groove and, then the big night, a sold-out show at New York’s Town Hall. Joey was as ready as he could be, everything was in place, almost. Once the seat was adjusted, his hands took off.
safari-reader://www.cbsnews.com/videos/taking-the-lead60 Minutes: Segment Extras (safari-reader://www.cbsnews.com/videos/taking-the-lead)
** Taking the lead (safari-reader://www.cbsnews.com/videos/taking-the-lead)
————————————————————
Jazz is always conversation but Joey doesn’t just want to hold his own. On this night, he stood and took the lead.
And just look at the faces of the other musicians. The audience was rapt, his father beamed. This time, the little boy from Bali stayed on the stage and took it all in.
[Wynton Marsalis: Our young genius, Joey Alexander on the piano.]
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
The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World – American Standard Time
http://www.jazzpromoservices.com/
http://www.americanstandardtime.com/the-ast-interview-lloyd-price-on-his-new-book-sumdumhonky-and-how-his-song-lawdy-miss-clawdy-changed-the-world/
** American Standard Time Showcasing American Roots music and vintage lifestyle, American Standard Time is an online magazine created by Greg Vandy as an extension of his KEXP radio show, The Roadhouse.
————————————————————
Home (http://www.americanstandardtime.com/) / Stuff (http://www.americanstandardtime.com/category/stuff/) / More Stuff (http://www.americanstandardtime.com/category/stuff/more-stuff/) / The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World
51Nn7ZicjBL by Sean Jewell ::
The title of Lloyd Price‘s new book is sumdumhonky. Yes, that’s a pejorative. It’s a deliberate affront to the racists he grew up among; violent, ignorant people, who would sooner lynch a black person of color than eat in their company, much less drink from the same water fountain, or use the same restroom. When one considers Lloyd Price’s career through the privilege of whiteness, it’s easy to overlook these historical facts.
One of the father’s of rock n’roll, Price’s “Lawdy Miss Clawdy” was an early hit that transcended blues music, southern gospel, and jazz. Price’s hits, like “Personality,” became enduring popular music, ad jingles for corporations, cover tunes for generations of musicians to come. Price’s version of “Stagger Lee” told the story of a violent gunfight in such an upbeat way you forgot it was about men murdering one another over a game of dice. Price’s individual, soaring voice, was just one of his gifts. When he was drafted into a segregated US Army to fight in the Korean War, he pointed his record label to one “Little” Richard Penniman, and gave him his first hit. When Price returned from the war and became a music industry professional he was the first to record Wilson Pickettas a solo act on his own record label. He owned a night club in New York City. He gave the world the famed Rumble in the Jungle boxing match between George Foreman and Muhammad Ali. For all his
accomplishments, it’s been easy to forget that no white person in Kenner, Louisiana would’ve thought twice about killing a young Lloyd Price for looking at a white woman.
sumdumhonky is the fire and brimstone revelation about just what it was like to live in the south in the ’40s and ’50s as a black child, hounded by the police, haunted by the Ku Klux Klan, alienated by neighbors and townfolk of different ethnicity. sumdumhonky is, in part, the story of the crippling sociological impact on a society freed from slavery generations earlier, and left to rot with no social net, whole civilizations of people entirely invisible to white men and women of America, and in part the story of how Lloyd Price survived to become one of the greatest entertainers of the twentieth century. There are heartbreaking tales of the mental slavery black children grew up trapped in, and bone chilling stories of city police just smart enough to put on a uniform, but none of them are told from the point of powerlessness. Here Lloyd Price channels all his rage and directs it at those police, those salesman, those record executives, those lawyers who believed black men
like him to be inferior. Price even finds a few chapters to relay his disdain for those Africans he’d meet later in life during his pilgrimage to Nigeria, that would treat other black men with contempt. “There is no defense for the truth,” Price told me.
Given the events of the day, Price’s essays–a bludgeon of truth–couldn’t have come at a better time. There is no easy way to speak about the indefensible acts of racism people of color in America suffer. There is no better time to acclimate those sheltered from racism in America to the long lasting effects of white supremacy and segregation. There are still plenty of people who don’t understand how racism works (spot them when they use the term reverse-racism), who believe that white people are equally challenged by a societal system that spent 400 years teaching white children that people of color are less than nothing, that the institutions that enslaved, brainwashed, and brutalized black bodies are now somehow docile and flaccid in the way they uphold racist traditions they call “heritage.” Those same people grew up on black music, benefit from the country that was built on chattel slavery, and feel safe living in sterile, white, environments, at distance from the
neighborhoods they call ghettos; neighborhoods that black families have been restricted to living in economically and socially for hundreds of years. sumdumhonky isn’t just a policeman or a Klansmen from Kenner, Louisiana in 1940, it’s every ignorant white person that stands in the way of Lloyd Price’s dreams, and here the nation’s first wildly rich teen idol, and progenitor of rock ‘n’ roll, is telling it like it is.
For all its lessons, sumdumhonky has some extremely elegant moments. Reading about teen Lloyd Price tuning into the radio for songwriting inspiration, getting his brother to “drum” backbeats on beer crates while he wrote rhythms, meeting Fats Domino and Dave Bartholomew is fulfilling. Mostly though, sumdumhonkybecomes a priceless artifact much like one of his songs: when it hits that note. Like the shout/sing the first time you hear “Lawdy” in “Lawdy Miss Clawdy,” the way he holds the note when he sings “over and over” on “Personality,” the way he builds tension by separating the lyrics in “Stagger Lee,” Price puts forth the idea that beginning with just one song, the walls that held up racism in America began to come down. That from the day “Lawdy Miss Clawdy” hit the radio, black and white kids began to skate, dance, and see shows together, to talk to one another, and to associate in ways generations before them never had. It’s Price’s assertion here that rock ‘n’ roll,
beginning with his hits, caused the youth movement that ended segregation. This omnipotent understanding of the ability of art and communication to bring whole civilizations together in ecstasy is why, without question, you should read sumdumhonky (http://www.amazon.com/sumdumhonky-Lloyd-Price/dp/1935270354) .
maxresdefault-1
Hey Lloyd, this is Sean Jewell from American Standard Time.
Hey Sean, how are you?
Pretty good, have I got you at a good time?
Yeah I’m good, thanks for callin’
I really enjoyed the new book.
Well I thank you.
You got time for me to ask you a few questions about that?
Yeah.
This isn’t your first book, you have another one right?
True Kings of the Fifties, yeah.
That book told a lot of truths but this one, you’re really comin’ off the ropes on this one.
[Laughs]
Was there anyone who tried to tell you to not write this book, or tell this story?
Yeah, I heard that, that this may not go over well. But this is not to alienate anybody. It’s all the truth, and there is no defense for the truth.
I definitely get that from the book, after reading it and going back and looking through your history, you’ve been saying these things all along. You say this is a collection of essays, did you write all of these recently?
I’ve been working on it over time. I tried to pick the right time to do it, and this is the right time, according to what’s going on today in this country, and not just in this country but today around the world.
Couldn’t have come at a better time. It’s interesting to highlight the idea that these things we say were happening in the ’40s and ’50s are still happening today.
No question about it, no question.
Can you give me some history? You’re a great source of that.
OK
I understand from the recording of “Lawdy Miss Clawdy” that this was the first time backbeat appeared on a record, there really wasn’t those kind of drums on records before you recorded that with Specialty Records, correct?
That’s absolutely right. We had recorded with Fats Domino, but he was just, I guess you would say, feeling at that kind of rhythm. Because there were triplets, with Smiley Lewis and Professor Longhair on piano, back during that time there was no young records, everything was for adults. They played everything based off of an 8 bar blues. That kind of rhythm that Earl Palmer played fit, and so just like smoke risin up all of us started feeling it. We were in that pocket. (scats) boom boom dang a doom boom boom do dang duh. [laughs[
It was the kind of music we heard during the Mardi Gras.
And so we hit all these different rhythms, now instead of playing it with hands on drums we played it with sticks, and started hitting that cymbal that 6/6 cymbal. You know tss-tss-tss-bang-tss-tss-tss-bang, and the one on the foot. It was kind of like three different rhythms that come from the drums. [taps out rhythm on desk so I can hear] it was boo-boo-boo bang, boo boo boo bang, you know? [Laughs]army
That’s awesome you explain it like that. Those polyrhythmic ideas are rooted in African drumming, further proof that everything comes from Africa.
Yeah, and look where it went, look at Frank Zappa, what he did with different rhythms, on a much larger scale, but it all begins with those African rhythms.
You say something really cool in your book, and you’ve actually said it a lot, but it bears repeating as much as we possibly can. You talk about how “Lawdy Miss Clawdy,” and your music, began the end of segregation and started integration because it got white kids and black kids dancing together.
Yes. I call it the youth movement. These kids had never done anything together before. When I was a kid in Louisiana and you saw some white kid on the street, you’d cross to the other side of the street, you know? And it was the same thing with white kids, if white kids saw a bunch of black kids coming they’d cross to the other side of the street. It depended on who had the most in their group you know? But we knew each other, we lived next door. Black families, white families, Italians, we lived together, but we never socialized. And so when “Lawdy Miss Clawdy” came on the scene kids started to be a little bit more real with each other. They seemed to start finding passion, or compassion for eachother. They started touching and holding hands. We played skating rinks and they started skating together. They’d open up the rink and all the kids would go in and skate. Can you imagine? Kids could not skate together. Couldn’t go to church together, couldn’t do nothing together. You
know it was the youth that got Rosa Parks to sit on the bus. It was the youth that got Martin Luther King marchin’ on Washington. All this had to start somewhere, and it started with the roots of that music. These same kids that marched on Washington, these kids today, their parents and their grandparents did the marching in the beginning because of that music sixty years ago.
That’s just an amazing way to put it and it really drove the message of the book home for me that people’s love for music is more important than just about anything.
That’s it! Absolutely, and not only here but worldwide. Because the music is understood in any language.
And you don’t need to know the language to enjoy the music.
Don’t need to know the language, yes, that’s absolutely correct.
You’ve talked about Louis Jordan being an inspiration for you. What’s your favorite Louis Jordan memories?
Oh man. All of them. [Laughs] Louis Jordan was the man. Not only was he a great musician, but the way he dressed, the first time I ever seen slick black (https://en.wikipedia.org/wiki/Conk) hair was on his head. I didn’t know my kinda folks could have that kinda hair. (Laughs) Louis Jordan was the man. He was our Elvis, our Beatles, our Fleetwood Mac, he was everything in one. When Louis Jordan came to town it was almost like a holiday. He was the man. He was the first black guy I saw in movies, he was just an unbelievable guy.
I don’t think we talk about him enough. He was an amazing guy.
No we don’t. He was amazing, that guy is sho’nuff history.
You talk in your book about going back and visiting Africa, and you make some solid points about your first impressions, but you lived there for 15 years, what was the best thing you took from your experience there?
Well, the most positive and the biggest thing I took away from Africa was that I didn’t have to be watched 24 hours a day by the white man. [Laughs] It was the first time I had been around nothing but black people. Bus drivers, airplane pilots, they ran the hotels, ran the army, I’d never seen nothing like that. It was like waking up in a dream, and I couldn’t see how a country could function like that. When you’ve been called a nothing and a nobody all your life, and then you go see a bunch of people like you doing everything? Now it definitely had its faults. Huge faults. The faults with living in Africa were almost twice the size of living in America. In America I understood it. It was black and white, but over there it’s black on black. You could never understand how two people who look almost alike, speaking the same language, same culture, had the same kind of living, could hate each other because of some tribal conflict. That, to me, was a bigger problem than the
rights we had in Louisiana or Mississippi about bathrooms and a bunch of other things. That was minute. Over there those guys killed each other about it. Overall I was not unhappy living in Africa. I lived on what they called the “upper ten.” I knew mostly all the government officials and the big people. They didn’t know what I did, they didn’t know if I was a musician or a magic man, I just got to know them, and used my method of trying to know people. Having experience as an entertainer it wasn’t difficult finding my way around and getting to know people. So most of the time I was good. Then Don King and I had the Rumble in the Jungle (http://time.com/3545974/muhammad-ali-rumble-in-the-jungle/) over there in ’74.
How did that come about? I heard you were involved with that but what was your role exactly?
Well, Muhammad Ali. Cassius Clay. He was one of my fans when he was 20 years old.
That makes sense.
Yeah, I used to let him ride in my car. I’d always have girls with me and he’d come and hit on ‘em, tellin’ me he was gonna be the champion of the world one day. [Laughs]lloyd
Did you believe him?
Nah, you know because Joe Louis, Sugar Ray, Archie Moore, these were the guys. Sonny Liston, Jersey Joe Walcott, these were the heavy weight champs, and he was nowhere near their weight, but I really liked him. One time he told me he was being managed by some Louisville group that was giving him 4,000 dollars a year, which he thought was a lot of money [laughs]. So he came to New York, I let him stay at my house, all through those days. My driver was his driver, you know he just used to say, him and Don King had a thing: “Make me big, make me big.”
So he saw how I lived and you know he just latched on to me like rice on beans. We got to be good friends, and when Don King went into jail, he and I became friends because he had a club in Cleveland and I would work it all the time for him. When he got out of prison he said “I don’t ever wanna go back to jail.” So I was at his house and I called Cassius and got Cassius to sing happy birthday to his daughter, and from there Don got the boxing fire. It came to a point where George Foreman had won down in Mexico (https://www.youtube.com/watch?v=iswHPKP5sEU) , but he was living in Philly with no money. I was in Philly and Don came into Philly with a bag full of that ‘number money,’ you know, thousands. He put it on the bed there and George signed a blank contract, and that’s how the Rumble in the Jungle came about. So Cassius becomes Ali, Ali’s now a Muslim. Don King told them we gonna give you five million a-piece.
Where that number came from is because when Joe Frazier and Ali fought at The Garden. Jack Kent Cooke, (https://en.wikipedia.org/wiki/Jack_Kent_Cooke) who at that time was the owner of The Lakers gave them 2 million a-piece, so us being black guys, we knew we had to double it. We knew they weren’t gonna take us serious anyway, so let’s double it. With no money! But we got both of them to sign and had to give them so much money a month. So with two signed contracts by these two great warriors, we didn’t think it was gonna be a problem, but it was a problem, until John Daly, the guy managing David Frost and Englebert Humperdinck and Tom Jones bought the ancillary rights for a million and a half. Luckily enough Don ran into some guy in Paris who thought he was some guy he knew in Cleveland and this guy was an assistant to Mobutu, in the Belgian Congo, who had just changed the country’s name to Zaire. He took Don straight to Kinshasa, Zaire to meet Mobutu, and in 45 minutes to
an hour Mobutu said he would take the fight in Zaire and put up $14 million. That’s how that happened. Couldn’t get a dime in America or nowhere else because that was insane back then to give an athlete 5 million dollars. For what? Well right after that you notice what happened with sports and entertainment. All because of what we paid those two warriors. Now you can hardly buy a ticket for to go see Lady Gaga.
Unheard of numbers. Michael Jackson died $400 million in debt. Numbers like that didn’t exist for entertainers until after we had the Rumble in the Jungle.
Tying it back to the book there’s two things that really struck me. You grossed so much money as a teen idol yet couldn’t even spend it. It shows that we cannot just solve economics problems in America to solve the race problem.
That’s absolutely correct. Because the bank to us then was for white people, we referred to it as the white bank back on the highway. It was ridiculous, and first of all, my generation we had no background for people being experienced with nothing but hard work. Nobody could advise you about anything, all of this was all so new. They claimed by me making $357 some-odd dollars a day my earnings was bigger than the President of The United States. Back then he only got 35 or 40,000 dollars a year. The Chief Justice was making $15,000. My principle in high school was making $6,000. So yeah, economically I was flying, but had no clue what to do with the money. It was all good times. When I was able to buy Buffalo Bills jacket with those old strings on it, and was able to by a car, that was my dream.
You hadn’t dreamed big enough yet huh?
NO. I knew nothing about nothing else to dream about.
One part that struck me in the book was about the Korean War. My grandfather left Arizona as a young man and went to Ft. Hood, Texas for training after being drafted, and he realized that he was to be segregated, and though he was in the US Army he had to use the colored facilities.
Can you believe that? That we all fought under one flag as US Soldiers, and his generation, which must be my generation, was supposed to be the first time the Army should be integrated, that the tents and barracks should be integrated. Well, I was in Ft. Leonardwood, Missouri, and it wasn’t. He’s absolutely correct. And even in Japan and Korea, the rednecks from the south did not want to sleep with the Black G.I.’s and we was all there to kill one enemy. Could you imagine how ridiculous that was? And as you look back you say that was really, really something, we’re all here to do one job: to kill the enemy. If he comes he’s killin’ all of us. I happened to have told one of these kids from Arkansas, I says “Cody, tonight, when bed-check Charlie comes over from North Korea to drop his bombs, you don’t have to run, they’re black bombs, you don’t have to worry.” [laughs]
You learn really quickly in the military that when the fire and flooding starts it doesn’t matter what color you are, or where you’re from, what language you speak you just need to know who’s gonna help.
Yeah, you hope somebody gets you before that fire gets you. When I was a kid working at the airport, I asked a black guy once who’d come off an airplane –I couldn’t serve black people at the counter, so he ordered a cup of coffee and he had to go around back to get it, so he was pissed off at me for not serving it to him. But I asked him, ‘You just came down off the airplane, what did you do when you had to use the bathroom on the airplane?’ He said ‘I went in the men’s room and pissed! They can’t expect me to go outside at 30,000 feet.’ It was amazing.
Right now we’re gonna have a reading the 27th of this month of my play with music called Lawdy Miss Clawdy. But all these things I’m telling you about now will be in Lawdy Miss Clawdy, and what it did socially to bring the people together, not just here in America but around the world, and how it all happened.
Where is that running at?
Well it’s not running yet. We’re just having the first reading here in New York City, in October, but let’s hope, I’ll let you know. It’s gonna be very interesting, because the truth has no defense. We’re gonna tell all these truths, but we gon’ tell ‘em with music and with love, it aint gon’ be nothing that will make people feel alienated or embarrassed. It’s just gon’ be the truth about how this got to be one of the largest music industries in the world by a little country boy from Kenner, Louisiana.
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The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World – American Standard Time
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** American Standard Time Showcasing American Roots music and vintage lifestyle, American Standard Time is an online magazine created by Greg Vandy as an extension of his KEXP radio show, The Roadhouse.
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Home (http://www.americanstandardtime.com/) / Stuff (http://www.americanstandardtime.com/category/stuff/) / More Stuff (http://www.americanstandardtime.com/category/stuff/more-stuff/) / The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World
51Nn7ZicjBL by Sean Jewell ::
The title of Lloyd Price‘s new book is sumdumhonky. Yes, that’s a pejorative. It’s a deliberate affront to the racists he grew up among; violent, ignorant people, who would sooner lynch a black person of color than eat in their company, much less drink from the same water fountain, or use the same restroom. When one considers Lloyd Price’s career through the privilege of whiteness, it’s easy to overlook these historical facts.
One of the father’s of rock n’roll, Price’s “Lawdy Miss Clawdy” was an early hit that transcended blues music, southern gospel, and jazz. Price’s hits, like “Personality,” became enduring popular music, ad jingles for corporations, cover tunes for generations of musicians to come. Price’s version of “Stagger Lee” told the story of a violent gunfight in such an upbeat way you forgot it was about men murdering one another over a game of dice. Price’s individual, soaring voice, was just one of his gifts. When he was drafted into a segregated US Army to fight in the Korean War, he pointed his record label to one “Little” Richard Penniman, and gave him his first hit. When Price returned from the war and became a music industry professional he was the first to record Wilson Pickettas a solo act on his own record label. He owned a night club in New York City. He gave the world the famed Rumble in the Jungle boxing match between George Foreman and Muhammad Ali. For all his
accomplishments, it’s been easy to forget that no white person in Kenner, Louisiana would’ve thought twice about killing a young Lloyd Price for looking at a white woman.
sumdumhonky is the fire and brimstone revelation about just what it was like to live in the south in the ’40s and ’50s as a black child, hounded by the police, haunted by the Ku Klux Klan, alienated by neighbors and townfolk of different ethnicity. sumdumhonky is, in part, the story of the crippling sociological impact on a society freed from slavery generations earlier, and left to rot with no social net, whole civilizations of people entirely invisible to white men and women of America, and in part the story of how Lloyd Price survived to become one of the greatest entertainers of the twentieth century. There are heartbreaking tales of the mental slavery black children grew up trapped in, and bone chilling stories of city police just smart enough to put on a uniform, but none of them are told from the point of powerlessness. Here Lloyd Price channels all his rage and directs it at those police, those salesman, those record executives, those lawyers who believed black men
like him to be inferior. Price even finds a few chapters to relay his disdain for those Africans he’d meet later in life during his pilgrimage to Nigeria, that would treat other black men with contempt. “There is no defense for the truth,” Price told me.
Given the events of the day, Price’s essays–a bludgeon of truth–couldn’t have come at a better time. There is no easy way to speak about the indefensible acts of racism people of color in America suffer. There is no better time to acclimate those sheltered from racism in America to the long lasting effects of white supremacy and segregation. There are still plenty of people who don’t understand how racism works (spot them when they use the term reverse-racism), who believe that white people are equally challenged by a societal system that spent 400 years teaching white children that people of color are less than nothing, that the institutions that enslaved, brainwashed, and brutalized black bodies are now somehow docile and flaccid in the way they uphold racist traditions they call “heritage.” Those same people grew up on black music, benefit from the country that was built on chattel slavery, and feel safe living in sterile, white, environments, at distance from the
neighborhoods they call ghettos; neighborhoods that black families have been restricted to living in economically and socially for hundreds of years. sumdumhonky isn’t just a policeman or a Klansmen from Kenner, Louisiana in 1940, it’s every ignorant white person that stands in the way of Lloyd Price’s dreams, and here the nation’s first wildly rich teen idol, and progenitor of rock ‘n’ roll, is telling it like it is.
For all its lessons, sumdumhonky has some extremely elegant moments. Reading about teen Lloyd Price tuning into the radio for songwriting inspiration, getting his brother to “drum” backbeats on beer crates while he wrote rhythms, meeting Fats Domino and Dave Bartholomew is fulfilling. Mostly though, sumdumhonkybecomes a priceless artifact much like one of his songs: when it hits that note. Like the shout/sing the first time you hear “Lawdy” in “Lawdy Miss Clawdy,” the way he holds the note when he sings “over and over” on “Personality,” the way he builds tension by separating the lyrics in “Stagger Lee,” Price puts forth the idea that beginning with just one song, the walls that held up racism in America began to come down. That from the day “Lawdy Miss Clawdy” hit the radio, black and white kids began to skate, dance, and see shows together, to talk to one another, and to associate in ways generations before them never had. It’s Price’s assertion here that rock ‘n’ roll,
beginning with his hits, caused the youth movement that ended segregation. This omnipotent understanding of the ability of art and communication to bring whole civilizations together in ecstasy is why, without question, you should read sumdumhonky (http://www.amazon.com/sumdumhonky-Lloyd-Price/dp/1935270354) .
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Hey Lloyd, this is Sean Jewell from American Standard Time.
Hey Sean, how are you?
Pretty good, have I got you at a good time?
Yeah I’m good, thanks for callin’
I really enjoyed the new book.
Well I thank you.
You got time for me to ask you a few questions about that?
Yeah.
This isn’t your first book, you have another one right?
True Kings of the Fifties, yeah.
That book told a lot of truths but this one, you’re really comin’ off the ropes on this one.
[Laughs]
Was there anyone who tried to tell you to not write this book, or tell this story?
Yeah, I heard that, that this may not go over well. But this is not to alienate anybody. It’s all the truth, and there is no defense for the truth.
I definitely get that from the book, after reading it and going back and looking through your history, you’ve been saying these things all along. You say this is a collection of essays, did you write all of these recently?
I’ve been working on it over time. I tried to pick the right time to do it, and this is the right time, according to what’s going on today in this country, and not just in this country but today around the world.
Couldn’t have come at a better time. It’s interesting to highlight the idea that these things we say were happening in the ’40s and ’50s are still happening today.
No question about it, no question.
Can you give me some history? You’re a great source of that.
OK
I understand from the recording of “Lawdy Miss Clawdy” that this was the first time backbeat appeared on a record, there really wasn’t those kind of drums on records before you recorded that with Specialty Records, correct?
That’s absolutely right. We had recorded with Fats Domino, but he was just, I guess you would say, feeling at that kind of rhythm. Because there were triplets, with Smiley Lewis and Professor Longhair on piano, back during that time there was no young records, everything was for adults. They played everything based off of an 8 bar blues. That kind of rhythm that Earl Palmer played fit, and so just like smoke risin up all of us started feeling it. We were in that pocket. (scats) boom boom dang a doom boom boom do dang duh. [laughs[
It was the kind of music we heard during the Mardi Gras.
And so we hit all these different rhythms, now instead of playing it with hands on drums we played it with sticks, and started hitting that cymbal that 6/6 cymbal. You know tss-tss-tss-bang-tss-tss-tss-bang, and the one on the foot. It was kind of like three different rhythms that come from the drums. [taps out rhythm on desk so I can hear] it was boo-boo-boo bang, boo boo boo bang, you know? [Laughs]army
That’s awesome you explain it like that. Those polyrhythmic ideas are rooted in African drumming, further proof that everything comes from Africa.
Yeah, and look where it went, look at Frank Zappa, what he did with different rhythms, on a much larger scale, but it all begins with those African rhythms.
You say something really cool in your book, and you’ve actually said it a lot, but it bears repeating as much as we possibly can. You talk about how “Lawdy Miss Clawdy,” and your music, began the end of segregation and started integration because it got white kids and black kids dancing together.
Yes. I call it the youth movement. These kids had never done anything together before. When I was a kid in Louisiana and you saw some white kid on the street, you’d cross to the other side of the street, you know? And it was the same thing with white kids, if white kids saw a bunch of black kids coming they’d cross to the other side of the street. It depended on who had the most in their group you know? But we knew each other, we lived next door. Black families, white families, Italians, we lived together, but we never socialized. And so when “Lawdy Miss Clawdy” came on the scene kids started to be a little bit more real with each other. They seemed to start finding passion, or compassion for eachother. They started touching and holding hands. We played skating rinks and they started skating together. They’d open up the rink and all the kids would go in and skate. Can you imagine? Kids could not skate together. Couldn’t go to church together, couldn’t do nothing together. You
know it was the youth that got Rosa Parks to sit on the bus. It was the youth that got Martin Luther King marchin’ on Washington. All this had to start somewhere, and it started with the roots of that music. These same kids that marched on Washington, these kids today, their parents and their grandparents did the marching in the beginning because of that music sixty years ago.
That’s just an amazing way to put it and it really drove the message of the book home for me that people’s love for music is more important than just about anything.
That’s it! Absolutely, and not only here but worldwide. Because the music is understood in any language.
And you don’t need to know the language to enjoy the music.
Don’t need to know the language, yes, that’s absolutely correct.
You’ve talked about Louis Jordan being an inspiration for you. What’s your favorite Louis Jordan memories?
Oh man. All of them. [Laughs] Louis Jordan was the man. Not only was he a great musician, but the way he dressed, the first time I ever seen slick black (https://en.wikipedia.org/wiki/Conk) hair was on his head. I didn’t know my kinda folks could have that kinda hair. (Laughs) Louis Jordan was the man. He was our Elvis, our Beatles, our Fleetwood Mac, he was everything in one. When Louis Jordan came to town it was almost like a holiday. He was the man. He was the first black guy I saw in movies, he was just an unbelievable guy.
I don’t think we talk about him enough. He was an amazing guy.
No we don’t. He was amazing, that guy is sho’nuff history.
You talk in your book about going back and visiting Africa, and you make some solid points about your first impressions, but you lived there for 15 years, what was the best thing you took from your experience there?
Well, the most positive and the biggest thing I took away from Africa was that I didn’t have to be watched 24 hours a day by the white man. [Laughs] It was the first time I had been around nothing but black people. Bus drivers, airplane pilots, they ran the hotels, ran the army, I’d never seen nothing like that. It was like waking up in a dream, and I couldn’t see how a country could function like that. When you’ve been called a nothing and a nobody all your life, and then you go see a bunch of people like you doing everything? Now it definitely had its faults. Huge faults. The faults with living in Africa were almost twice the size of living in America. In America I understood it. It was black and white, but over there it’s black on black. You could never understand how two people who look almost alike, speaking the same language, same culture, had the same kind of living, could hate each other because of some tribal conflict. That, to me, was a bigger problem than the
rights we had in Louisiana or Mississippi about bathrooms and a bunch of other things. That was minute. Over there those guys killed each other about it. Overall I was not unhappy living in Africa. I lived on what they called the “upper ten.” I knew mostly all the government officials and the big people. They didn’t know what I did, they didn’t know if I was a musician or a magic man, I just got to know them, and used my method of trying to know people. Having experience as an entertainer it wasn’t difficult finding my way around and getting to know people. So most of the time I was good. Then Don King and I had the Rumble in the Jungle (http://time.com/3545974/muhammad-ali-rumble-in-the-jungle/) over there in ’74.
How did that come about? I heard you were involved with that but what was your role exactly?
Well, Muhammad Ali. Cassius Clay. He was one of my fans when he was 20 years old.
That makes sense.
Yeah, I used to let him ride in my car. I’d always have girls with me and he’d come and hit on ‘em, tellin’ me he was gonna be the champion of the world one day. [Laughs]lloyd
Did you believe him?
Nah, you know because Joe Louis, Sugar Ray, Archie Moore, these were the guys. Sonny Liston, Jersey Joe Walcott, these were the heavy weight champs, and he was nowhere near their weight, but I really liked him. One time he told me he was being managed by some Louisville group that was giving him 4,000 dollars a year, which he thought was a lot of money [laughs]. So he came to New York, I let him stay at my house, all through those days. My driver was his driver, you know he just used to say, him and Don King had a thing: “Make me big, make me big.”
So he saw how I lived and you know he just latched on to me like rice on beans. We got to be good friends, and when Don King went into jail, he and I became friends because he had a club in Cleveland and I would work it all the time for him. When he got out of prison he said “I don’t ever wanna go back to jail.” So I was at his house and I called Cassius and got Cassius to sing happy birthday to his daughter, and from there Don got the boxing fire. It came to a point where George Foreman had won down in Mexico (https://www.youtube.com/watch?v=iswHPKP5sEU) , but he was living in Philly with no money. I was in Philly and Don came into Philly with a bag full of that ‘number money,’ you know, thousands. He put it on the bed there and George signed a blank contract, and that’s how the Rumble in the Jungle came about. So Cassius becomes Ali, Ali’s now a Muslim. Don King told them we gonna give you five million a-piece.
Where that number came from is because when Joe Frazier and Ali fought at The Garden. Jack Kent Cooke, (https://en.wikipedia.org/wiki/Jack_Kent_Cooke) who at that time was the owner of The Lakers gave them 2 million a-piece, so us being black guys, we knew we had to double it. We knew they weren’t gonna take us serious anyway, so let’s double it. With no money! But we got both of them to sign and had to give them so much money a month. So with two signed contracts by these two great warriors, we didn’t think it was gonna be a problem, but it was a problem, until John Daly, the guy managing David Frost and Englebert Humperdinck and Tom Jones bought the ancillary rights for a million and a half. Luckily enough Don ran into some guy in Paris who thought he was some guy he knew in Cleveland and this guy was an assistant to Mobutu, in the Belgian Congo, who had just changed the country’s name to Zaire. He took Don straight to Kinshasa, Zaire to meet Mobutu, and in 45 minutes to
an hour Mobutu said he would take the fight in Zaire and put up $14 million. That’s how that happened. Couldn’t get a dime in America or nowhere else because that was insane back then to give an athlete 5 million dollars. For what? Well right after that you notice what happened with sports and entertainment. All because of what we paid those two warriors. Now you can hardly buy a ticket for to go see Lady Gaga.
Unheard of numbers. Michael Jackson died $400 million in debt. Numbers like that didn’t exist for entertainers until after we had the Rumble in the Jungle.
Tying it back to the book there’s two things that really struck me. You grossed so much money as a teen idol yet couldn’t even spend it. It shows that we cannot just solve economics problems in America to solve the race problem.
That’s absolutely correct. Because the bank to us then was for white people, we referred to it as the white bank back on the highway. It was ridiculous, and first of all, my generation we had no background for people being experienced with nothing but hard work. Nobody could advise you about anything, all of this was all so new. They claimed by me making $357 some-odd dollars a day my earnings was bigger than the President of The United States. Back then he only got 35 or 40,000 dollars a year. The Chief Justice was making $15,000. My principle in high school was making $6,000. So yeah, economically I was flying, but had no clue what to do with the money. It was all good times. When I was able to buy Buffalo Bills jacket with those old strings on it, and was able to by a car, that was my dream.
You hadn’t dreamed big enough yet huh?
NO. I knew nothing about nothing else to dream about.
One part that struck me in the book was about the Korean War. My grandfather left Arizona as a young man and went to Ft. Hood, Texas for training after being drafted, and he realized that he was to be segregated, and though he was in the US Army he had to use the colored facilities.
Can you believe that? That we all fought under one flag as US Soldiers, and his generation, which must be my generation, was supposed to be the first time the Army should be integrated, that the tents and barracks should be integrated. Well, I was in Ft. Leonardwood, Missouri, and it wasn’t. He’s absolutely correct. And even in Japan and Korea, the rednecks from the south did not want to sleep with the Black G.I.’s and we was all there to kill one enemy. Could you imagine how ridiculous that was? And as you look back you say that was really, really something, we’re all here to do one job: to kill the enemy. If he comes he’s killin’ all of us. I happened to have told one of these kids from Arkansas, I says “Cody, tonight, when bed-check Charlie comes over from North Korea to drop his bombs, you don’t have to run, they’re black bombs, you don’t have to worry.” [laughs]
You learn really quickly in the military that when the fire and flooding starts it doesn’t matter what color you are, or where you’re from, what language you speak you just need to know who’s gonna help.
Yeah, you hope somebody gets you before that fire gets you. When I was a kid working at the airport, I asked a black guy once who’d come off an airplane –I couldn’t serve black people at the counter, so he ordered a cup of coffee and he had to go around back to get it, so he was pissed off at me for not serving it to him. But I asked him, ‘You just came down off the airplane, what did you do when you had to use the bathroom on the airplane?’ He said ‘I went in the men’s room and pissed! They can’t expect me to go outside at 30,000 feet.’ It was amazing.
Right now we’re gonna have a reading the 27th of this month of my play with music called Lawdy Miss Clawdy. But all these things I’m telling you about now will be in Lawdy Miss Clawdy, and what it did socially to bring the people together, not just here in America but around the world, and how it all happened.
Where is that running at?
Well it’s not running yet. We’re just having the first reading here in New York City, in October, but let’s hope, I’ll let you know. It’s gonna be very interesting, because the truth has no defense. We’re gonna tell all these truths, but we gon’ tell ‘em with music and with love, it aint gon’ be nothing that will make people feel alienated or embarrassed. It’s just gon’ be the truth about how this got to be one of the largest music industries in the world by a little country boy from Kenner, Louisiana.
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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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The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World – American Standard Time
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http://www.americanstandardtime.com/the-ast-interview-lloyd-price-on-his-new-book-sumdumhonky-and-how-his-song-lawdy-miss-clawdy-changed-the-world/
** American Standard Time Showcasing American Roots music and vintage lifestyle, American Standard Time is an online magazine created by Greg Vandy as an extension of his KEXP radio show, The Roadhouse.
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Home (http://www.americanstandardtime.com/) / Stuff (http://www.americanstandardtime.com/category/stuff/) / More Stuff (http://www.americanstandardtime.com/category/stuff/more-stuff/) / The AST Interview : Lloyd Price On His New Book ‘sumdumhonky’ and How His Song ‘Lawdy Miss Clawdy’ Changed the World
51Nn7ZicjBL by Sean Jewell ::
The title of Lloyd Price‘s new book is sumdumhonky. Yes, that’s a pejorative. It’s a deliberate affront to the racists he grew up among; violent, ignorant people, who would sooner lynch a black person of color than eat in their company, much less drink from the same water fountain, or use the same restroom. When one considers Lloyd Price’s career through the privilege of whiteness, it’s easy to overlook these historical facts.
One of the father’s of rock n’roll, Price’s “Lawdy Miss Clawdy” was an early hit that transcended blues music, southern gospel, and jazz. Price’s hits, like “Personality,” became enduring popular music, ad jingles for corporations, cover tunes for generations of musicians to come. Price’s version of “Stagger Lee” told the story of a violent gunfight in such an upbeat way you forgot it was about men murdering one another over a game of dice. Price’s individual, soaring voice, was just one of his gifts. When he was drafted into a segregated US Army to fight in the Korean War, he pointed his record label to one “Little” Richard Penniman, and gave him his first hit. When Price returned from the war and became a music industry professional he was the first to record Wilson Pickettas a solo act on his own record label. He owned a night club in New York City. He gave the world the famed Rumble in the Jungle boxing match between George Foreman and Muhammad Ali. For all his
accomplishments, it’s been easy to forget that no white person in Kenner, Louisiana would’ve thought twice about killing a young Lloyd Price for looking at a white woman.
sumdumhonky is the fire and brimstone revelation about just what it was like to live in the south in the ’40s and ’50s as a black child, hounded by the police, haunted by the Ku Klux Klan, alienated by neighbors and townfolk of different ethnicity. sumdumhonky is, in part, the story of the crippling sociological impact on a society freed from slavery generations earlier, and left to rot with no social net, whole civilizations of people entirely invisible to white men and women of America, and in part the story of how Lloyd Price survived to become one of the greatest entertainers of the twentieth century. There are heartbreaking tales of the mental slavery black children grew up trapped in, and bone chilling stories of city police just smart enough to put on a uniform, but none of them are told from the point of powerlessness. Here Lloyd Price channels all his rage and directs it at those police, those salesman, those record executives, those lawyers who believed black men
like him to be inferior. Price even finds a few chapters to relay his disdain for those Africans he’d meet later in life during his pilgrimage to Nigeria, that would treat other black men with contempt. “There is no defense for the truth,” Price told me.
Given the events of the day, Price’s essays–a bludgeon of truth–couldn’t have come at a better time. There is no easy way to speak about the indefensible acts of racism people of color in America suffer. There is no better time to acclimate those sheltered from racism in America to the long lasting effects of white supremacy and segregation. There are still plenty of people who don’t understand how racism works (spot them when they use the term reverse-racism), who believe that white people are equally challenged by a societal system that spent 400 years teaching white children that people of color are less than nothing, that the institutions that enslaved, brainwashed, and brutalized black bodies are now somehow docile and flaccid in the way they uphold racist traditions they call “heritage.” Those same people grew up on black music, benefit from the country that was built on chattel slavery, and feel safe living in sterile, white, environments, at distance from the
neighborhoods they call ghettos; neighborhoods that black families have been restricted to living in economically and socially for hundreds of years. sumdumhonky isn’t just a policeman or a Klansmen from Kenner, Louisiana in 1940, it’s every ignorant white person that stands in the way of Lloyd Price’s dreams, and here the nation’s first wildly rich teen idol, and progenitor of rock ‘n’ roll, is telling it like it is.
For all its lessons, sumdumhonky has some extremely elegant moments. Reading about teen Lloyd Price tuning into the radio for songwriting inspiration, getting his brother to “drum” backbeats on beer crates while he wrote rhythms, meeting Fats Domino and Dave Bartholomew is fulfilling. Mostly though, sumdumhonkybecomes a priceless artifact much like one of his songs: when it hits that note. Like the shout/sing the first time you hear “Lawdy” in “Lawdy Miss Clawdy,” the way he holds the note when he sings “over and over” on “Personality,” the way he builds tension by separating the lyrics in “Stagger Lee,” Price puts forth the idea that beginning with just one song, the walls that held up racism in America began to come down. That from the day “Lawdy Miss Clawdy” hit the radio, black and white kids began to skate, dance, and see shows together, to talk to one another, and to associate in ways generations before them never had. It’s Price’s assertion here that rock ‘n’ roll,
beginning with his hits, caused the youth movement that ended segregation. This omnipotent understanding of the ability of art and communication to bring whole civilizations together in ecstasy is why, without question, you should read sumdumhonky (http://www.amazon.com/sumdumhonky-Lloyd-Price/dp/1935270354) .
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Hey Lloyd, this is Sean Jewell from American Standard Time.
Hey Sean, how are you?
Pretty good, have I got you at a good time?
Yeah I’m good, thanks for callin’
I really enjoyed the new book.
Well I thank you.
You got time for me to ask you a few questions about that?
Yeah.
This isn’t your first book, you have another one right?
True Kings of the Fifties, yeah.
That book told a lot of truths but this one, you’re really comin’ off the ropes on this one.
[Laughs]
Was there anyone who tried to tell you to not write this book, or tell this story?
Yeah, I heard that, that this may not go over well. But this is not to alienate anybody. It’s all the truth, and there is no defense for the truth.
I definitely get that from the book, after reading it and going back and looking through your history, you’ve been saying these things all along. You say this is a collection of essays, did you write all of these recently?
I’ve been working on it over time. I tried to pick the right time to do it, and this is the right time, according to what’s going on today in this country, and not just in this country but today around the world.
Couldn’t have come at a better time. It’s interesting to highlight the idea that these things we say were happening in the ’40s and ’50s are still happening today.
No question about it, no question.
Can you give me some history? You’re a great source of that.
OK
I understand from the recording of “Lawdy Miss Clawdy” that this was the first time backbeat appeared on a record, there really wasn’t those kind of drums on records before you recorded that with Specialty Records, correct?
That’s absolutely right. We had recorded with Fats Domino, but he was just, I guess you would say, feeling at that kind of rhythm. Because there were triplets, with Smiley Lewis and Professor Longhair on piano, back during that time there was no young records, everything was for adults. They played everything based off of an 8 bar blues. That kind of rhythm that Earl Palmer played fit, and so just like smoke risin up all of us started feeling it. We were in that pocket. (scats) boom boom dang a doom boom boom do dang duh. [laughs[
It was the kind of music we heard during the Mardi Gras.
And so we hit all these different rhythms, now instead of playing it with hands on drums we played it with sticks, and started hitting that cymbal that 6/6 cymbal. You know tss-tss-tss-bang-tss-tss-tss-bang, and the one on the foot. It was kind of like three different rhythms that come from the drums. [taps out rhythm on desk so I can hear] it was boo-boo-boo bang, boo boo boo bang, you know? [Laughs]army
That’s awesome you explain it like that. Those polyrhythmic ideas are rooted in African drumming, further proof that everything comes from Africa.
Yeah, and look where it went, look at Frank Zappa, what he did with different rhythms, on a much larger scale, but it all begins with those African rhythms.
You say something really cool in your book, and you’ve actually said it a lot, but it bears repeating as much as we possibly can. You talk about how “Lawdy Miss Clawdy,” and your music, began the end of segregation and started integration because it got white kids and black kids dancing together.
Yes. I call it the youth movement. These kids had never done anything together before. When I was a kid in Louisiana and you saw some white kid on the street, you’d cross to the other side of the street, you know? And it was the same thing with white kids, if white kids saw a bunch of black kids coming they’d cross to the other side of the street. It depended on who had the most in their group you know? But we knew each other, we lived next door. Black families, white families, Italians, we lived together, but we never socialized. And so when “Lawdy Miss Clawdy” came on the scene kids started to be a little bit more real with each other. They seemed to start finding passion, or compassion for eachother. They started touching and holding hands. We played skating rinks and they started skating together. They’d open up the rink and all the kids would go in and skate. Can you imagine? Kids could not skate together. Couldn’t go to church together, couldn’t do nothing together. You
know it was the youth that got Rosa Parks to sit on the bus. It was the youth that got Martin Luther King marchin’ on Washington. All this had to start somewhere, and it started with the roots of that music. These same kids that marched on Washington, these kids today, their parents and their grandparents did the marching in the beginning because of that music sixty years ago.
That’s just an amazing way to put it and it really drove the message of the book home for me that people’s love for music is more important than just about anything.
That’s it! Absolutely, and not only here but worldwide. Because the music is understood in any language.
And you don’t need to know the language to enjoy the music.
Don’t need to know the language, yes, that’s absolutely correct.
You’ve talked about Louis Jordan being an inspiration for you. What’s your favorite Louis Jordan memories?
Oh man. All of them. [Laughs] Louis Jordan was the man. Not only was he a great musician, but the way he dressed, the first time I ever seen slick black (https://en.wikipedia.org/wiki/Conk) hair was on his head. I didn’t know my kinda folks could have that kinda hair. (Laughs) Louis Jordan was the man. He was our Elvis, our Beatles, our Fleetwood Mac, he was everything in one. When Louis Jordan came to town it was almost like a holiday. He was the man. He was the first black guy I saw in movies, he was just an unbelievable guy.
I don’t think we talk about him enough. He was an amazing guy.
No we don’t. He was amazing, that guy is sho’nuff history.
You talk in your book about going back and visiting Africa, and you make some solid points about your first impressions, but you lived there for 15 years, what was the best thing you took from your experience there?
Well, the most positive and the biggest thing I took away from Africa was that I didn’t have to be watched 24 hours a day by the white man. [Laughs] It was the first time I had been around nothing but black people. Bus drivers, airplane pilots, they ran the hotels, ran the army, I’d never seen nothing like that. It was like waking up in a dream, and I couldn’t see how a country could function like that. When you’ve been called a nothing and a nobody all your life, and then you go see a bunch of people like you doing everything? Now it definitely had its faults. Huge faults. The faults with living in Africa were almost twice the size of living in America. In America I understood it. It was black and white, but over there it’s black on black. You could never understand how two people who look almost alike, speaking the same language, same culture, had the same kind of living, could hate each other because of some tribal conflict. That, to me, was a bigger problem than the
rights we had in Louisiana or Mississippi about bathrooms and a bunch of other things. That was minute. Over there those guys killed each other about it. Overall I was not unhappy living in Africa. I lived on what they called the “upper ten.” I knew mostly all the government officials and the big people. They didn’t know what I did, they didn’t know if I was a musician or a magic man, I just got to know them, and used my method of trying to know people. Having experience as an entertainer it wasn’t difficult finding my way around and getting to know people. So most of the time I was good. Then Don King and I had the Rumble in the Jungle (http://time.com/3545974/muhammad-ali-rumble-in-the-jungle/) over there in ’74.
How did that come about? I heard you were involved with that but what was your role exactly?
Well, Muhammad Ali. Cassius Clay. He was one of my fans when he was 20 years old.
That makes sense.
Yeah, I used to let him ride in my car. I’d always have girls with me and he’d come and hit on ‘em, tellin’ me he was gonna be the champion of the world one day. [Laughs]lloyd
Did you believe him?
Nah, you know because Joe Louis, Sugar Ray, Archie Moore, these were the guys. Sonny Liston, Jersey Joe Walcott, these were the heavy weight champs, and he was nowhere near their weight, but I really liked him. One time he told me he was being managed by some Louisville group that was giving him 4,000 dollars a year, which he thought was a lot of money [laughs]. So he came to New York, I let him stay at my house, all through those days. My driver was his driver, you know he just used to say, him and Don King had a thing: “Make me big, make me big.”
So he saw how I lived and you know he just latched on to me like rice on beans. We got to be good friends, and when Don King went into jail, he and I became friends because he had a club in Cleveland and I would work it all the time for him. When he got out of prison he said “I don’t ever wanna go back to jail.” So I was at his house and I called Cassius and got Cassius to sing happy birthday to his daughter, and from there Don got the boxing fire. It came to a point where George Foreman had won down in Mexico (https://www.youtube.com/watch?v=iswHPKP5sEU) , but he was living in Philly with no money. I was in Philly and Don came into Philly with a bag full of that ‘number money,’ you know, thousands. He put it on the bed there and George signed a blank contract, and that’s how the Rumble in the Jungle came about. So Cassius becomes Ali, Ali’s now a Muslim. Don King told them we gonna give you five million a-piece.
Where that number came from is because when Joe Frazier and Ali fought at The Garden. Jack Kent Cooke, (https://en.wikipedia.org/wiki/Jack_Kent_Cooke) who at that time was the owner of The Lakers gave them 2 million a-piece, so us being black guys, we knew we had to double it. We knew they weren’t gonna take us serious anyway, so let’s double it. With no money! But we got both of them to sign and had to give them so much money a month. So with two signed contracts by these two great warriors, we didn’t think it was gonna be a problem, but it was a problem, until John Daly, the guy managing David Frost and Englebert Humperdinck and Tom Jones bought the ancillary rights for a million and a half. Luckily enough Don ran into some guy in Paris who thought he was some guy he knew in Cleveland and this guy was an assistant to Mobutu, in the Belgian Congo, who had just changed the country’s name to Zaire. He took Don straight to Kinshasa, Zaire to meet Mobutu, and in 45 minutes to
an hour Mobutu said he would take the fight in Zaire and put up $14 million. That’s how that happened. Couldn’t get a dime in America or nowhere else because that was insane back then to give an athlete 5 million dollars. For what? Well right after that you notice what happened with sports and entertainment. All because of what we paid those two warriors. Now you can hardly buy a ticket for to go see Lady Gaga.
Unheard of numbers. Michael Jackson died $400 million in debt. Numbers like that didn’t exist for entertainers until after we had the Rumble in the Jungle.
Tying it back to the book there’s two things that really struck me. You grossed so much money as a teen idol yet couldn’t even spend it. It shows that we cannot just solve economics problems in America to solve the race problem.
That’s absolutely correct. Because the bank to us then was for white people, we referred to it as the white bank back on the highway. It was ridiculous, and first of all, my generation we had no background for people being experienced with nothing but hard work. Nobody could advise you about anything, all of this was all so new. They claimed by me making $357 some-odd dollars a day my earnings was bigger than the President of The United States. Back then he only got 35 or 40,000 dollars a year. The Chief Justice was making $15,000. My principle in high school was making $6,000. So yeah, economically I was flying, but had no clue what to do with the money. It was all good times. When I was able to buy Buffalo Bills jacket with those old strings on it, and was able to by a car, that was my dream.
You hadn’t dreamed big enough yet huh?
NO. I knew nothing about nothing else to dream about.
One part that struck me in the book was about the Korean War. My grandfather left Arizona as a young man and went to Ft. Hood, Texas for training after being drafted, and he realized that he was to be segregated, and though he was in the US Army he had to use the colored facilities.
Can you believe that? That we all fought under one flag as US Soldiers, and his generation, which must be my generation, was supposed to be the first time the Army should be integrated, that the tents and barracks should be integrated. Well, I was in Ft. Leonardwood, Missouri, and it wasn’t. He’s absolutely correct. And even in Japan and Korea, the rednecks from the south did not want to sleep with the Black G.I.’s and we was all there to kill one enemy. Could you imagine how ridiculous that was? And as you look back you say that was really, really something, we’re all here to do one job: to kill the enemy. If he comes he’s killin’ all of us. I happened to have told one of these kids from Arkansas, I says “Cody, tonight, when bed-check Charlie comes over from North Korea to drop his bombs, you don’t have to run, they’re black bombs, you don’t have to worry.” [laughs]
You learn really quickly in the military that when the fire and flooding starts it doesn’t matter what color you are, or where you’re from, what language you speak you just need to know who’s gonna help.
Yeah, you hope somebody gets you before that fire gets you. When I was a kid working at the airport, I asked a black guy once who’d come off an airplane –I couldn’t serve black people at the counter, so he ordered a cup of coffee and he had to go around back to get it, so he was pissed off at me for not serving it to him. But I asked him, ‘You just came down off the airplane, what did you do when you had to use the bathroom on the airplane?’ He said ‘I went in the men’s room and pissed! They can’t expect me to go outside at 30,000 feet.’ It was amazing.
Right now we’re gonna have a reading the 27th of this month of my play with music called Lawdy Miss Clawdy. But all these things I’m telling you about now will be in Lawdy Miss Clawdy, and what it did socially to bring the people together, not just here in America but around the world, and how it all happened.
Where is that running at?
Well it’s not running yet. We’re just having the first reading here in New York City, in October, but let’s hope, I’ll let you know. It’s gonna be very interesting, because the truth has no defense. We’re gonna tell all these truths, but we gon’ tell ‘em with music and with love, it aint gon’ be nothing that will make people feel alienated or embarrassed. It’s just gon’ be the truth about how this got to be one of the largest music industries in the world by a little country boy from Kenner, Louisiana.
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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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Critic picks albums for Gee Bees | The Columbus Dispatch
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http://www.dispatch.com/content/stories/life_and_entertainment/2016/01/01/1-critic-picks-albums-for-older-listeners.html
** Critic picks albums for older listeners
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NEW YORK — Music journalist Jim Fusilli calls them the generationally biased — or Gee Bees.
He is referring to the folks who lose touch with popular music about the time their first gray hairs sprout and who are convinced that nothing can compare to the music of their youth.
Some are boors, no doubt. But not all have closed minds: The pressure of jobs, kids and mortgages is what caused some Gee Bees to lose their musical adventurousness.
Fusilli, the pop and rock critic for The Wall Street Journal, has made it his mission to coax such folks back into the present through his website, ReNewMusic.net, and a focused collection of his stories in the book Catching Up.
For those seeking insight, here are four albums recommended by Fusilli:
• Alabama Shakes, Sound & Color. It’s their second album, but “Their well-deserved reputation for old-school blues, soul and rock makes it seem as if Brittany Howard and the band have been around forever,” Fusilli said. Shaking things up with “a bold application of clatter, eccentricity and wit,” he gives the band props for the courage to change.
• Floating Points, Elaenia. Floating Points is actually Sam Shepherd, a classically trained musician and disc jockey. His music mixes electronica, jazz, R&B and rock. On Shepherd’s “highly textured pieces, noise and beauty coexist without conflict,” Fusilli said.
• Lettuce, Crush. The band name doesn’t conjure up the classic funk that it dishes up, with singer Alecia Chakour shining on Bobbie Gentry’s He Made a Woman Out of Me. The album should appeal to fans of the Meters, Stuff and Tower of Power.
• Laura Marling, Short Movie. Marling is a 25-year-old singer-songwriter who, on her latest album, “toughens her sound for some songs with the addition of rock instrumentation, but her voice, novelistic storytelling and agile guitar remain the centerpiece.”
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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Critic picks albums for Gee Bees | The Columbus Dispatch
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http://www.dispatch.com/content/stories/life_and_entertainment/2016/01/01/1-critic-picks-albums-for-older-listeners.html
** Critic picks albums for older listeners
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NEW YORK — Music journalist Jim Fusilli calls them the generationally biased — or Gee Bees.
He is referring to the folks who lose touch with popular music about the time their first gray hairs sprout and who are convinced that nothing can compare to the music of their youth.
Some are boors, no doubt. But not all have closed minds: The pressure of jobs, kids and mortgages is what caused some Gee Bees to lose their musical adventurousness.
Fusilli, the pop and rock critic for The Wall Street Journal, has made it his mission to coax such folks back into the present through his website, ReNewMusic.net, and a focused collection of his stories in the book Catching Up.
For those seeking insight, here are four albums recommended by Fusilli:
• Alabama Shakes, Sound & Color. It’s their second album, but “Their well-deserved reputation for old-school blues, soul and rock makes it seem as if Brittany Howard and the band have been around forever,” Fusilli said. Shaking things up with “a bold application of clatter, eccentricity and wit,” he gives the band props for the courage to change.
• Floating Points, Elaenia. Floating Points is actually Sam Shepherd, a classically trained musician and disc jockey. His music mixes electronica, jazz, R&B and rock. On Shepherd’s “highly textured pieces, noise and beauty coexist without conflict,” Fusilli said.
• Lettuce, Crush. The band name doesn’t conjure up the classic funk that it dishes up, with singer Alecia Chakour shining on Bobbie Gentry’s He Made a Woman Out of Me. The album should appeal to fans of the Meters, Stuff and Tower of Power.
• Laura Marling, Short Movie. Marling is a 25-year-old singer-songwriter who, on her latest album, “toughens her sound for some songs with the addition of rock instrumentation, but her voice, novelistic storytelling and agile guitar remain the centerpiece.”
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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Critic picks albums for Gee Bees | The Columbus Dispatch
http://www.jazzpromoservices.com/
http://www.dispatch.com/content/stories/life_and_entertainment/2016/01/01/1-critic-picks-albums-for-older-listeners.html
** Critic picks albums for older listeners
————————————————————
NEW YORK — Music journalist Jim Fusilli calls them the generationally biased — or Gee Bees.
He is referring to the folks who lose touch with popular music about the time their first gray hairs sprout and who are convinced that nothing can compare to the music of their youth.
Some are boors, no doubt. But not all have closed minds: The pressure of jobs, kids and mortgages is what caused some Gee Bees to lose their musical adventurousness.
Fusilli, the pop and rock critic for The Wall Street Journal, has made it his mission to coax such folks back into the present through his website, ReNewMusic.net, and a focused collection of his stories in the book Catching Up.
For those seeking insight, here are four albums recommended by Fusilli:
• Alabama Shakes, Sound & Color. It’s their second album, but “Their well-deserved reputation for old-school blues, soul and rock makes it seem as if Brittany Howard and the band have been around forever,” Fusilli said. Shaking things up with “a bold application of clatter, eccentricity and wit,” he gives the band props for the courage to change.
• Floating Points, Elaenia. Floating Points is actually Sam Shepherd, a classically trained musician and disc jockey. His music mixes electronica, jazz, R&B and rock. On Shepherd’s “highly textured pieces, noise and beauty coexist without conflict,” Fusilli said.
• Lettuce, Crush. The band name doesn’t conjure up the classic funk that it dishes up, with singer Alecia Chakour shining on Bobbie Gentry’s He Made a Woman Out of Me. The album should appeal to fans of the Meters, Stuff and Tower of Power.
• Laura Marling, Short Movie. Marling is a 25-year-old singer-songwriter who, on her latest album, “toughens her sound for some songs with the addition of rock instrumentation, but her voice, novelistic storytelling and agile guitar remain the centerpiece.”
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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Jazz Promo Services
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Warwick, Ny 10990
USA
Lester ‘Rusty’ G. Paul Dies at 74: Obituary | Billboard
http://www.jazzpromoservices.com/
http://www.billboard.com/articles/columns/rock/6828877/lester-rusty-g-paul-jr-death-74-obit-guitar
** Guitar Torchbearer Lester ‘Rusty’ G. Paul, Les Paul’s Son, Dies at 74
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1/1/2016 by Chris Payne (safari-reader://www.billboard.com/author/chris-payne-6179)
Lester “Rusty” G. Paul & Les Paul
Les Paul Foundation
**
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Lester “Rusty” G. Paul, son of guitar innovator Les Paul (safari-reader://www.billboard.com/artist/307041/les-paul/chart) and a huge proponent of the instrument in his own right, died yesterday (Dec. 31) at age 74.
The Les Paul Foundation confirmed the news today (Jan. 1) that Paul had died following a long fight with diabetes.
The eldest of two sons the elder Paul had with wife Virginia Webb, “Rusty” Paul was born in 1941. Throughout his life, he worked alongside his father to spread the family’s contributions to music.
Music Legend Les Paul Gets Hometown Honor (safari-reader://www.billboard.com/articles/news/6312146/music-legend-les-paul-gets-hometown-honor)
He performed around the United States with his own Rusty Paul Band and was an experienced sound engineer. Later on in life, he often performed at New York City’s Iridium Jazz Club, carrying on a regular Monday night gig his father held down for decades. He was close with many in the industry, including including Richie Sambora (safari-reader://www.billboard.com/artist/365012/richie-sambora/chart) , Slash (safari-reader://www.billboard.com/artist/279567/slash/chart) and Eddie Van Halen (safari-reader://www.billboard.com/artist/277707/van-halen/chart) .
Gone But Not Forgotten: Music Stars in Memoriam 2015 (safari-reader://www.billboard.com/photos/6523827/music-star-deaths-2015)
“Rusty” Paul is survived by his children Stephen, Gary and Beth Anne, as well as his former wife, Glori. He had seven grandchildren.
The elder Les Paul died in 2009 at the age of 94 (safari-reader://www.billboard.com/articles/news/267717/les-paul-original-guitar-hero) . He is widely credited for laying the foundation for the rock and roll era with his contributions to the design of the electric guitar and numerous recording techniques. The Gibson Les Paul is named in his memory.
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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)
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