Author: Bash Daily Group Archive Feed

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
————————————————————
1/1/2016 by Chris Payne (safari-reader://www.billboard.com/author/chris-payne-6179)
Lester “Rusty” G. Paul & Les Paul
Les Paul Foundation

**
————————————————————
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.
Comments

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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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
————————————————————
1/1/2016 by Chris Payne (safari-reader://www.billboard.com/author/chris-payne-6179)
Lester “Rusty” G. Paul & Les Paul
Les Paul Foundation

**
————————————————————
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.
Comments

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=ce75d4e019) | 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=ce75d4e019&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

Natalie Cole, Grammy Winning Singer, Has Died: Associated Press

http://www.jazzpromoservices.com/
https://www.yahoo.com/music/s/natalie-cole-grammy-winning-singer-died-170427529.html

Associated Press (http://www.ap.org/)
January 1, 2016

** Natalie Cole, Grammy Winning Singer, Has Died
————————————————————

LOS ANGELES (AP) — Singer Natalie Cole, the daughter of jazz legend Nat “King” Cole who carried on his musical legacy, has died.

Publicist Maureen O’Connor says Cole died Thursday night. She was 65. O’Connor had no details about how or where Cole died.

Cole had battled drug problems and hepatitis that forced her to undergo a kidney transplant in May 2009.

Cole’s 1991 album, “Unforgettable … With Love,” sold some 14 million copies and won six Grammys. It featured reworked versions of some of her father’s best-known songs.

On the title cut, “Unforgettable,” she sang along with her father’s taped version to create a memorable duet.

Nat “King” Cole died of lung cancer in 1965.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Natalie Cole, Grammy Winning Singer, Has Died: Associated Press

http://www.jazzpromoservices.com/
https://www.yahoo.com/music/s/natalie-cole-grammy-winning-singer-died-170427529.html

Associated Press (http://www.ap.org/)
January 1, 2016

** Natalie Cole, Grammy Winning Singer, Has Died
————————————————————

LOS ANGELES (AP) — Singer Natalie Cole, the daughter of jazz legend Nat “King” Cole who carried on his musical legacy, has died.

Publicist Maureen O’Connor says Cole died Thursday night. She was 65. O’Connor had no details about how or where Cole died.

Cole had battled drug problems and hepatitis that forced her to undergo a kidney transplant in May 2009.

Cole’s 1991 album, “Unforgettable … With Love,” sold some 14 million copies and won six Grammys. It featured reworked versions of some of her father’s best-known songs.

On the title cut, “Unforgettable,” she sang along with her father’s taped version to create a memorable duet.

Nat “King” Cole died of lung cancer in 1965.

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=9d7345f294) | 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=9d7345f294&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

Natalie Cole, Grammy Winning Singer, Has Died: Associated Press

http://www.jazzpromoservices.com/
https://www.yahoo.com/music/s/natalie-cole-grammy-winning-singer-died-170427529.html

Associated Press (http://www.ap.org/)
January 1, 2016

** Natalie Cole, Grammy Winning Singer, Has Died
————————————————————

LOS ANGELES (AP) — Singer Natalie Cole, the daughter of jazz legend Nat “King” Cole who carried on his musical legacy, has died.

Publicist Maureen O’Connor says Cole died Thursday night. She was 65. O’Connor had no details about how or where Cole died.

Cole had battled drug problems and hepatitis that forced her to undergo a kidney transplant in May 2009.

Cole’s 1991 album, “Unforgettable … With Love,” sold some 14 million copies and won six Grammys. It featured reworked versions of some of her father’s best-known songs.

On the title cut, “Unforgettable,” she sang along with her father’s taped version to create a memorable duet.

Nat “King” Cole died of lung cancer in 1965.

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=9d7345f294) | 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=9d7345f294&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

What is ‘Music on the Bones’? News — X-Ray Audio

http://www.jazzpromoservices.com/
https://x-rayaudio.squarespace.com/news/

** What is ‘Music on the Bones’? (https://x-rayaudio.squarespace.com/news/2016/1/1/what-is-music-on-the-bones)
————————————————————
January 1, 2016

Great film piece by Russian correspondent Alex Kan on the project on BBC NEWS (http://www.bbc.co.uk/news/world-europe-35208491) today. It was shot at The Horse Hospital in London inside out exhibition and on the day of an an amazing live event when we recorded thereminist Lydia Kavina to x-ray.

http://www.bbc.co.uk/news/world-europe-35208491

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

What is ‘Music on the Bones’? News — X-Ray Audio

http://www.jazzpromoservices.com/
https://x-rayaudio.squarespace.com/news/

** What is ‘Music on the Bones’? (https://x-rayaudio.squarespace.com/news/2016/1/1/what-is-music-on-the-bones)
————————————————————
January 1, 2016

Great film piece by Russian correspondent Alex Kan on the project on BBC NEWS (http://www.bbc.co.uk/news/world-europe-35208491) today. It was shot at The Horse Hospital in London inside out exhibition and on the day of an an amazing live event when we recorded thereminist Lydia Kavina to x-ray.

http://www.bbc.co.uk/news/world-europe-35208491

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=50efecaff8) | 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=50efecaff8&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

What is ‘Music on the Bones’? News — X-Ray Audio

http://www.jazzpromoservices.com/
https://x-rayaudio.squarespace.com/news/

** What is ‘Music on the Bones’? (https://x-rayaudio.squarespace.com/news/2016/1/1/what-is-music-on-the-bones)
————————————————————
January 1, 2016

Great film piece by Russian correspondent Alex Kan on the project on BBC NEWS (http://www.bbc.co.uk/news/world-europe-35208491) today. It was shot at The Horse Hospital in London inside out exhibition and on the day of an an amazing live event when we recorded thereminist Lydia Kavina to x-ray.

http://www.bbc.co.uk/news/world-europe-35208491

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=50efecaff8) | 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=50efecaff8&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

Chris Connor & Maynard Ferguson Wish You A Happy New Year – YouTube

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=UqpbZRrtTEo

https://www.youtube.com/watch?v=UqpbZRrtTEo

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=512d151f06) | 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=512d151f06&e=[UNIQID])

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Copyright (C) 2016 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Chris Connor & Maynard Ferguson Wish You A Happy New Year – YouTube

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=UqpbZRrtTEo

https://www.youtube.com/watch?v=UqpbZRrtTEo

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=512d151f06) | 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=512d151f06&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

Chris Connor & Maynard Ferguson Wish You A Happy New Year – YouTube

http://www.jazzpromoservices.com/
https://www.youtube.com/watch?v=UqpbZRrtTEo

https://www.youtube.com/watch?v=UqpbZRrtTEo

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

Using Key Value Factors to Evaluate Vinyl Records

http://www.jazzpromoservices.com/
http://www.claimsjournal.com/news/national/2015/11/30/267321.htm

** Using Key Value Factors to Evaluate Vinyl Records
————————————————————

By Scott Lacourse | November 30, 2015

Does this sound like music to your ears? A rare, fully-signed copy of The Beatles’ “Sgt. Pepper” LP fetched $295,500 at auction in 2013. A copy of Tommy Johnson’s “Alcohol and Jake Blues” 78(rpm) sold for $37,100 the same year, and another 78, “I Can’t Believe” by The Hornets went for $25,000. Rare records can be worth big money, but there’s a lot to consider before you can arrive at a proper valuation. And if you were born in the ‘80s or later, you probably don’t know what a 78 is.

Imagine you’re working on a famous music producer’s claim. After the insured’s house suffered from major flooding, many of his collectible record albums have been seriously damaged and it’s your job to evaluate his belongings and determine their net worth. Do you know enough about music and records to accurately execute this claim?

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/record-player-redRecords, also known as albums, record albums, or LPs, are a series of audio recordings released as a single package. Once the primary way people listened to music, records have been replaced by the cassette tape, compact disc, and mp3, respectively. But record albums will always be considered recorded music’s first distribution medium and because of this, they are highly collectable.

Vinyl records are making a comeback as a novelty/collectible, and many recording artists these days are going back to the future in releasing their music as a limited edition vinyl.

How Vinyl Works

Record albums are made from a certain class of vinyl, a synthetic resin or plastic that consists of polyvinyl chloride or a related polymer. Vinyl is relatively light, generally shiny and typically black. Vinyl can warp easily when exposed to too much heat or simply from poor storage, making collectible records potentially very important as insured possessions, especially if the album in question is rare and highly sought-after.

Although records may look very much alike at first glance, every single one of them is grooved with tiny rings–not unlike the rings on a cut tree trunk–that are spaced apart depending on the number and length of an individual track. When the record player needle is placed on one of these grooves, it will play whichever track that groove represents. That’s where the slang term “groovy” comes from.

Identifying Records

Records can be distinguished from each other in various ways. Each is circular and generally has a round label in the center listing information such as the album title, musician or band name, composer, and sometimes track listings and song lengths, the producer “label”, copyright info and release year dates. Classic record labels include Atlantic, Capital, Columbia, Elektra, Epic, Motown and Warner Bros.

Another differentiating factor for records is their sleeves. Each record generally comes in a thin cardboard pocket – a precursor to the compact disc (CD) case. Sleeves boast some type of artwork or photos related to the recording artist, as well as important contents information such as album name, artist name, year of publication and record company. Also, like the vinyl label, some sleeves will show track listings and song lengths.

There are a few main types of records named for their rotational speeds. The most common are the 33⅓, the 78, and the 45 rpm (rotations per minute). They can also be described by dimensions, such as 12-inch, 10-inch, and 7-inch being the most common; their time capacity, such as LP for “long playing”, a “single” and an EP, for “extended play”. EPs are too short to quality as a full studio album, or LP. Album sleeves will also mention fidelity (reproductive accuracy), or the number of channels of audio they provide, such as mono, stereo and quadraphonic.

Special Record Features

While the overwhelming majority of records are black, a standard 12-inch size, and have a standard 33⅓ rpm, there are those with distinct differences that can be considered rarer and sometimes more valuable. For instance, there are some that are red, blue, orange, green, white or even glow-in-the-dark. If a band decides to issue a select number of their newest release in a color other than black, the colored version of the disc could be worth more.

A few records are even made from different materials, other than vinyl. In 1978, the Han-O-Disc Liquid Disc was created. It was filled with liquid aniline dye-colored silicone fluids that shifted around almost like a lava lamp. This type of record was never widely released because there were too many issues with leakage.

Picture discs were experimented with in the 1930s and later, in the 1970s, featuring pictures on either or both sides of the record. These are fairly rare to see and can be valuable to collectors. The same goes for shaped discs, where the record can be shaped as something other than a disc, and etched discs, where one side of an album may be embossed with images or writing for a striking visual effect.

Evaluating Records

Records are generally evaluated in a simple manner. Because the record labels and sleeves contain all the pertinent information, they’re easy to identify for evaluation. These are the key value factors to consider:
* Information on the record’s label and/or sleeve, if available, including album and artist names, year of release and record company;
* Material;
* Size;
* RPM speed;
* Fidelity;
* Color or other special visual features of a record;
* Whether or not there’s an autograph;
* Condition in which the record appears (ranging from “mint” to “poor”).

Rarity is obviously a major factor, too. Some records were pressed in very limited runs. As an extreme example, there’s only one copy of the Wu-Tang Clan’s “The Wu – Once Upon a Time in Shaolin” LP, and it has reputedly drawn offers of up to five million dollars. Promotional records, limited runs and bootlegs can all be very valuable, if they are rare. The acetate discs that would act as master discs to make molds for pressing vinyl are also highly sought after and often command big fees.

As you can see, there’s much to consider when evaluating a record collection. Thankfully, there are many online guides that you might refer to as a starting point.

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/scott-lacourse_enservio-2Scott Lacourse is a director at Enservio, www.enservio.com, a provider of contents claim software, payments solutions, inventory and valuation services for property insurers.

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=8d5a31e7d9) | 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=8d5a31e7d9&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Using Key Value Factors to Evaluate Vinyl Records

http://www.jazzpromoservices.com/
http://www.claimsjournal.com/news/national/2015/11/30/267321.htm

** Using Key Value Factors to Evaluate Vinyl Records
————————————————————

By Scott Lacourse | November 30, 2015

Does this sound like music to your ears? A rare, fully-signed copy of The Beatles’ “Sgt. Pepper” LP fetched $295,500 at auction in 2013. A copy of Tommy Johnson’s “Alcohol and Jake Blues” 78(rpm) sold for $37,100 the same year, and another 78, “I Can’t Believe” by The Hornets went for $25,000. Rare records can be worth big money, but there’s a lot to consider before you can arrive at a proper valuation. And if you were born in the ‘80s or later, you probably don’t know what a 78 is.

Imagine you’re working on a famous music producer’s claim. After the insured’s house suffered from major flooding, many of his collectible record albums have been seriously damaged and it’s your job to evaluate his belongings and determine their net worth. Do you know enough about music and records to accurately execute this claim?

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/record-player-redRecords, also known as albums, record albums, or LPs, are a series of audio recordings released as a single package. Once the primary way people listened to music, records have been replaced by the cassette tape, compact disc, and mp3, respectively. But record albums will always be considered recorded music’s first distribution medium and because of this, they are highly collectable.

Vinyl records are making a comeback as a novelty/collectible, and many recording artists these days are going back to the future in releasing their music as a limited edition vinyl.

How Vinyl Works

Record albums are made from a certain class of vinyl, a synthetic resin or plastic that consists of polyvinyl chloride or a related polymer. Vinyl is relatively light, generally shiny and typically black. Vinyl can warp easily when exposed to too much heat or simply from poor storage, making collectible records potentially very important as insured possessions, especially if the album in question is rare and highly sought-after.

Although records may look very much alike at first glance, every single one of them is grooved with tiny rings–not unlike the rings on a cut tree trunk–that are spaced apart depending on the number and length of an individual track. When the record player needle is placed on one of these grooves, it will play whichever track that groove represents. That’s where the slang term “groovy” comes from.

Identifying Records

Records can be distinguished from each other in various ways. Each is circular and generally has a round label in the center listing information such as the album title, musician or band name, composer, and sometimes track listings and song lengths, the producer “label”, copyright info and release year dates. Classic record labels include Atlantic, Capital, Columbia, Elektra, Epic, Motown and Warner Bros.

Another differentiating factor for records is their sleeves. Each record generally comes in a thin cardboard pocket – a precursor to the compact disc (CD) case. Sleeves boast some type of artwork or photos related to the recording artist, as well as important contents information such as album name, artist name, year of publication and record company. Also, like the vinyl label, some sleeves will show track listings and song lengths.

There are a few main types of records named for their rotational speeds. The most common are the 33⅓, the 78, and the 45 rpm (rotations per minute). They can also be described by dimensions, such as 12-inch, 10-inch, and 7-inch being the most common; their time capacity, such as LP for “long playing”, a “single” and an EP, for “extended play”. EPs are too short to quality as a full studio album, or LP. Album sleeves will also mention fidelity (reproductive accuracy), or the number of channels of audio they provide, such as mono, stereo and quadraphonic.

Special Record Features

While the overwhelming majority of records are black, a standard 12-inch size, and have a standard 33⅓ rpm, there are those with distinct differences that can be considered rarer and sometimes more valuable. For instance, there are some that are red, blue, orange, green, white or even glow-in-the-dark. If a band decides to issue a select number of their newest release in a color other than black, the colored version of the disc could be worth more.

A few records are even made from different materials, other than vinyl. In 1978, the Han-O-Disc Liquid Disc was created. It was filled with liquid aniline dye-colored silicone fluids that shifted around almost like a lava lamp. This type of record was never widely released because there were too many issues with leakage.

Picture discs were experimented with in the 1930s and later, in the 1970s, featuring pictures on either or both sides of the record. These are fairly rare to see and can be valuable to collectors. The same goes for shaped discs, where the record can be shaped as something other than a disc, and etched discs, where one side of an album may be embossed with images or writing for a striking visual effect.

Evaluating Records

Records are generally evaluated in a simple manner. Because the record labels and sleeves contain all the pertinent information, they’re easy to identify for evaluation. These are the key value factors to consider:
* Information on the record’s label and/or sleeve, if available, including album and artist names, year of release and record company;
* Material;
* Size;
* RPM speed;
* Fidelity;
* Color or other special visual features of a record;
* Whether or not there’s an autograph;
* Condition in which the record appears (ranging from “mint” to “poor”).

Rarity is obviously a major factor, too. Some records were pressed in very limited runs. As an extreme example, there’s only one copy of the Wu-Tang Clan’s “The Wu – Once Upon a Time in Shaolin” LP, and it has reputedly drawn offers of up to five million dollars. Promotional records, limited runs and bootlegs can all be very valuable, if they are rare. The acetate discs that would act as master discs to make molds for pressing vinyl are also highly sought after and often command big fees.

As you can see, there’s much to consider when evaluating a record collection. Thankfully, there are many online guides that you might refer to as a starting point.

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/scott-lacourse_enservio-2Scott Lacourse is a director at Enservio, www.enservio.com, a provider of contents claim software, payments solutions, inventory and valuation services for property insurers.

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=8d5a31e7d9) | 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=8d5a31e7d9&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Using Key Value Factors to Evaluate Vinyl Records

http://www.jazzpromoservices.com/
http://www.claimsjournal.com/news/national/2015/11/30/267321.htm

** Using Key Value Factors to Evaluate Vinyl Records
————————————————————

By Scott Lacourse | November 30, 2015

Does this sound like music to your ears? A rare, fully-signed copy of The Beatles’ “Sgt. Pepper” LP fetched $295,500 at auction in 2013. A copy of Tommy Johnson’s “Alcohol and Jake Blues” 78(rpm) sold for $37,100 the same year, and another 78, “I Can’t Believe” by The Hornets went for $25,000. Rare records can be worth big money, but there’s a lot to consider before you can arrive at a proper valuation. And if you were born in the ‘80s or later, you probably don’t know what a 78 is.

Imagine you’re working on a famous music producer’s claim. After the insured’s house suffered from major flooding, many of his collectible record albums have been seriously damaged and it’s your job to evaluate his belongings and determine their net worth. Do you know enough about music and records to accurately execute this claim?

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/record-player-redRecords, also known as albums, record albums, or LPs, are a series of audio recordings released as a single package. Once the primary way people listened to music, records have been replaced by the cassette tape, compact disc, and mp3, respectively. But record albums will always be considered recorded music’s first distribution medium and because of this, they are highly collectable.

Vinyl records are making a comeback as a novelty/collectible, and many recording artists these days are going back to the future in releasing their music as a limited edition vinyl.

How Vinyl Works

Record albums are made from a certain class of vinyl, a synthetic resin or plastic that consists of polyvinyl chloride or a related polymer. Vinyl is relatively light, generally shiny and typically black. Vinyl can warp easily when exposed to too much heat or simply from poor storage, making collectible records potentially very important as insured possessions, especially if the album in question is rare and highly sought-after.

Although records may look very much alike at first glance, every single one of them is grooved with tiny rings–not unlike the rings on a cut tree trunk–that are spaced apart depending on the number and length of an individual track. When the record player needle is placed on one of these grooves, it will play whichever track that groove represents. That’s where the slang term “groovy” comes from.

Identifying Records

Records can be distinguished from each other in various ways. Each is circular and generally has a round label in the center listing information such as the album title, musician or band name, composer, and sometimes track listings and song lengths, the producer “label”, copyright info and release year dates. Classic record labels include Atlantic, Capital, Columbia, Elektra, Epic, Motown and Warner Bros.

Another differentiating factor for records is their sleeves. Each record generally comes in a thin cardboard pocket – a precursor to the compact disc (CD) case. Sleeves boast some type of artwork or photos related to the recording artist, as well as important contents information such as album name, artist name, year of publication and record company. Also, like the vinyl label, some sleeves will show track listings and song lengths.

There are a few main types of records named for their rotational speeds. The most common are the 33⅓, the 78, and the 45 rpm (rotations per minute). They can also be described by dimensions, such as 12-inch, 10-inch, and 7-inch being the most common; their time capacity, such as LP for “long playing”, a “single” and an EP, for “extended play”. EPs are too short to quality as a full studio album, or LP. Album sleeves will also mention fidelity (reproductive accuracy), or the number of channels of audio they provide, such as mono, stereo and quadraphonic.

Special Record Features

While the overwhelming majority of records are black, a standard 12-inch size, and have a standard 33⅓ rpm, there are those with distinct differences that can be considered rarer and sometimes more valuable. For instance, there are some that are red, blue, orange, green, white or even glow-in-the-dark. If a band decides to issue a select number of their newest release in a color other than black, the colored version of the disc could be worth more.

A few records are even made from different materials, other than vinyl. In 1978, the Han-O-Disc Liquid Disc was created. It was filled with liquid aniline dye-colored silicone fluids that shifted around almost like a lava lamp. This type of record was never widely released because there were too many issues with leakage.

Picture discs were experimented with in the 1930s and later, in the 1970s, featuring pictures on either or both sides of the record. These are fairly rare to see and can be valuable to collectors. The same goes for shaped discs, where the record can be shaped as something other than a disc, and etched discs, where one side of an album may be embossed with images or writing for a striking visual effect.

Evaluating Records

Records are generally evaluated in a simple manner. Because the record labels and sleeves contain all the pertinent information, they’re easy to identify for evaluation. These are the key value factors to consider:
* Information on the record’s label and/or sleeve, if available, including album and artist names, year of release and record company;
* Material;
* Size;
* RPM speed;
* Fidelity;
* Color or other special visual features of a record;
* Whether or not there’s an autograph;
* Condition in which the record appears (ranging from “mint” to “poor”).

Rarity is obviously a major factor, too. Some records were pressed in very limited runs. As an extreme example, there’s only one copy of the Wu-Tang Clan’s “The Wu – Once Upon a Time in Shaolin” LP, and it has reputedly drawn offers of up to five million dollars. Promotional records, limited runs and bootlegs can all be very valuable, if they are rare. The acetate discs that would act as master discs to make molds for pressing vinyl are also highly sought after and often command big fees.

As you can see, there’s much to consider when evaluating a record collection. Thankfully, there are many online guides that you might refer to as a starting point.

http://www.claimsjournal.com/news/national/2015/11/30/267321.htm/attachment/scott-lacourse_enservio-2Scott Lacourse is a director at Enservio, www.enservio.com, a provider of contents claim software, payments solutions, inventory and valuation services for property insurers.

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=8d5a31e7d9) | 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=8d5a31e7d9&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph

http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/travel/artsandculture/12071136/Roy-Orbison-TV-documentary-tells-rags-to-riches-story-of-music-legend.html

** Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph
————————————————————

By Catherine Wylie

The musician, who died in 1988 aged just 52, is the subject of a biographical documentary, told through his own voice and featuring unseen performances and home movies, which will be broadcast on BBC Four this week.

He added: “I don’t think he had a pair of shoes until he was 11-years-old.

“He had a guitar before he had a pair of shoes.”

Alex Orbison, who lives in Nashville, Tennessee, said the documentary is “really special”.

Roy Orbison

He said: “My dad, in his own voice, speaks of my grandparents walking from Oklahoma to Texas, which in European terms would be like walking probably from Paris to Madrid or something like that. And they walked, and they were happy because they found a cigarette they were able to share on the side of the road.”
“He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

Alex Orbison, whose godfather is Johnny Cash, reflected on what his father made of his own talent, saying: “He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

He said he remembers famous people visiting when he and his brothers were little.

“Johnny was our neighbour – Johnny and June are the godparents to Wesley and Roy and myself, all the boys. People would say ‘Johnny Cash is your godfather?’ And I would say ‘more importantly, June is my godmother’. I mean, June was such a great person and such a wonderful cook as well,” he said,

He also recalled an incident when his grandmother turned away a very famous singer from the house.

“There was a knock late in the evening and they looked through the hole and it was someone with a sweatshirt and a leather jacket and a baseball cap, and my grandmother said ‘no, no, no, we’re not having anyone, this looks suspicious’.

“And so she opened the door and sent him off and then she shut the door. And then my grandmother said to my mum ‘Who’s Bob Dylan because he’s looking for your dad (http://www.telegraph.co.uk/culture/music/bob-dylan/) ?’ So they had to open the door and run and go and get him,” he said.

Orbison had a huge hit with Oh, Pretty Woman and Alex said he never tires of it, saying: “It never gets old … it’s such a unique song.”

He said his father and songwriting partner Bill Dees knew they were on to something special.

“They said that they knew when they had it down, which meant that they could play it and remember it, because my dad would say if you can’t remember it then no-one else is going to.

“They played through it and the total writing event was 35 minutes or 40 minutes. He said the best songs take under an hour and the worst ones never get finished.”

:: Roy Orbison: One Of The Lonely Ones is on BBC Four at 9pm on Tuesday December 29.

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=751687ddc3) | 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=751687ddc3&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph

http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/travel/artsandculture/12071136/Roy-Orbison-TV-documentary-tells-rags-to-riches-story-of-music-legend.html

** Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph
————————————————————

By Catherine Wylie

The musician, who died in 1988 aged just 52, is the subject of a biographical documentary, told through his own voice and featuring unseen performances and home movies, which will be broadcast on BBC Four this week.

He added: “I don’t think he had a pair of shoes until he was 11-years-old.

“He had a guitar before he had a pair of shoes.”

Alex Orbison, who lives in Nashville, Tennessee, said the documentary is “really special”.

Roy Orbison

He said: “My dad, in his own voice, speaks of my grandparents walking from Oklahoma to Texas, which in European terms would be like walking probably from Paris to Madrid or something like that. And they walked, and they were happy because they found a cigarette they were able to share on the side of the road.”
“He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

Alex Orbison, whose godfather is Johnny Cash, reflected on what his father made of his own talent, saying: “He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

He said he remembers famous people visiting when he and his brothers were little.

“Johnny was our neighbour – Johnny and June are the godparents to Wesley and Roy and myself, all the boys. People would say ‘Johnny Cash is your godfather?’ And I would say ‘more importantly, June is my godmother’. I mean, June was such a great person and such a wonderful cook as well,” he said,

He also recalled an incident when his grandmother turned away a very famous singer from the house.

“There was a knock late in the evening and they looked through the hole and it was someone with a sweatshirt and a leather jacket and a baseball cap, and my grandmother said ‘no, no, no, we’re not having anyone, this looks suspicious’.

“And so she opened the door and sent him off and then she shut the door. And then my grandmother said to my mum ‘Who’s Bob Dylan because he’s looking for your dad (http://www.telegraph.co.uk/culture/music/bob-dylan/) ?’ So they had to open the door and run and go and get him,” he said.

Orbison had a huge hit with Oh, Pretty Woman and Alex said he never tires of it, saying: “It never gets old … it’s such a unique song.”

He said his father and songwriting partner Bill Dees knew they were on to something special.

“They said that they knew when they had it down, which meant that they could play it and remember it, because my dad would say if you can’t remember it then no-one else is going to.

“They played through it and the total writing event was 35 minutes or 40 minutes. He said the best songs take under an hour and the worst ones never get finished.”

:: Roy Orbison: One Of The Lonely Ones is on BBC Four at 9pm on Tuesday December 29.

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph

http://www.jazzpromoservices.com/
http://www.telegraph.co.uk/travel/artsandculture/12071136/Roy-Orbison-TV-documentary-tells-rags-to-riches-story-of-music-legend.html

** Roy Orbison: TV documentary tells rags to riches story of music legend – Telegraph
————————————————————

By Catherine Wylie

The musician, who died in 1988 aged just 52, is the subject of a biographical documentary, told through his own voice and featuring unseen performances and home movies, which will be broadcast on BBC Four this week.

He added: “I don’t think he had a pair of shoes until he was 11-years-old.

“He had a guitar before he had a pair of shoes.”

Alex Orbison, who lives in Nashville, Tennessee, said the documentary is “really special”.

Roy Orbison

He said: “My dad, in his own voice, speaks of my grandparents walking from Oklahoma to Texas, which in European terms would be like walking probably from Paris to Madrid or something like that. And they walked, and they were happy because they found a cigarette they were able to share on the side of the road.”
“He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

Alex Orbison, whose godfather is Johnny Cash, reflected on what his father made of his own talent, saying: “He said the voice was a gift. He really felt it was a gift from God, and the responsibility was that he had to rehearse and do everything he could to nurture it to get it to be as powerful as it was.”

He said he remembers famous people visiting when he and his brothers were little.

“Johnny was our neighbour – Johnny and June are the godparents to Wesley and Roy and myself, all the boys. People would say ‘Johnny Cash is your godfather?’ And I would say ‘more importantly, June is my godmother’. I mean, June was such a great person and such a wonderful cook as well,” he said,

He also recalled an incident when his grandmother turned away a very famous singer from the house.

“There was a knock late in the evening and they looked through the hole and it was someone with a sweatshirt and a leather jacket and a baseball cap, and my grandmother said ‘no, no, no, we’re not having anyone, this looks suspicious’.

“And so she opened the door and sent him off and then she shut the door. And then my grandmother said to my mum ‘Who’s Bob Dylan because he’s looking for your dad (http://www.telegraph.co.uk/culture/music/bob-dylan/) ?’ So they had to open the door and run and go and get him,” he said.

Orbison had a huge hit with Oh, Pretty Woman and Alex said he never tires of it, saying: “It never gets old … it’s such a unique song.”

He said his father and songwriting partner Bill Dees knew they were on to something special.

“They said that they knew when they had it down, which meant that they could play it and remember it, because my dad would say if you can’t remember it then no-one else is going to.

“They played through it and the total writing event was 35 minutes or 40 minutes. He said the best songs take under an hour and the worst ones never get finished.”

:: Roy Orbison: One Of The Lonely Ones is on BBC Four at 9pm on Tuesday December 29.

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=751687ddc3) | 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=751687ddc3&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Discogs Turns Record Collectors’ Obsessions Into Big Business – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/30/business/media/discogs-turns-record-collectors-obsessions-into-big-business.html?hpw

** Discogs Turns Record Collectors’ Obsessions Into Big Business
————————————————————

By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) DEC. 29, 2015

The founder and chief executive of Discogs, Kevin Lewandowski, center, at the company’s headquarters in Beaverton, Ore. Begun in 2000, the free website has grown into a database of 6.5 million album releases, with an online marketplace for collectors.Carl Kiilsgaard for The New York Times
Continue reading the main story

BEAVERTON, Ore. — In the beginning, Kevin Lewandowski just wanted a way to keep track of his techno records.

Now, 15 years later, the free website he set up for that purpose, Discogs.com (http://discogs.com/) , has become a vital resource for record collectors and the music industry, with a sprawling database of more than 6.5 million releases. And with an online marketplace through which nearly $100 million in records will be sold this year, Discogs has carved out a valuable niche in a market dominated by companies like Amazon and eBay.

Borrowing from Wikipedia’s model of user-generated content, Discogs has built one of the most exhaustive collections of discographical information in the world, with historical data cataloged by thousands of volunteer editors in extreme detail. The site’s entry for the Beatles’ White Album, for instance, contains 309 distinct versions (http://www.discogs.com/The-Beatles-The-Beatles/master/46402) of the record, including its original releases in countries like Uruguay, India and Yugoslavia — in mono and stereo configurations — and decades of reissues, from Greek eight-tracks to Japanese CDs.

The New York Times, Michael Ochs Archive

“Discogs is vital, essential, irreplaceable — a resource I use every day,” said Rob Sevier, a founder of the Numero Group (http://www.numerogroup.com/) , a Chicago label that specializes in reissuing particularly obscure material.

Discogs’s goal of cataloging the world of recorded music is supported through the site’s marketplace, which lets sellers link to specific versions of each release — that particular Uruguayan White Album, for example — and has endeared Discogs to collectors and record dealers.

“There’s no way an independent record store can stay open without it,” said Stephen Benbrook, the owner of Zion’s Gate Records, a store in Seattle, who said Discogs was his primary outlet online, with about 500 orders a month.

The Discogs marketplace has 24 million items for sale, while eBay’s music section lists almost 11 million. Through October, Discogs processed $79 million in sales, and, with more than 80,000 orders a week, the site is on track to do nearly $100 million in business by the end of the year, said Chad Dahlstrom, its chief operating officer. Discogs takes an 8 percent fee on orders, which Mr. Lewandowski said made the company comfortably profitable.

On a recent Monday morning at the company’s headquarters in an office park just outside Portland, Mr. Lewandowski, 40, described how he was a fan of dance music in the 1990s. He connected with other collectors online, he said, but wanted a detailed reference site for the music along the lines of the Internet Music Database. (http://imuzdb.com/)

“There’s a record-collector gene,” he said. “Some people want to know every little detail about a record.”

Moonlighting from his job as a programmer at Intel, he started a basic, open-source database using about 250 of his own records — the first entry was for a double 12-inch single by the Swedish D.J. the Persuader — and revealed it to fellow collectors in October 2000. Two years later, he took a buyout from Intel and devoted himself to Discogs.

The site, once run from a computer in Mr. Lewandowski’s closet and originally restricted to electronic music, has grown rapidly. It now has 37 employees around the world, 20 million online visitors a month and three million registered users. It eventually opened to all genres of music and has a mission of cataloging every record in existence.

The site’s supporters, including the more than 260,000 people who have contributed content, pursue that mission with zeal, but they still have a long way to go. Competing collector sites, like 45worlds, have plenty of titles that are missing from Discogs, like a 78 r.p.m. acetate (http://www.45worlds.com/78rpm/record/nc358603uk) of the Beatles’ “Devil in Her Heart” from 1963. And proprietary databases like Gracenote, owned by Tribune Media, claim more titles over all.

Casual users may simply consult Discogs to check the text on old labels or to see whether a record was released in colored-vinyl variations. Those who sign up for accounts can also tag items as being part of their collections, as well as communicate with other users and buy or sell copies. The most dedicated create and edit listings, actions for which there are strict and elaborate guidelines. The first rule: “You must have the exact release in your possession.” A 40,000-word post (http://www.discogs.com/forum/thread/386878) lays out how to identify run-out information — the obscure codes marked on the inner portion of a record, closest to the label.

“We are trying to approach it from a very factual point of view,” said Nik Kinloch, the first employee hired by Mr. Lewandowski. “You have the music release in front of you. What does it say on it? That is the source of truth for building the discography.”

Like Wikipedia, Discogs has sometimes heard from people or companies that want to remove unflattering information. But with Discogs, those requests tend to be more about D.J.s wanting to update old stage names than about the right to be forgotten.

“The funniest one I’ve heard,” Mr. Lewandowski said, “was from a D.J. in Vancouver, B.C., who said his family was Pentecostal and they don’t allow dancing. ‘Can you remove my name from the site so they don’t find out?’” the D.J. asked.

Out of principle, Mr. Lewandowski said, the site does not remove historical data.

The site’s marketplace business is global: About 60 percent of its customers are in Europe, and a growing portion of its listings are in Japan. (The biggest seller in Japan this year: Michael Jackson’s “Black or White” 45. Seventy copies sold to customers there.) And Discogs’s growth has closely mirrored the explosion of vinyl sales (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html) . Those records have far exceeded all other formats on the site; almost 2.8 million vinyl records sold this year, compared with 628,000 CDs.

But as much as it has grown, Discogs still represents a small niche of the overall collectors’ market. EBay has 159 million active buyers, and in the third quarter alone they spent $19.6 billion on transactions through the site — in which music is just one sliver of its offerings — according to company statistics.

Mr. Lewandowski, who is the sole owner of Discogs, said he had no interest in selling the business. He has watched other players enter the field over the last 15 years, including Amazon, which in 2008 introduced SoundUnwound, a Wikipedia-like site for music. But it was quietly shut down four years later. Discogs may have survived because of the innovation of its marketplace, giving collectors an incentive to expand the database with every imaginable detail.

“I want it to go on forever,” Mr. Lewandowski said.

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=0cf3293a60) | 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=0cf3293a60&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Discogs Turns Record Collectors’ Obsessions Into Big Business – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/30/business/media/discogs-turns-record-collectors-obsessions-into-big-business.html?hpw

** Discogs Turns Record Collectors’ Obsessions Into Big Business
————————————————————

By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) DEC. 29, 2015

The founder and chief executive of Discogs, Kevin Lewandowski, center, at the company’s headquarters in Beaverton, Ore. Begun in 2000, the free website has grown into a database of 6.5 million album releases, with an online marketplace for collectors.Carl Kiilsgaard for The New York Times
Continue reading the main story

BEAVERTON, Ore. — In the beginning, Kevin Lewandowski just wanted a way to keep track of his techno records.

Now, 15 years later, the free website he set up for that purpose, Discogs.com (http://discogs.com/) , has become a vital resource for record collectors and the music industry, with a sprawling database of more than 6.5 million releases. And with an online marketplace through which nearly $100 million in records will be sold this year, Discogs has carved out a valuable niche in a market dominated by companies like Amazon and eBay.

Borrowing from Wikipedia’s model of user-generated content, Discogs has built one of the most exhaustive collections of discographical information in the world, with historical data cataloged by thousands of volunteer editors in extreme detail. The site’s entry for the Beatles’ White Album, for instance, contains 309 distinct versions (http://www.discogs.com/The-Beatles-The-Beatles/master/46402) of the record, including its original releases in countries like Uruguay, India and Yugoslavia — in mono and stereo configurations — and decades of reissues, from Greek eight-tracks to Japanese CDs.

The New York Times, Michael Ochs Archive

“Discogs is vital, essential, irreplaceable — a resource I use every day,” said Rob Sevier, a founder of the Numero Group (http://www.numerogroup.com/) , a Chicago label that specializes in reissuing particularly obscure material.

Discogs’s goal of cataloging the world of recorded music is supported through the site’s marketplace, which lets sellers link to specific versions of each release — that particular Uruguayan White Album, for example — and has endeared Discogs to collectors and record dealers.

“There’s no way an independent record store can stay open without it,” said Stephen Benbrook, the owner of Zion’s Gate Records, a store in Seattle, who said Discogs was his primary outlet online, with about 500 orders a month.

The Discogs marketplace has 24 million items for sale, while eBay’s music section lists almost 11 million. Through October, Discogs processed $79 million in sales, and, with more than 80,000 orders a week, the site is on track to do nearly $100 million in business by the end of the year, said Chad Dahlstrom, its chief operating officer. Discogs takes an 8 percent fee on orders, which Mr. Lewandowski said made the company comfortably profitable.

On a recent Monday morning at the company’s headquarters in an office park just outside Portland, Mr. Lewandowski, 40, described how he was a fan of dance music in the 1990s. He connected with other collectors online, he said, but wanted a detailed reference site for the music along the lines of the Internet Music Database. (http://imuzdb.com/)

“There’s a record-collector gene,” he said. “Some people want to know every little detail about a record.”

Moonlighting from his job as a programmer at Intel, he started a basic, open-source database using about 250 of his own records — the first entry was for a double 12-inch single by the Swedish D.J. the Persuader — and revealed it to fellow collectors in October 2000. Two years later, he took a buyout from Intel and devoted himself to Discogs.

The site, once run from a computer in Mr. Lewandowski’s closet and originally restricted to electronic music, has grown rapidly. It now has 37 employees around the world, 20 million online visitors a month and three million registered users. It eventually opened to all genres of music and has a mission of cataloging every record in existence.

The site’s supporters, including the more than 260,000 people who have contributed content, pursue that mission with zeal, but they still have a long way to go. Competing collector sites, like 45worlds, have plenty of titles that are missing from Discogs, like a 78 r.p.m. acetate (http://www.45worlds.com/78rpm/record/nc358603uk) of the Beatles’ “Devil in Her Heart” from 1963. And proprietary databases like Gracenote, owned by Tribune Media, claim more titles over all.

Casual users may simply consult Discogs to check the text on old labels or to see whether a record was released in colored-vinyl variations. Those who sign up for accounts can also tag items as being part of their collections, as well as communicate with other users and buy or sell copies. The most dedicated create and edit listings, actions for which there are strict and elaborate guidelines. The first rule: “You must have the exact release in your possession.” A 40,000-word post (http://www.discogs.com/forum/thread/386878) lays out how to identify run-out information — the obscure codes marked on the inner portion of a record, closest to the label.

“We are trying to approach it from a very factual point of view,” said Nik Kinloch, the first employee hired by Mr. Lewandowski. “You have the music release in front of you. What does it say on it? That is the source of truth for building the discography.”

Like Wikipedia, Discogs has sometimes heard from people or companies that want to remove unflattering information. But with Discogs, those requests tend to be more about D.J.s wanting to update old stage names than about the right to be forgotten.

“The funniest one I’ve heard,” Mr. Lewandowski said, “was from a D.J. in Vancouver, B.C., who said his family was Pentecostal and they don’t allow dancing. ‘Can you remove my name from the site so they don’t find out?’” the D.J. asked.

Out of principle, Mr. Lewandowski said, the site does not remove historical data.

The site’s marketplace business is global: About 60 percent of its customers are in Europe, and a growing portion of its listings are in Japan. (The biggest seller in Japan this year: Michael Jackson’s “Black or White” 45. Seventy copies sold to customers there.) And Discogs’s growth has closely mirrored the explosion of vinyl sales (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html) . Those records have far exceeded all other formats on the site; almost 2.8 million vinyl records sold this year, compared with 628,000 CDs.

But as much as it has grown, Discogs still represents a small niche of the overall collectors’ market. EBay has 159 million active buyers, and in the third quarter alone they spent $19.6 billion on transactions through the site — in which music is just one sliver of its offerings — according to company statistics.

Mr. Lewandowski, who is the sole owner of Discogs, said he had no interest in selling the business. He has watched other players enter the field over the last 15 years, including Amazon, which in 2008 introduced SoundUnwound, a Wikipedia-like site for music. But it was quietly shut down four years later. Discogs may have survived because of the innovation of its marketplace, giving collectors an incentive to expand the database with every imaginable detail.

“I want it to go on forever,” Mr. Lewandowski said.

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=0cf3293a60) | 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=0cf3293a60&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

Discogs Turns Record Collectors’ Obsessions Into Big Business – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/30/business/media/discogs-turns-record-collectors-obsessions-into-big-business.html?hpw

** Discogs Turns Record Collectors’ Obsessions Into Big Business
————————————————————

By BEN SISARIO (http://topics.nytimes.com/top/reference/timestopics/people/s/ben_sisario/index.html) DEC. 29, 2015

The founder and chief executive of Discogs, Kevin Lewandowski, center, at the company’s headquarters in Beaverton, Ore. Begun in 2000, the free website has grown into a database of 6.5 million album releases, with an online marketplace for collectors.Carl Kiilsgaard for The New York Times
Continue reading the main story

BEAVERTON, Ore. — In the beginning, Kevin Lewandowski just wanted a way to keep track of his techno records.

Now, 15 years later, the free website he set up for that purpose, Discogs.com (http://discogs.com/) , has become a vital resource for record collectors and the music industry, with a sprawling database of more than 6.5 million releases. And with an online marketplace through which nearly $100 million in records will be sold this year, Discogs has carved out a valuable niche in a market dominated by companies like Amazon and eBay.

Borrowing from Wikipedia’s model of user-generated content, Discogs has built one of the most exhaustive collections of discographical information in the world, with historical data cataloged by thousands of volunteer editors in extreme detail. The site’s entry for the Beatles’ White Album, for instance, contains 309 distinct versions (http://www.discogs.com/The-Beatles-The-Beatles/master/46402) of the record, including its original releases in countries like Uruguay, India and Yugoslavia — in mono and stereo configurations — and decades of reissues, from Greek eight-tracks to Japanese CDs.

The New York Times, Michael Ochs Archive

“Discogs is vital, essential, irreplaceable — a resource I use every day,” said Rob Sevier, a founder of the Numero Group (http://www.numerogroup.com/) , a Chicago label that specializes in reissuing particularly obscure material.

Discogs’s goal of cataloging the world of recorded music is supported through the site’s marketplace, which lets sellers link to specific versions of each release — that particular Uruguayan White Album, for example — and has endeared Discogs to collectors and record dealers.

“There’s no way an independent record store can stay open without it,” said Stephen Benbrook, the owner of Zion’s Gate Records, a store in Seattle, who said Discogs was his primary outlet online, with about 500 orders a month.

The Discogs marketplace has 24 million items for sale, while eBay’s music section lists almost 11 million. Through October, Discogs processed $79 million in sales, and, with more than 80,000 orders a week, the site is on track to do nearly $100 million in business by the end of the year, said Chad Dahlstrom, its chief operating officer. Discogs takes an 8 percent fee on orders, which Mr. Lewandowski said made the company comfortably profitable.

On a recent Monday morning at the company’s headquarters in an office park just outside Portland, Mr. Lewandowski, 40, described how he was a fan of dance music in the 1990s. He connected with other collectors online, he said, but wanted a detailed reference site for the music along the lines of the Internet Music Database. (http://imuzdb.com/)

“There’s a record-collector gene,” he said. “Some people want to know every little detail about a record.”

Moonlighting from his job as a programmer at Intel, he started a basic, open-source database using about 250 of his own records — the first entry was for a double 12-inch single by the Swedish D.J. the Persuader — and revealed it to fellow collectors in October 2000. Two years later, he took a buyout from Intel and devoted himself to Discogs.

The site, once run from a computer in Mr. Lewandowski’s closet and originally restricted to electronic music, has grown rapidly. It now has 37 employees around the world, 20 million online visitors a month and three million registered users. It eventually opened to all genres of music and has a mission of cataloging every record in existence.

The site’s supporters, including the more than 260,000 people who have contributed content, pursue that mission with zeal, but they still have a long way to go. Competing collector sites, like 45worlds, have plenty of titles that are missing from Discogs, like a 78 r.p.m. acetate (http://www.45worlds.com/78rpm/record/nc358603uk) of the Beatles’ “Devil in Her Heart” from 1963. And proprietary databases like Gracenote, owned by Tribune Media, claim more titles over all.

Casual users may simply consult Discogs to check the text on old labels or to see whether a record was released in colored-vinyl variations. Those who sign up for accounts can also tag items as being part of their collections, as well as communicate with other users and buy or sell copies. The most dedicated create and edit listings, actions for which there are strict and elaborate guidelines. The first rule: “You must have the exact release in your possession.” A 40,000-word post (http://www.discogs.com/forum/thread/386878) lays out how to identify run-out information — the obscure codes marked on the inner portion of a record, closest to the label.

“We are trying to approach it from a very factual point of view,” said Nik Kinloch, the first employee hired by Mr. Lewandowski. “You have the music release in front of you. What does it say on it? That is the source of truth for building the discography.”

Like Wikipedia, Discogs has sometimes heard from people or companies that want to remove unflattering information. But with Discogs, those requests tend to be more about D.J.s wanting to update old stage names than about the right to be forgotten.

“The funniest one I’ve heard,” Mr. Lewandowski said, “was from a D.J. in Vancouver, B.C., who said his family was Pentecostal and they don’t allow dancing. ‘Can you remove my name from the site so they don’t find out?’” the D.J. asked.

Out of principle, Mr. Lewandowski said, the site does not remove historical data.

The site’s marketplace business is global: About 60 percent of its customers are in Europe, and a growing portion of its listings are in Japan. (The biggest seller in Japan this year: Michael Jackson’s “Black or White” 45. Seventy copies sold to customers there.) And Discogs’s growth has closely mirrored the explosion of vinyl sales (http://www.nytimes.com/2015/09/15/business/media/a-vinyl-lp-frenzy-brings-record-pressing-machines-back-to-life.html) . Those records have far exceeded all other formats on the site; almost 2.8 million vinyl records sold this year, compared with 628,000 CDs.

But as much as it has grown, Discogs still represents a small niche of the overall collectors’ market. EBay has 159 million active buyers, and in the third quarter alone they spent $19.6 billion on transactions through the site — in which music is just one sliver of its offerings — according to company statistics.

Mr. Lewandowski, who is the sole owner of Discogs, said he had no interest in selling the business. He has watched other players enter the field over the last 15 years, including Amazon, which in 2008 introduced SoundUnwound, a Wikipedia-like site for music. But it was quietly shut down four years later. Discogs may have survived because of the innovation of its marketplace, giving collectors an incentive to expand the database with every imaginable detail.

“I want it to go on forever,” Mr. Lewandowski said.

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Tuba in hand, acclaimed physician Dr. Eli Newberger delights in his first passion – The Boston Globe

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https://www.bostonglobe.com/lifestyle/2015/12/28/tuba-hand-acclaimed-physician-eli-newberger-delights-his-first-passion/Bw3NRBiZpquTRTH3wtGXlK/story.html

** Tuba in hand, acclaimed physician delights in his first passion
————————————————————

By Bella English (https://www.bostonglobe.com/staff/english) GLOBE STAFF DECEMBER 29, 2015

On a recent night, Scullers Jazz Club in Cambridge was packed with nationally renowned experts on trauma and child abuse, former Peace Corps volunteers in West Africa, and book group buddies. They were all there to honor Dr. Eli Newberger, who sat in perhaps his favorite spot on earth: on stage, cradling his beloved tuba.
Newberger, who is both a nationally renowned child abuse expert and a fixture on Boston’s music scene, was turning 75 on Dec. 26. Scullers had to add a 10 p.m. show, after an earlier session, to accommodate fans of his medicine and his music.
“This is a birthday party of music,” he told the enthusiastic crowd before his group, Eli & the Hot Six, launched into an all-Gershwin gig. As he kicked off “It Ain’t Necessarily So,” he told the crowd: “The amygdala in the brain is the center for our cessation of stress. It sets off a cascade of hormones and messages. This is also where music enters our brain.”
His own life has been about the interconnections of music and medicine. “The joy and release of this musical life has enabled me to deal with the rigors of child abuse and family violence: My medical life connects to the sense of shared struggle and social protest that runs deep in the history and practice of jazz,” he once wrote.
In Boston, he may be best known as the key prosecution witness in the trial of Louise Woodward, the British nanny who was convicted of murder in the death of 9-month-old Matthew Eappen in 1997. During the 17-day trial, which was televised live worldwide, Newberger testified that Matthew was the victim of violent, prolonged shaking and that a blood clot on his brain and a fractured skull indicated that he had also been slammed against a hard surface. As medical director of the child abuse unit at Children’s Hospital, Newberger had examined Matthew when he was brought in.
Woodward was convicted of second-degree murder and faced life in prison when Judge Hiller Zobel reduced the conviction to involuntary manslaughter and sentenced her to time already served since her arrest: 279 days.
Nearly 20 years later, it still rankles Newberger. He bristles at the growing legal challenges to shaken baby syndrome; in the past 15 months, the Massachusetts Medical Examiner’s office has revised its initial finding of the syndrome in three different cases involving dead babies with head trauma.
During the priest sex abuse crisis in the Archdiocese of Boston, Newberger also served as the expert on the effects of such abuse on children and their families.
Newberger has been recognized for his music, with hundreds of concert and festival appearances across the US and Europe since he co-founded the New Black Eagle Jazz Band in 1970. He’s been a trustee of the Berklee College of Music and an overseer of the New England Conservatory of Music.
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
ERIK JACOBS FOR THE BOSTON GLOBE
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
Music was his first love. When he was 10 years old, growing up in Mount Vernon, N.Y., the director of the elementary school band asked Newberger if he’d like to play the tuba. “He always had an eye out for the very sturdy boy who could carry the sousaphone in the marching band,” says Newberger, who is 6-foot-1 and weighs 205 pounds.
At 13, he saw Louis Armstrong perform, and that did it: “I knew after that, I had to play that music.” He led his high school jazz band for four years, while taking private lessons from William Bell, the principal tuba player for the New York Philharmonic. At Juilliard, he studied piano, organ and theory. At Yale, he majored in music theory and became tubist for the New Haven Symphony.
But he was taking pre-med classes “on the side” and decided to go on to medical school at Yale. As a junior, he was fixed up with a Sarah Lawrence sophomore who played the flute. When he graduated, he and Carolyn Moore were married.
Working as a first grade teacher, she put him through medical school, which was $1,500 a year then. “I finished with $1,200 debt,” he says.
In 1966, during the Vietnam War, male doctors were required to register for the draft. Both the Newbergers opposed the war, and he applied to become a Peace Corps doctor.
In 1967, the couple moved to Upper Volta in West Africa — now Burkina Faso — with their month-old daughter. He’d put in for a West African post in hopes of learning more about the origins of jazz. But it ended up having another long-lasting effect as well: His medical experience there led him to change his focus from neurology to pediatrics. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. In 1970, while a pediatric resident at Children’s, he alerted the physician-in-chief about “a worrying pattern of rehospitalizations” of young patients who had been reported to child protection. He was asked to research what hospitals around the country were doing about such cases.
Mandated reporting laws, which require healthcare workers, teachers, and others to report suspected child abuse to protective services, were new, and the hospital staff not yet well trained on such abuse.
“And there was next to no [medical] literature on it,” says Newberger.He found that most of the real expertise on child abuse in Massachusetts was in the nonprofit sector that dealt with children and families.
Newberger was asked to start a child abuse unit at Children’s Hospital. He was 29 years old, with no experience in the field. But his multi-disciplinary team of doctors, nurses, and social workers would become a national blueprint for other hospitals.
During his residency, he got a degree in epidemiology at Harvard’s School of Public Health, while Carolyn worked on her doctorate in developmental psychology at Harvard. They collaborated for 30 years at Children’s, where she served as director of research and training in the Family Development Program.
Today, they are retired from the health care field but still work together on stage, as members of Eli & the Hot Six. Carolyn plays the washboard, which she straps around her neck.
She beamed as she improvised with band members at the Scullers shows. “For me, it’s about getting to the heart and soul of rhythm,” she said later.
But her real second career is art. In the couple’s rambling Brookline home, her studio is filled with her paintings and charcoal sketches, as are the walls of the house. She often sketches the band as it plays.
The couple, who also have a home in the Berkshires, are now collaborating in a third way. He writes music reviews for on online site The Berkshire Edge, and she illustrates them.
On a recent day, he picked up a tuba in his living room and started playing. He adores the tuba, but knows that not everyone loves the sound of the ungainly 40-pound horn.
The Newberger dogs, Bibi and Cici, began to bark. Newberger moved over to his Steinway and started to play “How Much Is That Doggie in the Window?” The dogs relaxed.
Bella English can be reached at english@globe.com. (mailto:english@globe.com)

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Tuba in hand, acclaimed physician Dr. Eli Newberger delights in his first passion – The Boston Globe

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https://www.bostonglobe.com/lifestyle/2015/12/28/tuba-hand-acclaimed-physician-eli-newberger-delights-his-first-passion/Bw3NRBiZpquTRTH3wtGXlK/story.html

** Tuba in hand, acclaimed physician delights in his first passion
————————————————————

By Bella English (https://www.bostonglobe.com/staff/english) GLOBE STAFF DECEMBER 29, 2015

On a recent night, Scullers Jazz Club in Cambridge was packed with nationally renowned experts on trauma and child abuse, former Peace Corps volunteers in West Africa, and book group buddies. They were all there to honor Dr. Eli Newberger, who sat in perhaps his favorite spot on earth: on stage, cradling his beloved tuba.
Newberger, who is both a nationally renowned child abuse expert and a fixture on Boston’s music scene, was turning 75 on Dec. 26. Scullers had to add a 10 p.m. show, after an earlier session, to accommodate fans of his medicine and his music.
“This is a birthday party of music,” he told the enthusiastic crowd before his group, Eli & the Hot Six, launched into an all-Gershwin gig. As he kicked off “It Ain’t Necessarily So,” he told the crowd: “The amygdala in the brain is the center for our cessation of stress. It sets off a cascade of hormones and messages. This is also where music enters our brain.”
His own life has been about the interconnections of music and medicine. “The joy and release of this musical life has enabled me to deal with the rigors of child abuse and family violence: My medical life connects to the sense of shared struggle and social protest that runs deep in the history and practice of jazz,” he once wrote.
In Boston, he may be best known as the key prosecution witness in the trial of Louise Woodward, the British nanny who was convicted of murder in the death of 9-month-old Matthew Eappen in 1997. During the 17-day trial, which was televised live worldwide, Newberger testified that Matthew was the victim of violent, prolonged shaking and that a blood clot on his brain and a fractured skull indicated that he had also been slammed against a hard surface. As medical director of the child abuse unit at Children’s Hospital, Newberger had examined Matthew when he was brought in.
Woodward was convicted of second-degree murder and faced life in prison when Judge Hiller Zobel reduced the conviction to involuntary manslaughter and sentenced her to time already served since her arrest: 279 days.
Nearly 20 years later, it still rankles Newberger. He bristles at the growing legal challenges to shaken baby syndrome; in the past 15 months, the Massachusetts Medical Examiner’s office has revised its initial finding of the syndrome in three different cases involving dead babies with head trauma.
During the priest sex abuse crisis in the Archdiocese of Boston, Newberger also served as the expert on the effects of such abuse on children and their families.
Newberger has been recognized for his music, with hundreds of concert and festival appearances across the US and Europe since he co-founded the New Black Eagle Jazz Band in 1970. He’s been a trustee of the Berklee College of Music and an overseer of the New England Conservatory of Music.
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
ERIK JACOBS FOR THE BOSTON GLOBE
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
Music was his first love. When he was 10 years old, growing up in Mount Vernon, N.Y., the director of the elementary school band asked Newberger if he’d like to play the tuba. “He always had an eye out for the very sturdy boy who could carry the sousaphone in the marching band,” says Newberger, who is 6-foot-1 and weighs 205 pounds.
At 13, he saw Louis Armstrong perform, and that did it: “I knew after that, I had to play that music.” He led his high school jazz band for four years, while taking private lessons from William Bell, the principal tuba player for the New York Philharmonic. At Juilliard, he studied piano, organ and theory. At Yale, he majored in music theory and became tubist for the New Haven Symphony.
But he was taking pre-med classes “on the side” and decided to go on to medical school at Yale. As a junior, he was fixed up with a Sarah Lawrence sophomore who played the flute. When he graduated, he and Carolyn Moore were married.
Working as a first grade teacher, she put him through medical school, which was $1,500 a year then. “I finished with $1,200 debt,” he says.
In 1966, during the Vietnam War, male doctors were required to register for the draft. Both the Newbergers opposed the war, and he applied to become a Peace Corps doctor.
In 1967, the couple moved to Upper Volta in West Africa — now Burkina Faso — with their month-old daughter. He’d put in for a West African post in hopes of learning more about the origins of jazz. But it ended up having another long-lasting effect as well: His medical experience there led him to change his focus from neurology to pediatrics. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. In 1970, while a pediatric resident at Children’s, he alerted the physician-in-chief about “a worrying pattern of rehospitalizations” of young patients who had been reported to child protection. He was asked to research what hospitals around the country were doing about such cases.
Mandated reporting laws, which require healthcare workers, teachers, and others to report suspected child abuse to protective services, were new, and the hospital staff not yet well trained on such abuse.
“And there was next to no [medical] literature on it,” says Newberger.He found that most of the real expertise on child abuse in Massachusetts was in the nonprofit sector that dealt with children and families.
Newberger was asked to start a child abuse unit at Children’s Hospital. He was 29 years old, with no experience in the field. But his multi-disciplinary team of doctors, nurses, and social workers would become a national blueprint for other hospitals.
During his residency, he got a degree in epidemiology at Harvard’s School of Public Health, while Carolyn worked on her doctorate in developmental psychology at Harvard. They collaborated for 30 years at Children’s, where she served as director of research and training in the Family Development Program.
Today, they are retired from the health care field but still work together on stage, as members of Eli & the Hot Six. Carolyn plays the washboard, which she straps around her neck.
She beamed as she improvised with band members at the Scullers shows. “For me, it’s about getting to the heart and soul of rhythm,” she said later.
But her real second career is art. In the couple’s rambling Brookline home, her studio is filled with her paintings and charcoal sketches, as are the walls of the house. She often sketches the band as it plays.
The couple, who also have a home in the Berkshires, are now collaborating in a third way. He writes music reviews for on online site The Berkshire Edge, and she illustrates them.
On a recent day, he picked up a tuba in his living room and started playing. He adores the tuba, but knows that not everyone loves the sound of the ungainly 40-pound horn.
The Newberger dogs, Bibi and Cici, began to bark. Newberger moved over to his Steinway and started to play “How Much Is That Doggie in the Window?” The dogs relaxed.
Bella English can be reached at english@globe.com. (mailto:english@globe.com)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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Tuba in hand, acclaimed physician Dr. Eli Newberger delights in his first passion – The Boston Globe

http://www.jazzpromoservices.com/
https://www.bostonglobe.com/lifestyle/2015/12/28/tuba-hand-acclaimed-physician-eli-newberger-delights-his-first-passion/Bw3NRBiZpquTRTH3wtGXlK/story.html

** Tuba in hand, acclaimed physician delights in his first passion
————————————————————

By Bella English (https://www.bostonglobe.com/staff/english) GLOBE STAFF DECEMBER 29, 2015

On a recent night, Scullers Jazz Club in Cambridge was packed with nationally renowned experts on trauma and child abuse, former Peace Corps volunteers in West Africa, and book group buddies. They were all there to honor Dr. Eli Newberger, who sat in perhaps his favorite spot on earth: on stage, cradling his beloved tuba.
Newberger, who is both a nationally renowned child abuse expert and a fixture on Boston’s music scene, was turning 75 on Dec. 26. Scullers had to add a 10 p.m. show, after an earlier session, to accommodate fans of his medicine and his music.
“This is a birthday party of music,” he told the enthusiastic crowd before his group, Eli & the Hot Six, launched into an all-Gershwin gig. As he kicked off “It Ain’t Necessarily So,” he told the crowd: “The amygdala in the brain is the center for our cessation of stress. It sets off a cascade of hormones and messages. This is also where music enters our brain.”
His own life has been about the interconnections of music and medicine. “The joy and release of this musical life has enabled me to deal with the rigors of child abuse and family violence: My medical life connects to the sense of shared struggle and social protest that runs deep in the history and practice of jazz,” he once wrote.
In Boston, he may be best known as the key prosecution witness in the trial of Louise Woodward, the British nanny who was convicted of murder in the death of 9-month-old Matthew Eappen in 1997. During the 17-day trial, which was televised live worldwide, Newberger testified that Matthew was the victim of violent, prolonged shaking and that a blood clot on his brain and a fractured skull indicated that he had also been slammed against a hard surface. As medical director of the child abuse unit at Children’s Hospital, Newberger had examined Matthew when he was brought in.
Woodward was convicted of second-degree murder and faced life in prison when Judge Hiller Zobel reduced the conviction to involuntary manslaughter and sentenced her to time already served since her arrest: 279 days.
Nearly 20 years later, it still rankles Newberger. He bristles at the growing legal challenges to shaken baby syndrome; in the past 15 months, the Massachusetts Medical Examiner’s office has revised its initial finding of the syndrome in three different cases involving dead babies with head trauma.
During the priest sex abuse crisis in the Archdiocese of Boston, Newberger also served as the expert on the effects of such abuse on children and their families.
Newberger has been recognized for his music, with hundreds of concert and festival appearances across the US and Europe since he co-founded the New Black Eagle Jazz Band in 1970. He’s been a trustee of the Berklee College of Music and an overseer of the New England Conservatory of Music.
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
ERIK JACOBS FOR THE BOSTON GLOBE
Dr. Eli Newberger (on tuba) plays with his wife, Carolyn (on washboard), and the rest of his band, Eli & the Hot Six, at a recent Scullers Jazz Club show.
Music was his first love. When he was 10 years old, growing up in Mount Vernon, N.Y., the director of the elementary school band asked Newberger if he’d like to play the tuba. “He always had an eye out for the very sturdy boy who could carry the sousaphone in the marching band,” says Newberger, who is 6-foot-1 and weighs 205 pounds.
At 13, he saw Louis Armstrong perform, and that did it: “I knew after that, I had to play that music.” He led his high school jazz band for four years, while taking private lessons from William Bell, the principal tuba player for the New York Philharmonic. At Juilliard, he studied piano, organ and theory. At Yale, he majored in music theory and became tubist for the New Haven Symphony.
But he was taking pre-med classes “on the side” and decided to go on to medical school at Yale. As a junior, he was fixed up with a Sarah Lawrence sophomore who played the flute. When he graduated, he and Carolyn Moore were married.
Working as a first grade teacher, she put him through medical school, which was $1,500 a year then. “I finished with $1,200 debt,” he says.
In 1966, during the Vietnam War, male doctors were required to register for the draft. Both the Newbergers opposed the war, and he applied to become a Peace Corps doctor.
In 1967, the couple moved to Upper Volta in West Africa — now Burkina Faso — with their month-old daughter. He’d put in for a West African post in hopes of learning more about the origins of jazz. But it ended up having another long-lasting effect as well: His medical experience there led him to change his focus from neurology to pediatrics. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. The New Eagle Jazz Band (with Eli Newberger on tuba), circa 1997. In 1970, while a pediatric resident at Children’s, he alerted the physician-in-chief about “a worrying pattern of rehospitalizations” of young patients who had been reported to child protection. He was asked to research what hospitals around the country were doing about such cases.
Mandated reporting laws, which require healthcare workers, teachers, and others to report suspected child abuse to protective services, were new, and the hospital staff not yet well trained on such abuse.
“And there was next to no [medical] literature on it,” says Newberger.He found that most of the real expertise on child abuse in Massachusetts was in the nonprofit sector that dealt with children and families.
Newberger was asked to start a child abuse unit at Children’s Hospital. He was 29 years old, with no experience in the field. But his multi-disciplinary team of doctors, nurses, and social workers would become a national blueprint for other hospitals.
During his residency, he got a degree in epidemiology at Harvard’s School of Public Health, while Carolyn worked on her doctorate in developmental psychology at Harvard. They collaborated for 30 years at Children’s, where she served as director of research and training in the Family Development Program.
Today, they are retired from the health care field but still work together on stage, as members of Eli & the Hot Six. Carolyn plays the washboard, which she straps around her neck.
She beamed as she improvised with band members at the Scullers shows. “For me, it’s about getting to the heart and soul of rhythm,” she said later.
But her real second career is art. In the couple’s rambling Brookline home, her studio is filled with her paintings and charcoal sketches, as are the walls of the house. She often sketches the band as it plays.
The couple, who also have a home in the Berkshires, are now collaborating in a third way. He writes music reviews for on online site The Berkshire Edge, and she illustrates them.
On a recent day, he picked up a tuba in his living room and started playing. He adores the tuba, but knows that not everyone loves the sound of the ungainly 40-pound horn.
The Newberger dogs, Bibi and Cici, began to bark. Newberger moved over to his Steinway and started to play “How Much Is That Doggie in the Window?” The dogs relaxed.
Bella English can be reached at english@globe.com. (mailto:english@globe.com)

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
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A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/28/nyregion/a-manhattan-theft-rooted-in-a-tale-of-songwriting-sinatra-and-cigars.html?_r=0

** A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars
————————————————————

Crime Scene (http://www.nytimes.com/column/crime-scene)

By MICHAEL WILSON (http://topics.nytimes.com/top/reference/timestopics/people/w/michael_wilson/index.html) DEC. 27, 2015

Avo Uvezian, a cigar maker and Juilliard-trained musician, at his home in Orlando, Fla. Jacob Langston for The New York Times

The story of the thief who walked out of an expensive Manhattan cigar store with four boxes of medium-blend Dominicans last month actually begins decades earlier, before he was born. It starts in the 1960s, with an encounter between two men that would change both their lives. One of those men was Avo Uvezian, an Armenian jazz musician living in New York City. The other was also a musician, from New Jersey, named Frank Sinatra (http://topics.nytimes.com/top/reference/timestopics/people/s/frank_sinatra/index.html?inline=nyt-per) .

Mr. Uvezian was born in 1926 in Beirut. He became an accomplished musician who traveled the Middle East, speaking multiple languages along the way.

“I usually count in Armenian in my head,” he told Cigar Journal in an interview this year. “I find the best language to swear in is Turkish, and when dreaming of pretty women, French is the best language.”

Playing piano, he led a jazz combo that performed in Lebanon, Iraq and Iran, where he became the personal entertainer of the shah. In 1947, he moved to New York and entered the Juilliard School.

By the 1960s, he had written his own music. One melody stood out.

Mr. Uvezian says he wrote the melody to “Strangers in the Night,” which became a No. 1 single for Frank Sinatra. Jacob Langston for The New York Times

“The song itself is a very simple song,” Mr. Uvezian, 89, said this month by telephone from his home in Orlando, Fla. “You take the thing and you repeat it. ‘Dah-dah-dah-dah-daaaah.’ It’s the same line repeated throughout.”

He had a friend who knew Sinatra. The friend set up a meeting and told Mr. Uvezian to bring along his music. Someone else had put lyrics to the melody, and called it “Broken Guitar.”

Sinatra gave it a listen.

“He said, ‘I love the melody, but change the lyrics,’” Mr. Uvezian recalled. The task was given to studio songwriters, and they came back with new words. Sinatra, legend has it, hated it. “I don’t want to sing this,” he said when he first saw the sheet music, according to James Kaplan’s new book, “Sinatra: The Chairman (http://www.nytimes.com/2015/11/17/books/review-sinatra-the-chairman-his-world-his-way.html) .” Nonetheless, with his last No. 1 single several years behind him, he was persuaded to record the song in 1966.

The title was new, too. “Broken Guitar” was out. The new name was “Strangers in the Night.”
The Avo XO, one of the cigars created by Mr. Uvezian. Ramsay De Give for The New York Times

In Mr. Uvezian’s telling, what should have been a monumental triumph and breakthrough turned out to be a source of great grief. He did not receive credit for the song. Before Sinatra ever heard the music, Mr. Uvezian, a novice, had sent it to a friend, Bert Kaempfert (http://kaempfert.de/en/) , an established German composer, to be published there, he said. Mr. Kaempfert is credited with the composition, a snatch of which was first heard buried within the title song of a James Garner film called “A Man Could Get Killed.”

Mr. Kaempfert, who died in 1980, did not seem to hesitate in listing the song as among his highest achievements, but Mr. Uvezian said that Mr. Kaempfert had given him credit for its creation many times, including in a written letter.

A reporter ran this version of the events behind “Strangers in the Night” past the New York City radio personality Jonathan Schwartz (http://www.wnyc.org/people/jonathan-schwartz/) , an authority on Sinatra. “I haven’t heard it before, but I wouldn’t doubt it,” Mr. Schwartz said in a recent interview. “It sounds authentic to me.” Mr. Kaplan, in his book, credits Mr. Kaempfert as the composer.

The experience soured Mr. Uvezian on the music business and on New York City, he said. “It’s a painful thing for me. I want to forget it,” he said. “I have a hell of a lot of better music.”

He moved to Puerto Rico and started over. He played piano at a resort. He had smoked a pipe in the past, but he was introduced to good cigars on the occasion of his daughter’s christening in 1982, he said. A friend ordered him one, and Mr. Uvezian could not believe what it cost when the bill came. He saw an opportunity that would lead to a flourishing second career.

A thief stole four boxes of Avo XO cigars from the Davidoff store on Avenue of the Americas. Ramsay De Give for The New York Times

He traveled to the Dominican Republic and visited a cigar manufacturer. He met a master blender named Hendrik Kelner. “He made 10 or 12 different blends,” Mr. Uvezian said. Mr. Uvezian sampled them over a month or so, and came back with his favorite. It would become a brand called the Avo Classic (http://www.avo.com/collection/single/avo-classic) .

“The beginner or longtime smoker, he could find satisfaction in that Classic,” Mr. Uvezian said.

The musician handed out his cigars from his piano bench at gigs. People came back for more. He sent samples to Davidoff of Geneva, a worldwide distributor. Davidoff bought the Avo line of cigars in 1995 and now sells some two million a year, said Scott Kolesaire, the brand manager.

“The construction, balance and palate stimulation were just top notch,” Mr. Kolesaire said of the Avo Classic.

Another blend, stronger in taste, was created, the Avo XO (http://www.avo.com/collection/single/avo-xo) . The Davidoff store on Avenue of the Americas just below Central Park, which contains a smoking lounge, keeps its Avo line in the climate-controlled, walk-in humidor it installed in January. It was into this humidor that an unidentified man in his 30s walked, alone and unnoticed, on Nov. 23 at 4:20 p.m. He scooped four boxes of cigars into a big Bed Bath & Beyond bag and left. They were Avo XOs, each box worth $261.22.

Mr. Uvezian, informed of the theft by a reporter’s call, was unfazed. He’s had bigger headaches than 80 of his two million cigars going missing. “It can happen,” he said.

A salesman at the store, Rafael de los Reyes, pulled a similar box off the shelf in mid-December and pointed to the name on the cover.

“This guy,” he said, “wrote ‘Strangers in the Night.’ ”
Correction: December 29, 2015

The Crime Scene column on Monday, about the theft of cigars created by Avo Uvezian, a musician, misstated the name of the school he attended. It is the Juilliard School, not the Juilliard School of Music.

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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A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/28/nyregion/a-manhattan-theft-rooted-in-a-tale-of-songwriting-sinatra-and-cigars.html?_r=0

** A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars
————————————————————

Crime Scene (http://www.nytimes.com/column/crime-scene)

By MICHAEL WILSON (http://topics.nytimes.com/top/reference/timestopics/people/w/michael_wilson/index.html) DEC. 27, 2015

Avo Uvezian, a cigar maker and Juilliard-trained musician, at his home in Orlando, Fla. Jacob Langston for The New York Times

The story of the thief who walked out of an expensive Manhattan cigar store with four boxes of medium-blend Dominicans last month actually begins decades earlier, before he was born. It starts in the 1960s, with an encounter between two men that would change both their lives. One of those men was Avo Uvezian, an Armenian jazz musician living in New York City. The other was also a musician, from New Jersey, named Frank Sinatra (http://topics.nytimes.com/top/reference/timestopics/people/s/frank_sinatra/index.html?inline=nyt-per) .

Mr. Uvezian was born in 1926 in Beirut. He became an accomplished musician who traveled the Middle East, speaking multiple languages along the way.

“I usually count in Armenian in my head,” he told Cigar Journal in an interview this year. “I find the best language to swear in is Turkish, and when dreaming of pretty women, French is the best language.”

Playing piano, he led a jazz combo that performed in Lebanon, Iraq and Iran, where he became the personal entertainer of the shah. In 1947, he moved to New York and entered the Juilliard School.

By the 1960s, he had written his own music. One melody stood out.

Mr. Uvezian says he wrote the melody to “Strangers in the Night,” which became a No. 1 single for Frank Sinatra. Jacob Langston for The New York Times

“The song itself is a very simple song,” Mr. Uvezian, 89, said this month by telephone from his home in Orlando, Fla. “You take the thing and you repeat it. ‘Dah-dah-dah-dah-daaaah.’ It’s the same line repeated throughout.”

He had a friend who knew Sinatra. The friend set up a meeting and told Mr. Uvezian to bring along his music. Someone else had put lyrics to the melody, and called it “Broken Guitar.”

Sinatra gave it a listen.

“He said, ‘I love the melody, but change the lyrics,’” Mr. Uvezian recalled. The task was given to studio songwriters, and they came back with new words. Sinatra, legend has it, hated it. “I don’t want to sing this,” he said when he first saw the sheet music, according to James Kaplan’s new book, “Sinatra: The Chairman (http://www.nytimes.com/2015/11/17/books/review-sinatra-the-chairman-his-world-his-way.html) .” Nonetheless, with his last No. 1 single several years behind him, he was persuaded to record the song in 1966.

The title was new, too. “Broken Guitar” was out. The new name was “Strangers in the Night.”
The Avo XO, one of the cigars created by Mr. Uvezian. Ramsay De Give for The New York Times

In Mr. Uvezian’s telling, what should have been a monumental triumph and breakthrough turned out to be a source of great grief. He did not receive credit for the song. Before Sinatra ever heard the music, Mr. Uvezian, a novice, had sent it to a friend, Bert Kaempfert (http://kaempfert.de/en/) , an established German composer, to be published there, he said. Mr. Kaempfert is credited with the composition, a snatch of which was first heard buried within the title song of a James Garner film called “A Man Could Get Killed.”

Mr. Kaempfert, who died in 1980, did not seem to hesitate in listing the song as among his highest achievements, but Mr. Uvezian said that Mr. Kaempfert had given him credit for its creation many times, including in a written letter.

A reporter ran this version of the events behind “Strangers in the Night” past the New York City radio personality Jonathan Schwartz (http://www.wnyc.org/people/jonathan-schwartz/) , an authority on Sinatra. “I haven’t heard it before, but I wouldn’t doubt it,” Mr. Schwartz said in a recent interview. “It sounds authentic to me.” Mr. Kaplan, in his book, credits Mr. Kaempfert as the composer.

The experience soured Mr. Uvezian on the music business and on New York City, he said. “It’s a painful thing for me. I want to forget it,” he said. “I have a hell of a lot of better music.”

He moved to Puerto Rico and started over. He played piano at a resort. He had smoked a pipe in the past, but he was introduced to good cigars on the occasion of his daughter’s christening in 1982, he said. A friend ordered him one, and Mr. Uvezian could not believe what it cost when the bill came. He saw an opportunity that would lead to a flourishing second career.

A thief stole four boxes of Avo XO cigars from the Davidoff store on Avenue of the Americas. Ramsay De Give for The New York Times

He traveled to the Dominican Republic and visited a cigar manufacturer. He met a master blender named Hendrik Kelner. “He made 10 or 12 different blends,” Mr. Uvezian said. Mr. Uvezian sampled them over a month or so, and came back with his favorite. It would become a brand called the Avo Classic (http://www.avo.com/collection/single/avo-classic) .

“The beginner or longtime smoker, he could find satisfaction in that Classic,” Mr. Uvezian said.

The musician handed out his cigars from his piano bench at gigs. People came back for more. He sent samples to Davidoff of Geneva, a worldwide distributor. Davidoff bought the Avo line of cigars in 1995 and now sells some two million a year, said Scott Kolesaire, the brand manager.

“The construction, balance and palate stimulation were just top notch,” Mr. Kolesaire said of the Avo Classic.

Another blend, stronger in taste, was created, the Avo XO (http://www.avo.com/collection/single/avo-xo) . The Davidoff store on Avenue of the Americas just below Central Park, which contains a smoking lounge, keeps its Avo line in the climate-controlled, walk-in humidor it installed in January. It was into this humidor that an unidentified man in his 30s walked, alone and unnoticed, on Nov. 23 at 4:20 p.m. He scooped four boxes of cigars into a big Bed Bath & Beyond bag and left. They were Avo XOs, each box worth $261.22.

Mr. Uvezian, informed of the theft by a reporter’s call, was unfazed. He’s had bigger headaches than 80 of his two million cigars going missing. “It can happen,” he said.

A salesman at the store, Rafael de los Reyes, pulled a similar box off the shelf in mid-December and pointed to the name on the cover.

“This guy,” he said, “wrote ‘Strangers in the Night.’ ”
Correction: December 29, 2015

The Crime Scene column on Monday, about the theft of cigars created by Avo Uvezian, a musician, misstated the name of the school he attended. It is the Juilliard School, not the Juilliard School of Music.

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A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/12/28/nyregion/a-manhattan-theft-rooted-in-a-tale-of-songwriting-sinatra-and-cigars.html?_r=0

** A Manhattan Theft Rooted in a Tale of Songwriting, Sinatra and Cigars
————————————————————

Crime Scene (http://www.nytimes.com/column/crime-scene)

By MICHAEL WILSON (http://topics.nytimes.com/top/reference/timestopics/people/w/michael_wilson/index.html) DEC. 27, 2015

Avo Uvezian, a cigar maker and Juilliard-trained musician, at his home in Orlando, Fla. Jacob Langston for The New York Times

The story of the thief who walked out of an expensive Manhattan cigar store with four boxes of medium-blend Dominicans last month actually begins decades earlier, before he was born. It starts in the 1960s, with an encounter between two men that would change both their lives. One of those men was Avo Uvezian, an Armenian jazz musician living in New York City. The other was also a musician, from New Jersey, named Frank Sinatra (http://topics.nytimes.com/top/reference/timestopics/people/s/frank_sinatra/index.html?inline=nyt-per) .

Mr. Uvezian was born in 1926 in Beirut. He became an accomplished musician who traveled the Middle East, speaking multiple languages along the way.

“I usually count in Armenian in my head,” he told Cigar Journal in an interview this year. “I find the best language to swear in is Turkish, and when dreaming of pretty women, French is the best language.”

Playing piano, he led a jazz combo that performed in Lebanon, Iraq and Iran, where he became the personal entertainer of the shah. In 1947, he moved to New York and entered the Juilliard School.

By the 1960s, he had written his own music. One melody stood out.

Mr. Uvezian says he wrote the melody to “Strangers in the Night,” which became a No. 1 single for Frank Sinatra. Jacob Langston for The New York Times

“The song itself is a very simple song,” Mr. Uvezian, 89, said this month by telephone from his home in Orlando, Fla. “You take the thing and you repeat it. ‘Dah-dah-dah-dah-daaaah.’ It’s the same line repeated throughout.”

He had a friend who knew Sinatra. The friend set up a meeting and told Mr. Uvezian to bring along his music. Someone else had put lyrics to the melody, and called it “Broken Guitar.”

Sinatra gave it a listen.

“He said, ‘I love the melody, but change the lyrics,’” Mr. Uvezian recalled. The task was given to studio songwriters, and they came back with new words. Sinatra, legend has it, hated it. “I don’t want to sing this,” he said when he first saw the sheet music, according to James Kaplan’s new book, “Sinatra: The Chairman (http://www.nytimes.com/2015/11/17/books/review-sinatra-the-chairman-his-world-his-way.html) .” Nonetheless, with his last No. 1 single several years behind him, he was persuaded to record the song in 1966.

The title was new, too. “Broken Guitar” was out. The new name was “Strangers in the Night.”
The Avo XO, one of the cigars created by Mr. Uvezian. Ramsay De Give for The New York Times

In Mr. Uvezian’s telling, what should have been a monumental triumph and breakthrough turned out to be a source of great grief. He did not receive credit for the song. Before Sinatra ever heard the music, Mr. Uvezian, a novice, had sent it to a friend, Bert Kaempfert (http://kaempfert.de/en/) , an established German composer, to be published there, he said. Mr. Kaempfert is credited with the composition, a snatch of which was first heard buried within the title song of a James Garner film called “A Man Could Get Killed.”

Mr. Kaempfert, who died in 1980, did not seem to hesitate in listing the song as among his highest achievements, but Mr. Uvezian said that Mr. Kaempfert had given him credit for its creation many times, including in a written letter.

A reporter ran this version of the events behind “Strangers in the Night” past the New York City radio personality Jonathan Schwartz (http://www.wnyc.org/people/jonathan-schwartz/) , an authority on Sinatra. “I haven’t heard it before, but I wouldn’t doubt it,” Mr. Schwartz said in a recent interview. “It sounds authentic to me.” Mr. Kaplan, in his book, credits Mr. Kaempfert as the composer.

The experience soured Mr. Uvezian on the music business and on New York City, he said. “It’s a painful thing for me. I want to forget it,” he said. “I have a hell of a lot of better music.”

He moved to Puerto Rico and started over. He played piano at a resort. He had smoked a pipe in the past, but he was introduced to good cigars on the occasion of his daughter’s christening in 1982, he said. A friend ordered him one, and Mr. Uvezian could not believe what it cost when the bill came. He saw an opportunity that would lead to a flourishing second career.

A thief stole four boxes of Avo XO cigars from the Davidoff store on Avenue of the Americas. Ramsay De Give for The New York Times

He traveled to the Dominican Republic and visited a cigar manufacturer. He met a master blender named Hendrik Kelner. “He made 10 or 12 different blends,” Mr. Uvezian said. Mr. Uvezian sampled them over a month or so, and came back with his favorite. It would become a brand called the Avo Classic (http://www.avo.com/collection/single/avo-classic) .

“The beginner or longtime smoker, he could find satisfaction in that Classic,” Mr. Uvezian said.

The musician handed out his cigars from his piano bench at gigs. People came back for more. He sent samples to Davidoff of Geneva, a worldwide distributor. Davidoff bought the Avo line of cigars in 1995 and now sells some two million a year, said Scott Kolesaire, the brand manager.

“The construction, balance and palate stimulation were just top notch,” Mr. Kolesaire said of the Avo Classic.

Another blend, stronger in taste, was created, the Avo XO (http://www.avo.com/collection/single/avo-xo) . The Davidoff store on Avenue of the Americas just below Central Park, which contains a smoking lounge, keeps its Avo line in the climate-controlled, walk-in humidor it installed in January. It was into this humidor that an unidentified man in his 30s walked, alone and unnoticed, on Nov. 23 at 4:20 p.m. He scooped four boxes of cigars into a big Bed Bath & Beyond bag and left. They were Avo XOs, each box worth $261.22.

Mr. Uvezian, informed of the theft by a reporter’s call, was unfazed. He’s had bigger headaches than 80 of his two million cigars going missing. “It can happen,” he said.

A salesman at the store, Rafael de los Reyes, pulled a similar box off the shelf in mid-December and pointed to the name on the cover.

“This guy,” he said, “wrote ‘Strangers in the Night.’ ”
Correction: December 29, 2015

The Crime Scene column on Monday, about the theft of cigars created by Avo Uvezian, a musician, misstated the name of the school he attended. It is the Juilliard School, not the Juilliard School of Music.

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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Samuel Dockery, 86; Philadelphia jazz pianist

http://www.jazzpromoservices.com/
http://www.philly.com/philly/news/20151228_Samuel_Dockery__86__Philadelphia_jazz_pianist.html

** Samuel Dockery, 86; Philadelphia jazz pianist
————————————————————

Allison Steele, Staff Writer

Allison Steele, Staff Writer

Posted: Monday, December 28, 2015, 1:08 AM

http://www.philly.com/inquirer
Samuel “Sam” Dockery, a pianist whose performances and recordings with prominent musicians made him an icon of Philadelphia’s jazz scene, died Dec. 23 at the Burlington Woods health-care facility in Burlington, N.J., from Alzheimer’s disease. He was 86.
Mr. Dockery, who spent most of his life in and around Philadelphia, worked steadily from the 1950s through the 1990s, playing on dozens of albums and touring with such nationally recognized artists as Buddy Rich and Betty Carter. He played hard bop, a subgenre of jazz that incorporates influences from rhythm and blues as well as gospel music.
Born in Camden, Mr. Dockery was the oldest of eight siblings raised by a single mother who taught her children how to play piano, said his sister Dolly Roth, of Mount Laurel. Two of his brothers also became musicians: Lemuel, a drummer, who died in 2008; and Wayne, a jazz bassist.
Mr. Dockery’s passion for the piano started early, Roth said.
“I never knew him not to play,” she said. “He played from the time he was born, almost.”
Mr. Dockery’s skills drew attention from teachers, and he started working as a full-time musician shortly after graduating from Camden High School, Roth said.
In 1953, Mr. Dockery became the regular pianist at Music City, a store on Chestnut Street where local musicians played with visiting jazz celebrities. After members of Art Blakey and the Jazz Messengers played there, they recommended Mr. Dockery to Blakey, who hired him to go on tour. Over about two years, he recorded 11 albums with the group.
In addition to touring with Rich and Carter, Mr. Dockery went on the road with the Roy Haynes Band and free-lanced with visiting musicians who played the Showboat jazz club in Philadelphia.
His songs had a joyful sound, his sister said.
“Whether you knew jazz or you didn’t know jazz, when he played it, you loved it,” she said.
Mr. Dockery’s last tour was a five-country European stint with Archie Shepp in 1991. In later years he was a mentor for local musicians and became a fixture at Ortlieb’s Jazzhaus in Northern Liberties.
He fell ill in recent years, said Barbara Lester, a jazz vocalist who was Mr. Dockery’s longtime companion and who lived with him until he moved into Burlington Woods.
In addition to Roth, he is survived by two other sisters and a brother.
A viewing will be held Wednesday from 9 to 10 a.m. at the Holy Temple Church of God in Christ at 60th and Callowhill Streets in Philadelphia. A service will follow at 10:30 a.m.
asteele@phillynews.com (mailto:asteele@phillynews.com)
856-779-3876
@AESteele

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Samuel Dockery, 86; Philadelphia jazz pianist

http://www.jazzpromoservices.com/
http://www.philly.com/philly/news/20151228_Samuel_Dockery__86__Philadelphia_jazz_pianist.html

** Samuel Dockery, 86; Philadelphia jazz pianist
————————————————————

Allison Steele, Staff Writer

Allison Steele, Staff Writer

Posted: Monday, December 28, 2015, 1:08 AM

http://www.philly.com/inquirer
Samuel “Sam” Dockery, a pianist whose performances and recordings with prominent musicians made him an icon of Philadelphia’s jazz scene, died Dec. 23 at the Burlington Woods health-care facility in Burlington, N.J., from Alzheimer’s disease. He was 86.
Mr. Dockery, who spent most of his life in and around Philadelphia, worked steadily from the 1950s through the 1990s, playing on dozens of albums and touring with such nationally recognized artists as Buddy Rich and Betty Carter. He played hard bop, a subgenre of jazz that incorporates influences from rhythm and blues as well as gospel music.
Born in Camden, Mr. Dockery was the oldest of eight siblings raised by a single mother who taught her children how to play piano, said his sister Dolly Roth, of Mount Laurel. Two of his brothers also became musicians: Lemuel, a drummer, who died in 2008; and Wayne, a jazz bassist.
Mr. Dockery’s passion for the piano started early, Roth said.
“I never knew him not to play,” she said. “He played from the time he was born, almost.”
Mr. Dockery’s skills drew attention from teachers, and he started working as a full-time musician shortly after graduating from Camden High School, Roth said.
In 1953, Mr. Dockery became the regular pianist at Music City, a store on Chestnut Street where local musicians played with visiting jazz celebrities. After members of Art Blakey and the Jazz Messengers played there, they recommended Mr. Dockery to Blakey, who hired him to go on tour. Over about two years, he recorded 11 albums with the group.
In addition to touring with Rich and Carter, Mr. Dockery went on the road with the Roy Haynes Band and free-lanced with visiting musicians who played the Showboat jazz club in Philadelphia.
His songs had a joyful sound, his sister said.
“Whether you knew jazz or you didn’t know jazz, when he played it, you loved it,” she said.
Mr. Dockery’s last tour was a five-country European stint with Archie Shepp in 1991. In later years he was a mentor for local musicians and became a fixture at Ortlieb’s Jazzhaus in Northern Liberties.
He fell ill in recent years, said Barbara Lester, a jazz vocalist who was Mr. Dockery’s longtime companion and who lived with him until he moved into Burlington Woods.
In addition to Roth, he is survived by two other sisters and a brother.
A viewing will be held Wednesday from 9 to 10 a.m. at the Holy Temple Church of God in Christ at 60th and Callowhill Streets in Philadelphia. A service will follow at 10:30 a.m.
asteele@phillynews.com (mailto:asteele@phillynews.com)
856-779-3876
@AESteele

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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Samuel Dockery, 86; Philadelphia jazz pianist

http://www.jazzpromoservices.com/
http://www.philly.com/philly/news/20151228_Samuel_Dockery__86__Philadelphia_jazz_pianist.html

** Samuel Dockery, 86; Philadelphia jazz pianist
————————————————————

Allison Steele, Staff Writer

Allison Steele, Staff Writer

Posted: Monday, December 28, 2015, 1:08 AM

http://www.philly.com/inquirer
Samuel “Sam” Dockery, a pianist whose performances and recordings with prominent musicians made him an icon of Philadelphia’s jazz scene, died Dec. 23 at the Burlington Woods health-care facility in Burlington, N.J., from Alzheimer’s disease. He was 86.
Mr. Dockery, who spent most of his life in and around Philadelphia, worked steadily from the 1950s through the 1990s, playing on dozens of albums and touring with such nationally recognized artists as Buddy Rich and Betty Carter. He played hard bop, a subgenre of jazz that incorporates influences from rhythm and blues as well as gospel music.
Born in Camden, Mr. Dockery was the oldest of eight siblings raised by a single mother who taught her children how to play piano, said his sister Dolly Roth, of Mount Laurel. Two of his brothers also became musicians: Lemuel, a drummer, who died in 2008; and Wayne, a jazz bassist.
Mr. Dockery’s passion for the piano started early, Roth said.
“I never knew him not to play,” she said. “He played from the time he was born, almost.”
Mr. Dockery’s skills drew attention from teachers, and he started working as a full-time musician shortly after graduating from Camden High School, Roth said.
In 1953, Mr. Dockery became the regular pianist at Music City, a store on Chestnut Street where local musicians played with visiting jazz celebrities. After members of Art Blakey and the Jazz Messengers played there, they recommended Mr. Dockery to Blakey, who hired him to go on tour. Over about two years, he recorded 11 albums with the group.
In addition to touring with Rich and Carter, Mr. Dockery went on the road with the Roy Haynes Band and free-lanced with visiting musicians who played the Showboat jazz club in Philadelphia.
His songs had a joyful sound, his sister said.
“Whether you knew jazz or you didn’t know jazz, when he played it, you loved it,” she said.
Mr. Dockery’s last tour was a five-country European stint with Archie Shepp in 1991. In later years he was a mentor for local musicians and became a fixture at Ortlieb’s Jazzhaus in Northern Liberties.
He fell ill in recent years, said Barbara Lester, a jazz vocalist who was Mr. Dockery’s longtime companion and who lived with him until he moved into Burlington Woods.
In addition to Roth, he is survived by two other sisters and a brother.
A viewing will be held Wednesday from 9 to 10 a.m. at the Holy Temple Church of God in Christ at 60th and Callowhill Streets in Philadelphia. A service will follow at 10:30 a.m.
asteele@phillynews.com (mailto:asteele@phillynews.com)
856-779-3876
@AESteele

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

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New Book Austin in the Jazz Age by Richard Zelade | www.mystatesman.com

http://www.jazzpromoservices.com/
http://www.mystatesman.com/news/entertainment/sex-drugs-and-jazz-during-the-roaring-twenties-in-/npqs8/

** Sex, drugs and jazz during the Roaring Twenties in Austin
————————————————————

By Michael Barnes (http://www.mystatesman.com/staff/michael-barnes/) – American-Statesman Staff

Escapism. Hedonism. Sex, drugs, rock ’n’ roll.

“I had a fabulous time in Austin during the 1970s, believe me” author Richard Zelade says. “This was the Garden of Eden.”

Switch out “jazz” for “rock ’n’ roll” and you would have Austin in the Jazz Age, the subject — and title — of Zelade’s most recent book about the city’s louche past.

“Part of the jazz lifestyle was escapism,” says Zelade, whose previous books include “Guy Town by Gaslight,” which maps out Austin’s famous red light district (1865-1913). “Paris was the place you wanted to escape to — in theory — during the titillating, titubating, tumescent ’20s.”

Between World War I and the Great Depression, the Jazz Age picked up where Guy Town’s vices left off.

“It was a reaction to World War I’s misery, destruction and waste,” Zelade says. “As well as the 1918 influenza pandemic that killed millions of mostly young people, and the conservative moral values that brought on Prohibition and frowned on sexual freedom.”

Of course, jazz music provided the fast, intoxicating beat of this new, rebellious youth culture, prominent in Austin mostly because of the University of Texas student body.

Jack Tobin, 18-year-old son of a respected Austin family, put together Shakey’s Jazz Orchestra in January 1919. Others — the Moonshiners, Sole-Killers, Fire House Five, Band-Its, Hokum Kings, Apaches — followed in the established traditions of African-American jazz and blues.

Zelade’s lively, loosely organized book is splendid at drawing cultural comparisons to later youth rebellions, such as the one he experienced firsthand 40 years ago.

“Jazz was a lifestyle,” he says. “Music is just what we think of most. In the early days, jazz music was very dada. They’d do anything — bang cans, jump on pianos.”

Along with the music, of course, came a new style of dance.

“A sexual revolution was getting its start here,” Zelade says. “Dancing as if you were glued together to hot, stimulating music was like foreplay. Although most students stopped short of actual intercourse, in favor of petting — any movement, caress or touch short of intercourse — boys and girls reveled in their promiscuity. One guy claimed to have kissed 88 girls in one school year.”

Zelade mines newspapers and magazines but also UT’s half-forgotten humor publications, which poked fun at “co-eds” and “eds” who were experimenting with drink, drugs (morphine and marijuana mostly) and sexual liberation, the last mostly but not entirely confined to “necking” and “petting.”

“The jokes and cartoons in the college humor magazines were all about sex and booze,” Zelade points out. Outrageously talking, scantily clad co-eds drinking moonshine — much of it distilled in the rough hills and hollows to the west or down in Prohibition-unfriendly New Braunfels — filled up many pages.

“This Prohibition gets worse every day,” the Daily Texan reported dryly about the spread of bootleg liquor. “But we’ve reached the limit when our sweet little grind illustrator wheezes around for a couple of days, and then turns up with a bottle of cough medicine with a kick stronger than any East Texas Corn or Tequila we ever met. Give us back the old days!”

The college cartoonists for the Scalper, Coyote and Ranger magazines were pretty risque. Among the most prolific was Joe Steiner, whose brother, Buck Steiner, was best known as the owner of Capitol Saddlery.

It was a liberating time for women, who had won the right to vote and serve on some juries.

“They were drinking, smoking, wearing men’s clothes, playing men’s sports,” Zelade says. The flat-chested, short-cropped, short-skirted flapper ideal — who liked swanning around in men’s pajamas — was just one manifestation of the age’s gender-bending. One cartoon shows a confident, muscular woman smoking in the foreground while a willowy male student swoons coyly behind her.

Women, especially, aspired to “it,” or universal sexual appeal. Movie star Clara Bow, the quintessential “It Girl,” visited the UT campus while filming “Wings” in San Antonio. While scouting a location for a movie about an unhinged college party, she met up with UT President William Splawn before attracting crowds across campus.

The UT administration, including Dean of Women Helen Kirby, fought in vain to tame the fizzy hormones, especially at the popular costume parties, which allowed all manner of dress — and undress. One cartoon image of a Shakey’s Orchestra dance shows officers with machine guns keeping young people apart while spying on them from a observation tower. The jazz combo is transformed into the Salvation Army band.

There were other options.

“The automobile changed dating behavior forever,” Zelade says. “It gave you the power and authority. On campus, they had you locked down. In a car, you went out to Pease Park or Lake Austin to pet. In 1923, they banned students from having cars or going out to the lake.”

One odd historical note: Instead of just engaging in sex, Jazz Age youths tended to marry right away, then follow up with a quickie divorce, until lawmakers put time limits on both institutions.

Here is a sample of the lax attitudes from a college cartoon:

He: “It wouldn’t be much trouble for us to marry, my father is a minister you know.”

She: “Well, let’s have a try at it anyway — my dad’s a lawyer.”

As with other youth cultural movements, the Jazz Age came with its own vocabulary.

“You spoke a language that you understood but your elders didn’t,” Zelade says, as much to anger them as to talk to friends.

For example, in an orientialist mode, men were “Sheiks” and women were “Shebas.” UT males shunned movies starring Rudolph Valentino, thought to be effeminate, but they ended up dressing as “Vaselinos.”

“They might not have liked Valentino,” Zelade says. “But if the girls liked him, they followed the trend.”

What about African-Americans, who, after all, inspired so much of jazz culture? Zelade found that mainstream newspapers covered black gospel music and that local black bands played at UT dances. Poet Carl Sandburg and folklorist John Lomax visited the Silver King club in East Austin to collect songs.

“Austin was one of the most conservative, segregated cities in Texas during the Jazz Age,” Zelade postulates. Yet two pieces of evidence for this proposition involve not Austin but Dallas, which was home to a Ku Klux Klan-based charity and exhibited discrimination against jazz bands.

He mentions Austin’s six-square-mile Negro District, proposed in an 1928 urban plan, but doesn’t add that virtually every town and city in the South — and many in the North — were also strictly segregated at the time.

At the end of the book, Zelade profiles some movie stars, musicians and singing cowboys who came out of Austin during this era.

“We didn’t produce a Louis Armstrong,” Zelade admits. “But we did a Tex Ritter and a John Lomax.”

Lomax, who collected and recorded folk tunes, influenced Ritter, who was devoted to singing and preserving cowboy music.

By 1930, the Jazz Era had fallen out of fashion in Austin. Economic ruin made it untenable.

“When the bubble burst, it went down into the Dirty Thirties,” Zelade says of the Dust Bowl days. “Hemlines went back to the ankles. They fell by two inches in one year. The jazz lifestyle was dropped like a hot coal on campus.”

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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New Book Austin in the Jazz Age by Richard Zelade | www.mystatesman.com

http://www.jazzpromoservices.com/
http://www.mystatesman.com/news/entertainment/sex-drugs-and-jazz-during-the-roaring-twenties-in-/npqs8/

** Sex, drugs and jazz during the Roaring Twenties in Austin
————————————————————

By Michael Barnes (http://www.mystatesman.com/staff/michael-barnes/) – American-Statesman Staff

Escapism. Hedonism. Sex, drugs, rock ’n’ roll.

“I had a fabulous time in Austin during the 1970s, believe me” author Richard Zelade says. “This was the Garden of Eden.”

Switch out “jazz” for “rock ’n’ roll” and you would have Austin in the Jazz Age, the subject — and title — of Zelade’s most recent book about the city’s louche past.

“Part of the jazz lifestyle was escapism,” says Zelade, whose previous books include “Guy Town by Gaslight,” which maps out Austin’s famous red light district (1865-1913). “Paris was the place you wanted to escape to — in theory — during the titillating, titubating, tumescent ’20s.”

Between World War I and the Great Depression, the Jazz Age picked up where Guy Town’s vices left off.

“It was a reaction to World War I’s misery, destruction and waste,” Zelade says. “As well as the 1918 influenza pandemic that killed millions of mostly young people, and the conservative moral values that brought on Prohibition and frowned on sexual freedom.”

Of course, jazz music provided the fast, intoxicating beat of this new, rebellious youth culture, prominent in Austin mostly because of the University of Texas student body.

Jack Tobin, 18-year-old son of a respected Austin family, put together Shakey’s Jazz Orchestra in January 1919. Others — the Moonshiners, Sole-Killers, Fire House Five, Band-Its, Hokum Kings, Apaches — followed in the established traditions of African-American jazz and blues.

Zelade’s lively, loosely organized book is splendid at drawing cultural comparisons to later youth rebellions, such as the one he experienced firsthand 40 years ago.

“Jazz was a lifestyle,” he says. “Music is just what we think of most. In the early days, jazz music was very dada. They’d do anything — bang cans, jump on pianos.”

Along with the music, of course, came a new style of dance.

“A sexual revolution was getting its start here,” Zelade says. “Dancing as if you were glued together to hot, stimulating music was like foreplay. Although most students stopped short of actual intercourse, in favor of petting — any movement, caress or touch short of intercourse — boys and girls reveled in their promiscuity. One guy claimed to have kissed 88 girls in one school year.”

Zelade mines newspapers and magazines but also UT’s half-forgotten humor publications, which poked fun at “co-eds” and “eds” who were experimenting with drink, drugs (morphine and marijuana mostly) and sexual liberation, the last mostly but not entirely confined to “necking” and “petting.”

“The jokes and cartoons in the college humor magazines were all about sex and booze,” Zelade points out. Outrageously talking, scantily clad co-eds drinking moonshine — much of it distilled in the rough hills and hollows to the west or down in Prohibition-unfriendly New Braunfels — filled up many pages.

“This Prohibition gets worse every day,” the Daily Texan reported dryly about the spread of bootleg liquor. “But we’ve reached the limit when our sweet little grind illustrator wheezes around for a couple of days, and then turns up with a bottle of cough medicine with a kick stronger than any East Texas Corn or Tequila we ever met. Give us back the old days!”

The college cartoonists for the Scalper, Coyote and Ranger magazines were pretty risque. Among the most prolific was Joe Steiner, whose brother, Buck Steiner, was best known as the owner of Capitol Saddlery.

It was a liberating time for women, who had won the right to vote and serve on some juries.

“They were drinking, smoking, wearing men’s clothes, playing men’s sports,” Zelade says. The flat-chested, short-cropped, short-skirted flapper ideal — who liked swanning around in men’s pajamas — was just one manifestation of the age’s gender-bending. One cartoon shows a confident, muscular woman smoking in the foreground while a willowy male student swoons coyly behind her.

Women, especially, aspired to “it,” or universal sexual appeal. Movie star Clara Bow, the quintessential “It Girl,” visited the UT campus while filming “Wings” in San Antonio. While scouting a location for a movie about an unhinged college party, she met up with UT President William Splawn before attracting crowds across campus.

The UT administration, including Dean of Women Helen Kirby, fought in vain to tame the fizzy hormones, especially at the popular costume parties, which allowed all manner of dress — and undress. One cartoon image of a Shakey’s Orchestra dance shows officers with machine guns keeping young people apart while spying on them from a observation tower. The jazz combo is transformed into the Salvation Army band.

There were other options.

“The automobile changed dating behavior forever,” Zelade says. “It gave you the power and authority. On campus, they had you locked down. In a car, you went out to Pease Park or Lake Austin to pet. In 1923, they banned students from having cars or going out to the lake.”

One odd historical note: Instead of just engaging in sex, Jazz Age youths tended to marry right away, then follow up with a quickie divorce, until lawmakers put time limits on both institutions.

Here is a sample of the lax attitudes from a college cartoon:

He: “It wouldn’t be much trouble for us to marry, my father is a minister you know.”

She: “Well, let’s have a try at it anyway — my dad’s a lawyer.”

As with other youth cultural movements, the Jazz Age came with its own vocabulary.

“You spoke a language that you understood but your elders didn’t,” Zelade says, as much to anger them as to talk to friends.

For example, in an orientialist mode, men were “Sheiks” and women were “Shebas.” UT males shunned movies starring Rudolph Valentino, thought to be effeminate, but they ended up dressing as “Vaselinos.”

“They might not have liked Valentino,” Zelade says. “But if the girls liked him, they followed the trend.”

What about African-Americans, who, after all, inspired so much of jazz culture? Zelade found that mainstream newspapers covered black gospel music and that local black bands played at UT dances. Poet Carl Sandburg and folklorist John Lomax visited the Silver King club in East Austin to collect songs.

“Austin was one of the most conservative, segregated cities in Texas during the Jazz Age,” Zelade postulates. Yet two pieces of evidence for this proposition involve not Austin but Dallas, which was home to a Ku Klux Klan-based charity and exhibited discrimination against jazz bands.

He mentions Austin’s six-square-mile Negro District, proposed in an 1928 urban plan, but doesn’t add that virtually every town and city in the South — and many in the North — were also strictly segregated at the time.

At the end of the book, Zelade profiles some movie stars, musicians and singing cowboys who came out of Austin during this era.

“We didn’t produce a Louis Armstrong,” Zelade admits. “But we did a Tex Ritter and a John Lomax.”

Lomax, who collected and recorded folk tunes, influenced Ritter, who was devoted to singing and preserving cowboy music.

By 1930, the Jazz Era had fallen out of fashion in Austin. Economic ruin made it untenable.

“When the bubble burst, it went down into the Dirty Thirties,” Zelade says of the Dust Bowl days. “Hemlines went back to the ankles. They fell by two inches in one year. The jazz lifestyle was dropped like a hot coal on campus.”

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=5f40019d2d) | 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=5f40019d2d&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) 2015 All rights reserved.

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA